Dissertations / Theses on the topic 'Marimba'
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1
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 CompositionPh.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 CompositionPh.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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Music CompositionPh.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
7
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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Music CompositionPh.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.
Full textAbstract:
Music CompositionPh.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
9
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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Brenner, Helmut. "Marimbas in Lateinamerika historische Fakten und Status quo der Marimbatraditionen in Mexiko, Guatemala, Belize, Honduras, El Salvador, Nicaragua, Costa Rica, Kolumbien, Ecuador und Brasilien /." Hildesheim ; New York : Olms, 2007. http://catalog.hathitrust.org/api/volumes/oclc/124038198.html.
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Zator, Brian Edward. "A comparative analysis of Minoru Miki's Time for marimba and Concerto for marimba and orchestra." Thesis, connect to online resource. Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus, 2008. http://digital.library.unt.edu/permalink/meta-dc-9716.
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Àlamo, Santos Juan Manuel. "A performance guide and theoretical study of Keiko Abe's Marimba d'amore and Prism rhapsody for marimba and orchestra." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9803.
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Suen, Ming-Jen. "An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68050/.
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Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.
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Silveira, Ricardo Jorge Castro Tavares Moreira da. "Keiko Abe e a Marimba Solista." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/18246.
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A percussionista japonesa Keiko Abe desempenhou um papel fundamental no desenvolvimento da marimba tal como a conhecemos hoje. A sua influência foi de tal maneira importante que podemos falar, claramente, de um pré- e de um pós- Keiko Abe. Para isso foi determinante a sua actividade em todas as áreas relativas ao instrumento, nomeadamente a criação de um reportório escrito especificamente para a marimba, a evolução e consolidação do instrumento físico enquanto veículo de transmissão musical e expressiva e, por fim, o desenvolvimento do recital de marimba solista. O objectivo último de todos estes processos foi o de permitir à marimba tornar-se num instrumento de concerto, ao nível de outros já instituídos na tradição musical europeia; ABSTRACT: Japanese percussionist Keiko Abe played a fundamental role in the development of the marimba as we know it today. This musician´s influence had such a degree of importance that we can clearly divide the history of the instrument in two parts: one before, and another after Keiko Abe. Abe´s activities in all areas concerning the instrument were crucial for this outcome. We speak, mainly, of the following: the creation of a body of repertoire written specifically for the marimba; the evolution and consolidation of physical aspects of the instrument in order to allow it to become a suitable vehicle of musical expression; and, last but not least, the development of the solo marimba recital. The goal of all these processes was to transform the marimba into a concert instrument, and one at the same level of other already established instruments in the concert world. NOTA: Esta tese tem um recital que não é possível colocar no repositório, deve consultar o documento presencialmente na biblioteca.
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Teixeira, Mário Jorge Peixoto. "A interpretação da música japonesa para marimba." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/10717.
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Mestrado em PercussãoActualmente a música japonesa tem uma importância no mundo inteiro, que não se pode ignorar, especialmente quando se trata de repertório para Marimba. Tendo como objectivo a realização do recital de música japonesa para Marimba com uma interpretação o mais autêntica quanto possível, a pesquisa realizada resultou no estabelecer de bases de conhecimento que podem guiar o intérprete ocidental na prossecução deste propósito. Para que se possa compreender o presente é necessário que conheçamos o passado, assim, numa primeira parte será dada uma breve perspectiva histórica do Japão, com o objectivo de facilitar a compreensão da forma como os japoneses chegam ao Séc. XX em termos estéticos. Numa segunda parte o conceito de “MA” e a noção de Beleza dos japoneses são aqui também caracterizados. Estes influenciam, sem dúvida alguma, a interpretação, pelo que, o conhecimento destas formas de pensamento, é essencial para uma abordagem desta música. A técnica, os instrumentos, as salas de estudo usadas serão também factores de influência numa possível caracterização da música japonesa? Será marcante o papel das artes marciais na execução musical? Qual a contribuição da doutrina Zen para o pensamento e artes japonesas? São estas algumas das pistas e interrogações sobre as quais se tentará, ao longo deste trabalho, conseguir uma maior elucidação. Por fim, será mostrado no recital de música japonesa para Marimba como os conceitos aqui estudados são aplicados na prática.
Nowadays, Japanese music has become such an important part of contemporary music that we can not ignore it, especially when we are talking about Marimba repertoire. Having as a main goal a true and authentic performance of japanese music for Marimba, the present work proposes to establish a good basis of knowledge to guide western musicians. This work is divided into two main parts: historical and interpretative. In order to be able to understand the present we must know the past. In the first part, an overview of Japanese history will be presented with the objective of understanding how the Japanese progressed to the twentieth century aesthetically speaking. In the second part, the Japanese concepts of “Ma” and of “Beauty” will also be explained, because without a doubt they influence musical interpretation. As such, knowledge of these concepts and philosophy is fundamental to the correct performance of this music. Such questions and considerations will also be addressed as: “Are the techniques, the instruments, and the practice rooms that the Japanese use fundamental to the characterisation of their way of performing?” “Are the martial arts related to musical performance and if so, how?” “How does the doctrine of Zen contribute to the interpretation of Japanese art music?” Finally, a recital of contemporary Japanese works for Marimba will demonstrate the practical application of the proposed thesis.
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Davis, Adam Benjamin. "The Art of Marimba Articulation: A Guide for Composers, Conductors, and Performers on the Expressive Capabilities of the Marimba." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248483/.
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Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the ability of percussionists to change the attack of a sound with different implements is virtually limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments. Still, percussion articulation is often a topic of little concern to many musicians. The problem is not that this issue has been completely ignored, but rather that a vast number of contradictory and conflicting viewpoints still permeate pedagogical methods and literature. This is most certainly the case with the marimba, where a review of method books reveals a multitude of confusing statements about marimba articulation. It is clear that there is still widespread confusion about marimba articulation from composers, conductors, and most importantly percussionists themselves. This study attempts to advance percussion pedagogy in this area through a better understanding of the terminology of musical articulation, the acoustical principles of the marimba, and the techniques that affect sound production on this instrument. After a review of these three areas, this study examines 166 recordings, which look at the actual effect of specific techniques carried out on the marimba. Finally, the project offers a set of recommendations for composers, conductors, and percussionists on all aspects of marimba articulation, in the goal of increasing marimbists' potential for greater musical expression.
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Sammons, Mike. "A Performance Guide to Áskell Másson's Marimba Concerto." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194541.
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The purpose of this document is to assist in both the performer’s preparation and performance of Áskell Másson’s Marimba Concerto for orchestra through an understanding of the thematic material, which the work is founded. This author believes that an understanding of the formal structure and thematic development of the concerto is essential to realizing a musical performance. Background information on Áskell Másson, including a brief biography and discussion of compositional style and output, are provided to further enhance the understanding and performance of the concerto. Also included is a compilation of interviews with the composer, offering insight into Másson’s past, current and future accounts, which is meaningful to the composition and performance of the work itself. Performance suggestions are provided by the author as a medium of interpretation and are related to the thematic structure of the work. As part of this document and for purposes of the accompanying recital, the author has generated a piano reduction of the orchestral score with collaboration from the composer. The piano reduction will also enhance the possibilities of future performances, making it increasingly accessible. The piano reduction of the Marimba Concerto will be published through Editions Bim, also the publisher for the concerto. It is the author’s belief that this document will provide a basis of study for future performers of Áskell Másson’s Marimba Concerto.
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Hall, David Porter. "Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283817/.
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This dissertation and accompanying lecture recital explore the unique textural features in the works of Steven Mackey as exhibited in See Ya Thursday (1993).A rigorous formal, harmonic, and motivic analysis will highlight the compositional characteristics of textural structure and aural perspective that exist in the work. Illumination of these compositional elements can help to identify and minimize the technical complexities that exist within this piece for the performer. In addition, this document provides brief biographical information on Steven Mackey and his works, and on See Ya Thursday as it relates to other pieces in the advanced marimba literature. Finally, it is the aim of the author to add a resource to the relatively limited amount of research on Steven Mackey with this analysis of See Ya Thursday.
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Bissell, Paul. "The alabados song." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035941.
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Sulpicio, Eliana Cecília Maggioni Guglielmetti. "O desenvolvimento da técnica de quatro baquetas para marimba: dos primórdios às primeiras composições brasileiras." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-16032012-143314/.
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Com o intuito de responder a diversas indagações, esta tese objetiva traçar em um plano cronológico os caminhos percorridos pela marimba desde os primórdios na história até as primeiras composições brasileiras na década de setenta. Apresentamos para isso um panorama deste processo, procurando elucidar aspectos do desenvolvimento da técnica de quatro baquetas em obras solistas ou em grupo de câmara, bem como os desdobramentos da escrita para o instrumento. Ao Divertimento para Marimba e Orquestra de Cordas de Radamés Gnattali, por se tratar do primeiro concerto brasileiro para marimba, são aplicados procedimentos quanto ao uso desta técnica.This thesis aims to answer chronologically many questions regarding the marimba history, since its origins through the first Brazilian compositions during the 70´s. This process is presented to clarify aspects of the development of four mallets marimba technique in pieces for chamber music or soloist as well as to analyze its writing. Considerations regarding this technique are applied to the Divertimento for Marimba and String Orchestra, the first Brazilian concert for marimba.
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Nop, Patrik. "Inovace barvy marimby pomocí nových kamenů, rezonátorů a přidáním virtuálních rejstříků." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2019. http://www.nusl.cz/ntk/nusl-400856.
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This diploma thesis focuses on suitable innovation of musical instrument marimba. The chosen problem has been verified by three optoins: new bars, new resonators, virtual registers. The work provides an analysis of the whole issue with verification of some samples and their inclusion or exclusion for further use in the research.
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Varner, Michael L. "An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2262/.
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Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.
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Porter, Joe. "A new six-mallet marimba technique and its pedagogical approach." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Music, c2013, 2013. http://hdl.handle.net/10133/3364.
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This thesis presents a six-mallet technique developed by the author along with a pedagogical guide teaching that technique. Included in the thesis are the following components: 1) a DVD which demonstrates how to learn the technique, with performances of significant compositions for six mallets; and 2) a pedagogical survey of recommended works written for six mallets on a scale from relatively simple to highly complex, giving students a repertoire of pieces from which they can develop six-mallet marimba technique.viii, 80 leaves : col. ill. ; 29 cm
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Maltese, Casey N. "A Performance Guide of Selected Works for Horn and Mallet Percussion." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/527.
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Since its early development in the 16th century, chamber music has had an extensive evolution. In recent years as composers have become more experimental concerning instrumentation in chamber music settings, many have began to combine wind instruments with percussion, thus creating a new genre. Even more specific genres have evolved from these happenings in chamber music, such as the duo of a solo wind instrument paired with a mallet percussion instrument. The horn, an important and diverse figure amongst the chamber music literature, has been no exception to this development. There has been an increase in popularity of music for horn and mallet percussion to be performed and recorded, but there has not been an extensive amount of scholarship on the topic. This study will focus exclusively on three works for horn and mallet percussion: HornVibes (1984) by Verne Reynolds, Sonata for Horn and Marimba (1986) by Charles Taylor, and The Call of Boromir (1996) by Daniel McCarthy. These works were selected based on their availability through professional recordings and publishing companies. Coincidentally, the three chosen works for this study were composed for Leslie and Christopher Norton. The purpose of this paper is to provide a performance guide for horn players who are considering these three works for a performance. It contains an introduction that displays the need for the study, a review of the role of the horn in chamber music, an explanation of the events leading up to the study, and methods used to conduct the study. For each individual work, there is a chapter containing a brief biography of the composer, an analysis, and performance preparation suggestions. Musical examples and tables are used in each chapter to aid in explanation. The goal of this performance guide is to provide an introduction to a newer genre of chamber music, and to provide horn players with insight and recommendations in order to properly prepare and perform works for this unique ensemble.
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Waldrop, Michael Van. "Alec Wilder's Music for Marimba :a Performance Guide, a Lecture Recital, Together With Three Recitals of Selected Works of G. Stout, N. Zivkovic, D. Erb, W. Kraft, K. Abe, W. Penn and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038789/.
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The intent of this dissertation is to provide a reference guide for any prospective performer of Alec Wilder's four works for marimba: Suite for Solo Guitar (1976), Suite for Trumpet and Marimba (1977), Suite for Flute and Marimba (1977), and Sextet for Marimba and Wind Quintet (1977). The first part of the dissertation provides background information pertaining to Wilder himself, the works for marimba, and theoretical aspects of Wilder's music. The second part addresses specific performance problems contained in the music. The dissertation culminates with the presentation of a performance edition of the marimba part of the previously unedited Sextet.
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Vieira, Fernanda Vanessa. "Transcrição para marimba e estudo interpretativo de dois tangos brasileiros de Ernesto Nazareth = Transcript for marimba and interpretive study of two tangos brazilian of Ernesto Nazareth." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284382.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T05:48:03Z (GMT). No. of bitstreams: 1 Vieira_FernandaVanessa_M.pdf: 1850340 bytes, checksum: 45916d23e482276ef0ac554ed52f2ae3 (MD5) Previous issue date: 2012
Resumo: A presente dissertação tem como principais objetivos: 1. descrever e discorrer sobre a transcrição de tangos brasileiros para marimba; e 2. realizar um estudo interpretativo sobre os mesmos. Para isto foram utilizadas as músicas Rayon d'Or (1892) e Garoto (1916), oriundas de diferentes épocas dentro da cronologia composicional de Ernesto Nazareth. O processo de transcrição e adaptação dessas duas obras é contextualizado com um breve histórico do desenvolvimento e da popularização da marimba, bem como se discute a importância do uso de transcrições nos primórdios da formação de seu repertório. Aliado à transcrição dos tangos se inclui um estudo interpretativo que aborda tanto a resolução de dificuldades técnicas como decisões interpretativas acerca de aspectos como o controle timbrístico, fraseado, escolha de baquetas, entre outros
Abstract: This work has as main goals: 1. describe and discuss transcriptions of traditional Brazilian Tangos for marimba; 2. to make an interpretative study on these pieces. It utilized two pieces, composed in different compositional periods of Ernesto Nazareth: Rayon D'or (1892) and Garoto (1916). The process of transcription and adaptation is contextualized with a brief history of the development and popularization of the marimba, and overview of the importance of the use of transcriptions in the early formation of its own repertoire. In addition to the transcriptions of these tangos is included an interpretive study which deals with both the resolution of technical difficulties and the interpretative decisions about aspects such as control of the timbre, phrasing, choice of sticking, among others
Mestrado
Praticas Interpretativas
Mestre em Música
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Drude, Matthias. "Musik für Holzinstrumente (2010)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61532.
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Ensemblestück für Oboe, Klarinette, Fagott, Marimba, 2 Violinen, Viola, Violoncello und Kontrabass. Das in freier Tonalität gehaltene Werk orientiert sich an der Sonatensatzform. Aufführungsdauer: 8\'20\".
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Landqvist, Simon. "Att arrangera pianomusik för marimba : Claude Debussy, Reflets dans l'eau." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3467.
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Wilkes, Christina Faye 1967. "A performer's guide to the marimba music of Daniel McCarthy." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290664.
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This document examines the marimba music of Dr. Daniel W. McCarthy. The focus is on his compositional techniques, his musical style, and his innovative textural and technical uses of the marimba as represented in the compositions: Rimbasly (1990), Concerto for Marimba, Percussion and Synthesizers (1992), Chamber Symphony for Marimba and Winds (1993), and Song of Middle Earth (1995). This discussion is directed toward the advanced marimba performer. Chapters one and two present a biography and a discussion of McCarthy's compositional style and technique--with focus on his compositional use of four-mallet marimba techniques. Chapter three presents his marimba compositions in chronological order and discusses performance requirements and style characteristics of each work.
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Bengtsson, Henrik. "”Hur 17 ska jag öva?” : En studie om olika tillvägagångssätt för övning för slagverkare." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37021.
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Syftet med studien är att utforska hur några utvalda tillvägagångssätt för lärande, förmedlade av ledande slagverkare och slagverkslärare, används av och fungerar för en lärarstudents instudering av ett musikverk. Dessa tre tillvägagångssätt användes för att studera in Concerto for marimba and strings av Emanuel Sejourné. Ljudinspelningar och loggbok låg till grund för analysen om vad som fungerade bra för mig i min egen övning och hur jag upplevde de olika metoderna under pågående övning. I resultatet framkommer att framförallt trivselfaktorn är en bidragande orsak till ett lyckat övande. Andra viktiga faktorer som redovisas är vikten av att ha kontroll på musiken innan jag som musikutövare börjar öva samt vikten av att öva som en konsert i förebyggande syfte. Avslutningsvis diskuteras arbetets resultat i relation till den presenterade litteraturen och tidigare forskningen inom området.The aim of this study is to explore how some selected approaches of learning, mediated by leading percussionist and percussion teachers, is used by and works for one students rehearsal of a musical work. These three approaches were used when practicing the Concerto for Marimba and Strings of Emanuel Sejourné. Audio recordings and log book was the basis for the analysis of what worked well for me in my own practice and how I experienced the different methods during exercise. The result shows that above all enjoyment factor is a contributor to a successful practicing. Other important factors reported are the importance of knowledge and the music before you start to practice and the importance of preventively practicing as a real concert. At the end, the results of the study is discussed in relation to the presented literature and previous research in the subject.
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Lyons, Gregory A. "Daniel Levitan: An Examination of his Compositional Approach with an Analysis of Marimba Four Hands." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299681039.
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Armstrong, Joshua Kyle. "Marimba Duo Transcriptions: Expanding the Western Art Music Tradition for Percussionists." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306927.
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The transcription was an integral part of the marimba repertoire for many years. However, the range and technical advancements of the time limited the transcription process. Often the marimba part would consist of the melody while a piano would be utilized to fill in the accompaniment and notes not able to be performed by the marimbist. The marimba and piano share many similarities that allow for successful transcriptions between the two instruments. This document focuses on the transcription of eighteenth- and nineteenth-century keyboard music for the marimba duo setting. It is the opinion of the author that better transcriptions can be attained through the utilization of the modern range of the marimba, techniques used in marimba performance, and two marimbas. By omitting the traditional piano accompaniment, transcriptions can be better executed through the use of one timbre, as is used in the original keyboard work. Presented in this document are six arrangements realized by the author that demonstrate the possibilities for transcriptions in today's percussive world.
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Klco, Natalie. "Mental Notes: Exploring the Capacity of the Mind to Enhance Marimba Performance." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429800820.
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Nota, Charles. "Introducing marimba music as part of the school curriculum in Zimbabwe." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65458.
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This thesis is the documentation of an investigation to explore the applicability and use of indigenous African instruments in the development of primary school music curriculum for Zimbabwe. Although music is regarded as one of the compulsory subjects of the Zimbabwean primary school curriculum, it is noted with concern that western musical arts ideas are prominent in the school syllabus hence, they underline the whole essence of music teaching in the post-independence Zimbabwean education system. This is done at the expense of indigenous African musical arts practices that learners can easily identify with in their respective local communities. The purpose of my study therefore, is to determine critical elements of a curriculum development framework for facilitating the inclusion of indigenous African instrumental performance practices as substantive music resource stuff in the westernised Zimbabwean primary school music curriculum provisions. Zimbabwe has a variety of indigenous African instruments that include mbira, mazambi, magagada, chipendani and chigufe. For the purpose of carrying out this research, three indigenous African instruments are identified as instruments of focus. These are marimba (African xylophone), ngoma (African drum) and hosho (African percussion shakers). Thus, the term indigenous African instruments is consistently used collectively to mean the identified instruments. The study also samples songs from a selected Ndau cultural arts functions such as zvipunha and zvimworoni that could be utilised as education activities for classroom music teaching and learning initiatives in Zimbabwe. The idea of including culture-inclined resource materials for music teaching in the westernised post-independence Zimbabwean primary school music education initiatives implies curriculum change and innovation. Thus, curriculum change in Zimbabwe could be viewed as a reputable way to fulfil complete socio-cultural, educational and political sovereignty towards diluting the impact of colonial repression and neo-colonialism in Zimbabwe. It is notable, however that, colonial repression in Africa has caused and is still causing a permanent dislocation between indigenous black Africans and their cultural arts practices and heritages. My study doesn’t aim to achieve piece-meal changes in the primary school curriculum. Neither does it aim to suggest a complete overhaul of the current westernised primary school music curriculum. With this study, I aim to achieve a reasonable inclusivity and fusion of divergent cultural arts opinions towards musical hybridism in the Zimbabwean musical arts education milieu. This, I believe, shall help to establish an alliance of traditional African and western arts elements to attract both domestic and international appreciation of contemporary musical arts education initiatives in the post-independence Zimbabwean society. Relevant information has been gathered through documentary analysis, interviews, participant observation and focussed discussions. The findings reveal that the majority of primary school teachers and learners need considerable cultural arts rehabilitation because colonial repression had conditioned their perceptions to see no sensible value in indigenous African instrumental performance practices as part of the school education curriculum. The study also reveals that even the training of primary school music educators in Zimbabwe is grossly inadequate. Hence, the majority of these primary school teachers are pedagogically restricted to facilitate the teaching of skills-based subjects like music at any level of the Zimbabwean education system. Therefore, it is sensible to conclude that generalist primary school teachers are unreliable education practitioners who need further education and training in order to acquire relevant competences to teach music effectively in schools. Finally, lack of human and physical resources such as music instruments and textbooks has also been viewed as another impediment factor crippling teacher performance in the teaching of music in the majority of primary schools in Zimbabwe.Thesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
Unrestricted
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Cirino, Giovanni. "Uma etnografia da devoção a São Benedito no litoral norte de São Paulo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-14032013-121106/.
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O trabalho aborda a Festa de São Benedito realizada no município de Ilhabela (litoral norte de São Paulo). A partir da atuação em roteiro e pesquisa no documentário Sobre a Congada de Ilhabela (Eduardo Kishimoto, TV-USP, 2004 2010) a presente etnografia busca dar conta dos vestígios históricos que se encontram no entrecho procurando iluminar as relações que se apresentam imbricadas na Festa. Esta abordagem move-se em frentes que procuram dar conta, de um lado, dos eventos supostamente ocorridos referenciados na Congada, e de outro lado, das reverberações em conflitos e tensões vividos em Ilhabela atualmente. Toma-se a Congada enquanto uma convenção, um resultado de diversas indexações produzidas pela prática seus agentes ao longo dos últimos trezentos anos. A Congada representa os conflitos entre mouros e cristãos. A encenação fala de guerra enquanto o contexto no qual se encena apresenta-se em forma de festa. Existe, portanto, uma complementaridade entre o contexto representado e o contexto no qual se representa.This paper addresses the St. Benedicts Feast yearly held in the municipality of Ilhabela (north coast of São Paulo). From the screenplay and research activities in the documentary Sobre a Congada de Ilhabela (About Ilhabelas Congada) (Eduardo Kishimoto, TV-USP, 2004 2010) this ethnography investigates some historical remains found in the plot looking to illuminate the intertwined relationships that are present in the St. Benedicts Feast. This approach moves in fronts to try to make sense on the one hand, the events allegedly occurred and referenced in the Congada, and on the other hand, the reverberations of conflicts and tensions experienced in Ilhabela today. We take the Congada as a convention, a result of several indexing agents produced by the practice over the last three hundred years. The Congada represents the conflict between Moors and Christians. The staging speaks of war while the context in which it comes is presented as party. Therefore, there is a complementarity between the impersonated context and the context in which it represents.
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Seymour, John. "Syncretisms for wind quintet and percussion, a study in combining organizational principles from Southeast Asia with western stylistic elements /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6055.
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Thesis (M.M.)--University of North Texas, 2008.For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).
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McLean, Kendra Rachelle. "Improving Note Accuracy and Tone Consistency on Marimba Through the Practice of Four-Mallet Chorales." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/560812.
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Chorale settings for marimba can be used in conjunction with traditional pedagogical exercises to improve mallet placement precision by increasing a marimbist's kinesthetic awareness and knowledge of interval spacing and the marimba keyboard layout. These improvements will lead to greater note accuracy and consistency of tone. Chorales are an excellent tool for improving marimba performance because of their combination of repetitive vertical movement and slow horizontal movement, which gives the marimbist time to isolate and improve specific areas of technique, including mallet placement. Mallet placement precision on marimba includes striking the correct bars for note accuracy and striking a precise chosen location on each bar for tone consistency. This document includes a guide for improving mallet placement through the focused practice of chorale excerpts from seven original compositions for marimba. Appendix A of this document lists chorales recommended for use as practicing material to improve marimba technique. This document is intended to assist intermediate and advanced marimbists in gaining a greater kinesthetic knowledge of interval spacing and the marimba keyboard layout through the practice of four-mallet chorales. The purpose of refining these areas of technique is to develop consistency in accurate, autonomic mallet placement, freeing the marimbist to focus on other elements of performance, including musical interpretation and expression.
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Latta, Jonathan Ryan. "Analysis and Informative Interviews to Aid in the Performance Practice of the Concerto for Marimba and String Orchestra by Eric Ewazen." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193767.
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ANALYSIS AND INFORMATIVE INTERVIEWS TO AID IN THE PERFORMANCE PRACTICE OF THE CONCERTO FOR MARIMBA AND STRING ORCHESTRA BY ERIC EWAZENThe research found in this document will assist in a performer's preparation of Dr. Eric Ewazen's Concerto for Marimba and String Orchestra. In order to give an informed performance of the work, it is this author's belief that an understanding of the collaboration between the composer and the premiering artist, Ms. She-e Wu, as well as the impact Ms. Wu's artistry had on Dr. Ewazen is paramount. Also, knowledge of Dr. Ewazen's compositional style, reference to his other works for percussion, and an understanding of the structure of the work will assist future performers in demonstrating a well-versed and rewarding performance of the piece. This study presents insightful interviews from both the composer and the premiering artist. These interviews offer a wealth of understanding into the composition and performance of the work. The performance practice suggestions offer tools to interpret and prepare the piece. Though the Concerto may be a challenge for many marimbists, this author hopes that future performers find the rewards in this well-constructed and exciting work after reading this document.
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Bastian, Darren Bruce. "Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194020.
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Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach's unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments' polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach's unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars' approach is then assimilated into an authentic marimba performance edition of these works.
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Molina, Oliver Neil. "The percussion music of Marc Mellits: 1994-2016." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6808.
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Ribeiro, Hugo Alexandre Melo. "A importância da técnica de quatro baquetas para marimba na construção de uma identidade musical." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31194.
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Este relatório foi elaborado no âmbito da disciplina da Prática de Ensino Supervisionada, realizada no Orfeão de Leiria Conservatório de Artes, sob orientação do Professor Doutor Eduardo Lopes. Está dividido em duas secções, na primeira é apresentado o relatório de estágio, expondo a caracterização da escola e meio envolvente, as observações realizadas em contexto de sala de aula, as aulas lecionadas e as atividades em que participei. Apresento uma reflexão crítica final sobre o estágio e sobre a minha prática pedagógica. Na segunda secção, é feito o enquadramento teórico do Projeto de Investigação, onde apresento o contexto histórico e a evolução dos idiofones de percussão, nomeadamente da marimba e do xilofone, identifico as técnicas de duas e quatro baquetas, apresento a noção de identidade musical desenvolvida por Firth (1996) e, por fim, relaciono as técnicas de quatro baquetas com a construção da identidade musical no ensino da música; The importance of the four mallet technique for marimba in the construction of a musical identity ABSTRACT: This report was prepared within the scope of the discipline of Supervised Teaching Practice, held at the Orfeão de Leiria Conservatório de Artes, under the supervision of Professor Eduardo Lopes PHD. It is divided into two sections, the first one presents the internship report, exposing the characterization of the school and its surroundings, the observations made in the context of the classroom, the classes taught and the activities in which I participated. I present a final critical reflection on the internship and on my pedagogical practice. In the second section, the theoretical framework of the Research Project is made, where I present the historical context and the evolution of the percussion idiophones, namely the marimba and the xylophone, identifying the techniques of two and four mallets, i present the notion of musical identity developed by Firth (1996) and, finally, relate the four mallets’ techniques to the construction of musical identity in music education.
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Smith, Doug A. "A Guide to Composing Works for Voice and Marimba Intended for a Single Performer." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202705.
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This research identifies successful compositional techniques for voice and marimba, intended for a single performer, through comparison of commissioned works composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and Roger Foreman. The comparison highlights musical and technical aspects most effective when writing for this genre. My first personal experience combining marimba and voice occurred in January, 2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990, involves an ancient Serbian text chanted over a drone following an improvised introduction on the marimba. The performance’s positive reception inspired further exploration of this instrument combination. At the time of the performance, additional pieces for solo voice and marimba intended for a single performer were not available. Rather than focusing on transcription possibilities, I commissioned Four Songs by Beth Caucci. The premiere of Four Songs (October, 2003) resulted in another positive reception and led to inspiration for further commissions and development of this new genre. During the commissioning process, it became clear that a practical guide, concerning the possibilities and limitations of singing while playing the marimba, would aid composers in the creation of effective and playable works. Composers asked questions regarding technical aspects such as the maximum arm-span range possible, the difficulty of shifting the body angle to reach chords in various sharp and flat arrangements, and the feasibility of performing rapid passages on the marimba while sustaining a vocal line. This document offers an examination of these and other compositional considerations. The guide may also be used as a commissioning resource for other marimba and voice performers, as well as an aid in addressing technical demands of singing while playing the marimba. Recently, a few other percussionists have been working in the genre as well, including works performed, commissioned, or written by Brian Calhoon, Louise Devenish, Michael Neumeyer, and Dr. Lee Hinkle. The work of these musicians, in addition to my own commissions, is an illustration of how the genre has progressed during the last eight years and indicates the possibility of continued growth.
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Best, Helene. "Group music therapy utilising marimba playing for children with low self-esteem." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/43760.
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Qualitative research was conducted to explore if, and how, music therapy utilising group marimba playing can facilitate increased self-esteem for children in a small independent school in the Western Cape. The case study involved ten weekly group music therapy sessions as well as a performance session. African marimbas were used in conjunction with other methods of active music making in the group sessions. Excerpts of video recordings were analysed and the Behavioural Indicators of Self-esteem (BIOS) rating scale was completed for each child pre- and post-intervention in order to examine whether music therapy sessions facilitated changes in children’s self-esteem that transferred to the classroom situation. The findings from the qualitative analysis of video excerpts indicate that group music therapy intervention utilising marimba playing appeared to facilitate the development of self-esteem. Experiences were provided to increase the participants’ sense of worthiness and competence. Results of the BIOS scale could not be statistically analysed due to the small sample size, but the data suggests that the music therapy intervention had an impact that carried over to the classroom situation on participants who were assessed to have lower self-esteem before the intervention (compared to others in the sample) as observed in their classroom behaviour.Dissertation (MMus)--University of Pretoria, 2015.
Music
MMus
Unrestricted
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Robinson, Corey 1990. "Depiction through Evocation, Representation, and Introspection: An Examination of David Maslanka's Unaccompanied Marimba Solos." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248403/.
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The primary purpose of this study is to provide connections between a formal motivic analysis and the programmatic content of David Maslanka's three works for unaccompanied marimba: Variations on Lost Love (1977), My Lady White (1980), and A Solemn Music (2013). A comparison of the compositional process of each of these works is proposed through terms of Maslanka's use of depiction. Depiction is the action or result of representing through drawing, painting, or other art form, in this case, music. In each work for unaccompanied marimba, Maslanka uses this process of depiction in a unique way. The depictive mediums are categorized as evocative, representative, and introspective and these distinct approaches to depiction lead to three drastically different musical works. The different methods of depicting source materials are the distinguishing characteristics that separate these three works for solo marimba. This document includes a motivic analysis and comparisons of compositional devices used in these three works. A brief overview of Maslanka's life and works as well as a listing of all of his works that feature percussion instruments are also included.
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Olovsson, Mika. "Kroppen och övandet : En observationsstudie om en slagverkares övningsprocess och användande av kroppsliga resurser." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36376.
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Syftet med studien är att undersöka på vilket sätt en slagverkare använder kroppen som semiotisk resurs samt hur övningsprocessen under en begränsad period är utformad. För att undersöka detta har jag under en femveckorsperiod övat på ett marimbastycke 20 minuter om dagen fem dagar i veckan och dokumenterat detta genom videoobservationer och loggboksskrivande. I analysen utgår jag ifrån ett designteoretiskt perspektiv. I resultatet redovisas att kroppen används både som uttrycksmedel men även som ett substitut för metronomen. Under övningspassen ligger ett stort fokus på tempo och stycket övas i uppdelade avsnitt och sällan som helhet. I diskussionen debatteras mitt användande av kroppen som semiotisk resurs utifrån ett designteoretiskt perspektiv. Vidare diskuteras i förhållande till relevant litteratur och forskning huruvida min övningsstrategi är fördelaktig för min progression.The purpose of this study is to examine how a percussionist uses her body as a semiotic resource and how the process of practising during a limited period is designed. In order to realize this I have self-monitored my 20 minute long practice sessions five days a week during a five-week period. This process has been documented by a video recording device and by writing a log after each session. In the analysis I use design theory as a theoretical perspective. The results show that my body is used both as an expressive tool as well as substitute for the metronome. During the practice sessions, tempo appears to be the main focus, and the musical piece is played in separate movements and rarely played from beginning to end. In the last chapter usage of the body as a semiotic resource is discussed from a design theoretical perspective. Lastly the use and quality of my practice strategy is discussed in relation to relevant literature and research.
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Halvarsson, Simon. "Kroppslig förståelse av tempi." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2658.
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För att förmå komplex rytmik som parallella tempi, tillgodose eventuellt perfektionistiska ideal samt utveckla den tekniskt sämre sidan av mig har jag i denna uppsats undersökt imaginära visuella figurer som avbildar kontinuerliga rörelsemönster vid marimbaspel. I utforskande av min repertoar har jag hittat sektioner jag velat utveckla tekniskt eller där jag önskat få en ökad förståelse av tempi eller groove. En del av detta material har jag renodlat till övningar och har även skrivit ett stycke baserat på dessa företeelser.Utbildningsprogrammet är masterprogrammet (vid klassiska institutionen) och ämnet är självständigt arbete
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Kuo, Ming-Hui. "STRATEGIES AND METHODS FOR IMPROVING SIGHT-READING." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/6.
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A student's sight-reading ability directly affects the speed and quality of their learning, especially for those at the beginning and intermediate levels. Sight-reading on keyboard percussion instruments is typically very challenging for percussionists because percussion instruments are the only kind of instruments that the player doesn't physically touch when they play them. The player is removed from contact with the instrument through the use of mallets. This document will cover the topics of body movements, kinesthetic sense, music pattern recognition, sight-reading strategies in different levels, and music resources for instructors. Students who develop better sight-reading skills will learn new music faster, improve accuracy on the instrument, and increase their level of self-confidence.
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Hallin, Viktor. "Vem vet? : Att utforska utökade speltekniker för både slagverkare och kompositörer." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69715.
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This thesis is an experimental exploration of cooperation on extended techniques for marimba. In my bachelor thesis I experimented with techniques not commonly used on marimba and also innovated some new ones. Eleven of the techniques I found have been used in this thesis. I have collaborated with three composers who, based on my seminar on extended techniques, have written one piece each for extended techniques on marimba. The compositional process of the three pieces have been an interactive collaboration between each composer and me. The drafts have been sent back and forth with reflections from both the composers and me on what was not working and why. This resulted in three playable pieces which I have recorded. The purpose of this thesis is to explore the process of cooperation when writing for unconventional techniques and one goal has been to widen the horizon for marimba music with these techniques. It resulted in the three wonderful pieces of music, Pathfinder by Johannes Pollak, The last to leave by Pontus Bertling and Jag kommer på en bra titel snart, jag lovar! by Viktor Elinder. It gave me a deeper understanding of extended techniques, both their potentials and limitations. I also learned a lot about commissioning music and collaboration.
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Stawiski, Eileen Beth. "Ucieczka w Fantazi Opery (Escape-Fantasy Opera): Preserving the Heart of Poland." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276532042.
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