From this repertoire, the six musical works that correspond to this research are: Zamba para escuchar tu silencio (1993) for marimba and Ritual y su metáfora (1995) for marimba and percussion ensemble by Guillo Espel, Loncomeo de los niños (1997) for chamber music by Alejandro Lemos, A Tango for Gary (1999) for marimba by Saúl Cosentino, Tres piezas alrededor de la ciudad (1998) for marimba and percussion ensemble by Martín Liut and Buenos Aires 2 escenas (2003) for chamber music by Carlos Passeggi. Currently, these musical works are recognized worldwide and included in International Marimba Festivals. The Argentinean percussionist Ángel Frette was one of the performers who spread the music written in our country for this instrument. This same phenomenon repeats in Argentina, due to other factors, such as the lack and scarcity of accessibility to the materials of this international repertoire. On the other hand, there is a concern to create an original marimba repertoire that emerged in countries such as the United States, France and Japan in the middle of the 20th century. The composers, who already come with a solid academic education, expand their ideas towards new experimentations in a search for their aesthetics. Si quieres tocar Do sostenido simplemente colocas la posicin de los dedos como si fuera Do natural, con la diferencia de que el dedo meique de la mano derecha tapar la mitad del agujero. In Argentina -towards the end of the 20th century- a more globalized musical panorama is beginning to be perceived. La flauta dulce no tiene orificios especiales para tocar notas con alteraciones, pero es posible ejecutarlas tapando la mitad de los agujeros.
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