• 1 INSTRUCTIONS FOR BUILDING A MALLET PERCUSSION INSTRUMENT
  • 1.2 MARIMBA: COLLECTIONS OF INSTRUMENT PLANS AND DESCRIPTIONS (under construction)
  • 1.3. MALLET PERCUSSION INSTRUMENT: RELATED TOPICS
• 3 ACOUSTIC AND INTONATION THEORY (under construction)
• 4 GENERAL AND SPECIFIC INSTRUCTIONS FOR BUILDING HANDMADE MUSICAL INSTRUMENTS
• 5 RELATED TOPICS ON ETNOMUSICOLOGY AND ANTROPOLOGY OF MUSIC (Extracted from COOK, Nicholas. Music, Imagination and Culture. Oxford: Oxford University Press, 1992 and NETTL, Bruno; BOHLMAN, Philip V. Comparative Musicology and Antropology of Music: Essays on the History of Etnomusicoloy. Chicago: The University of Chicago Press, 1991. (under construction)
• 6 LONG PLAYS AND COMPACT DISCS (audio, CD-ROM) (under construction)
• 7 RELATED LINKS AND CONTACTS

BOOKS

• Banek, Reinhold, and Jon Scoville. Sound Designs: A Handbook of Musical Instrument Building. Berkley, CA: Ten Speed Press, 1980. (209 p. Bibliography, discography, photos, illustrations) ISBN 0-89815-011-6. [Detailed descriptions and plans for making a redwood marimba, an Amadinda xylophone, cloud chamber bowls, metal and plastic tubaphones, crystal marimba, bells, and resonators. Note: A review of the revised edition (212 p., ca. 1995) appears in Percussive Notes 34/4 (August 1996): 73]
• Banta, Christopher C. The Bass Marimba: The Romance of Instrument Design. Paperback Workbook edition, Volume 1. n.p.: Funhouse Press, 1976. ISBN: 0942742028
• Banta, Christopher C. The Bass Marimba: A Guide to Instrument Design & Fabrication. Paperback Workbook edition, Volume 2. n.p.: Funhouse Press; 1976. ISBN: 0942742095
• Coleman, Satis N. The Marimba Book: How to Make Marimbas and How to Play Them. New York: The John Day Co., 1926
• MacCallum, Frank. The Book of the Marimba. New York: Carlton Press, 1969 [Chapter Seven discusses "The Construction of a Marimba," pp. 75-77, 89-92.]
• Madin, Jon. Make Your Own Marimbas. [Geelong West, Australia: the author (P.O. Box 7082, Geelong West, Victoria 3218, Australia), ©1996] (48 p.) [Includes photos and blueprints for building four marimbas: 1) box resonated 3-1/2 octave 3 player diatonic marimba; 2) pipe resonated 3-1/2 octave 3 player diatonic marimba; 3) pipe resonated 2 octave 2 player bass (diatonic) marimba; 4) box resonated 13 note 1 player (diatonic) minimarimba.]
• Partch, Harry. Genesis of a Music: An Account of a Creative Work, Its Roots and Its Fulfillments. New York: Da Capo Press, 1974 (2nd edition, enlarged) [Chapter Thirteen, "Percussion Instruments and Their Notations," gives dimensions and tuning ratios for Partch's instruments, including the Diamond Marimba, Quadrangularis Reversum, Bass Marimba, Marimba Eroica, Zymo-Xyl, and others. Note: The 2nd enlarged edition contains much more information than the first edition (Madison: University of Wisconsin Press, 1949).]
• Richter, Hans Georg. Holz als Rohstoff fuer den Musikinstrumentenbau. Celle: Hermann Moeck Verlag, 1988. English title: Wood as raw material for musical instrument making. Review: Journal of the American Musical Instrument Society 17 (1991): 163-169. [Includes a section on the use of wood in the construction of xylophones. Text in German.]
• Sawyer, David. Vibrations: Making Unorthodox Musical Instruments. Cambridge: Cambridge University Press, 1977. (102 pp.: photos, illus.) ISBN 0-521-20812-2. LCCN 76-11499 [Instructions for making a pitch tube, bamboo bonca, metal bonca, bamboo chime bar, tube bars, ceramic chimes, angel bars, and beaters.]
• Wiggins, Trevor, and Joseph Kobom. Xylophone Music from Ghana. (Crown Point, In: White Cliffs Media, 1992) [Offers transcriptions of several tunes and instructions on how to build an instrument.]
  
  ARTICLES
  
  
• Chappell, Robert J., Jr. "The Amadinda xylophone: The instrument, its music, and procedures for its construction." Percussionist 15/2 (Winter 1978): 60-85 [Includes plans and directions for constructing an Amadinda xylophone, used by the Baganda tribe of southern Uganda. Also discuses tuning and musical structure with 69 Amadinda compositions notated in the appendix. See also the letter with corrections by Michael C. Hakes in 16/1 (Fall 1978): 45-46.]
• Coe, Matt. "A summer's project." Percussive Notes 32/4 (August 1994): 65-66 [The author's experience building a practice marimba.]
• Coolen, Michael T. "Constructing a diatonic African marimba." Woodwind, Brass & Percussion 21/5 (September 1982): 12-15
• Halenz, H. F. "How to build a marimba." Mechanix Illustrated (September 1956): 106-110, 157, 159 [Includes detailed blueprints with bar size and tuning charts]
• Hoing, Clifford. [Article on tools and instructions for making a xylophone.] Lutherie 4 (May 1958) [Note: This article, from the Journal of the Violin Makers Association, has not been verified.]
• Johnston, Thomas F. "How to make a Tsonga xylophone." Music Educators Journal 63/3 (November 1976): 38-49 [Includes detailed diagrams, tuning chart, and transcriptions of seven Tsonga Mohambi tunes.]

• Bork, Ingolf, and Jurgen Meyer. "On the tonal evaluation of xylophones." Percussive Notes 23/6 (Spring 1985): 48-57
• MacCallum, Frank K. "The marimba's bass notes." Percussionist 5/2 (December 1967): 266-269
• MacCallum, Frank K. "The marimba's bass register." Percussive Notes 5/4 [1967]: 3-4, 7
• Moore, James L. Acoustics of Bar Percussion Instruments. Columbus, OH: Permus Publications, 1970
• Rossing, Thomas D. "Acoustics of bar percussion instruments." Percussionist [Percussive Notes Research Edition] 19/3 (Fall 1982): 6-17
• Samuels, Ron. "The acoustics of resonators." Percussive Notes 31/7 (October 1993): 59 [Advertisement for the Marimba One company with a lengthy editorial on tuning resonators.]
• Stevens, Leigh Howard. "Resonator acoustics." Percussive Notes 32/5 (October 1994): 40-43
• Stoutmeyer, Gene L. "A detailed description and acoustical study of the marimba and xylophone." Percussionist [Part I] 9/2 (Winter 1971): 35-37; [Part II] 9/3 (Spring 1972): 59-62
• Youhass, William. "Ask the experts." Percussive Notes 24/4 (April 1986): 12 [Brief reponse to a question about building a marimba.]
• Youhass, William. "Caring for your xylophone or marimba bars." Percussive Notes 21/2 (October 1982): 58-59 ["Answers to significant questions about the maintenance of wood bar instruments."]

• BACKUS, John. The Acoustical Foundations Of Music. New York: W.W. Norton & Company Inc. 1969.
• BAKER, Michael. 'Toward the reality of concert marimba.' Percussive Notes. 24#1, 1985, 16-17.
  ENADE, Arthur H. Fundamentals Of Musical Acoustics. New York - London: Oxford University Press. 1976.
• BORK, Ingolf/MEYER, Juergen. On the tonal evaluation of xylophones.' Percussionist. 23#6, 1985, 48 - 57.
• BRIDWELL, Barry/LYONS, Scott. 'Focus On Performance: Marimba Clinic - A Salute To George Hamilton Green, Xylophone Genius.'Percussive Notes. 25#5, 1987, 54 - 6.
  
• BUCK, Percy C. Acoustics For Musicians. London: Oxford University Press. 1918.
  
• CHENOWETH, Vida. 'Xylophone - Marimba - Vibraphone.'in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 186.
  
• CULVER, Charles. Musical Acoustics. 3rd Ed. New York: The Blakiston Company. 1951.
  
• DEAGAN CATA LOGUE. 'Kinds Of Marimbaphones. Percussive Notes. 24#3, 1986, 111 +.
  
• DUNK, John. Hyperacoustics. (division 1 - Simultaneous Tonality) London: J.M. Dent & Sons Ltd.
  
• DUPIN, Francois. 'A proposal to standardize the dimensions of mallet instruments.' Percussive Notes. 23#1, 1984, 24.
  
• DUTTON, James. 'Which Instrument Is Best For Schools?' in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 12 - 13.
  
• DUTTON, James. 'Marimba Musings.' in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 17.
  
• DUTTON, James. 'Marimba.' in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 18.
  
• DUTTON, James. 'How to play the Marimba.' in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 29.
  
• DUTTON, James. 'Survey of mallet instruments.' in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 40-43.
  
• EYLER, David Paul. 'The truth about the King George marimba as used in the International Marimba Symphony Orchestra.' Percussive notes. 29#2, 1990, 47-48.
• EYLER, David Paul. 'Clair Omar Musser and his contributions to the marimba.' Percussive notes. 28#2, 1990, 62 - 3.
  FAINI, Philip. 'East African Percussion: The Department Amadina Xylophone.' Percussive Notes. 23#4, 1990, 58 - 60.
• GIPSON, Richard. 'An interview with Laurence Kaptain (propaganda value to Guatemalan political factions).' Percussive Notes. 23#2, 1985, 20 - 21.
  
• HANSELL, William/PUGH, Greg. 'Marimba clinic: natural vs. synthetic - an evaluation of xylophone bars.' Percussive Notes. 20#1, 1981, 60 +.
  
• JONES, A.M. Africa and Indonesia - The evidence of the xylophone and other musical cultural factors. Leiden, Netherlands: E.J. Brill, 1971.
  
• JONES, Ralph M. 'Checking it out: Deagan and Musser marimbas.' Modern Percussionist. 1#1, Dec. 1984, 58 - 66.
  
• KAPTAIN, Laurence. 'Focus on PASIC: Chiapas, Mexico, and its unusual marimba tradition.' Percussive Notes. 26#5, 1988, 28 - 31.
  
• KASTNER, Kathleen. 'The emergence and evolution of a generalized marimba technique.' Dissertation Abstracts International Section A: The Humanities And Social Science. 50, 1989, 1130A.
  
• LANG, M. 'A talk with marimba virtuoso, Keiko Abe.' Percussive Notes." 21#4, 1983, 18 - 21.
  
• LANG, M. 'A talk with marimba virtuoso, Keiko Abe.' Percussive Notes." 21#5, 1983, 20 - 22.
  
• O'BRIEN, Linda. 'Marimbas of Guatemala: the African connection.' The World Of Music. 24, 1982, 99 - 104.
• ODDO, Louis G. 'Searching for Marimbas in Guatemala.' Modern Percussionist. #4 Sept. 1985, 22 - 24, 52 - 53.
• ORMANDY, Paul D. 'The Marimba doble of Central America.' Percussive Notes. 23#5, 1985, 16 - 17.
• PIMENTEL, Linda. 'The Aristocracy of Manufactured Marimbas.' Percussive Notes. 21#1, 1982, 61 - 4.
• PIMENTEL, Linda. 'Marimba Exchange (Instruments Built Before 1930).' Percussive Notes. 22#1, 1983, 25.
• ROSSING, Thomas D. In Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, May 1976, 489.
  
• STEVENS, L.H. 'Marimba Perspectives - on the future of slat tapping. Modern Percussionist. 1#1, Dec. 1984, 28 - 29.
  
• STOESSEL, John. 'In search of Klyposerus: mystery, science, and discovery (identity of specific wood used).' Percussive Notes. 29#2, 1990, 56 - 7.
  
• STOTZ, B. 'Keyboard instrument care and maintenance.' Percussive Notes. 27#3, 1989, 7.
  
• TILLES, Bob. 'Teaching Mallet Percussion.' in Percussion Anthology. 4th Ed. Northfield, Illinois: The Instrumentalist Company, 1988. 307 - 8.
  
• YOUHASS, William. 'Caring for your xylophone or marimba bars.' Percussive Notes. 21#1, 1982, 58 - 9. VELA, David. Information on the Marimba. ed. + Trans. Vida Chenoweth. Auckland, New Zealand: Institute Press, 1958.
  
• WHEELER, Douglas. 'Bar materials for xylophones and marimbas.' Woodwind, Brass and Percussion. 20#7, 1981, 12 - 13.

MUSICA IN AFRICA (EDITAR)

• WYMEERSCH P., Ritualisme et fonction des tambours en Afrique interlacustre , Roma: Istituto italo-africano 1979
• CHERNOFF J. M., African rhythm and African sensibility : aesthetic and social action in African musical idioms, Chicago : The university of Chicago press 1981
• NKETIA J. H. K., La musica dell'Africa, Torino : Società editrice internazionale 1986
• KWABENA NKETIA J.H, La musica dell'Africa, Torino: SEI 1986
• WATERMAN C. A., Juju : a social history and ethnography of an African popular music, Chicago ; London : The University of Chicago press 1990
• AROM S., African polyphony and polyrhythm : musical structure and methodology, Cambridge : Cambridge university 1991
• LEMS DWORKIN C., African music : a pan-African annotated bibliography, London : H. Zell 1991
• GRAEME E., Africa O-ye-la. Musica africana, Bologna: Calderini 1993
• ENO B. - SAMUEL M., Musica e letteratura nell'Africa nera, Milano : Jaca book 1994
• STAPLETON CH.-MAY CH., Musica africana. Un atlante sonoro, Milano: Arcana Editrice 1991
• TOSI E., La kora e il sax. Forme e protagonisti della musica africana moderna, Bologna: EMI 1990
• BESSE M. [e altri], Incontro con l'Africa : ritmi e danze, Zurigo: Comitato svizzero per l'UNICEF 1992
• COSV (a cura di), Africa, la terra dei suoni, Milano: Cosv 1993
• Terra d'Africa 1993, Edizioni Unicopli 1993
• D'AMICO (a cura di), Africa, atlante della musica tradizionale, Vicenza: Centro Flog 1998
• RICHARDS D. - SURIAN A., Le voci dietro la musica: musica africana e world music, Milano: AICOS [s.a.]
  
• DISOTEO M., Didattica interculturale della musica, Bologna: EMI 1998
• FABBRI R. (a cura di), La musica africana, Roma: Associazione Chiama l'Africa, 1998
• BORDONARO L. - PUSSETTI C., Suoni dal mondo, Torino: Sonda Lvia 1998

• BATE, Philip. The Flute: A Study of Its History, Development, and Construction. Norton: 1979.
• BOEHM, Theobald.The Flute and Flute-Playing. Dover, 1964.
• GOLD, Marek. How To Make Your Own Bamboo Flutes Ebook: A step by step guide by Marek Gold.
• HOPKIN, Bart. Air Columns and Toneholes: Principles for Wind Instrument Design. Tai Hei Shakuhachi, 1999.
• _____. Musical Instrument Design: Practical Information for Instrument Making. Tucson: See Sharp Press, 1998.
• PHELAN, J. James (with contributions by Lillian Burkart. The Complete Guide to the Flute and Piccolo. Second Edition. Burkart-Phelan, 2000.
• SHEPARD, Mark. Flutecraft: An Artisan’s Guide to Bamboo Flute Making. Tai Hei Shakuhachi: 1994.
• _____. How to Love Your Flute: A Guide to Flutes and Flute Playing Mark Shepard, Shepard Publications, 1999.
• ROBINSON, Trevor. The Amateur Wind Instrument Maker. University of Massachusetts, 1981.

4 RELATED TOPICS ON ETNOMUSICOLOGY AND ANTROPOLOGY OF MUSIC (under construction)

• ABE, Keiko. The history and future of the marimba in Japan. Percussive Notes. 22#2, 1984, 41-3.
• ANDERSON, Lois Ann. The Miko Modal System of Kiganda Xylophone Music. Ph. D Dissertation. Los Angeles: University of California, 1968.
• AROM, Simha. Polyphonies et polyrythimies instrumentales d'Afrique Centrale: Structure et méthodologie. Paris: SELAF (Ethnomusicologie 1).
• _____. The Constituting Features of Central African Rhythmic Systems. The World of Music, 1968, 24 (1): 51-64.
• ASAF'YEV, Boris. Muzikal`naya forma kak protses [Musical form as process]. Moscow: Gosudarstvennoye Izdatel'stvo, Muzikal'noiy Sektor, 1930. Eng. Tr. In: TULL, James Robert. B. V. Asaf'yev's Musical Form as a Process: Translation and Comentary." Ph.D. dissertation, The Ohio Satate University, 1976, pp. 80-102.
• AT-TAMBUR.COM: músicas do mundo. Available in <http://www.attambur.com>. Access in: 2004 feb. 13.
• BERLINER, Paul F. The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe. Berkeley and Los Angeles: University of California Press, 1978.
• BLAKING, John. Patterns of Nsenga Kalimba Musica. African Music, 1961, 2 (4): 12-20.
• BLAKING, John. Somes Notes on a Theory of African Rhythm Advanced by Erich von Hornbostel. African Music, 1955, 1, (2): 12-20.
• COOK, Nicholas. Music, Imagination and Culture. Oxford: Oxford University Press, 1992
• ELLIN, Alexander John. Tonometric Observations on Some Existing Non-Harmonic Scales. Proceedings of the Royal Society (London), 1884, 37: 368-85.
• HERSKNOVITS, Melville J. What Has Africa Given America? The New Republic, 84 (1083): 92-94; repr. In: HERSKNOVITS, The New World Negro: Selected Papers Afroamerican Studies. Bloomington: Indicana University, 1996, pp. 168-74.
• HERZOG, George. African Songs of the Chewa Tribe Bristish East Africa. In: CUNAR, Nacy (Ed.). Negro: An Anthology. London: Wishart, 1934, pp. 412-14.
• HERZOG, George. Drum-sinaling in a West African Tribe. Word, 1945, 1:217-38.
• HORNBOSTEL, E. M. von. African Negro Music. In: Africa, 1928, 1: 30-62.
• _____. Gesang aus Ruanda. In: CZEKANOWSKI, Jan. Forschungen im Nil-Kongo-Zwischengebiet. Leipzig: Klinkhardt und Biermann, 1917, vol. 1, pp. 379-412 and pp. of musical examples.
• _____. Tonart und Ethos. Aufsätze zur Musikethnologie und Musikpsychologie. Leipzig: Philipp Reclam, 1986.
• JONES, A. M. African Rhythm. Africa, 1986, 24: 26-47.
• KAUFFMAN, Robert. A. Some Aspects of Aesthetics in the Shona Music of Rhodesia. Ethnomusicology, 1969, 13: 5, 07-11.
• KIRBY, Percival, R. The Recognition and Practical Use of the Harmonics of Stretched Strings by the Bantu of Southern Africa. Bantu Studies, 1932, 6: 31-46.
• KUBIK, Gerhard. African Tone Systems-A Reassessment. Yearbook for Traditional Music, 1985, 17: 31-63.
• _____. Música e Dança na África a Sul do Sahará. Available in <http://www.attambur.com/Recolhas/africa.htm> Access in: 2004 feb. 13.
• _____. Pattern Perception na Recognition in Africa Music. In: The Performing Arts: Music and Dance. The Hauge: Mouton, 1979, pp. 221-49.
• _____. The Structure of Kiganda Xilophone Music. African Music, 1960, 2 (3): 6-30.
• KYAGAMBIDDWA, Joseph. African Music from the Source of the Nile. New York: Praeger, 1956.
• NETTL, Bruno; BOHLMAN, Philip V. Comparative Musicology and Antropology of Music: Essays on the History of Etnomusicoloy. Chicago: The University of Chicago Press, 1991.
• NKETIA, J. H. Kwabena. Multi-part Music in the Music of the Gogo of Tanzania. Journal of the International Folk Music Council, 1967, 19: 79-88.
• _____. Processes of Differentiation and Interdependency in African Music: The Case of Asante and Her Neighbours. The World of Music, 1984, 28 (2):41-53.
• _____. The Hocket Techinique in African Music. Journal of the International Folk Music Council, 1962, 14: 44-52.
• ROBESON, Paul. The Culture of the Negro. The Spectator (London), 1934, 15, June: 916-17; repr. In: FONER, Philip S. (Eds.). Paul Robeson Speaks. Seçaucus: Citadel Press, 1978, pp. 86-87.
• STONE, Ruth M. Let the Inside Be Sweet: The Interpretation of Music Event Amoung the Kpelle of Liberia. Bloomington: Indiana University Press, 1982.
• WACHSMANN, Klaus P. Ethnomusicology in Africa. In: PADEN, J. N.; SOJA, E. W (Eds.). The African Experience. Evanston: Northwestern University Press, 1970, pp. 128-51.

5 ACOUSTIC AND INTONATION THEORY (under construction)

6 LONG PLAYS AND COMPACT DISCS

• Uakti. Águas da Amazônia: Music composed by Philip Glass. Belo Horizonte: Sonhos & Sons, 1999. 1 CD (55 min. 08 seg.): digital, estéreo. UAK 008
• _____. Uakti II. Rio de Janeiro: Polygram, 1982. 1 disco (31 min. 27 seg.): 33 1/3 rpm, microsulco, estéreo. 201.907.
• Marimba, Boka. Serevende. Boka Marimba, 2002. 1 CD (70 min. 33 seg.): digital, estéreo.
• _____. Zviri Kufamba Zvixhoma: Dance Music of Zimbabwe. Boka Marimba, 2000. 1 CD (74 min. 02 seg.): digital, estéreo.
• MUSICAL INSTRUMENTS: Explore The Amazing World of Music. Microsoft/Dorling Kindersley, 1994. 1 CD-ROM.
• Partch, Harry. The World of Harry Partch. New York: Columbia, 1972. 1 disco ( _____ min.): 33 1/3 rpm, microsulco, quadrafônico. MQ 31227.

7 RELATED LINKS AND CONTACTS

• At-tambur: músicas do mundo Portugal (Portuguese)
• Boka Marimba (English)
• Boka Marimba e Njuzu Mbira (Portuguese)
• Ilimba of Zimbabwe: Resonated Xylophone (English)
• Flute Make Links (English)
• GOLD, Marek. How To Make Your Own Bamboo Flutes Ebook: A step by step guide by Marek Gold: Purchase full version (English)
• Glassdance - Friction Instrument (The Chrysalis Foundation) (English)
• Grupo Artes Sônicas: Construção de instrumentos musicais artesanais Brazil (Portuguese)
• Grupo Artes Sônicas: Das Haus - Instrumentos musicais artesanais Brazil (Portuguese)
• Grupo Artes Sônicas: Flautas de bambu - Brazil (Portuguese)
• Grupo Artes Sônicas: OuvirAtivo (Marcelo S. Petraglia) - Sitio não-oficial (Portuguese)
• Heartsong Studios - Marimbas and Percussion (English)
• Historia de la Marimba (Spanish)
• Let's Make a PVC Bamboo Flute (English)
• Mallet Percussion - This page is devoted to the mallet percussion intruments, including Marimba, Balophone, Amadinda, Gyil, Vibrophone and many others. (English)
• Marimba.org - Marimba Music Information (English)
• Musical instruments built with bottle gourd - Japan (English)
• Njuzu Mbira: mwendamberi@hotmail.com (English)
• Oddmusic.com A source for unique & experimental music, instruments, players & listeners. Oddmusic.com is for anyone interested in unique, unusual, ethnic, or experimental music and instruments. So whether you play stalagmites in a cave, the kaval, bow telegraph wires across the Nullarbor Plain, twist electrons by circuit bending, call whales on a Waterphone, or just love listening, this site is for you. Showcasing the sounds, music, and instruments of artists and artisans from around the globe. From gourd music to electronic odysseys, harp guitars to industrial insect metal, from the beautiful to the bizarre. (English)
• OuvirAtivo: Música e desenvolvimento humano (Marcelo S. Petraglia) - Sitio oficial - Brazil (Portuguese)
• The Chrysalis Foundation (English) The Chrysalis Foundation is a nonprofit arts and education organization established in 1982. The Foundation encourages the creation of new acoustic musical instruments, and supports compositions and performances for these instruments. It is accomplishing these goals through the work of master builder, composer, and writer Cris Forster, whose original acoustic instruments are designed to explore new tunings in just intonation. By recognizing the art of tuning as a variable rather than a constant, music can once again become a vital force capable of expressing and addressing the complexities of our modern minds and spirits.
• The Marimba, Scientific Aspects of of its Construction and Performance (English)
• Uakti: uakti@metalink.com.br - Brazil (Portuguese)
• Virtual Museum of the Mexican Marimba (English)
• Yamaha Musical Zoo (English)
• Zimbabwe Music: http://www.mbira.org (English)