Relevant bibliographies by topics / Arranged Guitar music

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  2. Dissertations / Theses
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Academic literature on the topic 'Arranged Guitar music'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Arranged Guitar music"

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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.

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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 ne
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Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.

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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some devel
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Murcahyanto, Hary. "Aransemen Lagu Lembaga Kita Dalam Ansambel Campuran." PROMUSIKA 8, no. 1 (2020): 30–35. http://dx.doi.org/10.24821/promusika.v1i1.4196.

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Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode
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Gurgul, Wojciech. "Ukrainian Elements in Polish Guitar Music of the 19th Century." Folk art and ethnology, no. 3 (July 30, 2022): 22–36. http://dx.doi.org/10.15407/nte2022.03.022.

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The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts
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Tatarkin, D. Yu. "J. S. BACH'S CELLO SUITES FOR GUITAR, ARRANGED BY KOJIRO KOBUNE: COMPARATIVE ANALYSIS." Arts education and science 3, no. 32 (2022): 49–56. http://dx.doi.org/10.36871/hon.202203006.

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This article is devoted to the textual analysis of the arrangement of J. S. Bach cello suites for guitar. Japanese composer and conductor Kojiro Kobune was the first to transcribe the entire cycle. The purpose of the article is to reveal the extent of Kobune's "interference" in the original text of the suites, to emphasize the author's successful arrangements, as well as to identify discrepancies with the original. The paper analyzes the reasons why Kobune made certain decisions, modifying the text of the original. Kojiro Kobune's immediate predecessors, the guitarists who made significant con
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Priscilla, Birgita. "Imitasi Instrumen Kacapi Sunda Pada Aransemen Gitar Klasik Tunggal: Studi Kasus Terhadap Aransemen “Bubuy Bulan” Karya Iwan Tanzil." Urban: Jurnal Seni Urban 7, no. 1 (2023): 3–14. http://dx.doi.org/10.52969/jsu.v7i1.116.

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Iwan Tanzil merupakan komposer gitar klasik Indonesia yang cukup banyak menggunakan idiom musik tradisional Indonesia dalam karya-karyanya. Salah satu karya aransemennya “Bubuy Bulan”, menggunakan idiom musik tradisional yaitu kacapi dan bas betot, dan diolah menggunakan teknik komposisi musik barat serta dieksekusi dengan berbagai teknik gitar klasik yang unik. Penelitian ini bertujuan untuk mengetahui bagaimana penerapan imitasi kacapi sunda pada aransemen gitar klasik “Bubuy Bulan” karya Iwan Tanzil. Metode yang digunakan dalam penelitian ini adalah art based research, dengan pendek
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Stimpson, Michael. "Microjazz 2 for Guitar Solo by Christopher Norton; arranged by Suzanne Court. Boosey and Hawkes, 1993. £3.95. - Microjazz 2 for Guitar Duet by Christopher Norton; arranged by Suzanne Court. Boosey and Hawkes, 1993. £3.95. - Jazzy Guitar 1 by Terry Drummond. Universal Edition, 1993. £4.95. - Music From The 15th–17th Centuries arranged for 3 guitars by Karl Bruckner. Universal Edition, 1993. £4.95." British Journal of Music Education 10, no. 3 (1993): 280–81. http://dx.doi.org/10.1017/s0265051700001893.

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Lamba, Linesti, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band." Journal of Music Science, Technology, and Industry 2, no. 2 (2019): 169–84. http://dx.doi.org/10.31091/jomsti.v2i2.865.

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This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are c
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Saccardi, David J. "Observation and Analysis of Reciprocal Peer Teaching in University Guitar Classes." Bulletin of the Council for Research in Music Education, no. 235 (January 1, 2023): 46–60. http://dx.doi.org/10.5406/21627223.235.03.

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Abstract The purpose of this study was to observe and analyze the reciprocal peer teaching (RPT) behaviors of university students who were enrolled in an introductory-level guitar course. Students (N = 30) participated in two training sessions, were paired off in asymmetrical dyads based on a baseline examination of their individual performance skills, and arranged a 10-to-15-minute time to meet with their partner outside of class and record their RPT over the video conferencing platform Zoom. Using SCRIBE software (Duke, 2020) and a modified version of codes derived by Colprit (2000), the tim
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BATUBARA, JUNITA, FINO HARJA MARBUN, and JUBILEZER SIHITE. "KAJIAN MUSIK DAN MAKNA LAGU SIKSIK SIBATU MANIKKAM DICOVER OLEH GRUP JAMRUD." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 2 (2021): 515. http://dx.doi.org/10.26887/ekspresi.v23i2.2079.

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This study discusses the analysis of the song Siksik Sibatu Manikkam performed by the Jamrud music group. The song Siksik Sibatu Manikkam was arranged and published in 2011 on the third track on the Jamrud music group's ninth album entitled Bumi dan Langit Menangis with Rock style. The theories used in this research are William P. Malm's theory to get a musicological study and Ferdinand de Saussure's semiotic theory to explain the meaning in this song. The song Siksik Sibatu Manikkam is performed in a modern (rock) style with drums, electric guitar, bass guitar, keyboard, and electronic music
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Dissertations / Theses on the topic "Arranged Guitar music"

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Vera, Fernand Toribio Soler Antonio Soler Antonio. "Selected harpsichord sonatas by Antonio Soler analysis and transcription for classical guitar duo /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9727.

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Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).
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Amelkina-Vera, Olga Hume Tobias. "Solo lyra viol music of Tobias Hume (c. 1579-1645) historical context and transcription for modern guitar /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9125.

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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.

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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many poi
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Vera, Fernand Toribio. "Selected Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Classical Guitar Duo." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9727/.

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Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque har
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Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.

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There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through
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"Selected Harpsichord Works by Sebastián de Albero, Arranged for Solo Guitar." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.26897.

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abstract: This project presents eight harpsichord sonatas, 3, 5, 10, 12, 13, 18, 19, and 21, by Sebastián de Albero (1722-1756), arranged for the classical guitar. These pieces were chosen because of the success of other eighteenth-century Iberian harpsichord music that has been arranged for guitar, including works by composers such as Domenico Scarlatti, Carlos Seixas, and Antonio Soler. The popularity and enjoyment of Scarlatti's harpsichord sonatas on the guitar today was the inspiration for this project. Historically, guitarists have used arrangements as a means to expand the guitar's re
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"Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55627.

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abstract: Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the mo
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"Five Keyboard Sonatas: R. 48, 50, 60, 106 and 114 by Antonio Soler, Arranged for Two Guitars." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25072.

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abstract: Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Sol
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Books on the topic "Arranged Guitar music"

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Harrison, Lou. The Lou Harrison guitar book: For guitar. Columbia Music Co., 1994.

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Fossa, François de. Selected works for guitar solo =: Œuvres choisies pour guitare seule. Editions Orphée, 1990.

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Beethoven, Ludwig van. Sonata para guitarra. Ediciones Musicales Yolotl, 1990.

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Bach, Johann Sebastian. Cello suites nos. 1, 2, and 3, for guitar. International Music Co., 1999.

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Mermikides, Bridget. The Classical guitar compendium: Classical masterpieces arranged for solo guitar. Hal Leonard, 2013.

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Shiri͡alin, A. Poėma o gitare. AOZT Redakt͡sionno-izdatelʹskai͡a firma "Molodezhnai͡a ėstrada", 1994.

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Joplin, Scott. Scott Joplin for guitar. Belwin-Mills, 1986.

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Bruzual, Alejandro, and Julio Sánchez. Tres arreglos para guitarra solista de jazz. Fundación Vicente Emilio Sojo, 1998.

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Satie, Erik. Vieux sequins et vieilles cuirasses. M. Eschig, 1996.

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Luciano, Berio. Brin: Pour guitare (1990/1994). Universal Edition, 1996.

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Book chapters on the topic "Arranged Guitar music"

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Clark, Walter Aaron. "The Romero Repertoire." In Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0014.

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There are basically five ways that the Romeros have added new works to the guitar repertoire: commissioning, composing, arranging, reviving, or improvising them. They have requested works from leading composers in Spain and the U.S.; composed works, mostly by Celedonio for solo guitar; arranged numerous orchestral and stage works for quartet; revived neglected classics, especially from the 1800s; and improvised flamenco numbers, as well as adding flourishes to notated music.
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Obrecht, Jas. "November 1966." In Stone Free. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647067.003.0004.

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On November 2, 1966, the Experience record Jimi’s newly composed “Stone Free” during a single session at De Lane Lea Studios. Chas Chandler arranges a record deal with Track Records and Jimi begins work on his ambitious “Third Stone from the Sun,” inspired by his love of science fiction. Chandler, Jimi’s father James “Al” Hendrix, and best friend Billy Cox describe his extraordinary all-day, every-day dedication to the guitar. Kathy Etchingham details their home life together and forays around London. During a tour of Germany, Jimi accidentally smashes a guitar and discovers “demolition feedba
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Friedwald, Will. "Entr’acte." In Straighten Up and Fly Right. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190882044.003.0006.

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In spring 1948, Capitol Records finally releases “Nature Boy” (at the time of Cole’s marriage to his second wife, Maria Hawkins Ellington). The song is a blockbuster, remaining #1 on the pop charts for almost two months and pushing Nat into a more popular direction. This is also when he introduces a whole new Trio—with guitar (Irving Ashby), bass (Joe Comfort), and percussion (conga and bongo player Jack Costanzo)—now called “Nat King Cole and His Trio.” The new group’s entirely different sound lets Cole explore modern jazz and Afro-Latin music. Cole is also experimenting with the transition f
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Greiving, Tim. "In Search of Unicorns, 1969–1974." In John Williams. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197620885.003.0006.

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Abstract Chapter 5, “In Search of Unicorns, 1969–1974,” concerns the creatively fertile sophomore era of Williams’s film-scoring career, including his experimental collaborations with Robert Altman (Images, The Long Goodbye), his growing prowess as an adapter and arranger of large-scaled film musicals (Goodbye, Mr. Chips, Fiddler on the Roof), his extended run of Americana scores featuring guitars and harmonica (The Cowboys, Conrack), and his exploration into more avant-garde concert music—including a flute concerto and his first symphony. An extended period in London, where he temporarily rel
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Giddins, Gary. "The Arranger’s Monk (Bill Holman / T. S. Monk / Fred Hersch)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0048.

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Abstract Bill Holman, who may be the premiere living jazz orchestrator and is surely a contender, is back, at 70, in rare form. One of the best records of 1997 was A View from the Side, and whatever 1998 brings, few albums can top Brilliant Corners: The Music of Thelonious Monk. Holman always keeps busy in Los Angeles and Europe, but records released under his name are so infrequent that they support a long-standing cult without confirming his reputation as a major figure in the development of big band music. Brilliant Corners may not change that, but it provides standards for an idiom that to
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