Award Date


Degree Type

Doctoral Project

Degree Name

Doctor of Musical Arts (DMA)



First Committee Member

Dean Gronemeier

Second Committee Member

Timothy Jones

Third Committee Member

Thomas Leslie

Fourth Committee Member

Anthony LaBounty

Fifth Committee Member

Brackley Frayer

Number of Pages



Sparked by the introduction of Janissary percussion into the works of the First Viennese School, composers have been steadily expanding the musical responsibilities and tonal palette of the orchestral percussion section. Most institutions of higher education extensively address the traditional orchestral percussion instruments and only relatively recently have these institutions begun incorporating the more “exotic” percussion instruments from various indigenous musical traditions. With the resources and proposed performance practices suggested in this document, orchestral percussionists can gain the knowledge and familiarity to identify the instruments by name and construction, demonstrate fluency in technique and sound production, and display basic understanding of rhythmic structure and improvisation within the appropriate musical styles. This document examines the orchestral use of indigenous percussion instruments from the Caribbean in order to clearly address the specific instrumental and technical requirements that are often excluded in the formal training of orchestral percussionists. The instruments addressed in this document include: bongos, congas, timbales, steel pan, claves, cowbell, guiro, and maracas. Each instrument is discussed regarding History & Construction, Sounds & Techniques, Patterns & Characteristics, and Repertoire & Performance Practice.


bongos; caribbean; congas; percussion; salsa; timbales


Education | Music | Other Music

File Format


File Size

3900 KB

Degree Grantor

University of Nevada, Las Vegas




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