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Rozprawy doktorskie na temat „Marimba”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 lipca 2025

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1

Sokolov, Oleg. "Marimba - vývoj a současnost." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156081.

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The focus of my disseraion is to proces s essential information about the marimba. Due to the fact that there is putrid informaion available about the marimba in the Czech language, I decided to undertake the task of filling in this void with my thesis. The contents of the paper include a succinct and clear history of the musical instrument, followed by main information regarding the top marimba manufacturers, and most notable modern day performers. The work is divided into three major chapters , which are further divided into subsections , together with footnotes and video attachments at the
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Smith, Sarah E. "The development of the marimba as a solo instrument and the evolution of the solo literature for the marimba." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1114442870.

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deLise, Louis Anthony. "Marimba Rossa for marimba and orchestra [front for score matter]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19916.

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Music Composition<br>Ph.D.<br>ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical traditio
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deLise, Louis Anthony. "Marimba Rossa [dissertation]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19912.

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Music Composition<br>Ph.D.<br>ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical traditio
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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 compositi
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deLise, Louis Anthony. "Marimba Rossa [score I]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.

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Music Composition<br>Ph.D.<br>ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical traditio
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deLise, Louis Anthony. "Marimba Rossa [score II]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19952.

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Music Composition<br>Ph.D.<br>ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical traditio
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deLise, Louis Anthony. "Marimba Rossa [score III]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19970.

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Music Composition<br>Ph.D.<br>ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical traditio
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9

Denney, Ryan James. "Performing Bach's "Chaconne" on marimba." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10167524.

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<p> Johann Sebastian Bach&rsquo;s <i>Chaconne</i> is a staple of violin repertoire. Many instrumentalists have adapted it and many arrangements now exist, ranging from simplistic to complex. This paper provides various insights on how to perform the <i>Chaconne</i> on marimba. Comparing different adaptations, as well as analyzing performances by excellent musicians, helps give direction to my own interpretation. The <i>Chaconne</i> is a challenging undertaking for any instrumentalist, but this paper will shed light on how to perform Bach&rsquo;s great work successfully, on marimba. </p>
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10

Bodine, Gerald Bradley. "Concerto for Marimba and Orchestra." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186388.

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Concerto for Marimba and Orchestra is a twenty-two minute work cast in a traditional three movement concerto form. The basic harmonic/melodic materials are hexads and complementary hexads built on intervallic projections as propounded in Howard Hanson's Harmonic Materials of Modern Music. The opening movement is in double exposition form with a cadenza before the recapitulation. Marimba techniques used in the opening movement include chromatic thirty-second notes, mirrored octaves and single hand alternate sticking patterns. The form of the second movement is a rondo song form: a- b- a (invers
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11

Brenner, Helmut. "Marimbas in Lateinamerika historische Fakten und Status quo der Marimbatraditionen in Mexiko, Guatemala, Belize, Honduras, El Salvador, Nicaragua, Costa Rica, Kolumbien, Ecuador und Brasilien /." Hildesheim ; New York : Olms, 2007. http://catalog.hathitrust.org/api/volumes/oclc/124038198.html.

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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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13

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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14

Suen, Ming-Jen. "An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68050/.

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Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis
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15

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 es
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Teixeira, Mário Jorge Peixoto. "A interpretação da música japonesa para marimba." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/10717.

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Mestrado em Percussão<br>Actualmente a música japonesa tem uma importância no mundo inteiro, que não se pode ignorar, especialmente quando se trata de repertório para Marimba. Tendo como objectivo a realização do recital de música japonesa para Marimba com uma interpretação o mais autêntica quanto possível, a pesquisa realizada resultou no estabelecer de bases de conhecimento que podem guiar o intérprete ocidental na prossecução deste propósito. Para que se possa compreender o presente é necessário que conheçamos o passado, assim, numa primeira parte será dada uma breve perspectiva hi
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17

Davis, Adam Benjamin. "The Art of Marimba Articulation: A Guide for Composers, Conductors, and Performers on the Expressive Capabilities of the Marimba." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248483/.

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Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While th
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18

Hall, David Porter. "Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283817/.

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This dissertation and accompanying lecture recital explore the unique textural features in the works of Steven Mackey as exhibited in See Ya Thursday (1993).A rigorous formal, harmonic, and motivic analysis will highlight the compositional characteristics of textural structure and aural perspective that exist in the work. Illumination of these compositional elements can help to identify and minimize the technical complexities that exist within this piece for the performer. In addition, this document provides brief biographical information on Steven Mackey and his works, and on See Ya Thursday
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Bissell, Paul. "The alabados song." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035941.

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Sammons, Mike. "A Performance Guide to Áskell Másson's Marimba Concerto." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194541.

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The purpose of this document is to assist in both the performer’s preparation and performance of Áskell Másson’s Marimba Concerto for orchestra through an understanding of the thematic material, which the work is founded. This author believes that an understanding of the formal structure and thematic development of the concerto is essential to realizing a musical performance. Background information on Áskell Másson, including a brief biography and discussion of compositional style and output, are provided to further enhance the understanding and performance of the concerto. Also included is a
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21

Sulpicio, Eliana Cecília Maggioni Guglielmetti. "O desenvolvimento da técnica de quatro baquetas para marimba: dos primórdios às primeiras composições brasileiras." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-16032012-143314/.

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Com o intuito de responder a diversas indagações, esta tese objetiva traçar em um plano cronológico os caminhos percorridos pela marimba desde os primórdios na história até as primeiras composições brasileiras na década de setenta. Apresentamos para isso um panorama deste processo, procurando elucidar aspectos do desenvolvimento da técnica de quatro baquetas em obras solistas ou em grupo de câmara, bem como os desdobramentos da escrita para o instrumento. Ao Divertimento para Marimba e Orquestra de Cordas de Radamés Gnattali, por se tratar do primeiro concerto brasileiro para marimba, são apli
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Nop, Patrik. "Inovace barvy marimby pomocí nových kamenů, rezonátorů a přidáním virtuálních rejstříků." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2019. http://www.nusl.cz/ntk/nusl-400856.

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This diploma thesis focuses on suitable innovation of musical instrument marimba. The chosen problem has been verified by three optoins: new bars, new resonators, virtual registers. The work provides an analysis of the whole issue with verification of some samples and their inclusion or exclusion for further use in the research.
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Varner, Michael L. "An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2262/.

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Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth
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Porter, Joe. "A new six-mallet marimba technique and its pedagogical approach." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Music, c2013, 2013. http://hdl.handle.net/10133/3364.

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This thesis presents a six-mallet technique developed by the author along with a pedagogical guide teaching that technique. Included in the thesis are the following components: 1) a DVD which demonstrates how to learn the technique, with performances of significant compositions for six mallets; and 2) a pedagogical survey of recommended works written for six mallets on a scale from relatively simple to highly complex, giving students a repertoire of pieces from which they can develop six-mallet marimba technique.<br>viii, 80 leaves : col. ill. ; 29 cm
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Maltese, Casey N. "A Performance Guide of Selected Works for Horn and Mallet Percussion." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/527.

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Since its early development in the 16th century, chamber music has had an extensive evolution. In recent years as composers have become more experimental concerning instrumentation in chamber music settings, many have began to combine wind instruments with percussion, thus creating a new genre. Even more specific genres have evolved from these happenings in chamber music, such as the duo of a solo wind instrument paired with a mallet percussion instrument. The horn, an important and diverse figure amongst the chamber music literature, has been no exception to this development. There has bee
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26

Waldrop, Michael Van. "Alec Wilder's Music for Marimba :a Performance Guide, a Lecture Recital, Together With Three Recitals of Selected Works of G. Stout, N. Zivkovic, D. Erb, W. Kraft, K. Abe, W. Penn and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038789/.

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The intent of this dissertation is to provide a reference guide for any prospective performer of Alec Wilder's four works for marimba: Suite for Solo Guitar (1976), Suite for Trumpet and Marimba (1977), Suite for Flute and Marimba (1977), and Sextet for Marimba and Wind Quintet (1977). The first part of the dissertation provides background information pertaining to Wilder himself, the works for marimba, and theoretical aspects of Wilder's music. The second part addresses specific performance problems contained in the music. The dissertation culminates with the presentation of a performance ed
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27

Vieira, Fernanda Vanessa. "Transcrição para marimba e estudo interpretativo de dois tangos brasileiros de Ernesto Nazareth = Transcript for marimba and interpretive study of two tangos brazilian of Ernesto Nazareth." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284382.

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Orientador: Fernando Augusto de Almeida Hashimoto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T05:48:03Z (GMT). No. of bitstreams: 1 Vieira_FernandaVanessa_M.pdf: 1850340 bytes, checksum: 45916d23e482276ef0ac554ed52f2ae3 (MD5) Previous issue date: 2012<br>Resumo: A presente dissertação tem como principais objetivos: 1. descrever e discorrer sobre a transcrição de tangos brasileiros para marimba; e 2. realizar um estudo interpretativo sobre os mesmos. Para isto foram utilizadas as músicas Rayon d'Or (1892) e Garot
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28

Drude, Matthias. "Musik für Holzinstrumente (2010)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61532.

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Ensemblestück für Oboe, Klarinette, Fagott, Marimba, 2 Violinen, Viola, Violoncello und Kontrabass. Das in freier Tonalität gehaltene Werk orientiert sich an der Sonatensatzform. Aufführungsdauer: 8\'20\".
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29

Bengtsson, Henrik. "”Hur 17 ska jag öva?” : En studie om olika tillvägagångssätt för övning för slagverkare." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37021.

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Syftet med studien är att utforska hur några utvalda tillvägagångssätt för lärande, förmedlade av ledande slagverkare och slagverkslärare, används av och fungerar för en lärarstudents instudering av ett musikverk. Dessa tre tillvägagångssätt användes för att studera in Concerto for marimba and strings av Emanuel Sejourné.  Ljudinspelningar och loggbok låg till grund för analysen om vad som fungerade bra för mig i min egen övning och hur jag upplevde de olika metoderna under pågående övning. I resultatet framkommer att framförallt trivselfaktorn är en bidragande orsak till ett lyckat övande. An
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Landqvist, Simon. "Att arrangera pianomusik för marimba : Claude Debussy, Reflets dans l'eau." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3467.

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Wilkes, Christina Faye 1967. "A performer's guide to the marimba music of Daniel McCarthy." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290664.

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This document examines the marimba music of Dr. Daniel W. McCarthy. The focus is on his compositional techniques, his musical style, and his innovative textural and technical uses of the marimba as represented in the compositions: Rimbasly (1990), Concerto for Marimba, Percussion and Synthesizers (1992), Chamber Symphony for Marimba and Winds (1993), and Song of Middle Earth (1995). This discussion is directed toward the advanced marimba performer. Chapters one and two present a biography and a discussion of McCarthy's compositional style and technique--with focus on his compositional use of f
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32

Lyons, Gregory A. "Daniel Levitan: An Examination of his Compositional Approach with an Analysis of Marimba Four Hands." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299681039.

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Armstrong, Joshua Kyle. "Marimba Duo Transcriptions: Expanding the Western Art Music Tradition for Percussionists." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306927.

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The transcription was an integral part of the marimba repertoire for many years. However, the range and technical advancements of the time limited the transcription process. Often the marimba part would consist of the melody while a piano would be utilized to fill in the accompaniment and notes not able to be performed by the marimbist. The marimba and piano share many similarities that allow for successful transcriptions between the two instruments. This document focuses on the transcription of eighteenth- and nineteenth-century keyboard music for the marimba duo setting. It is the opinion of
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Klco, Natalie. "Mental Notes: Exploring the Capacity of the Mind to Enhance Marimba Performance." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429800820.

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Nota, Charles. "Introducing marimba music as part of the school curriculum in Zimbabwe." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65458.

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This thesis is the documentation of an investigation to explore the applicability and use of indigenous African instruments in the development of primary school music curriculum for Zimbabwe. Although music is regarded as one of the compulsory subjects of the Zimbabwean primary school curriculum, it is noted with concern that western musical arts ideas are prominent in the school syllabus hence, they underline the whole essence of music teaching in the post-independence Zimbabwean education system. This is done at the expense of indigenous African musical arts practices that learners can easil
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36

Cirino, Giovanni. "Uma etnografia da devoção a São Benedito no litoral norte de São Paulo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-14032013-121106/.

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O trabalho aborda a Festa de São Benedito realizada no município de Ilhabela (litoral norte de São Paulo). A partir da atuação em roteiro e pesquisa no documentário Sobre a Congada de Ilhabela (Eduardo Kishimoto, TV-USP, 2004 2010) a presente etnografia busca dar conta dos vestígios históricos que se encontram no entrecho procurando iluminar as relações que se apresentam imbricadas na Festa. Esta abordagem move-se em frentes que procuram dar conta, de um lado, dos eventos supostamente ocorridos referenciados na Congada, e de outro lado, das reverberações em conflitos e tensões vividos em Ilha
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Seymour, John. "Syncretisms for wind quintet and percussion, a study in combining organizational principles from Southeast Asia with western stylistic elements /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6055.

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Thesis (M.M.)--University of North Texas, 2008.<br>For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).
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McLean, Kendra Rachelle. "Improving Note Accuracy and Tone Consistency on Marimba Through the Practice of Four-Mallet Chorales." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/560812.

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Chorale settings for marimba can be used in conjunction with traditional pedagogical exercises to improve mallet placement precision by increasing a marimbist's kinesthetic awareness and knowledge of interval spacing and the marimba keyboard layout. These improvements will lead to greater note accuracy and consistency of tone. Chorales are an excellent tool for improving marimba performance because of their combination of repetitive vertical movement and slow horizontal movement, which gives the marimbist time to isolate and improve specific areas of technique, including mallet placement. Mall
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Latta, Jonathan Ryan. "Analysis and Informative Interviews to Aid in the Performance Practice of the Concerto for Marimba and String Orchestra by Eric Ewazen." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193767.

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ANALYSIS AND INFORMATIVE INTERVIEWS TO AID IN THE PERFORMANCE PRACTICE OF THE CONCERTO FOR MARIMBA AND STRING ORCHESTRA BY ERIC EWAZENThe research found in this document will assist in a performer's preparation of Dr. Eric Ewazen's Concerto for Marimba and String Orchestra. In order to give an informed performance of the work, it is this author's belief that an understanding of the collaboration between the composer and the premiering artist, Ms. She-e Wu, as well as the impact Ms. Wu's artistry had on Dr. Ewazen is paramount. Also, knowledge of Dr. Ewazen's compositional style, reference to
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Bastian, Darren Bruce. "Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194020.

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Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Sol
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Molina, Oliver Neil. "The percussion music of Marc Mellits: 1994-2016." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6808.

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Ribeiro, Hugo Alexandre Melo. "A importância da técnica de quatro baquetas para marimba na construção de uma identidade musical." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31194.

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Este relatório foi elaborado no âmbito da disciplina da Prática de Ensino Supervisionada, realizada no Orfeão de Leiria Conservatório de Artes, sob orientação do Professor Doutor Eduardo Lopes. Está dividido em duas secções, na primeira é apresentado o relatório de estágio, expondo a caracterização da escola e meio envolvente, as observações realizadas em contexto de sala de aula, as aulas lecionadas e as atividades em que participei. Apresento uma reflexão crítica final sobre o estágio e sobre a minha prática pedagógica. Na segunda secção, é feito o enquadramento teórico do Projeto de Investi
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Smith, Doug A. "A Guide to Composing Works for Voice and Marimba Intended for a Single Performer." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202705.

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This research identifies successful compositional techniques for voice and marimba, intended for a single performer, through comparison of commissioned works composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and Roger Foreman. The comparison highlights musical and technical aspects most effective when writing for this genre. My first personal experience combining marimba and voice occurred in January, 2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990, involves an ancient Serbian text chanted over a drone following an improvised int
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Best, Helene. "Group music therapy utilising marimba playing for children with low self-esteem." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/43760.

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Qualitative research was conducted to explore if, and how, music therapy utilising group marimba playing can facilitate increased self-esteem for children in a small independent school in the Western Cape. The case study involved ten weekly group music therapy sessions as well as a performance session. African marimbas were used in conjunction with other methods of active music making in the group sessions. Excerpts of video recordings were analysed and the Behavioural Indicators of Self-esteem (BIOS) rating scale was completed for each child pre- and post-intervention in order to examine whet
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Robinson, Corey 1990. "Depiction through Evocation, Representation, and Introspection: An Examination of David Maslanka's Unaccompanied Marimba Solos." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248403/.

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The primary purpose of this study is to provide connections between a formal motivic analysis and the programmatic content of David Maslanka's three works for unaccompanied marimba: Variations on Lost Love (1977), My Lady White (1980), and A Solemn Music (2013). A comparison of the compositional process of each of these works is proposed through terms of Maslanka's use of depiction. Depiction is the action or result of representing through drawing, painting, or other art form, in this case, music. In each work for unaccompanied marimba, Maslanka uses this process of depiction in a unique way.
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Olovsson, Mika. "Kroppen och övandet : En observationsstudie om en slagverkares övningsprocess och användande av kroppsliga resurser." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36376.

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Syftet med studien är att undersöka på vilket sätt en slagverkare använder kroppen som semiotisk resurs samt hur övningsprocessen under en begränsad period är utformad. För att undersöka detta har jag under en femveckorsperiod övat på ett marimbastycke 20 minuter om dagen fem dagar i veckan och dokumenterat detta genom videoobservationer och loggboksskrivande. I analysen utgår jag ifrån ett designteoretiskt perspektiv. I resultatet redovisas att kroppen används både som uttrycksmedel men även som ett substitut för metronomen. Under övningspassen ligger ett stort fokus på te
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Halvarsson, Simon. "Kroppslig förståelse av tempi." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2658.

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För att förmå komplex rytmik som parallella tempi, tillgodose eventuellt perfektionistiska ideal samt utveckla den tekniskt sämre sidan av mig har jag i denna uppsats undersökt imaginära visuella figurer som avbildar kontinuerliga rörelsemönster vid marimbaspel.  I utforskande av min repertoar har jag hittat sektioner jag velat utveckla tekniskt eller där jag önskat få en ökad förståelse av tempi eller groove. En del av detta material har jag renodlat till övningar och har även skrivit ett stycke baserat på dessa företeelser.<br><p>Utbildningsprogrammet är masterprogrammet (vid klassiska insti
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Kuo, Ming-Hui. "STRATEGIES AND METHODS FOR IMPROVING SIGHT-READING." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/6.

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A student's sight-reading ability directly affects the speed and quality of their learning, especially for those at the beginning and intermediate levels. Sight-reading on keyboard percussion instruments is typically very challenging for percussionists because percussion instruments are the only kind of instruments that the player doesn't physically touch when they play them. The player is removed from contact with the instrument through the use of mallets. This document will cover the topics of body movements, kinesthetic sense, music pattern recognition, sight-reading strategies in different
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Hallin, Viktor. "Vem vet? : Att utforska utökade speltekniker för både slagverkare och kompositörer." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69715.

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This thesis is an experimental exploration of cooperation on extended techniques for marimba. In my bachelor thesis I experimented with techniques not commonly used on marimba and also innovated some new ones. Eleven of the techniques I found have been used in this thesis. I have collaborated with three composers who, based on my seminar on extended techniques, have written one piece each for extended techniques on marimba. The compositional process of the three pieces have been an interactive collaboration between each composer and me. The drafts have been sent back and forth with reflections
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Stawiski, Eileen Beth. "Ucieczka w Fantazi Opery (Escape-Fantasy Opera): Preserving the Heart of Poland." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276532042.

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