"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello. / text

Thesis (Ph.D.)--University of Western Sydney, 2008. / A thesis presented to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of . Includes bibliographies.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Randy Kohlenberg; submitted to the School of Music. Title from PDF t.p. (viewed May 13, 2010). Includes bibliographical references (p. 51-54).

abstract: ABSTRACT Torse III (1965) by Akira Miyoshi, Two Movements for Marimba (1965) by Toshimistu Tanaka, and Time for Marimba (1968) by Minoru Miki have remained “tour de force” pieces in the marimba repertoire since their inception nearly fifty years ago, yet they continue to present significant performance and interpretative issues to each new generation of marimbists. This document will serve as both a performance guide for advanced marimba performers, as well as provide insight into the aesthetic qualities that contribute to their lasting artistic significance. Each piece will receive a designated chapter discussing the historical context, technical challenges, and general performance practices. The author will also present a designated chapter discussing the three over-arching aesthetic characteristics found in all three pieces: the use of the entire range of the instrument, the use of extreme contrasting dynamics and timbre, and the use of a common harmonic language. Torse III, Two Movements, and Time were famously performed by Keiko Abe on her first classical marimba recital in 1968. This document will also help bring to light the enormous impact this recital had on the history of the marimba, as marimbists throughout the world today are forever indebted to Abe’s efforts. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Through successful personal training, verified assessments, and professional applications, a musician can establish a personal career as a performing artist. This study seeks not only to explore the ways in which musicians can better their own musicianship, but to how they can inspire and empower others through philanthropic applications of their art. A musician’s laboratory exists both in the practice room and on the concert stage. Therefore, for twelve months, the author sought out the most diverse research and performance opportunities, including performances as a featured soloist in Canada and as guest timpanist with the Moscow Symphony in Russia. The project culminated in a benefit concert titled, …in loving memory, raising nearly $5,000 for the Alzheimer's Association. Through personal experiences, the author outlines the solo, small ensemble, and large ensemble performance opportunities that were pursued in order to improve his own musicianship and then applied to the performance of the benefit concert. Offering a "look behind the curtain," this document will also address the logistical hurdles for tackling a charitable event of this scale.

Das Presto für Altsaxophon, Marimba und Klavier entstand 1994-95, etwa ein Jahr nach der Berufung des Komponisten als Dozent für Musiktheorie an die Hochschule für Kirchenmusik Dresden. Es steht am Schluss einer größeren Reihe von Kammermusikwerken, die über einen Zeitraum von etwa 10 Jahren entstanden. Seit 1995 komponierte Matthias Drude vor allem geistliche Oratorien. Neben seiner ungewöhnlichen Besetzung sind weitere Besonderheiten des gut sechsminütigen Werkes sein ausschließlich schnelles, teilweise geradezu gehetzt wirkendes Tempo und die Verwendung eines eintaktigen Ostinatomotivs, mit dem das Werk eröffnet wird und welches im Verlauf der Komposition immer wieder unverändert oder verändert wiederkehrt. (Matthias Drude)

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 the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the ability of percussionists to change the attack of a sound with different implements is virtually limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments. Still, percussion articulation is often a topic of little concern to many musicians. The problem is not that this issue has been completely ignored, but rather that a vast number of contradictory and conflicting viewpoints still permeate pedagogical methods and literature. This is most certainly the case with the marimba, where a review of method books reveals a multitude of confusing statements about marimba articulation. It is clear that there is still widespread confusion about marimba articulation from composers, conductors, and most importantly percussionists themselves. This study attempts to advance percussion pedagogy in this area through a better understanding of the terminology of musical articulation, the acoustical principles of the marimba, and the techniques that affect sound production on this instrument. After a review of these three areas, this study examines 166 recordings, which look at the actual effect of specific techniques carried out on the marimba. Finally, the project offers a set of recommendations for composers, conductors, and percussionists on all aspects of marimba articulation, in the goal of increasing marimbists' potential for greater musical expression.

No description available.

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00). / Arts, Faculty of / Music, School of / First, 2nd, 3rd, and 5th works reproduced from manuscripts. Includes performance notes for 1st and 2nd works. Includes composer’s graduation recital program. Vita. Accompanied by sound cassette of recital. / Graduate