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Relevant bibliographies by topics / Keiko Abe

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Academic literature on the topic 'Keiko Abe'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Keiko Abe"

1

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 (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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2

KANO, Mayuko, Noriko SUDO, Ayumi YANAGISAWA, et al. "Validity of The Minimum Dietary Diversity for Women of Reproductive Age (MDD-W) in Rural Rwanda." Japanese Journal of Health and Human Ecology 83, no. 5 (2017): 150–62. http://dx.doi.org/10.3861/kenko.83.5_150.

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3

허지향. "Abe Yoshishige's Study and Reality: An Analysis Based on His Lecture "Philosophy, History of Philosophy" at Keijo Imperial University." DAEDONG MUNHWA YEON'GU ll, no. 100 (2017): 477–508. http://dx.doi.org/10.18219/ddmh..100.201712.477.

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4

"Variations on Japanese Children’s Songs (c.1982), by Keiko Abe (b. 1937)." College Music Symposium 56 (2016). http://dx.doi.org/10.18177/sym.2016.56.ca.11304.

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5

"Keiko Abe: a virtuosic life: her musical career and the evolution of the concert marimba." Choice Reviews Online 45, no. 01 (2007): 45–0199. http://dx.doi.org/10.5860/choice.45-0199.

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6

"Analysis of occupant's movements in collision using two-dimensional dynamic model Makoto Abe, Masaaki Morisawa (Musashi Institute of Technology), Takeshi B. Sato (Keiko Gijuku University), Toshiyuki Kato (Taiyo Yuden Co., Ltd.)." JSAE Review 18, no. 2 (1997): 195. http://dx.doi.org/10.1016/s0389-4304(97)85046-1.

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"Three-dimensional behavior of vehicle at offset Collision ? Computer simulation using dynamic model Makoto Abe, Masaaki Morisawa, Eiichi Kuboshima (Musashi Institute of Technology), Takeshi B. Sato (Keio Gijuku University)." JSAE Review 17, no. 4 (1996): 443. http://dx.doi.org/10.1016/s0389-4304(96)80571-6.

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8

"9540057 Influence of car suspension on the behavior of vehicle at side collision Makoto Abe, Masaaki Morisawa, Hiroaki Okada (Musashi Institute of Technology), Takeshi B. Sato (Keio Gijuku University)." JSAE Review 17, no. 1 (1996): 95. http://dx.doi.org/10.1016/0389-4304(96)83304-2.

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Dissertations / Theses on the topic "Keiko Abe"

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Silveira, Ricardo Jorge Castro Tavares Moreira da. "Keiko Abe e a Marimba Solista." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/18246.

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A percussionista japonesa Keiko Abe desempenhou um papel fundamental no desenvolvimento da marimba tal como a conhecemos hoje. A sua influência foi de tal maneira importante que podemos falar, claramente, de um pré- e de um pós- Keiko Abe. Para isso foi determinante a sua actividade em todas as áreas relativas ao instrumento, nomeadamente a criação de um reportório escrito especificamente para a marimba, a evolução e consolidação do instrumento físico enquanto veículo de transmissão musical e expressiva e, por fim, o desenvolvimento do recital de marimba solista. O objectivo último de todos estes processos foi o de permitir à marimba tornar-se num instrumento de concerto, ao nível de outros já instituídos na tradição musical europeia; ABSTRACT: Japanese percussionist Keiko Abe played a fundamental role in the development of the marimba as we know it today. This musician´s influence had such a degree of importance that we can clearly divide the history of the instrument in two parts: one before, and another after Keiko Abe. Abe´s activities in all areas concerning the instrument were crucial for this outcome. We speak, mainly, of the following: the creation of a body of repertoire written specifically for the marimba; the evolution and consolidation of physical aspects of the instrument in order to allow it to become a suitable vehicle of musical expression; and, last but not least, the development of the solo marimba recital. The goal of all these processes was to transform the marimba into a concert instrument, and one at the same level of other already established instruments in the concert world. NOTA: Esta tese tem um recital que não é possível colocar no repositório, deve consultar o documento presencialmente na biblioteca.

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2

Àlamo, Santos Juan Manuel. "A performance guide and theoretical study of Keiko Abe's Marimba d'amore and Prism rhapsody for marimba and orchestra." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9803.

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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/.

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Keiko Abe's contributions to the contemporary marimba repertoire have been a milestone in the development of the marimba as a solo concert instrument. Besides the creation of a new repertoire through commissions and her own compositions, Abe's contributions to the marimba include the improvement of the sound quality of the marimba and the establishment of the five octave instrument as the standard concert marimba. During the last four decades, Abe's compositions have been performed and studied worldwide and become standard literature for the marimba. Abe has written more than sixty compositions for marimba, including concertos, duets and solo pieces. The goal of this dissertation is to provide a comprehensive method for the performance and preparation of two major Keiko Abe's compositions, Marimba d'Amore composed by Abe in 1998 and Prism Rhapsody for Marimba and Orchestra composed in 1996. This dissertation will discuss theoretical as well as performance issues related to these two compositions. Each piece is discussed with regard to its distinctive compositional approach and inherent performances issues. In order to provide the reader an explanation of the compositional procedures used by Abe, specific directions for the performance and preparation of these two works are offered.

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Zator, Brian Edward. "A comparative analysis of Minoru Miki's Time for marimba and Concerto for marimba and orchestra." Thesis, connect to online resource. Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus, 2008. http://digital.library.unt.edu/permalink/meta-dc-9716.

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5

Baker, Jason. "The snare drum as a solo concert instrument an in-depth study of works by Milton Babbitt, John Cage, Dan Senn and Stuart Saunders Smith : together with three recitals of selects works by Keiko Abe, Daniel Levitan, Askell Masson, Karlheinz Stockhausen and others /." connect to online resource, 2004. http://www.library.unt.edu/theses/all/Dec2004/baker%5Fjason%5Fcolby/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2004.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 25, 2002, Mar. 10, 2003, Oct. 6, 2003, and Oct. 18, 2004. Includes bibliographical references (p. 54-55).

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Baker, Jason Colby. "The Snare Drum as a Solo Concert Instrument: An In-Depth Study of Works by Milton Babbitt, John Cage, Dan Senn, and Stuart Saunders Smith, Together with Three Recitals of Selected Works by Keiko Abe, Daniel Levitan, Askell Masson, Karlheinz Stockhausen, and Others." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4721/.

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This dissertation discusses the potential of the snare drum as a solo concert instrument. Four pieces from a collection entitled The Noble Snare are used for demonstration ("Homily" by Milton Babbitt, "Composed Improvisation for Snare Drum" by John Cage, "Peeping Tom" by Dan Senn, and "The Noble Snare" by Stuart Saunders Smith). In the absence of many traditional musical devices (i.e. melody and harmony), alternative means of expression are used by the composer. Each piece is discussed with regard to its distinctive compositional approach and inherent performance issues. Information is also given pertaining to the background of the Noble Snare series. This includes: the inspiration for the project, editorial issues, and its influence on snare drum performance. Much of this research was completed through interviews by with author with Sylvia Smith, publisher of The Noble Snare and owner of Smith Publications.

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7

Donovan, John McKee. "A study of the works From My Little Island: Folk Song by Robert Aldridge, Nagoya Marimbas by Steve Reich, Ti Mon Bo by Tito Puente, Trio Per Uno by Nebojsa Zivkovic, Wind in the Bamboo Grove by Keiko Abe, Eight Pieces for Four Timpani: VIII. March by Elliott Carter, Douze Études: No. 9 by Jacques Delécluse, Prelude to a Dream by Bryce Craig, Birifor Funeral Repertoire, Log Cabin Blues by George Hamilton Green." Kansas State University, 2017. http://hdl.handle.net/2097/35422.

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Master of Music<br>Department of Music, Theatre, and Dance<br>Kurt R. Gartner<br>This document is an analysis of the all of the pieces prepared for my master’s recital which was given on March 12, 2017 in Kirmser Hall on the campus of Kansas State University. I have analyzed these piece from both a theoretical and historical point of view. When programming a recital, especially a recital for a collegiate percussion student, it is important to have a diverse representation of percussion music to demonstrate a broad knowledge of music and technical ability.

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Lai, Wei-Tan, and 賴薇丹. "The Images of Marimba Works by Keiko Abe." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/356r9u.

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Cheng, Hsiang-Yao, and 鄭翔耀. "The Analysis and Version comparison of 《Prism》、《Conversation in the forest 1》by Keiko Abe." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/gp43ze.

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10

"The Common Voice from Japan: A Performance Guide and Examination of the Three Unaccompanied Marimba Pieces Performed by Keiko Abe on October 4th, 1968." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38615.

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abstract: ABSTRACT Torse III (1965) by Akira Miyoshi, Two Movements for Marimba (1965) by Toshimistu Tanaka, and Time for Marimba (1968) by Minoru Miki have remained “tour de force” pieces in the marimba repertoire since their inception nearly fifty years ago, yet they continue to present significant performance and interpretative issues to each new generation of marimbists. This document will serve as both a performance guide for advanced marimba performers, as well as provide insight into the aesthetic qualities that contribute to their lasting artistic significance. Each piece will receive a designated chapter discussing the historical context, technical challenges, and general performance practices. The author will also present a designated chapter discussing the three over-arching aesthetic characteristics found in all three pieces: the use of the entire range of the instrument, the use of extreme contrasting dynamics and timbre, and the use of a common harmonic language. Torse III, Two Movements, and Time were famously performed by Keiko Abe on her first classical marimba recital in 1968. This document will also help bring to light the enormous impact this recital had on the history of the marimba, as marimbists throughout the world today are forever indebted to Abe’s efforts.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2016

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Books on the topic "Keiko Abe"

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Kite, Rebecca. Keiko Abe: A virtuosic life : her musical career and the evolution of the concert marimba. GP Percussion, 2007.

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2

A performance guide and theorical study of keiko Abe`s Marimba d`Amore and Prism rhapsody for marimba and orchestra. ProQuest, 2008.

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3

1956-, Shinkawa Toshimitsu, and Bonoli Giuliano, eds. Nenkin kaikaku no hikaku seijigaku: Keiro isonsei to hinan kaihi. Mineruva Shobō, 2004.

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Book chapters on the topic "Keiko Abe"

1

Siwe, Thomas. "The Solo Percussionist—Center Stage." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0012.

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The virtuoso percussionist, though not unique to the twentieth century, began to appear on both professional and student recitals during the latter decades of the century. This chapter examines the solo literature written for the principal percussion instruments—timpani, xylophone, marimba, vibraphone—and multiple percussion, the latter term describing an array of dissimilar instruments that is novel to the twentieth century. The chapter portrays the evolution of composer Elliott Carter’s timpani solos and his use of metric modulation. Virtuoso artists, such as Vida Chenoweth, Keiko Abe, and others, composed and commissioned new works for keyboard percussion. Their collective efforts brought keyboard percussion to the forefront of the solo percussion literature. The eminent solo artist Evelyn Glennie commissioned over 200 solo works, many of them categorized as multiple percussion. The percussionist, once banished to the back of the orchestra, often appeared center stage by century’s end.

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