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Journal articles on the topic 'Ethnomusicology of the guitar'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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

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8

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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9

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

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10

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

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11

Holmes, Charlotte. "Guitar." Antioch Review 48, no. 4 (1990): 460. http://dx.doi.org/10.2307/4612267.

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12

Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (July 1987): 392. http://dx.doi.org/10.2307/964544.

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13

Wade, Graham. "Guitar." Musical Times 129, no. 1744 (June 1988): 306. http://dx.doi.org/10.2307/964893.

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14

Wade, Graham. "Guitar." Musical Times 131, no. 1767 (May 1990): 273. http://dx.doi.org/10.2307/966167.

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15

Woodworth, Henry F. "Electric guitar mountable upon acoustic guitar." Journal of the Acoustical Society of America 97, no. 2 (February 1995): 1365–66. http://dx.doi.org/10.1121/1.412157.

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16

Schuursma, Ann, Constantin Brailoiu, and A. L. Lloyd. "Problems of Ethnomusicology." Ethnomusicology 31, no. 1 (1987): 150. http://dx.doi.org/10.2307/852305.

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17

Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.

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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.

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18

Rahkonen, Carl, and Helen Myers. "Ethnomusicology: An Introduction." Notes 50, no. 4 (June 1994): 1435. http://dx.doi.org/10.2307/898337.

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19

Bielawski, Ludwik, and Ludwik Wiewiorkowski. "History in Ethnomusicology." Yearbook for Traditional Music 17 (1985): 8. http://dx.doi.org/10.2307/768434.

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20

Kippen, James, and Robert Witmer. "Ethnomusicology in Canada." Yearbook for Traditional Music 24 (1992): 170. http://dx.doi.org/10.2307/768488.

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21

Fox, Aaron A. "Divesting from Ethnomusicology." Journal of Musicology 37, no. 1 (January 1, 2020): 33–38. http://dx.doi.org/10.1525/jm.2020.37.1.33.

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This response to Amico’s paper draws lessons from the author’s own career to endorse Amico’s call to rename the discipline of “ethnomusicology,” while cautioning against the risks of nominalism as a sufficient response to the underlying tensions animating dissatisfaction with the current name of the discipline. The response emphasizes points of convergence and divergence between diverse disciplinary practices of music scholarship and locates a problem for efforts to synthesize such practices in competing views of science and applied research, and indeed in competing concepts of “music” as such.

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22

Lange, Barbara Rose. "Hypermedia and Ethnomusicology." Ethnomusicology 45, no. 1 (2001): 132. http://dx.doi.org/10.2307/852637.

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23

A. K. Omarova, A. Zh. Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 2, no. 384 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/2020.2518-1467.61.

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24

박미경. "Inquery in ethnomusicology." Music and Culture ll, no. 32 (March 2015): 185–211. http://dx.doi.org/10.17091/kswm.2015..32.185.

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25

Wong, Deborah. "Ethnomusicology without Erotics." Women and Music: A Journal of Gender and Culture 19, no. 1 (2015): 178–85. http://dx.doi.org/10.1353/wam.2015.0014.

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26

Clark, Susan D., Constantin Brailoiu, and A. L. Lloyd. "Problems of Ethnomusicology." Asian Music 17, no. 1 (1985): 161. http://dx.doi.org/10.2307/833748.

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27

Aduonum. "Ethnomusicology, Ayε Kradow?" Ethnomusicology 65, no. 2 (2021): 203. http://dx.doi.org/10.5406/ethnomusicology.65.2.0203.

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28

McKenzie, Don, Michael Tippett, and Julian Bream. "The Blue Guitar: Sonata for Solo Guitar." Notes 43, no. 1 (September 1986): 182. http://dx.doi.org/10.2307/897866.

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29

Pecoraro, Joseph. "Guitar Forum: Starting a Class Guitar Program." American String Teacher 62, no. 3 (August 2012): 54–57. http://dx.doi.org/10.1177/000313131206200308.

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30

Purse, Bill. "Guitar Forum: GarageBand Tutorial for Guitar Instructors." American String Teacher 66, no. 1 (February 2016): 32–35. http://dx.doi.org/10.1177/000313131606600106.

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31

Witzleben, J. Lawrence. "Whose Ethnomusicology? Western Ethnomusicology and the Study of Asian Music." Ethnomusicology 41, no. 2 (1997): 220. http://dx.doi.org/10.2307/852604.

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32

Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (January 1985): 33. http://dx.doi.org/10.2307/962449.

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33

Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (June 1985): 350. http://dx.doi.org/10.2307/964035.

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34

Shaw, Eric D. "Collapsible guitar." Journal of the Acoustical Society of America 91, no. 4 (April 1992): 2306. http://dx.doi.org/10.1121/1.403599.

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35

Mello, William, and John Hendrickson. "Guitar bow." Journal of the Acoustical Society of America 92, no. 2 (August 1992): 1200. http://dx.doi.org/10.1121/1.403987.

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36

Bonanno, Carmine. "Guitar controller." Journal of the Acoustical Society of America 80, no. 3 (September 1986): 1001. http://dx.doi.org/10.1121/1.393935.

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37

Turner, William H. "Acoustic guitar." Journal of the Acoustical Society of America 80, no. 3 (September 1986): 1001. http://dx.doi.org/10.1121/1.394473.

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38

Nyack, Norris, and Michael Nyack. "Electric guitar." Journal of the Acoustical Society of America 81, no. 6 (June 1987): 2006. http://dx.doi.org/10.1121/1.394702.

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39

Talbird, John Duncan. "Johnny Guitar." Quarterly Review of Film and Video 27, no. 5 (September 30, 2010): 396–99. http://dx.doi.org/10.1080/10509208.2010.494989.

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40

Gluibizzi, Amanda. "TrackingStar Guitar." Quarterly Review of Film and Video 30, no. 2 (March 2013): 127–39. http://dx.doi.org/10.1080/10509208.2011.563208.

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41

Wixon, Dennis. "Guitar Hero." Interactions 14, no. 3 (May 2007): 16–17. http://dx.doi.org/10.1145/1242421.1242435.

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42

Stimpson, Michael. "The Guitar." Leonardo 21, no. 4 (1988): 464. http://dx.doi.org/10.2307/1578727.

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43

Segan, Marc H., and Michael Newsome. "Electronic guitar." Journal of the Acoustical Society of America 93, no. 1 (January 1993): 594–95. http://dx.doi.org/10.1121/1.405587.

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44

S. Platonov, Rachel. "Guitar poetry." Tekstualia 2, no. 53 (July 29, 2018): 147–56. http://dx.doi.org/10.5604/01.3001.0013.3291.

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The article explores the notion of guitar poetry and aims at tracing the genealogy of the genre that continued the traditions of music culture widespread in Russia in the eighteenth and nineteenth century, and was later revived in the 1940s. The genre had its roots in the classic romance and the urban romance, although it should not be considered as a simple hybrid of the two. The article goes on to establish similarities and differences between these three genres. It looks at the achievement of the major composers and writers who represented the guitar poetry movement, such as Victor Berkovsky, Aleksandr Mirzayan and Sergey Nikitin (composers), and Boris Pasternak and Marina Tsvetaeva (writers). The article addresses the themes of guitar poetry and puts a special emphasis on the genre’s pessimistic approach towards love.

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45

Brimicombe, Michael. "Guitar tuner." Electronics Education 2001, no. 3 (2001): 19–25. http://dx.doi.org/10.1049/ee.2001.0043.

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46

Berardi, Michael. "Guitar mute." Journal of the Acoustical Society of America 84, no. 6 (December 1988): 2306–7. http://dx.doi.org/10.1121/1.396761.

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47

Ralson, Roy A. "Electric guitar." Journal of the Acoustical Society of America 86, no. 5 (November 1989): 2053. http://dx.doi.org/10.1121/1.398496.

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48

Douglass-Chin, Richard. "Blood Guitar." African American Review 47, no. 1 (2014): 189–92. http://dx.doi.org/10.1353/afa.2014.0028.

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49

Kummet, Carol. "Acoustic Guitar." Journal of Social Work in End-of-Life & Palliative Care 15, no. 2-3 (June 11, 2019): 76. http://dx.doi.org/10.1080/15524256.2019.1624239.

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50

Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (October 1986): 567. http://dx.doi.org/10.2307/964402.

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