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Books on the topic 'Concertos (Marimba) Marimba music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Pinto, Carlos Alvarado. La marimba: Estudio investigativo. San José: Liga Maya Internacional, 1994.

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2

Schwantner, Joseph. Velocities: (Moto perpetuo) : for solo marimba. [U.S.]: Helicon Music, 1991.

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3

Druckman, Jacob. Reflections on the nature of water: For solo marimba (1986). [U.S.]: Boosey & Hawkes, 1991.

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4

Spears, Jared. Loyalton Place: For marimba and piano. Delaware Water Gap, Pa: Concert Works Unlimited, 1990.

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5

Weisgall, Hugo. Tangents: Four episodes for flute and marimba. Bryn Mawr, Pa: T. Presser, 1995.

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6

Chandler, Erwin. Four pieces for trumpet and marimba (1980). [Cambridge, Mass.]: Nichols Music, 1987.

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7

Tanabe, Tsuneya. Recollections of the Inland Sea: For flute and marimba. [S.l.]: Studio 4 Music, 1997.

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8

Weiner, Lawrence. Two by two: For vibraphone and marimba duet. San Antonio, Tex: Southern Music Co., 1988.

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9

M, José Balbino Camposeco. Teʼ son, chinabʼ o kʼojom =: La marimba de Guatemala. Guatemala: Subcentro Regional de Artesanías y Artes Populares, 1992.

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10

Te' son, chinab' o k'ojom =: La marimba de Guatemala. 2nd ed. Guatemala: Ediciones Yax Te', 1994.

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11

Godínez, Lester H. La marimba guatemalteca: Antecedentes, desarrollo, y expectativas (un estudio historico, organológico, y cultural). México, D.F: Fondo de Cultura Económica, 2002.

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12

Becerril, Leticia Román de. Arte y artistas: Música, teatro y poesía : historia de la marimba. México, D.F: Gernika, 1996.

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13

Los significados de la música: La marimba maya achí de Guatemala. México: CIESAS, 2005.

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14

Mahler, Julia. "Doing gender" und Marimbamusik in Quezaltenango, Guatemala: Eine qualitativ-empirische Untersuchung zur geschlechtsspezifischen Konstruktion nationaler Symbolik am Beispiel des guatemaltekischen Nationalinstrumentes. Frankfurt a.M: IKO Verlag für Interkulturelle Kommunikation, 1999.

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15

Castillo, Julio César Sánchez. Producción marimbística de Guatemala. Guatemala: J.C. Sánchez Castillo, 2001.

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16

Kaptain, Laurence. Maderas que cantan. Tuxtla Gutiérrez, Chiapas, México: Gobierno del Estado de Chiapas, Consejo Estatal de Fomento a la Investigación y Diifusión de la Cultura, 1991.

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17

Werle, Floyd E., and Randall Eyles. The golden age of the xylophone: Ragtime-novelty xylophone solo with marimba quartet or piano. Ft. Lauderdale, FL: Meredith Music, 1990.

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18

Houllif, Murray. Concert music for mallets. 2017.

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19

Roulet, Patrick. Wedding Music for Marimba. Meredith Music, 2017.

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20

Pinto, Carlos Alvarado. La marimba: Estudio investigativo. Liga Maya Internacional, 1994.

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21

Staff, Hal Leonard Corp. Marimba Spiritual for Marimba and 3 Percussionists: Metal, Wood, Skin Drums Sc/pts. Zen-On Gakufu Shuppan-Sha, 2010.

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22

Pineda del Valle, César, 1932- and Asturias Gómez Carlos R, eds. Antología de la marimba en América. Guatemala: Librería Artemis-Edinter, 1994.

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23

Kielian-Gilbert, Marianne. Disabled Moves. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.38.

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If music and music experience are more than internal representation and symbol manipulation, how might one flesh out and understand their multidimensionality? This essay describes “disabled moves” toward that question by imagining and disturbing what it might mean to think and be through the variant body. First, it considers the implications of the unexamined and assumed centricity of the abled body and the kinds of material-bodily-mental interventions that might unfix or jostle (musical) identity with respect to that centricity. Second, it considers the potential and limitations of medical and aural metaphors in Ethel Smyth’s Concerto for Horn, Violin and Orchestra (1926–1927). Third, it stages musical “theatres of madness,” juxtaposing descriptive listening accounts of Marta Ptaszyńska’s “Thorn Trees” from her Concerto for Marimba and Orchestra, to suggest a multidimensional approach to analysis that works with side-by-side encounters and the critical potential and desire for change.

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24

Boseman, Dr Mark Thomas. Mallets & Music: A Guide to Four Mallet Marimba. Mark Boseman Percussion, 2016.

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25

Hampton, Walt. Hot Marimba!: Zimbabwean Style Music for Orff Instruments. World Music Press, 1995.

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26

Marimba: Los tonos de la chonta. Quito, Ecuador: Petroecuador Empresa Estatal Petroleos del Ecuador, 2003.

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27

Kaptain, Laurence D. "The Wood That Sings": The Marimba in Chiapas, Mexico. Honeyrock, 1992.

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28

Classic Mallet Trios 4 Classics Arranged For Marimba And Vibraphone. Alfred Publishing Co., Inc., 2011.

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29

Breuer, Harry. Harry Breuer's Ragtime Solos: 5 Solos for Xylophone, Marimba or Vibes. MEREDITH MUSIC, 2007.

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30

Cirone, Anthony. The Sonata: Solo Music for Marimba and Piano (Music of the Masters). Warner Bros Pubns, 1995.

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31

Zeltsman, Nancy. Four-Mallet Marimba Playing: A Musical Approach for All Levels. Hal Leonard Corporation, 2003.

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32

Maya Achi Marimba Music In Guatemala (Studies in Latin American and Caribbean Music). Temple University Press, 2005.

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33

Pellicer, Sergio Navarrete. Maya Achi Marimba Music In Guatemala (Studies in Latin American and Caribbean Music). Temple University Press, 2005.

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34

Marimba Master Class On Reflections On The Nature Of Water Music By Jacob Druckman With Daniel Druckman. Meredith Music Publications, 2012.

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35

Boutin, Aimée. Aural Flânerie. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0002.

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This chapter establishes that scholarly approaches to flâneurs have downplayed the broader impact of the urban experience on the senses and underappreciated their aural acuity. From the type's early formulations by Honoré de Balzac, Auguste de Lacroix, and Victor Fournel, the flâneur is attuned to city sounds, and flâneur-writing arranges them to portray the city as concert. The art of flânerie consists of transforming the empirical confusion of city sounds into a unified musical composition. As the clamor of the streets promoted selective hearing, street musicians were targeted as major contributors to the city as concert. Close readings of verbal and visual sketches by Delphine de Girardin, Maria d'Anspach, Bertall, and Old Nick show that class-biased ideas about concert music influenced their often humorous reactions to street noise; nevertheless, the neurasthenic bourgeois ear was often less than receptive to the intrusive noise of foreign street performers. In contrast, Victor Fournel waxed enthusiastic about the people's love of music. A close reading of his Ce qu'on voit dans les rues de Paris makes sense of his distinctive appreciation for street music.

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