abstract: This document offers composers a contextual reference and pragmatic overview of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument. A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences. The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy. / Dissertation/Thesis / Doctoral Dissertation Music 2015

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 from both the composers and me on what was not working and why. This resulted in three playable pieces which I have recorded. The purpose of this thesis is to explore the process of cooperation when writing for unconventional techniques and one goal has been to widen the horizon for marimba music with these techniques. It resulted in the three wonderful pieces of music, Pathfinder by Johannes Pollak, The last to leave by Pontus Bertling and Jag kommer på en bra titel snart, jag lovar! by Viktor Elinder. It gave me a deeper understanding of extended techniques, both their potentials and limitations. I also learned a lot about commissioning music and collaboration.

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. / <p>Utbildningsprogrammet är masterprogrammet (vid klassiska institutionen) och ämnet är självständigt arbete </p>

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.

En undersökning om hur instuderingen av övningar och etyder för övningsplatta kan utveckla din fyrklubbsteknik och hur man kan applicera dessa tekniker på marimbasolot Scirocco. / <p>David Skidmore (1982-)</p><p><strong>Ritual Music </strong>(2004)</p><p></p><p>Sam Lundberg (1997-)</p><p><strong>Ballad </strong>(2022)</p><p></p><p>Sam Lundberg (1997-)</p><p><strong>Shifting Blue </strong>(2020)</p><p></p><p>Michael Burritt (1962-)</p><p><strong>Scirocco </strong>(2001)</p><p></p><p>Lyle Mays (1953-2020)</p><p><strong>Somewhere in Maine </strong>(1988)</p><p></p><p>Paul Simon (1941-)</p><p><strong>Still Crazy After All These Years </strong>(1975-)</p><p></p><p>Sam Lundberg (1997-)</p><p><strong>Travelin' Soundscapes</strong> (2021-)</p><p></p><p>Medverkande:</p><p>Sam Lundberg <em>slagverk</em></p><p>Even Hembre <em>slagverk</em></p><p>Sabina Sehovic <em>slagverk</em></p><p>Pablo Molina Lozano <em>slagverk</em></p><p>Teo Hillberg <em>saxofon</em></p><p>Daniel Berg <em>marimba</em></p><p>Antonia Somersalo <em>fiol</em></p><p>William Källén <em>gitarr &amp; sång</em></p><p>Anders Åstrand <em>trumset</em></p><p>Johannes Carlsson <em>marimba</em></p><p>Alexandru Munteanu <em>marimba</em></p><p><em></em></p><p>Den klingande delen utgörs av följande inspelning:<strong> Masterkonsert, Sam Lundberg 26 maj</strong></p><p></p>

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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 Ilhabela atualmente. Toma-se a Congada enquanto uma convenção, um resultado de diversas indexações produzidas pela prática seus agentes ao longo dos últimos trezentos anos. A Congada representa os conflitos entre mouros e cristãos. A encenação fala de guerra enquanto o contexto no qual se encena apresenta-se em forma de festa. Existe, portanto, uma complementaridade entre o contexto representado e o contexto no qual se representa. / This paper addresses the St. Benedicts Feast yearly held in the municipality of Ilhabela (north coast of São Paulo). From the screenplay and research activities in the documentary Sobre a Congada de Ilhabela (About Ilhabelas Congada) (Eduardo Kishimoto, TV-USP, 2004 2010) this ethnography investigates some historical remains found in the plot looking to illuminate the intertwined relationships that are present in the St. Benedicts Feast. This approach moves in fronts to try to make sense on the one hand, the events allegedly occurred and referenced in the Congada, and on the other hand, the reverberations of conflicts and tensions experienced in Ilhabela today. We take the Congada as a convention, a result of several indexing agents produced by the practice over the last three hundred years. The Congada represents the conflict between Moors and Christians. The staging speaks of war while the context in which it comes is presented as party. Therefore, there is a complementarity between the impersonated context and the context in which it represents.

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\".

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. Andra viktiga faktorer som redovisas är vikten av att ha kontroll på musiken innan jag som musikutövare börjar öva samt vikten av att öva som en konsert i förebyggande syfte. Avslutningsvis diskuteras arbetets resultat i relation till den presenterade litteraturen och tidigare forskningen inom området. / The aim of this study is to explore how some selected approaches of learning, mediated by leading percussionist and percussion teachers, is used by and works for one students rehearsal of a musical work. These three approaches were used when practicing the Concerto for Marimba and Strings of Emanuel Sejourné. Audio recordings and log book was the basis for the analysis of what worked well for me in my own practice and how I experienced the different methods during exercise. The result shows that above all enjoyment factor is a contributor to a successful practicing. Other important factors reported are the importance of knowledge and the music before you start to practice and the importance of preventively practicing as a real concert. At the end, the results of the study is discussed in relation to the presented literature and previous research in the subject.