Date of Award

Spring 2026

Document Type

Open Access Dissertation

Department

School of Music

First Advisor

David Scott Herring

Abstract

This dissertation bridges the gap between scientific and performance approaches in timpani pedagogy. While the timpani have long been a member of various ensembles, its pedagogy often relies on experiential knowledge of the performers. This study synthesizes findings from acoustical research with traditional teaching sources to establish a coherent framework for timpani pedagogy.

Chapter one introduces the study’s purpose, states the problem, and presents the methodology. It also clarifies the scope of this dissertation. It identifies the lack of consistency between acoustic research and current pedagogical approach, proposing a comparative analysis of scientific literature and established pedagogical texts.

Chapter two outlines the theoretical foundations of the timpani tone. It first establishes a theoretical foundation for the ideal membrane and its vibrational modes, then presents empirical data demonstrating how the kettle, enclosed air, and frame influence those vibrations. The chapter establishes how the drumhead’s vibrational modes produce the timpani’s distinctive tone color, providing a clear account of how each component of the instrument contributes to its overall sound.

Chapter three examines how performance variables such as mallet choice, head tension, stroke type, grip, and beating spot can affect the timpani tone. It shows that small variations in contact time, mallet mass, and velocity lead to predictable shifts in the balance of partial amplitudes, altering both the articulation and sustain of the timpani tone. This establishes relationships between physical mechanics and modal vibrations.

Chapter four examines established pedagogical practices and synthesizes them with the scientific understanding developed in the preceding chapters. By comparing teachings on player mechanics, beating spot selection, mallet choice, and head clearing with acoustic principles, the study identifies alignments, discrepancies, and areas for pedagogical refinement.

Overall, this research provides a more accurate model of timpani tone production, strengthening pedagogical precision and enabling performers to make informed artistic decisions grounded in acoustical science.

Rights

© 2026, Yuesen Yang

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