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Journal articles on the topic 'Chamber music with guitar'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.

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12

Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.

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13

Wade, Graham. "Guitar." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966167.

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14

Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (1985): 33. http://dx.doi.org/10.2307/962449.

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15

Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (1985): 350. http://dx.doi.org/10.2307/964035.

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16

Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (1986): 567. http://dx.doi.org/10.2307/964402.

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17

Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964753.

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18

Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965129.

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19

Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (1985): 737. http://dx.doi.org/10.2307/965210.

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20

Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965247.

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21

Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (1991): 449. http://dx.doi.org/10.2307/965651.

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22

Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (1985): 163. http://dx.doi.org/10.2307/961677.

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23

Wade, Graham. "The Blue Guitar." Musical Times 130, no. 1761 (1989): 691. http://dx.doi.org/10.2307/1193802.

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24

Thomson, Andrew, Maurice Ohana, and Stephan Schmidt. "Works for Guitar." Musical Times 135, no. 1816 (1994): 398. http://dx.doi.org/10.2307/1003237.

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25

Duarte, John W. "Guitar on Record." Musical Times 132, no. 1777 (1991): 138. http://dx.doi.org/10.2307/965827.

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26

Wade, Graham. "Landscape with Guitar." Musical Times 132, no. 1780 (1991): 296. http://dx.doi.org/10.2307/966538.

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27

Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.

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28

Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (1986): 695. http://dx.doi.org/10.2307/964679.

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29

Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965019.

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30

Criswick, Mary. "Voice and Guitar." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965088.

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31

Criswick, Mary. "East European Guitar." Musical Times 127, no. 1717 (1986): 156. http://dx.doi.org/10.2307/965503.

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32

Duarte, John, and Mauro Giuliani. "Abundance for Guitar." Musical Times 132, no. 1776 (1991): 81. http://dx.doi.org/10.2307/966603.

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33

Crump, Matthew J. C., Gordon D. Logan, and Jerry Kimbrough. "Keeping an Eye on Guitar Skill: Visual Representations of Guitar Chords." Music Perception 30, no. 1 (2012): 37–47. http://dx.doi.org/10.1525/mp.2012.30.1.37.

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we investigate a role for vision in skilled guitar playing, focusing on visual contributions to the representation of basic first-position root chords (C, A, G, E, D). Experiment 1 involved naming or playing guitar chords displayed in different visual formats (letter, photograph, chart) and orientations. Experiment 2 employed a Stroop-like design, involving identification of the visual or auditory dimension for congruent or incongruent pairs of chord photographs and sounds. Our results demonstrate that visual representations of guitar chords are orientation sensitive and associated with their

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34

Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.

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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insig

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35

Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.

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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.

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36

McKenzie, Don, Michael Tippett, and Julian Bream. "The Blue Guitar: Sonata for Solo Guitar." Notes 43, no. 1 (1986): 182. http://dx.doi.org/10.2307/897866.

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37

Bell, Adam Patrick. "Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome." British Journal of Music Education 31, no. 3 (2014): 343–57. http://dx.doi.org/10.1017/s026505171400028x.

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The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches t

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38

Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.

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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially th

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39

Filatova, Tetiana. "Chilean Guitar Music: Violeta Parra’s “Anticuecas”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 129 (October 27, 2020): 232–50. http://dx.doi.org/10.31318/2522-4190.2020.129.219741.

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40

Stimpson, Michael. "The Guitar in English Music Education." British Journal of Music Education 2, no. 1 (1985): 51–67. http://dx.doi.org/10.1017/s0265051700004605.

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The development of the guitar in the twentieth century has been sufficiently significant to warrant inclusion at all levels of music education. This article considers the extent and manner of its educational involvement and questions whether the response to the instrument has reflected its true potential.

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41

Santos, Silvio Jose dos. "Guitar Music Composed for Segovia (review)." Notes 63, no. 1 (2006): 201–7. http://dx.doi.org/10.1353/not.2006.0116.

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42

Provost, Richard, and Kerry Arlt. "Music for Guitar and String Quartet." American String Teacher 37, no. 1 (1987): 58–60. http://dx.doi.org/10.1177/000313138703700118.

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43

Bonanno, Carmine. "Guitar controller for a music synthesizer." Journal of the Acoustical Society of America 82, no. 5 (1987): 1864. http://dx.doi.org/10.1121/1.395729.

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44

Bonanno, Carmine. "Guitar controller for a music synthesizer." Journal of the Acoustical Society of America 83, no. 5 (1988): 1995. http://dx.doi.org/10.1121/1.396416.

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45

Wright, David, and David Starobin. "New Music with Guitar, Vol. 4." Musical Times 133, no. 1789 (1992): 134. http://dx.doi.org/10.2307/966448.

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46

Robertson, A. "Results of Medical and Hospice Music Therapy Internship Directors’ Views of Advanced Guitar Skills Needed for Interviews." Music Therapy Perspectives 38, no. 2 (2019): 205–9. http://dx.doi.org/10.1093/mtp/miz022.

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Abstract The purpose of this study was to determine which guitar skills beyond the American Music Therapy Association (AMTA) functional guitar skill competencies are important for prospective music therapy interns to perform during the medical and hospice music therapy interview process. Participants (n = 32) for this study were medical or hospice music therapy internship supervisors from AMTA approved and university-affiliated internship sites that were asked to rate eight advanced guitar skills on their importance during the internship interview process. Of the 64 internship directors to who

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47

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 pleas

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48

Kearns, William, Arthur Foote, and Charles Wakefield Cadman. "Chamber Music." American Music 4, no. 2 (1986): 231. http://dx.doi.org/10.2307/3051995.

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49

Huxford, John C., and John Knowles Paine. "Chamber Music." American Music 7, no. 1 (1989): 114. http://dx.doi.org/10.2307/3052066.

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50

Pollack, Howard, Samuel Adler, Warren Benson, and John Downey. "Chamber Music." American Music 7, no. 2 (1989): 240. http://dx.doi.org/10.2307/3052222.

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