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.

Thesis (M.M.)--University of North Texas, 2008. / 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).

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / 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 / 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 Garoto (1916), oriundas de diferentes épocas dentro da cronologia composicional de Ernesto Nazareth. O processo de transcrição e adaptação dessas duas obras é contextualizado com um breve histórico do desenvolvimento e da popularização da marimba, bem como se discute a importância do uso de transcrições nos primórdios da formação de seu repertório. Aliado à transcrição dos tangos se inclui um estudo interpretativo que aborda tanto a resolução de dificuldades técnicas como decisões interpretativas acerca de aspectos como o controle timbrístico, fraseado, escolha de baquetas, entre outros / Abstract: This work has as main goals: 1. describe and discuss transcriptions of traditional Brazilian Tangos for marimba; 2. to make an interpretative study on these pieces. It utilized two pieces, composed in different compositional periods of Ernesto Nazareth: Rayon D'or (1892) and Garoto (1916). The process of transcription and adaptation is contextualized with a brief history of the development and popularization of the marimba, and overview of the importance of the use of transcriptions in the early formation of its own repertoire. In addition to the transcriptions of these tangos is included an interpretive study which deals with both the resolution of technical difficulties and the interpretative decisions about aspects such as control of the timbre, phrasing, choice of sticking, among others / Mestrado / Praticas Interpretativas / Mestre em Música

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.

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 as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.

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.

A combination of experimental and empirical studies investigate the assumption that musical expression is communicated in marimba performance through at least two channels – sound and action. A parallel is drawn between the bodily movements and gestures occurring with expressive musical sound, and gestures produced in concurrence with speech. Experiment 1 investigated the assumption that bodily movements and gestures can enhance or diminish the perception of expression and interest in solo marimba performance when presented audio-visually compared to presentation in audio-only form. Body movement is of particular relevance here as the expressive capabilities of the marimba are relatively restricted, and the movements required to play it are visible. Twenty-four musically-trained and 24 musically-untrained observers rated auditory-only and auditory-visual presentations of 20th Century solo marimba excerpts for perceived expressiveness and interest. Performances were given by a male and a female professional musician in projected (public performance expression) and deadpan (minimised expressive features) performance manners. As hypothesised, significantly higher ratings were recorded in response to projected performances than to deadpan. The hypothesised interaction between modality and performance manner was observed. Higher expressiveness ratings were observed for projected performances, and lower ratings were observed for deadpan performances when the presentation was audio-visual compared to audio-only. Higher interest ratings were observed for projected performances when the presentation was audio-visual. Musically-trained participants recorded higher ratings than musically-untrained observers upholding the final hypothesis. The results suggest that expressive functional bodily movements and bodily gestures play an important role in marimba performer-audience communication. Findings are relevant for both performers and educators. The aim of Experiment 2 was to investigate whether the results of Experiment 1, conducted in laboratory conditions, would generalise to an ecologically valid setting – a real concert. Experiment 2 investigated audience continuous self-report engagement responses from 21 participants collected using the portable Audience Response Facility (pARF). The stimulus material was a solo marimba piece performed in a live concert. A female musician performed two musically similar sections within the piece in two different performance manners (deadpan and projected). The second order standard deviation threshold method was used to analyse signal reliability. As hypothesised, mean engagement responses were greater in the projected sample than the deadpan sample. Reliable signal was only observed in the projected sample. Differences between deadpan and projected sample mean engagement responses may be due to expressive bodily movement from the performance manner manipulation; alternatively, serial order effect, necessitated by the concert setting, may be responsible. Such experimentation in ecologically valid settings enables understanding of audience perception of live music performance as it unfolds in time. Expressive qualities of marimba players���� bodily gestures, witnessed in several projected and deadpan marimba performances in the stimulus material from Experiment 1 were analysed in Study 1. Laban Movement Analysis (LMA) observation techniques, involving embodied thinking and kinaesthetic mirroring, enabled analysis of force. Force is the third element of motion additional to temporal and spatial aspects for which technology measuring only kinematics can not account. Effort-shape analysis and notation described and recorded expressive qualities of marimba players’ bodily gestures at specific locations on the musical score. With basic training, professional percussionist performers were able to understand and apply effort-shape analysis and notation. This inspired confidence that effort-shape analysis and notation has potential as an analytical tool for performers, teachers and students. The results of Experiments 1 and 2 and Study 1 lead to the formation of a theory of bodily gestures in marimba performance. This theory accounted for functional bodily movements and bodily gestures in marimba performance based on an embodied interpretation of the musical score. Combined experimental and empirical results indicate that bodily movements and gestures can enhance perception of expressive marimba performance and therefore warrant focussed attention in pedagogy and practice. / Doctor of Philosophy (PhD)

<p>Oppgaven har vedlegg som mangler i digital versjon, og kan framstå som ufullstendig uten dette. Kontakt NTNU Universitetsbiblioteket for utlån av komplett oppgave.</p>

In the mid 1990s, Swedish composer Fredrik Andersson composed not everything which happens is in the newspaper (1993), the lonelyness of Santa Claus (1994), and imagine there was nothing (1996). All three pieces share a number of compositional and stylistic elements while emphasizing the capabilities of their respective instrumentations to create mysterious sonic worlds that are unique in the percussion idiom. By examining specific concerns of each piece in detail, an understanding of Andersson’s presentation of musical challenges will result. Acceptable solutions to such challenges will be examined and compared, based primarily on the author’s analysis and experience encompassing multiple performances of each of the three works, along with supplementary information provided by various other sources. The results of this document will be significant within the larger percussion community in that they will serve to increase the visibility of the composer and increase exposure of works for percussion that are not only musically distinctive within the repertoire, but also contain a variety of exciting pedagogical, technical, and interpretive challenges that will contribute to the growth of any percussionist willing to engage them. It is hoped that such engagement will “de-mystify” Andersson’s music and inspire increased performance of his works.

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 end of work.