Relevant bibliographies by topics / Bass guitar music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Bass guitar music'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Bass guitar music"

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Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.

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Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless device for guitar effects is designed that is directly connected to a guitar instrument. This system itself aims to facilitate the movement of guitar players on stage and can also activate guitar effects without the need to step on the guitar pedals at their feet.
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Cherla, Srikanth, Hendrik Purwins, and Marco Marchini. "Automatic Phrase Continuation from Guitar and Bass Guitar Melodies." Computer Music Journal 37, no. 3 (2013): 68–81. http://dx.doi.org/10.1162/comj_a_00184.

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A framework is proposed for generating interesting, musically similar variations of a given monophonic melody. The focus is on pop/rock guitar and bass guitar melodies with the aim of eventual extensions to other instruments and musical styles. It is demonstrated here how learning musical style from segmented audio data can be formulated as an unsupervised learning problem to generate a symbolic representation. A melody is first segmented into a sequence of notes using onset detection and pitch estimation. A set of hierarchical, coarse-to-fine symbolic representations of the melody is generated by clustering pitch values at multiple similarity thresholds. The variance ratio criterion is then used to select the appropriate clustering levels in the hierarchy. Note onsets are aligned with beats, considering the estimated meter of the melody, to create a sequence of symbols that represent the rhythm in terms of onsets/rests and the metrical locations of their occurrence. A joint representation based on the cross-product of the pitch cluster indices and metrical locations is used to train the prediction model, a variable-length Markov chain. The melodies generated by the model were evaluated through a questionnaire by a group of experts, and received an overall positive response.
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Lee, Jaehoon, and Soyoung Moon. "The Effect of Bass Guitar-Playing Music Therapy on t he H and Functions of A dolescents w ith Cereb ral Palsy." Korean Association of Music Therapy and Psychological Rehabilitation 3, no. 1 (2022): 3–29. http://dx.doi.org/10.47858/kjmtpr.2022.3.1.3.

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This study determined the effect of bass guitar-playing music therapy on the hand functions of adolescents with cerebral palsy. The subjects of this study were four adolescents who receive social welfare program in a center located in city S. Half-hour individual music therapy sessions were conducted two or three days per week for five weeks, consisting of 15 sessions in total. The music therapy program based on playing bass guitar was aimed at improving dexterity, grasping, and coordination of both hands of adolescents with cerebral palsy. The music therapy sessions were consisted of twanging the guitar string and practicing chromatic scale, accompaniment, as well as applied practices of accompaniment.
 In order to assess the hand functions, Purdue Pegboard Test and Box & Block Test were carried out by an occupational therapist, before and after the music therapy intervention. The researcher also designed modified Functional Independence Measure (FIM) to measure the differences of performance skills between dominant hand and non-dominant hand, and both hands during chromatic scale performances, by setting up lists of observed criteria. This modified FIM test was estimated by comparing and contrasting the total scores of dominant, non-dominant, and both hands, based on the analysis of six recorded sessions, once per week. The results showed that the four adolescents with cerebral palsy who participated in this program displayed the significant improvement in dexterity of dominant hand, in both Purdue Pegboard Test and Box & Block Test. Moreover, the subjects' performance skill of playing bass guitar enhanced, as evidenced in FIM assessment. Results suggested that bass guitar playing based music therapy could be a useful intervention in rehabilitating hand functions of adolescents with cerebral palsy.
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Ingham, Peter, and Toru Mitsui. "The search for Sweet Georgia Brown: a case for discographical detection." Popular Music 6, no. 3 (1987): 273–90. http://dx.doi.org/10.1017/s0261143000002324.

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In April 1961 the Beatles made their second trip to Hamburg, West Germany, to play a three-month engagement at the Top Ten Club. At this time the group comprised five members – John Lennon (rhythm guitar), Paul McCartney (rhythm guitar), George Harrison (lead guitar), Stuart Sutcliffe (bass guitar) and Pete Best (drums).
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Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.

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Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.
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Abeser, Jakob, and Gerald Schuller. "Instrument-Centered Music Transcription of Solo Bass Guitar Recordings." IEEE/ACM Transactions on Audio, Speech, and Language Processing 25, no. 9 (2017): 1741–50. http://dx.doi.org/10.1109/taslp.2017.2702384.

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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 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
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LOESER, CASSANDRA, and VICKI CROWLEY. "A natural ear for music? Hearing (dis)abled masculinities." Popular Music 28, no. 3 (2009): 411–23. http://dx.doi.org/10.1017/s0261143009990146.

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AbstractMusical performances on the bass guitar, able to be felt bodily beyond the ear, connect into the many layers of affect that music excites; but they are particularly potent as a means of communicating embodied masculinity for one young man with a hearing disability. Masculinity as a social code enacted within practices of the everyday involves both the affect and the effect of difference. The bass guitar, the instrument which drives a band's sound and rhythm, is part of the performativity of masculinity within popular music – visually, and at the level of sound, as auricular materiality – an embodied sensation where the ‘feel’ of sound through the body constitutes a language in which ‘desirable’ and ‘undesirable’ modes of masculinity become appropriated and defined.Displays of musical prowess on the bass guitar open a space for becoming ‘unfixed’ from the identity and abject status of the hearing-disabled Other. This ‘Othering’ occurs primarily in everyday spoken encounters where difficulties with hearing and speech limit opportunities for occupying a viable masculine positioning. By contrast, the capacity to ‘fit’ the sensory and sensual prompts that trigger recognition of masculinity within popular music enables the re-assembling of an embodied masculine identity for a hearing-disabled young man. Masculinity and disability are rendered reversible and exchangeable – performative productions that are excessive and transgressive, contingent on the sensory perceptions of self and others.This emphasis on embodied communicative practice through the play of bass guitar provides an important counterweight to representational forms of embodied gendered subjectivity that continue to predominate in some modes of disability and gender theorising. It constitutes a forceful assertion of how everyday embodied interactions are irrevocably coupled with mobile and transient masculine and disabled aesthetic identifications.
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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 deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble
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Matsushita, Soyogu, and Shingo Nomura. "The Asymmetrical Influence of Timing Asynchrony of Bass Guitar and Drum Sounds on Groove." Music Perception 34, no. 2 (2016): 123–31. http://dx.doi.org/10.1525/mp.2016.34.2.123.

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Groove is a pleasant feeling that compels people to move their bodies along with music. In the past, there was some consensus among both musicians and researchers that the main factor in inducing this feeling is onset asynchrony of sounds. However, recent studies have asserted that no-asynchrony is the condition that will obtain the highest groove. The current study examined whether no-asynchrony exclusively elicits the highest groove. In Experiment 1, we measured the groove increment of a backbeat drum pattern as a function of the asynchronies between bass guitar and hi-hat cymbal sounds. Upon evaluation, the scores of no conditions exceeded those of the synchronous condition. However, the condition with slight bass guitar precedence over the hi-hat achieved an approximately equal score to the condition with complete synchrony, and that score was higher than the ones achieved with bass delay. In Experiment 2, we measured the participants’ sensitivities to timing discrimination. The results confirmed that the amount of bass precedence in Experiment 1 was perceptible to the listeners. These findings suggest that complete synchronization is not always the best condition to achieve groove and that listeners prefer perceivable asynchronies in some cases.
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Dissertations / Theses on the topic "Bass guitar music"

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Nilsson, Jokela Rickard. "SlowBass : exploring, adapting and evolving the possibilities of the bass guitar." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1440.

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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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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."
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Roberts, Samuel Christian. "A portfolio of compositions expanding the role of the electric bass guitar in contemporary Western art music." Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1.

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My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aims to expand the sonic and technical palette of the instrument whilst demonstrating its potential to be a valued part of the modern composer’s instrumental resource. This project comprises: a compositional portfolio of solo and ensemble works; eight CDs, containing recordings of both improvised and scored works; an accompanying written commentary (original musical scores are included as an appendix in the commentary).
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Sunesson, Henrik. "Skillnader och likheter mellan klassisk gitarr och elbas : En sökande studie där jag lär mig spela elbas och jämför detta med klassiskt gitarrspel." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74255.

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I denna uppgift kommer jag presentera resultatet av min självstudie där jag lär mig tekniken vandrande bas på elbas genom lärarledda elbaslektioner. Denna process är videoinspelad, semistrukturerad intervju har hållits och dokumentationen analyseras genom transkription. Jag kommer bearbeta begreppet kunskap och redovisa några teorier om vad kunskap är och hur man kan kategorisera detta begrepp genom antingen uppdelande av praktisk och teoretisk kunskap. Jag kommer också undersöka huruvida pragmatismens kunskapssyn är applicerbar på denna studie. Studien behandlar hur jag använt mig av mina kunskaper som klassisk gitarrist i min inlärning av elbas. Hur jag kan använda mina kunskaper funna i elbasspelet i mitt klassiska gitarrspel. Även hur de pedagogiska upptäckterna jag gör i elbasspel kan användas i min framtida roll både som elbaslärare och gitarrlärare. Detta behandlas med ett sociokulturellt perspektiv i grunden samt mästarlära. Resultatet visar att förkunskaper i klassisk gitarr är mycket användbart om man vill lära sig elbas och att flera aspekter av gitarrspelet är direkt eller indirekt överförbara till elbasen. Det kommer också visa sig att det finns flera olikheter som kan försvåra inlärandet av elbas. Jag har också hittat grundläggande kunskap i metodik för elbasspel på nybörjarstadium.<br>In this project, I will present the result of my self-study where I learn the technique of walking bass on electric bass through teacher-led electric bass lessons. This process is video-recorded, semi-structured interview has been held and the documentation is analyzed by transcription. I will process the concept of knowledge and report some theories on what knowledge is and how to categorize this concept through either the division of practical or theoretical knowledge. I will also examine whether the knowledge view of pragmatism is applicable to this study. The study deals with how I used my knowledge as a classical guitarist in my learning of electric bass. How I can use my knowledge found in the electric bass game in my classic guitar play. Even how the pedagogical discoveries I make in electric bass games can be used in my future role both as electric bass teacher and guitar teacher. This is dealt with a socio-cultural perspective in the basics and master-apprentice perspective. The result shows that prior knowledge of classical guitar is very useful if you want to learn electric bass and that several aspects of the guitar play are directly or indirectly transferable to the electric base. It will also show several differences between the instruments that can make learning electric bass more difficult. I have also found basic knowledge in methodology for electric bass games at the beginner stage.
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Wright, Brian F. "How the Electric Bass Became the Norm: An Alternative History of American Popular Music, 1951-1964." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case151084623256552.

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Abeßer, Jakob [Verfasser], Gerald [Akademischer Betreuer] Schuller, Meinard [Gutachter] Müller, and Anssi [Gutachter] Klapuri. "Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis / Jakob Abeßer ; Gutachter: Meinard Müller, Anssi Klapuri ; Betreuer: Gerald Schuller." Ilmenau : TU Ilmenau, 2014. http://d-nb.info/1178180433/34.

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Abeßer, Jakob [Verfasser], Gerald [Akademischer Betreuer] Schuller, Meinard Gutachter] Müller, and Anssi [Gutachter] [Klapuri. "Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis / Jakob Abeßer ; Gutachter: Meinard Müller, Anssi Klapuri ; Betreuer: Gerald Schuller." Ilmenau : TU Ilmenau, 2014. http://d-nb.info/1178180433/34.

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Oyarzún, Sepúlveda Inti. ""Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.

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Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value.<br><p>Numera Inti Oyarzun-Jonsson.</p>
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Johannes, Shaun. "Bassists of iKapa (the Cape) : a brief analysis of the development of the bass guitar in the musical genres of Mbaqanga and Ghoema in Cape Town, South Africa with a focus on the biographies and techniques of two of Cape Town's most prolific bassists, Spencer Mbadu and Gary Kriel." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/14739.

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Includes bibliographical references (p. 92-98).<br>As a bassist from Cape Town, I feel the necessity to investigate, analyze and document the bassists of years gone by who have been major contributors towards the advancement and conceptualization of the Cape Town and, more largely, South African bass-playing fraternity. Unfortunately several bassists have passed away prior to the commencement of this thesis. Two of these bassists are Sammy Maritz and Johnny Gertze who both performed with Abdullah Ibrahim (previously known as Dollar Brand). Therefore the motivation for this thesis is to capture the contributions of two bassists who are still alive and actively working in the South African music industry that are based in Cape Town, namely Gary Kriel and Spencer Mbadu. While there have been other bassists in Cape Town like Basil Moses, Charles Lazar and Philly Schilder who also have made contributions to the music industry and more so the bass playing fraternity in Cape Town, I feel that the contributions made by Mr Kriel and Mr Mbadu have a far greater significance for the reasons I outline below.
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Stratton, David. "An investigation of the electric bass guitar in twentieth century popular music and jazz." Thesis, 2005. http://hdl.handle.net/1959.7/uws:60567.

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The acoustic bass played mostly an accompanying role in popular music during the first half of the Twentieth Century, whereas the arrival of the electric bass guitar in the early 1950s presented new opportunities for acoustic bassists and musicians, composers, producers, engineers, the recording industry and the listening public. The distinctive sound of the electric bass guitar encouraged musicians to explore new timbres. The musicians who embraced the electric bass guitar developed its language, discovering and employing different techniques. The instrument became a catalyst for change and took on a more prominent role, forever changing the sonic landscape of popular music and jazz in the Twentieth Century.
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Books on the topic "Bass guitar music"

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Williams, Ryan. Bass guitar. Wiley Pub., 2006.

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Williams, Ryan. Bass guitar. Wiley Pub., 2006.

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Bass guitar. Wiley Pub., 2006.

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Pfeiffer, Patrick. Bass guitar for dummies. 3rd ed. John Wiley & Sons, 2014.

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Sankey, Stuart. Gypsy music: For clarinet, guitar, and bass. International Music Co., 1989.

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Motown Bass (Bass Signature Licks). Hal Leonard Corporation, 2000.

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Bass Licks. Hal Leonard Publishing Corporation, 2009.

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Hamm, Stuart. Stuart Hamm Bass Book* (Bass Recorded Versions). Hal Leonard Corporation, 1993.

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Pres, Josquin des. First Bass: The Ultimate Guide to Bass Fundamentals. Leonard Corporation, Hal, 2005.

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Pres, Josquin des. First Bass: The Ultimate Guide to Bass Fundamentals. Leonard Corporation, Hal, 2005.

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Book chapters on the topic "Bass guitar music"

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Introduction to Guitar, Bass, and Ukulele." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-3.

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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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Dijo, Herman. "Javanese Music in Suriname." In Surinamese Music in the Netherlands and Suriname. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0004.

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Javanese music in Suriname came with the first group of Javanese who arrived there in 1890 as indentured servants for the sugar company, Nederlandsche Handelsmaatschappij at Mariënburg plantation. Gamelan, steel gamelan, terbangen, and kroncong were the main types of Javanese music that developed in Suriname. Due to a lack of brass, scrapped iron from abandoned railway ties were used to make the pans, and a lack of experienced gamelan musicians made for drastically reduced ensembles of five people. Gamelan in Suriname also came under the influence of the nearby Caribbean music, especially by steel bands from Trinidad. Islamic religious songs were accompanied by a terbangen ensemble, consisting of kinds of tambourines and large drum called bedug, Surinamese kroncong ensembles mostly use three or more acoustic guitars, a ukulele (sometimes a banjo), a double bass (or bass guitar), and a cello. However, because cellists are scarce, this is usually taken over by a guitar.
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Randles, Clint. "Instruments and Effects." In Music Teacher as Music Producer. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197519455.003.0004.

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Abstract The history of musical instruments is full of innovative musicians and composers working to stretch what is possible in their music. The pursuit of new sounds and the emerging technologies surrounding them tell a story of curiosity, exploration, and discovery. Human beings push their art as far as they can, stretch it to include sounds that were not typical, use scales that were once foreign, and employ techniques for sound enhancement that were once not employed. Instruments are all at some level a form of technology. This chapter considers instruments as tools for creative expression in the classroom. Its focus is on the electric guitar and its associated effects and amplification, but it also considers bass guitars, keyboards and acoustic and digital drum sets. The chapter closes with a short look at custom instrument building.
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Fujibayashi, Akiko. "Exploring the Collaborative Musical Experience of Swedish Bunne® Method in Japan." In Research Anthology on Music Education in the Digital Era. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-5356-8.ch025.

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Universal design has been a timely and important research topic of our time both in the realms of music therapy and education. Bunne Method, Swedish music method, was developed by Sten Bunne in 1980 to overcome physical and social difficulties and age gaps by sharing musical ensemble experience. This qualitative study explores the collaborative musical experience of elderly people and children in Japan by implementing Bunne Method. Bunne instruments are made in universal design with a four string swing bar guitar, one string mini bass, chime bar, monophonic flute for the use of anyone regardless of music experience, handicap, etc. In music activities with Bunne instruments, human physical, psychological, and social nature are activated in a synergistic manner so that it also helps to create positive feelings and confidence and livelihood through the pleasure of playing music.
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Fujibayashi, Akiko. "Exploring the Collaborative Musical Experience of Swedish Bunne® Method in Japan." In Advances in Early Childhood and K-12 Education. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch007.

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Universal design has been a timely and important research topic of our time both in the realms of music therapy and education. Bunne Method, Swedish music method, was developed by Sten Bunne in 1980 to overcome physical and social difficulties and age gaps by sharing musical ensemble experience. This qualitative study explores the collaborative musical experience of elderly people and children in Japan by implementing Bunne Method. Bunne instruments are made in universal design with a four string swing bar guitar, one string mini bass, chime bar, monophonic flute for the use of anyone regardless of music experience, handicap, etc. In music activities with Bunne instruments, human physical, psychological, and social nature are activated in a synergistic manner so that it also helps to create positive feelings and confidence and livelihood through the pleasure of playing music.
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7

Johnson, George. "Explanatory Writing." In A Field Guide for Science Writers. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195174991.003.0026.

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I remember with some precision when I began believing that there is nothing so complex that a reasonably intelligent person cannot comprehend it. It was a summer day, when I was 15 or 16, and my best friend, Ron Light, and I decided that we wanted to understand how a guitar amplifier works. We both played in a mediocre I96os-era garage band. While Ron went on to become a fairly accomplished guitarist, I was slowly learning that any talent I had didn't lie within the realm of music. Already the aspiring little scientist, I was able to learn enough of the logic of basic harmony theory to execute the mindlessly simple algorithms called bass riffs, and if pressed I could even fire off a bass solo, the dread of concertgoers everywhere. But my approach to the performance was purely intellectual. I didn't have rhythm, or maybe soul. Poring over the symbols on the circuit diagram of Ron's Fender Deluxe Reverb amplifier seemed infinitely more interesting than trying to read music. I wanted to know what that impressively convoluted blueprint really meant, how electricity flowing through the labyrinth of wires and components could cause the tiny vibration of a guitar string to be multiplied so many times that it rocked the walls of the living room, inciting the neighbors to call the police. This was still the era of the vacuum tube, before those glowing glass envelopes were replaced by coldly efficient transistors and microchips. Electronics was pretty simple to understand. I had already learned some basics from The Boys' Second Book of Radio and Electronics and the guide for the Boy Scout electricity merit badge (the colorful embroidered patch was decorated with a human fist clutching zigzag lightning bolts). In a typical circuit, there were resistors that, true to their calling, resisted electricity, pinching the flow of electrons. There were capacitors, also aptly named, that stored electrical charges. There were tightly wound coils of copper wire called inductors that would hold energy in the form of electromagnetic fields. Finally, there were the vacuum tubes themselves, mysterious pockets of illuminated nothingness inside of which the actual amplification took place.
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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 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.
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Óváry, Zoltán. "Analysis of Hungarian Classical GuitarMethods: The Complexity of Content." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/13.

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Nowadays teaching materials, pieces of music and methods of teaching guitar are widely available, yet experience has shown that most Hungarian teachers still use only national learning content. Their choosing from the slowly but gradually broading materials depends on their professional experience or previous studies. This study examines the most widely known multi-volume guitar teaching materials from an objective point of view. This analysis classifies musical pieces on the basis of their content. The purpose is not to pass judgment but rather to help in assessing the materials through a comprehensive methodological system. Keywords: Classical guitar, music material analysis, Szendrey-Karper, Nagy–Mosóczi, Sándor Suba
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Pras, Amandine. "Standard 3-point Micing Technique (Advanced)." In The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0048.

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How can you make a guitar sound full, large, and deep even if it was recorded in a bedroom? In this advanced lesson, I introduce the “standard 3-point micing technique,” which picks up the different personalities of an electric guitar and amplifier with a “bright” mic, a “dark” mic, and a “back” mic. This recording approach mirrors the “standard 3-point lighting technique” and its “key” light, “fill” light, and “back” light to form the basis of most lighting approaches for video, film, and still photography. The “standard 3-point micing technique” offers multiple mixing options based on different mic combinations, creative panning, and time delay.
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