Introduction: 3

  Throughout the percussion world nowadays there is a merging need of 

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marimba grips. The purpose of this thesis is:
•  to describe and summarize the four main 4 mallet marimba grips
•  to research their pros and cons in diverse situations and sound applications.
•
 to come upon an definite conclusion, in a matter of personal choice and taste,
which of those techniques are most applicable to any given musical setting.

1. What 4 mallet marimba grips there are, and what

are their advantages and disadvantages?

Variety of marimba grips(techniques ) 

In this chapter we are going to look closely in detail how every each one of the 4
grips is working. To
To do so, I would like to separate them in two groups:
• cross-sticked
• independent

As well as this two group separation, the 4 techniques could also be distinguished
in a “mother” and “child” sense. As one of them being the ancestor, and the other one
the “lookalike”.

From this moment on, explaining about every technique I will be referring to the
fingers the same way as the piano method. Every picture below is in a right hand
example.
 

  “Traditional grip”   4

Short historical background: 

background: 

Considered being the oldest known 4 mallet marimba grip, “traditional” is also said
to be the most comfortable. There isn't any historical evidence of an inventor, but
could be said that this type of holding the sticks originates from the South American
marimba customs. It is a well known
kno wn fact that the first known marimba soloist
 playing traditional grip – Keiko
Keiko Abe, is the first who started teaching
teaching this technique.
On the other hand, there is an evidence of the multi-instrumentalist – Adrian Rollini
 playing vibraphone with “Traditional”
“Traditional” grip by the time Abe was only 1111 years old.
Despite all of those facts no methodical literature has been found from that time. In a
much latter period around 1994, the grip was officially introduced to the society by
German percussionist Peter Sadlo in his dissertation “Die Kunst des Schlagens”. A
year later the American marimbist Nancy Zeltsman has an article published, in which
she explains how the grip works. By the year 2003 both Sadlo and Zeltsman publish
their own methods for Traditional Grip.
 

 Explanation and general analysis: 5

As mentioned above there are two groups. Traditional grip is a cross-sticked

technique.

It is widely used from beginners and professionals. It is proven by many, that the way
of holding the sticks is in the most natural way.
The way to hold the sticks in traditional grip is very simple and very fast
to learn and adapt. The two sticks are crossing one another in the palm of your hand,
as the outer mallet being on top of the inner one. Pointing palm down the outer mallet
goes in between 2nd and 3rd  finger and in the same tim
timee 4th and 5th squeeze the two
sticks together bringing support and stability like 1st finger on top of the inner mallet.
  The changing of intervals is done by 1st and 2nd fingers spreading to
nterval and 3rd and 4th fingers squeezing to decrease the interval.
increase the iinterval
Independent movement of mallet comes from combined pushing finger and rotary
wrist movement. Dynamic changes can be achieved, as an example softest dynamic
 being only small motoric movements
movements as fingers and wrists, to the loudest dynamic
dynamic
including big motoric movements as elbows and shoulders.
To some extend being the instrument or the performer, this grip is
unlimited in movement and projection. Due to missing strict methodological
influence in some schools around the world this grip could be quite personally
developed according to own taste and physicality
physicality..
 

“Musser”grip
 

 Short historical background: 6

“Musser” grip corresponds to the group – independent. As visible on the graphic the
two sticks never touch each other, making each mallet vibrate and coordinate
independently.

The grip originated around the year 1920, making it the second oldest, by the great
American keyboard percussionist,
percu ssionist, composer, conductor, teacher
teacher,, instrument designer
and engineer – Clair Omar Musser. Due to further development of this technique in a
later period this grip is forgotten in time. It is the first of its kind and stays the
cornerstone of independent mallet techniques.

 Explanation and analysis:

The right way to hold the sticks with “Musser”, on one hand could be disputed as
natural and on the other quite uncomfortable.
Palm pointing down, the inner mallet is hold almost in the same way as if
stick(one in each hand). Grabbed by 1st and 2nd fingers and in the
 playing with only 2 stick(one
same time 3rd finger for strength and support. The outer mallet is clutched in between
rd th th th
3  and 4  fingers and being hold by 4  and 5  fingers, thus making this mallet in a
way fix positioned.
Changing of intervals is done by pushing/sliding the inner mallet from the
inside by 1st finger to increase the interval and pulling with 2nd finger, while 1st and 3rd
fingers support to decrease the interval. In this case of stick independence, the fingers
 play a huge roll in dynamic changes and color,
color, meaning that there is a bigger
bigger mallet
acceleration coming from the small motoric movements. Increasing dynamic comes
generally from the wrist and elbows, as well as to some extend shoulders.
  As known for a fact, there are almost no people playing with this technique
nowadays, due to hybridization, the grip being too difficult to control in loud
 passages and making it stable in most
most musical situations.

As I have mentioned above, the grips could be put in two groups. But they
could also be distinguished in the “mother”-”child” way.
way.
Up to this moment we have looked to the so called “mother” techniques from
which all of the other have originated after.
 Now we are going to have a look to the “children”
“children” grips, and it could be seen
how every grip hybridized to a better or completely different
different version.
 

  “Burton”grip 7

Short historical background:

Around the year 1960, the famous American jazz vibraphone plplayer
ayer Gary Burton
was looking for a new and more comfortable way to play his instrument. First,

learning
 jazzy traditional
licks. grip he realized
As an experiment, tryingthat
outthis
di way was
different
fferent nottostable
ways enough
hold the sti forhethe
sticks,
cks, fast up
came
with the idea to reverse “traditional”, which resulted in a brand new technique.
Burton published his own method book, explaining how the technique works.
 Nowadays, this grip is used mainly
mainly on vibraphone but a lot of schools apply it to
marimba playing as well.

 Explanation and analysis:

“Burton”grip is the second invented cross-sticked technique. It is considered that this

is a “child” of “Traditional” grip.

Holding in a “Burton” way can be explained quite simple. Just the opposite
of “Traditional”. The two sticks are crossing one another in the palm of your hand,
 but here the inner mallet being
being on top of the outer one.
 

  Pointing palm down, the outer mallet goes in between 2nd and 3rd fingers. 8
The inner mallet between 1st and 2nd fingers and in the meanwhile supported by 3 rd 4th 
and 5th pushing strongly upwards clutching the outer mallet in.
Here the changing of interval is done in a quite unique way. To increase the
interval the inner stick is being pulled in by the 4th and 5th fingers and to decrease the
interval the contrary is applied by letting the pressure off while the 1st 2nd and 3rd 
fingers are there for stability and support. Dynamic changes in this grip are in a way
difficult. Due to the grip being really fixed in the hand, only the wrist and the bigger
muscles apply in color and volume changes.
Burton grip is mostly used for vibraphone playing and especially – jazz. It is
rarely seen to be played with this grip on marimba, partly because it is not made for
this instrument and on the other hand really difficult to master with great skill in
changing the intervals.

“Stevens” grip
 

Short historical background: 9

Probably the most used marimba grip nowadays, “Stevens” was invented around the
year 1970 from the renown Am American
erican marimbist – Leigh Howard Stevens. As he
describes this is a “child” of “Musser” technique or a modified version. The year
1979 he publishes “Method of Movement for Marimba”, in which he thoroughly
explains how his grip works in every possible situation, making it the first known
marimba grip method.

 Explanation and analysis:

“Stevens” is an independent grip, and it is quite common in a way to the “Musser”

holding. Just with a few differences.

  Pointing 1st finger(thumb) up, or the hand being vertical, the outer mallet
clutches in between 3rd and 4th fingers and being hold strongly by 4th and 5th fingers.
The inner mallet is being hold by 1st 2nd and 3rd fingers, as 1st finger always, in any
case, being on top of the inner stick.
Interval changes are done only by the inner mallet. Increasing and
st
decreasing the interval is achieved by a rotary movement of the mallet between 1  
and 2nd fingers. While opening, 1st finger is pushing the mallet outwards while 3rd 
finger is holding the base of the stick for support. When closing, the 3rd finger is
 pulling the stick into the
the basis of the palm. Doing dynamics
dynamics is achieved mainly from
strong finger control and wrist movement. In louder dynamics the elbows are being
involved.
“Stevens” is considered being the best choice grip for solo marimba
 playing, because of the many advantages this grip has like stick independence and
 bigger interval coverage than any other technique. Due to to the available methodical
source, it is preferred for beginner studies.
 Despite its ancestor -“Musser” being applied on vibraphone as well, “Stevens” grip
is played only on marimba. In this case the performer has to have the ability to handle
another technique in order to play different percussion keyboard instruments.

2. Advantages and disadvantages

(physical aspect of sound projection)

  In this chapter we are going to see the pros and cons for each of the grips.
Distinguish their good and bad sides, how they operate and serve the performers need
in terms of sound usage and repertoire.
  For the purpose, I have decided to separate this chapter in 4 subgroups .
 

Thus being: 10

• Gripping  
•  Intervals(changes and capacity)
•  Physical aspect of sound and projection
projection
•  Repertoire appliance
appliance

Traditional 

Gripping:
  As I have mentioned before, Traditional technique is the most natural way
of holding the sticks together. Probably the most simple to use technique, because of
its fast adaption. The feeling is very comfortable and quite suitable for beginner
studies. Despite all of that a great force of the 5 th finger muscle is required in order to
achieve stability in all motion, as well as, flexibility of all fingers

Intervals:
  The interval changes in this grip could be quite problematic. Because of the
shortened sticks, due to cross
cr oss sticking, problems might occur. For example; intervals
such as a minor and major seconds in the high register, as well as intervals above an
octave in the low register of the instrument might not be possible. There could also be
a problem in the performance of fast alternating augmented intervals. The reason is
not enough stick length and dependence to each other.

Physical aspect of sound and projection

 technique,
Duethetogrip
the missing
has beeninformation on atime.
adapted trough definite methodical
Because of the study aboutstick
shortened this
length, the mallet itself is not as much of a great importance to sound as the arm.
Depending on the dynamic level, starting from pp to ff+, different parts of the arm
and bigger motoric movements are being used. As the softest being only from finger
control and the loudest involving muscles of the back(shoulder blades) including all
the muscles to the fingers. Regarding projection wrists and partly fingers have the
 biggest role.
Because of its natural comfort, the sound achieved by this grip could be extreme in
volume and full in timbre.

Repertoire appliance
  Being the oldest technique, “Traditional
“Traditional”” its definitely best suitable for the
oldest marimba repertoire, such as all of the pieces by Keiko Abe and the Japanese
 

compositions from various composers. Nowadays there is a tendency to transcribe 11

 baroque repertoire for marimba in which “Traditional”
“Traditional” technique is the preferred one
to be played with. We
We might consider that everything is possible to be played with
this grips, despite some of the pieces written by and for “Stevens” technique players.

“Musser” 
Gripping:
  As mentioned before, it could be disputed that the gripping here is on one
hand natural and the other quite uncomfortable. The technique is lacking a lot of
stability in controlling the sticks making it quite hard and slow for interval change. A
great strength of 1st,2nd and 3rd fingers in order to support the inner stick.

Intervals:
  All the intervals are possible to be played with “Musser” grip. As well as,
quite stable, intervals above octave. The only problem which could be experienced is
that the interval changes are made quite slower than any other technique.

Physical aspect of sound and projection

  A great amplitude of sound could be achieved by using this technique.
Because of its stick independence, tthe
he sticks are being hold by the end. Thus making
the length and weight of the stick a great factor in making the sound. Combined with
open wrist movement(palm pointing down) and incorporation of the bigger arm
muscles the sound projected will be with great depth.

Repertoire appliance
  “Musser” grip could be applied to all of the marimba repertoire, partly despite
the pieces with fast interval changes.

“Burton” 

Gripping:
  Being a “cross-stick” grip, “Burton” has a very solid feeling in the hand. The
sticks being clutched in the fist gives extremely solid feeling while playing. Also
suitable for beginner studies, as well as and advisable for playing vibraphone,
although requires more time investment in mastering fast interval change.

Intervals:
  As well as “Traditional” grip, “Burton” has its limitations regarding interval
change. The problem experienced is that because of shortened sticks
sticks intervals above
octave in the low register, as well as major and minor seconds in the upper register
are not easy and almost impossible. Here also could be experienced a problem in
 

alternating augmented intervals. 12 

Physical aspect of sound and projection
  Originally the technique was invented by a vibraphone player, which we can
consider as a minus regarding projection on the marimba. The main role for that play
the wrists and fingers. Here the sound could be described as compact and quite sharp
in meaning of projection, which is suitable for vibraphone playing but advisably not
for marimba. One of the big difficulties is to play legato
legato passages
 passages because of its

firmness in gripping.
Repertoire appliance
  It is quite difficult to say what repertoire suits this technique. Everything is
 possible to be played despite, of course, pieces written
written for and by “Stevens” grip
 players. Due to its firmness and sharpness it is advisable
advisable that popular
popular,, jazzy and
modern music should be played with this grip.

“Stevens” 

Gripping:
  Considered quite comfortable in the hand this technique is one of the best
choices among the marimba players, on the other hand also for beginning studies. It
has great stability in the hand, Despite that strong 1st and 2nd fingers are advisable for
the inner mallet to be moved accor
accordingly
dingly..

Intervals:
  Due to its flexibility,
flexibility, this grip gives the possibility for all necessary intervals to
 be played without any problem. There might be a problem in playing playing intervals above
st
an octave because of the 1  finger being only active in stick movement support, rather 
than stability mode.

Physical aspect of sound and projection

 gripping
Here as indepth
a great “Musser”, because
in sound couldof
beits stick independence
achieved. and end-of-the-stick
The sound projection comes
mainly from the rotary wrist movement and the elbow as an axis. On the other hand,
the wrist position(1st finger pointing upwards) could make a problem in doing flexible
amplitude, because of its blocked position according
acco rding to the natural movement.

Repertoire appliance
  All known marimba repertoire is possible to be played with “Stevens”
technique. There are no limitations concerning that.
 

  13

3. Comparison and Personal choice

After explaining, summarizing and categorizing the 4 main four-mallet marimba

grips we are about to come to a conclusion whether or not and if any of this

techniques fit in every given musical situation.

Comparison :
Trough the previous chapters we saw every grip in detail. How exactly they work and
given to 4 aspects, their good and bad sides.
Before continuation with more precise comparison, I have made up a table in which
is clearly visible, concerning the previous chapter, their exact pros and cons.

“+” (good)
(good)   “+/-”(neutral)  
“+/-”(neutral) “-” (bad)
(bad)  
Grip Gripping Intervals Sound projection Repertoir
Traditional + - + +/-
“Musser” +/- + + +
“Burton“ + - - -
“Stevens” +/- + +/- +

Referring to this table, we can come to the conclusion that neither of this grips is
 perfect in their development.

We can obser
observe
ve and con
conclude
clude that;
• the cross-sticked techniques have definitely better, much more stable and more
comfortable gripping than the independent ones.
• despite the less comfortable gripping the independent techniques have a wider 
range concerning intervals than the cross-sticked ones.
• the oldest and early developed techniques(Traditional
techniques(Traditional and “Musser”) are better
in terms of sound projection and capacity than the late ones.
• the independent techniques perform much better to any given repertoire than
the cross-sticked ones.
• the techniques developed for another instrument than the marimba, such as
vibraphone, are highly not suitable for that particular purpose.
 

Having this general technical facts concluded, now we have to compare 14

these grips in the most important aspect. Which is the crafting and projection
pr ojection of
sound.
As mentioned above the oldest techniques are performing better in the
 production of sound than the new ones. In that train of though it is considerable that
“Stevens” grip, as being a “child” of “Musser”, is strongly connected to the old
techniques used. It shares great similarities as its ancestor. On the other hand
“Burton”, being as well a “child”, does not share so many similarities as its ancestor.
Having totally inverted grip style and made originally for a different instrument than
the marimba to be played, at this point I have to exclude that grip from that particular
and actually most important aspect.
That previous conclusion leaves us with 3 marimba techniques. TwoTwo “old”
ones and one specially hybridized for the marimba. All of them provide the artist with
a great sound projection and timbre. Of course they all differ from each other in terms
of gripping and functionality, but where exactly do they meet their similarities is a
very interesting point to be made.
On one hand, we have two independent grips. That means that the stick itself
vibrates freely without any point of contact to another vibrating object. Also the stick
length gives the player extra velocity
velocity.. Which means we can look into the sticks as an
natural prolongation of the arm and that gives a great amount of depth in the sound.
On the other hand though, we have a cross-sticked grip which lacks that exact
qualities of the independent grips has.
h as. Despite that fact, “Traditional” grip has been
tailored to achieve the same acoustic result but trough bigger and natural motoric
movement. In some cases, that exact physical appliance gives even better results than
the independence in the other grips.
Following the physicality usage, “Musser” has similar to “Traditional” aspect of
movement, as well as the independence, but lacks greatly control, comfort and
stability.. Of course we can consider that the hybr
stability hybridized
idized version is better than
“Musser”, but Stevens” lacks that exact natural motoric movement of the arms, and
the open wrist movement in particular, for the price of the same qualities “Musser”
grip lacks. These both flaws in the independent grips can really suppress the sound
trough natural movement. On the other hand “Traditional” grip comprehends quite
well with natural movement and good sound by excluding this exact flaws.

By that we might consider that;

•  independent techniques rely more on the velocity of sticks for the quality of
sound than the natural movement.
•  cross-sticked grips, generally and in particular - “Traditional”, rely more on
 physical movement to achieve a good sound.
•
 control, comfort and stability, does not necessarily means less natural
movement, which is in the basis of a quality sound.
 

 Personal choice 15

In order for us to choose correctly the grip that would do the job in any musical
situation, its necessary that we know what exactly we are looking for. That, in other
words, means that we have to be aware of all positives and negatives every single
grip has.

Since we have looked up in all of these things so far. W

Wee can say that the grips that
might serve most of our needs as professional marimbists are “Traditional” and
“Stevens”.
I have made a short questionnaire for my colleague marimba players and
 percussionist to answer in matter of marimba
marimba grips. Which might
might show us to what
extend the discoveries we have made in the previous chapters fit to the global
 professional opinion.
Revering to my discoveries trough the previous chapters, the two grips listed are
 probably the best option for marimba playing.
playing.

It is an interesting fact that around 65% of the people use exactly “Traditional” grip
as their first choice. Followed with 30% using “Stevens”, and only 5% use “Burton”
for playing the marimba. (See(See table 1, Appendix 1)
1)
As an interesting discovery,
discovery, 0% or none of almost 50 people who answered chooses
“Musser” as their used marimba grip. That might lead us to the conclusion that
nobody uses that grip anymore, since there is a better version of it called “Stevens”.
Also 5% of people using “Burton”suggest that there are at least few people using a
vibraphone technique on the marimba.
In the professional world a percussionist not only plays one
instrument. That calls for greater skills in terms of multi-gripping, meaning another
technique in hand. For example “Stevens” technique is originally developed to serve
only the marimba player and the appliance of that technique to another instrument is
simply not working very well. “Burton”on the other hand is developed only for the
vibraphone, but as seen above its application on the marimba is possible. Not only
that grips fit to a keyboard percussion instrument, they fit to other settings such as
drum setups. Because of its stability,
stability, specially cross-sticked techniques(“Burton” and
“Traditional”)
“Traditional ”) fit the profile of a multi-grip.
Equally 40% of the people use “Burton”and “Stevens” techniques as their second
choice grip. That shows us speculatively that either the 65%
65% of
 of the people using
“Traditional” use also another cross-sticked grip or an independent one.
20% of the people choose “Traditional” technique as a second choice, which means
that they either choose “Stevens” or “Burton” as their first choice.

When
the asked
people with which
answered grip they
“Burton”, might45%
another consider playing another
“Traditional” and 5%instrument That of
 “Stevens”.50%
 proves exactly that the cross-sticked techniques are better as a multi-grip.
multi-grip. Even as a
 

second choice and considered for another setting, 0% or nobody 16 
choose “Musser”. (See
(See table 2 and 3, Appendix 1)
1)
That overall grip opinion proves that every one of that almost 50 professionals, who
answered, master one cross-sticked grip and one independent.
One of the aspects, that might be of a second importance in choosing a
grip is the repertoire appliance. We have discovered that independent, and specially
“Stevens” technique work better than anyone else. If we take in consideration that
65% of the people play with “Traditional” technique this discovery does not quite
stands on its value. Of course that gives us the opportunity for further research on that
topic.
Quite surprisingly the exact amount of people or 65% playing “Traditional”
technique agree with the fact that all of the marimba repertoire could be played with
their grip. On the other hand 25% of the people claim trust in “Stevens” technique.
Although, that is 5% less than the ones who actually play with that same technique,
meaning that they don't actually consider “Stevens” as the most versatile. As a even
 bigger surprise 10% think that “Burton” fits to all of the marimba repertoire. Again
nobody answered for “Musser”. (See
( See table 4, Appendix 1)
1)
These exact statistics on the repertoire appliance and which grip fits the most to
everything calls for a definite further research.

To this moment what we have understood from the questionnaire is that

most people choose the grips we've found out as the most versatile. These are
“Traditional”  and “Stevens” for their marimba playing.

The choice of technique, for the professionals asked, was mostly because these were
the techniques they have started with(45%). On the other hand, along the way they
have, either been advised by their teachers( 30%) or have discovered it by themselves
which technique fits them most( 25%).().(See
See table 5, Appendix 1)
1)

4. Conclusion

  After a very thorough research on the topic of marimba grips, probably the
 best conclusion we can observe is that definitely
definitely “Traditional
“Traditional”” and “Stevens”
techniques fit to any given musical situation. We
We found that out not only trough the
definite comparison research, but also the opinion of other professional musicians in

the field of percussion.

Certainly,, we can conclude that in the world of perc
Certainly percussion,
ussion, one does not
only rely on one grip, but that more than one is necessary to serve the musical needs.
 

I think that, the more practical information we have, the better musicians we are. 17 
Because If we are not excepted, we can always fit were we need to be fitting.
In either case, “Traditional” technique players master the so cold multi-grip,
which gives them the opportunity to play every instrument without changing
gripping. And “Stevens” technique players master a specific grip made for the
marimba , which leads them to the conclusion that its of big necessity to master also
one cross-stick grip.
I personally think and conclude that “Traditional” is the most versatile grip.
Of course that grip is not as perfectly developed as “Stevens” is, but as I have
mentioned in the first chapter exactly “Traditional” grip, because of its missing
methodology,, is the one under constant development. As an example, “Stevens”
methodology
technique became the better version of “Musser”. As up to this date people have
experimented with grips to such extend that we not only experience 4 mallet marimba
 playing but 6 mallet marimba
marimba playing. Whi
Which
ch shows that development is indeed a
non-stoppable factor.( See Appendix 2)
factor.(See
I believe that the problems we might consider having with that grip or any other, will
 be fixed in the near future. And that exact fixations and im
improvements
provements are a matter of
future research and experiment.

Concerning the most important aspect – the quality of sound, I came upon the
conclusion that the choice of grip is not of such great importance than the actual
 player holding the sticks. Every person has his own physical uniqueness, which is, in
that case, the biggest factor of all.
questionnaire(See table 6, Appendix 1)
75% of the people who participated in the questionnaire(See
stand strongly behind the point, that the grip itself is not as important as what their
 physical uniqueness’s
uniqueness’s are. That fact calls for deeper research, in which
which maybe we can
discover weather or not a certain grip can actually help the physical aspect in the
 production of sound.

I came to the conclusion that the grip itself must be a prolongation of our arms and
helps us achieving our musical goals with ease. I think that every grip, despite of its
strict or non-strict methodology, is a matter of personalization, due to our physical
uniqueness. And that the most important aspect of our job is the quality of sound,
which serves the needs of our greatest love – MUSIC.
 

5. Bibliography: 18

Information on marimba grips:

• “4 mallet technique”  by by Vida Chenoweth, article on Percussive Notes(PNotes(PAS)
AS)
 http://publications.pas.org/Archive/dec63/articles/dec63.05-6.pdf 
•

“Traditional
“Tradi
 Notes tional
(P
(PAS) four-mallet grip”  by by Nancy Zeltsman, article on Percussive
AS) http://publications.pas.org/archive/aug95/articles/9508.50-54.pdf#search=
%22traditional%20four-mallet%20grip%22

• Overview of 4 mallet grips -

http://www.uh.edu/~tkoozin/projects/W
http://www.uh.edu/~tkoozin/projects/WanHwaLow/Overview.html 
anHwaLow/Overview.html

•  Method of Movement by Leigh Howard Stevens – Asbury park: Marimba

 productions 1993
• Technique – Wikipedia
 Stevens Technique
https://en.wikipedia.org/wiki/Stevens_technique
• 6 mallet marimba technique http://robertpaterson.com/introduction-to-my-six-mallet-
technique/
• Kai Stensgaard 6 mallet marimba technique - http://www.kaistensgaard.com/the-six-
mallet-grip/

Photographic material:
• Georgi Tsenov
• Google images - https://images.google.com/

Qualitative research:

•  Survio questionnaire - http://www.survio.com/