Text in English, abstracts in English and Zulu / This thesis explores the current state of marimba music performance practice in Zimbabwe. I begin by presenting a historical perspective of the marimba, and then discuss how the Zimbabwe marimba tradition came into being at Kwanongoma College of African Music in Bulawayo. The study continues to unveil how the relatively new marimba tradition has grown to popularity in its 55-year history in the country, with the phenomenal emergence of professional Zimbabwe marimba musicians. The thesis includes analyses of marimba musicians’ lived experiences, traditional and contemporary marimba music compositions, marimba music education programs and mentors, as well as the Zimbabwe marimba construction industry. Using ethnographic methods, the analysis in this qualitative study draws on an application of Christopher Small, Richard Schechner, and Pierre Bourdieu’s theoretical perspectives, amongst others. Results show that marimba music performance practice in Zimbabwe has been kept alive in various permutations, albeit in a harsh economic environment. Education, passion for marimba music, cultural tourism, and festivities are the main avenues where Zimbabwe marimba music performance practice has survived on the margins of Zimbabwe’s popular musical cultural traditions. / Le thesis ihlola isimo samanje somculo wemarimba kanye nokuqhutshwa kwawo eZimbabwe. Ngiqala ngokwethula imibono yezomlando ngemarimba, ebese ngixoxa ngokuthi ngabe usiko lwenkambiso yemarimba eZimbabwe lwaqhamuka kanjani eKwanongoma College of African Music eBulawayo. Ucwaningo luqhubeka luveze ukuthi umculo wemarimba omusha usheshe kangakanani ukukhula nokuba nedumela kumlando weminyaka engu 55 ezweni, kanti futhi nokwenza ukuthi abaculi bemarimba eZimbambwe basebenze ngesiprofeshini. Le thesis ibandakanya ukuhlaziya izipiliyoni zabaculi bemarimba, usiko kanye nokuqanjwa komculo wemarimba, izinhlelo zemfundo yomculo wemarimba kanye nabaqeqeshi abafundisa abasha emculweni, kanye nokwakhiwa kwemboni yomculo wemarimba eZimbabwe. Ukusebenzisa izindlela zesayense yokuchaza abantu eyaziwa ngokuthi yi-ethnography, uhlaziyo kulolu cwaningo olubheka kanzulu, lufunde nokuchaphuna kwimibono yochwepheshe yethiyori yabantu abafana no-Christopher Small, uRichard Schechner kanye no-Pierre Bourdieu phakathi kwabanye. Imiphumela ikhombisa ukuthi ukwenziwa komculo wemarimba eZimbabwe wenziwe ukuthi uqhubeke ngokusebenzisa inqubo yokuhlela izinto ngokuhambelana noma inqubo ye-permutations, kodwa ngaphansi kwesimo esinzima kwezomnotho. Imfundo, ugqozi lomculo wemarimba, inqubo yezovakasho lokufunda ngamasiko kanye nemicimbi ngenye yezindlela lapho khona umculo wemarimba eZimbabwe oboniswa khona nokwaze ukuqhubeka ngayo, nangendlela esetshenzisiwe ukwenza ukuthi umculo uqhubeke nokuba nedumela ngisho nangaphansi kwesimo esinzima eZimbabwe. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)

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

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0425. Adviser: William Moersch. Includes bibliographical references (leaves 194-195) Available on microfilm from Pro Quest Information and Learning.

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.

Keiko Abe's contributions to the contemporary marimba repertoire have been a milestone in the development of the marimba as a solo concert instrument. Besides the creation of a new repertoire through commissions and her own compositions, Abe's contributions to the marimba include the improvement of the sound quality of the marimba and the establishment of the five octave instrument as the standard concert marimba. During the last four decades, Abe's compositions have been performed and studied worldwide and become standard literature for the marimba. Abe has written more than sixty compositions for marimba, including concertos, duets and solo pieces. The goal of this dissertation is to provide a comprehensive method for the performance and preparation of two major Keiko Abe's compositions, Marimba d'Amore composed by Abe in 1998 and Prism Rhapsody for Marimba and Orchestra composed in 1996. This dissertation will discuss theoretical as well as performance issues related to these two compositions. Each piece is discussed with regard to its distinctive compositional approach and inherent performances issues. In order to provide the reader an explanation of the compositional procedures used by Abe, specific directions for the performance and preparation of these two works are offered.