abstract: “The Mystery of Light” is the first movement of a yet to be completed larger work titled ...to melt into the sun for chamber choir and percussion quartet. The text of the work is an excerpt from Kahlil Gibran’s masterpiece, The Prophet. This book tells the story of a prophet-like man, Almustafa, who, before embarking on the journey back to his native land, stops in the city of Orphalese, where the townspeople, having known him for many years, entreat him to share his wisdom before he departs. The seeress, Almitra, urges him, “speak to us and give us of your truth.” Almustafa proceeds to philosophize on a range of topics including love, laws, pain, friendship, children, time, beauty, and self-knowledge. Just before his farewell to the people of Orphalese, he speaks of death, saying that it is not something to be feared, but rather, embraced as a necessary and beautiful part of life. This interconnectedness of the life and death process, of which Almustafa speaks, is the subject of “The Mystery of Light.” Almitra’s aforementioned request returns directly and indirectly throughout the movement as a reference to humanity’s undying desire to understand the great mysteries of our own mortal condition. The choir shifts throughout the movement between the three following perspectives: 1) that of people who live in fear, whose anxious whispers grow into shouts of horror as they are faced with the threat of death, 2) that of people who share Almitra’s inquisitiveness and are inspired with wonder by the secret of death and 3) that of the prophet, as he speaks words of comfort and wisdom to those who look, either in terror or wonder, upon the face of death. My hope with this music is to share the comforting words which Gibran has spoken through the character, Almustafa, so that, as they have done for me, these words may provide comfort to those who will stand trembling in the presence of life’s most inevitable consequence. / Dissertation/Thesis / Masters Thesis Music 2020

This document discusses the relationship between trumpet and percussion over the past centuries, the development of music for trumpet and percussion ensembles, trumpet and percussion in twentieth-century chamber music and the creation of music for trumpet and marimba. A listing of all known trumpet and percussion duos is included. An exploration of the development of the Wilder Duo and a listing of all known trumpet and marimba duos is also included. There are analyses of works by Gordon Stout, Paul Turok and Alec Wilder. These analyses examine sound, form, harmony, melody and rhythm for each piece. Musical illustrations are included. These analyses are divided into chapters. Each chapter begins with a short biography of each composer. A short description of each work is also given. Summaries are included at the end of each analytical chapter.

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 includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.

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The Khan Variations is the first work for solo marimba by Argentinean composer Alejandro Viñao (b.1951). Since publication in 2001, Khan Variations has been performed at many international percussion festivals and is often a repertoire choice for performers in the final round of numerous marimba competitions. This thesis and accompanying lecture recital provide a supplemental guide to Alejandro Viñao's Khan Variations, focusing on analytical and structural theory, as well as performance practice, thus filling the void of information on this piece in the percussion community. Khan Variations was jointly commissioned by twelve of the world's prominent marimba performers and educators, including: Michael Burritt, Jack Van Geem, William Moersch, Robert Van Sice, and Nancy Zeltsman. The project organizer of the Khan Variations commission was Nancy Zeltsman, Chair of the Percussion Department at the Boston Conservatory and a leader in the field of commissioning new marimba works. Utilizing William Moersch's organization New Music Marimba as the financial conduit, Zeltsman and her group issued this commission in 1999. Alejandro Viñao studied composition with the Russian composer Jacobo Ficher in Buenos Aires, and Viñao later went on to complete his doctorate in composition from City University in London. His works span the genres of opera, choir, orchestra, electroacoustic chamber music, and more than twenty film scores. Viñao's composing style is influenced by Mexican-American composer Conlon Nancarrow and Islamic religious music known as Qawwali. Alejandro Viñao's works typically contain complex rhythmic structures and use rhythm as the main element for musical form and development. The impetus for this thesis is to provide a musical analysis and performance guide for The Khan Variations by Alejandro Viñao. This thesis also illuminates the significance of the joint commission led by Nancy Zeltsman, and highlights the influences and inspirations of Alejandro Viñao as a rising composer of international renown.

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 edition of the marimba part of the previously unedited Sextet. This dissertation will facilitate and enhance future performances of these works. It is hoped that this document will serve to help perpetuate and sustain interest in these important compositions.

I detta konstnärliga examensarbete beskrivs arbetet kring att spela och interpretera musik av Johann Sebastian Bach på marimba. Till studien användes Bachs Chaconne, vilket är den sista satsen i hans andra partitia för soloviolin. Syftet med studien var att arbeta fram en personlig interpretation av stycket samt undersöka sätt att spela polyfon musik på marimba. För att få till en personlig version användes egna idéer och tankar för att göra små ändringar i notationen. Även klubbval var en viktig del av arbetet för att sätta en personlig prägel på stycket. Genom en analys av styckets uppbyggnad och tonspråk skapades först en klar bild av musiken och dess struktur. Olika klubbor användes för att försöka finna den rätta karaktären till stycket och hjälpa lyssnaren att urskilja de olika stämmorna i de polyfona passagerna. Studiens resultat visar att det är fullt möjligt att på ett tydligt sätt spela polyfont på en marimba. Detta genom att använda sig av olika hårdheter på klubborna för att kunna skilja en basstämma mot en överstämma trots att de spelar samtidigt. Violinmusik är ofta förekommande i slagverksrepertoaren och skivor med violinmusik på marimba har spelats in av solister som Leigh Howard Stevens och Jean Geoffroy. Denna studie ansågs därför lämplig eftersom en slagverkare förr eller senare mycket troligt kommer att spela musik av Johann Sebastian Bach. Att ha med sig verktyg från denna typ av studie kan hjälpa musikern att interpretera musik av Bach, och såklart även annan musik.

I detta konstnärliga examensarbete undersöks olika interpretationer av Darius Milhauds Saudades do Brasil i arrangemang för marimba och piano av den finländske slagverkaren Rainer Kuisma (f.1931). Som bakgrund presenteras tonsättaren Darius Milhaud (1892-1974) genom en kortare biografi över hans liv och komponerande. Särskilt intressant är Milhauds inspiration från resor till Brasilien men också hans säregna sätt att komponera polytonalt. Därefter följer en kortfattad historik om arrangören Rainer Kuisma och om slagverksinstrumentet marimba. Syftet med studien var att interpretera Darius Milhauds Saudades do Brasil, i arrangemang av Kuisma. Studiens resultat påvisar att genom tillämpning av olika instuderingsmetoder kan en musiker hitta det optimala sättet att interpretera musik skriven för marimba. Resultatet visar att en enskild interpret med hjälp av dessa metoder får ett starkare och mångsidigare system för att instudera och framföra musik på marimba. Att spela in sig själv ger en övertygelse av vad som fungerar vad gäller interpretation, klubbval och frasering. Det här skulle kunna vara en framkomliga väg för att också interpretera musik skriven för andra instrument och inte bara för marimba. Rainer Kuisma undervisade en tid på Kungl. Musikhögskolan i Stockholm men är kanske framförallt känd som slagverkssolist och kompositör med utgångspunkt i symfoniorkestern i Norrköping där han verkade som stämledare för timpani. Rainer Kuisma fyllde 90 år 2021 och slagverksklassen på KMH gav i samband med detta en hyllningskonsert med mycket av Kuismas musik. Bland annat danssviten Saudades do Brasil. / <p>Ur Der Paukenkrieg - Werner Thärichen</p><p>Saudades do Brasil - Darius Milhaud Arr. Rainer Kuisma</p><p>Spero - Michael Burritt</p><p>Japurá River - Philip Glass Arr. Andreas Nyström</p><p>Medverkande:</p><p>Andreas Nyström - Slagverk</p><p>Simon Landqvist - Slagverk</p><p>Sampo Kuusisto - Slagverk</p><p>Ivar Koij - Slagverk</p><p>Filip Korošec - Slagverk</p><p>Sabina Sehovic - Slagverk</p><p>Elias Gustavsson - Slagverk</p><p>Ludvig Gunne Lindström - Piano</p>

In this paper, I analyze the musical content in Federico Alvarez del Toro's marimba concerto El Espiritu de la Tierra. This dissertation represents my analysis of features I hear in the composition, and does not reflect the composer's original compositional process. Commissioned by the governor of Chiapas, the piece was composed in collaboration with internationally renowned marimba virtuoso Zeferino Nandayapa and premiered in 1984 with the Philharmonic Orchestra of Mexico City at Festival Cervantino in Guanajuato. The work has not been published and has been mentioned only briefly in scholarship. Particular attention in the analysis is given to indigenous and folk idioms from the southern region of Mexico combined with post-modern compositional techniques. My primary argument within the dissertation is that I believe the piece demonstrates a respect for tradition and heritage while concurrently utilizing non-traditional and contemporary compositional techniques. Analytically, I argue that two basic shapes are used throughout the piece, and I argue that the many cultural references within the piece solidify a preoccupation with the lineage of southern Mexico.

No description available.