This thesis critically analyses a personal approach to the drum kit, from its sonic properties, the evolving language that emerged from studio and performance practice, and its application to a dynamic drumming driven by sound phrases and gestures. The research process is investigated from three perspectives: the study of the evolution of drumming and sound practices; the exploration and observation of the ‘écriture corporelle’ process through a precise analysis of the results in terms of musical and performance achievements; the careful examination of the integration of evolving gestures within a practice whose goal is the consolidation of a new improvised drumming vocabulary. The study of several studio sessions and live performances includes a detailed analysis of sound qualities and their context of emergence. It proposes a framework for an evolving approach to the drum kit, aiming at the emergence of a new drumming vocabulary. The thesis offers a creative approach to drumming through an engagement with sonic structures and developmental processes. It proposes a detailed examination of the move from a drumkit-playing mode originating from ‘rudiments’ and traditional rhythms towards sound-oriented drumming. The result is a new drumming style made up of sound phrases and using an expanding sonic palette.