Gotowa bibliografia na temat „Marimba”
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Artykuły w czasopismach na temat "Marimba"
Raush, John R., Ross Edwards, Jacob Druckman, Roger Reynolds i Toshi Ichiyanagi. "Marimba Dances for Solo Marimba (1982)". Notes 49, nr 3 (marzec 1993): 1278. http://dx.doi.org/10.2307/899022.
Pełny tekst źródłaPradana, Ridhlo Gusti, Agus Salim i YC Budi Santoso. "Penerapan Teknik Empat Mallet Pada Lagu Tambourin Paraphrase Untuk Solo Marimba Karya Keiko Abe". PROMUSIKA 6, nr 2 (6.08.2019): 90–101. http://dx.doi.org/10.24821/promusika.v6i2.2477.
Pełny tekst źródłaSturman, Janet. "¡Arriba Suena Marimba! Currulao Marimba Music from Colombia by Grupo Naidy". Ethnomusicology 51, nr 3 (1.10.2007): 515–18. http://dx.doi.org/10.2307/20174554.
Pełny tekst źródłaMay, Randall L. "MARIMBA SUSPENDED MICROPHONE SYSTEM". Journal of the Acoustical Society of America 132, nr 1 (2012): 573. http://dx.doi.org/10.1121/1.4734267.
Pełny tekst źródłaLarsen, Henrik Knarborg, Ole Adrian Heggli i Bjørn Petersen. "Marimba, mallet and mind – enhancing the marimba sound by Ki-aikido approach". Journal of New Music Research 48, nr 5 (29.08.2019): 469–78. http://dx.doi.org/10.1080/09298215.2019.1657465.
Pełny tekst źródłaAtkinson, Sean. "Tonality in Steve Reich's Nagoya Marimbas". Music Theory and Analysis (MTA) 6, nr 2 (30.10.2019): 191–200. http://dx.doi.org/10.11116/mta.6.2.1.
Pełny tekst źródłade Gandarias, Igor. "Maya Achi Marimba Music in Guatemala". Ethnomusicology 52, nr 2 (1.04.2008): 324–26. http://dx.doi.org/10.2307/20174591.
Pełny tekst źródłaHerdianto*, Ferry. "Marimba Solis Performance with Repertoar the Variation on Theme (from the Malay's "Pucuk Pisang")". International Journal of Management and Humanities 5, nr 7 (30.03.2021): 76–81. http://dx.doi.org/10.35940/ijmh.f1235.035721.
Pełny tekst źródłaSuits, B. H. "Basic physics of xylophone and marimba bars". American Journal of Physics 69, nr 7 (lipiec 2001): 743–50. http://dx.doi.org/10.1119/1.1359520.
Pełny tekst źródłaHoffman, Guy, i Gil Weinberg. "Interactive improvisation with a robotic marimba player". Autonomous Robots 31, nr 2-3 (2.06.2011): 133–53. http://dx.doi.org/10.1007/s10514-011-9237-0.
Pełny tekst źródłaRozprawy doktorskie na temat "Marimba"
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.
Pełny tekst źródłaSmith, 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.
Pełny tekst źródładeLise, 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.
Pełny tekst źródłaPh.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.
Pełny tekst źródłaPh.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/.
Pełny tekst źródładeLise, Louis Anthony. "Marimba Rossa [score I]". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.
Pełny tekst źródłaPh.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.
Pełny tekst źródłaPh.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.
Pełny tekst źródłaPh.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.
Pełny tekst źródłaJohann 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.
Pełny tekst źródłaKsiążki na temat "Marimba"
Marimba. Buenos Aires, República Argentina: Editorial Nueva América, 1986.
Znajdź pełny tekst źródłaMarimba. New York: Tor, 1992.
Znajdź pełny tekst źródłaHoyt, Richard. Marimba. New York: Tom Doherty Associates, 1993.
Znajdź pełny tekst źródłaBigné, J. R. S. Marimba. Requena: Ediciones y distribuciones Requena, 1998.
Znajdź pełny tekst źródłaMarimba! Moskva: "AST", 2014.
Znajdź pełny tekst źródłaMarimba forever. Tooronto: Guernica Editions, 2010.
Znajdź pełny tekst źródłaBoccanera, Jorge A. Marimba: Antología poética. Wyd. 3. Buenos Aires: Editorial 21, 1998.
Znajdź pełny tekst źródłaMarimba ya Majaliwa. Dar es Salaam: E & D Vision Publishing, 2008.
Znajdź pełny tekst źródłaMarimba: [antología personal]. Buenos Aires: Ediciones Colihue, 2006.
Znajdź pełny tekst źródłaMarimba: Antología poética. Caracas, Venezuela: Ministerio del Poder Popular para la Cultura, 2009.
Znajdź pełny tekst źródłaCzęści książek na temat "Marimba"
Hoffman, Guy, i Gil Weinberg. "Interactive Improvisation with a Robotic Marimba Player". W Springer Tracts in Advanced Robotics, 233–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_14.
Pełny tekst źródłaDahl, Sofia, i Anders Friberg. "Expressiveness of Musician’s Body Movements in Performances on Marimba". W Gesture-Based Communication in Human-Computer Interaction, 479–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-24598-8_44.
Pełny tekst źródłaHernández, Noé, Kerstin Eder, Evgeni Magid, Jesús Savage i David A. Rosenblueth. "Marimba: A Tool for Verifying Properties of Hidden Markov Models". W Automated Technology for Verification and Analysis, 201–6. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24953-7_14.
Pełny tekst źródłaChong, Jet Kye, i Débora Corrêa. "Predicting Marimba Stickings Using Long Short-Term Memory Neural Networks". W AI 2022: Advances in Artificial Intelligence, 339–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-22695-3_24.
Pełny tekst źródłaWild, Gerhard. "Bâ, Mariama". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2529-1.
Pełny tekst źródłaGierczynski-Bocandé, Ute. "Ndoye, Mariama". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15698-1.
Pełny tekst źródłaPfeifer, Anke. "Marin, Mariana". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16193-1.
Pełny tekst źródłaScorah, Rebecca. "Pessl, Marisha". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12311-1.
Pełny tekst źródłaKoch, Regan. "Mariana Valverde". W Key Thinkers on Cities, 231–36. 1 Oliver’s Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2017. http://dx.doi.org/10.4135/9781473983243.n38.
Pełny tekst źródłaSchuerkens, Ulrike. "Bâ, Mariama". W Metzler Autorinnen Lexikon, 32–33. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_23.
Pełny tekst źródłaStreszczenia konferencji na temat "Marimba"
Vega Rivera, Jorge Alberto, i Héctor Javier Tascón Hernández. "Oí Marimbí". W Encuentro de investigación formativa en Diseño – Semilleros y Grupos de investigación RAD 2022. Cali, Colombia: Red Académica de Diseño - RAD, 2022. http://dx.doi.org/10.53972/rad.eifd.2022.4.3.
Pełny tekst źródłaWeinberg, Gil, i Scott Driscoll. "The design of a robotic marimba player". W the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279786.
Pełny tekst źródłaSchaefer, Mathew. "Beautiful Music in the Classroom: Marimba As a Lab Experiment for Teaching Vibration Measurement". W ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11038.
Pełny tekst źródłaSchildgen, Johannes, Thomas Jorg, Manuel Hoffmann i Stefan Dessloch. "Marimba: A Framework for Making MapReduce Jobs Incremental". W 2014 IEEE International Congress on Big Data (BigData Congress). IEEE, 2014. http://dx.doi.org/10.1109/bigdata.congress.2014.27.
Pełny tekst źródłaPeixoto, Guilherme De Almeida, Geraldo Ribeiro, Paulo Abreu Barros, Marco A. Meira i Tiago Moreira Barbosa. "VASPS Prototype in Marimba Field -- Workover and Re-Start". W SPE Latin American and Caribbean Petroleum Engineering Conference. Society of Petroleum Engineers, 2005. http://dx.doi.org/10.2118/95039-ms.
Pełny tekst źródłaLi, Rong, i Lei Quan. "Marimba: A Tool for Verifying Properties of Hidden Markov Models". W 2015 International Conference on Advanced Engineering Materials and Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icaemt-15.2015.113.
Pełny tekst źródłaMiura, Masanobu, i Nozomiko Yasui. "Fluctuation strength on real sound: motorbike exhaust and marimba tremolo". W ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799863.
Pełny tekst źródłaWeinberg, Gil, i Scott Driscoll. "The Design of a Perceptual and Improvisational Robotic Marimba Player". W RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2007. http://dx.doi.org/10.1109/roman.2007.4415189.
Pełny tekst źródłaUeda, Tomoyo. "Marimba Plays Early Music: An Approach Informed by Historical Performance Practice". W Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0006.
Pełny tekst źródłaMeira, M., K. T. P. Lima, V. M. Reis i S. R. Malagutti. "Using 4D Sseismic to Monitor and Characterize Marimba Field, Campos Basin, Offshore Brazil". W 72nd EAGE Conference and Exhibition incorporating SPE EUROPEC 2010. European Association of Geoscientists & Engineers, 2010. http://dx.doi.org/10.3997/2214-4609.201400997.
Pełny tekst źródłaRaporty organizacyjne na temat "Marimba"
J., Mayifilua, Mbula D., Muliele J. i Ombeni I. Le Paysage Maringa-Lopori-Wamba: MaringaLoporiWamba Landscape. Center for International Forestry Research (CIFOR), 2012. http://dx.doi.org/10.17528/cifor/003930.
Pełny tekst źródłaStubbs, T., i R. Heinle. MARIBO containment data report. Office of Scientific and Technical Information (OSTI), maj 1995. http://dx.doi.org/10.2172/97045.
Pełny tekst źródłaJ., Mayifilua, Mbula D., Muliele J. i Ombeni I. MaringaLoporiWamba Landscape. Center for International Forestry Research (CIFOR), 2012. http://dx.doi.org/10.17528/cifor/003931.
Pełny tekst źródłaLuciano, Bernadette. An Interview with Marina Spada. Purdue University Press, luty 2013. http://dx.doi.org/10.5703/1288284315032.
Pełny tekst źródłavon Speyr, Adrienne. Maria e i profeti. Saint John Publications, 2022. http://dx.doi.org/10.56154/uz.
Pełny tekst źródłavon Speyr, Adrienne. Maria und die Propheten. Saint John Publications, 2023. http://dx.doi.org/10.56154/qj.
Pełny tekst źródłaBaring-Gould, I., R. Hunsberger, C. Visser i P. Voss. Commonwealth of Northern Mariana Islands Initial Technical Assessment. Office of Scientific and Technical Information (OSTI), lipiec 2011. http://dx.doi.org/10.2172/1018874.
Pełny tekst źródłaMoore, Lilly. Rainer Maria Rilkes Musik der Kräfte (Rainer Maria Rilke's Music of the Forces). Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.2267.
Pełny tekst źródłaConrad, M. D., i J. E. Ness. Commonwealth of the Northern Mariana Islands Strategic Energy Plan. Office of Scientific and Technical Information (OSTI), lipiec 2013. http://dx.doi.org/10.2172/1089053.
Pełny tekst źródłaConrad, M. D., i J. E. Ness. Commonwealth of the Northern Mariana Islands Energy Action Plan. Office of Scientific and Technical Information (OSTI), lipiec 2013. http://dx.doi.org/10.2172/1089597.
Pełny tekst źródła