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Journal articles on the topic 'Marimba'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

Maguraushe, Wonder. "Dissemination of Marimba Performance Skills through Workshops: The Case of Rimba Resonance Vibes Ensemble." PAN African Journal of Musical Arts Education 2, no. 1 (2024): 21–31. http://dx.doi.org/10.58721/pajmae.v2i1.611.

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The Zimbabwe Marimba music performance has been disseminated both locally and globally, transcending national barriers since the Kwanongoma marimba was designed in Bulawayo in the 1960s at the United College of Education. There has been a phenomenal rise in marimba performance activities in Europe and America, while there is relative calm in Zimbabwe where the marimba was designed. This study chronicles my role in the dissemination of marimba performance within Zimbabwe with Rimba Resonance Vibes Ensemble from an insider perspective. The lull in local activity is largely due to the country’s s

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3

Maguraushe, Wonder. "Autoethnographic Memoirs of Rimba Resonance Vibes Ensemble Festival Performances." PAN African Journal of Musical Arts Education 2, no. 1 (2024): 32–43. http://dx.doi.org/10.58721/pajmae.v2i1.419.

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Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnog

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4

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, tradis

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Putra, Toni Rahmat, Ferry Herdianto, and Hafif HR. "PENYAJIAN SOLIS MARIMBA REPERTOAR WINTER ANTONIO VIVALDI, NOCTURNE IN C SHARP MINOR FREDERIC CHOPIN." Laga-Laga : Jurnal Seni Pertunjukan 7, no. 1 (2021): 57. http://dx.doi.org/10.26887/lg.v7i1.1534.

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This article about percussion music performances in marimba playing techniques as an instrument presented by solis. presenting two repertoires namely Winter (L'Inverno) created by Antonio Vivaldi from the Baroque era in the 18th century, presented in the form of a marimba solis performance and a second repertoire of a by Frederic Chopin, Nocturne In C Sharp Minor in the Romantic era presented in Solis Marimba with accompaniment Ensamble of strings. The two repertoires presented have differences ranging from difficulty levels, styles, game techniquesABSTRAK Artikel ini memuat tentang pertunjuka

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6

Miao, Kangyi, and Pongsapich Kaewkulthorn. "Historical Development and Learning of Marimba in Chinese Educational Institutions." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 6 (2024): 553–62. http://dx.doi.org/10.60027/ijsasr.2024.5129.

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Background and Aim: The significance of the historical development and learning of the marimba in Chinese educational institutions lies in the evolutionary and developmental process of these institutions and the interesting nature of the learning process. It is necessary to study the introduction and learning process of the marimba. The aim is to explore the historical development and learning of the marimba in Chinese educational institutions. Materials and Methods: Qualitative research and content analysis were used, based on the principles of the historical development of the marimba, to co

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7

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

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8

Akmal, Muhammad Fauzan, Ferry Herdianto, and Yon Hendri. "Pertunjukan Musik Solis Marimba dan Ensambel Perkusi dengan Repertoar Concerto In E Minor For Solo Marimba, Can You Feel The Love Tonight, dan Journey To Deli (Marimba Solis Music Show and Percussion Ensemble with Repertoire Concerto In E Minor For Solo Marimba, Can You Feel The Love Tonight, and Journey To Deli)." Musica: Journal of Music 3, no. 1 (2023): 31. http://dx.doi.org/10.26887/musica.v3i1.3465.

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ABSTRAKRepertoar musik dari berbagai era seperti classic, popular dan melayu dikemas ke dalam sebuah pertunjukan solis marimba dengan menggunakan kaidah pertunjukan konvensional.Repertoar dalam pertunjukan ini terdiri dari repertoar berbagai era.Repertoar pertama dalam pertunjukan adalah repetoar era klasik yang berjudul Concerto in E minor For Solo Marimba dengan komposer Braedon Bomgardner.Repertoar kedua adalah Can You Feel The Love Tonight yang merupakan lagu popular animasi disney ciptaan Elton John. Repertoar terakhir dengan judul Journey To Deli karya dari Tengku Ryo Riezkan. Penyaji me

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9

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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10

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 (2019): 469–78. http://dx.doi.org/10.1080/09298215.2019.1657465.

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11

Atkinson, Sean. "Tonality in Steve Reich's Nagoya Marimbas." Music Theory and Analysis (MTA) 6, no. 2 (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

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Izmailov, A., V. Korotkov, and J. Riksiev. "THE ROLE OF ENSEMBLES IN AMERICAN MARIMBA PERFORMANCE ARTS." POLISH JOURNAL OF SCIENCE, no. 59 (February 14, 2023): 19–21. https://doi.org/10.5281/zenodo.7638347.

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As the popularity of keyboard percussion began to gain momentum in America, many colleges and universities of music adopted ensemble performance as a progressive means to expand the marimba program repertoire. The resumption of keyboard percussion production in the mid-1960s, combined with the adoption of ensemble performance in training programs, produced great results in musical performance on the marimba.

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Menezes, Alzenir Mendes Martins de, Jacky Maniacky, and Rosa Maria de Lima Ribeiro. "O bantuísmo `marimba': da percussão à feitiçaria // The bantuism `marimba': from percussion to witchcraft." PAPIA 29, no. 1 (2019): 41–72. https://doi.org/10.5281/zenodo.4095467.

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African contribution to the lexicon of the Brazilian Portuguese language have been a recurring theme in linguistics since the 19th century. Soares (1942), Mendonça (2012[1933]), Raimundo (1933), and Silva Neto (1950) developed important works considered pioneers of the genre. The 'Glossário de bantuismos brasileiros presumidos', by Angenot et al. (2013), includes the word `marimba' designating `musical instrument', `xylophone species' and `species of drum', recorded in three important dictionaries of the Portuguese language. We show that 'marimba'

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14

Feroz, Alifianez Mahardika, Ferry Herdianto, Fahmi Marh, and Ade Syahputra. "Performance of Concerto in B Minor By Oscar Rieding for Solo Marimba." Musica: Journal of Music 4, no. 1 (2024): 48. https://doi.org/10.26887/musica.v4i1.4425.

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The marimba solo performance featuring the composition Concerto in B Minor is a work by O. Rieding adapted for the marimba. Originally composed for the violin, this piece was released in November 1909 in Leipzig by the publishing company Bosworth & Co. The work consists of three movements: Allegro moderato, Andante, and Allegro moderato. The objective of this performance is to demonstrate the adaptation of this piece for the marimba, focusing on the application of arpeggio techniques and various expression marks such as piano, forte, crescendo, decrescendo, mezzo forte, ritardando, and a t

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15

López-Yánez, María Gabriela. "Representation and Difference." Revista Euro latinoamericana de Análisis Social y Político (RELASP) 3, no. 6 (2023): 191–216. http://dx.doi.org/10.35305/rr.v3i6.99.

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During the Atlantic slavery period enslaved and freed Africans and Afro-descendants populated principally two areas in Ecuador: the Chota-Mira valley (Imbabura and Carchi provinces) and the northern part of Esmeraldas province. Afrodescendants from these territories created two music and dance-based events; Bomba del Chota and Marimba Esmeraldeña. Since their arrival, Afro-descendants in Ecuador have had a history of dehumanization that continues until the present day. Based on the testimonies of the Marimberos and Bomberos included in this paper, archival compilation and fieldwork research, I

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16

Mendoza Yllescas, Cristhian Eduardo. "La técnica Stevens Grip aplicada en pasajes arpegiados de la Chacona en re menor BWV 1004 de Johann Sebastian Bach." Antec: Revista Peruana de Investigación Musical 7, no. 2 (2023): 215–29. https://doi.org/10.62230/antec.v7i2.206.

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La presente investigación analiza los dos pasajes con arpegios de la Chacona en re menor, desde el enfoque Stevens Grip. Se exponen los conceptos básicos sobre la aplicación y la ejecución de la técnica Stevens para las diferentes articulaciones y permutaciones en la marimba. De esa forma, se facilita la elección de digitaciones, dinámicas y articulaciones, solucionando las complicaciones del desplazamiento técnico en la marimba y dándole una visión más elaborada al intérprete sobre la pieza musical.

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17

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 (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 presente

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18

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

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

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20

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

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21

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

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22

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 (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 efficienc

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23

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 (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 Co

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Novaliano, Novaliano, Andranofa Andranofa, and Wilman Ismira Novatianus. "Teknik Permainan Solis Marimba dan Vibraphone pada Pertunjukan Concerto In F Mayor Autumn, Satellite Of Zapin, dan Exsplosive (Marimba and Vibraphone Solis Playing Techniques in Concerto In F Major Autumn, Satellite Of Zapin, and Explosive Performance)." Musica: Journal of Music 2, no. 1 (2022): 34. http://dx.doi.org/10.26887/musica.v2i1.2294.

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Jurnal ini bertujuan untuk memberikan gambaran mengenai pertunjukan solis marimba dengan menerapkan teknik-teknik permainan perkusi serta interpetasi sebagai seorang solis pada repertoar Concerto in F major Rv.293 op.8 no.3 Autumn (L'Autumno) karya Antonio Lucio Vivaldi, Satellite Of Zappin karya dari grup musik melayu Riau Rhythm Chambers dan Exsplosive karya Tonci Huljic yang dipopularkan oleh Bond. Adapun teknik-teknik yang dipakai dalam penyajian karya-karya tersebut antara lain; single stroke, double stroke, pengungkapan ekspresi dan dinamika. Metode yang penyaji gunakan dalam artikel ini

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

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Yasui, Nozomiko, and Masanobu Miura. "Procedure for calculating fluctuation strength for marimba tremolo." Acoustical Science and Technology 44, no. 3 (2023): 210–17. http://dx.doi.org/10.1250/ast.44.210.

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Izmailov, A., S. Kasimova, V. Korotkov, and J. Riksiev. "ROLE AND SIGNIFICANCE OF ENSEMBLES COMPOSED OF A GROUP OF PERCUSSION INSTRUMENTS IN THE PERFORMING ARTS." Znanstvena misel journal, no. 74 (January 24, 2023): 38–40. https://doi.org/10.5281/zenodo.7565370.

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Within the framework of this article, we will try to highlight the features of performance in an ensemble, in classes in the class of percussion instruments (xylophone, marimba), and familiarize with the forms of educational work.

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Freitas, Rosana Carvalho Cardoso de. "Efeitos da música instrumental na ativação das emoções básicas de Robert Plutchik." Uningá Review 40 (April 24, 2025): eURJ4666. https://doi.org/10.46311/2178-2571.40.eurj4666.

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O objetivo deste estudo foi investigar as emoções básicas propostas por Robert Plutchik e o timbre de instrumentos de quatro famílias instrumentais (cordas, eletrofone, percussão e sopro), sem o isolamento de qualquer outra dimensão do som, considerando que estudos prévios salientam a relevância do timbre para a percepção das emoções. Em quatro encontros, 38 participantes em média, de um total de 67, entre 16 e 71 anos e de ambos os sexos, ouviram uma hora de música instrumental solo e preencheram, a posteriori, um questionário que continha as oito emoções básicas, além de compartilharem suas

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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 (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 epistem

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Bilgiç, Gökay, and İsmail Gürkan Metin. "Marimba’nın Tarihi ve Gelenekselden Modern Müziklere Evrimi." Trakya Üniversitesi Sosyal Bilimler Dergisi 27, no. 1 (2025): 149–61. https://doi.org/10.26468/trakyasobed.1652773.

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Marimba, kökenleri yüzyıllar öncesine dayanan ve gelenekselden moderne uzanan, geniş bir müzikal yolculuğa sahip vurmalı bir çalgıdır. Afrika ve Orta Amerika’daki kültürel mirastan beslenen çalgı, zamanla yapısal ve teknik açıdan gelişerek günümüz müzik dünyasında önemli bir yer edinmiştir. Geleneksel müziklerde ritim ve ezginin temel bir unsuru olarak kullanılan marimba, 20. yüzyıldan itibaren klasik müzik, caz ve çağdaş bestecilerin eserlerinde kendine yeni ifade alanları bulmuştur. Bu çalışmada, marimbanın tarihsel kökenlerinden başlayarak, geleneksel müzikteki yeri ve modern müzik sahnesin

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31

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 (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 (200

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Solis, Ted, and Laurence D. Kaptain. ""The Wood That Sings": The Marimba in Chiapas, Mexico." Notes 51, no. 1 (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 (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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Borland, K. "Marimba: Dance of the Revolutionaries, Dance of the Folk." Radical History Review 2002, no. 84 (2002): 77–108. http://dx.doi.org/10.1215/01636545-2002-84-77.

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Федусова, А. А., та К. Цюй. "«Marimba d’Amore» К. Абэ: французский росток на японской почве". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 1(76) (3 квітня 2025): 24–33. https://doi.org/10.26086/nk.2025.76.1.004.

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Предметом исследования является произведение «Marimba d’Amore» (1998) японского композитора и маримбистки Кейко Абэ (род. в 1937). Основанное на теме старинного французского романса Ж.-П. Мартини (1784), оно демонстрирует оригинальную адаптацию первоисточника к японской музыкальной эстетике. Цель статьи состоит в выявлении специфики композиторского подхода К. Абэ, а именно принципов творческого переосмысления чужого материала в аспекте диалога французской и японской культурных традиций. В контекст исследования помимо первоисточника и оркестровой версии романса Г. Берлиоза вводится песня «Sur u

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Bleibinger, Bernhard. "The intangible side of tangible objects: Marimba making from Bagamoyo to Germany / Die immaterielle Seite greifbarer Objekte: Marimba-Bau von Bagamoyo bis Deutschland." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 9, no. 2 (2023): 115–38. http://dx.doi.org/10.14361/zkmm-2023-0205.

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

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40

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 (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 (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 (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 (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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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 (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 w

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Maguraushe, Wonder. "Midlands State University visiting music students’ experiences of using netnography to learn marimba performance." Journal of Research and Academic Writing 1, no. 1 (2024): 31–39. http://dx.doi.org/10.58721/jraw.v1i1.465.

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This paper builds upon the uptake of digital learning platforms as a method of tutoring visiting music students taking music practical courses. Evaluating the development and spread of netnography, this paper explores the experiences of a new scientific method in disseminating/learning practical musical instrument playing skills from a distance. This qualitative study examines lecturer-student interactions to investigate digital technology mediated interaction as a platform for enhancing visiting music students’ marimba performance competencies away from campus. The study employs an Afro-centr

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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 (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 grou

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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 (1996): 2779. http://dx.doi.org/10.1121/1.416431.

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