Academic literature on the topic 'Arranged Percussion and guitar music'

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.

Este artigo analisa os Percussion Studies IV e V de Arthur Kampela, onde a técnica e postura do violonista são transpostos para a viola. Ambas as peças questionam a técnica do violão, mesclando dedilhados característicos com o uso de um arco metálico. As obras são entendidas dentro de uma perspectiva gestual, onde o som e o gesto, o instrumentista e o instrumento coexistem dentro de uma relação física. Estudam-se a Tapping Technique, a emancipação entre mãos, a Air Guitar, e a ideia da música sem som. Sao revistas propostas científicas a favor de um entendimento corporal da prática musical: a técnica do violão segundo Hubert Käppel, a música visível de Dieter Schnebel, além de estudos sobre o gesto (Gritten e King, Godoy e Leman, Delalande, Cox, Oberhaus e Stange…). O estudo culmina com a tentativa de compreensão da maneira como o instrumentista se torna o cerne da composição.

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 collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.

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 development techniques such as reps, modulation, Augmentsi, diminution, arpeggio and various other techniques without changing the essence of the song of our house. Arransemen song popularized by one of the Indonesian rock band Goodbles with the title song "Rumah Kita" played by students of SMK Negeri 7 Padang. The Arransemen is played by 6 people with vocal formations, guitars, keyboards, bass and drums. Keywords: Rumah Kita

Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.

Musicians’ cramp is a disorder characterized by its task specificity and gender bias; male musicians have a higher prevalence of this disorder than females. Previous epidemiological studies on musicians’ cramp have demonstrated that certain instrumental groups are more prone to develop this disorder than others. These studies, however, have not accounted for the gender distribution in healthy musicians. Therefore, the current study investigated 2,661 healthy musicians collected from eight music conservatories within Germany. These controls were compared with 183 patients (154 males) with musicians’ cramp in an outpatient clinic at the Institute for Music Physiology and Music Medicine (IMMM), Hannover, Germany (1994-2000). Comparisons between groups (musicians’ cramp and controls) were made for gender and instrumental groups (keyboard, strings, woodwind, brass, plucking, and percussion). Results were consistent with earlier studies suggesting that particular instrumental groups were more at risk for developing musicians’ cramp than others. When gender was not a factor, both woodwind and plucking (guitar) instrumentalists were more likely to develop musicians’ cramp, while musicians playing string and percussion instruments were less likely to develop musicians’ cramp. Musicians playing keyboard and brass instruments were not significantly different than expected. When gender was included in the analyses, the following pattern was revealed: the number of male patients with musicians’ cramp was greater than expected, even when the number of healthy male musicians was accounted for; the opposite was found for female patients. Furthermore, when gender was also included in the instrumental analyses, male musicians were more likely to have musicians’ cramp than females in keyboard, string, woodwind, and plucking instruments. The only instrumental group without a gender bias for symptoms were the brass instruments. These results suggest that male musicians are more likely to develop musicians’ cramp within certain instrumental groups, and may reflect a general predisposition for male musicians to develop this disorder. The ages at onset of symptoms were not different between the males and females in this sample. The current study demonstrates a clear association between gender, instrumental groups, and the presentation of dystonic symptoms.

Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.

This document details the creation of a new type of multiple percussion solo from pre-composed percussion ensembles. The author transcribes three works for percussion ensemble by Lou Harrison (1917-2003): Suite for Percussion, movement I, Bomba and Simfony #13 so that they can be performed as percussion solos. Each composition requires a different type of solo version because of the diverse instruments and musical materials in the original scores. Learning to perform these new versions will expand the technical capabilities of a soloist and offers complex challenges not found in the original ensembles. The document includes complete scores and set-ups for each new solo version and discussion of performance practice and techniques to play each work. Although Harrison’s original works were conceived for amateur players, the solo versions require the skills of a virtuoso performer. The new versions confirm the artistic merit of Harrison’s work in a format both practical and satisfying to the solo percussionist. The project illustrates new methods for further developing percussion technique to enable ensemble works to be performed by soloists. The solo versions of Lou Harrison percussion ensembles presented herein result in new repertoire for the percussion soloist.

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).

Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

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 points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.

Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

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 an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.

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 harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.

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 from jazz pianist to popular vocalist. From 1949 to 1952, Cole makes about forty titles with his first full-time musical director, arranger, and conductor, Pete Rugolo. The chapter ends with Nat’s first venture outside of America, a brief tour of the UK and Scandinavia that also opened up the floodgates for things to come.

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.