Relevant bibliographies by topics / Marimba

Academic literature on the topic 'Marimba'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 February 2023

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Journal articles on the topic "Marimba"

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Raush, John R., Ross Edwards, Jacob Druckman, Roger Reynolds, and Toshi Ichiyanagi. "Marimba Dances for Solo Marimba (1982)." Notes 49, no. 3 (March 1993): 1278. http://dx.doi.org/10.2307/899022.

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Pradana, Ridhlo Gusti, Agus Salim, and YC Budi Santoso. "Penerapan Teknik Empat Mallet Pada Lagu Tambourin Paraphrase Untuk Solo Marimba Karya Keiko Abe." PROMUSIKA 6, no. 2 (August 6, 2019): 90–101. http://dx.doi.org/10.24821/promusika.v6i2.2477.

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Teknik empat mallet sudah tidak asing lagi dalam dunia musik khususnya pada musik perkusi melodis ( definite ) seperti, marimba, vibraphone. Penjabaran dalam karya tulis ini adalah tentang penerapan teknik empat mallet pada lagu Tambourin Paraprase for Solo Marimba karya Keiko Abe.Penulisan tugas akhir ini bertujuan untuk memberikan informasi kepada masyarakat umum dan mahasiswa ISI Yogyakarta khususnya mengenai permainan marimba dengan menggunakan teknik empat mallet.Proses penerapan teknik empat mallet pada lagu Tambourin Paraprase for Solo Marimba menggunakan berbagai teknik seperti, tradisional roll, independen roll, shaft mallet, dead mallet dan termasuk dalam hal pemilihan mallet. Hal itu sangatlah penting karena justru dari teknik tersebut setiap karya musik khususnya marimba yang dimainkan hasilnya akan menjadi lebih baik dan lebih hidup. Four-mallet technique is no stranger to the world of music, especially the melodic percussion instruments (definite) such as, marimba, vibraphone. Elaboration in this paper is on the application of four-mallet technique on songs Tambourin Paraprase for Solo Marimba work Keiko Abe.This thesis aims to provide information to the general public and students of ISI in particular regarding the practicing marimba using four techniques mallet.Process application of techniques four mallet on track Tambourin Paraprase for Solo Marimba using various techniques such as traditional, roll, independent roll, shaft mallet, mallet dead and included in the selection mallet. It is important because precisely of these techniques every piece of music especially played marimba result will be better and more alive.KeywordsFour mallet technique; tambourine Paraphrase for Solo Marimba.
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Sturman, Janet. "¡Arriba Suena Marimba! Currulao Marimba Music from Colombia by Grupo Naidy." Ethnomusicology 51, no. 3 (October 1, 2007): 515–18. http://dx.doi.org/10.2307/20174554.

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May, Randall L. "MARIMBA SUSPENDED MICROPHONE SYSTEM." Journal of the Acoustical Society of America 132, no. 1 (2012): 573. http://dx.doi.org/10.1121/1.4734267.

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Larsen, Henrik Knarborg, Ole Adrian Heggli, and Bjørn Petersen. "Marimba, mallet and mind – enhancing the marimba sound by Ki-aikido approach." Journal of New Music Research 48, no. 5 (August 29, 2019): 469–78. http://dx.doi.org/10.1080/09298215.2019.1657465.

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Atkinson, Sean. "Tonality in Steve Reich's Nagoya Marimbas." Music Theory and Analysis (MTA) 6, no. 2 (October 30, 2019): 191–200. http://dx.doi.org/10.11116/mta.6.2.1.

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This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most of Reich's output might be considered diatonic, rarely do those collections move in tonal paradigms. But in Nagoya Marimbas the two melodic voices combine in various canonic patterns to create a background tonal progression in E minor. The two marimba parts are always heard in phase with one another, playing the same music but at constantly varying intervals of displacement. The result is a long introduction that establishes E minor as tonic, followed by music that features more rapid changes yet continues to reinforce E minor as a tonal center. The piece, though an outlier in Reich's harmonic language, represents an important example of late twentieth-century tonality.
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de Gandarias, Igor. "Maya Achi Marimba Music in Guatemala." Ethnomusicology 52, no. 2 (April 1, 2008): 324–26. http://dx.doi.org/10.2307/20174591.

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Herdianto*, Ferry. "Marimba Solis Performance with Repertoar the Variation on Theme (from the Malay's "Pucuk Pisang")." International Journal of Management and Humanities 5, no. 7 (March 30, 2021): 76–81. http://dx.doi.org/10.35940/ijmh.f1235.035721.

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Performing the art of music in the era of the industrial revolution 4.0 experienced many changes, these changes had a big impact on industry players in terms of music marketing and consumers to enjoy music. In the era of revolution 4.0, every individual is currently required to race against each other in filling life both in education and skills. To respond to the challenges in this 4.0 era, the writer has a desire to change himself, both in ways of thinking and in skills so that the author can be useful both for self-improvement and beneficial to many audiences. On this occasion, the presenter performed a modern repertoire using marimba instruments that had different levels of difficulty. It is a challenge for the presenter to master the techniques with the difficulties inherent in each repertoire. Marimba is a type of melodic percussion instrument that is rarely known by the public. In this marimba show, the presenter presents a musical repertoire, i.e The Variation On Theme (From the Malay's “Pucuk Pisang”) the show is presented in the form of a solo marimba and accompaniment. Repertoire The Variation On Theme (From the Malay's “Pucuk Pisang”) has a difficulty level. Here the presenter is required to master and practice all the difficulties contained in the repertoire, especially basic techniques.
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Suits, B. H. "Basic physics of xylophone and marimba bars." American Journal of Physics 69, no. 7 (July 2001): 743–50. http://dx.doi.org/10.1119/1.1359520.

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Hoffman, Guy, and Gil Weinberg. "Interactive improvisation with a robotic marimba player." Autonomous Robots 31, no. 2-3 (June 2, 2011): 133–53. http://dx.doi.org/10.1007/s10514-011-9237-0.

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Dissertations / Theses on the topic "Marimba"

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Sokolov, Oleg. "Marimba - vývoj a současnost." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156081.

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The focus of my disseraion is to proces s essential information about the marimba. Due to the fact that there is putrid informaion available about the marimba in the Czech language, I decided to undertake the task of filling in this void with my thesis. The contents of the paper include a succinct and clear history of the musical instrument, followed by main information regarding the top marimba manufacturers, and most notable modern day performers. The work is divided into three major chapters , which are further divided into subsections , together with footnotes and video attachments at the end of work.
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Smith, Sarah E. "The development of the marimba as a solo instrument and the evolution of the solo literature for the marimba." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1114442870.

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deLise, Louis Anthony. "Marimba Rossa for marimba and orchestra [front for score matter]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19916.

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Music Composition
Ph.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
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deLise, Louis Anthony. "Marimba Rossa [dissertation]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19912.

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Music Composition
Ph.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese
Temple University--Theses
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Àlamo, Santos Juan Manuel. "A Performance Guide and Theorical Study of Keiko Abe's Marimba d'Amore and Prism Rhapsody for Marimba and Orchestra." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9803/.

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Keiko Abe's contributions to the contemporary marimba repertoire have been a milestone in the development of the marimba as a solo concert instrument. Besides the creation of a new repertoire through commissions and her own compositions, Abe's contributions to the marimba include the improvement of the sound quality of the marimba and the establishment of the five octave instrument as the standard concert marimba. During the last four decades, Abe's compositions have been performed and studied worldwide and become standard literature for the marimba. Abe has written more than sixty compositions for marimba, including concertos, duets and solo pieces. The goal of this dissertation is to provide a comprehensive method for the performance and preparation of two major Keiko Abe's compositions, Marimba d'Amore composed by Abe in 1998 and Prism Rhapsody for Marimba and Orchestra composed in 1996. This dissertation will discuss theoretical as well as performance issues related to these two compositions. Each piece is discussed with regard to its distinctive compositional approach and inherent performances issues. In order to provide the reader an explanation of the compositional procedures used by Abe, specific directions for the performance and preparation of these two works are offered.
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deLise, Louis Anthony. "Marimba Rossa [score I]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.

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Abstract:
Music Composition
Ph.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
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deLise, Louis Anthony. "Marimba Rossa [score II]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19952.

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Abstract:
Music Composition
Ph.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
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deLise, Louis Anthony. "Marimba Rossa [score III]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19970.

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Abstract:
Music Composition
Ph.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
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Denney, Ryan James. "Performing Bach's "Chaconne" on marimba." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10167524.

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Johann Sebastian Bach’s Chaconne is a staple of violin repertoire. Many instrumentalists have adapted it and many arrangements now exist, ranging from simplistic to complex. This paper provides various insights on how to perform the Chaconne on marimba. Comparing different adaptations, as well as analyzing performances by excellent musicians, helps give direction to my own interpretation. The Chaconne is a challenging undertaking for any instrumentalist, but this paper will shed light on how to perform Bach’s great work successfully, on marimba.

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Bodine, Gerald Bradley. "Concerto for Marimba and Orchestra." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186388.

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Concerto for Marimba and Orchestra is a twenty-two minute work cast in a traditional three movement concerto form. The basic harmonic/melodic materials are hexads and complementary hexads built on intervallic projections as propounded in Howard Hanson's Harmonic Materials of Modern Music. The opening movement is in double exposition form with a cadenza before the recapitulation. Marimba techniques used in the opening movement include chromatic thirty-second notes, mirrored octaves and single hand alternate sticking patterns. The form of the second movement is a rondo song form: a- b- a (inversion)- b (inversion)- c- c (retrograde)- b (retrograde-inversion)- a. The marimba plays rolled chords throughout much of the movement. The form of the third movement is a fast sonata-rondo form: a - b - a - development - b - a - coda. The development section of this final movement develops materials from both of the preceding movements and thus creates a cyclic form for the work. Marimba techniques explored in the third movement include dead strokes, octave dead strokes alternating with rolled octaves and, thirty-second note hexad patterns in fast alternation with the orchestra. This movement also contains sections in which the xylophone plays in duet with the marimba. Some of the compositional techniques used in the Concerto for Marimba and Orchestra include rhythmic modulation, augmentation, diminution, ostinato, inversion, retrograde, mirroring, odd meters, fragmentation, parallel motion, contrary motion, African rhythmic structure, harmonization with complementary sets and register sweeps.
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Books on the topic "Marimba"

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Marimba. Buenos Aires, República Argentina: Editorial Nueva América, 1986.

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Marimba. New York: Tor, 1992.

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Hoyt, Richard. Marimba. New York: Tom Doherty Associates, 1993.

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Bigné, J. R. S. Marimba. Requena: Ediciones y distribuciones Requena, 1998.

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Marimba! Moskva: "AST", 2014.

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Marimba forever. Tooronto: Guernica Editions, 2010.

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Boccanera, Jorge A. Marimba: Antología poética. 3rd ed. Buenos Aires: Editorial 21, 1998.

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Marimba ya Majaliwa. Dar es Salaam: E & D Vision Publishing, 2008.

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Marimba: [antología personal]. Buenos Aires: Ediciones Colihue, 2006.

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Marimba: Antología poética. Caracas, Venezuela: Ministerio del Poder Popular para la Cultura, 2009.

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Book chapters on the topic "Marimba"

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Hoffman, Guy, and Gil Weinberg. "Interactive Improvisation with a Robotic Marimba Player." In Springer Tracts in Advanced Robotics, 233–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_14.

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Dahl, Sofia, and Anders Friberg. "Expressiveness of Musician’s Body Movements in Performances on Marimba." In Gesture-Based Communication in Human-Computer Interaction, 479–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-24598-8_44.

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Hernández, Noé, Kerstin Eder, Evgeni Magid, Jesús Savage, and David A. Rosenblueth. "Marimba: A Tool for Verifying Properties of Hidden Markov Models." In Automated Technology for Verification and Analysis, 201–6. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24953-7_14.

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Chong, Jet Kye, and Débora Corrêa. "Predicting Marimba Stickings Using Long Short-Term Memory Neural Networks." In AI 2022: Advances in Artificial Intelligence, 339–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-22695-3_24.

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Wild, Gerhard. "Bâ, Mariama." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2529-1.

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Gierczynski-Bocandé, Ute. "Ndoye, Mariama." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15698-1.

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Pfeifer, Anke. "Marin, Mariana." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16193-1.

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Scorah, Rebecca. "Pessl, Marisha." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12311-1.

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Koch, Regan. "Mariana Valverde." In Key Thinkers on Cities, 231–36. 1 Oliver’s Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2017. http://dx.doi.org/10.4135/9781473983243.n38.

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Schuerkens, Ulrike. "Bâ, Mariama." In Metzler Autorinnen Lexikon, 32–33. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_23.

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Conference papers on the topic "Marimba"

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Vega Rivera, Jorge Alberto, and Héctor Javier Tascón Hernández. "Oí Marimbí." In Encuentro de investigación formativa en Diseño – Semilleros y Grupos de investigación RAD 2022. Cali, Colombia: Red Académica de Diseño - RAD, 2022. http://dx.doi.org/10.53972/rad.eifd.2022.4.3.

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Los objetivos de salvaguardia del patrimonio inmaterial de las manifestaciones culturales como las músicas y cantos de la marimba de chonta invitan a los diferentes sectores sociales a aportar en su preservación y construcción colectiva. Este documento recoge la trayectoria de investigación creación del videojuego Oí Marimbí, el cual surge como una iniciativa para proponer un puente de contacto entre los cultores del ecosistema cultural del litoral Pacífico y las nuevas generaciones, a través del diseño de una experiencia lúdica en medios digitales. A partir del recorrido previo en el desarrollo de métodos didácticos para el aprendizaje de las músicas de marimbas, el grupo de investigadores y creativos se lanzan a la construcción de una experiencia de juego inspirados en los sonidos, ritmos, colores y personajes que habitan el territorio del Pacífico surcolombiano. El resultado es un juego que busca familiarizar al público infantil con el legado cultural de esta región del país, y ampliar sus escenarios de contacto; gracias al interés que actualmente despiertan los videojuegos y a su fácil acceso a través de los dispositivos electrónicos.
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Weinberg, Gil, and Scott Driscoll. "The design of a robotic marimba player." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279786.

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Schaefer, Mathew. "Beautiful Music in the Classroom: Marimba As a Lab Experiment for Teaching Vibration Measurement." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11038.

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Abstract A marimba bar makes a rich and vibrant sound when played by a skilled musician. When that same marimba bar is played by the typical mechanical engineering junior, it’s a different story. Then, that same marimba key provides a complex set of vibration modes that are a useful subject for a lab experiment in their Measurements & Instrumentation course. This paper will describe development of “The Marimba Experiment”, which is part of a junior-level engineering course in measurements at Milwaukee School of Engineering. Learning outcomes for this course include “provide students with hands-on experience: using various sensors, performing data collection, and interpretation of experimental results.” In this experiment, students measure vibrations using a piezoelectric accelerometer, charge amplifier and analog-to-digital conversion. Results can be viewed in two ways. First, it may be interpreted as a general example of a vibrating structural component. It has several natural frequencies and mode shapes (transverse bending, lateral bending, torsional), which are simultaneously active. The signal represents an example of a complex periodic signal. It may be analyzed by looking at the acceleration versus time response and by examining the Fourier transform of the data, which shows results in the frequency domain. Second, results may be interpreted in musical terms. The lowest frequency is what we recognize as “the note” and the higher modes represent the higher harmonics. The distribution of frequency ratios and the relative amplitudes of the higher frequencies are what gives a musical instrument its unique character. In other words, what makes middle-C on a marimba sound different than middle-C on a clarinet or violin? A well-designed engineering experiment can give students an immediate application example. In this case, it is an example which they spontaneously want to explore because they all enjoy music and want to understand how it is created.
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Schildgen, Johannes, Thomas Jorg, Manuel Hoffmann, and Stefan Dessloch. "Marimba: A Framework for Making MapReduce Jobs Incremental." In 2014 IEEE International Congress on Big Data (BigData Congress). IEEE, 2014. http://dx.doi.org/10.1109/bigdata.congress.2014.27.

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Peixoto, Guilherme De Almeida, Geraldo Ribeiro, Paulo Abreu Barros, Marco A. Meira, and Tiago Moreira Barbosa. "VASPS Prototype in Marimba Field -- Workover and Re-Start." In SPE Latin American and Caribbean Petroleum Engineering Conference. Society of Petroleum Engineers, 2005. http://dx.doi.org/10.2118/95039-ms.

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Li, Rong, and Lei Quan. "Marimba: A Tool for Verifying Properties of Hidden Markov Models." In 2015 International Conference on Advanced Engineering Materials and Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icaemt-15.2015.113.

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Miura, Masanobu, and Nozomiko Yasui. "Fluctuation strength on real sound: motorbike exhaust and marimba tremolo." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799863.

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Weinberg, Gil, and Scott Driscoll. "The Design of a Perceptual and Improvisational Robotic Marimba Player." In RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2007. http://dx.doi.org/10.1109/roman.2007.4415189.

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Ueda, Tomoyo. "Marimba Plays Early Music: An Approach Informed by Historical Performance Practice." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0006.

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Meira, M., K. T. P. Lima, V. M. Reis, and S. R. Malagutti. "Using 4D Sseismic to Monitor and Characterize Marimba Field, Campos Basin, Offshore Brazil." In 72nd EAGE Conference and Exhibition incorporating SPE EUROPEC 2010. European Association of Geoscientists & Engineers, 2010. http://dx.doi.org/10.3997/2214-4609.201400997.

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Reports on the topic "Marimba"

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J., Mayifilua, Mbula D., Muliele J., and Ombeni I. Le Paysage Maringa-Lopori-Wamba: Maringa–Lopori–Wamba Landscape. Center for International Forestry Research (CIFOR), 2012. http://dx.doi.org/10.17528/cifor/003930.

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Stubbs, T., and R. Heinle. MARIBO containment data report. Office of Scientific and Technical Information (OSTI), May 1995. http://dx.doi.org/10.2172/97045.

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J., Mayifilua, Mbula D., Muliele J., and Ombeni I. Maringa–Lopori–Wamba Landscape. Center for International Forestry Research (CIFOR), 2012. http://dx.doi.org/10.17528/cifor/003931.

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Luciano, Bernadette. An Interview with Marina Spada. Purdue University Press, February 2013. http://dx.doi.org/10.5703/1288284315032.

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von Speyr, Adrienne. Maria e i profeti. Saint John Publications, 2022. http://dx.doi.org/10.56154/uz.

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von Speyr, Adrienne. Maria und die Propheten. Saint John Publications, 2023. http://dx.doi.org/10.56154/qj.

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Baring-Gould, I., R. Hunsberger, C. Visser, and P. Voss. Commonwealth of Northern Mariana Islands Initial Technical Assessment. Office of Scientific and Technical Information (OSTI), July 2011. http://dx.doi.org/10.2172/1018874.

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Moore, Lilly. Rainer Maria Rilkes Musik der Kräfte (Rainer Maria Rilke's Music of the Forces). Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2267.

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Conrad, M. D., and J. E. Ness. Commonwealth of the Northern Mariana Islands Strategic Energy Plan. Office of Scientific and Technical Information (OSTI), July 2013. http://dx.doi.org/10.2172/1089053.

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Conrad, M. D., and J. E. Ness. Commonwealth of the Northern Mariana Islands Energy Action Plan. Office of Scientific and Technical Information (OSTI), July 2013. http://dx.doi.org/10.2172/1089597.

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You might also be interested in the extended bibliographies on the topic 'Marimba' for particular source types:
Journal articles Dissertations / Theses Books
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