Relevant bibliographies by topics / Chamber music with guitar

Contents

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

Academic literature on the topic 'Chamber music with guitar'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Chamber music with guitar"

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Oltman, Laura, and Michael Newman. "Introducing Guitar Students to Chamber Music." American String Teacher 39, no. 2 (1989): 53–54. http://dx.doi.org/10.1177/000313138903900216.

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Ophee, Matanya, and Frank Koonce. "Guitar Chamber Music: Review of a Decade." American String Teacher 38, no. 2 (1988): 60–63. http://dx.doi.org/10.1177/000313138803800223.

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Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and Dav
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Machleder, Anton. "Chamber Music for Bowed Strings and Guitar: A Beneficial Collaboration." American String Teacher 49, no. 1 (1999): 70–76. http://dx.doi.org/10.1177/000313139904900111.

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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.

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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the his
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Turetzky, Bertram, Douglas Leedy, Erzsebet Szonyi, Jean Chastanet, and Barry Guy. "Canti: Music for Contrabass and Chamber Ensemble [Flute, Guitar, Vibraphone, Marimba, Viola] (1975)." Notes 47, no. 3 (1991): 963. http://dx.doi.org/10.2307/941944.

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolko
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T
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Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.

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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.

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Dissertations / Theses on the topic "Chamber music with guitar"

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Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.
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Bonacossa, Federico Jes. "Franco Margola's Chamber Works with Guitar: A Guide and Annotated Catalog." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/321.

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This essay came about as a result of the desire to study and collect the guitar music of Franco Margola. Franco Margola composed over 450 works for guitar, most of which are unpublished and virtually all of which are unknown to most guitarists. This essay focuses on Margola's chamber works with guitar, which include some of his best compositions. The study contains historical background information, an ample biography, as well as an overview of the currently published works for solo guitar. The main portion of the essay consists of an outline and an annotated catalog of all of Margola's chambe
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Schroeder, Lisa Marie. "The flute and guitar duo: the development of an equal partnership." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2010.

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THE FLUTE AND GUITAR DUO: THE DEVELOPMENT OF AN EQUAL PARTNERSHIP By Lisa Marie Schroeder December 2015 The 21st century flute and guitar duo literature contains equal parts of intricate melodic and harmonic content, challenging both players with standard and contemporary techniques. In the past, beginning with the late seventeen hundreds, the repertoire for this combination consisted of simple flute melodies and sparse, accompanimental guitar parts. When did an equal partnership begin developing between the instru
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Heim, Matthew D. "Reflections." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007594.

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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and mel
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Ramacciotti, Paolo. "Elektron Elohim : a cosmic oratorio for soloists, chamber choir, electric guitars and keyboard synthesisers." Thesis, University of West London, 2016. https://repository.uwl.ac.uk/id/eprint/2961/.

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The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpar
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Caboverde, Enrique III. "A Graduate Guitar Recital Consisting of Works by Leo Brouwer and Mario Castelnuovo-Tedesco with Extended Program Notes." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/640.

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This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s u
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Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a ron
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Schmitz, Aillyn da Rocha Unglaub. "Reflexões sobre estratégias de estudo em música de câmara a partir do reconhecimento dos guias de execução musical." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/1585.

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Made available in DSpace on 2016-12-08T17:06:52Z (GMT). No. of bitstreams: 1 Aillyn.pdf: 17600701 bytes, checksum: 4df62950b6b54ed6c87a2a644a8dff94 (MD5) Previous issue date: 2010-06-24<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The present research, is a semi-experimental participant observation, presenting the processes of study in the Sonatas nº1 and nº4 I movement for Violin and Piano of Claudio Santoro, based on Performance Cues suggested on the research made by Dr. Roger Chaffin. It was necessary to identify and evaluate the strategies used in the violin and pi
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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.

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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compos
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Books on the topic "Chamber music with guitar"

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Association, American String Teachers. String syllabus: Harp, guitar. Edited by Littrell David Ault 1949-. The Association, 1997.

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Petropavlovskiĭ, Alekseĭ Alekseevich. Gitara v kamernom ansamble. Tipografii︠a︡ "Povolzhʹe,", 2007.

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Association, American String Teachers. String syllabus: (revised 1997) : violin, viola, violoncello, double bass. The Association, 1997.

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Association, American String Teachers. String syllabus: Violin, viola, cello, double bass, ensembles. 2nd ed. Edited by National School Orchestra Association. The Association, 2003.

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Association, American String Teachers. String syllabus: Violin, viola, cello, double bass, ensembles. The Association, 2000.

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Benn, Tom. Chamber music. Jonathan Cape, 2013.

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Chamber music. Dutton, 1985.

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Chamber music. Norton, 1993.

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1899-1953, Foss Hubert J., ed. Chamber music. Oxford University Press, 1989.

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S, Powell John, ed. Vocal chamber music. A-R Editions, 1986.

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Book chapters on the topic "Chamber music with guitar"

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Guitar." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-4.

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Weekhout, Hans. "Mixing | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

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Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

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Taylor, Benedict. "Chamber Music." In Arthur Sullivan. Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-5.

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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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Werner, Duncan, Bruce Wiggins, and Emma Fitzmaurice. "Development of an Ambisonic Guitar System." In Innovation in Music. Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-10.

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Özaslan, Tan Hakan, Enric Guaus, Eric Palacios, and Josep Lluis Arcos. "Identifying Attack Articulations in Classical Guitar." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_15.

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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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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Guitar and Classroom Teaching." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-14.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Chamber Music." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-24.

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Conference papers on the topic "Chamber music with guitar"

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Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

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Dittmar, Christian, Andreas Mannchen, and Jakob Abeber. "Real-time guitar string detection for music education software." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616120.

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Xu, Qian, Lei Xing, Jiajia Zhu, Yongjiu Zhao, Tianyuan Jia, and Yi Huang. "Mixing Music Using Electromagnetic Reverberation Chamber." In 2018 12th International Symposium on Antennas, Propagation and EM Theory (ISAPE). IEEE, 2018. http://dx.doi.org/10.1109/isape.2018.8634189.

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Humphrey, Eric J., and Juan P. Bello. "From music audio to chord tablature: Teaching deep convolutional networks toplay guitar." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6854952.

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Petrova, Elizaveta Vladimirovna. "Teacher's educational work at the children's art school and children's music school in classical guitar class." In II International Scientific and Practical Conference, chair Svetlana Alekseevna Podkorytova. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-462779.

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Belonosova, Irina. "Chamber Music Art of Siberia Historical Pages and Modern Life." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.34.

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Kanev, Nikolay, Alexander Fadeev, Anatoly Livshits, et al. "Acoustics of new and renovated chamber music halls in Russia." In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000384.

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Deng, Kaiyuan. "Vocal Score and Piano Score The Interaction Between Chamber Music and Vocal Music of Chinese Composers." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.29.

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Hortencia Lopes Garcia, Denise, and Ricardo Henrique SerrÃo. "PEDAGOGICAL MUSIC IN XXI CENTURY: COMPOSITION OF AN GUITAR EDUCATIONAL STUDIES SERIES FROM WORKS BY EDINO KRIEGER." In XXIII Congresso de Iniciação Científica da Unicamp. Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-38167.

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Meshcheryakova, Natalia Ivanovna. "Music poetics of chamber and vocal essays on Marina Tzvetaeva's poems." In IV International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-117691.

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Reports on the topic "Chamber music with guitar"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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