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

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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2

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 Franco Margola composed over 450 works for guitar, most of which are unpublished and virtually all of which are unknown to most guitarists.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 chamber works with guitar, including the unedited works. The purpose of this project is to promote Margola's guitar music by providing current information on its quality, availability, condition, length, and difficulty level.

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3

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 instruments and how are professional duos guiding this change? For the research of this document, a survey was drafted and sent to 104 professional flute and guitar duos around the globe, resulting in 51 duos completing and returning the questionnaire. Of the 51 duos that returned the survey, 48 duos qualified as professional and three duos were disqualified. The general consensus reached is that the flute and guitar duo has developed into an equal partnership in the last 30 years, accomplished through music with more substantial parts for both instruments, beginning with the legendary Histoire du Tango by Ástor Piazzolla. My hope is that those who read this document will understand the need for more flute and guitar music containing equal parts, thus inspiring commissions. I hope, too, that the lists of pieces revealed by seasoned flute and guitar duos (located in Appendix B and C), will be a useful tool for all flute and guitar duos, especially those starting out in the genre. This document is essential to the university flute and guitar studios and beginning duos in selecting pieces in which both performers will learn and grow as instrumentalists and chamber musicians.

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4

Heim, Matthew D. "Reflections." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007594.

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5

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 melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

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6

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 counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin.

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7

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 use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

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8

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 rondo setting.

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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 piano duo made by the author and violinist Izabela Köenig in the preparation of both Santoro´s Sonatas, from specific bibliography. Through the differences verified during the preparation process of an atonal piece (Sonata nº1) and of a tonal/modal piece of nationalistic tendency (Sonata nº4), it was perceived that the stylistic differences have influence on the performance cues, in quality and also in the nature of the performance cues. In chamber music, the shared performance cues proved necessary for performers that have the same musical objectives and that they may have support for occasional correction of failures during an interpretation of a piece<br>A presente pesquisa, que se configura como uma observação participante de cunho semi-experimental, teve por objetivo apresentar os processos de estudo nas Sonatas nº1 e nº4 I movimento para Violino e Piano de Cláudio Santoro, a partir dos guias de execução propostos nas pesquisas do Dr. Roger Chaffin. Para tanto, foi necessário identificar e avaliar as estratégias de estudo utilizadas pelo duo de violino e piano formado por esta autora e pela violinista Izabela Köenig na preparação das duas Sonatas de Santoro, a partir de bibliografia específica. Através das diferenças constatadas no processo de preparação de uma obra atonal (Sonata n°1) e de uma obra tonal/modal de estética nacionalista (Sonata n°4), percebeu-se que as diferenças estilísticas influenciam na utilização dos guias de execução, tanto em quantidade quanto na natureza dos guias de execução. Em música de câmara, os guias de execução compartilhados se mostram necessários para que os intérpretes tenham os mesmos objetivos musicais e para que tenham suporte para correção de eventuais falhas durante a interpretação da peça

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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 compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.

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11

Poston, Paul W. "Chamber Symphony." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731175.

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12

Paget, Jonathan. "The guitar music of Peter Sculthorpe /." Digitized version, 2003. http://hdl.handle.net/1802/5358.

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Thesis (D.M.A.)--University of Rochester, 2003.<br>Includes vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5358

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13

Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.

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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.<br>https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg

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14

Woodruff, Julian Duke. "Cherubini's string chamber music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059869q.

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15

Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.

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16

Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.

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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.

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17

Olson, Ted. "The Guitar: ‘An Orchestra Unto Itself'." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.

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18

Wyber, Leslie Paulette. "Solo and chamber music recitals." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28878.

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19

Burlet, Gregory. "Automatic guitar tablature transcription online." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117224.

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Manually transcribing guitar tablature from an audio recording is a difficult and time-consuming process, even for experienced guitarists. While several algorithms have been developed to automatically extract the notes occurring in an audio recording, and several algorithms have been developed to produce guitar tablature arrangements of notes occurring in a music score, no frameworks have been developed to facilitate the combination of these algorithms. This work presents a web-based guitar tablature transcription framework capable of generating guitar tablature arrangements directly from an audio recording. The implemented transcription framework, entitled Robotaba, facilitates the creation of web applications in which polyphonic transcription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, resulting in a unified system that is capable of transcribing guitar tablature from a digital audio recording and displaying the resulting tablature in the web browser. The performance of the implemented polyphonic transcription and guitar tablature arrangement algorithms are evaluated using several metrics on a new dataset of manual transcriptions gathered from tablature websites.<br>Transcrire à la main une tablature pour guitare à partir d'un enregistrement audio est un processus difficile et long, même pour les guitaristes chevronnés. Bien que plusieurs algorithmes aient été créés pour extraire automatiquement les notes d'un enregistrement audio, et d'autres pour préparer des arrangements de notes de tablature pour guitare tels qu'on les retrouve dans la création musicale, aucun environnement n'a été mise en place pour faciliter l'association de ces algorithmes. Le travail qui suit présente un environnement accessible sur l'Internet, permettant la transcription et la préparation d'arrangements de tablatures de guitare, directement à partir d'un enregistrement audio. Cet environnement de transcription, nommée Robotaba, facilite la création d'applications Web, dans lesquelles la transcription polyphonique et les algorithmes d'arrangements de tablature pour guitare peuvent être intégrés. Une telle application Web permet d'obtenir un système unifié, capable de transcrire une tablature pour guitare à partir d'un enregistrement audio numérique, et d'afficher la tablature obtenue dans un navigateur Web. La performance de la transcription polyphonique mise en place et des algorithmes d'arrangements de tablature pour guitare est évaluée à l'aide de plusieurs paramètres et d'un nouvel ensemble de données, constitué de transcriptions manuelles recueillies dans des sites Web consacrés aux tablatures.

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Fugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.

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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:

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21

Ferguson, Sean W. "The guitar in lexica: the development of the guitar as reflected in general and musical dictionaries and encyclopedias, 1611-1890." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730273.

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22

Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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<p> <i> Ondo</i> was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “<i>Tanko-Bushi</i>,” which can be heard in every Japanese town during the <i>Bon</i> festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “<i>Tanko-Bushi</i>” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on <i>Ondo</i>, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity—as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of <i> Ondo</i> on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.</p><p>

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23

Lawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.

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Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).

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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.

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Pinta, Kristen Janet. "Inclusion strategies for the high school guitar class." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523263.

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<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>

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26

Lee, Erin. "New audiences for new music a study of three contemporary music ensembles /." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.

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Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2009.<br>"May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Sanchez, Richard Xavier. "Spanish chamber music in Eighteenth century /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121943x.

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Huss, Fabian Gregor. "The chamber music of Frank Bridge." Thesis, University of Bristol, 2011. http://hdl.handle.net/1983/4bfd9bcb-632d-468d-817a-c68a27dd7ebf.

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Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2007.<br>Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).

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30

Clem, Paul. "The composition, a chamber opera." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2384.

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The Composition is a chamber opera for nine musicians and from four to eight actors. The work is approximately thirty-five minutes long and consists of seven short pieces of music separated by dialogue. The subject of the libretto is a composer with writer's block. During the course of the piece, seven figures make appearances to the composer who personify various philosophies of musical aesthetics. An argument for a particular viewpoint is presented to the composer through dialogue, and the composer then attempts to write a piece of music using that philosophy as a guide. The audience then hears this music being played by the ensemble. This process is repeated until all seven aesthetics have been presented. In conjunction with the composed music, an attached research paper analyzes the techniques used in writing the music and gives examples of prominent composers associated with each of the seven schools of thought.

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Taylor, John Wesley. "Hillbillies and sharecroppers : an introduction to East coast and Mississippi blues styles /." Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=99.

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Thesis (M.A.)--Marshall University, 2002.<br>Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).

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32

Wozniak, Trevor Mathew. "Four Fluctuations for Chamber Ensemble or Chamber Orchestra." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291050505.

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33

Casallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.

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How can I, as a leader, keep the motivation of the participants in a group? When I started to write this report, I was focused on, how a group could affect the participants motivation of the participants, but little by little I realized that the biggest motivation came from that this group affected mostly my own motivationmyself. The guitar orchestra has given me the opportunity to learn and it has given another sense to my knowledge as musician and teacher. Analysing what I have done with the guitar orchestra has awakened more questions than answers. What exactly did I do? Why did I do it? Was it really effective? This written part of my project at KMH describes how, together with my colleagues, we have organized an orchestra of guitars in Avonia music institute based in Espoo, Finland and how this group and my own motivation have affected the motivation of the participants.<br>Making Music with a guitar orchestra

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Yim, Gary. "Affordant Chord Transitions in Selected Guitar-Driven Popular Music." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308075022.

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35

Brandt, Shawn Patrick. "Chamber Essay #4." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1383913640.

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36

Davis, Evan Brugh. "On the structural and acoustic design of guitar soundboards /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/7116.

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37

Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.

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This thesis demonstrates the need for and the importance of developing a comprehensive curriculum for the intermediate steel-string guitarist and provides a method to fill this need. The method is not specific to any one musical style and will serve to offer information necessary for the performance of music in any idiom. The lack of material presently available for the intermediate guitarist leaves them without proper musical guidance during this significant stage of their learning curve. The use of this method will help the prospective student to grow both as a guitarist and a musician.

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Klčo, Michal. "Electric Guitar to MIDI Conversion." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.

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Automatický přepis hudby a odhad vícero znějících tónu jsou stále výzvou v oblasti dolování informací z hudby. Moderní systémy jsou založeny na různých technikách strojového učení pro dosažení co nejpřesnějšího přepisu hudby. Některé z nich jsou také omezeny na konkrétní hudební nástroj nebo hudební žánr, aby se snížila rozmanitost analyzovaného zvuku. V této práci je navrženo, vyhodnoceno a porovnáváno několik systémů pro konverzi nahrávek elektrické kytary do MIDI souború, založených na různých technikách strojového učení a technikách spektrální analýzy.

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Moura, Eli-Eri Luiz de. "Nocturnales : for chamber orchestra." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23443.

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v.1. Musical composition -- v.2. Analysis.<br>In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decisions based on intuitive considerations. The basis of the pitch system is a 1-2-1 tetrachordal set, to which are applied both principles of permutation and a modal treatment. In the rhythm domain, besides the conventional metric divisions of 2 and 3, predetermined numerical rows derived from the Fibonacci series to provide the durational values between event attacks are employed.

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Redshaw, Jacqueline. "Chamber Music for the E-Flat Clarinet." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194436.

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This work will examine chamber works involving up to 12 players which include the E-flat soprano clarinet. Doubling parts, defined as B-flat and E-flat clarinet on one part for one performer, will be included only if the E-flat clarinet is present for one or more entire movements. The intent is to show that this lesser-known repertoire includes numerous and varied works which are both unique and distinctive.No extant literature on this subject is currently available. The importance of playing auxiliary instruments cannot be emphasized enough as competition and demand increase in today's professional performing climate; therefore, I believe the subject to be of value as a source for those performers who wish to broaden their knowledge of the literature and increase their career viability. It is hoped that this paper will become a vital addition to the store of clarinet repertoire which is catalogued at this time.The examination of this music will be primarily from a performance perspective, and will include in-depth discussion of the points of interest and challenges of the most prominent works. Included is an annotated bibliography, providing a complete list of the repertoire with brief synopses. Detailed background information will also be presented, delving into such areas as composers' inspiration (why choose the E-flat clarinet?), their other works of the same period, premiere performances and possible dedicatees, and other significant influences.

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Ibison, Chad. "Doctoral thesis recital (chamber recital, guitar)." 2014. http://hdl.handle.net/2152/28110.

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Songs from the Chinese, op.58 / Benjamin Britten -- In darkness let me dwell ; Come again / John Dowland -- Histoire du tango / Astor Piazzolla -- Prelude and fugue in E major / Mario Castelnuovo-Tedesco -- Tonadilla / Joaquin Rodrigo -- La vita breve / Manuel de Falla.<br>text

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Milovanov, Alexander. "Doctoral thesis recital (guitar)." 2015. http://hdl.handle.net/2152/30067.

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Palmer, Joseph W. "Doctoral thesis recital (guitar)." Thesis, 2012. http://hdl.handle.net/2152/23946.

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Grohovac, Janet. "Doctoral thesis recital (guitar)." 2011. http://hdl.handle.net/2152/16867.

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Mattingly, Stephen Patrick Buchler Michael Howard. "Franz Schubert's chamber music with guitar A study of the guitar's role in Biedermeier Vienna /." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04052007-054453/.

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Treatise (D.M.A.) Florida State University, 2007.<br>Advisor: Michael Buchler, Florida State University, College of Music. Title and description from dissertation home page (viewed 2007). Document formatted into pages; contains 133 pages. Includes biographical sketch. Includes bibliographical references.

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"A portfolio of music compositions." Thesis, 2014. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1291473.

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"Broadening the Repertoire for Guitar and Piano: An Arrangement of Bachianas Brasileiras No. 1 by Heitor Villa-Lobos." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.40780.

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abstract: The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion. This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2016

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Lopes, João Paulo Santos. "O Mindfulness na prática guitarrística." Master's thesis, 2020. http://hdl.handle.net/1822/68689.

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Relatório de estágio de mestrado em Ensino de Música<br>O presente Relatório, elaborado no âmbito do Estágio Profissional integrado no Mestrado em Ensino de Música da Universidade do Minho, descreve um Projeto de Intervenção Pedagógica implementado durante o ano letivo de 2018/2019, realizado no Orfeão de Leiria|Conservatório de Artes, nos grupos de recrutamento (M11) Guitarra Clássica e com especial enfoque em (M32) Classe de Conjunto. O Projeto Intervenção Pedagógica foi implantado com dezanove alunos participantes da Orquestra de Guitarras (M32). O projeto pretendeu investigar o impacto da inclusão do mindfulness no contexto do ensino especializado de música, mais concretamente em música de câmara, no qual pretendeu verificar se o mindfulness poderia potenciar os resultados dos alunos na sua capacidade de atenção e consciência, mediante a realização de exercícios de mindfulness no início das aulas de música de câmara. A avaliação da implementação do Projeto de Intervenção Pedagógica e obtenção de dados foi levada a cabo por meio de quatro questionários, em que se pretendeu aferir, desde a opinião dos alunos sobre a temática em questão, os níveis de disposição mindfulness e a valorização sobre a intervenção do projeto. Apesar das grandes limitações metodológicas, os resultados obtidos permitiram deduzir que, a inclusão do mindfulness junto dos alunos, ofereceu benefícios e vantagens importantes para o seu desenvolvimento nas aulas de música de câmara. Os próprios alunos consideraram que o projeto contribuiu para seu desenvolvimento individual e do grupo, por meio do mindfulness, considerando que contribuiu para melhorar a sua atenção, consciência, foco, concentração, performance, comportamento e ambiente de sala de aula.<br>The current Internship report, integrated in the master’s in music education from the University of Minho, describes the Pedagogical Intervention Project implemented during the 2018/2019 school year, held at Orfeão de Leiria|Conservatório de Artes, in the disciplinary groups (M11) Classical Guitar and with special focus on (M32) Music Chamber. The intervention project was implemented with nineteen students from the Guitar Orchestra (M32). The project aimed to investigate the impact of the inclusion of mindfulness in the context of specialized music education, more specifically in chamber music, which pretended to verify if mindfulness could enhance students' results in their attention and awareness capacity by performing mindfulness exercises at the beginning of chamber music class. The evaluation of the implementation of the Pedagogical Intervention Project and data collection was carried out by means of four questionnaires, in which it was intended to gauge, from the students' opinion about the theme in question, the levels of mindfulness disposition and the appreciation of the project's intervention. Despite the major methodological limitations, the results obtained allowed us to deduce that, the inclusion of mindfulness among students, offered benefits and important advantages for their development in chamber music classes. The students themselves considered that the project as contributed to their individual and group development, through mindfulness, considering that contributed to improve their attention, awareness, focus, concentration, performance, behavior and classroom environment.

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"Bruegel (A Composition in Four Movements)." Master's thesis, 2016. http://hdl.handle.net/2286/R.I.38709.

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abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement.<br>Dissertation/Thesis<br>Masters Thesis Music 2016

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Cawrse, Anne Rebecca Goldsworthy Peter Rossetti Christina Georgina. "Portfolio of original compositions and exegesis a personal exploration of modal processes /." 2007. http://digital.library.adelaide.edu.au/dspace/handle/2440/49470.

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