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Chorale settings for marimba can be used in conjunction with traditional pedagogical exercises to improve mallet placement precision by increasing a marimbist's kinesthetic awareness and knowledge of interval spacing and the marimba keyboard layout. These improvements will lead to greater note accuracy and consistency of tone. Chorales are an excellent tool for improving marimba performance because of their combination of repetitive vertical movement and slow horizontal movement, which gives the marimbist time to isolate and improve specific areas of technique, including mallet placement. Mallet placement precision on marimba includes striking the correct bars for note accuracy and striking a precise chosen location on each bar for tone consistency. This document includes a guide for improving mallet placement through the focused practice of chorale excerpts from seven original compositions for marimba. Appendix A of this document lists chorales recommended for use as practicing material to improve marimba technique. This document is intended to assist intermediate and advanced marimbists in gaining a greater kinesthetic knowledge of interval spacing and the marimba keyboard layout through the practice of four-mallet chorales. The purpose of refining these areas of technique is to develop consistency in accurate, autonomic mallet placement, freeing the marimbist to focus on other elements of performance, including musical interpretation and expression.

This document details the creation of a new type of multiple percussion solo from pre-composed percussion ensembles. The author transcribes three works for percussion ensemble by Lou Harrison (1917-2003): Suite for Percussion, movement I, Bomba and Simfony #13 so that they can be performed as percussion solos. Each composition requires a different type of solo version because of the diverse instruments and musical materials in the original scores. Learning to perform these new versions will expand the technical capabilities of a soloist and offers complex challenges not found in the original ensembles. The document includes complete scores and set-ups for each new solo version and discussion of performance practice and techniques to play each work. Although Harrison’s original works were conceived for amateur players, the solo versions require the skills of a virtuoso performer. The new versions confirm the artistic merit of Harrison’s work in a format both practical and satisfying to the solo percussionist. The project illustrates new methods for further developing percussion technique to enable ensemble works to be performed by soloists. The solo versions of Lou Harrison percussion ensembles presented herein result in new repertoire for the percussion soloist.

The transcription was an integral part of the marimba repertoire for many years. However, the range and technical advancements of the time limited the transcription process. Often the marimba part would consist of the melody while a piano would be utilized to fill in the accompaniment and notes not able to be performed by the marimbist. The marimba and piano share many similarities that allow for successful transcriptions between the two instruments. This document focuses on the transcription of eighteenth- and nineteenth-century keyboard music for the marimba duo setting. It is the opinion of the author that better transcriptions can be attained through the utilization of the modern range of the marimba, techniques used in marimba performance, and two marimbas. By omitting the traditional piano accompaniment, transcriptions can be better executed through the use of one timbre, as is used in the original keyboard work. Presented in this document are six arrangements realized by the author that demonstrate the possibilities for transcriptions in today's percussive world.

This analysis of the Bewaa and Daarkpen gyil repertoire is designed as a blueprint to create a culturally accurate performance of the xylophone music of the Dagara-Birifor. By producing a tangible archive to this historically rich music, previously only passed on through oral tradition, I hope to foster greater awareness of this music to audiences outside of Ghana. Preliminary research for this project began in May, 2002 at the Dagara Music Center located in Medie, Ghana, and continued with the fieldwork conducted from January through June of 2004 principally at the Dagara Music Center and augmented with study throughout the Upper West region of Ghana. Included are transcriptions of the repertoire as well as suggestions for the performance practice and organization of an ensemble. All music discussed was taught by master musicians Bernard Woma and Tijan Dorwana and supplemented by xylophonists Jerome Balsab, and Isaac Birituro.

This thesis is an electro-acoustic composition done using the techniques of music concrète. Along with the music is a paper that details the historical context of the piece, specific techniques and procedures used by the composer, and a general overview of the compositional form. “Shattered Dreams” is a 12’30” stereo journey through a soundscape where the sounds of cinderblocks and shattered glass abound. All of the original source material for the music was recorded by the composer using a pair of Neumann km184 microphones. These source sounds were then manipulated using Sound Forge 6.0 and Cubase 4. The processes of manipulation were chosen with regard to the original music concrète techniques laid out by Pierre Schaeffer and Pierre Henry at the Club d’Essai studio at Radiodiffusion-Télévision Française in Paris, France. / School of Music

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains 1 score (50 p.). For flute, B♭ clarinet, violin, violoncello, percussion and piano. Includes bibliographical references.

Thesis (M.M.) -- Florida State University, 2004. / For flute, trumpet, piano and percussion (2 performers). Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-28-04). Document formatted into pages; contains 36 pages. Includes biographical sketch.

Thesis (M.M.) -- Florida State University, 2003. / Advisor: Mark Wingate, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-17-03). Document formatted into pages; contains 77 pages. Includes biographical sketch.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.