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A Comparative Analysis of Minoru Miki's Time for Marimba And A COMPARATIVE ANALYSIS OF MINORU MIKI’S TIME FOR MARIMBA AND CONCERTO FOR MARIMBA AND ORCHESTRA Brian Edward Zator, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2008 APPROVED: Mark Ford, Major Professor Darhyl Ramsey, Minor Professor Graham Phipps, Committee Member and Director of Graduate Studies in the College of Music Terri Sundberg, Chair of the Division of Instrumental Studies James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Zator, Brian Edward. A Comparative Analysis of Minoru Miki’s Time For Marimba and Concerto for Marimba and Orchestra. Doctor of Musical Arts (Performance), December 2008, 73 pp., 70 musical examples, bibliography, 22 titles. Minoru Miki’s first two marimba compositions, Time for Marimba (1968) and Concerto for Marimba and Orchestra (1969) were composed at a revolutionary time‐period for the marimba. Due to unique and innovative compositional techniques, Miki helped establish the marimba as a true concert instrument capable of performing music of the highest quality. As a pioneer in composing for marimba literature, Miki was able to capture the true essence of the marimba; a timeless quality that has helped Time for Marimba remain a part of the standard solo repertoire for the past forty years. The purpose of this study is to analyze and compare Minoru Miki’s compositions, Time for Marimba and Concerto for Marimba and Orchestra. Composed within a year of each other, these works possess similar compositional techniques, and rhythmic and thematic relationships. This thesis includes a formal analysis and detailed comparisons of compositional techniques used in both works. Performance considerations, a brief biographical sketch of Miki and historical significance of Time for Marimba and Concerto for Marimba and Orchestra are also included. Copyright 2008 by Brian Edward Zator ii ACKNOWLEDGMENTS I want to express my sincere appreciation and gratitude to my major professor, Mark Ford, for his direction and insight throughout this project and my entire doctorate program. Thank you also to my other D.M.A. committee members, Dr. Darhyl Ramsey and Dr. Graham Phipps, for their advice and assistance. I want to thank my colleagues at Texas A&M University‐Commerce for their support to finish this project and my friends for their constant motivation. My thanks go to Minoru Miki for his candid thoughts about his music and the gift of one of his manuscript scores to his Concerto for Marimba and Orchestra. I want to thank Leif A. Dramstad at Norsk Musikforlag and Kuibong Han at Ongaku No Tomo Sha Corporation for permission to use excerpts from Miki’s Concerto for Marimba and Orchestra and Time for Marimba. Most importantly, I want to thank my family for their endless love and support. Thank you to my parents for their continuous generosity and finally, I want to thank my wife, Trina, for her sacrifices and encouragement throughout my pursuit of the doctorate degree. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS...................................................................................................................iii LIST OF FIGURES..............................................................................................................................vi Chapter 1. SIGNIFICANCE OF MINORU MIKI’S TIME FOR MARIMBA AND CONCERTO FOR MARIMBA AND ORCHESTRA .............................................................. 1 Keiko Abe’s Early Contribution Minoru Miki’s Early Marimba Works State of Research 2. BACKGROUND OF MINORU MIKI’S CAREER.................................................................. 6 3. FORMAL ANALYSIS OF TIME FOR MARIMBA AND CONCERTO FOR MARIMBA AND ORCHESTRA ............................................................ 10 Time for Marimba Concerto for Marimba and Orchestra Concerto for Marimba and Orchestra, Movement I Concerto for Marimba and Orchestra, Movement II 4. SIMILAR COMPOSITIONAL TECHNIQUES .................................................................... 38 Rhythmic Relationships Thematic Relationships Interval Expansion Octave Displacement Multiple Octaves 5. PERFORMANCE CONSIDERATIONS ............................................................................. 52 Time for Marimba Stickings Rolls Glisses iv Concerto for Marimba and Orchestra Repetition Stickings 6. CONCLUSION............................................................................................................... 68 Summary Further Research BIBLIOGRAPHY .............................................................................................................................. 72 v LIST OF FIGURES All music examples are being used by permission from these copyright holders: * © 1969 Ongaku No Tomo Sha Corporation, Tokyo, Japan † © 1995/2006 Norsk Musikforlag A/S,Oslo, Norway ‡ © 1969 Minoru Miki, Komae‐shi, Tokyo, Japan (manuscript of the full orchestra score) Page 1* Time for Marimba, m. 1 .................................................................................................... 11 2* Time for Marimba, first part of m. 3................................................................................. 11 3* Time for Marimba, last part of m. 3 ................................................................................. 11 4* Time for Marimba, octave‐displaced portion of m. 4....................................................... 12 5* Time for Marimba, mm. 7‐16............................................................................................ 13 6* Time for Marimba, m. 22.................................................................................................. 14 7* Time for Marimba, m. 29.................................................................................................. 14 8 Time for Marimba, mm. 29‐51 (B‐section) formal outline ............................................... 15 9* Time for Marimba, m. 33.................................................................................................. 16 10* Time for Marimba, m. 35.................................................................................................. 16 11* Time for Marimba, m. 37‐39............................................................................................. 17 12* Time for Marimba, mm. 40‐42.......................................................................................... 18 13* Time for Marimba, mm. 46‐51.......................................................................................... 18 14 Concerto for Marimba and Orchestra, Mvt. 1 formal outline .......................................... 20 15‡ Concerto for Marimba and Orchestra, Mvt. 1, mm. 1‐19................................................. 21 16† Concerto for Marimba and Orchestra, Mvt. 1, portion of m. 78...................................... 22 17† Concerto for Marimba and Orchestra, Mvt. 1, m. 79‐80.................................................. 23 18‡ Concerto for Marimba and Orchestra, Mvt. 1, mm. 97‐108............................................. 24 19† Concerto for Marimba and Orchestra, Mvt. 1, mm. 147‐148........................................... 25 vi 20‡ Concerto for Marimba and Orchestra, Mvt. 1, mm. 137‐144........................................... 26 21‡ Concerto for Marimba and Orchestra, Mvt. 1, mm. 150‐153........................................... 27 22† Concerto for Marimba and Orchestra, Mvt. 1, mm. 169‐172........................................... 28 23‡ Concerto for Marimba and Orchestra, Mvt. 1, mm. 172‐174........................................... 29 24 Miki, Concerto for Marimba and Orchestra, Mvt. 2 formal outline ................................. 30 25‡ Concerto for Marimba and Orchestra, Mvt. 2, mm. 1‐4................................................... 30 26† Concerto for Marimba and Orchestra, Mvt. 2, mm. 32‐37............................................... 31 27‡ Concerto for Marimba and Orchestra, Mvt. 2, mm. 44‐51............................................... 32 28† Concerto for Marimba and Orchestra, Mvt. 2, mm. 84‐88............................................... 32 29† Concerto for Marimba and Orchestra, Mvt. 2, mm. 123.................................................. 33 30† Concerto for Marimba and Orchestra, Mvt. 2, mm. 137‐144........................................... 34 31‡ Concerto for Marimba and Orchestra, Mvt. 2, mm. 158‐164........................................... 35 32† Concerto for Marimba and Orchestra, Mvt. 2, mm. 201‐204........................................... 36 33† Concerto for Marimba and Orchestra, Mvt. 2, mm. 205‐211........................................... 36 34* Time for Marimba, m. 1‐2................................................................................................. 39 35† Concerto for Marimba and Orchestra, Mvt. 1, mm. 78.................................................... 39 36* Time for Marimba, m. 29.................................................................................................. 40 37‡ Concerto for Marimba and Orchestra, Mvt. 2, mm. 1...................................................... 40 38* Time for Marimba, m. 33‐34............................................................................................. 41 39† Concerto for Marimba and Orchestra, Mvt. 2, mm. 15‐21............................................... 42 40* Time for Marimba, mm. 29..............................................................................................
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