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.
Full textSmith, 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.
Full textdeLise, 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.
Full textPh.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
deLise, Louis Anthony. "Marimba Rossa [dissertation]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19912.
Full textPh.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
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/.
Full textdeLise, Louis Anthony. "Marimba Rossa [score I]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.
Full textPh.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
deLise, Louis Anthony. "Marimba Rossa [score II]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19952.
Full textPh.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
deLise, Louis Anthony. "Marimba Rossa [score III]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19970.
Full textPh.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
Denney, Ryan James. "Performing Bach's "Chaconne" on marimba." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10167524.
Full textJohann 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.
Bodine, Gerald Bradley. "Concerto for Marimba and Orchestra." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186388.
Full textBrenner, 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.
Full textZator, 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.
Full textÀlamo, 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.
Full textSuen, 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/.
Full textSilveira, 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.
Full textTeixeira, Mário Jorge Peixoto. "A interpretação da música japonesa para marimba." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/10717.
Full textActualmente 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.
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/.
Full textSammons, Mike. "A Performance Guide to Áskell Másson's Marimba Concerto." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194541.
Full textHall, 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/.
Full textBissell, 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.
Full textSulpicio, 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/.
Full textThis 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.
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.
Full textVarner, 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/.
Full textPorter, 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.
Full textviii, 80 leaves : col. ill. ; 29 cm
Maltese, Casey N. "A Performance Guide of Selected Works for Horn and Mallet Percussion." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/527.
Full textWaldrop, 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/.
Full textVieira, 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.
Full textDissertação (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
Drude, Matthias. "Musik für Holzinstrumente (2010)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61532.
Full textLandqvist, 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.
Full textWilkes, 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.
Full textBengtsson, 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.
Full textThe 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.
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.
Full textArmstrong, 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.
Full textKlco, 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.
Full textNota, Charles. "Introducing marimba music as part of the school curriculum in Zimbabwe." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65458.
Full textThesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
Unrestricted
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/.
Full textThis 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.
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.
Full textFor 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).
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.
Full textLatta, 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.
Full textBastian, 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.
Full textMolina, Oliver Neil. "The percussion music of Marc Mellits: 1994-2016." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6808.
Full textRibeiro, 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.
Full textSmith, 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.
Full textBest, Helene. "Group music therapy utilising marimba playing for children with low self-esteem." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/43760.
Full textDissertation (MMus)--University of Pretoria, 2015.
Music
MMus
Unrestricted
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/.
Full textOlovsson, 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.
Full textThe 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.
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.
Full textUtbildningsprogrammet är masterprogrammet (vid klassiska institutionen) och ämnet är självständigt arbete
Kuo, Ming-Hui. "STRATEGIES AND METHODS FOR IMPROVING SIGHT-READING." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/6.
Full textHallin, 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.
Full textStawiski, 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.
Full text