Journal articles: 'Concertos (Marimba) Marimba music'

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Goad, Pamela J., and Douglas H. Keefe. "Timbre Discrimination of Musical Instruments in a Concert Hall." Music Perception 10, no. 1 (1992): 43–62. http://dx.doi.org/10.2307/40285537.

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The effects of musical context and musical instrument characteristics on timbre discrimination in a concert hall were examined. Isolated tones and six-tone melodies were recorded in two different locations of a concert hall using five musical instruments. Each trial consisted of either a pair of tones, or a pair of melodies, which had been recorded simultaneously at the two locations on the same instrument. No significant differences were found between responses for isolated tones and responses for melodies. Musical instrument characteristics did prove to be significant, with listeners best able to discriminate flute tones, followed in order by clarinet, trumpet, viola, and marimba. In a follow-up analysis, five physical attributes of each instrument were tested for their contribution to the predictability of the discrimination scores. Variance with respect to the mean power level of the sustained portion of a tone was found to be the dominant contributor of the total variance of subjective responses, and this implicates differences in the early reflection sequence of the room impulse response as a contributor to timbral discrimination.

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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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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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Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (January 2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.

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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.

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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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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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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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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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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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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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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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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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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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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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Scruggs, T. M. "Cultural Capital, Appropriate Transformations, and Transfer by Appropriation in Western Nicaragua: "El baile de la marimba"." Latin American Music Review / Revista de Música Latinoamericana 19, no. 1 (1998): 1. http://dx.doi.org/10.2307/780253.

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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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Dahl, Sofia, and Anders Friberg. "Visual Perception of Expressiveness in Musicians' Body Movements." Music Perception 24, no. 5 (June 1, 2007): 433–54. http://dx.doi.org/10.1525/mp.2007.24.5.433.

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MUSICIANS OFTEN MAKE GESTURES and move their bodies expressing a musical intention. In order to explore to what extent emotional intentions can be conveyed through musicians' movements, participants watched and rated silent video clips of musicians performing the emotional intentions Happy, Sad, Angry, and Fearful. In the first experiment participants rated emotional expression and movement character of marimba performances. The results showed that the intentions Happiness, Sadness, and Anger were well communicated, whereas Fear was not. Showing selected parts of the player only slightly influenced the identification of the intended emotion. In the second experiment participants rated the same emotional intentions and movement character for performances on bassoon and soprano saxophone. The ratings from the second experiment confirmed that Fear was not communicated whereas Happiness, Sadness, and Anger were recognized. The rated movement cues were similar in the two experiments and were analogous to their audio counterpart in music performance.

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Broughton, Mary C., Emery Schubert, Dominic G. Harvey, and Catherine J. Stevens. "Continuous self-report engagement responses to the live performance of an atonal, post-serialist solo marimba work." Psychology of Music 47, no. 1 (November 27, 2017): 109–31. http://dx.doi.org/10.1177/0305735617736378.

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Repetition of musical sections, tempo, and physical sound intensity associate strongly with listeners’ affective responses to tonal music in controlled laboratory studies. What contribution might repetition, temporal and acoustic variables make to observers’ responses where music lacks a diatonic tonal structure, an obvious beat, and is performed live? The present study investigates relationships between musical repetition (motivic cells and phrases), note density (sequentially occurring), and intensity with observers’ continuous self-report ratings of engagement with an unfamiliar, atonal post-serialist solo marimba work performed live. Following training, 19 audience members continuously self-reported engagement on a bi-polar, one-dimensional scale using the portable Audience Response Facility. Note density and intensity contributed significantly (or explained variance) to observer engagement with the performance. Contrary to expectation, the repetition variables did not contribute significantly. Controlling serial correlation using a new modelling approach based on Box–Jenkins ARIMA transfer modelling, density emerged as the prime contributor to observer engagement. A single performance appeared to provide observers with insufficient exposure to understand and respond to the structure of atonal music. Note density potentially enabled observers to segment the musical surface and develop some structural understanding, possibly underpinned by stimulus-driven entrainment processes shaping attentional behaviour and musical expectations.

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Palacios, Fernando. "ARRULLOS, CHIGUALOS AND ALABAOS: TRADITIONAL AFRO-ESMERALDENIAN MUSIC IN ECUADOR." African Music: Journal of the International Library of African Music 11, no. 2 (November 22, 2020): 119–40. http://dx.doi.org/10.21504/amj.v11i2.2317.

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In this article I examine traditional Afro-Esmeraldenian music as manifested in religious and spiritual contexts. I discuss the repertoire’s formal musical aspects and its associated factors. I argue that the traditional music of the Afro-Esmeraldenian community is evidence of a performance culture that has taken on the characteristics of first nation Americans and Spanish colonisers, while retaining a distinct African identity mostly in the musical instruments such as the marimba, rattles and drums, in the polyrhythms and in the distinctive responsorial singing. )e religious sphere is a fundamental and representative space for understanding the cosmovision and symbolism of the Afro-Esmeraldenians, a population located on Ecuador’s northern Pacific coast, originally settled during forced migration of Africans to America between the sixteenth and nineteenth centuries. Here, traditional musical practices have survived through generations and reflects the importance of the spiritual world for this cultural group. In addition, it is likely that the religious sphere has contributed significantly to the validity and durability of the Afro-Esmeraldenian musical repertoire and the instruments making up the traditional ensemble.

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Broughton, Mary C., and Catherine J. Stevens. "Analyzing Expressive Qualities in Movement and Stillness: Effort-Shape Analyses of Solo Marimbists' Bodily Expression." Music Perception 29, no. 4 (April 1, 2012): 339–57. http://dx.doi.org/10.1525/mp.2012.29.4.339.

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laban movement analysis, specifically effort-shape analysis, is offered as a system to study musicians' bodily expression. It proposes others' intentions are manifest in expressive bodily activity and understood through shared embodied processes. The present investigation evaluates whether the basic components of Laban analysis are reflected in perceptual judgments of recorded performances and, specifically, evaluates interjudge reliability for effort-shape analysis. Sixteen audio-visual excerpts of marimba pieces performed by two professional solo marimbists' (female and male) served as stimuli. Effort-shape analyses and interjudge reliability thereof were assessed through three different tasks: 1) verification task, 2) independent analysis task, 3) signal detection yes/no task. Professional musicians — two percussionists, a violinist, and a French hornist — acted as participants. High interjudge reliability was observed for transformation drive and shape components, but less so for basic effort action components. Mixed interjudge reliability results for basic effort actions, and differences between frequency observations, point to differences in participant's embodied expertise, task implementation, and training issues. Effort-shape analysis has potential to drive comparative and predictive research into musicians' bodily expression. Effort-shape provides a fine-grain temporal analysis of ecologically valid performance sequences.

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Buana, Utari Arsy. "BENTUK PENYAJIAN LAGU OEMAR BAKRIE DI MARCHING BAND SWATAMI PADA GEBYAR PENDIDIKAN NASIONAL KABUPATEN LABUHANBATU UTARA." Grenek Music Journal 7, no. 1 (January 3, 2018): 92. http://dx.doi.org/10.24114/grenek.v7i1.8790.

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The results showed that one form of emotional expression that is channeledthrough the music and therefore, the group marching band Swatami onarranemen songs Oemar Bakrie brought by Marching band Swatami using threecategories of instrument, namely: instrument Percussion in tone (Glockenspiel,vibraphone, Xylophone, Marimba), brass instruments (trumpet, Mellophone,Baritone, Tuba), and percussion (Senar drum, tenor drum, bass drum, cymbals).Choosing songs Omar bakrie for in the arrangements with the shape Marchingband. Bakrie Oemar tempo songs using 163 has 51 bars and has two variations ofthe melody, the melody forms A and B. Form benuk melodic presentation of thesong sung by Oemar Bakrie Swatami Marching band is a form of selfappreciation for issuing arts talent. Using costumes and makeup of their pridethat seemed interesting and luxurious for a show. Using display / position playersmake this show the higher thevalue of his art.

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Weiss, Michael W., E. Glenn Schellenberg, and Sandra E. Trehub. "Generality of the Memory Advantage for Vocal Melodies." Music Perception 34, no. 3 (February 1, 2017): 313–18. http://dx.doi.org/10.1525/mp.2017.34.3.313.

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Children and adults, with or without music training, exhibit better memory for vocal melodies (without lyrics) than for instrumental melodies (Weiss, Schellenberg, Trehub, & Dawber, 2015; Weiss, Trehub, & Schellenberg, 2012; Weiss, Trehub, Schellenberg, & Habashi, 2016; Weiss, Vanzella, Schellenberg, & Trehub, 2015). In the present study, we compared adults’ memory for vocal and instrumental melodies, as before, but with two additional singers, one female (same pitch level as the original female) and one male (7 semitones lower). In an exposure phase, 90 participants (M = 4.1 years training, SD = 3.9) rated their liking of 24 melodies—6 each in voice, piano, banjo, and marimba. After a short break, they heard the same melodies plus 24 timbre-matched foils (6 per timbre) and rated their recognition of each melody. Recognition was better for vocal melodies than for melodies in every other timbre, replicating previous findings. Importantly, the memory advantage was comparable across voices, despite the fact that liking ratings for vocal melodies differed by singer. Our results provide support for the notion that the vocal advantage in memory for melodies is independent of the idiosyncrasies of specific singers or of vocal attractiveness, arising instead from enhanced processing of a biologically significant timbre.

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Broughton, Mary, and Catherine Stevens. "Music, movement and marimba: an investigation of the role of movement and gesture in communicating musical expression to an audience." Psychology of Music 37, no. 2 (April 2009): 137–53. http://dx.doi.org/10.1177/0305735608094511.

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Dorris, Jennie, and Juleen Rodakowski. "Developing a Spatial-Skills-Focused Music Program for Older Adults With Changes in Cognition." Innovation in Aging 4, Supplement_1 (December 1, 2020): 291–92. http://dx.doi.org/10.1093/geroni/igaa057.934.

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Abstract Older adults with cognitive changes need stimulating programming to maximize their cognitive abilities. One area to maximize includes spatial skills, its decline can lead to disorientation and wandering. Music has potential to maximize spatial skills: reading music’s notation is associated with enhanced spatial skills in children and professional musicians. It’s critical to understand the potential impact of a spatially focused music program for older adults with changing cognition; if successful, future music programs could support people staying orientated in their environments and living independently longer. We developed and assessed a six-week marimba program focused on reading music with 15 older adults ages 65-89 with changes in cognition. We compared their scores on the Orientation Test from the Test of Visual Perceptual Skills pre- and post-intervention and assessed if participants self-selected to read music notation. Participants scored an average Modified Mini Mental State Examination (3MSE) score of 81.3 (SD = 11.0). On average, participants’ scores on the Orientation Test moved from 13.4 (SD =1.9) to 14.1 (SD= 2.7), providing a cohen’s d effect size of 0.3. Over the six weeks, 11 out of the 15 participants selected to read music for at least one class, indicating a statistically significant change using the Wilcoxon signed-rank test (Z = -3.16, p < 0.01), suggesting that older adults with cognitive changes may be able to learn to read music. This is important, as a spatially focused music program may maximize spatial skills that older adults need to successfully navigate their world safely and independently.

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HELLIER-TINICO, RUTH. "Sergio Navarrete Pellicer, Maya Achi Marimba Music in Guatemala (Philadelphia, PA: Temple University Press, 2005), pp. viii+276, £52.00, £16.00 pb; $27.95 pb." Journal of Latin American Studies 39, no. 3 (July 26, 2007): 710–11. http://dx.doi.org/10.1017/s0022216x07003173.

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Uljasz, Adrian. "Dokumenty życia społecznego z kolekcji księgarza Mariana Krzyżanowskiego jako źródło do badań nad życiem muzycznym oraz teatralnym Krakowa i Warszawy w XIX i XX wieku." Rocznik Biblioteki Naukowej PAU i PAN 64 (2019): 115–29. http://dx.doi.org/10.4467/25440500rbn.19.007.14150.

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From the Collection of the Bookseller Marian Krzyżanowski as a Source of Research on the Musical and Theatrical Life of Cracow and Warsaw in the 19th and 20th Century Programs and posters of theatre performances and concerts, as well as similar prints, serve as a valuable source of research on the tradition of the theatrical and musical life of particular cities. The Scientific Library of the PAAS and the PAS in Cracow contains materials of this kind referring to cultural events in Cracow and Warsaw, which were collected by the Cracow bookseller, antiquarian and publisher Marian Krzyżanowski, a son of the Cracow bookseller and publisher Stanisław Andrzej Krzyżanowski. These are posters from classical music concerts, theatrical programs and invitations. The documents were prepared in the years 1884–1955. A large part of them is the documentation of the activity of the concert office run by Stanisław Krzyżanowski beside the bookshop from 1870. These prints are analysed in the paper. The overview of social life documents was preceded by information about Stanisław Andrzej Krzyżanowski and his son Marian and their activity in such fields as the animation of musical culture.

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Trawick, Eleanor F., and Barbara Kolb. "Millefoglie for Instruments [Oboe, Assisting Oboe (Flute, Optional), B-Flat Clarinet, B-Flat Bass Clarinet (Doubling B-Flat Clarinet, Optional), Trombone, Perc. (2 Players-Vibraphone and Marimba), Harp, Cello] and Computer-Generated Tape (1985, Revised Sept. 1987)." Notes 48, no. 2 (December 1991): 690. http://dx.doi.org/10.2307/942094.

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McBride, Jerry L. "Schattenklange: Drei Stucke fur Bassklarinette, and: Espace/Brume pour marimba et clarinette basse, and: Engage the Mountain: [For] Clarinet (Bass Clarinet) and Percussion (1 Player), and: "I've Shook My Fists at the Sky" (Meditation and Agitation): [For] Clarinet Solo (review)." Notes 57, no. 4 (2001): 1015–18. http://dx.doi.org/10.1353/not.2001.0099.

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Grandela del Rio, Julia. "Transición. Obras chilenas para marimba y vibráfono. CD." Revista musical chilena 61, no. 208 (December 2007). http://dx.doi.org/10.4067/s0716-27902007000200011.

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Supeno, M. Yoga. "Komposisi Kala." Resital: Jurnal Seni Pertunjukan 13, no. 1 (November 2, 2013). http://dx.doi.org/10.24821/resital.v13i1.514.

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Komposisi ini merupakan representasi dari sebuah perubahan pola pikir manusia yang dari zaman ke zaman selalu bergerak maju. Kala yang berarti waktu merupakan refl eksi garis panjang sejarah dari terbentuk dan berkembangnya peradaban pada masa lampau. Perkembangan waktu tersebut kemudian dijadikan tiga bagian waktu (prasejarah, sejarah, modern) untuk menggambarkan perubahan-perubahan yang terjadi pada setiap waktu khususnya di provinsi Lampung. Secara garis besar penyajian Kala adalah memadukan instrumen musik Barat dan etnis yang sebagian besar instrumen terdiri dari instrumen perkusi seperti marimba, vibraphone, xylophone, chime, drumset, bonang Sunda, cetik, rebana serta ditambah dengan instrumen melodis seperti akodion, biola, gambus, dan electric bass. Motif dan teknik permainan merupakan salah satu penggambaran dari ketiga zaman tersebut yang menghasilkan suasana liar, agamis, dan modernisasi dan bernuansa etnis Lampung dan Melayu.Kata kunci: Kala/waktu, sejarah Lampung.ABSTRACTThe Kala Music Composition. This composition is a representation of a human mindset change which is alwaysmoving forward from time to time. Kala which means time is a refl ection of a history starting from when the history andthe civilization were formed and developed in the past. Then, the time development is divided into a three-part time(prehistory, history, modern) to describe the changes that may occur at any time, especially in the province of Lampung.Basically, the presentation of Kala is combining the western and ethnic musical instruments that most of the them consistof percussion instruments such as marimba, vibraphone, xylophone, chime, drum set, bonang Sunda, cetik, tambourines, and melodic instruments such as accordion, violin, harp, and electric bass. The motive and technique of the performance is one of the three depictions of the era that produces the wild and religious atmosphere, modernization, and that is nuanced by Lampung and Malay ethnics.Keywords: Kala /time, history of Lampung

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Savery, Richard, Lisa Zahray, and Gil Weinberg. "Before, Between, and After: Enriching Robot Communication Surrounding Collaborative Creative Activities." Frontiers in Robotics and AI 8 (April 29, 2021). http://dx.doi.org/10.3389/frobt.2021.662355.

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Research in creative robotics continues to expand across all creative domains, including art, music and language. Creative robots are primarily designed to be task specific, with limited research into the implications of their design outside their core task. In the case of a musical robot, this includes when a human sees and interacts with the robot before and after the performance, as well as in between pieces. These non-musical interaction tasks such as the presence of a robot during musical equipment set up, play a key role in the human perception of the robot however have received only limited attention. In this paper, we describe a new audio system using emotional musical prosody, designed to match the creative process of a musical robot for use before, between and after musical performances. Our generation system relies on the creation of a custom dataset for musical prosody. This system is designed foremost to operate in real time and allow rapid generation and dialogue exchange between human and robot. For this reason, the system combines symbolic deep learning through a Conditional Convolution Variational Auto-encoder, with an emotion-tagged audio sampler. We then compare this to a SOTA text-to-speech system in our robotic platform, Shimon the marimba player.We conducted a between-groups study with 100 participants watching a musician interact for 30 s with Shimon. We were able to increase user ratings for the key creativity metrics; novelty and coherence, while maintaining ratings for expressivity across each implementation. Our results also indicated that by communicating in a form that relates to the robot’s core functionality, we can raise likeability and perceived intelligence, while not altering animacy or anthropomorphism. These findings indicate the variation that can occur in the perception of a robot based on interactions surrounding a performance, such as initial meetings and spaces between pieces, in addition to the core creative algorithms.

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Journal articles on the topic 'Concertos (Marimba) Marimba music'

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