An Annotated Bibliography of Duets for Soprano Voice and Marimba and/or Vibraphone By Jeremy David Isley, BME, MM A Document In Percussion Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Approved Lisa Rogers Chairperson of the Committee Alan Shinn Kevin Wass Mark Sheridan Dean of the Graduate School August 2019
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An Annotated Bibliography of Duets for Soprano Voice and Marimba and/or Vibraphone
By Jeremy David Isley, BME, MM
A Document
In Percussion Performance
Submitted to the Graduate Faculty of Texas Tech University in
Partial Fulfillment of the Requirements for
the Degree of
DOCTOR OF MUSICAL ARTS
Approved
Lisa Rogers Chairperson of the Committee
Alan Shinn
Kevin Wass
Mark Sheridan Dean of the Graduate School
August 2019
Copyright 2019, Jeremy David Isley
Texas Tech University, Jeremy David Isley, August 2019
ii
ACKNOWLEDGMENTS
I would like to take a moment to thank everyone who have supported me
along my doctoral journey. First and foremost, I would like to thank God for
giving me the opportunity, abilities, knowledge, skill, and perseverance to
successfully complete this project. I would like to thank my professors, Dr. Lisa
Rogers and Professor Alan Shinn for their guidance and support. Without them,
my acceptance into and completion of two advanced graduate degrees would not
have been possible.
Thanks to Dr. Kevin Wass for agreeing to be on my committee, attending
my recitals, and being willing to review this document. Thanks goes to Dr. Peter
Martens, Emily Gifford, and Linda Gregston for their knowledge and assistance in
my completion of many academic deadlines.
Thank you to the loving congregations at Forrest Heights United Method
Church and Calvary Baptist Church for their support, especially Kristi Edwards
and Dr. Richard Rush. A special thanks goes to our family friend, Arla Jo, for
allowing me to borrow her marimba and vibraphone.
Finally, I wish to thank Jackson, Noah, and Elijah, my children, and most
importantly my wife Rachel Isley, for their understanding, support, and sacrifice
throughout my schooling. A special thanks goes to Rachel for her preparation
and performance on two of my recitals, and ultimately serving as the inspiration
for this document topic.
Texas Tech University, Jeremy David Isley, August 2019
Texas Tech University, Jeremy David Isley, August 2019
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Becker, Bob: The Firefly Hunt
Table 2.3 Becker, Bob: The Firefly Hunt Composer Becker, Bob
Title The Firefly Hunt
Publisher Copyright Bob Becker, readily available through Steve Weiss Music
Date 1967
# of Movements 1 Movement
Instrumentation Soprano Voice and Marimba
Vocal Range Eb4 - B5
Mallet Instrument Range Required
4 Octaves; C3 - F6
Duration 3 minutes
Composer Information
Bob Becker is a performer and composer from Allentown, Pennsylvania.
He earned two degrees from the Eastman School of Music. He studied
performance under William G. Street and John H. Beck, as well as composition
with Warren Benson and Aldo Provenzano. Becker has performed as a member
of multiple prestigious performing ensembles, as well as a soloist for major
symphonies throughout his career. He co-founded the percussion group NEXUS
in 1971 and has consistently played with the ensemble Steve Reich and Musicians
since 1973. Becker has been a soloist with the New York Philharmonic, Boston
Symphony, Chicago Symphony, Philadelphia Orchestra, Cleveland Orchestra, San
Francisco Symphony, and Los Angeles Philharmonic.
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Musical and Performance Considerations
The Firefly Hunt is written in multi-meter with much of the marimba part
written in octave melody, aside from the four-note chords written in stacked
perfect fourth intervals. Four-mallet techniques required include single
independent stroke types that are combined with double vertical strokes. Grace
notes are present in the upper soprano vocal range and are followed by an
interval skip. The tonality of the piece avoids the half-step interval and is based
on the pentatonic scale.
Carlsen, Philip: Morning Star
Table 2.4 Carlsen, Philip: Morning Star Composer Carlsen, Philip
Title Morning Star
Publisher C. Alan Publications
Date 1993
# of Movements 5 Movements 1. “The Morning Star” 2. “Shaman Song” 3. “Pine Tree Tops” 4. “Birds” 5. “The Myth”
Instrumentation Soprano Voice and Vibraphone
Vocal Range A3 - G5
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration Mvt 1: 3 min Mvt 2: 3 min Mvt 3: 2-3min, Mvt 4: 2-3min Mvt 5: 2-3min
Particular Information
The composition of Morning Star was supported by a composer/librettist fellowship from the National Endowment for the Arts. Dedicated to Elizabeth Arnold and James Preiss.
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Composer Information
Philip Carlsen was born in Washington and currently lives in South Portland,
Maine. He is a Professor Emeritus at the University of Maine at Farmington.
Early in his career, he began studying with Robert Suderburg and Jacob
Druckman and now enjoys composing for groups such as the Portland Symphony
Orchestra, the Bossov Ballet Theatre, the Sebago-Long Lakes Region Chamber
Music Festival, and the Trio Penumbra.10
Musical and Performance Considerations
Morning Star is a five-movement piece based on five poems of Gary
Snyder. The first poem, “Pine Tree Tops,” is from his book, Turtle Island. The
remaining texts are from another Gary Snyder book entitled, Myths and Texts.
This composition was supported by a composer and librettist fellowship from the
National Endowment for the Arts. In movement one, the composer calls for
manual and rhythmic manipulation of the resonator paddles of the vibraphone,
and techniques that include rapid double lateral strokes and fragmented
quintuplets. Movement two includes bowed notes in combination with notes
played with mallets. Movement three includes less fragmented rhythms as seen
in the prior two movements, contains multi-meter time signatures, and includes
occasional four-mallet quartal harmony. Movement four utilizes eighth-note
melodic lines written in the vibraphone part throughout the movement that
10Philip Carlsen, ”Biography,” accessed June 2, 2019,
Recordings Online Link at https://www.youtube.com/watch?v=MqPiQfL0t1c
Premiere Faculty Recital - Saturday, September 30, 2006. White Hall, Performing Arts Center, University of Missouri - Kansas City Melanie Snell - Soprano; Jim Snell - Percussion.
Particular Information
Text by Nicky Schildkraut. Cover design by Sam Lee. The second movement calls for spoken speech narration.
Composer Information
Composer Alan Chan has lived in America, East Asia, and Europe. His
experiences in each of these places serve as inspiration and influence for his
music. Stylistically, Chan spans from classical to jazz, where he is the bandleader
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for the Alan Chan Jazz Orchestra. His eclectic background spills over into his
compositional style and often blurs the lines of tradition. Chan’s music has been
featured at the Percussive Arts Society International Convention, International
Jazz Composer’s Symposium, and the International Jazz Festival Enschede. His
compositions are published through various publishing companies including
HoneyRock, Keyboard Percussion Publications, Meridian, and Navona.11
Musical and Performance Considerations
Without a Trail to Lace is a two-movement work based on the poetry of
Nicky Schildkraut. The two movements have “shades” of jazz harmony with the
extreme contrapuntal melodic lines. Rarely does the vibraphone serve as an
accompaniment. The first movement is about the anguished search of a mother
for her daughter. From a performance perspective, there are exaggerated vibrato
moments in the soprano part that are specifically aimed at the traditional Korean
style singing, p’ansori. There are specific performance notes to this point, and
there is a specific score marking to denote the technique. The second movement
is about a young girl who has been abandoned by both her mother and father,
and the piece is the representation of the emotional conflict within the girl. The
final note at the end is symbolism of the daughter’s coerced independence.12
11Alan Chan, ”Bio,” accessed May 19, 2019,
http://www.alanchanmusic.com/bio.htm. 12Matthew Thomas, Alan Chan, Without A Trail to Lace, HoneyRock
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Musical and Performance Considerations
Lanterns and Candlelight is a duet in definition, but in practice the piece is
more of a marimba feature with the soprano voice singing as a textural change.
The marimba part for this piece is written completely in treble clef, and the range
requires multiple ledger lines, making this piece more difficult to read. Also,
much like the title indicates, the marimba part is written to be more important
than the soprano part, and the staves reflect it as well. The marimba part is the
top stave when the two parts appear at the same time in the score. In fact, the
program notes in the beginning clearly state, “Soprano is accompanying
throughout. She sits as shown, behind and stage left of marimba.”14 Also, the
composer is very specific in the mallet selection, more than just listing yarn
mallets at the beginning of the score, he calls for Earl Hatch Green wound mallets
specifically to be played for this piece.15
14Barney Childs, Lanterns and Candlelight, Smith Publications, 1976. 15Barney Childs, Lanterns and Candlelight, Smith Publications, 1976.
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Glassock, Lynn: Five Songs for Voice and Marimba
Table 2.7 Glassock, Lynn: Five Songs for Voice and Marimba Composer Glassock, Lynn
Title Five Songs for Voice and Marimba
Publisher C. Alan Publications
Date 1994
# of Movements 5 Movements 1. ”It sifts from leaden sieves” 2. “A murmur” 3. “The sun kept setting” 4. “Two butterflies” 5. “The summer lapsed away”
Instrumentation Mezzo-Soprano Voice and Marimba
Vocal Range A3 - F5
Mallet Instrument Range Required
4.3 Octave; A2 - E6
Duration 12:07
Recordings Online Link at https://www.youtube.com/watch?v=PTUGUey0ibI https://www.youtube.com/watch?v=gEtSDgcu9Ms https://www.youtube.com/watch?v=BfQj_IPgHCg https://www.youtube.com/watch?v=Az7hwzIvku4 https://www.youtube.com/watch?v=YJ-pMRq9uIA
Particular Information
1st Place Winner of the 1994 PAS Composition Contest
Composer Information
Lynn Glassock is a composer and performer in North Carolina. He holds a
Bachelor of Music degree and a Master of Music degree from the University of
North Texas. His teachers included Ed Soph, Leigh Howard Stevens, and Ron
Fink. Before teaching at the University of North Carolina at Chapel Hill, Glassock
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performed with the Dallas Symphony Orchestra, Fort Worth Symphony, and the
Fresno Philharmonic. His compositions have won many prestigious awards, such
as First Place in the Percussive Arts Society (PAS) Composition Contest and the
Festival of New American Music in 1987.16
Musical and Performance Considerations
Five Songs for Voice and Marimba is a five-movement work based on the
poetry of Emily Dickinson. Dickinson often wrote about life, death, and nature
with many of these themes appearing throughout the entire duet. The marimba
part is written in a very melodic way, requiring the combination of all four
mallets to collaborate for the overall melodic line. Advanced four-mallet
techniques, such as the one-handed roll, are incorporated throughout the entire
work. The composer includes sticking suggestions in selected sections of musical
phrases. Polyrhythms are used throughout.
16Lynn Glassock, Five Songs for Voice and Marimba, C. Alan Publications,
1994.
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Stamp, Jack: Journey Past the Unicorn
Table 2.8 Stamp, Jack: Journey Past the Unicorn Composer Stamp, Jack
Title Journey Past the Unicorn
Publisher Per-Mus Publications
Date 1989
# of Movements 1 Movement
Instrumentation Soprano Voice and Vibraphone
Vocal Range Eb4 - G5
Mallet Instrument Range Required
3 Octave; F3 - F6
Duration 3 minutes
Composer Information
Jack Stamp recently retired from Indiana University at Pennsylvania,
where he held the position of Professor of Music and Conductor of Bands. He
holds a Bachelor of Music degree from Indiana University of Pennsylvania, a
Master of Music degree from East Carolina University, and finally a Doctor of
Musical Arts degree from Michigan State University. One of his teachers included
Eugene Corporon.17
Musical and Performance Considerations
Journey Past the Unicorn is a short piece based upon the text by Denise
Andrews. Performance concerns for the vibraphonist are the parallel chords that
17Jack Stamp, ”Biography,” accessed May 29, 2019,
https://wwwgiamusic.com/bios/stamp_jack.cfm.
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require consistent interval control in the hands with accurate wrist and note
placement. Four-mallet technical stroke types employed include single
alternating, double vertical, and single independent strokes.
Vidales, Jorge: Four Bashō Haiku for Soprano and Vibraphone
Table 2.9 Vidales, Jorge: Four Bashō Haiku Composer Vidales, Jorge
Title Four Bashō Haiku for Soprano and Vibraphone
Publisher HoneyRock Publications
Date 2008
# of Movements 4 Movements 1. ”Winter Garden” 2. “Awake At Night” 3. “Stillness” 4. “Moonlight Slanting”
Instrumentation Soprano Voice and Vibraphone
Vocal Range F4 - A5
Mallet Instrument Range Required
3 octaves F3 - F6
Duration 9:09
Recordings Online Link at https://www.youtube.com/watch?v=Fdb71Qka59U
Premiere 2009 as part of the PAS Composition Rules/Regulations
Particular Information
2nd Place Winner of the 2008 PAS Composition Contest
Composer Information
Jorge Vidales was born in Mexico City in 1969 and has received many
prestigious awards such as the Young Creators Grant. His works have been
premiered in Mexico’s most important venues and festivals including the
University Music Composition Festival, the University Arts and Humanities
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Festival, and Mexico City’s International Festival. Vidales composed and entered
Four Bashō Haiku for Soprano and Vibraphone into the Percussive Arts Society’s
Composition Contest in 2008 and was rewarded as the 2nd Place Winner.
Musical and Performance Considerations
Four Bashō Haiku is a song cycle setting of four haiku of Matsuo Bashō for
soprano and vibraphone. “Haiku’” is an unrhymed verse form of Japanese origin
having three lines containing usually five, seven, and five syllables respectively.
As denoted in the title, bashō, is a fictitious name for the author, Matsuo
Munefusa, who was a Japanese poet and considered to be one of the most
important artistic figures in Japan. Munefusa is thought to be a master of this
style of Japanese poetry, which often portray vivid images and make references
to nature as well as sound objects.
Movement one creates a motive out of the first five vibraphone notes that
is played throughout the movement. Movement two utilizes linear lines in the
vibraphone part and the steady eighth notes are intended as a driving force for
the movement. Movement three uses a combination of bow and mallets, as well
as the only movement that employs the vibraphone motor. Movement four is
written as a theme and variations as the musical ideas are introduced in A-B-A-C-
A-D form.
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Duets Categorized by Sacred Texts Beall, Andrew: El Shaddai
Table 2.10 Beall, Andrew: El Shaddai Arranger Beall, Andrew (Card, Michael)
Title El Shaddai
Publisher Bachovich Music Publications
Date 2006
# of Movements 1 Movement
Instrumentation Soprano Voice and Marimba
Vocal Range E4 - G5
Mallet Instrument Range Required
5 Octave; C2 - D6
Duration 4:42
Recordings Online Link at https://www.youtube.com/watch?v=j4x0DFHhrns
Composer Information
Michael Card, the American Christian singer-songwriter, originally wrote
“El Shaddai” for his album Legacy in 1981.18 Amy Grant is often credited for the
composition of this piece because she recorded it on her album Age to Age in
1982. Andrew Beall adapted the work into a duet for soprano voice and marimba
in 2006.
Musical and Performance Considerations
The term El Shaddai is widely known and translated as “God Almighty,”
serving as one of the names of Yahweh God, “the God of Israel.” The
18Michael Card, “Resources,” accessed May 13, 2019,
Recordings BMP Records Andrew Beall - Deliverance www.bachovich.com
Composer Information
Andrew Beall is a composer and percussion performer based in New York.
Beall holds one degree from the Manhattan School of Music and one degree New
York University. Furthermore, he is the owner of Bachovich Music Publications.19
His works have been performed by groups such as the Siberian Symphony
Orchestra. Beall has performed multiple shows on Broadway such as The Lion 19Andrew Beall, “Biography,” accessed April 10, 2019, http://www.andewbeall.com/biography.php.
Becker, Bob. The Firefly Hunt. Copyright Bob Becker, 1967. Benson, Warren. Streams. Winona, Minnesota: Hal Leonard Corporation, 1961. Bolton, Calvin. Two Songs for Voice and Marimba. Columbus, Ohio: Per-Mus
Publications, 1989. Calabrese, Anthony Joseph, “An Annotated Catalog of Marimba Concertos with
Winds, DMA Dissertation, Northwestern University, 2014. Percussive Arts Society.org. https://www.pas.org/docs/default-source/thesisdissertations.
Card, Michael, “Resources,” accessed May 13, 2019. https://www.michaelcard.com. Carlsen, Philip, “Biography,” accessed June 2, 2019. https://www.composers.com.
Texas Tech University, Jeremy David Isley, August 2019
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Carlsen, Philip. Morning Star. Greensboro, North Carolina: C. Alan Publications, 1993.
Chan, Alan, “Bio,” accessed May 19, 2019.
http://www.alanchanmusic.com/bio.html. Chan, Alan. Without A Trail to Lace.
Everett, Pennsylvania: HoneyRock Publications, 2008. Childs, Barney. Lanterns and Candlelight.
New York, New York: Smith Publications, 1976. Ferguson, “Mozart’s Duets for One Pianoforte, Proceedings of the Royal Musical
Association 73” I 766084, (1946). http//www.jstor.org/stable/766084. Foster, Christopher C. “An Examination of Music for Trumpet and Marimba and the
Wilder Duo with Analyses of Three Selected Works by Gordon Stout, Paul Turok, and Alec Wilder.” DMA Dissertation, University of North Texas, 2007. 67531. https://digital.library.unt.edu.
Glassock, Lynn. Five Songs for Voice and Marimba. Greensboro, North Carolina:
C. Alan Publications, 1994.
Goodenberger, Mark. Come Away. Everett, Pennsylvania: HoneyRock Publications, 1997.
Goodenberger, Mark, “CWU Bio Page,” accessed April 20, 2019. https://www.cwu.edu/music/mark-goodenberger.
Joest, Kevin. Twin Compasses: A Lullaby for Soprano and Vibraphone. Greensboro, North Carolina: C. Alan Publications, 2010.
Jones, Brett. Missa Brevis for Mezzo-Soprano and Vibraphone. Everett,
Pennsylvania: HoneyRock Publications, 2003. Lin, Nan-Yen, “An Annotated Bibliography of Published Duets for Clarinet and
Marimba Available in the United States.” DMA Treatise, Florida State University, 2012. Florida State University Libraries, 182977. https://diginole.lib.fse.edu.
Maltese, Casey N, “A Performance Guide of Selected Works for Horn and Mallet Percussion.” DMA essay, University of Miami, 2011. Open Access Dissertations, 527. https//scholarlyrepository. miami.edu/oa_dissertations/527.
Texas Tech University, Jeremy David Isley, August 2019
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Merriam-Webster Dictionary. “Vibraphone,” accessed June 13, 2019.
https://www.merriam-webster.com/dictionary/vibraphone. Nexus Percussion, “Bob Becker Bio,” accessed February 21, 2019.