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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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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.
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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."
3
Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.
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Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.
4
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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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.
6
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/.
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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.
7
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/.
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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.
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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of California, Los Angeles, 2008.<br>CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).
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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/.
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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.
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Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.
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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.
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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.
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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).
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Goldman, Josh. "Biomes." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1393236887.
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Willett, Toby T. "California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.
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Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.
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Pinto, Rafael Mendonça Lisita. "A poética dos estranhos no videoclipe “Electric Guitar” a partir dos discursos videográficos de Lady Gaga." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3392.
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Previous issue date: 2014-04-23<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This dissertation results of the research developed throughout the Master’s
Degree course within the Art and Visual Culture Graduate Program in FAV-UFG. It
aims to investigate de representation of uncanny identities in music videos, starting
out with some analysis of Lady Gaga’s videos, in order to develop my videographic
discourse in my music video “Electric Guitar”. The main goal is to continue creating
subversive audiovisuals, which consist in primary and complex products that
contemplate several parameters of approach, exploring sensorial matters and
establishing bonds with historical, sociological and cultural issues. The first chapter
presents Lady Gaga and her artistic body of work which, curiously, defends
minorities in spite of the singer being inserted into the star system. The second
chapter introduces concept of “the uncanny”, from teoretical dialogues and, also,
addresses their presence in music videos. The third chapter focuses on the study of
music video as a audiovusal format, its relevance in visual culture and how they
develop through media. The forth chapter reapproaches Lady Gaga’s music videos,
selected according to this investigation theme, focusing on their analysis. The last
chapter discusses the creative experience of “Electric Guitar” through my goal of
reassuring the relevance of studying the uncanny and, also, my attempt to expand
music video’s frontiers by employing new perspectives to them, without escaping the
plastic aesthetics predominant in pop.<br>Esta dissertação é resultante do projeto de pesquisa realizado através do
Programa de Pós-graduação em Arte e Cultura Visual, nível mestrado, da FAV-UFG,
e visa apresentar o tema da representação de identidades estranhas em videoclipes,
partindo de uma investigação no campo, acompanhada de análises dos clipes da
artista Lady Gaga, para a construção do meu discurso videográfico no videoclipe
“Electric Guitar”. O principal objetivo é dar continuidade aos discursos audiovisuais
de formato subversivo, que consistam em produtos primários complexos os quais
contemplem diversos parâmetros de abordagem audiovisual, explorando o sensorial
e estabelecendo vínculos com questões de teor histórico, sociológico, cultural etc. O
primeiro capítulo apresenta Lady Gaga e seu trabalho artístico que, curiosamente,
defende minorias com uma postura favorável da cantora, ainda que ela esteja
inserida no star system. O segundo capítulo introduz a temática dos estranhos,
explica este conceito a partir de diálogos teóricos e, também, aborda a presença dos
estranhos em videoclipes. Já o terceiro capítulo foca no estudo do videoclipe como
formato audiovisual, trata da sua relevância na cultura visual e dos seus
desdobramentos na mídia. O quarto capítulo volta a tratar dos discursos
videográficos de Lady Gaga, porém, com foco na análise de alguns dos seus
videoclipes, selecionados de acordo com o tema desta pesquisa. O quinto e último
capítulo trata da experiência criativa do videoclipe “Electric Guitar” e do meu objetivo
de reforçar as discussões sobre o “estranho” buscando expandir as fronteiras do
senso comum a respeito do videoclipe por meio do emprego de novas linguagens,
sem promover uma fuga da estética plástica predominante no pop.
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Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.
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There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.
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Batista, Adriano de Carvalho. "Tetrades : um estudo da harmonia aplicado a guitarra eletrica." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284363.
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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
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Wright, Brian F. "How the Electric Bass Became the Norm: An Alternative History of American Popular Music, 1951-1964." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case151084623256552.
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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.
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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
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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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Solti, Endre 1970. "Avaliação do ensino-aprendizagem de guitarra elétrica e violão popular na licenciatura em música na modalidade a distância da Universidade Vale do Rio Verde." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285001.
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Previous issue date: 2015<br>Resumo: O objetivo deste trabalho é avaliar o ensino dos instrumentos guitarra elétrica e violão popular nas disciplinas de instrumento da licenciatura em música com habilitação em instrumento - modalidade à distância, oferecida pela Universidade Vale do Rio Verde (UninCor). Para isso, foi utilizado um estudo de caso, cuja finalidade foi fazer um levantamento de dados referentes ao ensino dos conteúdos improvisação e linguagem jazzística nas referidas disciplinas. Após a coleta dos dados, foi feita uma avaliação comparativa entre as gravações dos improvisos dos alunos enquanto cursavam o primeiro semestre com gravações dos improvisos desses mesmos alunos enquanto cursavam o último semestre. Apesar de os resultados terem sido satisfatórios quanto à evolução, uma análise mais profunda apontou para dificuldades maiores de aprendizagem de elementos musicais rítmicos ou de linguagem. Para explicar esses resultados, recorremos ao pressuposto teórico de John Anderson (1981), que divide a forma de assimilação de conteúdos em dois tipos de conhecimentos, os conhecimentos declarativo e processual, e ao pressuposto teórico de John Kratus (1996), que divide os níveis de improvisação que um músico improvisador pode alcançar em sete níveis. Através da teoria de Kratus, conseguimos entender que os resultados de dificuldade podem ser considerados como uma das etapas iniciais da apreensão de conteúdos, enquanto que resultados positivos são considerados como uma etapa final ou maturação desses mesmos conteúdos. Através da teoria de Anderson (1981), conseguimos entender que os conteúdos calcados no conhecimento processual apresentam maior dificuldade de assimilação, exatamente pelo fato de ser de difícil verbalização. Após o confronto da análise dos dados coletados com as teorias de apoio, concluímos que as dificuldades de aprendizagem estão presentes em ambas as modalidades, presencial e a distância, mas que se apresentam mais evidentes quando conteúdos práticos são ministrados via EaD. Mesmo assim, consideramos válido o ensino musical instrumental a distância, principalmente para a formação de professores, onde as exigências de ordem prático-instrumental podem ser menores se for previsto pelo curso alguma proficiência instrumental, ou se aproveitados os momentos presenciais obrigatórios da modalidade para atividades que privilegiem a prática de um instrumento musical<br>Abstract: The objective of this study is to evaluate the teaching of instruments and electric guitar popular guitar in the degree of instrument disciplines in music with instrument qualification - distance mode, offered by the University Vale do Rio Verde (UNINCOR). For this, a case study was used, whose purpose was to make a data collection for the teaching of improvisation and jazz language content in these disciplines. After collecting the data, it made a comparative evaluation between the recordings of the improvisations of the students were enrolled as the first half with recordings of the improvisations of these same students as were enrolled in last semester. Although the results were satisfactory with regard to evolution, a deeper analysis pointed to greater difficulty in learning rhythmic musical elements or language. To explain these results, we turn to the theoretical assumption of John Anderson (1981), which divides the form of assimilation of content in two types of knowledge, declarative and procedural knowledge and the theoretical assumption Kratus John (1996), which divides improvisation levels that an improvising musician can reach into seven levels. By Kratus theory, we understand that the results of difficulty can be considered as one of the initial stages of apprehension contents, while positive results are considered as a final step or maturation of these same contents. By Anderson's theory (1981), we understand that the footwear content on procedural knowledge are more difficult to assimilate, just because it is difficult to verbalize. After analysis of the data collected confrontation with the theories of support, we conclude that learning difficulties are present in both modes, face and the distance, but that present more evident when practical contents are taught via distance education. Still, we consider valid the instrumental music distance learning, particularly for teacher training, where the demands of practical-instrumental order may be lower if provided by the course some instrumental proficiency, or if harnessed the mandatory personal moments of the sport for activities that favor the practice of a musical instrument<br>Mestrado<br>Música, Teoria, Criação e Prática<br>Mestre em Música
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Kvarnbrink, Johannes. "Klang, form, struktur eller funktion? : En kvalitativ studie i hur gitarrlärare och gitarrelever ser på ackordundervisning på elgitarr." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2949.
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The purpose of this study was to investigate how a small selection of guitar teachers go about to teach chords on electric guitar, as well as how a small selection of guitar students have experienced the phenomena during their studies. To answer the research questions, two experienced guitar teacher and two guitar students were subjects to qualitative interviews. The theoretical perspective of the study was hermeneutic. The results showed that the methods employed by the teachers to a high degree related to how they have been taught and also learned by themselves. Another result is that the combination of systems, music theory and practical musical performance can help guitar students to reach a point of musical independence. The results provide an insight in how chordal playing on electric guitar can take place on a higher level, and also opens up for research within several areas of guitar education.<br>Syftet med denna studie var att undersöka hur ett mindre urval av gitarrlärare lär ut ackord på elgitarr, samt hur ett mindre urval gitarrelever upplevt att de undervisats i ackordspel. För att besvara forskningsfrågorna genomfördes kvalitativa intervjuer med två erfarna gitarrlärare, samt två gitarrelever som studerat elgitarr på musikgymnasium och folkhögskola. Studiens teoretiska perspektiv var hermeneutiskt. Resultaten visar att lärarna till stor del undervisar med metoder som fungerat för dem själva, samt att en kombination av system, musikteori och framförallt praktiskt musicerande kan ge gitarrelever de grundkunskaper som behövs för att vara självgående som elgitarrist. Resultat ger en inblick i hur ackordundervisning kan ta form på högre nivå, och öppnar upp för flera områden av framtida forskning i elgitarrmetodik.
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Dantas, Leonardo Meira. "O ensino da guitarra elétrica nos cursos de música da Universidade Federal da Paraíba: reflexões a partir de demandas discentes." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8438.
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Previous issue date: 2015-04-16<br>Nowadays musical education has taken part of a diversity of themes and points related to
multiple contexts of music formation that constitute the contemporaneous society. In this
universe the studies about popular music has gotten place and projections which shows
singularities that is a part of the musician’s formation who will deal with this phenomenon.
Inside of these studies has appeared a diversity of researches about teaching and learning the
electric guitar, an instrument which has a strong insertion in the scene of the popular music
since the middle of the 20th century. So, the purpose of this work is to comprehend the mainly
demands of the learners from the UFPB Music Course and also in which ways they are
engaged with the proposals and the musical pedagogical practice of these courses. The study
was realized in the basis of an approaching qualitative research that observed collected data
like bibliographical and documental researches, interviews, observations. Furthermore, it was
used a questionnaire which is more suitable in quantitative researches, a fundamental tool to
achieve the purposes of this work. From the results it is possible to affirm that the UFPB
Guitar Courses give to the students new perspectives to perform and new discovering to
continue and develop their practice like a musician. However it is clear that there is a big
difference between the proposals of the pedagogical projects of the courses and the
expectations and demands of the learners, not just this, the directed formation for the
singularities of popular music and the electric guitar.<br>A área de educação musical na atualidade tem contemplado uma diversidade de temas e de
questões relacionadas aos múltiplos contextos de formação em música que constituem a
sociedade contemporânea. Nesse universo, os estudos acerca da música popular têm ganhado
espaço e projeção, apontando para singularidades que permeiam a formação do músico para
lidar com tal fenômeno. No âmbito desses estudos, têm emergido uma diversidade de
pesquisas sobre o ensino e aprendizagem da guitarra elétrica, instrumento que tem forte
inserção na cena da música popular desde, pelo menos, a segunda década do século XX.
Considerando esse contexto, este trabalho tem como objetivo discutir e analisar as
interrelações entre as principais demandas do corpo discente e a proposta pedagógico-musical
dos cursos de guitarra da UFPB. O estudo foi realizado como base em uma abordagem
qualitativa de pesquisa, contemplando instrumentos de coleta de dados como: pesquisa
bibliográfica, pesquisa documental, realização de entrevistas e observação participante. Além
disso, foi utilizado também o questionário, instrumento mais característico da pesquisa
quantitativa, mas fundamental para alcançar os objetivos propostos para a pesquisa realizada.
A partir dos resultados obtidos é possível afirmar que os cursos de guitarra da UFPB têm
propiciado ao estudantes novas perspectivas de atuação e novas descobertas para a
continuidade e aperfeiçoamento de sua prática como instrumentista. Todavia, fica evidente
que há, ainda, certo descompasso entre a proposta dos projetos políticos pedagógicos dos
cursos e as expectativas e demandas dos discentes, sobretudo no que tange a uma formação
mais direcionada para as singularidades da música popular e do instrumento guitarra.
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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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Gunnarsson, Andreas. "Hur får man tyst på en gitarrist? : En observationsstudie i a-°©‐vistaläsning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33162.
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Studiens syfte är att se ifall det är möjligt att under en kortare tid bli en bättre a-vistaläsare. För att undersöka detta har jag under en åttaveckorsperiod övat a-vista 15 minuter per dag, med hjälp av en bok just för a-vistaläsning. Ett urval av dessa övningstillfällen har jag videofilmat. Jag har också använt mig av loggbok för att dokumentera mina upplevelser av min egen process. Som teoretisk utgångspunkt har jag valt ett multimodalt designteoretiskt perspektiv. I resultatet visas hur olika resurser hanteras, samt hur progression i lärandet har varit. Det framkommer att jag under denna period har lärt mig att läsa a-vista bättre än innan. Jag använde mig av kroppsliga resurser i ganska stor utsträckning då jag övade a-vistaläsning. I diskussionen beskriver jag utifrån det designteoretiska perspektivet hur förutsättningarna utifrån den valda boken har varit, samt vilka resurser som användes vid lärandet.<br>The purpose of this study is to find out if it is possible to become better at sight-reading melodies during a shorter period, in this case eight weeks with 15 minutes of daily training. With a video recorder, I have documented a selection of daily training sessions based on a book that specifically focuses on sight-reading melodies. Furthermore, I have written a logbook to document my personal experiences during the process. Theoretical perspective is design theory. The results shows how different resources are handled, and the learning progression of the process are described. It appears that I during this period, have become better at sight-reading melodies and it is also clear that I use bodily resources quite a lot while practicing sight-reading. Lastly, in the last chapter I discuss the preconditions given by the book and what resources that has been created during my learning period.
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Nicodemo, Thaís Lima 1981. "Terra dos passaros : uma abordagem sobre as composições de Toninho Horta." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284055.
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Previous issue date: 2009<br>Resumo: Toninho Horta é compositor, guitarrista, violonista e arranjador, nascido em Belo Horizonte, em 1948. Projetou-se como instrumentista e compositor em âmbito nacional a partir do final década de 1960, acompanhando artistas da música popular brasileira em shows e gravações e tendo suas composições gravadas por outros intérpretes. Destacou-se como integrante do "Clube da Esquina", formado por um grupo de artistas que atuavam ao lado de Milton Nascimento ao longo da década de 1970, e a partir de 1980, lançou-se em carreira solo, com a gravação de seu primeiro disco autoral, TERRA DOS PÁSSAROS. Horta possui uma linguagem musical particular e é reconhecido internacionalmente por seus atributos como compositor e instrumentista. Este trabalho apresenta um estudo sobre sua obra, a partir da análise das composições de seu primeiro disco solo, TERRA DOS PÁSSAROS, gravado entre 1976 e 1979 e lançado em 1980. Este álbum foi gravado de maneira independente, com liberdade artística, e traz uma síntese de suas composições mais conhecidas e mais gravadas. Através do estudo analítico das músicas deste disco e do contexto histórico que o envolvia, procuramos pontuar as características que demarcam as composições de Horta, levando em consideração que os anos 1970 foram um de seus momentos de mais intensa produtividade artística e que, não por acaso, correspondeu a um período de grande efervescência vivido pela canção popular brasileira. Paralelamente, este trabalho percorre a atuação musical de Horta, desde o início de sua trajetória musical até o lançamento de seu disco inaugural, relacionando-a com os distintos momentos históricos vividos pela música popular brasileira, buscando, assim, uma melhor compreensão das características que configuram seu estilo composicional.<br>Abstract: Toninho Horta is a composer, acoustic guitar and electric guitar player and arranger born in Belo Horizonte, Brazil, in 1948. In the late 1960s, Horta became famous nationwide as an instrumentalist, accompanying Brazilian artists in concerts and recordings. His music was recorded by other artists. Horta became widely known as a member of "Clube da Esquina", a group of artists that played together with Milton Nascimento in the 1970s. Horta began his solo career in the 1980s with the recording of his first album, TERRA DOS PÁSSAROS. Horta has a very peculiar musical language and is acknowledged worldwide for his technique as composer and instrumentalist. This thesis is a study on Horta's work, based on the analysis of the compositions of his first solo album, TERRA DOS PÁSSAROS, recorded between 1976 and 1979 and released in 1980. This album was recorded independently, with artistic freedom and is a summary of his most famous and recorded songs. The characteristics of Horta's compositions are brought about through the analytical study of the songs and the historical context involving them, considering that 1970s were Horta's most productive years and a very effervescent period in terms of Brazilian popular music. Moreover, this study assesses Horta's musical activities and their relationship with the history of Brazilian popular music, from the beginning of his career to the release of his first album, in order to further understand the characteristics that are part of his songwriting style.<br>Mestrado<br>Mestre em Música
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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.
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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and 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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Martins, André Lopes. "A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-094517/.
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O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador.<br>This work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author\'s reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer.
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Bittencourt, Alexis da Silveira. "A guitarra Trio inspirada em Johnny Alf e João Donato : uma abordagem do estilo de interpretação de Johnny Alf e João Donato ao piano, direcionada a performance da guitarra em contexto instrumental trio (guitarra, contra-baixo e bateria/percussão)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284740.
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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-07T17:47:31Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: Este trabalho parte da tese de que o estilo interpretativo ao piano, em contexto instrumental Trio (piano, contra-baixo e seção rítmica), de Johnny Alf e João Donato, constitui uma espécie de elo norteador à interpretação da música popular brasileira a partir da segunda metade do século passado, com raízes no samba e forte influência jazzista. Tem, portanto, o objetivo de definir esse elo e demonstrar como esse pode ser uma valiosa referência ao guitarrista, servindo de fonte para este reavaliar sua prática interpretativa da música popular brasileira<br>Abstract: This research is based on the thesis, that the piano playing style, of Johnny Alf and João Donato, in the piano instrumental trio performance (with double-bass and drums and/or percussion), can be defined as a link, that could be perceived as a guide of how to play the Brazilian Popular Music from the second half of the last century to our days. This kind of music finds its roots in samba, however is strongly affected by the jazz influences. Our goal is to define the link among Alf and Donato, and demonstrate how it can provide valuable references to the guitarist, within the guitar trio situation, as a source for a reevaluation of his directions on playing the Brazilian Popular Music<br>Mestrado<br>Mestre em Música
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Foley, Nadine. "Stream of Consciousness." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555689988119793.
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Pinheiro, Cicero Wagner Oliveira. "Ensino e aprendizagem de guitarra elÃtrica no TriÃngulo Crajubar â Ce." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19893.
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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico<br>A presente dissertaÃÃo teve como objetivo geral compreender as prÃticas pedagÃgicas e metodolÃgicas no ensino e aprendizagem de guitarra elÃtrica no triÃngulo CRAJUBAR e fomentar aquelas consideradas fundamentais para um ensino de mÃsica democrÃtico. Para tanto, foi necessÃrio, alÃm de investigar alguns espaÃos de ensino e aprendizagem de guitarra no curso de Licenciatura em MÃsica da UFCA, apresentar um breve histÃrico da guitarra no CRAJUBAR sob a perspectiva da histÃria de vida de alguns agentes. A fim de iluminar as reflexÃes esta pesquisa utilizou como referencial teÃrico a Ecologia dos Saberes de Maria CÃndida Moraes, a praxiologia do Pierre Bourdieu e algumas ideias e propostas de Maura Penna sobre a democratizaÃÃo do acesso à arte e à cultura. Trata-se de uma pesquisa de cunho qualitativo e os procedimentos metodolÃgicos adotados sÃo a histÃria de vida em formaÃÃo e estudos do tipo etnogrÃfico. O trabalho apresentou uma interessante organizaÃÃo dos estudos da guitarra a partir de seis tÃpicos: conhecimento do braÃo, tÃcnica, leitura, harmonia, improvisaÃÃo e repertÃrio; sendo que, a partir dessa organizaÃÃo, podem ser utilizadas as seguintes prÃticas pedagÃgicas e recursos metodolÃgicos: Sistema 5 (CAGED), apreciaÃÃo musical, âpegar mÃsicas de ouvidoâ, transcriÃÃo em partitura, composiÃÃo â em sentido amplo â, estudo e performance de repertÃrio que contemple uma ampla variedade de gÃneros e estilos musicais, desde a mÃsica popular atà a erudita, utilizaÃÃo de metrÃnomo, playbacks, Ãudios, vÃdeos, videoaulas e gravaÃÃo musical. Ressaltamos ainda a Aprendizagem Musical Compartilhada como excelente proposta metodolÃgica para o ensino e aprendizagem de guitarra em contextos coletivos.<br>The aim of this dissertation was to understand pedagogical and methodological practices in the teaching and learning of electric guitar in the CRAJUBAR triangle and to foster those considered fundamental for a teaching of democratic music. For that, it was necessary, besides investigating some spaces of teaching and learning of electric guitar in the course of Graduation in Music of the UFCA, to present a brief history of the electric guitar in the CRAJUBAR under the perspective of the life history of some agents. In order to illuminate the reflections, this research used as a theoretical reference the Ecology of Knowledge of Maria CÃndida Moraes, the praxiology of Pierre Bourdieu and some ideas and proposals of Maura Penna on the democratization of access to art and culture. It is a qualitative research and the methodological procedures adopted are the life history in formation and studies of the ethnographic type. The work presented an interesting organization of the studies of the guitar from six topics: knowledge of the arm, technique, music reading, harmony, improvisation and repertoire; From this organization, the following pedagogical practices and methodological resources can be used: System 5 (CAGED), musical appreciation, âpick up songs from the earâ, transcription in score, composition - in a broad sense -, study and repertoire performance that contemplate a wide variety of genres and musical styles, from popular music to the erudite, use of metronome, playbacks, audios, videos, video lessons and music recording. We also emphasize Shared Musical Learning as an excellent methodological proposal for the teaching and learning of electric guitar in collective contexts.
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Andréasson, Martin. "Tekniskt sett : En självstudie av teknikövning på elgitarr." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48488.
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Syftet med arbetet är att studera min egen läroprocess och hur mitt spel påverkas då jag fokuserar på teknikövningar för elgitarr. Med hjälp av videofilmning dokumenterade jag ett övningspass i veckan under den bestämda övningsperioden. Jag förde även loggbok som komplement för att dokumentera vad som hände under läroprocessen. Ett designteoretiskt perspektiv låg till grund för studien. I resultatet beskrivs hur jag designade min övning samt vilka konsekvenser detta hade för mitt spel. Användandet av många olika teckenskapande resurser visade sig ge positiva resultat. Med tiden utvecklade jag struktur och noggrannhet kring min övning. I diskussionsdelen diskuteras hur min orkestrering av olika resurser skapade möjligheter till instrumentaltekniskt övande och hur denna orkestrering förändrades med tiden. Jag diskuterar också betydelsen av att starta all övning i ett behagligt tempo samt vikten av struktur och noggrannhet vid övning.<br>The purpose of this study is to examine my own learning process and how my playing is affected when practicing guitar technique. I documented one practice session every week during the appointed practice period, using the help of video documentation. I also used a logbook as a compliment to document what happened during the learning process. A design theoretical perspective was used as a basis for the study. In the result section, I describe how I designed my practicing and what consequences this had for my playing. The use of many different types of resources for learning turned out to provide positive results. Over time I developed structure and accuracy in my practice. In the last section I discuss how my orchestration of resources created opportunities to practice guitar technique, and how this orchestration changed over time. I also discuss the importance to begin all practice in a pleasant tempo as well as the importance to practice with structure and accuracy.
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Wedelin, Filip. "Gitarren och jag : Ett utforskande av vår relation utifrån ett livsvärldsperspektiv." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41155.
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Syftet med studien är att utforska min relation till min gitarr utifrån ett livsvärldsperspektiv. Mina frågeställningar är: Hur upplever jag min relation till min gitarr? och Vad sker med relationen under en period av utforskande? Studien utgår från ett fenomenologiskt livsvärldsperspektiv och metoden bygger på observationer av loggboksanteckningar. I resultatet presenteras teman som: En livsvärld tyngd av känslor och tankar, Att ta hand om min gitarr och vår relation, Om hur jag vill att det ska vara och om hur jag vill att det ska kännas med min gitarr, Min egen relation till gitarren och min relation till andra genom gitarren och Livsvärlden förändras. I sista kapitlet diskuteras resultatet utifrån reflektioner över teman som Om att ha kul med sitt instrument och Det kärleksfulla lugnet.<br>The purpose of the study is to explore my relationship with my guitar from a life-world perspective. The research questions are: How do I experience my relationship with my guitar? and What happens with the relationship for a period of exploration? Theoretical perspective is phenomenological life-world perspective and the method is observations of logbooks writings. The result is presented with the themes A life-world heavy of emotions and thoughts, Taking care of my guitar and our relationship, How I want it to be and how I want it to feel with my guitar, My own relationship to the guitar and my relationship to others through the guitar and The life-world is changing. In the last chapter, I discuss my results with the help of the themes About having fun with your instrument and Loving serenity.
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Bryntesson, Albin. "Teknikens under : En självstudie om övning i elgitarrteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67181.
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Syftet med denna studie är att studera och analysera min egen instrumenttekniska utveckling samt den inlärningsprocess som sker när jag övar gitarrteknik regelbundet och strukturerat under tio veckor. Under dessa tio veckor dokumenterades övning med hjälp av videoinspelning en gång i veckan. Studien utgår från ett designteoretiskt perspektiv där fokus har legat på att analysera hur olika resurser har använts för att designa lärandeprocessen och hur denna design har förändrats under studiens gång. I resultatet visar det sig att jag använt flera olika kroppsliga och materiella resurser som samverkar i lärandeprocessen. Genom en jämförelse av övningspass i början och slutet av projektperioden framkommer det att en instrumentalteknisk utveckling har ägt rum. I diskussionsdelen diskuteras hur designen genom resurser och olika övningsstrategier har utvecklats samt hur det möjliggör lärande. Dessutom diskuteras de tecken på lärande som framkommer i resultatet.<br>The purpose of this study is to study and examine the personal learning process and learning process that is revealed as I practice guitar technique regulary and structured for ten weeks. During those ten weeks the practice was documented by video recordings once a week. The study is based on a design theoretic perspective which focuses on the analysis of how different resources have been used to design the learning process and how this design changed during the course of the study. The result reveals that I use a number of different bodily and material recourses that cooperates in the learning process. Also, the progress of the personal instrumental technique has been analysed by compare the difference in quality between practice sessions in the beginning and the end of the project period. It shows that development has taken place. In the last section of the study the design using resources and different practicing strategies, their development and how they can enable learning is discussed. Furthermore, the last section contains a part where signs of learning as shown in the result is discussed.
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Hertz, Marcus. "Legatoflyt : En självobservationsstudie i övning av legatoteknik på elgitarr." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66518.
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Studiens syfte är att undersöka tillvägagångssätt vid legatoövningar och hur gitarrspelet utvecklas genom dessa övningar. Forskningsfrågorna är: Vilka semiotiska resurser använder jag mig av för att förbättra min legatoteknik? Till vad används de semiotiska resurserna? Hur har gitarrspelet utvecklats efter tio veckors legatoövningar? Studiens teoretiska perspektiv är designteori med fokus på didaktisk design, representation, transformation, tecken på lärande och multimodalitet. Jag övade legato i en halvtimme, fem dagar i veckan, i tio veckor. För att kunna analysera processen skrev jag en loggbok i slutet av varje övningspass. Övningspassen filmades en gång i veckan under projektet. Resultatet visar de kroppsliga, språkliga och materiella resurser som användes vid övningen. De resurser som beskrivs i resultatdelen är blick, händer, fötter, ansikte, huvud, loggbok, instruktionsmaterial, elgitarr, förstärkare, ljudinställningar, spegel och dator. Framförande av övningar från början och slutet av projektet jämfördes för att undersöka om övningarna haft någon verkan. Gitarrspelet visade sig bli mer precist, snabbare, mer avslappnat, och med större rytmisk kontroll. Resultaten diskuteras utifrån det teoretiska perspektivet samt den litteratur och tidigare forskning som utgör en bakgrund till arbetet.<br>The purpose of this study is to examine approaches to legato exercises and to observe the development of my guitar playing from these exercises. The research questions are: What semiotic resources do I use to improve my legato technique? How are these resources used? In what ways has my guitar playing evolved from ten weeks of legato practicing? The study’s theoretical perspective is design theory with focus on didactic design, representation, transformation, signs of learning and multimodality. I practiced playing legato thirty minutes, five days a week for ten weeks. In order to be able to analyse the process I wrote a log book after each practice session. One practice session was video documented every week during the project. The results show the various bodily, linguistic and material resources that were used during the practicing. The semiotic recourses in the result sections are eyes, hands, feet, face, head, logbook, instructional material, electric guitar, amplifier, tone settings, mirror and computer. Performances of exercises from the start of the project were compared to performances from late in the project, in order to examine whether the exercises had any effect. The guitar playing ended in greater accuracy, more speed, more relaxed technique and improved rhythmic control. I discuss the results based on the study’s theoretical perspective, and the literature and research used for this study.
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Sunesson, Henrik. "Skillnader och likheter mellan klassisk gitarr och elbas : En sökande studie där jag lär mig spela elbas och jämför detta med klassiskt gitarrspel." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74255.
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I denna uppgift kommer jag presentera resultatet av min självstudie där jag lär mig tekniken vandrande bas på elbas genom lärarledda elbaslektioner. Denna process är videoinspelad, semistrukturerad intervju har hållits och dokumentationen analyseras genom transkription. Jag kommer bearbeta begreppet kunskap och redovisa några teorier om vad kunskap är och hur man kan kategorisera detta begrepp genom antingen uppdelande av praktisk och teoretisk kunskap. Jag kommer också undersöka huruvida pragmatismens kunskapssyn är applicerbar på denna studie. Studien behandlar hur jag använt mig av mina kunskaper som klassisk gitarrist i min inlärning av elbas. Hur jag kan använda mina kunskaper funna i elbasspelet i mitt klassiska gitarrspel. Även hur de pedagogiska upptäckterna jag gör i elbasspel kan användas i min framtida roll både som elbaslärare och gitarrlärare. Detta behandlas med ett sociokulturellt perspektiv i grunden samt mästarlära. Resultatet visar att förkunskaper i klassisk gitarr är mycket användbart om man vill lära sig elbas och att flera aspekter av gitarrspelet är direkt eller indirekt överförbara till elbasen. Det kommer också visa sig att det finns flera olikheter som kan försvåra inlärandet av elbas. Jag har också hittat grundläggande kunskap i metodik för elbasspel på nybörjarstadium.<br>In this project, I will present the result of my self-study where I learn the technique of walking bass on electric bass through teacher-led electric bass lessons. This process is video-recorded, semi-structured interview has been held and the documentation is analyzed by transcription. I will process the concept of knowledge and report some theories on what knowledge is and how to categorize this concept through either the division of practical or theoretical knowledge. I will also examine whether the knowledge view of pragmatism is applicable to this study. The study deals with how I used my knowledge as a classical guitarist in my learning of electric bass. How I can use my knowledge found in the electric bass game in my classic guitar play. Even how the pedagogical discoveries I make in electric bass games can be used in my future role both as electric bass teacher and guitar teacher. This is dealt with a socio-cultural perspective in the basics and master-apprentice perspective. The result shows that prior knowledge of classical guitar is very useful if you want to learn electric bass and that several aspects of the guitar play are directly or indirectly transferable to the electric base. It will also show several differences between the instruments that can make learning electric bass more difficult. I have also found basic knowledge in methodology for electric bass games at the beginner stage.
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Bolin, Andersson Rasmus. "Känsla för teknik : En videobaserad självobservation av teknikövning på elgitarr." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37971.
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Syftet med arbetet är att följa och studera min egen läroprocess vid instrumentaltekniskt övande. Övningen skedde på en period av tolv veckor, fem gånger i veckan á minst tjugo minuter per tillfälle. För att dokumentera detta har jag videofilmat fyra av dessa övningspass. Jag har även fört loggbok för att kunna hantera mina inre reflektioner och upplevelser under övningen. För att inte störa min egen lärandeprocess har jag medvetet valt att inte följa någon särskild undervisnings- eller övningsmetod, utan låtit mig välja tillvägagångssätt helt själv. Som teoretisk utgångspunkt har jag valt designteoretiskt perspektiv. I resultatdelen beskrivs hur jag designat min egen övning, och hur detta övande påverkat mitt gitarrspel. Det har visat sig att mycket av det jag valt att fokusera på i min övning har gett positiva resultat samt att jag har använt mig av många olika typer av resurser för att ta till mig kunskap. I diskussionsdelen diskuteras dessa resurser och resultat utifrån presenterad litteratur, tidigare forskning och det designteoretiska perspektivet.<br>The purpose of this study is to observe and examine my own learning process when practicing guitar technique. The practicing took place in a period of twelve weeks, five times a week with at least twenty minutes per session. To document this, I have video documented four of these practice sessions. I have also written a logbook to keep track of my inner reflections and experiences during practice. In order to not disturb my own learning process, I have deliberately chosen not to follow any particular teaching or training method. As a theoretical basis, I have chosen a design theoretical perspective. In the result section, I describe how I choose to design my practice, and how it has affected my playing. It turns out that much of what I have chosen to practice has produced positive results, and that I used many different types of resources for learning. In the last section I discuss these resources and results based on previous literature and research as well as from a design theoretical perspective.
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Aronsen, Björn-Ove. "Inte enbart elgitarren : Elgitarrlärares val av undervisningsmaterial samt hur de motiverar och använder det i sitt arbete." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78962.
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Studien syftar till att få djupare insikt i vad elgitarrlärare på kommunala musik- och kulturskolor använder för undervisningsmaterial, hur de motiverar användandet och på vilka sätt materialet verkar inspirerande på eleverna. I bakgrundsavsnittet presenteras tidigare forskning och annan litteratur som berör studien samt de teoretiska utgångspunkterna. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation. Studiens datamaterial består av kvalitativa intervjuer med tre elgitarrlärare som undervisar inom den kommunala musik- eller kulturskolan. I resultatavsnittet beskrivs informanternas syn på undervisningsmaterial i elgitarrundervisning samt hur de motiverar användandet av den och om den är inspirerande. Deras undervisningsmaterial kan vara lika men ingångarna eller hur de använder dem, kan vara olika till sättet de används på. Vad de menar är inspirerande motiverar också deras val av material men motiveringen kan också ha en annan bakgrund. Materialet i sig behöver inte vara motiverande eller inspirerande utan det som är viktigast är den inre motivationen och inspirationen till att vilja fördjupa sig i elgitarrspel: Att eleven har en egen drivkraft! I det avslutande diskussionsavsnittet lyfts studiens resultat till diskussion i relation till tidigare forskning och till det sociokulturella perspektivet på lärande. Här framkommer att elgitarrlärarna har olika metoder för att lära ut att spela elgitarr. Trots att undervisningen handlar om att lära sig spela elgitarr visar lärarna på olika pedagogiker för att lära ut. Ibland använder lärarna sig av samma redskap men trots detta så kan de använda dem på skilda sätt.<br>This study aims to create deeper insight in what kind of equipment electric guitar teachers use in their teaching, how they motivate it and also if it is inspiring. The background chapter presents previous research and other literature in the field and also the theoretical basis for the study, the socio-cultural perspective on learning and communication. The data consists of qualitative interviews with three electric guitar teachers who teaches at the school of music and art. The results chapter show the teacher’s view on the subject, - teaching material in electric guitar teaching and how they motivate it´s use and also if it is inspiring. Their teaching materials may be equal but how they utilize them is different What they mean is that an inspirational teaching material also motivates their choice of the same. But the opinion - what is inspiring may also be of a different view. The teaching material doesn´t need to be inspiring. Most important is the inner inspiration that motivates to immerse in electric guitar playing. In the concluding discussion the results are discussed in relation to the previous research and to the socio-cultural perspective on learning. It appears that in spite of the tuition of electric guitar playing the tuition shape depends on the teacher. Sometimes the teacher uses same tools, but they may use them differently.
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Oyarzún, Sepúlveda Inti. ""Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.
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Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value.<br><p>Numera Inti Oyarzun-Jonsson.</p>
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Werneck, Nicolau Leal. "Analise da distorção musical de guitarras eletricas." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259107.
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Orientador: Furio Damiani<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação<br>Made available in DSpace on 2018-08-11T03:06:29Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico<br>Mestrado<br>Eletrônica, Microeletrônica e Optoeletrônica<br>Mestre em Engenharia Elétrica
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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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Crossley, Jonathan Mark. "The cyber-guitar system: a study in technologically enabled performance practice." Thesis, 2017. https://hdl.handle.net/10539/25212.
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A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements for the degree of Doctor of Philosophy, March 2017<br>This thesis documents the development and realisation of an augmented instrument, expressed through the processes of artistic practice as research. The research project set out to extend my own creative practice on the guitar by technologically enabling and extending the instrument. This process was supported by a number of creative outcomes (performances, compositions and recordings), running parallel to the interrogation of theoretical areas emerging out of the research.
In the introduction I present a timeline for the project and situate the work in the field of artistic practice as research, explaining relationship between the traditional and creative practices. Following on from this chapter one, Notation, Improvisation and the Cyber-Guitar System discusses the impact of notation on my own education as a musician, unpacking how the nature of notation impacted on improvisation both historically and within my own creative work. Analysis of fields such as graphic notation led to the creation of the composition Hymnus Caesus Obcessiones, a central work in this research.
In chapter two, Noise, Music and the Creative Boundary I consider the boundary and relationship between noise and music, beginning with the futurist composer Luigi Russolo. The construction of the augmented instrument was informed by this boundary and aimed to bring the lens onto this in my own practice, recognising what I have termed the ephemeral noise boundary. I argue that the boundary line between them yields the most fertile place of sonic and technological engagement.
Chapter three focuses on the instrumental development and a new understanding of organology. It locates an understanding of the position of the musical instrument historically with reference to the values emerging from the studies of notation and noise. It also considers the impacts of technology and gestural interfacing. Chapter four documents the physical process of designing and building the guitar. Included in the Appendix are three CDs and a live DVD of the various performances undertaken across the years of research.<br>XL2018
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Stewart, Kenneth David. "Phase Locked Loop and Modulo Games, The Dogma Loops; and “Finding Ibrida”." Diss., 2016. http://hdl.handle.net/10161/12254.
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<p>This dissertation consists of two independent musical compositions and an article detailing the process of the design and assembly of an electric guitar with particular emphasis on the carefully curated suite of embedded effects. </p><p>The first piece, 'Phase Locked Loop and Modulo Games' is scored for electric guitar and a single echo of equal volume less than a beat away. One could think of the piece as a 15 minute canon at the unison at the dotted eighth note (or at times the quarter or triplet-quarter), however the compositional motivation is more about weaving a composite texture between the guitar and its echo that is, while in theory extremely contrapuntal, in actuality is simply a single [superhuman] melodic line.</p><p>The second piece, 'The Dogma Loops' picks up a few compositional threads left by ‘Phase Locked Loop’ and weaves them into an entirely new tapestry. 'Phase Locked Loop' is motivated by the creation of a complex musical composite that is for the most part electronically transparent. 'The Dogma Loops' questions that same notion of composite electronic complexity by essentially asking a question: "what are the inputs to an interactive electronic system that create the most complex outputs via the simplest musical means possible?"</p><p>'The Dogma Loops' is scored for Electric Guitar (doubling on Ukulele), Violin and Violoncello. All of the principal instruments require an electronic pickup (except the Uke). The work is in three sections played attacca; [Automation Games], [Point of Origin] and [Cloning Vectors]. </p><p>The third and final component of the document is the article 'Finding Ibrida.' This article details the process of the design and assembly of an electric guitar with integrated effects, while also providing the deeper context (conceptual and technical) which motivated the efforts and informed the challenges to hybridize the various technologies (tubes, transistors, digital effects and a microcontroller subsystem). The project was motivated by a desire for rigorous technical and hands-on engagement with analog signal processing as applied to the electric guitar. ‘Finding Ibrida’ explores sound, some myths and lore of guitar tech and the history of electric guitar distortion and its culture of sonic exploration.</p><br>Dissertation
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Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." 2008. http://hdl.handle.net/2440/49470.
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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.<br>Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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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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Lukie, Michael Paul. "In search of student engagement in high school physics through contextual teaching." 2012. http://hdl.handle.net/1993/8116.
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This action research study compared student intellectual engagement between two different instructional delivery methods. The first instructional method was a non-contextual teaching approach using a textbook to teach the work outcomes for the S4 physics mechanics unit. The second instructional method was a contextual teaching approach where students built an electric guitar pickup and a simple electric guitar in order to provide a context for the teaching of the electromagnetism outcomes for the S4 physics electricity unit. To measure the intellectual engagement of students, data was collected from personal student journals and from questions generated by students following different instructional activities. The student generated questions were categorized and ranked to judge the degree of student intellectual engagement and depth of thought using a framework where numerical values were assigned to the questions. Each question was categorized as peripheral, factual, conceptual, or philosophical where the peripheral questions had the lowest intellectual ranking and the philosophical questions had the highest intellectual ranking. Data was also collected from cumulative unit tests, short exit slips and a personal teacher journal.
The research revealed that students were more intellectually engaged and exhibited much more positive attitudes during the contextual lessons. The questions generated by students during the contextual lessons were of the higher order factual and conceptual types while the questions generated during the non-contextual lessons were predominantly of the lowest order peripheral type. By using the electric guitar and electric guitar pickup as a context, this action research study demonstrated that these contextual activities intellectually engaged students and helped to facilitate their deeper understanding of electromagnetism.
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Davenport, Andrew Russell. "Paganini's 24 Caprices opus 1 : a transcription for electric guitar, and analysis and development of the techniques required to perform them : a thesis submitted in fulfillment of the requirements for the degree of PhD, Massey University, New Zealand." 2008. http://hdl.handle.net/10179/713.
Full textAbstract:
Since the late 1970s much interest has been shown in the development of electric guitar technique. Advances have been considerable, enabling players to explore new genres and repertoires but development methodologies have remained woefully fragmented. A new approach that sets out to promote electric guitar technique with development methodology is the purpose of this study. To this end, a process of transcription combined with an advanced technical analysis has been undertaken including a full categorization of the technical subgroups extant within each Caprice. The hypothesis behind this task has been to ascertain whether a ‘technical essence’ could be discovered in the Caprices and how that could be imparted in the process of transcription. Transcribing the 24 Caprices for the electric guitar disclosed the technical components required for development which were then reduced to their constitute elements. The virtuosity and variation within the Caprices ensured that the each identified technique was developed to a high degree. The subjective nature of transcription ensured that multiple solutions were explored when a single solution to a technical problem was not obvious. The analysis section of the study demonstrated that three fundamental techniques were required to play all 24 Caprices: alternate-picking, sweep-picking, and hammer-ons and pull-offs. The analyses also provided trends showing how each technique needed to be developed to comprehensively cover all twenty-four pieces. In conclusion, the hypothesis was found to be correct.