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"Un Chien Dehors pour percussion solo" was written in 1985 by the French composer and percussionist Jean-Pierre Drouet (1935 ~ ). During the productive time in his career, he began to take a liking to jazz music in 1950 and started to employ improvisation techniques in his works. After he left school (1959) he acquainted Italian composer Luciano Berio, when he began to devote himself to the creation of modern music, experimenting with a variety of materials, such as the combination of Western musical instruments with percussion techniques and languages of Oriental tambourine, Iranian drum “Zarb”, and Indian tambourine “Tabla”. Drouet masters these percussion performance techniques and is proficient in their musical languages; therefore, by exploring "Un Chien Dehors pour percussion solo" in depth, the author, as a percussionist, aims to understand how the composer integrated percussion performance techniques and his own creative thinking process in order to achieve balance between performance and compositional techniques.
The author studies and analyzes "Un Chien Dehors pour percussion solo" by Jean-Pierre Drouet in the following approaches: first, detailed analysis of formal structure and compositional techniques are examined by inspecting the use of sound materials; second, the author, through this supporting document, compiles the characteristic compositional style and vocabulary of Drouet, who is very active in modern-day French music scene; third, through in-depth exploration of musical analysis and interpretation of performance, the author hopes to achieve greater ideas and knowledge, thus enhancing her experience of performance and interpretation on this work.
The document is divided into five chapters for research and analysis: the first chapter is introduction; the composer's life and the compilation and comparison of his works are described in chapter two; the formal analysis and materials used are summarized in depth in chapter three. Chapter four presents the musical interpretation and explores the use of vocals, some special performance skills, the function and role between vocal and instrumental music, and how to achieve balance between these sounds, etc., in order to enhance the perspectives of the author’s view on interpretation. Conclusion is presented in chapter five, where the author describes her own inspirations gained during the process of this research and her retrospection on which attitude one should adopt facing the music.
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