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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 tempo och stycket övas i uppdelade avsnitt och sällan som helhet. I diskussionen debatteras mitt användande av kroppen som semiotisk resurs utifrån ett designteoretiskt perspektiv. Vidare diskuteras i förhållande till relevant litteratur och forskning huruvida min övningsstrategi är fördelaktig för min progression. / The purpose of this study is to examine how a percussionist uses her body as a semiotic resource and how the process of practising during a limited period is designed. In order to realize this I have self-monitored my 20 minute long practice sessions five days a week during a five-week period. This process has been documented by a video recording device and by writing a log after each session. In the analysis I use design theory as a theoretical perspective. The results show that my body is used both as an expressive tool as well as substitute for the metronome. During the practice sessions, tempo appears to be the main focus, and the musical piece is played in separate movements and rarely played from beginning to end. In the last chapter usage of the body as a semiotic resource is discussed from a design theoretical perspective. Lastly the use and quality of my practice strategy is discussed in relation to relevant literature and research.

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\".

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. The depictive mediums are categorized as evocative, representative, and introspective and these distinct approaches to depiction lead to three drastically different musical works. The different methods of depicting source materials are the distinguishing characteristics that separate these three works for solo marimba. This document includes a motivic analysis and comparisons of compositional devices used in these three works. A brief overview of Maslanka's life and works as well as a listing of all of his works that feature percussion instruments are also included.

Minoru Miki's first two marimba compositions, Time for Marimba (1968) and Concerto for Marimba and Orchestra (1969) were composed at a revolutionary time-period for the marimba. Due to unique and innovative compositional techniques, Miki helped establish the marimba as a true concert instrument capable of performing music of the highest quality. As a pioneer in composing for marimba literature, Miki was able to capture the true essence of the marimba; a timeless quality that has helped Time for Marimba remain a part of the standard solo repertoire for the past forty years. The purpose of this study is to analyze and compare Minoru Miki's compositions, Time for Marimba and Concerto for Marimba and Orchestra. Composed within a year of each other, these works possess similar compositional techniques, and rhythmic and thematic relationships. This thesis includes a formal analysis and detailed comparisons of compositional techniques used in both works. Performance considerations, a brief biographical sketch of Miki and historical significance of Time for Marimba and Concerto for Marimba and Orchestra are also included.

Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.

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The purpose of this study was to evaluate the efficiency of three common grips used in four-mallet playing. The three grips were referred to as (a) the Musser grip, (b) the cross stick grip No. 1, and (c) the cross stick grip No. 2. A thorough description (including illustrations) was given for each grip. The evaluation of efficiency was made through research testing, which was conducted by the author. Forty individuals participated in the research testing. Four tests were conducted, and each test had ten participants. The individuals who participated in Tests I, II and III had no previous four-mallet experience. The individuals who participated in Test IV had previous four-mallet experience. The evaluation of the efficiency covered by the four tests was limited to (a) horizontal movement of the outside mallet(s), (b) horizontal movement of the inside mallet(s), and (c) horizontal movement of the hand (s). According to Tests I, II and III, the majority of beginning four-mallet players will find the cross stick grip No. 2 the easiest and most efficient (as far as the three movements which were tested are concerned) of the three grips. However, some individuals (a much smaller percentage) will prefer either the Musser grip or the cross stick grip No. 1. Many beginners will find the Musser grip extremely difficult. A very small percentage of beginning four-mallet students will have poor efficiency using cross stick grip No. 2. According to the results of Test IV, the efficiency of the Musser grip and the cross stick grip No. 2 improve at a faster rate than does the efficiency of the cross stick grip No. 1. The movements tested in this study are extremely important when playing with four mallets. However, this study was limited to the testing of three types of horizontal movements and, therefore, did not cover all the aspects of four-mallet playing. Because all factors were not included in this study, no one grip was proven to be ultimately the "'best." Each individual four-mallet player must decide for himself which grip is best suited for his particular needs. The findings of this study should aid in making that decision.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.