Marimba and Electronics PDF

A Catalog of Solo Works for Marimba with Electronics and
An Examination and Performance Guide of
"Flux" for Marimba and Electronic Tape by Mei-Fang Lin
by
Yi-Chia Chen
A Research Paper Presented in Partial Fulfillment

of the Requirements for the Degree
Doctor of Musical Arts
Approved November 2011 by the

Graduate Supervisory Committee:
J. B. Smith, Chair
Jeffery Bush
Glenn Hackbarth
Gary Hill
Mark Sunkett
ARIZONA STATE UNIVERSITY
December 2011
ABSTRACT
The marimba has garnered increased attention in percussion performance
over the past thirty years. Literature for beginners through professionals in a
multitude of styles have been written. With the ever-growing number of
marimbists since the 1980’s there has been a high demand for new works.
Numerous pieces were created through commissions: composers contracted to
write music by individuals, institutions, and consortia. Three primary types of
marimba solo music were written: unaccompanied solos, concerti, and marimba
solos with electronic accompaniment.
Since electronic music is relatively new in marimba performance, there is
very little information published regarding this topic. Only a handful of well-
known compositions in this genre have been widely performed, and a great
number of existing works are unfamiliar to the percussion world. The goal of this
study is to generate an overview of electronic music in marimba performance by
compiling a chronological catalog of compositions written for solo marimba with
electronics. In addition, this study wishes to promote this genre of solo marimba
music through the commission, performance, examination, and recording of a
new work for marimba and electronics.
It is the author's wish to bring this topic to percussionists' attention, and to
enrich the marimba solo literature by both exploring existing literature and
encouraging the commissioning and performance of marimba music.
i
DEDICATION
To my parents,
Hsin-Tsun Chen and Chiu-Chu Ko,
and in memory of my grandmother,
Shiou-Jr Su,
who passed away on Oct. 25th, 2011,
at the age of eighty-four.
謹將此論文獻給我的父母
陳信村，柯秋菊
並以此紀念我的祖母
蘇秀枝
卒於民國100年10月25日
享年84歲
ii
ACKNOWLEDGMENTS
First, I would like to thank my percussion teachers, Dr. J.B. Smith, Dr.
Mark Sunkett, and Simone Mancuso, for their guidance and inspiration. I enjoyed
every lesson and ensemble class I took under their instruction. The experience
contributed greatly to my growth as a musician.
I would also like to thank my committee members, Dr. Mark Sunkett, Dr.
Glenn Hackbarth, Prof. Gary Hill, and Dr. Jeff Bush, for their insight and advise
for this project. I especially thank Dr. Mei-Fang Lin, for her time and
contributions that made this project possible.
My deepest gratitude goes to my mentor and committee chair, Dr. J. B.
Smith, for his unending support and encouragement through my study in the
United States. The members of the percussion studio also played a significant role
during my study at Arizona State University. Thank you for being very
supportive, inspiring, and fun to work with, and I will miss very much the
“joyful” time I spent with each of you.
I cannot forget to thank my friends that I met in the United States and my
friends in Taiwan; your support and encouragement guided me through the
intense parts of my graduate studies. I would also like to acknowledge Tsen-Yi
Lin, Chia-I Chen, Yen-Ting Chuang, Stephanie De La Rosa, and my colleagues
for their support and help throughout the completion of this document.
Finally, I would like to thank my family, especially my parents, for their
endless love, and for supporting my life decisions.
iii
TABLE OF CONTENTS
Page
LIST OF TABLES.................................................................................................... vii
LIST OF FIGURES .................................................................................................viii
PREFACE...... ............................................................................................................ ix
CHAPTER
1 INTRODUCTION ................................................................................. 1
Marimba Solo Literature: Past, Present, and Future ................... 1
Purpose of Study .......................................................................... 5
Scope of Study ............................................................................. 6
Range and Limitations........................................................... 6
Difinition of Terms ................................................................ 7
Major Sources ........................................................................ 8
2 SOLO LITERATURE FOR MARIMBA AND ELECTRONICS ...... 9
A Chronological Catalog and Overview of Solo Literature for
Marimba and Electronics ................................................................... 9
The Current Status of Solo Works for Marimba and Electronics
in the Marimba Literature ................................................................ 16
3 BIOGRAPHY OF DR. MEI-FANG LIN............................................ 22
Educational Background............................................................ 22
Awards and Accomplishments .................................................. 23
Major Influences and Philosophy .............................................. 24
Western Influences .............................................................. 24
iv
CHAPTER Page
Eastern Influences................................................................ 26
Other Experiences................................................................ 28
4 AN EXAMINATION OF "FLUX"..................................................... 30
Compositional Technique: Electronic Part................................ 30
Compositional Technique: Marimba Part ................................. 31
Pitch Material and Subsections............................................ 31
Compositional Ideas of “Flux” ............................................ 38
Rhythmic Devices................................................................ 40
Meter, Rhythm, and Pattern........................................... 41
Polyrhythm..................................................................... 44
Rhythmic Displacement ................................................ 44
Octave Displacement..................................................... 46
5 PERFORMANCE GUIDE OF "FLUX"............................................. 49
Potential Performance Issues ..................................................... 49
Playing Techniques and Difficulty...................................... 49
Dynamics and Balance ........................................................ 49
Performance Suggestions........................................................... 51
Textural Changes ................................................................. 51
Roll....................................................................................... 52
Sticking ................................................................................ 54
6 CONCLUSION.................................................................................... 59
REFERENCES ........................................................................................................ 61
v
APPENDIX Page
APPENDIX
A ALPHABELTICAL LIST OF COMPOSERS’ WEBSITES OR
RELATED WEBPAGES OF WORKS IN THE
CHORONOLOGICAL LIST OF COMPOSITIONS ................. 67
B LIST OF WORKS BY MEI-FANG LIN ........................................ 74
C DISCOGRAPHY OF MEI-FANG LIN .......................................... 77
D LETTER OF PERMISSION ............................................................ 80
E CONTACT INFORMATION OF MEI-FANG LIN ....................... 82
F A RECORDING OF “FLUX” FOR MARIMBA AND
ELECTRONIC TAPE ................................................................... 84
G PROGRAM NOTES OF “FLUX” ................................................... 86
vi
LIST OF TABLES
Table Page
1. Works for Solo Marimba and Electronics Composed in the 1980s .... 10
2. Works for Solo Marimba and Electronics Composed in the 1990s..... 11
3. Works for Solo Marimba and Electronics Composed in the 2000s..... 13
4. Number of Three Types of Works in the Suggested Literature List
From Selected University Curricula ................................................. 18
5. Works Included in the Suggested Literature Lists and the Number of
Appearances ...................................................................................... 19
6. Three Sections of “Flux” ...................................................................... 31
7. Subsections of “Flux” ........................................................................... 33
8. Scalar Figures in mm. 37 to 46............................................................. 47
9. Synchronized Textural Changes in “Flux”........................................... 51
A.1. List of Works by Mei-Fang Lin............................................................ 75
A.2. Discography of Mei-Fang Lin .............................................................. 78
A.3. List of Recordings with Mei-Fang Lin as Pianist ................................ 79
vii
LIST OF FIGURES
Figure Page
1. Harmonic Series Based on C2 as Fundamental ................................. 32
2. Flux, mm.15-16 .................................................................................. 34
3. Flux, mm. 23-24 ................................................................................. 35
4. Flux, mm. 29-32 .................................................................................. 35
5. Flux, mm. 54-55 .................................................................................. 36
6. Flux, mm. 66-75 .................................................................................. 37
7. Flux, mm. 1-9 ...................................................................................... 39
8. Flux, mm. 37-45 .................................................................................. 42
9. Flux, mm. 131-136 .............................................................................. 43
10. Flux, mm. 57-59 .................................................................................. 45
11. Flux, mm. 127-128 .............................................................................. 45
12. Flux, mm. 10-14 .................................................................................. 53
13. Flux, mm. 118-125 .............................................................................. 53
14. Flux, mm. 75-80, Suggested Sticking ................................................. 55
15. Flux, mm. 107-112, Suggested Sticking ............................................. 55
16. Flux, mm. 19........................................................................................ 56
17. Flux, mm. 129-131, Suggested Sticking ............................................. 57
viii
PREFACE
Being a percussionist, I am always amazed by the tremendous variety of
percussion instruments and the incredible experience of playing various types of
percussion music. Out of all of the solo percussion instruments, I am especially
attracted to the marimba and the great variety of solo literature written for it.
In 2009, I began to prepare material for a marimba recital that would be
used to fulfill one of my D.M.A. requirements. While preparing the music, I
became very interested in the history of marimba literature. I began by collecting
information and documents that focused on marimba literature, such as world
leading marimbists’ performance repertoire, research about marimba literature,
programs from marimba recitals, and suggested literature lists from university
curricula and marimba artists. I noticed that very few works written for solo
marimba and electronics were included. This lack of information inspired me to
develop the first part of this project, which researches works composed for solo
marimba and electronics that were published, composed, or documented in the
United States.
While collecting information on solo marimba literature, a friend of mine,
Lin-Yu Wang, invited me to her D.M.A. piano recital that was presented at
Arizona State University in February, 2010. I was deeply impressed by her
performance of “Interaction” for Piano and Tape by Taiwanese composer Mei-
Fang Lin, and wondered if a notable composer such as Lin had written any
compositions for the marimba. In researching Mei-Fang Lin’s compositions, I
realized that she had extensive experiences composing electronic music, but had
ix
not written anything for the marimba, I contacted her in the summer of 2010 and
commissioned her to write a work for solo marimba and electronics for my
project.
The commissioned work “Flux” for Marimba and Electronic Tape was
completed in October 2011, and was premiered at Arizona State University on
November 20, 2011. The second part of this project consists of an examination
and a performance guide of “Flux,” as a result of my collaboration with the
composer.
x
CHAPTER 1
INTRODUCTION
Marimba Solo Literature: Past, Present, and Future
The “Concertino for Marimba and Orchestra” (1940) by Paul Creston is
considered the first serious work written for the concert marimba.1 The marimba
began a journey that lead to the creation of a new language. The marimba has a
varied past, both musically and culturally. Ancestors of the instrument go back
centuries in distant locations such as Africa, China, and Indonesia. However, as a
solo concert instrument, it has taken seventy years to establish its current position
in the world of percussion. Only in the past three decades has the instrument been
embraced by established composers. The majority of compositions available to
marimbists between 1940 and 1980 were transcriptions or works written by
percussionists.2 Not until prominent composers and inspired performers generated
new works did marimba literature expand and capture the instrument’s potential.
Commissioning for the marimba by prominent composers has increased
significantly since 1980. Two events in particular significantly impacted the
development of marimba literature: The National Endowment of the Arts (NEA)

1
Sarah E. Smith, “The Development of the Marimba As a Solo Instrument
and the Evolution of the Solo Literature for the Marimba” (DMA diss., Ohio State
University, 1995), 57-58.
2
I-Jen Fang, “The 1986 National Endowment for the Arts Commission:
An Introspective Analysis of Two Marimba Works, Reflections on the Nature of
Water by Jacob Druckman and Velocities by Joseph Schwantner, Together with
Three Recitals of Selected Works by Keiko Abe, Christopher Deane, Peter
Klatzow, Wayne Siegel, Gitta Steiner, and Others” (DMA diss., University of
North Texas, 2005), 1.
1
Consortium Commissioning Grant (1986) and the New Music Marimba
Commissioning Project. The NEA Consortium Commissioning Grant issued to
William Moersch, Gordon Stout, and Leigh Howard Stevens through the
Percussive Arts Society (PAS) in 1986, resulted in three significant solo works
being written by Pulitzer Prize-winning composers: “Reflections on the Nature of
Water” by Jacob Druckman, “Islands from Archipelago II: Autumn Island” by
Roger Reynolds, and “Velocities” by Joseph Schwantner.3 The successful NEA
Commissioning Grant was soon followed by another commission project in the
late 1980s, which was launched by the non-profit organization New Music
Marimba.4 Consequently, three marimba concerti5 by Richard Rodney Bennett,
Andrew Thomas, and Libby Larsen were added to the marimba literature, and are
recognized as the New Music Marimba’s first contribution to the marimba
literature.6 New Music Marimba, along with Percussive Arts Society, marimbists
Nancy Zeltsman, and Robert Van Sice continue to commission works by
prominent composers. Three major solo works were added to the marimba solo
literature in the early 1990s, including “See Ya Thursday” (1993) by Steven

3 William Moersch, “Commissioning Marimba Music,” Percussive Notes
37, no. 5 (October 1999): 62.

4
New Music Marimba, founded in 1986 by William Moersch, is dedicated
to commission, perform, and promote new music for marimba.
5
Including “Concerto for Marimba and Chamber Orchestra” (1988) by
Richard Rodney Bennett, “Loving Mad Tom: Concerto for Marimba and
Orchestra” (1990) by Andrew Thomas, and “Marimba Concerto: After Hampton”
(1992) by Libby Larsen.
6
William Moersch, “Commissioning Marimba Music,” 62-63.
2
Mackey, “Rhyme and Reason” (1993) by Eugene O’Brien, and “Marimbology”
(1993) by Gunther Schuller. These two events clearly marked the beginning of
consortium commissioning in the history of marimba literature,7 and can be
considered the first significant contributions to the development of marimba
literature by American composers.
Indeed, through the efforts of these pioneers, a respected repertoire was
established in twenty-five years. However, various leading figures in the field feel
the current literature for four-mallet marimba solos is still insufficient, and agree
that the marimba repertoire has space to grow. Mark Ford, coordinator of
percussion studies at The University of North Texas and a Past-President of the
Percussive Arts Society, sees the next thirty years as a period for the public to
gain a greater awareness of the marimba through continued solo and chamber
music settings,8 which would inspire more composers to compose serious works
for the marimba. Ford’s observation shows not only the necessity of continued
commissioning for the marimba, but also the direction of the music for
commissioners to consider.

7
I-Jen Fang, “The 1986 National Endowment for the Arts Commission,”
2.

8
Kristopher Keeton, “Perspectives: An Interview with Mark Ford,”
Percussive Notes 45, no. 3 (June 2007): 44-45.
3
Along with Mark Ford, Nancy Zeltsman has taken action to contribute a
series of compositions to the repertoire. In 2006, Zeltsman initiated a project,
ZMF New Music, where seven marimbists premiered and recorded twenty-four
new works.9 Two volumes of Intermediate Masterworks for Marimba, that
include the twenty-four new works, were published in July 2009, hoping to fill the
gap of marimba repertoire between “idiomatic etudes and virtuosic ‘warhorses,’
thereby meeting important needs of both students and concert performers.”10
Professionals in the field, such as Ford and Zeltsman, are aware of the
necessity of continued commissioning activities that focus on multiple styles and
levels. However, the existing literature and commission projects reveal a problem:
unaccompanied solo works and concerti obtain much greater attention than the
third type of marimba solo music: solo works for marimba and electronics. For
example, works that commissioned from the activities mentioned above,
including NEA, New Music Marimba, and ZMF New Music, are unaccompanied
solo works and concerti. While many dissertations and scholarly publications that
document information about marimba literature and its development were written

9
Twenty-four works were premiered and recorded by eight marimbists,
including Ivana Bilic, Thomas Burritt, Jean Geoffroy, Beverley Johnston, William
Moersch, Gordon Stout, Jack Van Geem, and Nancy Zeltsman in June and July
2009, during the Zeltsman Marimba Festival (ZMF).

10 Nancy Zeltsman, “Intermediate Masterworks for Marimba,” ZMF New
Music, http://newmusic.zmf.us/intermediate-masterworks.cfm (accessed June 27,

2011).

4
during the past two decades,11 very few documents focus on solo works for
marimba and electronics. In order to understand the current status of electronic
music in the marimba repertoire, a study of compositions written for marimba and
electronics is essential. A chronological catalog of compositions written for solo
marimba and electronics compiled by the author aims to establish a list of the
existing literature. Furthermore, to understand the current standpoint of electronic
music in the field of marimba performance, a survey of the three types of
compositions within the suggested marimba literature from selected university
curricula is also included in this study.
Purpose of the Study
The goal of this study aims to offer an overview of the existing literature
written for solo marimba and electronics and its status in university curricula. In
addition, the author has documented the process by which a new work, “Flux”
(2011) for marimba and electronic tape12 by Mei-Fang Lin, was added to the
marimba repertoire.

11
Dissertations that discussed marimba repertoire includes: “The
Development of the Marimba as a Solo Instrument and the Evolution of the Solo
Literature for the Marimba” (1995) by Sarah Smith, “An Annotated Catalog of
Published Marimba Concertos in the United States From 1940-2000” (2004) by
Christine Conklin, “An Annotated Bibliography of Solo Marimba Music by
Canadian Composers, 1981-2006” (2007) by Jeffery Jerry Donkersgoed, and “A
Catalog of Works for Marimba Soloist with Percussion Ensemble Composed
Between 1959 and 2008 with Analysis of Selected Works” (2008) by David
Kissinger, along with many dissertations and thesis that focus on an examination
of individual works.

12
The complete title provided by the composer. The “tape” refers to the
pre-recorded electronic part generated by a computer.
5
New marimba music pioneer William Moersch states “the commissioning
of new music has been the primary source of marimba repertoire since 1940.”13
The new work “Flux” and an examination of this work are the result of a
collaboration between Mei-Fang Lin and the author, who hopes to continue the
tradition of “commissioning and collaborating” between composer and performer
and to draw greater attention to this specific format of composition for the
marimba.
Scope of the Study
Range and Limitations
For the scope of this study, I have divided marimba solo repertoire into
three major types: unaccompanied solo work, solo work with electronics, and
concerto. Works for “solo with piano accompaniment” are excluded, since this
type of work is not a common setting in marimba literature.14 In addition, music
for marimba with any accompanying instrument would fit into a fourth category,
chamber music, which is not considered in this study.
The chronological catalog of compositions written for marimba and
electronics included in this study are limited to the original four-mallet solo works
written for marimba and electronics. While compiling the list of existing
compositions, works that are transcriptions, works that require six-mallet
techniques, and works written for marimba and percussion instruments are

13
William Moersch, “Commissioning Marimba Music,” 62.
14
Since that four-mallet techniques enable performers to play more than
one independent voice at the same time; a majority of marimba solo literature is
composed for marimba alone.
6
excluded. However, works written for marimba with secondary or incidental use
of additional percussion instruments are included in the catalog of compositions.
Definition of Terms
Electronic Music “sought to expand compositional resources beyond the
sounds available from instruments and voices, to explore new sound shapes and
timbres both by transforming recorded sources and by synthesizing new sounds,
and to break the confines of fixed pitch and metrically based approaches to
rhythm.”15 Therefore, a tape of recorded acoustic instrument accompanying live
performance is not included as a type of electronic music in this study.
Solo work for marimba and electronics is defined as a work for one
performer on the marimba, along with one of the following three types of
electronic parts: fixed electronic part, electronic effects, or live electronics.
A fixed electronic part is often referred as a tape part, wherein the
electronic part is pre-recorded and played during the performance, serving as an
accompaniment or other musical role as desired by the composer. Electronic
effects is a technique “where the computer amplifies and modifies the sound of
the percussion instruments without necessarily adding additional unique
sounds.”16 For example, amplification and reverberation are the widely used
technique of electronic effects. The last type, live electronics, is the most

15
Simon Emmerson, Denis Smalley, “Elctro-acoustic music,” Oxford
Music Online, http://www.oxfordmusiconline.com.ezproxy1.lib.asu.edu/subscribe
r/article/grove/music/08695 (accessed June 29, 2011).
16
Charles Martin, “Percussion and Computer in Live Performance”
(Master’s thesis, Australian National University, 2009), 19.
7
complicated setting among the three types of electronic part. In live electronic
music, technology and devices are used to generate, transform, modify or trigger
sounds produced by the performer.17 Thus, it is also referred as “interactive
electronics.” In the chronological catalog of compositions for marimba and
electronics (table 1, 2, and 3 in chapter two), a column “type” indicates the
specific type of electronic under which that work falls.
Major Sources
The chronological catalog of compositions for solo marimba and
electronics is based on information available in the United States yet is not limited
to works written by composers of the United States. As a result, this catalog of
compositions includes works written by American composers, works that are
published in the United States, works widely known and performed in the United
States, and works that are documented in online archives of professional musical
associations and academic institutions18 in the United States, in order to cover a
broad range of repertoire that is currently documented and available in the United
States.

17
Simon Emmerson, Denis Smalley, “Elctro-acoustic music.”
18
Including the online archives of Percussive Arts Society (PAS),
American Music Center (AMC), American Composers Alliance (ACA),
American Composers Forum (ACF), WorldCat, ProQwest, The ASU School of
Music Percussion Library Database, Boston Conservatory Percussion Database,
and online catalog of major publishers of percussion music.
8
CHAPTER 2
SOLO LITERATURE FOR MARIMBA AND ELECTRONICS
A Chronological Catalog and Overview of Solo Literature for Marimba and
Electronics
The chronological catalog of compositions for solo marimba and
electronics is shown in three tables (see table 1, 2, and 3), and each table contains
works written within approximately a decade. The earliest work dates back to
1978, and the most recent work was written in 2010.
A result of 90 works written between 1978 and 2010 is included, with 21
works composed in the first decade (1978-1989, see table 1), 25 works composed
in the second decade (1990-1999, see table 2), and 44 works composed in the last
decade (2000-2010, see table 3). Within the 90 works written for marimba and
electronics, 56 works were written for marimba and fixed electronics, 19 works
were composed for marimba and live electronics, 2 works utilized amplification
and reverberation as electronic effects, and 13 works are not categorized due to a
lack of information regarding the electronic part.19
Rather than attempting to compile an all-inclusive list, the author hopes
that this catalog of compositions will serve as a source of information for
percussionists and marimbists who wish to explore the repertoire for solo
marimba and electronics.

19 In table 1, 2, and 3, the abbreviation under the column “type” refers to
the three types of electronic parts mentioned previously: tape part (T), electronic
effect (E), and live electronics (L).
9
Table 1. Works for Solo Marimba and Electronics Composed in the 1980s
Year Title Composer Type
1978 Metamorfosi I: per marimbafono e nastro Iván Patachich T
1979 Polytempus II for Marimba and Computer Dary John Mizelle T
1981 Marimba Music Maurice Wright T
1982 For Marimba and Tape Martin Wesley-Smith T
1982 Nightwatch: per marimba e nastro magnetico Barry Traux T
1983 Angels Gary Kulesha T
1983 Instrument flying for Marimba and Computer Tape John Celona T
1984 Puzzle for Marimba and Tape Gerard Geay T
1985 Miroirs for Marimba and Tape Guy Reibel T
1985 Spherical Music for Solo Marimba and 11 Pre-recorded Marimbas Eve Beglarian T
10
1985 White Knight and Beaver for Soloist(s) and Tape Martin Wesley-Smith T
1986 Atamasco and the Wooden Shelter Christopher Stowens T
1987 Fabian Theory for Percussion Solo and Digital Delay Nigel Westlake
1987 Morphism IV: for Marimba, MIDI Mallet Controller and Computer Mark Waldrep
1987 Percussion of the Air for Marimba and Tape Claude Schryer T
1988 Ball the Jack for Marimba and Tape Stephen Bull T
1988 Pay No Attention To That Man Behind The Curtain Caleb Morgan T
1988 Work-Out for Marimba and KAT (computer activator) Vic Hoyland
1989 Ode to Whales for Marimba Improvisation and Tape Teppo Hauta-aho T
1989 Premonitions I for Marimba and Tape Brian McCue T
1989 Pour un Végétal qui Sonne for Marimba and Tape François Rossé T
Total: 21 Works
1990 In Praise of Nature for Marimba and Tape Keiko Abe T
1990 From the Far Side of Earth for Marimba and Tape Keiko Abe T
1990 Modi-fications for Marimba and Tape David Clark Little T
1991 Black, White & Rose: Music for Marimba with Gongs, Woodblocks and Tristram Cary T
Prerecorded Tape
1991 Celestial Dances for Marimba and Tape Charles Argersinger T
1991 Daydreams for Marimba and Electronics Philippe Boesmans L
1991 Gaian Pulse for Marimba and Pre-recorded Tape Philip Armstrong T
1991 Mare - a' 440'' for mMarimba and Live Electronics Peter Smith L
11
1991 Rezukuja for Bass Marimba and MIDI Based Electronics Carl Stone
1992 Nature’s Course for Marimba and Prerecorded Tape Stephen Rush T
1992 Rimbasly Daniel McCarthy T
1993 Musique 2 Duo Marimba Bande Magnétique Yves Meylan
1993 Metallic Groove for Marimba and Tape James Hegarty T
1994 Anagramm 1 für Marimbaphon und Tonband Udo Diegelmann T
1995 Le Chuchemar Climatisé Alian Thibault T
1995 Pixelation for Marimba and Tape Donald Chamberlian T
1995 Sonatina for Marimba, Electronic Reverb, and Soundtrack Garry Eister
1997 Fertility Rites for Marimba and Tape Christos Hatzis T
1997 Pentaphase : für Marimbaphon und Tonband Udo Diegelmann T
Table. 2 Continued
1997 W. J. (Take Three) pour Marimba et Haut-parleurs Jacques Demierre T
1998 Hangar 84 for Marimba and Tape Paul Bissell T
1998 Verve (Reverberation) Chris Paul Harman E
1999 Ice Rhythm for Solo Marimba or Marimba with Electronics Emma Lou Diemer T
1999 Quiet Silence Steven Everett L
1999 WarHammer Daniel McCarthy T
Total: 25 Works
12
2000 Scratchy Marimba Meets the Low Pass Shrew Stephen Vitiello
2001 The Alabados Song Paul Bissell T
2001 Chaco Skies for Marimba and Computer Joseph Harchanko
2001 Dark Forest for Marimba and Interactive Electronics Timothy Place L
2001 Horizont Alfred Zimmerlin L
2001 Serendipity for Marimba and Tape Lars Indrek Hansson T
2001 Theater in Music for Marimba and Electronics Ken Ueno
2002 Ayehli Alexandra Gardner T
2002 Crystal Butterfly for Solo Marimba and Recording Ben Wahlund T
13
2002 Liquid Bars João Pedro Oliveira T
2002 Plugged 1.1 for Solo Amplified Marimba Jérôme Blais E
2002 Rimbarimba Rodrigo Sigal L
2003 Mia-graik-mabta: for marimba and Live Computer Brett Masteller L
2003 Music for Marimba and Computer Cort Lippe L
2003 Night Chill for Marimba and Recorded Sound Christien Ledroit T
2003 Script Pedro Amaral L
2003 Take the Six for Marimba and Electronics Moto Osada T
2003 Without Words for Marimba and Live Electronics Paul Wilson L
2004 Precipice for Marimba and Computer Generated Sounds Allan Schindler T
2004 Reflections for Marimba and Tape Petra Bachrata T
Table 3. Continued
2004 Sublimation for Marimba and Electronics Kyong Mee Choi
2004 Un-sui-fu Katsuhiro Tsubonoh
2005 Diastemas for Marimba and Electroacoustic Sounds Alcides Lanza T
2005 Monovalence Ia for Marimba Improvisation and Tape Shin-ichiro Ikebe T
2005 One Study One Summary for Marimba, Junk Percussion and Digital John Psathas T
Audio Playback
2005 Passacaille pour Marimba et Live Electronics Pierre Bartholomée L
2005 Quaderno for Marimba and Live-Electronics Flo Menezes L
2006 C:M for Marimba and Recorded Sound Thomas McKenney T
14
2006 Marimbascape for Sequence and Marimba Michael Waldrop T
2006 Sueño Con Ranitas for Marimba and Electronics Julio d’Escriván L
2006 Traces IV for Marimba and Live Electronics Martin Matalon L
2007 Tempo Distortion #4 for Marimba and Pre-recorded Processed Marimba Steve Kornicki T
Samples
2007 (Un)selfish Object Baljinder Sekhon L
2008 Anchialine for Marimba and Eight Channel Cubic Electronics Travis Weller
2008 Fluid Grains for Marimba/Piano and Electronics Shintaro Imai L
2008 In the Fire of Conflict for Marimba and Audio Playback Christos Hatzis T
2008 Rhythm and Texture for Marimba and Electronics Shintaro Imai L
2008 Sequoia for Marimba and Tape Thomas Beverly T
Table 3. Continued
2009 Take Flight for Marimba and Interactive Computer Processing Allan Schindler L
2010 IX for Marimba and Live Electronics Drake Andersen L
2010 Save the .WAV for Marimba and Electronics Winton Yuichiro White T
2010 Tipuana Tipu for Marimba and Electronics Diana Salazar
2010 Unsupervised for Marimba and Pre-recorded Electronics Bijan Olia T
2010 Woods Walker for Marimba and Electronics Lynn Job T
Total: 44 Works
15
The use of electronic music in the marimba repertoire can be observed,
based on several criteria. First of all, it is evident that fixed electronics was the
major type of electronic part in the 1980s and 1990s. The majority of the works
that were composed before 2000 (see the column “type” in table 1 and 2) are
written for marimba and fixed electronics. Secondly, live electronics had not been
used widely in compositions for the marimba until the last decade. Within the 19
works written for marimba and live electronics, 16 works were composed
between 2000 and 2010. Lastly, the number of compositions increased largely in
the last decade. Looking at the total number of works in table 1, 2, and 3, we
found that 21, 25, and 44 works for marimba and electronics were written in each
decade. An increasing number in the last decade confirms that in the twenty-first
century, computer and electronic music play a greater role in percussion music
than previously. Along with the increase in the use of computer and the fast-
growing technology in composing, electronic music in marimba performance
undoubtedly needs to be further explored by both composers and performers.
The Current Status of Solo Works for Marimba and Electronics in the
Marimba Literature
After providing an overview of the solo literature composed for marimba
and electronics, an examination of the suggested marimba literature in selected
university curricula is examined in this study, in order to better understand the
current status of electronic music in the marimba repertoire.
16
The suggested marimba literature lists for percussion performance
students compiled by ten university instructors and professors20 were chosen
randomly to generate a comparison (see table 4) based on the number of the
works written for each of the three types of marimba solo: unaccompanied solos,
concerti,21 and solo works for marimba with electronics. In nine out of the ten
suggested literature lists, the works were graded based on difficulty, using three
different grading systems: grade one to four (or up to grade six); lower division to
graduate study; and beginner level to advanced level. However, concerti and solo
works for marimba with electronics are often written for experienced performers
and are uncommon to be listed in the suggested literature for beginner or
underclassmen. Therefore, only works listed under grade four and above; upper
division and above; and the level of intermediate and above were taken into
account when listing the number of the works for three types of compositions.22
In table 4, the middle four columns in the first row include the three types
of works, which are unaccompanied solos, concerti, and solo works with

20
Arizona State University (ASU), Boston Conservatory (BC),
Campbellsville University (CU), Minnesota State University at Moorhead (MSU),
University of Central Florida (UCF), University of Kentucky (UK), University of
Tennessee at Martin (UT-Martin), University Texas at Austin (UT-Austin),
Robert Van Sice (Peabody Conservatory and Yale University), and William
Moersch (University of Illinois at Urbana Champaign).
21
Concerto is defined as a work that features a soloist on the marimba,
and accompanied by an ensemble of any type and size, including orchestra, wind
ensemble, percussion ensemble, or chamber ensemble.
22 Except
for the suggested literature compiled by Robert van Sice and the
University of Central Florida, works listed under grade two and above are
included in order to correspond the level of difficulty to the other suggested
literature lists.
17
electronics. The additional type “collection/series” is essentially unaccompanied
solo works, but published as part of a book that contains multiple solo works or a
series of works that is usually performed as a suite or a set.
Table 4. Number of the Three Types of Works in the Suggested Literature List
From Selected University Curricula
Institution Level Unaccomp. Collection Concerto Solo with Other Total

Solo /Series Elect.
ASU Upper 40 12 5 1 0 58
Graduate 26 7 6 2 0 41
Total 66 19 11 3 0 99
BC Total 89 8 0 1 1 99
CU Upper 21 2 2 0 2 27
Graduate 13 0 2 1 2 18
Total 34 2 4 1 4 45
MSU Upper 33 9 11 2 11 66
Graduate 15 2 3 1 1 22
Total 48 11 14 3 12 88
UCF Grade 2 22 8 2 0 2 34
Grade 3 30 6 6 0 3 45
Grade 4 32 5 8 2 0 47
Total 84 19 16 2 5 126
UK Upper 34 5 2 4 1 46
Graduate 18 1 4 2 1 26
Total 52 6 6 6 2 72
UT-Austin Int.–Adv. 29 4 0 0 0 33
Adv.+ 20 1 0 0 0 21
Total 49 5 0 0 0 54
UT-Martin Upper 38 3 1 3 2 47
Graduate 13 0 2 1 2 18
Total 51 3 3 4 4 65
RVS-Yale Grade 2 2 1 0 1 0 4
Grade 3 4 2 0 0 0 6
Grade 4 12 0 0 0 0 12
Grade 5 8 0 1 1 0 10
Total 26 3 1 2 0 32
WM-UI Total 40 16 5 4 16 81
Sum of 539 92 60 26 44 761
Total
The highlighted numbers under the column “Total” and “Solo with
Electronics” show the relation between the total number of works and works
written for marimba with electronics. For example, the suggested literature list
18
from Arizona State University has 99 marimba solo works listed under the level
of upper division and graduate study. Only 3 out of 99 works are written for
marimba with electronics, which is 3% of the total number. By examining the ten
sets of highlighted numbers (see each row “total” in table 4), a result of
approximately less than 5% of works in the suggested literature lists are written
for marimba and electronics.23 It is clear that solo works for marimba and
electronics play a relatively small part in marimba performance.
The sum of the numbers listed under the column “solo with electronics” is
twenty-six. However, several works were listed in multiple literature lists. Only
12 works for marimba with electronics (see table 5) are included in the ten
suggested literature lists; 6 works appear multiple times and 6 works appear only
once.
Table. 5 Works Included in the Suggested Literature Lists and the Number of
Appearances
Title Year Composer Number

of App.
1 For Marimba and Tape 1982 Martin Wesley-Smith 5
2 Rimbasly 1992 Daniel McCarthy 5
3 Fabian Theory 1987 Nigel Westlake 3
4 Fertility Rites 1997 Christos Hartzis 3
5 Angels 1983 Gary Kulesha 2
6 Hangar 84 1998 Paul Bissell 2
7 Polytempus II 1979 Dary John Mizelle 1
8 Atamasco 1986 Christopher Stowens 1
9 Daydreams 1991 Philippe Boesmans 1
10 WarHammer 1999 Daniel McCarthy 1
11 The Alabados Song 2001 Paul Bissell 1
12 Crystal Butterfly 2002 Ben Wahlund 1
Total: 26

23 Except for UK (8.3%) and UT-Martin (6.1%).
19
Two works that earned the highest number of appearance - “For Marimba
and Tape” (1982) by Martin Wesley-Smith and “Rimbasly” (1992) by Daniel
McCarthy – are the most well known works in this compositional format.
After examining the chronological list of compositions written for
marimba and electronics (table 1, 2, and 3) and works for marimba with
electronics that are included in the suggested marimba literature lists from ten
universities (table 4 and 5), two observations concerning the status of electronic
music in marimba performance should be addressed. First of all, electronic music
plays a very small role in the marimba repertoire. Secondly, it is evident that most
of the works written for marimba and electronics are unfamiliar to a majority of
percussionists. While the chronological catalog of compositions for marimba and
electronics in this study has ninety works, potentially many other works for
marimba and electronics exist but are excluded from this study, twelve
compositions of this type are included in the suggested literature from ten
university curricula.
The situation stated above might be explained by three factors. First of all,
electronic music was used in marimba performance much later than the other
musical forms, such as concerto and solo. The first work for solo marimba and
electronics in table 1 was written in 1978, which is thirty-eight years after the first
marimba concerto composed by Paul Creston in 1940. Consequently, performers
are not familiar with this type of composition as a genre. In addition, works
written for marimba and electronics often demand specific devices, software, and
technology to perform. In other words, performers have less control over the
20
selection of compositions due to the lack of proper knowledge or equipment to
perform the work, which results in infrequent performances. Consequently, only a
handful of works have obtained attention in this genre. Lastly, composers might
be unfamiliar with the four-mallet techniques used to play the marimba, resulting
in the creation of works that are not idiomatic for the instrument.
To summarize, the author suggests that a continuous effort to study and
promote electronic music in marimba performance will be welcomed by the
percussion community. This study and its related activities respond to this desire
in several ways: commissioning a new work for solo marimba and electronics by
an established composer; increasing the number of appearances of electronic
music through the world premiere, subsequent public performances, and a
recording of “Flux”. Furthermore, an examination and performance guide of this
work in chapter four and five will serve as a source for performers who wish to
study and perform this work. The ultimate goal is to increase the awareness and
the interest of performers, teachers, and students in performing music for solo
marimba and electronics.
21
CHAPTER 3
BIOGRAPHY OF DR. MEI-FANG LIN
Educational Background
Mei-Fang Lin (林梅芳, 1973-), born and raised in Taiwan, who studied
composition on three continents over a decade, is a composer with a growing
reputation, an accomplished pianist, and a dedicated educator.
Born in Taichung, Taiwan, Lin was educated in Taiwan, and received her
B.A. in Composition and Theory from the National Taiwan Normal University in
1997, under the instruction of Yan Lu (盧炎), Ting-Lien Wu (吳丁連), and
Hwang-Long Pan (潘皇龍). She came to the United States in 1997, studying
electronic music with Scott Wyatt and composition with Guy Garnett, Zack
Browning, and Sever Tipei at the University of Illinois, Urbana-Champaign. Lin
received her M.M. in Composition from the University of Illinois in 2000, and
continued her Doctorate in Composition at the University of California at
Berkeley. While pursuing her Ph.D. with Edmund Campion and Edwin Dugger at
UC Berkeley, Lin was awarded a fellowship, the Frank Huntington Beebe Fund
for Musicians (2002-2003), from the Beebe Foundation, as well as the George
Ladd Paris Prize (2003-2005) from UC Berkeley to study in Paris, France, with
Philippe Leroux, at the Ecole Nationale de Musique et de Danse from 2002 to
2005.
Meanwhile, Lin was selected as one of only ten participants of the
yearlong computer music course, Cursus de Composition, at the esteemed musical
research institution, The Institute for Research and Coordination of

22
Acoustic/Music (IRCAM) in Paris, from 2003 to 2004. Her first work utilizing
live electronics, “Multiplication Virtuelle” (2004) for Percussion and Live
Electronics, was premiered at IRCAM’s annual Festival Résonances.
After three years of study in Paris, Lin returned to the United States and
completed her Ph.D. in 2007. She then taught as Visiting Assistant Professor at
the University of Illinois at Urbana-Champaign from 2007 to 2009. In 2009, Mei-
Fang Lin was appointed Assistant Professor of Composition and Theory at the
Texas Tech University, and currently resides in Lubbock, Texas.
Awards and Accomplishments
Lin’s works have attracted a great deal of attention in the United States,
Europe, and Asia. Her works have been performed by ensembles and groups
across the world, in cities including: Amsterdam (Nieuw Ensemble), Atlanta
(Bent Frequency), Berlin (Kammerensemble Neue Musik), Boston (Juventas,
Alea III), Bratislava (Melos-Etos), Buenos Aires (Armonia Opus Trio), Chicago
(Fifth House Ensemble, Chicago Ensemble), Dublin (Ensemble Concorde),
Freiburg (Ensemble Surplus), Lyon (Ensemble Orchestral Contemporain), New
York (Washington Square New Music Ensemble, North/South Consonance,
Yarn/Wire, Parnassus Ensemble), Paris (Ensemble Cairn), San Francisco (San
Francisco Contemporary Music Players, Earplay, Left Coast Ensemble), Taipei
(Contemporary Chamber Orchestra Taipei), as well as in many international
conferences and festivals.
Lin has won major composition prizes and commission grants from
numerous competitions and organizations, including: American Composers
23
Forum/LA Annual Composer’s Competition (2009), Fifth House Ensemble
Competition (2009), Commissioning Funds (2008), Messiaen Illuminated Festival
Commission (2008), American Composers Forum (2007), Seoul International
Competition for Composers (2007), Bourges Competition (2006, 2001), San
Francisco Arts Commission (2006), French Ministry of Culture Commission
(2004), Pierre Schaeffer Competition (2002), Luigi Russolo Competition (2001),
Taipei National Concert Hall SCI/ASCAP Student Commission Competition
(2001), Prix SCRIME (2000), Taiwan Ministry of Education Commissioning
Fund (2000), and many others.
Major Influences and Philosophy
Western Influences
Lin received her musical education in Taiwan starting at a very young age.
While Eastern music and musical theory play a part in Taiwanese schools,
Western art music is central to the music education in Taiwan. Lin grew up
exposed mainly to Western music as a result.
Upon her arrival in the United States, Lin picked up another western
invention that was going to change the way she composed. She encountered
music technology, and began composing electronic music while studying at the
University of Illinois. As she explored the compositional techniques of electronic
music, Lin became aware of the immense potential of electronic music, especially
its capacity to produce sounds that are beyond the limitation of timbre and playing
techniques of acoustic instruments. In her writing, Lin treats the electronic
medium as an instrument with great possibility and flexibility, which is capable of
24
playing various musical roles. Her compositional process of creating electronic
music has always involved “active listening”24 and relying on intuition to shape
the most satisfying sound and timbre. In her works that involve live electronics,
Lin often infuses theatrical elements into her work to increase the tension of the
performance.
While studying in France, Spectral Music had a significant impact on
Lin’s viewpoint of music. In Spectral Music, pitch materials are derived from the
sound spectrum, while other musical elements such as “density, dynamics, spatial
position, particles, and spectral composition”25 are brought to the foreground. The
impact of Spectral Music and later Post-Spectralism has led Lin to re-examine the
priority of musical parameters in her music, and inspires her to adopt the concept
of “musical gesture” and “process,” as well as utilizing auxiliary elements such as
dynamics and articulations as principal organizational tools.26
As musical gesture frees Lin’s music from the confinement of pitches and
harmonic relationships, physical gesture in her works reinforces the expression of
visual and spatial aspects of the performance. Springing from her stage experience
as a pianist, Lin feels that the physical sensation that connects performer,

24
Beth E. Levy, Program Notes: Infinite Black by San Francisco
Contemporary Music Players (San Francisco, CA, October 2005), 5.
25 Viviana
Moscovich, “French Spectral Music: An Introduction,” Tempo,
No. 200, (April 1997): 22.

26 Mei-Fang Lin, telephone conversation with the author, July 2, 2011.

25
instrument, and music is inseparable from any musical performance.27 What
comes across at the end is the constant flow of energy and a sense of drama as the
spirit of her music in general.
Eastern Influences
While studying overseas, cultural awareness and identity became a bigger
part of her reflections. Lin had experimented with different approaches to
incorporate cultural elements into her music in the early stages of her
compositional career. However, unsatisfied with her attempts in combining
traditional Chinese folk songs with harmonic languages stemming from the
western common practice period, Lin was seeking to uncover a deeper meaning of
her cultural heritages and their influences on her as a composer. What she was
looking for is too profound to be portrayed by the superficial borrowing of
musical materials from traditional music. Indeed, she did not find her solutions
directly from Chinese music, but rather from Chinese philosophy and various
forms of theory and practice of the arts, which formed the guiding principles in
her musical thoughts and writings. In Lin’s music, Eastern influences are revealed
by an understanding of Lin’s experiences in Chinese theory and practices: I-Ching
(易經), Tai Ji Quan (太極拳), and Qi Gong (氣功).
Lin studied these theories through her college years in Taipei, Taiwan. I-
Ching, also known as the Book of Changes, is an ancient text that documents the
law of the nature and serves as the central theory and principle of Chinese
philosophy, social order, culture, and the arts. I-Ching consists of sixty-four

27 Ibid.
26
hexagrams and each hexagram has a different pattern of six lines, either a broken
line, yin (陰), or a solid line, yang (陽). The concept of Yin Yang28 has been
applied to many forms of art, such as Chinese brush paintings, performing arts,
martial arts, and Tai Ji Quan. Through Lin’s study of Tai Ji Quan, she gained the
knowledge of Qi (氣), the continuous force of life, in practicing Qi Gong.29 Lin
states that Qi is the energy that connects individual movements and gestures of
Tai Ji Quan into a continuous, uninterrupted whole.30 She has incorporated the
concept of ”Qi” into a lot of her music. Whereas her works are clearly
sectionalized, they are always connected by a continuous energy that flows
through the entire work.
Qi has become a crucial concept in Lin’s work, and again it serves as a
medium to reinforce the spirit of Lin’s music: drama. While the continuous
intensity leads the music moving forward, its contrary quality, silence, interrupts
the flow aurally to increase tension and create dramatic moments. The tension and
release, sound and silence in Lin’s music owe much to the relation of time and

28 Yin and Yang refers to the opposite quality in the universe. Yin is the
passive, downward, dark, soft, feminine principle in the nature while Yang
represents the active, upward, bright, hard, masculine principle. For example, Yin
and Yang can be understood as female and male, water and fire, moon and sun,
earth and sky, so on and so forth. However, Yin and Yang does not exist solely by
themselves, but exist simultaneously as a whole. The relation of Yin and Yang is
contrary, yet co-existent and transformable.

29 Lin-Ni Liao, “Taiwanese Women Composer and Mixed-Music.
Multiplication Virtuelle by Lin Mei-Fang, Tien Nee by Chao Ching-Wen.” (paper

presented at the CEME-Electroacoustic Music Studies Asia Network Colloquium
Day, Central Conservatory of Music, Beijing, China, October 28, 2009).
30
Mei-Fang Lin, telephone conversation with the author, July 2, 2011.
27
drama that she learned from the traditional Taiwanese music Nan Guan (南管)
and Chinese Beijing Opera (京劇). For example, in Chinese Beijing Opera, the
tension reaches the climax at the time when a frozen gesture and ensuing silence
disrupt the motion and music. The movement and music then continue, as a relief
from the frozen moment, and drama is achieved by the vivid contrasts that happen
in time (sound and silence) and space (performer’s movement and the frozen
gesture). Consequently, the influences of Nan Guan and Chinese Beijing Opera in
Lin’s music rest in her compositional treatments of “time” and “tension.”
Other Experiences
Not only is she a composer, Lin is also an accomplished pianist and
conductor. Her talent can be heard in the recording, Music From SEAMUS Vol.
12, published by SEAMUS,31 where she performed her widely known solo work,
“Interaction” (2000) for Piano and Tape. Lin’s experience as a pianist enables her
to incorporate the concept of physical sensation in her work, and her experience
as conductor broadens her aural sensation via a continuous process of careful
listening, balancing the sound and timbre in the ensemble setting. Lin’s various
musical roles - composer, pianist, and conductor – gives her multiple perspectives
of music.

31 SEAMUS, Society for Electro-Acoustic Music in the United States, is a
non-profit organization for composer, performer, educator, and music of all styles
that involve electronic music. The recording released each year is a collection of
works voted as the “best of show” by the attendees of SEAMUS National
Conference. “Interaction” for Piano and Tape is included in SEAMUS Vol. 12,
which was published in 2003. For Lin’s other recordings, see table A2 and A3 in
appendix. SEAMUS, “SEAMUS CD,” SEAMUS Online, http://www.seamuson
line.org/?page_id=68 (accessed June 11, 2011).

28
Through Lin’s study of I-Ching, Tai Ji Quan, Qi Gong, and Nan Guan,
Eastern philosophies have nourished her musical thoughts and ideas. Educated in
Taiwan, the United States, and France, Western musical trainings have
established and broadened her musical languages and techniques. These diverse
influences are manifested through two central concepts in Lin’s compositional
philosophy: drama and musical gestures, which contribute significantly to Lin’s
music.
29
CHAPTER 4
AN EXAMINATION OF "FLUX"
“Flux” for Marimba and Electronic Tape was written in 2011 by Mei-Fang
Lin. This work is seven minutes and eighteen seconds in length, and requires a 4.3
octave marimba (A2 to C7) to perform. The score and files are so far distributed
independently, thus performers who are interested in performing this work should
contact the composer directly (see appendix for contact information) to obtain the
music.
In general, marimba and electronics each have a very unique musical
character. While compositions for marimba are often pitch-oriented, electronic
music embraces a wider musical texture that represents a sound-mass.32 In “Flux,”
neither marimba nor electronics has the dominant musical role; this work intends
to fuse the sound of the marimba and electronics into a distinct sound experience,
by utilizing similar pitch materials and the simultaneous pace of the marimba and
electronic part.
Compositional Technique: Electronic Part
“Flux” consists of three sections (see table 6), which are sectionalized
according to the character and compositional techniques of the electronic part.
The two major techniques that determined the major sections of the electronic part
are time-stretching and granular synthesis.33

32
Mei-Fang Lin, telephone conversation with the author, October 9, 2011.
33
Mei-Fang Lin, interview by author, Tempe, AZ, September 22, 2011.
30
Table 6. Three Sections of “Flux”
Marimba Part Electronic Part Length

Section 1 m. 1 – m. 28, beat 2 0’00” – 2’18” 2’18”
Section 2 m. 28, beat 3 – m. 94 2’18” – 5’00” 2’42”
Section 3 m. 94 – m. 146 5’01” – 7’18” 2’18”
In the first section of “Flux,” the original sound materials (recorded from
string instruments) were analyzed, and then re-synthesized by a computer based
on the harmonic series of the sound materials. The synthesized sounds are then
time-stretched, and appear in multiple layers that fade in and out through the first
section. Granular synthesis is the main technique that was used in the second
section. In the process of composing the second section, Lin used several sounds
recorded from string instruments and broke each of them into extremely small
pieces called “grains.” These grains were looped at different speeds, transposed,
and recombined to create new sounds. Granular synthesis allowed Lin to create
tremendous amount of sounds, and select those that are desirable to her. In the
third section, Lin used both “time-stretching” and “granular synthesis,” along with
other techniques in creating a more sophisticated texture.
Compositional Technique: Marimba Part
Pitch Material and Subsections
The pitch material that Lin used in the marimba part is mainly derived
from the harmonic series, particularly a whole tone scale extracted from the 7th
harmonic to the 11th harmonic (see figure 1). Whole tone scale is used as the
primary pitch material throughout the work, and is frequently augmented by the
addition of other pitches.
31
!
# # %# #
! # $# #
#
1 2 3
# #
4 5 6 7 8 9 10 11 12
" #
#
Figure 1. Harmonic Series Based on C2 as Fundamental
Two whole tone scales (WTS), C-D-E-F♯-G♯-A♯ (WTS 1), D♭-E♭-F-G-
A-B (WTS 2), and its combination (chromatic scale) are arranged as primary
pitch materials in each main section. The pitch materials are also presented in
various forms, such as ascending scalar figures, descending scalar figures,
chromatic scales, arpeggios, polyrhythms, and disjunct linear motion in each
subsection that is defined by the purposeful change of figure, pitch material, or
function of the passages (see table 7).
32
Table 7. Subsections of “Flux”
Subsection Measure Function Primary Pitch Materials Additional Pitches Main Figures
1a 1-15, beat 1 Intro. All 12 pitches Descending scalar figure (1-8)

Disjunct linear motion
1b 15, beat 2 - 18 Transition WTS (1) CDEF♯G♯B♭ E♭B Arpeggio (15-16)

Ascending scalar figure (17-18)
1c 19-28, beat 2 WTS (1) CDEG♭A♭B♭ Part of WTS (2) Ascending scalar figure
C♯E♭FGAB Descending line in the top voice
2a 28, beat 3 – 35, WTS (2) D♭(C♯)E♭FGAB WTS (1) Scalar figure
beat 3 CDEG♭A♭B♭
33
2b 35, beat 4 – 46, WTS (2) D♭(C♯)E♭FGAB DE Ascending scalar figure with overlapping
beat 3 phrases
2c 46, beat 4 - 62 WTS (1) CDEF♯G♯B♭ Part of WTS (2) Scalar figure, arpeggio, polyrhythm
FGAC♯
2d 63 – 94, beat 3, Bridge WTS (1) CDEF♯G♯B♭ (1) Disjunct linear motion (66-80)
2nd 16th note WTS (2) D♭(C♯)E♭(D♯)FGAB (2) Chromatic scale (81-88)
(3) Combination of (1) and (2) (89-94)
3a 94, beat 3, 3rd Repeating Chromatic scale (part of WTS 1+2) Disjunct and conjunct linear motion
16th note – 104 Patterns DE♭EFF♯GA♭AB♭B
3b 105 - 116 Transition Chromatic scale (WTS 1+2) Roll

CC♯DD♯EFF♯GG♯AA♯B Ascending scalar figure
3c 117- 146 Climax WTS (1) CDEF♯(G♭)G♯(A♭)B♭ Part of WTS (2) Roll, arpeggio, scalar figure, disjunct
C♯D♯FGB linear motion
For example, after the opening roll section (1a), in mm. 15-16, the whole
tone scale (WTS 1, C-D-E-F♯-G♯-B♭), with additional pitches E♭ and B, are
arranged as arpeggios that scatter over two octaves (see figure 2).

Figure 2. Flux,
mm. 15-16

Along with mm. 17-18, this passage (1b)
serves as a transition to a

subsection (1c) that uses the same whole tone scale (WTS 1, C-D-E-G♭-A♭-B♭)

as primary pitch material,
with additional pitches from WTS 2. Although the pitch

material
remains the same, it is presented differently,
as an ascending scalar figure
(see figure
3) throughout

the entire subsection

1c.

Overall, after the introduction, the first section (subsections 1b and 1c)

primarily uses WTS 1 as pitch material, and features the primary scalar figure of

this work
to establish the flow of the music with several main elements before

moving

to section two that increases the complexity of figures, pitches materials,

rhythm, and texture.

34

Figure
3. Flux,
mm. 23-24

In section two, subsections 2a and 2b were both based upon WTS 2,

D♭(C♯)-E♭-F-G-A-B, with fragments that consist of or include additional pitches.

While section
2a
(see
figure
4)
features
a series
of
descending
scalar
figure,

"

section 2b (see
figure 8)switches

to an ascending scalar figure
with
overlapping

phrases

and rapidly changing pace to create layers of linear motion and a more

complex texture (see the discussion

about
octave

displacement
andtable
8).

!

Figure 4. Flux, mm. 29-32

35

In section 2c, the pitch material is simply based

on WTS 1, C-D-E-F♯-G♯-
!

B♭. However, it was again presented in various formats, such as a polyrhythm in

two voices (see figure 5), ascending scalar figures, descending
scalar figures, and
arpeggios,
to continue

the flow with

constant variations of appearance and

texture.

Figure
5. Flux,
mm.54-55

Section 2d hints the new figures and materials that frequently reoccur in
the third section,

such as
chromatic scaleand
disjunct linear motion.

In mm. 66-

75, the repeating pattern begins with a three-note figure with disjunct motion, B♭-

(C♯)-E-F♯, (see figure 6, m. 66). The remaining nine notes of a chromatic scale

are then gradually
introduced
while
the pattern repeats
(see
figure 6). A pitch
or

two
pitches were added each repetition, to build the complete phrase in mm. 74-

75. Later in this section, the pitch material is arranged as
fragments of chromatic
scale, or a combination of disjunct linear motion and chromatic scale.
36
The three subsections in the third section each have its function:
establishing pattern (3a), increasing intensity and foreshadowing the upcoming
materials (3b), and reaching the climax of the work (3c). The pitch materials and
main figures in the third section stem from the previous materials; the mixed
materials and figures create a more complex texture of the third section, which
corresponds to the texture of the third section of the electronic part that combines
the musical character from both previous sections.
37
After examining the primary pitch materials in the marimba part (see table
7, “primary pitch material”), the observation shows that the primary pitch
materials for each of the three sections are mainly based on: WTS1 in section one,
WTS2 in section two, and its combinations (chromatic scale) in section three. The
approach is similar to the use of the compositional techniques in the electronic
part, which emphasize time-stretching in section one, granular synthesis in section
two, and combining both techniques in section three. It is clear that Lin arranges
materials of both parts with a similar approach in a large scale, that is, she
expands the use of materials with a simultaneous pace by utilizing specific
materials in section one and two, then combining the previous materials in the last
section.
Compositional Ideas of “Flux”
As Lin’s compositional philosophy expresses that pitch, melody, harmony,
and tonality no longer serve as primary musical elements in her work, her
compositional techniques are used to support and achieve the idea of her music
rather than conventional musical goals, such as those used in tonal writing. In
“Flux,” Lin utilized compositional devices and techniques to achieve the two
central ideas of this work: a continuous flow like that experienced by the
composer in practicing Tai Ji Quan, and unpredictability in which she intends to
create through music that which is beyond human beings’ capability to perceive
and anticipate.
38
As the term “flux” is defined as “an act of flowing, a continued flow, or a
state of continuous change,”34 the title “Flux” represents the central idea of this
work: a continuous flow. Despite the multiple sections of this work, a continuous
flow throughout the entire work is mainly achieved through the use of running
scalar figures or arpeggios in the marimba part.
Lin chose scalar figures and arpeggios for two reasons. In the beginning of
the work, a four-note descending line in the electronic part hints at the primary
figure, scalar figure, in “Flux.” The descending line, G-F-E-E♭, appears firstly as
a roll in the marimba part (see figure 7), and later developed into scalar figures of

various lengths, pitch combinations, and directions.

Figure7. Flux, mm. 1-9

much to the
In other words, the inspiration
of utilizing
scalarfigures owes

four-notes descending line at the beginning of the electronic
part. The
primary

pitch material used to construct scalar figures throughout “Flux” is the
whole tone

34
Definition in The Merriam-Webster Dictionary and The Merriam-
Webster Learner’s Dictionary.

39

scale extracted from the harmonic series, as discussed previously. In addition, by
utilizing a neutral role as scale and arpeggio (not in a particular mode or key, but
as a series of ascending or descending notes), Lin hopes to minimize the
possibilities of relating this work to a conventional sense of melody and tonality.
In addition to using certain elements, such as scale and arpeggio, to
prevent a close association with tonality, several rhythmic devices that Lin
utilized in “Flux” create music that is difficult to perceive in a conventional sense
of meter, rhythm, phrase, and time, hence the unpredictability.
Many studies that discussed meter, rhythm, time, and a human being’s
capability to perceive them in music agree that “memory and attention enable us
to anticipate the future.”35 Two interactive activities are involved: “extracting
invariant musical information (abstraction) and using that information to produce
expectancies in real time (generation).”36 The limitation of our capability of
“perceiving and anticipating” in music is beyond the scope of the study, and is not
discussed in this chapter. However, it is a concept on which “Flux” is based.
Rhythmic Devices
“Flux” is notated in 4/4 throughout the entire work, except for mm. 37 to
44, which is notated in 3/4. However, the purpose of a meter as 4/4 is only to
outline a performer-friendly metric framework for learning the duration of notes

35
Robert Erickson, “Time-Relations,” Journal of Music Theory 7, no. 2
(1963): 174.
36
Justin London, “Some Examples of Complex Meters and their
Implications for Models of Metric Perception,” Music Perception 13, no. 1
(1995): 62.
40
intended by the composer. The rhythmic complexity in “Flux” is far beyond the
conventional framework of 4/4, in several ways: inconsistent pattern (both
duration and ratio), lack of metric hierarchy, weakened metric structure, use of
polyrhythms, and rhythmic displacement.
Meter, Rhythm, and Pattern
The establishment of meter heavily relies on the interaction of meter and
rhythms, that is, metric hierarchy, and the regularity of pulse. For example, the
conventional way of grouping pulse in 4/4 is normally based on levels of
hierarchy, from sixteenth-note, eighth-note, quarter-note, half-note, to measure-
long unit, and its relation to each other.37 However, pulse is not organized in this
fashion in “Flux,” but grouped into phrases based on the desired length (duration)
and pace (ratio) of each of the repeating phrases. For instance, in mm. 35 to 46,
the passage begins at the fourth beat in m. 35, with a sixteenth-notes descending
scalar figure. In the next ten measures, the pace of the ascending scalar figure
changes five times, to septuplet (over two beats), triplet, septuplet, sixteenth
notes, and nine over the space of eight sixteenth-notes (see figure 8). It is clear
that the length and pace of the scalar figures fluctuate very rapidly, and are not
based on the conventional metric hierarchy found in 4/4 time, therefore creating
an inconsistent repeating pattern. In addition, each pattern begins and ends at a
different location within each beat and measure and avoids the conventional sense
of strong beat and down beat in 4/4 time.

37
Joel Lester, The Rhythms of Tonal Music (Carbondale, Illinois: Southern
Illinois University Press, 1986), 67-68.
41
#

Figure
8. Flux, mm.

37-45

The lack of metric hierarchy and the
weakened metric
structure
result in

an ambiguous sense of meter to the listener. While the perceived sense of meter is

relatively

weak, the scalar figures with higher number ratios38 (one-fifth and

higher) in slow tempo (♩=48) is extremely “ambiguous and
maybe perceived

as

39 That

incommensurable.” is tosay,
the listener
is able to sense the pace of scalar
figures in relation to each other, but not in relation to the meter. They can only
hear the varying pace as “faster or slower” compared to the previous figure, rather
than hearing it as the way it is notated.

38
Erickson, “Time-Relations,” 178-179.
39
Ibid.
42
A good example of an “incommensurable passage” can be found in mm.
131 to the end, where the overall effect of this passage is to create a series of
repeating patterns that gradually slow down (see figure 9), rather than a series of
&
repeating patterns
with
distinguishable ratios that
fit

the framework of
4/4 time. In

fact,

when listening to the

marimba part without reading the score, it is very
unlikely that the listener will

recognize the notated meter and tempo of this work.

The unpredictability of music then forces the audience to “listen” rather than

“anticipate”
the nextmusical
movement based on the
musical information
they

received.

43
In addition to the varying appearances of scalar figures, polyrhythm and
rhythmic displacement are used to further expand the irregularity and
inconsistency of repeating figures.
Polyrhythm
While the majority of passages in “Flux” are based on monophonic style,
the running line splits into two voices in mm. 54 and 55 (see figure 5), with three
over two quarter-notes in the upper voice and five over four eighth-notes in the
lower voice. The resultant polyrhythm, three against five over two quarter-notes,
expands its irregularity by creating polyphonic texture to challenge a listener’s
capability of perceiving multiple paces simultaneously, shaking the already
weakened sense of meter in a new way, as well as reinforcing the unpredictability
of the music.
Rhythmic Displacement
In “Flux,” rhythmic displacement is used particularly when the repeating
figures are less irregular. For example, the scalar figure, G-F♯-E-D-C-B♭-(A-G),
is relatively consistent and recognizable in mm.57 to 59 (see figure 10); accents
are added but placed differently each time to increase the irregularity of the
repeating pattern.
44

Figure 10. Flux, mm.

57-59

In addition to the displacement of accent, rhythmic displacement is also

arranged by placing rests of varying durations between and within the repeating
patterns. In mm. 127 to 128 (see figure 11), the repeating pattern, F♯-B-DA♭,
repeats six times with identical pitches. However, the varying length of space
(rest) between and within the repetitions shifts the pattern away from landing on a
downbeat, strong beat, or the same location each time, slightly altering the shape
of the original pattern. Thus, even though the repeating pattern is aurally
recognizable, an irregular sensation is created by the displacement of notes within
the beat.
&

Figure
11. Flux,

mm. 127-128

45

In “Flux,” the use of rhythmic displacement prevents phrases from
coinciding with the metric structure of 4/4 time, reinforcing the unpredictability of
the musical movement in this work.
Octave Displacement
Another format of displacement in “Flux” is octave displacement. An
example of octave displacement can be found in mm. 37 to 46 (see figure 8 and
table 8), where the repeating scalar figures overlap frequently. The length, the
location of each scalar figure within the beat, and the overlapping notes are shown
in table 8, where each scalar figure is listed by pitch regardless of its octave, and
the vertical lines between pitches signifying bar-lines. The pitch in brackets ([B]
in mm. 37 and 38) serves as both the end of a scalar figure and the beginning of
the next figure. Where two scalar figures overlap, and the [B] is placed an octave
below its original position in an ascending scalar figure. As the passage proceeds,
the overlapping occurs sooner, especially in mm. 39 to 41, and gradually drifts
away, back to a linear motion in m. 44. The overlapping figures create multiple
flowing layers, which serve as the main textural change of this subsection.
46
Table 8. Scalar Figures in mm. 37 to 46
m. 37 m. 38 m. 39
GABC♯DEFGA[B]|DC♯EFGA[B]C♯DE|FG
|BC♯(D)EFGA
BC♯(D)E|
m. 40 m. 41 m. 42
FGA
BC♯DEFGAB|C♯
DEFG|EFGAB
BC♯DEFGAB
C♯D|EFGABC♯DE(FGAB)|
m. 43 m. 44 m. 45
EFGABC♯
EGFABC♯D|EFG
C♯DEFGAB (D)EFG|AC♯ EFGAB (D)EFGAB
m. 46
EFGAB|C♯ GABC♯DEFGA
The pitches in parenthesis (in mm. 39, 42, 44, and 45) are also where
octave displacements occur, where the pitches are placed an octave higher or
lower within a scalar figure. Since the ascending scalar figures in mm. 37 to 46
remain in the same octave most of the time, the occasional octave displacement
and the overlap of patterns alter the texture vertically and horizontally, as well as
create a series of inconsistent and unpredictable patterns.
In “Flux,” constantly changing musical figures are used to create “flow”
(as shown in table 7). Texture changes not only alter the material or figures in
each subsection, but also create the unpredictability of macrostructure and
“continuous change,” on a larger scale.
47
As discussed in this chapter, the compositional techniques applied in
“Flux” aim to achieve the two central ideas: the continuous flow and the
unpredictability of the music. The musical elements in “Flux” are simple and
straightforward. There is no hidden compositional device, as the materials remain
recognizable and the changes are always audible. However, Lin’s unique
compositional approaches and ideas turn the simple material into a unique work
that truly expresses her compositional ideas, and brings an interesting listening
experience to the audience and a challenging work to the performer.
48
CHAPTER 5
PERFORMANCE GUIDE OF "FLUX"
Potential Performance Issues
Playing Techniques and Difficulty
The major figures in the marimba part of “Flux,” scalar figures and
arpeggios, are idiomatic to the marimba, thus technical issues are a relatively
small concern in this piece. It is the energy and the concentration this work
demand that challenge performers. “Flux” is approximately seven and a half
minutes in length, but the marimba part does not have a moment of rest
throughout the work’s entire duration. Secondarily, although the tempo (♩=48 /
♩=96) seems slow, the performer constantly plays eight or nine notes, sometimes
up to twelve notes per beat (or per two beats when ♩=96), in a scalar fashion that
frequently demands a very fast push-pull motion. The perpetual notes and figures
should be played as evenly and smoothly as possible, which is difficult to achieve
while playing with a fast push-pull movement and constantly changing sticking
patterns. Furthermore, the inconsistent repeating scalar figure throughout the
work requires the performers’ full concentration to play precisely. Overall, the
playing techniques involved in “Flux,” mainly scalar figures and arpeggios, are
idiomatic to the marimba, however, the challenge is to perform this work as
precise as one can to achieve the musical effect the composer intended to create.
Dynamics and Balance
The dynamic range of the marimba part in “Flux” falls between p and ff,
and the range of pitch in “Flux” focuses on the three middle octaves, C3 to C6, of
49
a standard five-octave range. Since the pitch range of instrument and dynamic
range in “Flux” both fall into the middle range of the marimba’s capacity, the
author suggests that the performer use a set of medium hard mallets that are
suitable for the middle range, and capable of bringing out the clean, bright tone
quality of the marimba. In the recording, the author used the Keiko Abe series
medium hard mallets40 manufactured by YAMAHA.
In general, the dynamic range of the electronic part is much wider than
that of the marimba. The volume of the electronic part, when notated at the same
dynamic level with the marimba, can easily exceed the volume of the marimba
and could take over the musical texture. To balance the volume of the two parts,
Lin suggests that the marimba should be properly amplified, according to the
acoustic situation of the venue.
Lastly, the electronic part emphasizes the continuity of sound, and the
absence of rhythmic elements in the electronic part greatly increases the difficulty
for performers to sense the time and notated tempo. It is nearly impossible to
accurately synchronize with the electronic part without using a metronome or
click track. Because the electronic part was not notated along with the marimba
part for visual cues, Lin provides a click track for “Flux” and suggests that
performers should use the click track for performance to ensure that the musical
events of the two parts are lined up as intended. However, while wearing an
earphone and listening to the click track, performers are not able to rely on their

40
YAMAHA MKA-05. The mallets the author used in the recording are
re-wrapped but have very similar hardness and tone quality to the original MKA-
05.
50
ear to adjust the balance. Thus, performers should adjust the level of amplification
and the balance carefully prior to the performance.
Performance Suggestions
Textural Changes
Although the electronic part features sustained sounds and involves few
rhythmic elements, the musical events of the two parts are sometimes
synchronized, not as rhythmic unisons, but as simultaneous textural changes. To
ensure that the musical events of the two parts are synchronized for those
“unison” moments, the author suggests that performers memorize those obvious
and audible textural changes (see table 9) in addition to aligning to the click track.
The awareness of changes will help performers react to the textural changes.
Table 9. Synchronized Textural Changes in “Flux”
Measure Beat/Note Minute/Second

m. 8 Beat 4, last eighth note 0’40”
m. 10 Beat 3, the dotted quarter note 0’50”
m. 17 Beat 1 1’21”
m. 27 Beat 2, dotted eighth note 2’12”
Beat 3, dotted eighth note 2’13”
m. 81 Beat 3 4’27”
m. 89 Beat 1 4’46”
m. 95 Beat 1 5’01”
mm. 117-124 Each chord change 5’56”- 6’15”
As previously discussed, “Flux” is a work that creates an ambiguous sense
of time. Yet ambiguous time can only be successfully achieved when the complex
rhythms in the piece are played precisely. It is challenging for performers to
remain unaffected by the click track and avoid emphasizing the metric frame of
51
4/4 time musically or with body language. However, performers should keep in
mind that every note is equally important, and should treat the repeating figure as
one continual line rather than breaking them into multiple phrases, as well as
avoiding an emphasis of particular notes or individual phrases in general.41
Roll
In “Flux,” the roll passages are often synchronized with the electronic
part’s dynamic, phrasing, and textural changes, creating a fusion between the two
parts into one musical setting. Therefore, performance considerations in blending
the sounds of the two parts should be discussed.
“Flux” begins with a continuous roll, with occasional grace notes and
ornaments inserted between the roll (see figure 7), as seen in m. 5 (last beat, the
repeating pitch G), m. 7 (second beat and the preceding grace notes to the fourth
beat), m. 8 (preceding grace notes to the second beat), and m. 14 (quintuplet and
triplet as ornamentation). It should be brought to performers’ attention that the
grace notes need to be heard clearly, without interrupting the flow of the
continuous roll. The range of the roll then expands gradually from mm. 8 to 14
(see figure 7 and 12), corresponding with the thicker texture of the electronic part.
In this roll section that lasts more than one minute, performers should carefully
plan the dynamic (including cresc. and decrese.) and speed of the roll, in order to
balance the dynamic level and intensity of the marimba part with the texture of
the electronic part.

41
Mei-Fang Lin, interview by author, Tempe, AZ, September 22, 2011.
52

Roll is only used in two other passages, mm. 114 to 115 and mm. 117 to
124 (see figure 13), to increase the intensity until the climax is reached. The
dynamic ff and the frequent dynamic changes (cresc. and decresc.) of the rolls are
utilized to reinforce the intensity and flowing energy of the passage. Performers
&
should also select a proper speed of roll and degree of dynamic changes in order

to blend the two

parts into a flowing
stream
that pushes
toward
the pinnacle of

“Flux.”

Figure 13. Flux,

mm.
118-125

53

Sticking
In “Flux,” sticking patterns are constantly changing due to the irregular
repeating figures, and the stroke motion is fast due to the large number of notes
found in most of the passages. The primary consideration in developing a sticking
approach should strive to maintain a continuous flow of music by (1) minimizing
the mallets’ range of motion to help performers play precisely and smoothly, and
(2) using consistent sticking patterns for repeating figures when possible,
especially at the beginning and the end of patterns, to eliminate unnecessary shifts
of body position. In the following two examples, the author is providing the
suggested sticking patterns related to the two scenarios mentioned above.
In figure 14, the disjunct linear motion largely increases the interval,
which means greater distances and movements for performers to make. To
minimize body movements and to avoid fast leaps of the mallets that might cause
undesired accents or attacks, performers should take advantage of the position of
all four mallets. For example, performers can use double strokes (4-442 for two
consecutive pitches, G-F) and double lateral strokes (1-2, 2-1, 3-4, or 4-3) instead
of alternating strokes requiring fast leaps of the mallets.
As seen in figure 15, the pitch and length of ascending scalar figures
varies throughout this passage. The suggested sticking intends to establish a
sticking pattern with the same mallet at the beginning (mallet 2) and the end
(mallet 4) of each repetition, to maintain a consistent sticking pattern and to avoid
frequent changes of the basic sticking and body position.

42
Four-mallet is marked 1-2-3-4, from left to right.
54
Figure 14. Flux, mm. 75-80, Suggested Sticking
55
In terms of specific sticking patterns that occur frequently in this piece,
several issues should be addressed.
The double lateral sticking pattern, 1-2-3-4 (see Figure 16), firstly appears
in m. 18 (the last four notes), and returns in the third section. Ideally, every note
should sound equal, in terms of dynamic, space between each note, and color, in
order to maintain a smooth pace and flow. However, due to the small interval of
the first two notes, the second note (B♭, played by the inside mallet of the left
hand) naturally tends to be softer than the first note (A♭, played by the outer
mallet of the left hand). The dynamic f and the fast speed of double lateral strokes
largely increase the difficulty of controlling the equal volume of two strokes
through the passage. Therefore, performers should be aware of the rotary motion
of the wrist that produces velocity and power for the inside mallet,43 and adjust
accordingly to gain a proper balance between two strokes of the double lateral
strokes.
Figure 16. Flux, m. 19
The same sticking pattern returns in mm. 124-127, with the same interval
and dynamic level, as well as wider intervals (fourth and sixth) and the increase of

43
Leigh Howard Stevens, Method of Movement (New Jersey: Keyboard
Percussion Publications, 1979), 35-36.
56
dynamic level (from f to ff). Performers should also give close attention to the
wrist rotary motion that occurs in this passage.
Similar issues of wrist rotary motion occur again in the last section of the
work, in mm. 129-134. A wrist rotation of the left hand that produces three
consecutive notes (marked as 2-1-2 in figure 17) serves to connect the ascending
and descending scalar figure. Performers will have to develop left hand rotary
motion strength to avoid uneven speed and volume of the three consecutive
strokes.
Overall, the techniques involved in this work are not extremely difficult to
execute, but a full understanding of the musical goals and compositional ideas are
required to make proper musical decisions, as performers’ choice of sticking has
significant and direct impact on the phrasing and flow of this piece. The author
suggests that performers should master various types of strokes (especially double
57
strokes and double lateral strokes), stickings, and their combinations, and choose
those that are the most comfortable but still suitable for a true expression of the
musical ideas found in “Flux.”
58
CHAPTER 6
CONCLUSION
Percussion, as a relatively new concert instrument44 that embraces
seemingly-unbounded possibilities for composers to experiment with, has
received growing attention from various composers. As a result, numerous solo
and ensemble works were composed in the twentieth century.
As art music and compositional techniques evolved and developed at a
rapid pace in the last century, today’s percussionists are encountering an
overwhelming amount of new literature written for all instruments, levels, and
genres. However, new works are successfully presented only with composers’ and
performers’ efforts to communicate with the percussion field, as seen in the NEA
commission project and other collaborations between performers and composers
as discussed in the first chapter. Following the example of these pioneers, this
study hopes to promote the existing literature for solo works written for marimba
and electronics, as well as expand the reach of percussion music by
commissioning, performing, examining, and recording a new work.
The commissioned work “Flux” for Marimba and Electronic Tape was
premiered by the author on November 20, 2011, along with the US premiere of
two works: “Chin Thoughts (琴想)” for Percussion Quintet (2005) by Ling-Huei
Tsai (蔡淩蕙) and “Una Foresta” for Solo Percussion (2011) by Jeff Suzda; and
two infrequently performed works by renowned composers: “Hiten-Seido III” for

44
As solo or chamber instruments in concert stage, rather than folk
instrument in traditional setting or ensemble instrument in orchestral setting.
59
Marimba Solo (1987) by Maki Ishii and “Alto Voltango” for Saxophone and
Vibraphone (1999) by Luis Naón. The intention of this recital was to bring new
works to American audiences, as well as to truly express the stories, ideas, and
goals of their compositions as revealed through the detailed discussions with the
composers while preparing for this percussion recital. Regardless of the genre or
style of the music, the ultimate goal of the recital, the commissioning of “Flux,”
and this study is to inspire performers to actively interact with composers,
audiences, and others in the field of percussion, in order to expose old and new
lesser known works, to promote percussion music, and to further expand the
literature for percussion music.
60
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66
APPENDIX A
ALPHABETICAL LIST OF COMPOSERS’ WEBSITES
OR RELATED WEBPAGES OF WORKS IN THE
CHORONOLOGICAL LIST OF COMPOSITIONS
67
Alphabetical List of Composers’ Websites or Related Webpages
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69
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com/musique.php (accessed June 30, 2011).
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70
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sigal.com/ (accessed Oct. 12, 2011).
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com/rezukuja.html (accessed Aug. 22, 2011).
71
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(accessed Aug. 21, 2011).
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Waldrop. http://www.michaelwaldrop.net/music.html (accessed Oct. 27,
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(accessed May 25, 2011).
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aven.net.au/~mwsmith/chamber.html#index (accessed June 20, 2011).
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au/ (accessed June 21, 2011).
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qub.ac.uk/~pwilson/site/Without%20Words.html (accessed June 20,
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Electronic.” Alfred Zimmerline. http://www.alfredzimmerlin.ch
/werk-gat-e.html (accessed Oct. 12, 2011.)
72
Additional Resources
Boesmans, Philippe.
Esler, Rober. “Portfolio: Daydreams.” Robert Esler. http://robertesler.com/?p=159
Geay, Gerard.
Abe, Keiko. “Discography: Keiko Abe-Reveals the Essence of the Marimba.”
http://www.keiko-abe.com/english/disco/disco.html (accessed Aug. 20,
2011).
Ikebe, Shin-ichiro.
Abe, Keiko. “Works Debuted by Keiko Abe: 171.” Keiko Abe. http://www.keiko-
abe.com/englishindex.html (accessed June 22, 2011).
Morgan, Caleb.
GM Recordings. “Nancy Zeltsman: Woodcuts.” GM Recordings. http://www.gm
recordings.com/gm2043.htm (accessed Sep. 15, 2011).
Reibel, Guy.
Durand-Salabert-Eschig. “Instrumental Music: Percussion.” Durand-Salabert-
Eschig. http://www.durand-salabert-eschig.com/english/catalogues_genre.
php?act=9 (accessed Sep. 16, 2011).
Smith, Peter.
AllMusic. “The Wooden Branch: Percussion Group The Hague.” AllMusic.
http://www.allmusic.com/album/the-wooden-branch-w137040 (accessed
Aug. 22, 2011).
Stephen Vitiello
AllMusic. “Scratchy Marimba.” AllMusic. http://www.allmusic.com/album
/scratchy-marimba-r479205 (accessed Oct. 12, 2011).
73
APPENDIX B
LIST OF WORKS BY MEI-FANG LIN
74
Table A.1. List of Works by Mei-Fang Lin
Year Title Instrumentation Commissioner
2008 Friction Flute and viola Earplay New Music Ensemble, San
Francisco, CA
2008 L’Âme en Bourgeon Soprano and piano ChamberBridge Ensemble, San Francisco, CA
2008 Mistress of the Labyrinth Piano solo Chiang Kai-Shek Cultural Center, Taiwan
2008 Figurations Electronic tape University of Illinois Experimental Music

Studios, Urbana, IL
2007 Yarny/Wiry 2 Pianos and 2 percussion Yarn/Wire Ensemble, New York, NY
2007 Project Remix Flute, oboe, clarinet, and double bass Left Coast Chamber Ensemble, San Francisco,
CA
2005 Souvenir d’une Fée Amplified violin with reverb
75
2005 L’Image Reconstituée Flute, clarinet, violin, cello, and piano
2005 Le Chemin Caché Recorder, flute, oboe, violin, 2 guitars, and 2 Ecole Nationale de Musique et de Danse à Blanc-
pianos Mesnil, Blanc-Mesnil, France
2004 Multiplication Virtuelle Percussion and live electronics
2002 In Between Alto saxophone SCI/ASCAP Student Commission Competition

2001 Time Tracks Flute/piccolo, oboe, clarinet/bass clarinet, Contemporary Chamber Orchestra, Taipei,
bassoon, trombone, percussion, piano, violin, Taiwan
viola, cello, and double bass
2001 About to… Viola, cello, harp, and piano
2001 Interaction Piano and electronic tape University of Illinois Experimental Music
Studios, Urbana, IL
Table A.1 Continued
Year Title Instrumentation Commissioner

st
2000 Disintegration Piano solo 21 Century Piano Commission Competition,
Urbana, IL
2000 Internal Landscape Electronic tape
1999 Fluorescent Orient Orchestra
1999 Ascension Electronic tape
1998 Shadow? Mirror? Ney! Clarinet and trombone
1997 Journey to the West 2 Pianos Rolf-Peter Wille/ Lina Yeh Piano Duo, Taipei,
Taiwan
1996 Silence, Competition, Climate Flute, oboe, clarinet, trumpet, percussion,
piano, violin, and cello
76
1995 Four Movements for Clarinet and Clarinet and piano
Piano
1994 Theme and Variations Violin and piano
Source: Mei-Fang Lin, e-mail message to author, July 3, 2011.
Note: Works in progress are not included in the list.

APPENDIX C
DISCOGRAPHY OF MEI-FANG LIN
77

Table A.2. Discography of Mei-Fang Lin

Album Title Label / Number Work Recorded
Prix SCRIME 2000 INA/GRM (France) Internal Landscape for electronic tape
Origins University of Illinois Experimental Music Interaction for piano and tape by Mei-Fang Lin
Studios, EMS-2001 (US)
Accademia Musicale Pescarese, 2/3 AMP-2002 (Italy) Interaction for piano and tape by Mei-Fang Lin
Concorso Internazionale Di
Composizione Elettronia “Pierre
Schaeffer”
Music from SEAMUS, Vol. 12 SEAMUS, EAM-2003 (US) Interaction for piano and tape by Mei-Fang Lin
University of Illinois Experimental Music EMS-2008 (US) Figurations for electronic tape
78
Studios 50th Anniversary
Aurora Australis: Asia Pacific Festival 2007 Atoll Record, ACD 113 (New Zealand) Disintegration for solo piano
Tone Builders Carrier Records-2010 (US) Yarny/Wiry, for 2 pianos and 2 percussion

Table A.3. List of Recordings with Mei-Fang Lin as Pianist
Album Title Label / Number Work Recorded
Banjaxed Capstone Records CPS-8697 (US) Banjaxed for voice, violin, piano, drum set and
computer-generated sounds by Zack Browning
Impact Addiction for violin, piano, drum set and
computer-generated sounds by Zack Browning
Origins University of Illinois Experimental Interaction for piano and tape by Mei-Fang Lin
Music Studios, EMS-2001 (US)
Accademia Musicale Pescarese, 2/3 AMP-2002 (Italy) Interaction for piano and tape by Mei-Fang Lin
Concorso Internazionale Di
Composizione Elettronia “Pierre Schaeffer”
79
Music from SEAMUS, Vol. 12 SEAMUS, EAM-2003 (US) Interaction for piano and tape by Mei-Fang Lin
Boundaryless Music – International Computer ICMC – CD2003 Aeolian Harp for piano and tape by Heinrich Taube
Music Conference 2003
David Rakowski: Martian Counterpoint Albany Records-2004 (US) Cereberus, triple clarinet concerto with chamber
orchestra by David Rakowski

APPENDIX D
LETTER OF PERMISSION
80
81
APPENDIX E
CONTACT INFORMATION OF MEI-FANG LIN
82
Dr. Mei-Fang Lin
Email: mei-fang.lin@ttu.edu
Assistant Professor of Composition
Texas Tech University
School of Music, Box 42033
Lubbock, TX 79409-2033
83
APPENDIX F
A RECORDING OF “FLUX” FOR MARIMBA AND ELECTRONIC TAPE
[Consult Attached File]
84
The attached audio recording was recorded on November 20, 2011, the
premiere performance of “Flux.”
85
APPENDIX G
PROGRAM NOTES OF “FLUX”
86
“Flux” was commissioned by percussionist Yi-Chia Chen. The piece
continues an ongoing interest of the composer in pursuit of musical continuity
through a constant flow of energy throughout the piece. A big part of the
electronic sound was derived from analysis/resynthesis and granular synthesis.
The acoustic writing itself incorporates many similar concepts and techniques to
reflect the same processes used in the electronic part.
87

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A Catalog of Solo Works for Marimba with Electronics and

An Examination and Performance Guide of

"Flux" for Marimba and Electronic Tape by Mei-Fang Lin

A Research Paper Presented in Partial Fulfillment

Approved November 2011 by the

ARIZONA STATE UNIVERSITY

The marimba has garnered increased attention in percussion performance

multitude of styles have been written. With the ever-growing number of

Numerous pieces were created through commissions: composers contracted to

write music by individuals, institutions, and consortia. Three primary types of

solos with electronic accompaniment.

Since electronic music is relatively new in marimba performance, there is

study is to generate an overview of electronic music in marimba performance by

compiling a chronological catalog of compositions written for solo marimba with

music through the commission, performance, examination, and recording of a

new work for marimba and electronics.

It is the author's wish to bring this topic to percussionists' attention, and to

encouraging the commissioning and performance of marimba music.

Hsin-Tsun Chen and Chiu-Chu Ko,

and in memory of my grandmother,

who passed away on Oct. 25th, 2011,

at the age of eighty-four.

contributed greatly to my growth as a musician.

contributions that made this project possible.

My deepest gratitude goes to my mentor and committee chair, Dr. J. B.

“joyful” time I spent with each of you.

friends in Taiwan; your support and encouragement guided me through the

intense parts of my graduate studies. I would also like to acknowledge Tsen-Yi

Lin, Chia-I Chen, Yen-Ting Chuang, Stephanie De La Rosa, and my colleagues

Finally, I would like to thank my family, especially my parents, for their

endless love, and for supporting my life decisions.

LIST OF TABLES.................................................................................................... vii

LIST OF FIGURES .................................................................................................viii

Marimba Solo Literature: Past, Present, and Future ................... 1

Purpose of Study .......................................................................... 5

Scope of Study ............................................................................. 6

Range and Limitations........................................................... 6

Difinition of Terms ................................................................ 7

Major Sources ........................................................................ 8

2 SOLO LITERATURE FOR MARIMBA AND ELECTRONICS ...... 9

A Chronological Catalog and Overview of Solo Literature for

Marimba and Electronics ................................................................... 9

The Current Status of Solo Works for Marimba and Electronics

in the Marimba Literature ................................................................ 16

3 BIOGRAPHY OF DR. MEI-FANG LIN............................................ 22

Awards and Accomplishments .................................................. 23

Major Influences and Philosophy .............................................. 24

Western Influences .............................................................. 24

Compositional Technique: Electronic Part................................ 30

Compositional Technique: Marimba Part ................................. 31

Pitch Material and Subsections............................................ 31

Compositional Ideas of “Flux” ............................................ 38

Meter, Rhythm, and Pattern........................................... 41

Rhythmic Displacement ................................................ 44

5 PERFORMANCE GUIDE OF "FLUX"............................................. 49

Potential Performance Issues ..................................................... 49

Playing Techniques and Difficulty...................................... 49

Dynamics and Balance ........................................................ 49

Textural Changes ................................................................. 51

A ALPHABELTICAL LIST OF COMPOSERS’ WEBSITES OR

RELATED WEBPAGES OF WORKS IN THE

CHORONOLOGICAL LIST OF COMPOSITIONS ................. 67

B LIST OF WORKS BY MEI-FANG LIN ........................................ 74