Relevant bibliographies by topics / Ethnomusicology of the guitar

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ethnomusicology of the guitar'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Ethnomusicology of the guitar"

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Sydney Hutchinson. "Asian Fury: A Tale of Race, Rock, and Air Guitar." Ethnomusicology 60, no. 3 (2016): 411. http://dx.doi.org/10.5406/ethnomusicology.60.3.0411.

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Castro, Renato Moreira Varoni de. "Performance and Autoethnography in Historical Ethnomusicology: Differentiating the Viola and the Violão." Per Musi, no. 34 (August 2016): 35–61. http://dx.doi.org/10.1590/permusi20163402.

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Abstract This article proposes the combination of performance and autoethnography as alternative methods to make use of musical scores concerning the viola (five-course guitar) and the violão (six-course guitar) in historical ethnomusicology. The author performs and records the same set of songs on the viola and the violão, and based on the multidimensionality of the interaction performer/instrument, writes an autoethnography differentiating his experiences in playing at both chordophones. This approach strives for overcoming the duality body/mind in academic musical research and comprises the embodied knowledge that arises from experience as a complementary epistemology to the corpus of knowledge about these instruments. Moreover, it is added the professional viewpoint of the virtuoso viola player Ivan Vilela who, interviewed by the author, gives his impressions about the differences in ergonomics and playing technics between those chordophones.
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Byrd McDaniel. "Out of Thin Air: Configurability, Choreography, and the Air Guitar World Championships." Ethnomusicology 61, no. 3 (2017): 419. http://dx.doi.org/10.5406/ethnomusicology.61.3.0419.

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MILLER, KIRI. "Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity." Journal of the Society for American Music 3, no. 4 (October 15, 2009): 395–429. http://dx.doi.org/10.1017/s1752196309990666.

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AbstractThis article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies, popular music studies, gender and sexuality studies, and interdisciplinary digital media scholarship, I investigate the games' models of rock heroism, media debates about their impact, and players' ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world.
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Racanelli. "Guitar Playing and Representation in the Changing Locations of New York City's African Music Scene." Ethnomusicology 58, no. 2 (2014): 278. http://dx.doi.org/10.5406/ethnomusicology.58.2.0278.

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Tracey, Andrew. "Central African Guitar Song Composers, the Second and Third Generation. Field recordings 1962-2009. Gerhard Kubik and associates. Department of Musicology, University of Vienna, Vienna Series in Ethnomusicology 3, 2009. 49 pp. CD 25 tracks, booklet, photographs." African Music: Journal of the International Library of African Music 8, no. 4 (2010): 124. http://dx.doi.org/10.21504/amj.v8i4.1871.

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Suppan, Wolfgang, and Helen Myers. "Ethnomusicology." Jahrbuch für Volksliedforschung 40 (1995): 173. http://dx.doi.org/10.2307/847955.

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Hayashi, Yoshiaki, and Akira Matsui. "Guitar for guitar synthesizer." Journal of the Acoustical Society of America 81, no. 3 (March 1987): 807. http://dx.doi.org/10.1121/1.394816.

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Giuriati, Giovanni. "Italian Ethnomusicology." Yearbook for Traditional Music 27 (1995): 104. http://dx.doi.org/10.2307/768106.

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Leonard, Keith. "Guitar." Massachusetts Review 61, no. 1 (2020): 132. http://dx.doi.org/10.1353/mar.2020.0021.

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Dissertations / Theses on the topic "Ethnomusicology of the guitar"

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Bethencourt, Llobet Francisco Javier. "Rethinking tradition : towards an ethnomusicology of contemporary flamenco guitar." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1305.

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This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología. In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic.
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Rhinehart, Andrew. "Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/44.

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During the first half of the twentieth century, a unique style of guitar playing known as Kentucky thumbpicking was developed by a handful of musicians in the western coal field region of Kentucky. This guitar tradition was elevated to national prominence by country guitar virtuoso Merle Travis. Subsequently, this style became characterized as "Travis Picking." Kentucky thumbpicking incorporates a steady and muted bass line that alternates between the root, fifth or third of a chord. The bass is also accentuated with the use of a thumbpick worn on the right hand. Simultaneously, the index, occasionally middle and ring fingers, play the harmony and melody on the upper strings of the guitar in a syncopated rhythm. Thumbpicking is venerated because of its reverence for individualism and adaptability. One of the primary reasons it has become so prominent is because of its flexibility; it is able to be adapted to various types of music. An historical overview of Kentucky thumbpicking is provided in order to trace its origins and development as well as explaining the style’s technical traits. Arrangements of a select few songs from the advent of this style’s development are transcribed and discussed in order to demonstrate how this repertoire translates to the classical guitar and guitar playing techniques. Insight from the perspective of a classically trained guitarist will illustrate how thumbpicking procedures can be incorporated into the classical guitar repertoire. Thereby introducing Kentucky thumbpicking to a new audience.
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Hale, Matthew L. "Human Things: Rethinking Guitars and Ethnography." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/221.

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This work is about objects and their makers, their relationship, and the negotiation between tradition and innovation in the creation of things. I explore the relationship between tradition, innovation, and technology as it pertains to the creation, perception, and interaction with acoustic steel string guitars and ethnographies. First, I focus on the works of two Nashville based guitar makers, Grant and Cory Batson. I investigate the ways in which the Batsons critically evaluate traditional construction techniques and design features as they create their instruments, looking at their theories of tone production, methods of construction, and their perceptions and uses of various media within their guitars. Secondly, I recruit the Batsons’ theories, methods, and revisions of tradition as a metaphor to discuss the traditional ways of constructing ethnographic representations. Through this work, I argue for the craftsmanship of more responsive ethnographic things which take into account not only theoretical, but also methodological and media eclecticism.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Llanos, Carlos Fernando Elías. "Nem erudito, nem popular: por uma identidade transitiva do violão brasileiro." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-25072018-154131/.

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A pesquisa apresenta o violão enquanto instrumento musical chave de leituras sociais, e sua performance enquanto dado etnográfico. Foram feitos questionamentos em torno da dimensão ideológica do assim chamado \"violão brasileiro\": a construção do(s) seu(s) discurso(s) e as relações de poder que implicam pensar em sua historiografia. Numa abordagem qualitativa, a tese baseia suas aproximações nas análises de teorias etnomusicológicas sobre os instrumentos musicais, numa amostra de teses e dissertações brasileiras focadas no violão, e entrevistas em profundidade com intérpretes, compositores, professores, luthiers, pesquisadores e jornalistas. Como resultado, nessa sistematização de atores, acepções e apropriações que o termo \"violão brasileiro\" suporta, apresenta-se categorias e modelos analíticos para compreender essa teia de instâncias sociais oriundas de uma \"memória dos cordófonos dedilhados\", memória esta reconhecida posteriormente no violão e que batizamos de \"identidade transitiva\".
The research presents the guitar as musical instrument and key reading in social aspects, and its performance as ethnographic data. Questions were raised about the ideological dimension of the so-called \"Brazilian guitar\": the construction of its discourse (s) and the power relations that imply thinking about its historiography. From a qualitative approach, the thesis bases its approaches in the analysis of ethnomusicological theories on musical instruments, in a sample of Brazilian theses and dissertations focusing on the guitar, and in-depth interviews with performers, composers, teachers, luthiers, researchers and journalists. As a result, in this systematization of actors, meanings and appropriations supported by the term \"Brazilian guitar\", categories and analytical models are presented to understand this assemblage of social instances originating from a \"memory of the strumming cordophones\", a memory later recognized in the guitar and which we call \"transitive identity\".
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Sandoval-Cisternas, Enrique. "A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.

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Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.

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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown. This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam. The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players. Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.
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Mendiola, David Mario. "Laser guitar." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45322.

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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2008.
Includes bibliographical references (p. 24).
Music is constantly evolving, both in the culture and musical theory that dictates its structure, and the technology used to create the actual sound. This thesis explores a direction for development of one of the most proven instruments in musical brainstorming as well as live performance; the guitar. The form and feel has stayed nearly the same since its conception and it is a solid foundation with which to integrate modern technology. The design is to replace the strings with beams of laser that run through a line of beam splitters at each fret, each of which sends a beam onto a photoresistor. By blocking the beam at different frets, the current through the resistors uniquely determines what fret is pressed. The motivation for this development is twofold; firstly, the aesthetic appeal of a brilliantly lit guitar could make this a popular instrument for live shows, and, secondly, the lasers would be more versatile than strings, allowing the player to program frets to be any note. By doing this, the writing process could be enhanced with more options to experiment with, and the performance of difficult compositions could be simplified. This paper begins the design of the instrument and proposes solutions for some possible complications in creating it.
by David Mario Mendiola.
S.B.
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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.

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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.
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Tuman, Jeremy. "Fan with Guitar." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/667.

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Fan with Guitar is a collection of ten personal, nonfiction essays written between 2005 and 2008. The theme that connects them is music. The essays all explore, to some degree, the significance of music in our lives, the value we place on it, and the trials and merits of a life dedicated to music. The majority of the essays deal with the author's experiences traveling and performing with a musical group, thus also functioning as travel essays. Two essays address the role of the fan, and two others concern the idea of community and touch on how music plays a part in that idea.
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Books on the topic "Ethnomusicology of the guitar"

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Hemetek, Ursula, Hande Sağlam, and Marko Kölbl, eds. Ethnomusicology Matters. Wien: Böhlau Verlag, 2019. http://dx.doi.org/10.7767/9783205232872.

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Theory for ethnomusicology. Upper Saddle River, N.J: Pearson Prentice Hall, 2008.

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ANGELIS, Nicolas de. Guitar guitar. London: London Records, 1987.

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Bernard, Ndomondo Mathayo, Sanga Imani, Strumpf Mitchel, and Chuo Kikuu cha Dar es Salaam. Department of Fine and Performing Arts, eds. Readings in ethnomusicology: A collection of papers presented at Ethnomusicology Symposium, 2013. Dar es Salaam: University of Dar es Salaam, College of Arts and Social Sciences, Department of Fine and Performing Arts, 2013.

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Mitchel, Strumpf, and Chuo Kikuu cha Dar es Salaam. Department of Fine and Performing Arts, eds. Readings in ethnomusicology: A collection of papers presented at Ethnomusicology Symposium, 2012. Dar es Salaam: University of Dar es Salaam, Department of Fine and Performing Arts, 2012.

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Bartók, Béla. Bela Bartók studies in ethnomusicology. Lincoln: University of Nebraska Press, 1997.

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Ethnomusicology: A guide to research. New York: Routledge, 2004.

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Czekanowska, Anna. Pathways of ethnomusicology: Selected essays. Warsaw: Institute of Musicology ofWarsaw University, 2000.

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Ethnomusicology of the Flathead Indians. New Brunswick: AldineTransaction, 2011.

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New Guinea Ethnomusicology Conference (1993 Port Moresby, Papua New Guinea). New Guinea Ethnomusicology Conference, proceedings. Edited by Reigle Robert. Auckland, N.Z: Archive of Maori and Pacific Music, Dept. of Anthropology, University of Auckland, 1995.

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Book chapters on the topic "Ethnomusicology of the guitar"

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Beech, Nic, and Stephen Broad. "Ethnomusicology." In The SAGE Handbook of Qualitative Business and Management Research Methods: Methods and Challenges, 398–413. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2018. http://dx.doi.org/10.4135/9781526430236.n24.

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Guitar." In Popular Music Pedagogies, 27–41. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-4.

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French, Richard Mark. "Guitar Electronics." In Engineering the Guitar, 1–24. Boston, MA: Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-74369-1_8.

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Self, Douglas. "Guitar Preamplifiers." In Small Signal Audio Design, 311–24. Third edition. | Abingdon, Oxon ; New York, NY : Routledge, 2020.: Focal Press, 2020. http://dx.doi.org/10.4324/9781003031833-12.

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Inacio, Octavio. "Portuguese Guitar." In The Science of String Instruments, 47–57. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-7110-4_4.

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Weekhout, Hans. "Mixing | Guitar." In Music Production, 225–30. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

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Diamond, Beverley. "Affect, Ontology, and Indigenous Protocol: Encounters in Canada." In Ethnomusicology Matters, 117–34. Wien: Böhlau Verlag, 2019. http://dx.doi.org/10.7767/9783205232872.117.

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Ajotikar, Rasika. "Reflections on the Epistemic Foundations of Music in Modern India through the Lens of Caste: A Case from Maharashtra, India." In Ethnomusicology Matters, 135–62. Wien: Böhlau Verlag, 2019. http://dx.doi.org/10.7767/9783205232872.135.

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"Ethnomusicology." In Women in Music, 195–201. Routledge, 2005. http://dx.doi.org/10.4324/9780203954430-12.

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"ETHNOMUSICOLOGY." In Storytime in India, 160–61. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wm64.38.

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Conference papers on the topic "Ethnomusicology of the guitar"

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Irawati, Eli. "Ethnomusicology and Music Ecosystem." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008546200880094.

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Löchtefeld, Markus, Sven Gehring, Ralf Jung, and Antonio Krüger. "guitAR." In the 2011 annual conference extended abstracts. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979789.

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Saltaformaggio, Brendan, Rohit Bhatia, Zhongshu Gu, Xiangyu Zhang, and Dongyan Xu. "GUITAR." In CCS'15: The 22nd ACM Conference on Computer and Communications Security. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2810103.2813650.

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Арутюнян, А. Г. "О НЕКОТОРЫХ ВОПРОСАХ ИЗУЧЕНИЯ СОВРЕМЕННОГО МУЗЫКАЛЬНОГО ФОЛЬКЛОРА." In Proceedings of the XXIII International Scientific and Practical Conference. RS Global Sp. z O.O., 2020. http://dx.doi.org/10.31435/rsglobal_conf/25112020/7245.

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The modern stage in the development of ethnomusicology is marked by the emergence of large-scale fundamental research. However, the problems of ethnomusicology are essentially not discussed in them, being peripheral for the authors. In this regard, it seems timely to analyze the refraction of ideas and methods of ethnomusicology in the research of scientists - representatives of various regional scientific centers and schools. The lack of interest in the study of modern processes and dynamics of culture is partly due to objective circumstances. Scientists do not always have collections of materials collected in previous periods of the development of science. However, it should be noted that such a trend is characteristic of ethnomusicology, while linguists, for example, are constantly studying and monitoring the transformation of the everyday, scientific language, studying the languages of corporate and information communities, new forms of written culture.
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Vidyarthi, Jay, Alissa N. Antle, and Bernhard E. Riecke. "Sympathetic guitar." In the 2011 annual conference extended abstracts. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979863.

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Vidyarthi, J., B. E. Riecke, and A. N. Antle. "Sympathetic guitar." In the International Symposium. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2030441.2030443.

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Kanebako, Junichi, James Gibson, and Laurent Mignonneau. "Mountain guitar." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279833.

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Tammen, Hans. "Endangered guitar." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279903.

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So, Aram. "Guitar man." In ACM SIGGRAPH ASIA 2008 educators programme. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1507713.1507727.

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Ranaweera, Rasika, Michael Frishkopf, and Michael Cohen. "Folkways in Wonderland: A Cyberworld Laboratory for Ethnomusicology." In 2011 International Conference on Cyberworlds (CW). IEEE, 2011. http://dx.doi.org/10.1109/cw.2011.33.

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