Relevant bibliographies by topics / Arpeggios

Contents

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

Academic literature on the topic 'Arpeggios'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Arpeggios"

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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 (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 prélude
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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 (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 (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 (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 arpegg
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Butterfield, Craig. "The Block Approach: Expanded Arpeggios for Jazz Improvisation." American String Teacher 64, no. 1 (2014): 38–42. http://dx.doi.org/10.1177/000313131406400107.

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Kohn, Andrew. "Scales and Arpeggios for Bass: Reflections on Some Printed Sources." American String Teacher 67, no. 3 (2017): 38–41. http://dx.doi.org/10.1177/000313131706700308.

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Mochalin, B. V., and A. A. Yagovdik. "Actual approaches to work with scales and arpeggios by jazz guitarist." Alma mater. Vestnik Vysshey Shkoly, no. 7 (July 2018): 84–87. http://dx.doi.org/10.20339/am.07-18.084.

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Watson, Alan HD, and Kevin Price. "Embouchure Muscle Activity in Student and Elite Trumpeters." Medical Problems of Performing Artists 35, no. 1 (2020): 42–53. http://dx.doi.org/10.21091/mppa.2020.1006.

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AIMS: Objective information on embouchure muscle use in brass players is currently limited. This pilot study records and analyses embouchure muscle activity in trumpet players to identify typical patterns and to reveal how these can differ between playing tasks. METHODS: Activity in four embouchure muscles was recorded using surface electromyography in 7 conservatoire trumpet students and 3 elite professional trumpeters. Each played a set of simple exercises, tongued and slurred, including single notes of different pitch, upward and downward transitions between notes a fifth apart, arpeggios,
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Slade, Teri, Gilles Comeau, and Donald Russell. "Measurable changes in piano performance of scales and arpeggios following a Body Mapping workshop." Journal of New Music Research 49, no. 4 (2020): 362–72. http://dx.doi.org/10.1080/09298215.2020.1784958.

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Besouw, Rachel M. Van, Jude S. Brereton, and David M. Howard. "Range of Tuning for Tones With and Without Vibrato." Music Perception 26, no. 2 (2008): 145–55. http://dx.doi.org/10.1525/mp.2008.26.2.145.

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PREVIOUS STUDIES ON VIBRATO PITCH HAVE attempted to determine the "principal pitch" of vibrato tones and not the range of tuning for such tones in a melodic context. This study investigates the range of acceptable tuning (RAT) for tones with and without vibrato, using repeating ascending and descending three-tone arpeggios. The second tone in each sequence was modulated or unmodulated with an initial pitch that was flat or sharp. With each repetition the pitch of the second tone increased or decreased by 3 cents depending upon the initial pitch condition. Participants indicated when they perce
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Dissertations / Theses on the topic "Arpeggios"

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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
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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)<br>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<br>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 proceedin
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Pessoa, Almir Júnio. "Improvisação à viola caipira: um estudo de caso aplicando modelos selecionados ao cateretê vide vida marvada." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6859.

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Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-02-17T16:33:44Z No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-20T12:02:42Z (GMT) No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made ava
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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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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.<br>Includes bibliographical references (p. 69-77).<br>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 techni
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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 practi
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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 pre
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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
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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
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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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Books on the topic "Arpeggios"

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

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

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Friedman, Jay. Guitar chords, arpeggios and studies. Alfred Pub. Co., 2008.

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Policastro, Michael A. Understanding how to build guitar chords and arpeggios. 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. Rain Tree, 1990.

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Greenwood, Rachel. 50 ways to practise scales & arpeggios: For intermediate and advanced violinists. Piccolo, 1997.

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Roskell, Penelope. The art of piano fingering: A new approach to scales and arpeggios. LCM Publications, 1996.

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Scales and Arpeggios. Associated Board of the Royal School of Music, 1989.

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Fat Man Arpeggios. Guernica Editions, Incorporated, 2015.

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Scales and Arpeggios. Associated Board of the Royal School of Music, 1990.

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Book chapters on the topic "Arpeggios"

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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. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-8167-0_19.

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Schiegnitz, Thomas. "Der Arpeggione des Musikinstrumenten-Museums." In Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz. 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. Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11558989_6.

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Berg, Christopher. "Arpeggios." In The Classical Guitar Companion. 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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"Octatrack: MIDI Sequences and Arpeggios." In Electronic Music Machines. John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119618089.ch10.

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Shiner, Larry. "Interlude." In Art Scents. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190089818.003.0021.

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There is an often-quoted passage in Aldous Huxley’s dystopian novel Brave New World of 1932 that describes a “scent organ playing a delightfully refreshing Herbal Capriccio—rippling arpeggios of thyme and lavender, of rosemary, basil, myrtle, tarragon.”<sup>1</sup> Actual working scent organs finally began to appear in this century. Earlier I mentioned Peter de Cupere’s ...
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Gjerdingen, Robert O. "Solfeggi and the Acquisition of Style." In Child Composers in the Old Conservatories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0008.

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In the old conservatories the equivalent of “music 101” was the class in solfeggio. This was where beginning students learned to read music, to distinguish the sizes of intervals, and to learn scales and arpeggios. Today syllables like “Do, Re, Mi” are connected with scale degrees (steps 1, 2, 3 respectively). This was not the case originally. “Mi,” for example, meant a tone with a whole step below it in the scale and a half step above it. Thus both “E,” “B,” and “F♯” were all “Mi.” Similarly, “F,” “C,” and “B♭” were all “Fa.” The chapter details how this worked and gives examples of lessons in the old style of solfeggio.
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Rice, Albert R. "Music for the Baroque Clarinet." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0005.

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This chapter presents an overview of music written by 23 composers representative of a larger repertoire written about 1715 to 1760 for the Baroque clarinet. The works examined include opera, cantata, duos, concertos, wedding music, chamber music, military music, sacred arias, requiem, and motets by Dreux, Vivaldi, Caldara, Faber, Telemann, Handel, Chinzer, Rathgeber, Münster, Glaser, Kölbel, Molter, Sparry, Rameau, Zach, Stark, Johann Stamitz, Graupner, d’Herbain, Pasterwiz, La Borde, Ulbrecht, and Arne. The music is written in a trumpet style characterized by repeated notes, incomplete arpeggios, fanfare motives, limited range, and restricted use of the low register. In works composed after about 1730, a lyrical style of melodic writing takes on a greater importance with scale passages, leaps of an octave or more, and more frequent use of the low register.
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Manning, Jane. "JUDITH BINGHAM (b. 1952)The Cathedral of Trees (1998)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0013.

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This chapter takes a look at The Cathedral of Trees, by singer-composer Judith Bingham. Cathedral is a solo song which exhibits similar mastery and an innate understanding of how the voice works. It comprises an attractive mix of vocal tasks that are much easier to execute than they may appear. Everything lies comfortably and there is an enjoyable joie de vivre in the melismas, trills, and especially the rotating repeated arpeggios that swoop up and down over a wide span. These give the singer a chance to develop a keen sense of tonality from the outset and to attain familiarity with recurring pitches. The piece moreover successfully preserves a sense of rhythmic momentum, but the composer exhorts a flexible approach (‘fluid and variable’) that obeys the natural swing of the music and avoids rigidity.
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Berg, Christopher. "Florid or Virtuoso Études." In The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0010.

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Most of the music in The Classical Guitar Companion makes use of the same technique or musical texture throughout. High-level virtuoso playing requires that guitarists become adept at navigating ever-changing musical textures and the techniques required to produce them. Florid or virtuoso études present the challenges of combining and switching between various technical elements, such as arpeggios, scales, slurs, and shifts, at rapid tempi. Of special interest is the brief discussion of “latency” at high speeds, which is applicable to these studies, and how virtuoso players transcend the limits of the central nervous system when initiating a movement or series of movements that must occur in less time than it takes for the signal to move to get from the brain to the hands (100 milliseconds).
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Conference papers on the topic "Arpeggios"

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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 "Arpeggios"

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Porter, Vicki L. Guide to Coupled Electrostatic-Structural Analyses with Arpeggio. Office of Scientific and Technical Information (OSTI), 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), 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), 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), 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), 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), 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), 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), 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), 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), 2020. http://dx.doi.org/10.2172/1716567.

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