Journal articles: 'Marimba'

1

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

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

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

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Sturman, Janet. "¡Arriba Suena Marimba! Currulao Marimba Music from Colombia by Grupo Naidy." Ethnomusicology 51, no. 3 (October 1, 2007): 515–18. http://dx.doi.org/10.2307/20174554.

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

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

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

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This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most of Reich's output might be considered diatonic, rarely do those collections move in tonal paradigms. But in Nagoya Marimbas the two melodic voices combine in various canonic patterns to create a background tonal progression in E minor. The two marimba parts are always heard in phase with one another, playing the same music but at constantly varying intervals of displacement. The result is a long introduction that establishes E minor as tonic, followed by music that features more rapid changes yet continues to reinforce E minor as a tonal center. The piece, though an outlier in Reich's harmonic language, represents an important example of late twentieth-century tonality.

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de Gandarias, Igor. "Maya Achi Marimba Music in Guatemala." Ethnomusicology 52, no. 2 (April 1, 2008): 324–26. http://dx.doi.org/10.2307/20174591.

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

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Performing the art of music in the era of the industrial revolution 4.0 experienced many changes, these changes had a big impact on industry players in terms of music marketing and consumers to enjoy music. In the era of revolution 4.0, every individual is currently required to race against each other in filling life both in education and skills. To respond to the challenges in this 4.0 era, the writer has a desire to change himself, both in ways of thinking and in skills so that the author can be useful both for self-improvement and beneficial to many audiences. On this occasion, the presenter performed a modern repertoire using marimba instruments that had different levels of difficulty. It is a challenge for the presenter to master the techniques with the difficulties inherent in each repertoire. Marimba is a type of melodic percussion instrument that is rarely known by the public. In this marimba show, the presenter presents a musical repertoire, i.e The Variation On Theme (From the Malay's “Pucuk Pisang”) the show is presented in the form of a solo marimba and accompaniment. Repertoire The Variation On Theme (From the Malay's “Pucuk Pisang”) has a difficulty level. Here the presenter is required to master and practice all the difficulties contained in the repertoire, especially basic techniques.

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Suits, B. H. "Basic physics of xylophone and marimba bars." American Journal of Physics 69, no. 7 (July 2001): 743–50. http://dx.doi.org/10.1119/1.1359520.

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

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Roberts, Ronald A., and Barry Larkin. "Analysis of contrast in marimba stroke articulation." Journal of the Acoustical Society of America 95, no. 5 (May 1994): 2912. http://dx.doi.org/10.1121/1.409260.

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Nhapi, I., M. Mawere, S. Veenstra, and H. J. Gijzen. "Effluent polishing via pasture irrigation in Harare, Zimbabwe." Water Science and Technology 46, no. 9 (November 1, 2002): 287–95. http://dx.doi.org/10.2166/wst.2002.0261.

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Harare, the capital city of Zimbabwe, is experiencing eutrophication-related problems in its downstream potable water supply source of Lake Chivero. This is due mainly to poorly treated sewage effluent encroachment into upstream rivers, especially Marimba River. Crowborough Pasture Irrigation farm is in the Marimba sub-catchment area and has 305 hectares of irrigated pastures. Studies started from July 2000 to August 2001 focusing on the pasture's management of nutrients (nitrogen and phosphorus) and their impact on Marimba River. Water and nutrient balances were developed. Reduction efficiencies for this pasture were found to be 84% for TN and 54% for TP. Both the Crowborough sewage treatment works and the pastures are overloaded. It was therefore concluded that the current system is no longer sustainable economically and environmentally. From the results of our study we recommend that additional treatment units be constructed at Crowborough sewage treatment works to meet current flows. Moreover, pasture management needs substantial improvement. Nutrient recovery should be enhanced by regular harvesting of pasture grass and converting cow dung into an economic commodity as manure for neighbouring residents. Maize cultivation is also recommended to replace pasture grass as it is a local staple crop and has high nutrient uptake rates.

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Yulfita, Ade Febri, and Ferry Herdianto. "DESKRIPSI DAN INTERPRETASI TEKNIK PERMAINAN INSTRUMENT MARIMBA CONCERTO IN G MAJOR RV DAN A WHOLE NEW WORLD." Gorga : Jurnal Seni Rupa 11, no. 1 (June 30, 2022): 60. http://dx.doi.org/10.24114/gr.v11i1.34428.

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This research is motivated by a marimba instrument soloist in performing his repertoire must be able to become a reliable music player and make a positive contribution to music lovers. This study aims to describe the solo playing technique by interpreting the Concerto in G Major RV 310 repertoire through the two mallet technique with string quartet accompaniment and realizing the solo play by interpreting the A Whole New World repertoire through the four mallet technique with the Marimba Instrument according to the needs of today's performances. The repertoire presented is the repertoire of Concerto in G Major Rv 310 and A Whole New World. This repertoire has been considered to be played according to the great or achievement of the percussion instrument. The research approach used in this study is a qualitative approach that is useful for analyzing phenomena and for interpreting data. Based on the repertoire analysis of Concerto in G Major Rv 310, several obstacles were found in playing it, namely there was a double stroke technique played in an allegro tempo. The repertoire of the Concerto in G Major Rv 310 baroque era, there is a lot of ornamentation on the melody, and the phrases of songs that have a clear theme. While the repertoire of A Whole New World is classified as modern music (popular) which is a simple choral composition that is logical and easy to digest. Keywords: description, interpretation, instrument, marimba. AbstrakPenelitian ini dilatarbelakangi oleh seorang solis instrumen marimba dalam mempertunjukkan repertoarnya harus mampu menjadi pemain musik yang handal dan memberikan konstribusi positif kepada penikmat musik. Penelitian ini bertujuan mendeskripsikan teknik permainan solis dengan cara menginterpretasikan repertoar Concerto in G Major RV 310 melalui teknik dua mallet dengan iringan kwartet string dan mewujudkan permainan solis dengan cara menginterpretasikan repertoar A Whole New World melalui teknik empat mallet dengan instrumen marimba sesuai dengan kebutuhan pertunjukan saat ini. Repertoar yang disajikan yaitu repertoar Concerto in G Major Rv 310 dan A Whole New World. Repertoar ini telah dipertimbangkan untuk dimainkan sesuai dengan great atau capaian instrument perkusi. Pendekatan penelitian yang digunakan dalam penelitian ini adalah pendekatan kualitatif yang berguna untuk menganalisis fenomena dan untuk menginterpretasikan data. Berdasarkan analisis repertoar Concerto in G Major Rv 310, ditemukan beberapa kendala dalam memainkannya, yaitu terdapat teknik double stroke yang dimainkan dalam tempo allegro. Repertoar Concerto in G Major Rv 310 zaman barok, banyak terdapat ornamentasi pada melodi, dan frase lagu-lagu yang memiliki tema yang jelas. Sedangkan repertoar A Whole New World tergolong musik modern (popular) yang mudah dipahami.Kata Kunci: deskripsi, interpretasi, instrumen, marimba. Authors:Ade Febri Yulfita : Institut Seni Indonesia PadangpanjangFerry Herdianto : Institut Seni Indonesia Padangpanjang References:Arsyad, J., Putrianti, A., & Khadijah, K. (2020). Implementasi Alat Musik Perkusi Dalam Kemampuan Mengelola Emosional Anak Usia Dini di RA Az-Zahwa. Jurnal Raudhah, 8(2).Batallas, P.M. (2013). La marimba como Patrimonio Cultural Inmaterial. Fuente: Trabajo De Campo.David Samuel. (1982). Musical Approach to For Mallet Tecnique Volume 1. New York: New York Press.Dewatara, G. W., & Agustin, S. M. (2019). Pemasaran Musik pada Era Digital Digitalisasi Industri Musik dalam Industri 4.0 di Indonesia. WACANA: Jurnal Ilmiah Ilmu Komunikasi, 18(1), 1-10.Herdianto, F. (2021). Pertunjukan Solis Marimba dengan Repertoar The Variantions on Theme (From The Malay’s “Pucuk Pisang”). Jurnal Sitakara, 6(1), 1-12.Herfanda, F. R. (2014). Bentuk pertunjukan musik perkusi Paguyuban Sayung Hore (PSH) di Semarang. Jurnal Seni Musik, 3(1).Hoffman, G., & Weinberg, G. (2010, May). Gesture-based human-robot jazz improvisation. In 2010 IEEE international conference on robotics and automation (pp. 582-587). IEEE.Hugh M. Miller. (1996). Pengantar Apresiasi Musik. Terjemahan B.Triyono PS. Yogyakarta: Institut Seni Indonesia Yogyakarta.Sinaga, S. S. (2017). Pemanfaatan Pemutaran Musik Trhadap Psikologis Pasien Pada Klinik Ellena Skin Care Di Kota Surakarta. Jurnal Seni Musik, 6(2).Moleong, Lexy J. (2010). Metodologi Penelitian Kualitatif. Bandung: Remaja Rosdakarya.Prier Sj, Karl –Edmund. (1993). Sejarah Musik Jilid 2. Pusat Musik Liturgi: Yogyakarta.Pono, Banoe. (1984). Pengantar Alat Musik. Jakarta: CV Baru.Yang, N., Savery, R., Sankaranarayanan, R., Zahray, L., & Weinberg, G. (2020). Mechatronics-driven musical expressivity for robotic percussionists. arXiv preprint arXiv:2007.14850.Saryono dan Anggraeni, Mekar Dwi. (2010). Metodologi Penelitian Kualitatif Dalam Bidang Kesehatan. Yogyakarta: Nuha Medika.Sugiyono. (2014). Metode Penelitian Kuantitatif, Kualitatif dan R dan D. Bandung: Alfabeta.

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14

Bybee, Karen. "VASPS Prototype in Marimba Field - Workover and Restart." Journal of Petroleum Technology 58, no. 05 (May 1, 2006): 66–67. http://dx.doi.org/10.2118/0506-0066-jpt.

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15

Solis, Ted, and Laurence D. Kaptain. ""The Wood That Sings": The Marimba in Chiapas, Mexico." Notes 51, no. 1 (September 1994): 83. http://dx.doi.org/10.2307/899179.

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Vila-Suero, Daniel, and Asunción Gómez-Pérez. "datos.bne.es and MARiMbA: an insight into library linked data." Library Hi Tech 31, no. 4 (November 18, 2013): 575–601. http://dx.doi.org/10.1108/lht-03-2013-0031.

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Navarrete, Sergio, and Laurence Kaptain. "The Wood That Sings: The Marimba in Chiapas, Mexico." Ethnomusicology 39, no. 2 (1995): 279. http://dx.doi.org/10.2307/924431.

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Scruggs, T. M., Laurence Kaptain, Annabella Munoz Rincon, and Marimba Yajalon. "The Wood That Sings: The Marimba in Chiapas, Mexico." Latin American Music Review / Revista de Música Latinoamericana 15, no. 2 (1994): 252. http://dx.doi.org/10.2307/780235.

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19

Borland, K. "Marimba: Dance of the Revolutionaries, Dance of the Folk." Radical History Review 2002, no. 84 (October 1, 2002): 77–108. http://dx.doi.org/10.1215/01636545-2002-84-77.

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De Santana Junior, Humberto Manoel. "ENCRUZILHADAS EPISTEMOLÓGICAS: “Acertando o conhecimento europeu ontem com uma pedra que atirei somente hoje”." ODEERE 3, no. 6 (December 30, 2018): 251. http://dx.doi.org/10.22481/odeere.v3i6.4423.

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As religiões de matriz africana foram e ainda são intensamente estudadas buscando compreender sobre o seu funcionamento, as relações construídas entre os fiéis, assim como entre os fiéis e as entidades. Essa sociedade, enquanto sociedade não-europeia, é estudada com base nos conhecimentos eurocêntricos, o que torna possível compreender as formas de abordagem do conhecimento universal sobre o Candomblé, colocando assim, o conhecimento Europeu como nativo. Dessa forma, sigo o caminho proposto pela antropóloga Marimba Ani, para pensar a roça de Candomblé e a herança africana, a partir das epistemologias oriundas do terreiro. Utilizo a poesia do ogan Wesley Correia, os pensadores negros em diáspora e os africanos enquanto uma encruzilhada de caminhos possíveis a ser construído em diálogo com o romance “O mundo se despedaça”, de Chinua Achebe para enriquecer a discussão de visão-de-mundo e produção de sentido. Palavras-chave: Marimba Ani; encruzilhada; nativo; conhecimento universal; Wesley Correia.

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Masatu, Furaha J., Venancia F. Hyera, and Osmunda R. Ndunguru. "Nafasi ya Riwaya za Kingano za Kiswahili katika Harakati za Kupigania Hadhi-Msingi ya Mwanamke. Mfano Riwaya ya Marimba ya Majaliwa (2008) ya Edwin Semzaba." East African Journal of Swahili Studies 4, no. 1 (December 18, 2021): 68–81. http://dx.doi.org/10.37284/jammk.4.1.512.

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Makala haya yanalenga kuonesha namna riwaya za kingano za Kiswahili zinavyoweza kutumika kumpigania na kumkomboa mtu mnyonge hususani mwanamke na mtoto. Baadhi ya watu wanadhani ngano ni kwa ajili ya watoto kuburudika na kuwatia hofu kama njia ya kuwajengea adili. Ukweli ni kuwa, ngano ni zaidi ya burudani na hofu. Ndani ya ngano mna mambo mazito yanayoweza kumlea mtoto kwa kumuumba upya ili awe kiumbe kipya cha haki na usawa duniani bila hofu. Baadhi ya ngano zinaonekana kuvuka mipaka ya kitamaduni ya mafunzo anayostahili kupata mtoto. Mfano wa ngano hizo ni riwaya ya Marimba ya Majaliwa (2008) ya Edwin Semzaba inayomsawiri mwanamke kama kiumbe mwenye mapaji na uwezo mkubwa hata kumshinda mwanaume dhalimu. Mtazamo huu ni kinyume na mafunzo yanayopatikana katika ngano nyingi tulizonazo sokoni - kutokana na utiisho uliokita katika mfumodume. Makala yanabeba muhtasari wa uchunguzi uliongozwa na nadharia ya Ufeministi kuitalii riwaya ya Marimba ya Majaliwa (2008). Uchunguzi umebaini kuwa, mwandishi amemchora mwanamke kwa mtazamo chanya kwa kuonesha hadhi-msingi alizoumbiwa mwanamke mbali ya changamoto anazozipitia katika kujitetea. Ingawa mwanamke anaonekana kuendelea kukandamizwa na mfumodume, bado ukombozi wa kifikra unamfanya asikubali kuutii na kuuabudu. Katika mapambano haya, mwanamke amefanikiwa kuonesha hadhi-msingi zake tofauti tofauti zikiwemo: huruma na upendo kwa wanyonge, mpinga dhuluma, mjasiri, mwenye bidii, ubunifu, ujuzi, maarifa na nyenzo bora za kumwezesha kuhimili mikikimikiki ya mfumodume. Kwa picha hii, makala haya yatasaidia kuongeza matini za Kiswahili zilizoshughulikia mchango wa riwaya za kingano katika ukombozi wa mwanamke na mtoto. Vilevile, makala haya yatasaidia kuwaongoza wahakiki na watafiti wanaotarajia kuitalii riwaya ya Marimba ya Majaliwa au kazi nyingine ya kingano ili kumsawiri mwanamke.

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Gonzalez, Leonor. "Au rythme de la marimba, au son de la radio." Monde commun N° 6, no. 1 (August 27, 2021): 88–103. http://dx.doi.org/10.3917/moco.006.0088.

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Aparicio Erazo, Jorge Luis. "Modernidad y marimba en la prensa de Tumaco (1909-1914)." Historia Crítica, no. 56 (April 2015): 163–86. http://dx.doi.org/10.7440/histcrit56.2015.07.

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Martínez Martín, Francisco Javier. "Manidipine in hypertensive patients with metabolic syndrome: the MARIMBA study." Expert Review of Cardiovascular Therapy 7, no. 7 (July 2009): 863–69. http://dx.doi.org/10.1586/erc.09.53.

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Hellier Tinoco, R. "Maya Achi Marimba Music in Guatemala - by Sergio Navarrete Pellicer." Bulletin of Latin American Research 26, no. 1 (January 2007): 157–58. http://dx.doi.org/10.1111/j.1470-9856.2007.0017_20.x.

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Jones, Claire. "A modern tradition: the social history of the Zimbabwean Marimba." African Music: Journal of the International Library of African Music 9, no. 2 (2012): 32–56. http://dx.doi.org/10.21504/amj.v9i2.1803.

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Miura, Masanobu, and Nozomiko Yasui. "Fluctuation strength on real sound: Motorbike exhaust and marimba tremolo." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3598. http://dx.doi.org/10.1121/1.4806660.

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Hutcheson, Maury. "Memory, Mimesis, and Narrative in the K'iche' Mayan Serpent Dance of Joyabaj, Guatemala." Comparative Studies in Society and History 51, no. 4 (September 17, 2009): 865–95. http://dx.doi.org/10.1017/s0010417509990168.

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It seemed to me a simple question. “What happens in this dance-drama? What is the storyline, the narrative?” I am met by puzzlement. The dancer explains that each such dance has its own set of instruments, its own special costumes and masks. For this one they use a simple, one-man marimba and the costumes come from the nearby town of Chichicastenango.

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Leymarie, Isabelle, and Vincent Doucet. "Musique et rites afro-américains. "La marimba éclot dans les astres..."." Cahiers de musiques traditionnelles 3 (1990): 233. http://dx.doi.org/10.2307/40240080.

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Roberts, Ronald A., and Barry J. Larkin. "Measurement of performance response differences using aluminum and brass marimba resonators." Journal of the Acoustical Society of America 100, no. 4 (October 1996): 2779. http://dx.doi.org/10.1121/1.416431.

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Sandell, C., M. Frykman, K. Chesky, and A. Fjellman-Wiklund. "Playing-related Musculoskeletal Disorders and Stress-related Health Problems Among Percussionists." Medical Problems of Performing Artists 24, no. 4 (December 1, 2009): 175–80. http://dx.doi.org/10.21091/mppa.2009.4035.

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This cross-sectional study examined the prevalence of self-reported playing-related musculoskeletal disorders (PRMDs) and stress-related health problems among percussionists. Data for the present study were extracted from the University of North Texas Musician Health Survey (UNT-MHS) data set. Subjects (n = 279) were included if they identified auxiliary percussion (i.e., tambourine, triangle, bells, rattle, wood block), drum set, marimba, steel drum, timpani, vibraphone, xylophone, or other percussion as their primary instrument. Prevalence rates for PRMDs and stress-related health problems were determined for the total percussion group and for separate instrument categories. Of the total group, 77% reported one or more PRMDs. The keyboard percussionists (marimba, vibraphone, xylophone, and steel drum) reported the significantly highest prevalence (89%), followed by auxiliary and other percussionists (79%) and membranophone percussionists, including drum set and timpani (74%). The highest region-specific prevalence of PRMDs for the whole group was found in the bilateral hand and low back regions. Stress due to work environment was considered moderate to high by 75% of the respondents. Regarding stress-related health problems, percussionists reported primarily problems with fatigue, depression, and stage fright. The overall findings of this study show that PRMDs and stress-related health problems are a major concern for percussionists and warrant further research.

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CANNATA, AMANDA. "Articulating and Contesting Cultural Hierarchies: Guatemalan, Mexican, and Native American Music at the Panama-Pacific International Exposition (1915)." Journal of the Society for American Music 8, no. 1 (February 2014): 76–100. http://dx.doi.org/10.1017/s1752196313000618.

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AbstractThree case studies, on Guatemalan, Mexican, and Native American music performed at San Francisco's 1915 Panama-Pacific International Exposition, illustrate the complex and varied ways that music can both reflect and challenge dominant and local ideologies of cultural value. The Guatemalan Commission made a claim for cultural significance through the Hurtado Royal Marimba Band's residency in their pavilion. This claim, however, was made through a Euro-American framework of cultural progress; the band's performances thus obscured the important role of Afro-Guatemalans and indigenous groups in the nation's marimba tradition. Although the “Mexican Village” depicted Mexico as exotic and primitive, the daily performances of the Orquesta Típica Torreblanca in the village showcased the country's cosmopolitan side. Native Americans were frequently subjected to exoticizing and racist musical ventriloquism at the PPIE, yet on at least one occasion a group of Blackfoot people refused this imposition and used music to push for control over their representation. The presence of these musics and musicians, largely ignored in the exposition's official administrative record, demonstrates the shifting power dynamics that shaped the performance and reception of music on the fairgrounds, and reveals that even in environments heavily shaped by dominant ideologies of race, gender, and class, multiple discourses of power and value can circulate.

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Duarte, Carina. "EM VEZ DA LIRA, A MARIMBA: LUIZ GAMA, O ORFEU DE CARAPINHA." Cadernos do IL, no. 45 (March 27, 2013): 053–66. http://dx.doi.org/10.22456/2236-6385.30004.

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: Ao publicar as Primeiras Trovas Burlescas (1859), Luiz Gama tornava evidente a sua característica de crítico implacável da sociedade. O objetivo deste artigo é, a partir da análise de poemas retirados desta obra, verificar como o poeta utiliza a sátira e a paródia para criticar as imoralidades do seu tempo. Para tanto, servem como fundamentação teórica as proposições de Propp e Bergson sobre o riso e as de Linda Hutcheon sobre a paródia. Luiz Gama, nos seus versos, castiga os vícios, os indivíduos e as instituições. Além disso, combate o preconceito (inclusive o dos mulatos) e defende a igualdade.

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DIETRICH, Wolfgang, and Wolfgang DIETRICH. "La marimba: lenguaje musical y secreto de la violencia política en Guatemala." América Latina Hoy 35 (October 19, 2010): 147. http://dx.doi.org/10.14201/alh.7379.

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Sherwood, Carly A., Ashley Eastham, Lik Wee Lee, Amelia Peterson, Jimmy K. Eng, David Shteynberg, Luis Mendoza, et al. "MaRiMba: A Software Application for Spectral Library-Based MRM Transition List Assembly." Journal of Proteome Research 8, no. 10 (October 2, 2009): 4396–405. http://dx.doi.org/10.1021/pr900010h.

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Chaigne, Antoine, and Ingolf Bork. "Comparison between modal analysis and finite‐element modeling of a marimba bar." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1125. http://dx.doi.org/10.1121/1.425251.

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Useche, Jorge E., Rafael G. Hurtado, and Federico Demmer. "Interplay between musical practices and tuning in the marimba de chonta music." Journal of New Music Research 48, no. 5 (September 24, 2019): 479–500. http://dx.doi.org/10.1080/09298215.2019.1667399.

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Karen An-hwei Lee. "Requiem for a Rosewood Marimba, and: Topographies, and: Poem Colored with Henna." Frontiers: A Journal of Women Studies 30, no. 2 (2009): 110–14. http://dx.doi.org/10.1353/fro.0.0050.

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Paula, Naiara, and Claudia Wer. "Filosofia Africana: um estudo sobre a conexão entre ética e estética." Voluntas: Revista Internacional de Filosofia 10 (October 9, 2019): 128. http://dx.doi.org/10.5902/2179378639890.

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O artigo articula a relação da Ética com a Estética Africana através de dois conceitos de base ancestral defendidos por expoentes do pensamento africano nos textos: “Complementaridade Binária” de Sophie Bosede Oluwole e “Kugusa Mtima” de Dona Marimba Richards. O texto analisa aspectos vitais da cosmovisão Africana que reverberam na produção ético-estética dos povos Africanos e destaca o papel primordial da vida espiritual para a experiência Africana, sobretudo, nos desafios contemporâneos, como forma de afirmação e construção de uma consciência nacional.

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Moreno, Miguel. "Analysis and resynthesis of real instruments using Pure Data and the MKMR library." Revista Vórtex 9, no. 2 (December 10, 2021): 1–12. http://dx.doi.org/10.33871/23179937.2021.9.2.22.

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In this experience report, I present my method for synthesizing realistic sounding instruments. Starting from the analysis of a marimba sample to how to recreate it using additive synthesis while reducing the number of objects, memory and CPU load. This synthesized model only uses pd vanilla objects, allowing an ease of implementation with projects using libpd. The instrument detailed in this article and many more are part of my open-source library: mkmr. This repository is a compilation of vanilla made abstractions with different categories such as: oscillators, filters, effects, instruments, waveshapers, sequencers, etc.

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MARQUES, PEDRO. "DO OUVIR E LER POESIA: LUIZ GAMA E MACHADO DE ASSIS." Machado de Assis em Linha 11, no. 24 (May 2018): 12–32. http://dx.doi.org/10.1590/1983-6821201811242.

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Resumo Luiz Gama tende à oratória, à performance pública do verso. É o teatro interlocutório, a voz impostada no espaço para convencer (movere) a audiência. Machado de Assis prefere a leitura, o contato íntimo com o texto. É a experiência individual, a mensagem que cala no leitor para deleite (delectare) do sujeito. A versificação, assim, ganha plasticidade retórica em Gama e estilização literária em Machado. Um "decanta de marimba", outro tira à "harpa eólica a excelsa melodia". Tal contraste técnico, entre ouvir e ler poesia, é o foco do artigo.

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Turetzky, Bertram, Douglas Leedy, Erzsebet Szonyi, Jean Chastanet, and Barry Guy. "Canti: Music for Contrabass and Chamber Ensemble [Flute, Guitar, Vibraphone, Marimba, Viola] (1975)." Notes 47, no. 3 (March 1991): 963. http://dx.doi.org/10.2307/941944.

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Larkin, Barry J., and Ronald A. Roberts. "Measurement of performance response differences when striking different areas of a marimba bar." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1056. http://dx.doi.org/10.1121/1.425027.

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Ballesteros, Carmen, Gabriela Gracia, Andrea Ocaña, and Cory Jácome. "Análisis de la promoción cultural como herramienta para fortalecer la identidad afro esmeraldeña." Revista Lasallista de Investigación 15, no. 2 (December 2018): 367–77. http://dx.doi.org/10.22507/rli.v15n2a28.

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La identidad cultural representa los valores, orgullos, costumbres, creencias y comportamientos que forman parte de un grupo social y que actúan con la misión de engendrar un sentimiento de pertenencia. Esta cultura se puede convertir en el pilar primordial de cada localidad; por lo cual es necesario resguardar la, defenderla y ampararse, para que dicha fortaleza pueda convertirse en una ventaja competitiva. Objetivo. Analizar la promoción cultural como herramienta para fortalecer la identidad afro esmeraldeña. Materiales y métodos. Constan entrevistas efectuadas a personas expertas en el área de arte, cultura y promoción, así como a personajes destacados en las distintas disciplinas que enmarcan la cultura de Esmeraldas como lo son la poesía, el canto, la pintura, la escultura, la música, la marimba y el deporte. Además del aporte de la ciudadanía a través de encuestas y entrevistas. Resultados. Los personajes destacados dentro de la cultura esmeraldeña indican que se sienten satisfechos por la labor que han realizado. Se identificó que los ciudadanos se sienten muy identificados (35%) o identificados (47%) con la cultura afroesmeraldeña; y el mayor rasgo identitario es la marimba, con un 45%. Sin embargo el 23% no asiste a ningún evento cultural en la ciudad por falta de difusión. Conclusiones. La investigación permitió determinar que fortalecer la identidad afro esmeraldeña es una tarea compleja que debe de fomentarse en el hogar y las instituciones educativas. Finalmente las investigadoras recomiendan ejecutar estrategias de creación y difusión de productos culturales para conservar y proteger la identidad cultural afro esmeraldeña.

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Bielova, Yе D. "Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 104–23. http://dx.doi.org/10.34064/khnum1-53.07.

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Theoretical background. According to the concept of M. Bakhtin (1986, others), every from outstanding works enters to the “large time”, where it enriches with new meanings, senses, fully revealing the subtext embedded in it. A similar dialogue occurs directly in the process of composer’s interpretation of a literary text taken as the primary basis for a musical piece. Especially this is true for the archaic literary source, since the perception of it in the distant epoch don’t coincide with the way it is perceived by contemporaries of the composer. This phenomenon is due to a new cultural and historical context, and, as a result, the literary work acquires a new semantic content adequate to the musical opus, its perception by performers and public. Thus, a composer and performers of a musical-poetic opus, recipients and scientists enter into the dialogue of the “large time”, bringing their own intellectual baggage, thesaurus, artistic perception of art. In this case, the researcher need to take into account the unique artistic synthesis that arises as a result of the interaction of words, music and the all of means of artistic expression. The proposed study is based on M. Bakhtin’s concept of dialogue, which carries out in the semiotic space of culture. M. Bakhtin views the dialogue not only as a human-to-human contact but also as an appeal to a scientific or artistic text. Analyzing the vocal miniature, one should track the individualities of the authors of literary text and the musical work, at the same time filtering the meanings of the text of the vocal miniature through the own artistic experience, grasping the dialogue in the context of cultural and historical experience and “large memory”, (M. Bakhtin’s concept). The romance “Blackened Night” is addressed to the original members – soprano and marimba duet. However, from the standpoint of the need for performing reproduction of vocal and instrumental synthesis, it is appropriate to refer to the experience of concert pianists. The purpose of the study is to define the cultural and historical context of dialogue in “large time”, which determines the content-semantic areas of gravity between the word and music in the composer’s, performer’s interpretation and perception of the romance «Blackened Night» by Oksana Tadeush. Methods. The methodological basis of the study is the communicative model of the “large dialogue” (M. Bakhtin), which is carried out in the time-space (chronotope, according M. Bakhtin) and is based on the “large memory” of culture. On the other hand, the study used the methodology of interpretative performing analysis of musical works (in particular, the analytical approach by remarkable singer and researcher Ian Bostridge, 2019). The moment of coincidence of both research methodologies has been revealed: unraveling the semantic images of the opus simultaneously from the standpoint of the time of its writing and modernity, which helps to reveal the content of the cultural dialogue. Results. The study showed that the poem by Sappho is related to the «night» poetry characteristic of European culture, as well as to the symbol of Night, which the archetype of the Romantic era is. At the level of musical semantics, the connection with «night » poetry is reflected in the musical texture, since the arpeggio figures in accompaniment, as one of the texture units, is characteristic to the nocturne genre. The author concludes: the sound image of marimba corresponds best to the spirit of «night» poetry. The connection with archaic thinking is represented through the signs of monodic texture characterized for singing with the accompaniment in the Hellenistic era. Archaic origin is inherent in hemiolica (term by Yu. Kholopov, 2003): there is the scale with augmented second in the vocal part of O. Tadeush’s romance. Dialogue in “large time” was further extended by the performers on the premier of the romance (O. Velyka – soprano, and the author of this article – marimba) with the assistance of stage costumes (dresses that resemble ancient Greek tunics) that helped the communicator-interpreters to get deeper into the image. Interpreting Sappho’s «night» poetry, O. Tadeush turns to the sound image of marimba, which is the background for the heroine’s internal monologue. The dialogue not only with the author of the poetic text arises, but also with the tradition of the chamber-vocal genre in historical retrospective, as the second member of the ensemble in O. Tadeush’s romance is not the piano, but the marimba (a percussion instrument related to the piano, but at the same time unique in terms of timbre and articulation). The articulation of a percussionist who intones on the marimba should fill each sound with coloring vibration to make it expressive and meaningful, to achieve a variety of sounds of this mono-timbre instrument with helping of use of varieties touché and registers, in according with dynamics of form-building and figurative development of the work. Conclusion. To sum up, we note that in the romance «Blackened Night» Oksana Tadeush enters into dialogue with great Sappho, reproducing the world of her poems, melody and rhythm of the poetic text in the original language. The composer creates a unique artistic concept, following the laws of the chamber-vocal genre with regard to the duet of singing and instrumental voices as well as the laws of music in accordance with the current tendencies of the beginning of the 21st century, where the search for an extraordinary artistic solution is not the last argument. As a research prospect interesting the author, further clarification of the specificity of the implementation of the sound images of percussion instruments in the creativity of the composers of the Kharkiv School is suggested, taking into account the individuality of the artistic concept of each piece of music.

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Herdianto, Ferry. "PERTUNJUKAN SOLIS MARIMBA DENGAN REPERTOAR THE VARIANTIONS ON THEME (FROM THE MALAY’S “PUCUK PISANG”)." Jurnal Sitakara 6, no. 1 (February 17, 2021): 1. http://dx.doi.org/10.31851/sitakara.v6i1.5283.

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Tamusuza, Justinian. "Abaana Bange Na-Ka-Lwafor soprano saxophone in B flat, electric guitar and marimba." Journal of Musical Arts in Africa 8, no. 1 (December 2011): 113–14. http://dx.doi.org/10.2989/18121004.2011.652394.

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Tutui, Maria Pimentel. "Artes e festa." Proa: Revista de Antropologia e Arte 9, no. 1 (October 11, 2022): 21–43. http://dx.doi.org/10.20396/proa.v9i1.17259.

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As festas são campos de distintas abordagens para pesquisas em diversas áreas das humanidades. O presente artigo tem como objetivo ressaltar a importância dos registros pictóricos do artista francês Jean-Baptiste Debret (1768-1848) durante sua estada no Brasil nos anos de 1816 a 1831, dando um destaque para o Dia d’entrudo e para a marimba. Nesse caminho, a análise será por meio das aquarelas Dia d’entrudo (Carnaval) (1823); Passeio de domingo à tarde (1826) e Viola d’Angola. Música dos pretos (1820-1830). Deste modo, iniciaremos nossa discussão sobre a festa do entrudo, representada por Debret, na qual o artista revela sob sua ótica a exuberância da festividade e das cores nos trópicos.

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Strand, Julie. "Marimbalafon: The Most Comprehensive Reference Point for the Xylophone, Marimba, and Balafon. URL: http://www.marimbalafon.com." Yearbook for Traditional Music 38 (2006): 177–79. http://dx.doi.org/10.1017/s0740155800011966.

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Bretos, J., C. Santamaria, and J. Alonso Moral. "Tuning process of xylophone and marimba bars analyzed by finite element modeling and experimental measurements." Journal of the Acoustical Society of America 102, no. 6 (December 1997): 3815–16. http://dx.doi.org/10.1121/1.420287.

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Journal articles on the topic 'Marimba'

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