Academic literature on the topic 'Electric guitar music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Electric guitar music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Electric guitar music"
1
Ciszak, Thomas, and Seth F. Josel. "OF NEON LIGHT: MULTIPHONIC AGGREGATES ON THE ELECTRIC GUITAR." Tempo 74, no. 291 (2019): 25–49. http://dx.doi.org/10.1017/s0040298219000962.
Full textAbstract:
AbstractConsiderable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analogue effect pedals (compression, overdrive and distortion). In order to precisely indicate the spectral components and harmonic nodes, we have used the Extended Helmholtz-Ellis JI Pitch Notation (HEJI).
2
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.
Full textAbstract:
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.
3
Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.
Full textAbstract:
Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless device for guitar effects is designed that is directly connected to a guitar instrument. This system itself aims to facilitate the movement of guitar players on stage and can also activate guitar effects without the need to step on the guitar pedals at their feet.
4
Jameson, Ben. "‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!" Tempo 69, no. 274 (2015): 22–32. http://dx.doi.org/10.1017/s0040298215000340.
Full textAbstract:
AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.
5
Lindroos, Niklas, Henri Penttinen, and Vesa Välimäki. "Parametric Electric Guitar Synthesis." Computer Music Journal 35, no. 3 (2011): 18–27. http://dx.doi.org/10.1162/comj_a_00066.
Full text
6
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.
Full textAbstract:
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.
7
Carfoot, Gavin. "Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar." Leonardo Music Journal 16 (December 2006): 35–39. http://dx.doi.org/10.1162/lmj.2006.16.35.
Full textAbstract:
Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”
8
Jenson, Jen, Suzanne De Castell, Rachel Muehrer, and Milena Droumeva. "So you think you can play: An exploratory study of music video games." Journal of Music, Technology and Education 9, no. 3 (2016): 273–88. http://dx.doi.org/10.1386/jmte.9.3.273_1.
Full textAbstract:
Digital music technologies have evolved by leaps and bounds over the last 10 years. The most popular digital music games allow gamers to experience the performativity of music, long before they have the requisite knowledge and skills, by playing with instrument-shaped controllers (e.g. Guitar Hero, Rock Band, Sing Star, Wii Music), while others involve plugging conventional electric guitars into a game console to learn musical technique through gameplay (e.g. Rocksmith). Many of these digital music environments claim to have educative potential, and some are actually used in music classrooms. This article discusses the findings from a pilot study to explore what high school age students could gain in terms of musical knowledge, skill and understanding from these games. We found students improved from pre- to post-assessment in different areas of musicianship after playing Sing Party, Wii Music and Rocksmith, as well as a variety of games on the iPad.
9
Vesey, Alyxandra. "Room for a Breast or Two." Journal of Popular Music Studies 32, no. 4 (2020): 37–59. http://dx.doi.org/10.1525/jpms.2020.32.4.37.
Full textAbstract:
This article uses textual and discourse analysis to examine how Annie Clark, who records and performs under the alias St. Vincent, problematized the electric guitar’s gendered address by designing a Signature Collection for Music Man, a subsidiary of equipment manufacturer Ernie Ball. It first contextualizes the industrial efforts to make the electric guitar more accessible to girls during Clark’s adolescence and their limitations. It then analyzes Clark’s promotional strategies for the collection. Most branding opportunities available to female music industry professionals interested in extending their commercial shelf life often affirm conventionally feminine modes of creative self-expression, such as fashion and cosmetics. Clark’s guitar challenges such gender essentialism by highlighting her own virtuosity as a queer musician, songwriter, and producer while giving players a different set of tools with which to create new sounds.
10
Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
Full textAbstract:
Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
Dissertations / Theses on the topic "Electric guitar music"
1
Banks, Zane. "The electric guitar in contemporary arts music." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11805.
Full textAbstract:
Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument. Although the electric guitar is still on the fringe of mainstream classical music, the instrument is more popular now amongst contemporary art music composers and contemporary art music ensembles than in previous times. This dissertation is divided into three sections. The first, Section A, is an introduction to the electric guitar, with a focus on its history and role in both western popular music and western art music. Chapters 2 and 3 address the development of the electric guitar, the electric guitar in American popular music and the development of art music repertoire featuring the electric guitar. Section B (Chapter 4) includes the analysis of forty-eight interviews given by musicians involved in composition, performance and musicology for the electric guitar. The focus of this section is on the interviewees’ experiences with and common views, perceptions and attitudes towards the electric guitar’s role in art music. It also contains common recommendations made by the interviewees regarding writing successfully for the instrument, and addresses the nature of previous collaborative partnerships between composers and electric guitarists. The final section, Section C (Chapter 5 and 6), is partly an auto-ethnography. It includes the proposition of useful collaborative models. This section also features an in-depth discussion regarding how technological mediation can affect the collaborative process as well as proposing performance and recording logistics that composers should keep in mind when composing for the electric guitar. This dissertation culminates in a detailed, first-hand account of a successful composer-electric guitarist collaboration so that future composers1, considering writing for the instrument, have a model to assist them in their artistic endeavours. Included in the ‘Creative Work’ portfolio of this dissertation is an mp4 recording (on a USB) of my performance of Georges Lentz’s unaccompanied electric guitar composition Ingwe at the 2012 Amsterdam Guitar Heaven Festival and my Naxos CD recording of Ingwe2. 1 The term ‘composer’ in this context refers to composers who have never written for the electric guitar but are interested in writing a work for the instrument. 2 Georges Lentz, "Ingwe from ‘Mysterium’ (“Caeli Enarrant...” Vii) for Solo Electric Guitar (2003–2009) Performed by Zane Banks," ([Hong Kong] Naxos, 2011)
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.
Full text
5
Gilgunn, Paul. "Distillation and synthesis : aesthetics and practice in Rhys Chatham's music for electric guitar." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22066/.
Full textAbstract:
This is a critical study of music for electric guitars by composer-performer Rhys Chatham (b. 1952), work that distils and synthesises elements from various genres, primarily, minimalism and rock. I investigate the development, realisation, and import of these works, created between 1977 and 2006, in an analytical, biographical, and cultural account that examines unpublished performance directions, scores, and original interviews with this significant, yet under-explored artist and his collaborators. An immanent sublime aesthetic characterises Chatham’s formative experiences in downtown music, and I explain how this informs his composition, performance, and listening practices (including attendant issues of entrainment, frisson, and perceptualization). This reading is situated within major music traditions of the later twentieth century and at the forefront of a nexus of postmodern radical pluralism, operating across the borderline of the avant-garde and the popular. I use a range of research methods: aesthetics, cultural theory, interviews, musical analysis, music theory, and my own experience of performing several of these works. Part One maps Chatham’s development as a composer and performer through his engagement with modernist, serialist, electronic, minimalist, improvised, North Indian classical, popular, and rock music between 1952 to 1978, to interpret how he distilled key components of these experiences. Part Two outlines how he synthesised these elements in several non-notated works for the electric guitar, from 1977 to 1982, using idiosyncratic and inventive approaches to composition and performance. Part Three provides in-depth analyses of Chatham’s notated music for increasingly large ensembles of electric guitars from 1984 to 2006, to outline the development of his post-Cagean musical language, and interpret the wider import of these works. I argue that the interpenetration and reciprocity of musical elements in these works expand, and implode, pre-established forms of art and rock music. While this eludes ‘either/or’ classifications, per se, this is a particular kind of post-minimalism, with significant components of popular music, identifiable as part of a post-1945 culture that was distinguished by immanence, participation, and subjectivity.
6
Jameson, Benjamin Thomas. "Negotiating the cross-cultural implications of the electric guitar in contemporary concert music." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417404/.
Full textAbstract:
Despite its ubiquity in rock and popular music, use of the electric guitar has only become commonplace within ‘classical’ concert music in recent decades. This increased prominence is partly due to the expanded sonic possibilities that the instrument offers, but also reflects composers’ greater willingness to engage with popular music practices. Use of the electric guitar in concert music often involves some form of encounter between contemporary compositional approaches and popular forms of cultural expression, presenting creative possibilities and challenges to composers, performers, listeners and scholars alike. This research project investigates the cross-cultural implications of employing the electric guitar in concert music through theory, analysis and composition. Case studies of electric guitar works by Tristan Murail and Laurence Crane provide an opportunity to consider how popular music scholarship relating to the electric guitar might figure in analysis of concert music featuring the instrument. These analyses informed the composition of four new works within the included portfolio (provided as scores with accompanying audio/video documentation) that feature the electric guitar or draw upon its related musical idioms, with a specific focus on rock and heavy metal styles.
7
Hodges, Jeff. ""Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28430/.
Full textAbstract:
Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.
8
Rocha, Marcel Eduardo Leal. "A tecnologia como meio expressivo do guitarrista atuante no mercado musical pop." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284480.
Full textAbstract:
Orientador: José Eduardo Ribeiro de Paiva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T07:57:29Z (GMT). No. of bitstreams: 1
Rocha_MarcelEduardoLeal_D.pdf: 1511252 bytes, checksum: 31cce2dc1a1f22d0663cd62cde894493 (MD5)
Previous issue date: 2011<br>Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos<br>Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software<br>Doutorado<br>Doutor em Música
9
Batista, Adriano de Carvalho. "Tetrades : um estudo da harmonia aplicado a guitarra eletrica." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284363.
Full textAbstract:
Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T14:36:55Z (GMT). No. of bitstreams: 1
Batista_AdrianodeCarvalho_M.pdf: 713091 bytes, checksum: a2b6db85291dd1dc0d5a08dd668648f8 (MD5)
Previous issue date: 2006<br>Resumo: Essa dissertação é um estudo sobre a formação e aplicabilidade das chamadas Tétrades na guitarra elétrica. O presente trabalho descreve o processo de construção de tais acordes, além de sistematizar alguns procedimentos de expansão harmônica levando em consideração as características técnicas e idiomáticas do instrumento. O estudo ainda busca organizar, de maneira sistêmica, as principais aberturas de acordes usadas na guitarra elétrica para a confecção de encadeamentos harmônicos aplicados em acompanhamento de importantes gêneros da Música Popular. Por meio das análises de transcrições também é possível perceber claramente os procedimentos estudados ao longo da pesquisa. Desta forma, esse trabalho é uma tentativa de amenizar as lacunas existentes na metodologia de ensino da guitarra, e se propõe a contribuir para a organização e elaboração do material harmônico utilizado por este instrumento. Além disso, também poderá ser utilizado como método ao estudo da harmonia e construção de tétrades na guitarra, para alunos ingressantes no ensino superior, assim como alunos dos cursos de música em nível fundamental e médio<br>Abstract: Four-Note Chord Voicings: A Harmonic Study of the Electric Guitar This research project is about the construction and application of four-note chord voicings for the electric guitar. The present work describes the building process of these chords and introduces a systematic procedure for harmonic expansion, taking in consideration the technical characteristics and idiomatic nature of the instrument. This study attempts to organize the main voicings used on the electric guitar to create harmonic cadences applied in the rhythm sections of important styles of Contemporary Popular Music. The procedures studied and utilized for this work are clearly evident through transcriptions and analysis. This work proposes to diminish the existing gaps in the study of four- note chord voicings and contribute to the organization and elaboration of study material for the instrument. Besides, it could be a method to the study of harmony and the building process of the four note chord voicings to the beginners in the college as well as students at basic and intermediate stages<br>Mestrado<br>Mestre em Música
10
Roberts, Samuel Christian. "A portfolio of compositions expanding the role of the electric bass guitar in contemporary Western art music." Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1.
Full textAbstract:
My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aims to expand the sonic and technical palette of the instrument whilst demonstrating its potential to be a valued part of the modern composer’s instrumental resource. This project comprises: a compositional portfolio of solo and ensemble works; eight CDs, containing recordings of both improvised and scored works; an accompanying written commentary (original musical scores are included as an appendix in the commentary).
Books on the topic "Electric guitar music"
1
1987-, Jones Christopher, ed. Riff notes: Electric guitar basics. Hal Leonard Books, 2014.
Find full text
3
Reich, Steve. Electric counterpoint: For guitar and tape or guitar ensemble. Hendon Music, 1990.
Find full text
6
1954-, Bacon Tony, ed. Fuzz & feedback: Classic guitar music of the '60s. Miller Freeman, 2000.
Find full text
9
Laganella, David. Mel Bay presents the composer's guide to the electric guitar. Mel Bay Publications, 2003.
Find full text
10
Hal Leonard Publishing Corporation (COR). Electric Blues Guitar Giants. Hal Leonard Corporation, 1994.
Find full textBook chapters on the topic "Electric guitar music"
1
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.
Full text
2
Herbst, Jan-Peter. "‘Gear Acquisition Syndrome’ – A Survey of Electric Guitar Players." In Popular Music Studies Today. Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_15.
Full text
3
Lethem, Jonathan. "Electric Guitar." In Talking Heads' Fear of Music. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781501397363.0024.
Full text
4
Longo, Shawna. "Instructional Plans: Grades K–2." In Integrating STEM with Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.003.0005.
Full textAbstract:
Chapter 5 presents three instructional plans that are geared toward grades K–2. Instructional plans consist of planning necessities, standard alignment, alignment to philosophies approached in earlier chapters, as well as instructional procedures and assessments. Adaptations for other grade-level bands as well as potential extensions are available for each plan. This chapter includes the following instructional plans: Shapes of Electric Guitars, Sound Amplification and Speaker Building, and Measuring Length and Pitch. In Shapes of Electric Guitars, students will design guitar bodies and perform on them using available technology. In Sound Amplification, students will analyze and experiment with sound waves, eventually building their own small speaker. In Measuring Length and Pitch, students will measure pitched tubes to determine the mathematical relationship between pitches.
5
Randles, Clint. "Instruments and Effects." In Music Teacher as Music Producer. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197519455.003.0004.
Full textAbstract:
Abstract The history of musical instruments is full of innovative musicians and composers working to stretch what is possible in their music. The pursuit of new sounds and the emerging technologies surrounding them tell a story of curiosity, exploration, and discovery. Human beings push their art as far as they can, stretch it to include sounds that were not typical, use scales that were once foreign, and employ techniques for sound enhancement that were once not employed. Instruments are all at some level a form of technology. This chapter considers instruments as tools for creative expression in the classroom. Its focus is on the electric guitar and its associated effects and amplification, but it also considers bass guitars, keyboards and acoustic and digital drum sets. The chapter closes with a short look at custom instrument building.
6
Pras, Amandine. "Standard 3-point Micing Technique (Advanced)." In The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0048.
Full textAbstract:
How can you make a guitar sound full, large, and deep even if it was recorded in a bedroom? In this advanced lesson, I introduce the “standard 3-point micing technique,” which picks up the different personalities of an electric guitar and amplifier with a “bright” mic, a “dark” mic, and a “back” mic. This recording approach mirrors the “standard 3-point lighting technique” and its “key” light, “fill” light, and “back” light to form the basis of most lighting approaches for video, film, and still photography. The “standard 3-point micing technique” offers multiple mixing options based on different mic combinations, creative panning, and time delay.
7
Burlingame, Jon. "“Man, woman, birth, death, infinity”Drama." In Music for Prime Time. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0006.
Full textAbstract:
Abstract Television drama has inspired a wide variety of styles and colors of music. Nelson Riddle and Jerry Goldsmith enjoyed chart hits from their Route 66 and Dr. Kildare themes; a Moog synthesizer was used in the Medical Center theme, and the entire pilot of St. Elsewhere was created using electronic means; ER had both synths and electric guitar. Lawyer shows range from a mild R&B treatment (Perry Mason) to fanfares for the law (The Defenders) to dignified French horns meet sexy saxophone (L.A. Law). War series merit dissonance (Combat), an anthem (12 O’Clock High), and even gentle guitars (M*A*S*H). Anthologies are where John Williams learned his trade (Alcoa Premiere, Kraft Suspense Theatre). Homespun Americana served The Waltons, while dignified contemporary Americana worked for The West Wing; Dallas and Dynasty, meanwhile, merited a touch of disco and a lot of elegance. In the new century, a hint of irony via orchestra and choir seemed right for Desperate Housewives. Umbrella themes attracted such major musical names as Burt Bacharach, Isaac Hayes, and Henry Mancini.
8
Corthron, Kia. "From Painted Turtle: Woman with Guitar." In The Essential Clarence Major. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469656007.003.0004.
Full textAbstract:
Inkpen sent me to her to make her more commercial, to get her to switch to electric. I never liked the idea all the way, but I wasn’t sure it wouldn’t be good for her to rake in a little more money and to get off the grimy cantina circuit. I liked her music on the demos he played for me....
9
Suprayogi, A., and K. S. Astuti. "Effect of a backing track on improvement of students’ electric guitar playing skills." In 21st Century Innovation in Music Education. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-31.
Full text
10
Chapman, Con. "The Blues." In Rabbit's Blues. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0020.
Full textAbstract:
The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.
Conference papers on the topic "Electric guitar music"
1
Pereira, Renato Santos, and Rodrigo Varejão Andreão. "Electric guitar distortion effects unit using a Raspberry Pi." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19436.
Full textAbstract:
With the advance of electronics, techniques and algorithms for digital signal processing, digital equipment has been gaining more and more space in the music scene. Micro-processed tools now generate several effects such as modulation, echo, and distortion of sounds generated by musical instruments, previously obtained only by analog units. In this context, this study aimed to develop aprototype of distortion effects unit using a Raspberry Pi (a low-cost small single-board computer) and affordable electronic components. Therefore, five nonlinear functionswere used, four of which are present in the literature andone of them was originally developed by the authors. These functions model the behavior of an active element (suchas transistors, valves, and operational amplifiers), which when they exceed their amplification thresholds produce distortions in the audio signals. Throughout this article, all the steps in the development of the analog circuits for signal acquisition and output will be presented, as well as the simulation and implementation of the functions in the microcontroller. At the end, with the finished prototype, the frequency response analysis is performed and the sound results achieved by the algorithms is compared with each other and with other distortion units.