Relevant bibliographies by topics / Electric guitar music Electronic music Computer music Electric guitar and electronic music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books

Academic literature on the topic 'Electric guitar music Electronic music Computer music Electric guitar and electronic music'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Electric guitar music Electronic music Computer music Electric guitar and electronic music"

1

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.

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Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.

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Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.
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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.

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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.”
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Djatmiko, Sigit. "FENOMENOLOGI MUSIK." Dharmasmrti: Jurnal Ilmu Agama dan Kebudayaan 15, no. 28 (2016): 108–13. http://dx.doi.org/10.32795/ds.v15i28.63.

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The Kraftwerk music group from Dusseldorf, Germany, began to be famous since 1974. The prominent feature of the Kraftwerk is that they were trying to be the pioneer of the alteration from the acoustic and electric music into the electronic music. Their mission was dehumanizing the music to produce impersonal sounds and with the “musicians” which would rather be considered as machine tools than as human. The works of the Kraftwerk arguably became the blueprint for the sort of avantgarde music, the prototype for kinds of music that celebrated the shift from the sounds of the guitar strings and the human vocal into the sounds of strum combination. In sum, the main aim of the Kraftwerk was to fully merge with the technology, to stop playing the instruments, and let the instruments play themselves.
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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.

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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.
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Sullivan, Charles R. "Extending the Karplus-Strong Algorithm to Synthesize Electric Guitar Timbres with Distortion and Feedback." Computer Music Journal 14, no. 3 (1990): 26. http://dx.doi.org/10.2307/3679957.

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Arpel, Anna Laura, and Joel Chadabe. "Electric Sound: The Past and Promise of Electronic Music." Computer Music Journal 21, no. 3 (1997): 100. http://dx.doi.org/10.2307/3681020.

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Burt, Warren, and Joel Chadabe. "Electric Sound: The Past and Promise of Electronic Music." Computer Music Journal 22, no. 1 (1998): 73. http://dx.doi.org/10.2307/3681046.

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Battier, Marc, and Joel Chadabe. "Electric Sound: The Past and Promise of Electronic Music." Leonardo Music Journal 7 (1997): 100. http://dx.doi.org/10.2307/1513256.

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Ligeti, Lukas. "The Burkina Electric Project and Some Thoughts about Electronic Music in Africa." Leonardo Music Journal 16 (December 2006): 64. http://dx.doi.org/10.1162/lmj.2006.16.64b.

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Dissertations / Theses on the topic "Electric guitar music Electronic music Computer music Electric guitar and electronic music"

1

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.

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Sosa, Ortega Jorge Raymundo Rudy Paul. "Refractions a collection of three pieces for solo instruments and fixed electronic media /." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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Waschka, R. 1958. "Let Me Make it Simple for You." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331223/.

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Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.
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Hewitt, Donna Gai, University of Western Sydney, College of Arts, and School of Communication Arts. "Compositions for voice and technology." 2006. http://handle.uws.edu.au:8081/1959.7/12944.

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The PhD consists of a portfolio of electric-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real time electro-acoustic composition techniques using microphone-captured audio. The portfolio focuses particularly on the voice as a sound source and aims to bring together the author’s background as a popular vocalist with her ‘music-concrete’ influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (eMic extended Mic-stand interface controller) which allows the performer to control sound parameters in real-time via common music performance gestures.<br>Doctor of Philosophy (PhD)
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Books on the topic "Electric guitar music Electronic music Computer music Electric guitar and electronic music"

1

Anderton, Craig. Midi for musicians. AMSCO, 1986.

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Anderton, Craig. MIDI for musicians. Amsco Publications, 1986.

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Reich, Steve. Electric counterpoint: For guitar and tape or guitar ensemble. Hendon Music, 1990.

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Bob, Ward. MIDI for guitarists. Amsco, 1988.

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Bob, Ward. MIDI for guitarists. Amsco Publications, 1988.

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6

Amped: The illustrated history of the world's greatest amplifiers. Voyageur Press, 2012.

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7

Paul, Day, ed. The Gretsch book. Balafon, 1996.

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1989, Stubbs Dean d., ed. 87 superstar sounds on a stompbox budget: 87 "Sound F/X" columns. Cherry Lane Music Co., 1995.

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Paul, Day, ed. The Gretsch book. GPI Books, 1996.

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10

Bacon, Tony, and Paul Day. The Gretsch Book: A Complete History of Gretsch Electric Guitars (Guitar Profile S.). Backbeat Books, 1996.

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