Marimba+Electronics Database

Please note: the database exists in archive form, I have chosen to no longer update the database at this time. Submissions are still accepted but there is no guarantee when or if I will update. Sincerely, MP. April 9, 2020.

The database of music for marimba and electronics began as part of my doctoral dissertation research. Below is a listing of the works contained in the database. This page contains basic information about the work: title, year, composer name, duration, range, and accompaniment type. To obtain more detailed information regarding the accompaniment, technical considerations, and an overview of the work, click the title. It is my hope that the information contained in this database will guide performers, students, and teachers and assist them in selecting new works to study and play.

This is an ongoing endeavor, and the database will be updated with additional works. It is difficult to know every composition that may be written for marimba and electronics, so if you have composed, performed, or know of a work not included here, I welcome you bringing it to my attention. Just fill out the Database Submission Form!

Continue below for the Basic View of works contained in the database (Title, Year, Composer, Duration, Range, and Type of Electronics).  To read a description about the types of information included in the database jump to the Explanation of Fields.

The table below contains basic information about each work. Sort the table by Title, Year, Composer, Duration, Range, or Type of Accompaniment by clicking the desired heading. Click a title to see the Detailed Page for the work. If a title is not available as a link, that means the detailed information has not been prepared as of yet.

Note: If accessing this page from a mobile phone, please use in landscape orientation.

The following explanations of specific fields are provided to indicate the type of information or method for determining information included within a field:

The date is the date of composition, if known. If the actual composition date is not known, the copyright date included in the score was used.

The performer, album title, and record label were identified for commercially available recordings.

The range of marimba necessary to perform the work was identified. Considering C4 as middle-C, range was labeled as: 4.0 octave (C3-C7); 4.3 octave (A2-C7); 4.5 octave (F2-C7); 4.6 octave (E2-C7); or 5.0 octave (C2-C7).

The duration of the work taken from an indication in the score or available from the composer’s or publisher’s website, or an approximation based on available recordings.

The type of accompaniment, whether fixed electronics, electronic effects, live electronics, or controller, was indicated. Each of these types is defined as follows: 

Fixed = A set accompaniment which may be played back and is always the same, called a “tape part” in reference to the magnetic tapes used by composers.
Effects = Application of simple effects, such as delay and looping, to a live sound.
Live = Altering a live sound through the application of effects, such as transposition, manipulation of the sound envelope. Live electronics also refer to sounds created at the moment of performance.
Controller = Utilizes a MIDI mallet controller or MalletKAT.

The text of accompaniment overview described sounds and/or effects used, flexibility of the electronics in relation to the performer, special equipment needed for performance, and identification of specific challenges.

The text of technique overview identified four-mallet stroke types contained in the work, difficulty of the playing mechanics, and specific challenges. The following abbreviations were used:

SI = single independent. A stroke made by a single mallet in a hand. May refer to either the inside or outside mallet in a hand.
SIA = single independent alternating. Single-independent strokes played between a player’s hands (hand-to-hand).
DV = double vertical. Both mallets within a hand strike at the same time utilizing a single wrist motion.
DL = double lateral. Both mallets within a hand strike successively utilizing a single wrist motion. 

The information in musical overview delineated the role of performer and electronics. Also, specific challenges such as balance between the two parts or mallet selection were identified.

Notes contained program notes or performance notes identified by the composer or publisher. This entry was included only if it provided helpful information not contained in the previous sections.

At any point where a particular mallet position required identification, such as discussion of mallet selection, the numbers 1-4 correspond with mallets from left to right.

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Go to the Basic View of the database

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Go to the Basic View of the database