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INFORMATION TO USERS Tàis manuscript has been reproduced from the microfilm master. UMl films the text directfy from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from zn y type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are m issing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wfil indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogrq>hs included in the original manuscript have been reproduced xercgraphically in this copy. Higher quality 6" x 9” black and white photographic prints are available for aiy photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-47Q0 800/521-0600 THE DEVELOPMENT OF THE MARIMBA AS A SOLO INSTRUMENT AND THE EVOLUTION OF THE SOLO LITERATURE FOR THE MARIMBA DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sarah E. Smith, B.M., M.M. * * * * The Ohio State University 1995 DMA Document Committee; Approved by C. vVeait, Advisor R. Blatti W. Conable Advisor M. Mazo School of Music DMI Number: 9533920 DMI Microform 9533920 Copyright 1995, by OMI Company. AIL rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ACKNOWLEDGEMENTS I express my sincere appreciation to Ruth Stuber Jeanne for her willingness to discuss her involvement with the premiere of the first marimba concerto, for sharing the manuscripts and original programs, and for allowing me to interview her. Thank you to the publishers who have allowed me to reprint photographs for use in this document. Appreciation for the members of my committee, Christopher Weait, Richard Blatti, William Conable, and Margarita Mazo, for their suggestions and comments. The assistance of Michael Bump and James Moore is gratefully acknowledged. Thank you to my parents, family, and friends for seeing me through to the end. 11 VITA November 19,1965 ..................................................... Born - Lima, Ohio 1987 ................................................................................ B.M.. Ohio Northern University, Ada, Ohio 1987-1989 ..................................................................... Instrumental Music Teacher, Clyde-Green Springs Schools, Clyde, Ohio 1991 ................................................................................ M.M., Western Michigan University, Kalamazoo, Michigan 1991-Present .................................................................. Lecturer, Percussion, Muskingum College, New Concord, Ohio FIELDS OF STUDY Major Field: Music Studies in: Percussion Performance, Instrumental Conducting, Music Education 111 TABLE OF CONTENTS ACKNOWLEDGEMENTS......................................................................... ii VITA............................................................................................................. iii LIST OF PLATES......................................................................................... vi CHAPTER PAGE I. Introduction and Definition ............................................... 1 n. The Origins of the Xylophone and Marimba ............. .. 4 Ancient Asian Keyboards ........................................ 4 The Primitive African Xylophone ......................... 6 m. Toward the Modern Marimba ............................................. 13 Guatemala.................................................................. 13 Marimba Doble ........................................................... 17 Marimba Bands of Guatemala ................................ 17 Europe ........................................................................ 23 IV. Manufacturing the Modern Marimba ................................. 28 The United States....................................................... 28 George Hamilton and Joe Green ............................... 32 Studio Xylophones ..................................................... 34 New Improvements .................................................... 34 Claire Omar Musser................................................... 35 V. The First Marimba Concerto .................................................. 43 The Composer - Paul Creston .................................... 43 The Commissioner - Frederique Petrides ................. 45 The Performer - Ruth Stuber ....................................... 48 IV Interview with Ruth Stuber Jeanne ........................... 49 The Concertino ............................................................. 56 VI. Significant Marimba Literature After 1940 ......................... 59 Darius M ilhaud.......................................................... 59 Robert Kurka .............................................................. 61 Vida Chenoweth ......................................................... 64 The Japanese Influence ............................................. 65 Marimbas in Japan ..................................................... 66 Keiko A be ................................................................... 68 VII. Conclusion ............................................................................. 73 APPENDICES A. Time-line of significant marimba/xylophone events .... 75 B. Program from the premiere of the Creston ........................... 79 C. Photographs of Stuber, ca. 1940 .............................................. 82 D. Paul Creston's Manuscript of the Concertino .........................85 E. Photograph and Letter from John Cage to Stuber ................ 101 F. First Published Version of the Creston by the Independent Music Publishers Company ............................. 104 LIST OF REFERENCES................................................................................. 113 LIST OF PLATES PLATE PAGE I. Goong lu discovered in Southern Vietnam ................................. 5 n. Gender panerus of the Central Javanese gamelan ..................... 6 m. A primitive leg xylophone ............................................................. 8 IV. A log xylophone ................................................................... 8 V. An example of a xylophone suspended from the neck ............ 9 VI. A trough xylophone from Thailand ............................................ 10 VII. A small Chopi orchestra of Quissico, Mozambique ................ 11 VIII. A halo played in Dori, Upper Volta .......................................... 12 IX. A Tecomate Indian (present day) playing the marimba 14 X. A Guatemalan cargador carrying his marimba ....................... 15 XI. A large marimba in Guatemala City ........................................ 16 Xn. The Hurtados at the San Francisco Golden Gate Exposition, ca. 1939-1940 ............................................................ 21 xn. Skeleton playing a small xylophone ......................................... 24 XIV. Gusikow's xylophone .................................................................. 25 XV. An example of a Roeser styled xylophone ............................... 27 XVI. The Roth styled xylophone ........................................................ 27 XVII. The Five-Octave Deagan Nabimba ................................................ 30 XVni. George Hamilton Green and Joe Green at Their Instrument... 33 XIX. Claire Omar Musser and the Marimba-Celesta............................. 35 vi XX. The Musser Marimba Orchestra of 1933 (shows Ruth Stuber)... 37 XXI. King George Model Marimba ........................................................... 38 XXn. Musser and the Marimba Orchestra in Rehearsal, 1941 ................. 39 XXm. The Performance at the Chicago Music Festival ............................. 40 XXIV. Photograph of the World War II Marimba ..................................... 40 Vll Chapter I Introduction and Definition Introduction The marimba is considered by most percussionists to be one of the primary percussion instruments for performance and study. The majority of literature written for this instrument is solo and unaccompanied. The marimba's origins cannot be directly traced to its involvement with standard Western performing ensembles unlike the timpani, snare drum, and other percussion instruments which have their roots in military bands. This paper will focus on the beginnings of the marimba and the factors that led to its development as a solo percussion instrument. Definition A marimba, according to The Harvard Dictionary of Music, is a xylophone with resonators under each bar. This brief description goes on to state that the marimba originated in Africa, spread to Latin America and is now considered the national instrument of Guatemala.

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