Kyle Maxwell-Doherty is a freelance percussionist sand serves as section percussion in the North Carolina Brass Band, the Patriot Brass Ensemble, and the Triangle Wind Ensemble. Dr. Maxwell-Doherty made his New York City debut performing the world premiere of Edo Frenkel’s There is nothing (but they) outside: 1. missa brevis at Spectrum. He performs regularly with the Radio City Rockettes Orchestra, the Grammy Award Winning cast of Hamilton: An American Musical, Atlas Percussion and Ensemble 520. He has performed at esteemed venues such as Madison Square Garden, Le Poisson Rouge, The Blue Note and at festivals such as the National Conference on Percussion Pedagogy (NCPP), the Society of Electro Acoustic Music In the United State (SEAMUS), the Bob McCormick Marimba Festival, the Percussive Arts Society’s International Convention (PASIC), the International Festival of Percussion at the Conservatorio de Musica in San Juan Puerto Rico, the Minnesota Day of Percussion (MNPAS), the Nebraska Day of Percussion (NEPAS), Omaha-Under The Radar, and the Oregon Fringe Festival at Southern Oregon University. In 2009 Dr. Maxwell-Doherty performed the North American Premier of Karlheinz Stockhausen’s Linker Augentanz at the North American Saxophone Alliance's convention (NASA). Dr. Maxwell-Doherty was on faculty at Hofstra University and Westchester Community College from 2015-2018.
In addition to performing, Dr. Maxwell-Doherty’s research highlights the unique parallels between music and dance. This research focuses on dance choreography notation as it can be applied to a unique subset of percussion compositions which involve the performer’s physical movements.
He is thankful for many of his teachers including Dr. Norman Weinberg, Dr. David Eyler, Bob Becker, Bernard Woma, Matthew Altmire, and Dr. Steven Makela.
In addition to performing, Dr. Maxwell-Doherty’s research highlights the unique parallels between music and dance. This research focuses on dance choreography notation as it can be applied to a unique subset of percussion compositions which involve the performer’s physical movements.
He is thankful for many of his teachers including Dr. Norman Weinberg, Dr. David Eyler, Bob Becker, Bernard Woma, Matthew Altmire, and Dr. Steven Makela.
