After the 20th century, the accompaniment of a percussion concerto is no longer an orchestra or wind ensemble. Instead, composers started to utilize varied types of percussions as accompaniment, which means a soloist should not only interpret flamboyant solos but also nicely lead the rest of the group. The “Lamento e Danza Barbara” by Nebojsa Jovan Zivkovic was written for a soloist and three percussionists, and it features continuously changing meters and diverse instruments. In this thesis, the rhythmic groove and melodic flow during inconsistent meters, the connection and interaction between the soloist and accompaniment, and discussion on the efficiency of different instrument placements and technical issues in performance are deeply researched and clearly analyzed.

This thesis consists of five chapters. Chapter one is an introduction of the methodology, purpose and objectives of the research. Chapter two describes the compositional style, biography, and major works of Nebojsa Jovan Zivkovic. Chapter three explores the background, structure, and motives of “Lamento e Danza Barbara.” Chapter four researches into the interpretation of “Lamento e Danza Barbara”, which includes two major sections: one is to discover the development of motives and the relationship between different parts through analysis of Nebojsa’s compositional technique and written information on score; the other is to seek the most reasonable and appropriate setting of each part for a comfortable and effortless performance. The final chapter is the conclusion and review of this thesis.