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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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Boestad, Albin, and Fabian Rudberg. "Piezoelectric Guitar Tuner." Thesis, KTH, Mekatronik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-296320.
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This bachelor thesis in Mechatronics account for the process of constructing an automatic guitar tuner by means of a piezo-electric sensor, a stepper motor and Arduinobased control. The E4 - string on an acoustic guitar was used as a proxy for tuning any other possible guitar string. The accuracy and tuning-speed of the construction was examined through physical experimentation. Accuracy was measured in terms of the average distance from a piezo calibrated frequency value. The tuning-speed was appraisedby counting the number of times a guitar string had to be plucked before the motor stopped within an acceptable tuning interval. The automatic guitar tuner were able to reliably get the E4 - string in tune by plucking it once within an interval of ±2 Hz and +3.8 cents and −5.1 cents from the theoretical value. The average error was −3.4 cents from the targeted value.I följande kandidatexamensarbete kontrueras en automatisk gitarrstämmare med hjälp av en piezosensor, en stegmotor och en Arduino-mikrokontroller. E4-strängen på en akustisk gitarr användes som substitut för hur stämningsproceduren skulle kunna fungera för vilken annan gitarrsträng som helst. Noggrannheten samt stämningshastigheten undersöktes genom experiment. Genomsnittet av frekvensskillnaderna mellan de piezo-kalibrerade avläsningsvärdena och E4-strängens värden definierade måttet på noggrannhet. Hastigheten på strängstämningen beräknades i form av hur många gånger en sträng behövdes slås an innan strängen var inom ett godkänt intervall. Den automatiska gitarrstämmaren visade sig pålitiligt kunna stämma E4-strängen på ett försök inom ett noggrannhetsintervall på ±2Hz från det teoretiska värdet. Stämmaren kunde stämma inom +3.4 cents och−5.1 cents samt var var i genomsnitt −3.4 cents i från det teoretiska värdet.
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Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.
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Bocanegra, Alfredo. "Automatic acoustic guitar tuner." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32878.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.Acoustic guitar musicians tune their instruments by using a conventional tuner. Individuals pluck the string and the conventional tuner indicates whether the note is sharp or flat. The musician then has to wind the string to increase the tension or loosen it to lessen it. This process can be very cumbersome and inefficient when performing under different weather conditions. This thesis provides the design process of the Automatic Acoustic Guitar Tuner which bypasses the musician and acts as its own feedback system. This new concept will reduce the time needed to tune a guitar by using an electromechanical design to wind and unwind the strings to eventually reach the desired frequency. The Automatic Acoustic Guitar Tuner will also increase the productivity in music classrooms which hold large number of students by reducing the tuning process.
by Alfredo Bocanegra.
S.B.
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Gylling, Martin, and Ruben Svensson. "Robotic Electric Guitar Tuner." Thesis, KTH, Maskinkonstruktion (Inst.), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-226669.
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This report presents the process of building a system thattunes a guitar with the help of an Arduino board, writingalgorithms for processing signals from a microphone andcontrolling the tension of the strings according to the desiredfundamental frequency. The research question for thisproject is how different sample rates affects the accuracy ofthe tuning, different sample rates were examined in orderto find a sample rate that yields the best precision in tuningacross all strings of the guitar.Denna rapport går igenom byggandet av ett system som harsom funktion att stämma en gitarr med hjälp av ett Arduinokort, samt implementering av algoritmer för behandlingav mikrofon signaler och styrning av strängarnas spänningenligt den önskade grundtonen. Forksningsfrågan för dettaprojekt är hur olika samplingstakter påverkar stämningensnoggranhet. Olika samplingstakter undersöktes för att finnaden som ger den bästa noggranheten för alla strängar.
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Tebbs, Philip. "Studying the blues as ethnomusicology." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321017.
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Burlet, Gregory. "Automatic guitar tablature transcription online." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117224.
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Manually transcribing guitar tablature from an audio recording is a difficult and time-consuming process, even for experienced guitarists. While several algorithms have been developed to automatically extract the notes occurring in an audio recording, and several algorithms have been developed to produce guitar tablature arrangements of notes occurring in a music score, no frameworks have been developed to facilitate the combination of these algorithms. This work presents a web-based guitar tablature transcription framework capable of generating guitar tablature arrangements directly from an audio recording. The implemented transcription framework, entitled Robotaba, facilitates the creation of web applications in which polyphonic transcription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, resulting in a unified system that is capable of transcribing guitar tablature from a digital audio recording and displaying the resulting tablature in the web browser. The performance of the implemented polyphonic transcription and guitar tablature arrangement algorithms are evaluated using several metrics on a new dataset of manual transcriptions gathered from tablature websites.Transcrire à la main une tablature pour guitare à partir d'un enregistrement audio est un processus difficile et long, même pour les guitaristes chevronnés. Bien que plusieurs algorithmes aient été créés pour extraire automatiquement les notes d'un enregistrement audio, et d'autres pour préparer des arrangements de notes de tablature pour guitare tels qu'on les retrouve dans la création musicale, aucun environnement n'a été mise en place pour faciliter l'association de ces algorithmes. Le travail qui suit présente un environnement accessible sur l'Internet, permettant la transcription et la préparation d'arrangements de tablatures de guitare, directement à partir d'un enregistrement audio. Cet environnement de transcription, nommée Robotaba, facilite la création d'applications Web, dans lesquelles la transcription polyphonique et les algorithmes d'arrangements de tablature pour guitare peuvent être intégrés. Une telle application Web permet d'obtenir un système unifié, capable de transcrire une tablature pour guitare à partir d'un enregistrement audio numérique, et d'afficher la tablature obtenue dans un navigateur Web. La performance de la transcription polyphonique mise en place et des algorithmes d'arrangements de tablature pour guitare est évaluée à l'aide de plusieurs paramètres et d'un nouvel ensemble de données, constitué de transcriptions manuelles recueillies dans des sites Web consacrés aux tablatures.
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Lewney, Mark. "The acoustics of the guitar." Thesis, Cardiff University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370068.
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Swanson, Brent Lee. "Marco Pereira Brazilian guitar virtuoso /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0007016.
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Pettersson, Linus. "Ergotar : 21st Century Guitar Design." Thesis, Mittuniversitetet, Institutionen för design, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-36619.
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Andersson, Hannes, and John Sjöberg. "Pitcher : An automatic guitar tuner." Thesis, KTH, Mekatronik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-296308.
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Pitcher is a prototype which makes it easier for inexperienced guitar players to tune their guitars without any prior knowledge required. This thesis will explore how the construction varies between the usage of DC and a stepper motor, how reliable the tuner is and how long it takes to tune the guitar. The tuner will capture sound with a microphone and calculate the current frequency of the string with YIN autocorrelation. Based on the frequency a control system regulator is used to determine the speed and direction of a motor which turns the tuning peg, this is repeated until the string is in tune. 30 tests were conducted from different starting frequencies, and the time it took for the tuner to find the right pitch and the string’s corresponding frequency was measured. Some of the measurements were a couple of Hz off pitch, and only about half of the frequencies measured belonged to the interval where there is no noticeable dierence of the pitch, therefore the tuner could not be considered reliable. The time it takes to tune the guitar is dependent on how far off pitch the string is andthe dierence in time does not depend linearly with the starting frequency, it increases faster the further off pitch the string is.The tuner is portable and to apply the tuner to the guitar it is held and placed on the tuning peg with one hand as the other hand is plucking the string.Den automatiska gitarrstämmaren, Pitcher, är en prototyp som möjliggör för oerfarna gitarranvändare utan förkunskaper att stämma en gitarr. Den här avhandlingen kommer att undersöka hur konstruktionen skiljer sig åt vidanvändning utav en stegmotor respektive en likströmsmotor, hur lång tid det tar att stämma gitarren samt hur tillförlitligprototypen är. Stämmaren avläser ljudsignaler med en mikrofon och beräknar sedan frekvensen av strängen med hjälp av YIN autokorrelation. Den beräknade frekvensen behandlas i en regulator som avgör vilken hastighet och i vilken riktningmotorn ska rotera stämskruven. Detta repeteras tills korrekt frekvens erhålls. 30 test gjordes då gitarren stämdes från olika startfrekvenser där tiden att stämma strängen respektive dess frekvens mättes. Några mätningar hade en frekvens som avvek flera Hz från korrekt frekvens, och cirka hälften av frekvenserna från alla mätningar tillhörde frekvensintervallet där ingen skillnad kan höras på tonen, därför kan gitarrstämmaren ej anses vara tillförlitlig. Tidendet tar att stämma en sträng är beroende på hur ostämd den är och skillnaden i tid beror inte linjärt av startfrekvens, utan den ökar snabbare desto mer ostämd gitarren är. Stämmaren är portabel och för att applicera den på gitarren placeras munstycket på stämskruven medan den andra handen slår an strängen.
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Bunnell, Leah M. "SUBHARMONIC FREQUENCIES IN GUITAR SPECTRA." Cleveland State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=csu1624389777728368.
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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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Dahlgren, Christoffer, and Sebastian Grahn. "Ergonomic fingerings for guitar chordsequences." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-157142.
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An algorithm has been developed which generates fingeringsfor guitar chord sequences using a cost minimizing function.The performance of the algorithm was evaluated by two professional guitarists and the results indicate that the approach gives viable solutions. With a few minor improvements the algorithm can be a good way to calculate sets of guitar chord fingerings that suit specific needs concerning playability and ergonomic constraints.En algoritm har utvecklats som genererar fingersättningar för ackordsekvenser på gitarr med hjälp av en kostnadsminimerande funktion. Utvärderingen av algoritmen gjordes av två professionella gitarrister och resultaten indikerar att denna approach ger dugliga resultat. Efter ett par smärre förbättringar kan algoritmen vara ett bra sätt att beräkna fingersättningar som uppfyller specifika krav på spelbarhet och ergonomiska hänsyn.
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Kruger, Simone. "Experiencing ethnomusicology : student experiences of the transmission of ethnomusicology at universities in the UK and Germany." Thesis, University of Sheffield, 2007. http://etheses.whiterose.ac.uk/3648/.
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Using ethnographic research-and attendant methods of participant-observation and informal interviewing-at twelve universities in the UK and Germany, Experiencing Ethnomusicology studies the transmission of ethnomusicology, while exploring the ways in which students experience and make sense of their (world) musical encounters. Discussions begin with the contexts and broader organisational structure of higher education in which ethnomusicology is transmitted. Drawing on the voices of ethnomusicologists, the first chapter illustrates the ideological and social practices that inform the disciplining of ethnomusicology and its transmission to students at universities. Subsequent chapters focus on student experiences of the transmission of ethnomusicology and world musics. Specific emphasis is placed on how students make music meaningful and useful in their academic and personal lives, and what and how they learn when ethnomusicology is transmitted in the university classroom. This starts with discussions about students' listening to world musics and ethnomusicologists in order to shed light into their constructing and articulating of sociocultural identity, ideas of authenticity and a heightened sense of democracy. Ile following part explains student experiences of performing ethnomusicology, and assesses students' change of attitude and perspective, while drawing conclusions on the politics of representation and appropriation of world musics in the performing of ethnomusicology. Focusing subsequently on activities involving the composing of ethnomusicology, the final part discusses students' recreation of world musics in the form of transcriptions and creation of ethnography, whilst reflecting on the ways in which composing ethnomusicology transforms students' senses of self and others. The conclusion presents a pedagogy for ethnomusicology that resonates with a music education of the 21st century, drawing on previous discussions to illustrate some of the possibilities of a globally, contemporary and democratically informed sense of music.
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Fugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.
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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:
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Bower, Rudi. "A historic-hermeneutic critique of luthiery with specific reference to selected South African guiter builders." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/779.
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This study uses a general historical overview of luthiery that provides the reader with a basic understanding of construction techniques and terminology as a point of departure. From the outset the lack of consensus over an ideal or desired construction technique is highlighted. However, Torres is credited with the establishing of a perceived Spanish tradition of guitar construction and acknowledged as the “father” of the modern guitar. This will serve as a basic framework in which a discussion of six prominent past and present international luthiers can occur. These luthiers, namely Antonio de Torres, Hermann Hauser, Robert Bouchet, Daniel Friederich, Jose Romanillos and Greg Smallman are included in this study by virtue of their influence on the South African luthiers that are featured here. It is noted that these six luthiers, with the exception of Greg Smallman, all adhere to the “Spanish tradition” of guitar construction. Smallman can be considered a foremost proponent of a more recent “modern” school of guitar construction characterized by various innovative construction techniques. These are a result of new demands placed on the guitar as performance instrument because of larger concert venues and more collaboration with different instruments, resulting in a need for a stronger tone and more projection and penetration in sound. These two “poles” of luthiery are then manifested in the discussion on the seven featured South African luthiers. Alistair Thompson, Colin Cleveland, Mervyn Davis, Garth Pickard, Marc Maingard, Rodney Stedall and Hans van den Berg are discussed with special mention made of the features of their instruments, woods used and thoughts on luthiery, against the backdrop of their biographies. The four South African luthiers who build within the “Spanish tradition” (Pickard, Maingard, Stedall and Van den Berg) are distinguished from the three who build outside this so-called tradition (Thompson, Cleveland, Davis). South African luthiery is therefore shown to be an accurate microcosm of luthiery in global terms with styles of construction ranging from very “traditional” to very “modern”. The critical reflection on the information contained in this study appears in the form of a hermeneutic critique on luthiery that occurs within the parameters of the thought of two prominent hermeneutic thinkers, Martin Heidegger and his student, Hans-Georg Gadamer. It is shown that the collaboration that often occurs between guitar makers and performers can be related back to Gadamer and his analysis of Heidegger’s notion of the the hermeneutic circle. It is also argued that luthiery as practiced by the international and South African luthiers featured in this study can be seen both as art and technology in ancient Greek terms in that they are both a mode of revealing. Finally, it is shown how luthiery in its entirety can be viewed as a tradition and that different luthiers respond and add to this tradition in various ways.
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Paget, Jonathan. "The guitar music of Peter Sculthorpe /." Digitized version, 2003. http://hdl.handle.net/1802/5358.
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Thesis (D.M.A.)--University of Rochester, 2003.Includes vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5358
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Britton, Andrew. "The guitar in the romantic period." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528890.
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The thesis is divided into two parts. Part One charts the rise in popularity of the guitar in early-nineteenth-century Europe, shown to have its origins in mid-eighteenth France and the advent of the style galant. It examines critically the guitar's place in the musical life of the time, its repertory and performance, and the role it played in Romanticism. The ideological reasons why the instrument faced derision and exclusion from bourgeois institutions such as music journals and musical academies are also investigated here. Part Two takes the form of a case-study centred on guitar activity in Bristol and Bath in the early nineteenth century. The two cities act as a microcosm of the greater guitar world and serve to contextualize issues and problems examined in Part One. Two guitarists in particular, the Italian Giuseppe Anelli (c. 1787-1865) and the German Karl Eulenstein (1802-1890), served the local community for almost twenty years apiece and their contribution as performers, teachers and entrepreneurs is evaluated, as is the contribution of touring guitarists. Part Two concludes with an examination of the unique relationship between leading guitarists of the period - Anelli, Eulenstein, Leonhard Schulz and Trinitario Huerta - and the Bristol School of Artists, several of whom were keen amateur players. Their convivial activities are examined against the wider backdrop of European Romanticism. Key paintings of the Bristol School which feature the guitar are also discussed.
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Richardson, Stephen Jon. "Acoustical parameters for the classical guitar." Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390804.
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Barranco, Natalia. ""A diamond guitar" translation and analysis /." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=653.
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Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.
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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg
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Olson, Ted. "The Guitar: ‘An Orchestra Unto Itself'." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.
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Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.
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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.
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Mackenzie, John Lawrence. "The guitar works of Stephen Dodgson." Thesis, University of Leeds, 2006. http://etheses.whiterose.ac.uk/3356/.
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In 1986, the guitarist Roy Brewer expressed a thought in the minds of many guitarists when he wrote in his book A Guitarists Notebook that 'the guitar is an instrument searching for an identity'. This dissertation examines the guitar music of Stephen Dodgson, an English composer born in London in 1924, and who has been a prolific composer of music that includes the guitar since the early 1950s. It examines Dodgson's guitar music to determine the extent to which it reveals the guitar's identity, or helps to provide it with one; the extent to which his writing provides guitarists with a vantage point from which they are able to get a more inclusive, less isolated view of art music, and see the wider musical world in perspective; and in what ways his compositions have helped to integrate the guitar into the ambit of art music. There is little literature on Dodgson's work, including his writing for the guitar, other than a small number of magazine articles and a handful of essays by Dodgson himself. Therefore an ancillary aim of this dissertation is to conduct a survey of Dodgson's guitar music, and to discover the essential characteristics of his musical language, coupled with a demonstration of how his guitar works have been representative of his musical language throughout his career as a composer. It examines his background, and in what sense it prepares him as an innovative guitar composer; the reason he writes for the guitar, and how he regards and uses it; his works for solo guitar; what he has contributed to teaching materials for guitarists; his approach to the guitar in combination with other instruments, in the context of concertos, massed guitar groups and other ensembles; and how he combines the guitar with the voice. The dissertation draws from the articles and essays, from the results of a series of interviews with the composer and guitarists with whom he has collaborated, and from detailed scrutiny of selected scores.
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Grozman, Vladimir, and Christopher Norman. "An Algorithm for Optimal Guitar Fingering." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-134959.
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Almost every note on the guitar can be played in several different locations, using one of several fingers. The number of ways a musical piece can be played therefore grows exponentially with the number of notes in the piece. Several things influence a guitar player’s choice of fingering. This study focuses on the biomechanical difficulty, using dynamic programming and a rule-based cost function to find the fingering that is easiest to play. The rules were mostly proposed by Mårten Falk, a guitar teacher at Lilla Akademien. The algorithm is limited to monophonic music. It was evaluated by Anders Eriksson, a guitar teacher at Lidingö Music School, on five classical music pieces. The produced fingerings were fully playable, though a few oddities were present, mostly stemming from the algorithm’s short sightedness: only adjacent notes were considered by the cost function.På en gitarr får man oftast välja var, och med vilk et finger, en not ska spelas. Ett musikstycke kan därför spelas på ett antal sätt som växer exponentiellt med antalet noter i stycket. Vilken fingersättning som är bäst beror på flera olika faktorer, denna avhandling fokuserar på den biomekaniska svårigheten för en fingersättning. Den beskrivna algoritmen använder dynamisk programmering och en regelbaserad kostnadsfunktion för att hitta den mest lättspelade fingersättningen. Den är begränsad till monofonisk musik. De flesta reglerna föreslogs av Mårten Falk, gitarrlärare vid Lilla Akademien. Algoritmen kördes på fem klassiska musikstycken och resultaten utvärderades av Anders Eriksson, gitarrlärare vid Lidingö Musikskola. De genererade fingersättningarna var fullt spelbara. Det fanns dock några konstigheter i dem, varav de flesta härstammade från algoritmens kortsiktighet: enbart intilliggande noter påverkar kostnadsfunktionen.
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Field, Anthony. "Tuning the classical guitar : a commentary and guide /." Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/7078.
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Detailed discussion of tuning the classical guitar within the context of equal temperament's development. Alternative models for tuning systems are discussed along with accurate and practical guidelines on how to tune the conventional classical guitar using equal temperament.
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Aranha, Mark. "Jews and Mappilas of Kerala: A study of their history and selected song traditions." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33626.
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This dissertation restudies the history and selected archival musical recordings relating to the Jews and Mappila Muslims on the Malabar coast of Kerala, India. These two communities arose out of transoceanic migrations and interactions over the longue durée, and in reconstructing their past, this work aims to uncover traces of their links to each other and to others across the seas. This is a part of a larger project, Re-Centring AfroAsia, which seeks to trace human and musical migrations between 700-1500CE. Previous studies, apart from suffering from colonial biases, have tended to focus on a single religion, a single community, or a single discipline, with the aesthetic fields remaining largely untapped as a source. This work combines diverse sources and methodologies – using a musical archive, restudies, field interviews, field recordings, as well as a range of secondary sources, and crosses over multiple fields of study. The field research threw up certain inadequacies in the existing secondary literature, which this dissertation has attempted to untangle: 1) Ideas and reform movements of the twentieth century have affected the interpretation of past cultural practices in Malabar. This is true of studies of both Jews and Mappila Muslims. 2) The role of Sufism and Sufi tariqats in the propagation of Islam in Malabar has been historically underplayed in the literature. The influence of Jewish mystics on the Malabari Jewish community is also rarely identified as such. 3) While the Mappilas' links with Arab nations are known, their Tamil roots are relatively understudied. The latter emerged in my restudy of the archival music selection. 4) A minority of elite Jews in Kerala seem to have taken over the historical narrative of the entire group, skewing almost all secondary literature right from the early colonial period into the twentieth century. It is apparent that the Malabari Jews have been denied a voice in most of these works, and so my field work with the Jews primarily focused on this subgroup.
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Lumbwe, Kapambwe. "Ubwinga, a subset of Bemba indigenous knowledge systems : a comparative study of pre-colonial and post-independence wedding ceremonies in Lusaka and Kitwe, Zambia." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/12141.
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Includes abstract.Includes bibliographical references (p. 258-284).
This study has, by way of ethnographic investigation, compared the Bemba ubwinga ceremonies performed in Lusaka and the Copperbelt during the pre-colonial era and the white wedding ceremonies performed during the post-independence era. It has further investigated the nature and existence of Bemba IKS. This study employed qualitative research methods involving extensive fieldwork in Lusaka and the Copperbelt. Apart from audio-visual recordings and analysing 25 marriage ceremonies, individual and focus group interviews were conducted with participants of wedding ceremonies and a sample of research participants from various age groups. Participant observation was used to collect data, while the interviews served as a means to clarify information about ubwinga ceremonies.
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Miya, Florence Ngale. "Educational content in the performing arts : tradition and Christianity in Kenya." Doctoral thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7973.
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Includes bibliographical references (p.235-263).The performing arts (a combination of music, dance and dramatisation) in the church in Kenya have not received much scholarly attention. These performing arts as adopted by Christian dance groups in Kenya have not been fully accepted into Christian circles because of the indigenous and popular music influences that govern them. This study therefore sets out to determine the educational role that the performing arts in the church in Nairobi play as demonstrated by a Nairobi Christian dance group, the Maximum Miracle Melodies.
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Johansson, Mattias, Peter Nordström, and Sebastian Ärleryd. "Chord King : Guitar Hero för akustiska gitarrer." Thesis, Uppsala universitet, Institutionen för teknikvetenskaper, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-158781.
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Ett spel för akustiska gitarrer som liknar Activisions Guitar Hero har skrivits i programmeringsspråket Python. Spelet har ett grafiskt användargränssnitt och ett flertal låtar finns att välja emellan. I spelet visas de ackord eller enskilda strängar som ska spelas och när man ska spela dessa. Poäng delas ut om man träffar rätt ackord eller sträng. Spelet fungerar bra i ett normaltyst rum om gitarren spelas ganska rent. Förbättringsmöjligheterna är goda.
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Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.
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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
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Walker, Gordon Peter. "Towards a physical model of the guitar." Thesis, Cardiff University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320645.
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Mohamad, Zulfadhli. "Estimating performance parameters from electric guitar recordings." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36695.
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The main motivation of this thesis is to explore several techniques for estimating electric guitar synthesis parameters to replicate the sound of popular guitarists. Many famous guitar players are recognisable by their distinctive electric guitar tone, and guitar enthusiasts would like to play or obtain their favourite guitarist's sound on their own guitars. This thesis starts by exploring the possibilities of replicating a target guitar sound, given an input guitar signal, using a digital filter. A preliminary step is taken where a technique is proposed to transform the sound of a pickup into another on the same electric guitar. A least squares estimator is used to obtain the coefficients of a finite impulse response (FIR) filter to transform the sound. The technique yields good results which are supported by a listening test and a spectral distance measure showing that up to 99% of the difference between input and target signals is reduced. The robustness of the filters towards changes in repetitions, plucking positions, dynamics and fret positions are also discussed. A small increase in error was observed for different repetitions; moderate errors arose when the plucking position and dynamic were varied; and there were large errors when the training and test data comprised different notes (fret positions). Secondly, this thesis explored another possible way to replicate the sound of popular guitarists in order to overcome the limitations provided by the first approach. Instead of directly morphing one sound into another, replicating the sound with electric guitar synthesis provides flexibility that requires some parameters. Three approaches to estimate the pickup and plucking positions of an electric guitar are discussed in this thesis which are the Spectral Peaks (SP), Autocorrelation of Spectral Peaks (AC-SP) and Log-correlation of Spectral Peaks (LC-SP) methods. LC-SP produces the best results with faster computation, where the median absolute errors for pickup and plucking position estimates are 1.97 mm and 2.73 mm respectively using single pickup data and the errors increased slightly for mixed pickup data. LC-SP is also shown to be robust towards changes in plucking dynamics and fret positions, where the median absolute errors for pickup and plucking position estimates are less than 4 mm. The Polynomial Regression Spectral Flattening (PRSF) method is introduced to compensate the effects of guitar effects, amplifiers, loudspeakers and microphones. The accuracy of the estimates is then tested on several guitar signal chains, where the median absolute errors for pickup and plucking position estimates range from 2.04 mm to 7.83 mm and 2.98 mm to 27.81 mm respectively.
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Lebos, Aaron. "Extended Program Notes for Thesis Guitar Recital." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/545.
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This thesis presents extended program notes for a sixty-minute guitar graduate recital consisting of the following repertoire in order: Benin; Pure; Home; Closure all by Aaron Lebos; Pat Methany’s Uniquity Road; Sonny Rollins’s Airegin; and Aaron Lebos’s Nothing. These works encompass and display a variety of musical influences and styles. The content of this thesis features detailed information on rhythmic, melodic and harmonic aspects of these works through historical study, musical analysis, and research in performance.
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Isaacson, David J. "A suggestopaedia-based method of guitar instruction." Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/16849.
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Bibliography: pages 133-138.Sight-reading is generally regarded by guitar teachers as a problem area of instruction. The aim of this thesis is to address the problem through a fourfold approach: 1. defining sight-reading in terms of its historical context ; 2. providing a rationale, and proposing an alternative method, for teaching sight-reading on the guitar based on a language teaching model ; 3. developing the proposed method ; 4. evaluating the proposed method experimentally. Music and language share many common characteristics. It is for this reason that Suggestopaedia, a method validated in language teaching, has been adapted for teaching the guitar with sight-reading skills as the central focus. Suggestopaedia has been chosen because it stimulates the whole personality, and all brain systems, of the learner.
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Jordaan, Abri Petrus Jacobus. "Ontwikkelings in kitaarnotasie : ‘n historiese perspektief met toepassings vir hedendaagse gebruik." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/30874.
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Kazandjian, Fred. "The concept and development of the Yepes ten-string guitar : a preliminary investigation." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/16850.
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The purpose of this study is to provide a broader understanding of the Yepes ten-string guitar. Since its inception, twenty-eight years ago, no authoritative work has been published providing inferential detail which explains the concept and development of the Yepes guitar. As a result, this instrument has been, and still is, criticized by some, largely from ignorance or lack of knowledge about the instrument. In an attempt to rectify this situation and make the instrument's extended possibilities known, the author has undertaken extensive research and has interviewed, amongst others, leading international authorities associated with the Yepes ten-string guitar. As a result of these efforts, a clearer and more positive understanding of the instrument has emerged. This in turn has become the foundation on which this dissertation has been written. The opening chapter of this dissertation provides an overview, showing how the guitar emerged and developed before the concept of multi-string guitars became established in Europe, during the second half of the eighteenth century. Aspects pertaining to the early guitar's physical features, performance practices, music, tuning and stringing methods are discussed. Several multi-string vihuelas and guitars are also mentioned. The following chapter presents a survey of numerous experiments carried out during the 1770-1900 period; to 'improve' the capabilities of the guitar. Here a number of early multi-string instruments related to the Yepes ten-string guitar are discussed. These include guitars with added basses, guitars with added trebles, guitars with added basses and trebles, and guitars with multiple necks. The third chapter shows how out of an enormous variety of eccentric forms of the guitar, some professional guitarists opted for multi-string guitars (with added basses) as their instruments, whilst others preferred the six-string variety. The music of guitarist-composers who composed for multi-string guitars is discussed alongside those who wrote specifically for the six-string guitar. The rationale for the tuning and disposition of strings on most of these multi-string guitars, past and present, as well as several illustrations showing their physical features are included. The penultimate chapter comprises an interview with Narciso Yepes and other leading figures associated with the ten-string guitar. The reasons behind Yepes' unique concept for the ten-string guitar, arguments for and against the instrument, as well as its tuning and problems related to playing this instrument are discussed. The chapter includes an inquiry(with examples) showing how the ten-string guitar can be used, amongst other things, to facilitate the playing of difficult passages in music originally composed for the six-string guitar. The extension of the repertoire with music composed specifically for this instrument is also briefly discussed. A comprehensive discography of recordings made by Narciso Yepes on the ten-string guitar is presented in the appendix. A more detailed discussion of the ten-string guitar repertoire in the twentieth century is presented in the final chapter. It includes several compositions originally intended for the traditional guitar, which have become associated with the Yepes guitar. At least five compositions composed and dedicated to Narciso Yepes by various composers are also examined. It is concluded that this instrument clearly offers more than what has been assumed over the past twenty-eight years.
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Theodoridis, Ioannis. "Theme and Variations for guitar Op. 77 : an analysis and background of Lennox Berkeley’s brilliant composition for the guitar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1674.
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This essay on Lennox Berkeley’s Theme and Variations for Guitar serves as the written half of my final dissertation for my bachelor’s degree in classical music, following my studies for Peter Berlind Carlson at the Royal College of Music in Stockholm between the years 2011- 2014. The other half of this project consists of a studio recording and a concert performance of this piece that I have analysed. Originally, this paper was written in Swedish but also translated to English to serve as an academic writing sample for the Royal College of Music in London, necessary for approving my continued postgraduate studies there starting in September 2014. Other reasons for translating this paper to English is partly the piece’s English origin but also the lack of other available information on this beautiful composition for the guitar. Hopefully, this paper may be of help to guitarists and Berkeley enthusiasts in exploring this remarkable piece of music and Lennox Berkeley’s relationship to the guitar.Bilaga: 1 CD
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Lochbaum, Stephen. "An Overview and Performance Guide to the 10 Etudes for Guitar by Giulio Regondi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505178/.
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The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can prepare the guitarist for challenges found in playing music that is not written for the guitar or even by guitarists which consists of a substantial portion of the modern concert guitarist's repertoire. His music pushes what is possible on the guitar and borderlines what many would call idiomatic. This paper establishes a small number of techniques that will allow players to solve any challenge presented in the etudes from multiple technical viewpoints.
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Wendt, Christopher Lee. "Culture mediation and sound preservation : methodologies in ethnomusicology." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285584.
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This thesis explores how the study of culture can benefit from Western technology by reviewing anthropological theoretical and methodological processes and issues concerning reciprocity between the ethnographers and research subjects. In this case I am exploring the process of digitizing and dissemination of 400 hours of Kiowa song recordings. New digitizing equipment has made audio preservation and access relatively easy and affordable. These issues are most critical to groups like the Kiowa whose songs I have already started digitizing. In this thesis I closely examine existing collaborative theory and methodology in order to demonstrate the balance that can and should be maintained when using technology to preserve traditional music. In general, applying audio technology to an anthropological problem can enhance or inhibit the ethnographic process. My thesis focuses on how audio technology can contribute to this process without inhibiting, complicating, or distorting the way ethnomusicologists, folklorists, and anthropologists practice go about recording sound.Department of Anthropology