Contents
Academic literature on the topic 'Accordion and guitar music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Accordion and guitar music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Accordion and guitar music"
1
Fikri, Kanzul. "Inovasi Proses Kreatif Rosette Guitar Quartet Di Era New Normal." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (2021): 53. http://dx.doi.org/10.26740/vt.v4n1.p53-57.
Full textAbstract:
Rosette guitar quartet is a guitar quartet group consisting of four guitar players and on originally the Rosette guitar quartet was performing classical guitar songs arranged in four guitars. Method in this research using an qualitative approach. Qualitative research tries to answer question rather than testing the hypothesis. This research uses creative process theory and innovations theory which consist of 4 types, namely (1) Discovery (2) Extension (3) Duplication (4) Synthesis. The Result of innovation made by Rosette guitar quartet are (1) Invention made by Rosette Guitar is creating a new process in the guitar quartet group perfoming songs in postmodern era and uploaded on social media, such as “Youtube”, (2) Development of the Rosette guitar expresses his works in social media, where to adjust the new habits to music enthusiast that can appreciate perfoming of Rosette by virtual. (3) Rosette Guitar duplicate the most successful musicians used to express and maximize each his work in “Youtube” which gets a lot of appreciation (viewers) according to the new normal era. (4) The Rosette guitar perfoms synthesis with create new works every month and uploaded on “Youtube”. Collaborative creative process of this synthesis considered by Rosette guitar quartet as great opportunity to music works, expression as well as new innovations in industry creative in the new normal era.Keywords: Innovation, Creative Process, New Normal.
2
Bashmakova, Natalia, and Liliya Bakalinska. "„HOMMAGE A PACO” BY FRANK ANGELIS IN THE CONTEXT OF CONTEMPORARY TRENDS OF ACCORDIONAL ART." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 102–10. http://dx.doi.org/10.33287/222009.
Full textAbstract:
The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.
3
Rauter, Branislav. "Kitarske šole slovenskih avtorjev od Adolfa Gröbminga do Stanka Preka / Guitar Schools by Slovenian Authors from Adolf Gröbming to Stanko Prek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (2021): 109–30. http://dx.doi.org/10.26493/2712-3987.16(33)109-130.
Full textAbstract:
The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.
4
Gurgul, Wojciech. "A Panorama of Polish Guitar Concertos." Edukacja Muzyczna 15 (2020): 85–103. http://dx.doi.org/10.16926/em.2020.15.12.
Full textAbstract:
The present article constitutes an attempt at outlining the musical oeuvre of Polish composers in the field of concertos for guitar and orchestra. Since the 1940s, when the first concerto with a guitar part was created, more than 100 concertos have been composed in Poland. In an effort to write such a piece of music, composers discovered different creative paths, which often revealed various new colours of the guitar. The article discusses a proposal to divide the concertos created in Poland according to the specificity of the pieces, introduces the history of the first Polish concertos and paints a picture of guitar literature created by 2020.
5
Kazaka, Lauma, and Ilze Vilde. "Applicability of Digital Learning Strategy “Start Playing the Guitar!” in Solfeg.io Music Education App." International Journal of Smart Education and Urban Society 12, no. 3 (2021): 68–78. http://dx.doi.org/10.4018/ijseus.2021070106.
Full textAbstract:
The digitalisation of the music classroom has accelerated the development of learning tools that correspond to the mindset and lifestyle of digital generation. Current pedagogical approaches emphasize a diverse and multifunctional use of technology to study music theory, learn to play instruments, and create music on and offline. Solfeg.io music education app is designed according to principles of smart pedagogy that include criteria for a meaningful use of technology in the study process. The app has been developed to meet didactic, cognitive, socioemotional, and technical requirements that create a customizable, user-oriented experience in a pedagogically justified study environment. The digital learning strategy “Start playing the guitar!” (DLS) is designed for students without prior knowledge of playing the guitar. The purpose of the paper is to study applicability of DLS in learning the basics of playing the guitar. The paper contains an analysis of theoretical literature on a technology-enhanced pedagogical process, including the ideas of smart pedagogy and the basic didactic principles for developing digital education tools. The empirical study on the use of DLS includes pedagogical observation, respondent surveys, and analysis and interpretation of the obtained qualitative data.
6
Anufrieva, N. I., and A. P. Efremenko. "Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments." Uchenye Zapiski RGSU 19, no. 3 (2020): 68–75. http://dx.doi.org/10.17922/2071-5323-2020-19-3-68-75.
Full textAbstract:
the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.
7
Jin, Cong, Tao Wang, Shouxun Liu, et al. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.
Full textAbstract:
Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.
8
Meagher, David James, Ian Murphy, Mary Mulligan, Pollyanna Bolger, Aoife Leahy, and Hilary Moss. "Developing an air guitar group for an inpatient psychiatry unit." Music and Medicine 12, no. 4 (2020): 237. http://dx.doi.org/10.47513/mmd.v12i4.712.
Full textAbstract:
The phenomenon of air guitar has become increasingly popular in mainstream society and recognised as a potential means of enhancing one’s sense of mental well-being. It allows for engagement with music that involves physical activation and can be conducted in groups allowing for non-verbal socialisation. To date, there has been limited examination of its potential usefulness in therapeutic settings, including in mental health services. We describe the development of an air guitar group in an inpatient psychiatry service including an iterative approach to the design of sessions and the impact in terms of patient engagement and feedback. The format of the group evolved over time according to feedback from participants and staff involved in patient care on the unit. We found that the group successfully engaged patients of varying age, gender and diagnostic profiles and was perceived as a valuable addition to the inpatient therapeutic programme. Based upon our observations during this pilot study, we outline a suggested format for air guitar sessions that includes our experiences around selection of music, duration of sessions, use of props, managing the physical demands of sessions and ensuring participant safety. Future work can investigate the impact of air-guitar as a therapeutic activity in other settings (including community-based) and exploring how it can be best applied in combination with other therapeutic modalities for use in patients with differing diagnostic and demographic profiles.
9
Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
Full textAbstract:
In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
10
Kennedy, Victor. "Musical Metaphors in the Poetry of Wallace Stevens." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 41–58. http://dx.doi.org/10.4312/elope.13.1.41-58.
Full textAbstract:
Wallace Stevens’s “The Man with the Blue Guitar” (1937) is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso’s painting The Old Guitarist, the poem in turn inspired Michael Tippett’s sonata for solo guitar, “The Blue Guitar” (Tippett 1983) and David Hockney’s The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977). Central to “The Man with the Blue Guitar,” the metaphor of the musical instrument as a transformational symbol of the imagination is common in Stevens’s poems. The structure of “The Man with the Blue Guitar,” according to J. Hillis Miller, is the structure of stream-of-consciousness. Stevens’s poem creates what has been called “the deconstructed moment in modern poetry,” “an attempt to project a spatialized time that can be viewed from the privileged position of a timeless, static moment capable of encompassing a life at a glance” (Jackson 1982). This consciousness, which Derrida refers to as the “trace,” Stevens calls “the evasive movement of language.” The trace is the perception of the absence of meaning after the word or perception has passed, the glimpse of a hidden meaning that immediately vanishes. Stevens’s poem influenced not only other poets, artists and composers; references to and echoes of his ideas and techniques can be seen in popular music and culture well into the 21st century.