Relevant bibliographies by topics / Arpeggione

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Arpeggione'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Arpeggione"

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Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 2. Arpeggio." Notes Muzyczny 2, no. 12 (December 13, 2019): 33–44. http://dx.doi.org/10.5604/01.3001.0013.7166.

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The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.
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Mogensen, R., N. Deletaille, and A. Roudier. "The arpeggione and fortepiano of the 1820s in the context of current computer music." Early Music 42, no. 4 (October 14, 2014): 545–54. http://dx.doi.org/10.1093/em/cau097.

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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Cath Vidler. "Arpeggio poems." Antipodes 27, no. 1 (2013): 72. http://dx.doi.org/10.13110/antipodes.27.1.0072.

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Barbancho, Isabel, George Tzanetakis, Ana M. Barbancho, and Lorenzo J. Tardon. "Discrimination Between Ascending/Descending Pitch Arpeggios." IEEE/ACM Transactions on Audio, Speech, and Language Processing 26, no. 11 (November 2018): 2194–203. http://dx.doi.org/10.1109/taslp.2018.2858538.

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Krieg, Niki. "Pellegrino D'Acierno, The Fat Man Arpeggios." Forum Italicum: A Journal of Italian Studies 50, no. 1 (December 16, 2015): 305–7. http://dx.doi.org/10.1177/0014585815623463.

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Zabanal, John-Rine A. "A Survey of Collegiate String Musicians’ Use of Drone Accompaniment to Improve Intonation." Update: Applications of Research in Music Education 38, no. 2 (July 13, 2019): 46–54. http://dx.doi.org/10.1177/8755123319861428.

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The purpose of this study was to survey collegiate string musicians on their use of drone accompaniments to improve intonation. A questionnaire was developed and distributed to collegiate string musicians ( N = 152). Most participants reported that they used a drone accompaniment as a tool to improve their intonation and that they were introduced to it in high school. Participants indicated they used a drone accompaniment more regularly when practicing scales and arpeggios. Additionally, they believed that it was an effective technique for improving intonation, especially for scales and arpeggios. A positive-moderate relationship between reported use of a drone accompaniment in practice and its perceived effectiveness to improve intonation was found for fast passages, slow passages, and solo repertoire. A majority of participants reported that they used a tuning application on their mobile device and a dedicated metronome and tuner to produce a drone accompaniment.
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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (December 10, 2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.

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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).
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Dejanović, I., G. Milosavljević, and R. Vaderna. "Arpeggio: A flexible PEG parser for Python." Knowledge-Based Systems 95 (March 2016): 71–74. http://dx.doi.org/10.1016/j.knosys.2015.12.004.

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Solow, Jeffrey. "Cello Scale and Arpeggio Books: A Survey." American String Teacher 54, no. 4 (November 2004): 66–71. http://dx.doi.org/10.1177/000313130405400416.

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Dissertations / Theses on the topic "Arpeggione"

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Marjamäki, Veikko. "Franz Schubert's "Arpeggione" sonata : Style, background and role in romantic viola repertoire." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3978.

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The importance that Franz Schuberts music has on any classical musician is almost indisputable. His output stretches over all the important genres of his time and while he never wrote solo pieces specifically for the viola, one work has gained an essential status in the viola repertoire. That work being the sonata for arpeggione and piano, D. 821. Volumes have been written on Schubert, his style, early 19th century Vienna, romanticism, classicism and the formal development of the sonata form as well as the rise of the bourgeoise music scene. Perhaps less is written on the viola and especially the arpeggione. My aim in this paper is to answer the question,” why arpeggione?”. Why does this work hold such a high status in our repertoire? I shall approach this question by both presenting the sonata in question by drawing its background and generally the style and background of Schubert and early romantic Vienna, and also by introducing two alternative early romantic sonatas, both by esteemed composers and written originally for viola. Lastly, I shall dissect the mostly arrangement-related challenges of the arpeggione sonata and discuss different reasons for it having attained such an important role in spite of its problematic suitability for the viola.
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Kim, SeonJu. "Challenges faced by modern violists when preparing the F. Schubert Arpeggione sonata for performance /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11422.

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Havlíčková, Lucie. "Franz Schubert a jeho Sonáta "Arpeggione" D.821 v úpravě pro fagot a klavír." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391617.

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This diploma thesis deals with the personality of Austrian romantic composer Franz Schubert, his life and list of his compositions. It also focuses on Sonata a minor "Arpeggione" D.821, written originally for arpeggione and piano, and deals with customized parts and interpretation problems in transcription for bassoon and piano.
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Magnusson, Klas. "Arpeggios i NES-musik : Skillnader i användning av arpeggios, och hur väl det hörs skillnad på dem." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15322.

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Detta examensarbete skapades med målet att undersöka skillnader i preferensen gällande arpeggios i NES- och Famicom-musik baserat på kultur. Bakgrundskapitlet tar upp tidigare forskning inom tangentiella ämnen, samt beskriver arpeggios och hur NES- och Famicom-konsolerna är uppbyggda. En kvantitativ metod utvecklas sedan, och problematiseras. Detta följs av en beskrivning av det förarbete som gjordes, och skapandet av de två artefakter som användes. En enkät genomfördes efter förarbetet, och resultatet av denna analyseras därefter i rapporten. Resultatet visar på att det finns vissa skillnader i preferens mellan svenska och japanska lyssnare. Denna slutsats, samt resterande delar av rapporten diskuteras sedan och till sist skrivs det om framtida arbete, så som att en plug-in möjligtvis skulle kunna skapas efter detta arbete har gjorts. Denna plugin skulle göra det lättare att få musik att låta mer europeisk eller japansk.
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Jordan, Robert D. "Scale, arpeggio, and interval studies for the bassoon /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486397841220445.

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Hedenstedt, Erik. "Att lära sig improvisera musik med hjälp av arpeggion : En självstudie i att öva improvisation." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54836.

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The purpose of this study is to explore how arpeggioexcercises used as a method for studying improvisation is experienced. Research questions are: What is my attention directed towards when performing the exercise? What benefit for my improvising can there be by using arpeggioexercises? To investigate this, I have done eight practice sessions of one hour each where an arpeggioexercise is used to study a song. All sessions are ended with audio logs where I reflect on how things have gone during the practice session. I have also made two improvisations on the selected song, one before the practice sessions implementing the exercise and after. Regarding the processing of data, I have chosen a phenomenological perspective as a theoretical standpoint. The result shows what has been in my consciousness during the process of practicing and how my improvising has changed. The results first theme "Study Process" describes arpeggio as studying method. This theme is given the categories "Progression", "Detection of problems," "Mechanical exercise". In the second theme, "Improvised solos," describes the benefits of using arpeggios as a method of studying improvisation. Categories are here " Approach to the tonal and harmonic structures", "Rule-breaking approach". During the process, it appears that I have learned some new patterns and that I am more aware of what I do when I improvise. Meanwhile, the process proved to be exhausting.
Syftet med föreliggande studie är att utforska hur en specifik arpeggioövning som instuderingsmetod för improvisation erfars. Forskningsfrågor är: Vad riktar jag min uppmärksamhet mot i samband med övandet av arpeggion? Vad för nytta kan det finnas med arpeggioövning för när jag improviserar? För att undersöka detta har jag lagt upp 8 övningspass på en timme vardera där arpeggioövning används för att studera en låt. Alla övningstillfällen har avslutats med ljudloggar där jag reflekterar över hur det har gått under övningspasset. Dessutom har jag gjort 2 improvisationer över vald låt, en innan övningspassens genomförande och en efter. Som teoretisk utgångspunkt har jag valt ett fenomenologiskt perspektiv. I resultatet visas vad som har förekommit i mitt medvetande under instuderingsprocessen och hur mitt improviserande förändrats. Resultatets första tema ”Instuderingsprocessen” beskriver arpeggio som instuderingsmetod och mina tankar kring den. Under detta tema ges kategorierna ”Progression”, ”Uppdagande av problem”, ”Mekanisk övning”. I det andra temat, ”Improviserade solon”, beskrivs hur arpeggio som metod kommer till användning vid improvisation. Kategorier är här ”Förhållning till tonala och harmoniska strukturer”, ”Regelbrytande förhållningssätt”. Under processens gång framkommer att jag lärt mig en del nya mönster och att jag är mer medveten om vad jag gör när jag improviserar samtidigt som instuderingsprocessen visat sig vara utmattande.
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Ports, Dan R. K. (Dan Robert Kenneth). "Arpeggio : metadata indexing in a structured peer-to-peer network." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41663.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2007.
Includes bibliographical references (p. 69-77).
Peer-to-peer networks require an efficient means for performing searches for files by metadata keywords. Unfortunately, current methods usually sacrifice either scalability or recall. Arpeggio is a peer-to-peer file-sharing network that uses the Chord lookup primitive as a basis for constructing a distributed keyword-set index, augmented with index-side filtering, to address this problem. We introduce index gateways, a technique for minimizing index maintenance overhead. Arpeggio also includes a content distribution system for finding source peers for a file; we present a novel system that uses Chord subrings to track live source peers without the cost of inserting the data itself into the network, and supports postfetching: using information in the index to improve the availability of rare files. The result is a system that provides efficient query operations with the scalability and reliability advantages of full decentralization. We use analysis and simulation results to show that our indexing system has reasonable storage and bandwidth costs, and improves load distribution.
by Dan R.K. Ports.
M.Eng.
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Yanko, Matthew. "Reggio’s arpeggio : an autoethnographic tale of a music teacher’s explorations with Reggio Emilia." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52692.

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The Reggio Emilia approach to early childhood education has been globally recognized by educators and researchers as the most exceptional example of quality early education (Gardner, 1999; Kantrowitz & Wingert, 1991). However, within this approach there is a strong emphasis on the visual arts that in turn has diminished opportunities for children to participate in music activities. Andress (1998) was the first to expose the lack of music in this approach, and her concern was echoed by Matthews (2000), O’Hagin (2007), Vuckovic & Nyland (2010), and Smith (2011). As a result of this void, the present investigation explores the philosophies and practices of the Reggio Emilia approach within a kindergarten to grade seven elementary school music program. Specifically, I examine the role of the child, the role of the teacher, the environment as a third teacher, multiple forms of knowing, the role of documentation, and the Atelier. I use an autoethnographic approach to implement, reflect, and document this experience. I not only discover that Reggio Emilia can be successful within a music classroom setting, but argue that these philosophies and practices are of great importance to understanding new ways in which music educators can benefit from this approach beyond the scope of traditional programs and approaches to music with children. By adapting this approach to a music setting in grades higher than the early childhood years, my research extends the current Reggio literature. I not only present my struggles during this experience, but also explain how to supersede challenges and draw from the strengths of this approach that were exposed within the scope of my music program.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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TORRES, Diorgenes Terciano. "Improvisação melódica com o uso de arpejos: proposta metodológica para a disciplina Improvisação I no curso técnico da Escola de Música do Estado do Maranhão – EMEM." Universidade Federal do Maranhão, 2016. http://tedebc.ufma.br:8080/jspui/handle/tede/1854.

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Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-08-22T18:02:33Z No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5)
Made available in DSpace on 2017-08-22T18:02:33Z (GMT). No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5) Previous issue date: 2016-07-19
This research was made with students from the Maranhão’s State Music School and it investigates about using arpeggios (triads and fourths) on melodic improvisation like being a base of a methodological proceeding to be suggested for the teaching of the subject Improvisation I in the technical course of this school. It was realized two videos recording filming and two audio recording in what the students presented his knowledge about music improvisation before and after the systematic studying from the theoretical and practice contents suggested in this research. After the confront of those two moments from a sample of students extracted from the whole group of participants students, it was made some analysis and considerations about how the improvisation teaching happened in the music school and also the possible benefits that this methodological proceeding with the using of arpeggios could bring to the teaching of the subject.
Esta pesquisa efetuada com alunos da Escola de Música do Estado do Maranhão – EMEM investiga o uso de arpejos (tríades e tétrades) na improvisação melódica, como base de um procedimento metodológico a ser sugerido para o ensino da disciplina Improvisação I do curso técnico dessa escola. Foram realizadas duas filmagens de vídeo e duas gravações de áudio em que os alunos apresentaram seus conhecimentos em improvisações antes e depois do estudo sistemático dos conteúdos teóricos e práticos sugeridos nesta pesquisa. Após o confronto desses dois momentos de um grupo amostra extraído do total de alunos participantes, são feitas análises e considerações sobre como o ensino de improvisação acontecia na escola bem como os possíveis benefícios que o procedimento metodológico com o emprego de arpejos utilizado poderá trazer para o ensino da disciplina.
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Jacobsson, Miriam. "Va'-vil-du, Mozart? : Två transkriberingar från klarinett och violin till flöjt." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79089.

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I min uppsats utforskar jag möjligheterna att transkribera verk till mitt eget instrument tvärflöjt. Jag har arbetat med satser ur två konserter, en för violin och en för klarinett, och transkriberat om dessa till flöjt. Jag har fokuserat på en sats ur vardera konsert.   Mitt arbete börjar med att välja vilka instrument jag skulle transkribera från. Sedan har jag valt notutgåva för dessa och skrivit in dem i det notskrivningsprogram jag har valt, och därefter påbörjat transkriberingsarbetet. När transkriberingen var klar tog jag kontakt med pianist och påbörjade min instudering av verken, för att därefter spela in de instuderade satserna. Vid inspelningen tog jag hjälp av en medstudent som också hjälpte mig med att editera inspelningarna. Slutligen har jag jämfört de satser jag spelat in på tvärflöjt med inspelningar för originalinstrumenten, violin respektive klarinett. Det resulterade i noter som finns som bilaga och inspelningar jag länkat till.   I arbetet med transkription och förberedande litteraturstudier har jag lärt mig att transkription är ett stort ämne i sig och att det kräver efterforskning och förberedelser genom att studera noter, spela och lyssna till musiken som jag har transkriberat. Arbetet gav mig en känsla för vad kompositörernas musik bottnar i och har gett mig en riktning i mitt fortsatta arbete med transkribering.
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Books on the topic "Arpeggione"

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Clerc, Christine. L' arpeggione: Roman. [Paris]: Flammarion, 1987.

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Heiremans, Luis Alberto. El abanderado ; Buenaventura (El año repetido, El mar en la muralla, Arpeggione). Santiago, Chile: Pehuén Editores, 1990.

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Stump, Joe. Guitar sweep picking & arpeggios. Boston, MA: Berklee Press, 2017.

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Mármol, Luis del. Arpeggio: Música de piedra. Buenos Aires, Argentina: Ediciones Ultimo Reino, 1993.

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translator, Frane Kevin, MacFarlane Ysabet Reinhardt, and Szczeszek Pawel, eds. Arpeggio of Blue Steel. Santa Barbara, CA: Seven Seas Entertainment, LLC, 2016.

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Arpeggio of Blue Steel. New York: Seven Seas, 2014.

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Fowler, William L. Seventh chords & arpeggios, for bass. Lakewood, CO: Fowler Music, 1991.

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Friedman, Jay. Guitar chords, arpeggios and studies. Van Nuys, CA: Alfred Pub. Co., 2008.

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Policastro, Michael A. Understanding how to build guitar chords and arpeggios. North Caldwell, N.J: Silvanus Pub., 1993.

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Polston, Larry G. Chording arpeggios: Piano course : book and cassette : Southern gospel at its best : introductions, fills, rhythms, chord charts-major & minor, how to use diminished & augmented chords. Bonifay, Fla: Rain Tree, 1990.

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Book chapters on the topic "Arpeggione"

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Schiegnitz, Thomas. "Der Arpeggione des Musikinstrumenten-Museums." In Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz, 282–86. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02821-1_15.

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Clements, Austin T., Dan R. K. Ports, and David R. Karger. "Arpeggio: Metadata Searching and Content Sharing with Chord." In Peer-to-Peer Systems IV, 58–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11558989_6.

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Chen, Jason Chi Wai. "AI in Music Education: The Impact of Using Artificial Intelligence (AI) Application to Practise Scales and Arpeggios in a Virtual Learning Environment." In Learning Environment and Design, 307–22. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-8167-0_19.

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Berg, Christopher. "Arpeggios." In The Classical Guitar Companion, 149–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0007.

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This chapter offers material for arpeggio study suitable for beginners through advanced players. Arpeggio textures are one of the most commonly used textures in music for the classical guitar, and the number of arpeggio études in the literature reflects this. Material begins with simple right-hand arpeggio patterns that make use of sympathetic movement of the fingers between thumb strokes (that is, the right-hand fingers flex together or in sequence, and no finger moves in the opposite direction during the arpeggio pattern) and continues through increasingly complex patterns involving opposed motion among the fingers (that is, right-hand fingers are used more than once in a pattern between thumb strokes), sometimes in combination with an independent voice played by the thumb. The cultivated study of sympathetic and opposed motion will help guitarists design more fluid and coordinated finger movements to enhance their arpeggio technique.
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Gouzouasis, Peter, and Matthew Yanko. "Reggio’s Arpeggio." In Meaning Making in Early Childhood Research, 56–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315297378-4.

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"The Arpeggio." In Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach, 492–510. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctvzxx9g3.55.

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"The Arpeggio." In Ornamentation and Improvisation in Mozart, 165–76. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctv8pzbvq.17.

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"11. The Arpeggio." In Ornamentation and Improvisation in Mozart, 165–76. Princeton: Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691194684-015.

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"Figure 2 Schubert, Arpeggione Sonata: pre-metrical grouping of durations. An asterisk denotes a phrase terminator, the grouping being the entire tree subtended from that level’s branches." In Music and the Cognitive Sciences 1990, 285–87. Routledge, 2004. http://dx.doi.org/10.4324/9780203393284-83.

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"Octatrack: MIDI Sequences and Arpeggios." In Electronic Music Machines, 229–61. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119618089.ch10.

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Conference papers on the topic "Arpeggione"

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He, Zhitao, Kasun Hewage, and Thiemo Voigt. "Arpeggio: A Penetration Attack on Glossy Networks." In 2016 13th Annual IEEE International Conference on Sensing, Communication, and Networking (SECON). IEEE, 2016. http://dx.doi.org/10.1109/sahcn.2016.7732971.

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Reports on the topic "Arpeggione"

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Porter, Vicki L. Guide to Coupled Electrostatic-Structural Analyses with Arpeggio. Office of Scientific and Technical Information (OSTI), September 2006. http://dx.doi.org/10.2172/1323924.

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Kostka, Timothy D., and Jeremy Alan Templeton. Coupled thermomechanical modeling using dissimilar geometries in arpeggio. Office of Scientific and Technical Information (OSTI), November 2010. http://dx.doi.org/10.2172/1028947.

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Subia, Samuel R., James R. Overfelt, and David G. Baur. SIERRA Code Coupling Module: Arpeggio User Manual Version 4.44. Office of Scientific and Technical Information (OSTI), April 2017. http://dx.doi.org/10.2172/1365496.

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Subia, Samuel R., James R. Overfelt, and David G. Baur. SIERRA Code Coupling Module: Arpeggio User Manual (Version 4.46). Office of Scientific and Technical Information (OSTI), September 2017. http://dx.doi.org/10.2172/1527322.

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Sierra Thermal/Fluid Team. SIERRA Code Coupling Module: Arpeggio User Manual Version 4.40. Office of Scientific and Technical Information (OSTI), May 2016. http://dx.doi.org/10.2172/1561480.

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Sierra Thermal Fluid Development Team and Sierra Thermal Fluid Development Team. SIERRA Code Coupling Module: Arpeggio User Manual - Version 4.54. Office of Scientific and Technical Information (OSTI), October 2019. http://dx.doi.org/10.2172/1570562.

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Subia, Samuel R., James R. Overfelt, and David G. Baur. SIERRA Code Coupling Module: Arpeggio User Manual - Version 4.56. Office of Scientific and Technical Information (OSTI), April 2020. http://dx.doi.org/10.2172/1615881.

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SIERRA Code Coupling Module: Arpeggio User Manual (Version 4.48). Office of Scientific and Technical Information (OSTI), April 2018. http://dx.doi.org/10.2172/1528835.

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SIERRA Code Coupling Module: Arpeggio User Manual - Version 4.52. Office of Scientific and Technical Information (OSTI), April 2019. http://dx.doi.org/10.2172/1762075.

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SIERRA Code Coupling Module: Arpeggio User Manual - Version 4.58. Office of Scientific and Technical Information (OSTI), October 2020. http://dx.doi.org/10.2172/1716567.

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