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The primary focus of the thesis explores the work of seven individuals: composers Paul Creston, Darius Milhaud, Robert Kurka and Akira Miyoshi; performers Vida Chenoweth and Keiko Abe and educator Clair Omar Musser. This thesis argues that the creative contributions of these men and women resulted in the development of a technique and literature for the marimba which elevated the instrument to a vital and imaginative component of serious music.","abstract_html":"This thesis examines the development of marimba technique in the United States since 1940 from the perspective of the stylistic and musical evolution of the instrument's repertoire, along with the performers and composers who first brought recognition to the marimba as a serious means of musical expression. This study begins with a brief discussion of the precursors of marimba performance, namely the ragtime xylophone technique and the Guatemalan marimba influences that emerged in the United States in the first two decades of the century. The primary focus of the thesis explores the work of seven individuals: composers Paul Creston, Darius Milhaud, Robert Kurka and Akira Miyoshi; performers Vida Chenoweth and Keiko Abe and educator Clair Omar Musser. 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