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Academic literature on the topic 'Bass guitar music (Rock)'
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Journal articles on the topic "Bass guitar music (Rock)"
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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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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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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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Grachten, Maarten, Stefan Lattner, and Emmanuel Deruty. "BassNet: A Variational Gated Autoencoder for Conditional Generation of Bass Guitar Tracks with Learned Interactive Control." Applied Sciences 10, no. 18 (2020): 6627. http://dx.doi.org/10.3390/app10186627.
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Deep learning has given AI-based methods for music creation a boost by over the past years. An important challenge in this field is to balance user control and autonomy in music generation systems. In this work, we present BassNet, a deep learning model for generating bass guitar tracks based on musical source material. An innovative aspect of our work is that the model is trained to learn a temporally stable two-dimensional latent space variable that offers interactive user control. We empirically show that the model can disentangle bass patterns that require sensitivity to harmony, instrument timbre, and rhythm. An ablation study reveals that this capability is because of the temporal stability constraint on latent space trajectories during training. We also demonstrate that models that are trained on pop/rock music learn a latent space that offers control over the diatonic characteristics of the output, among other things. Lastly, we present and discuss generated bass tracks for three different music fragments. The work that is presented here is a step toward the integration of AI-based technology in the workflow of musical content creators.
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Virtala, Paula, Minna Huotilainen, Esa Lilja, Juha Ojala, and Mari Tervaniemi. "Distortion and Western Music Chord Processing." Music Perception 35, no. 3 (2018): 315–31. http://dx.doi.org/10.1525/mp.2018.35.3.315.
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Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.
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Homan, Shane. "Losing the local: Sydney and the Oz Rock tradition." Popular Music 19, no. 1 (2000): 31–49. http://dx.doi.org/10.1017/s0261143000000040.
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In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.
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Størvold, Tore. "Sigur Rós: reception, borealism, and musical style." Popular Music 37, no. 3 (2018): 371–91. http://dx.doi.org/10.1017/s0261143018000442.
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AbstractSince the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in which the North Atlantic island is imagined as an icy periphery on the edge of European civilization. This mode of representation is especially prominent in the discourse surrounding post-rock band Sigur Rós. This article offers a critical reading of the band's reception in the Anglo-American music press during the period of their breakthrough in the UK and USA. Interpretative strategies among listeners and critics are scrutinised using the concept of borealism (Schram 2011) in order to examine attitudes towards the Nordic regions evident in the portrayals of Sigur Rós. Reception issues then form the basis for a musical analysis of a seminal track in the band's history, aiming to demonstrate how specific details in Sigur Rós's style relate to its reception and the discourse surrounding it. The article finds that much of the metaphorical language present in the band's reception can be linked to techniques of musical spatiality, the unusual sound of the bowed electric guitar and non-normative uses of voice and language.
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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.
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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.
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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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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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