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Sound-producing movements in percussion performance require a high degree of fine motor control. However, there remains a relatively limited empirical understanding of how performance level abilities develop in percussion performance in general, and marimba performance specifically. To address this issue, nine percussionists performed individualised excerpts on marimba within three testing sessions spaced 29 days apart to assess early, intermediate, and late stages of motor learning. Motor learning was quantified via analyses of both the temporal control of mallet movements, and the spatial variability of upper-limb movements. The results showed that temporal control of mallet movements was greater in the intermediate compared to the early learning session, with no significant additional improvements revealed in the late learning session. In addition, spatial variability in the left and right elbows decreased within the intermediate compared to the early learning session. The results suggest that temporal control of mallet movements may be driven by reductions in spatial variability of elbow movements specifically. As a result, this study provides novel evidence for kinematic mechanisms underlying motor learning in percussion which can be applied towards enhancing musical training.

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The music of Steve Reich has been widely written about. In this article I will focus on choreographies set to live performances of Drumming (1971). Drumming is perhaps Reich’s most important early work and a culmination of his various musical explorations and compositional techniques. I have selected three choreographers: Laura Dean, creator of the first choreography set to the music of Drumming (1972); Anne Teresa De Keersmaeker, a choreographer whose works such as Drumming (1998) share Reich’s underlying principle of structures as processes; and Ginette Laurin, whose La vie qui bat (1999) was a joint production between Montreal dance company O Vertigo and the Société de musique contemporaine du Québec (smcq). As this issue celebrates smcq’s 50th anniversary, this article will center on the making and performance practice of La vie qui bat. In preparing this article, the author interviewed Russell Hartenberger (Steve Reich and Musicians), Ginette Laurin, and Walter Boudreau (Artistic Director of the smcq).La musique de Steve Reich a été largement commentée. Dans cet article, je me concentrerai sur les mises en chorégraphie des performances en direct de Drumming (1971). Drumming constitue peut-être la première oeuvre la plus importante de Reich et l’aboutissement de ses diverses explorations musicales et techniques de composition. J’ai choisi trois chorégraphes : Laura Dean, créatrice de la première mise en chorégraphie de la musique de Drumming (1972) ; Anne Teresa De Keersmaeker, une chorégraphe dont les travaux tels que Drumming (1998) partagent avec Reich son principe sous-jacent des « structures comme processus » ; et Ginette Laurin, dont La vie qui bat (1999) était une production conjointe entre la compagnie de danse montréalaise O Vertigo et la Société de musique contemporaine du Québec (smcq). Ce numéro célébrant le 50e anniversaire de la smcq, cet article se concentrera sur la réalisation et l’interprétation de La vie qui bat. En préparant cet article, l’auteure s’est entretenue avec Russell Hartenberger (Steve Reich and Musicians), Ginette Laurin et Walter Boudreau (directeur artistique de la smcq)

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