No description available.

No description available.

Thesis (M.A.)--Ohio State University, 1957. / Available online via OhioLINK's ETD Center.

Thesis (M.M.)--Bowling Green State University, 2006. / Document formatted into pages; contains vii, 114 p. : col. ill., music, 1 map. Includes bibliographical references.

Yoichi Hiraoka was an amazing Japanese xylophone player who had significant influence on the development of the xylophone as a solo instrument. The purpose of this dissertation is to collect and record evidence of Mr. Hiraoka, to examine his distinguished efforts to promote the xylophone, to investigate his influences on keyboard percussion literature, and to contribute to the development of the art of keyboard percussion performance as a whole. This dissertation addresses Yoichi Hiraoka’s artistic life, his commissioned pieces, and his influence on the art of xylophone performance. Analyses of two of his most influential commissioned works, Alan Hovhaness’ Fantasy on Japanese Wood Prints and Toshiro Mayuzumi’s Concertino for Xylophone Solo and Orchestra, are also included to illustrate the art of the xylophone, and to explain why Hiraoka did not play all of his commissioned works.

This lecture-recital paper deals with some of the music of the early 1900's, examining both original xylophone solos and piano rags arranged for the xylophone. An attempt is made to identify the role of the xylophone in ragtime music and its implications for the present day xylophonist. In this investigation a brief history of ragtime music is presented along with the history of the xylophone. The history of ragtime is traced from its beginnings around 1890 to its decline during the 1930's, developing from cakewalks and folk rags into its various styles of Classic rags, Popular rags, Advanced rags, and Novelty rags. The history of the xylophone is traced from the middle ages to its emergence as an orchestral instrument, popularized by a Polish Jew named Michael Josef Gusikov during the early 1800"s. The popularity of the xylophone in the United States increased along with that of ragtime music; from approximately 1890 to 1935 the xylophone experienced what most refer to as its "golden age." Many solos for the instrument, both original and transcribed, were published toward the end of this era. As the popularity of the xylophone declined, these solos went out of print.

Recorders were the most often used instrument for assisting music instruction in today¡¦s elementary schools. However, many students didn¡¦t like recorders and, as a result, they lose interest in music. Xylophone was easy to learn and might be a suitable substitute for recorders. Therefore, the purpose of this action research is to examine the effects of Xylophone-assisted music instruction on fifth graders¡¦ Motivation for Learning Music and Achievement. A fifth grade class in Guai-Guai elementary school of Kaohsiung City was selected as participants. Before the instruction, the students filled out a scale of motivation for learning music, and their achievement of music was tested. Then the students received an 8-week long Xylophone-assisted music instruction. During the instruction, the students¡¦ report and teacher¡¦s reflection of the music class were obtained and some students were interviewed. At the end of the instruction, students were tested again on their achievement and motivation, and they gave feedback about their attitudes of the instruction and the students who were interviewed before were interviewed again about the instruction. The results were as the followings¡G 1.The xylophone-assisted music instruction increased the motivation of the class as a whole. The effects were especially significant for those who dislike recorders. 2.After the instruction, the differences between the students who like and dislike recorders before were decreased. 3.The students were very positive about the instruction. Over 80% of the students chose and recommended xylophone as an assistant instrument in music class. 4.The characteristics of xylophones were appropriate for music instruction.

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.

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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.