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Academic literature on the topic 'Flute and guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Flute and guitar music"

Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (1985): 163. http://dx.doi.org/10.2307/961677.

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Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.

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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.

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Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.

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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.

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Turetzky, Bertram, Douglas Leedy, Erzsebet Szonyi, Jean Chastanet, and Barry Guy. "Canti: Music for Contrabass and Chamber Ensemble [Flute, Guitar, Vibraphone, Marimba, Viola] (1975)." Notes 47, no. 3 (1991): 963. http://dx.doi.org/10.2307/941944.

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Doğan, Tekin, and Barış Erdal. "Which one is your the favoritte instrument? A Study on the demographic and socio-cultural factors that affect the instrument preferenceSenin favori çalgın hangisi? Çalgı tercihini etkileyen demografik ve sosyo-kültürel faktörler üzerine bir araştırma." Journal of Human Sciences 13, no. 3 (2016): 6050. http://dx.doi.org/10.14687/jhs.v13i3.4122.

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Music, which is a part of the cultural expression, can be seen in all of the communities or societies of the world. Undoubtedly, instruments are among the most important elements that put music into being. Every culture from past to present has produced numerous musical instruments depending on the geography inhabited, production format, level of access to the technology, their varied customs and traditions. This diversity was also contribute to the formation of various kinds of music in a sense. Especially during the last fifty years research on the diversity of music preferences/tastes gained great momentum but it is amazing that there is limited research on musical instrument taste. In this study, people's musical instrument tastes were examined in accordance with certain demographic and social variables. Research was conducted among participants of 130 female and 102 male who are 18-27 years old (n = 232). Participants were asked to evaluate the selected 10 different instruments from four different continents (Pan Flute, Violin, Sitar, Kavala, Morin Khuur, Classical Guitar, Flute, Erhu, Lute, and Piano) with four predetermined simple melodies. The melodies used were selected of 4 different audio systems (tonal, modal, modal, pentatonic). In addition, the instruments were also evaluated with authentic melodies of culture each one belongs to. As a result of the study, a significant relationship has emerged between the levels of musical instrument tastes of the participants and their age, gender, income level and choice of music genre. Based on the relationship between gender and the music genre listened to, it has been identified that women prefer more pop music, while men choose to listen to Turkish music. In addition, while most women prefer the Calssical Guitar, the Flute and Piano, the men chose the lute. The instrument that men and women have preferred least was Morin Khuur. The low-income participants preferred more piano, the middle-income participants preferred Classical Guitar, while high-income participants preferred Oud mostly. At the same time, across all income levels, Morin Khuur was the least popular instrument. As the average age of participants decreases, like for the guitar grows, but as the average age increases, like for the Kavala grows. Özetİfade kültürünün bir parçası olan müzik bütün dünya topluluk ya da toplumlarında görülebilir. Bunun yanı sıra kuşkusuz müziğe varlık kazandıran en önemli öğelerden biri de çalgılardır. Geçmişten günümüze her kültür, yaşadığı coğrafyaya, üretim biçimine, erişmiş olduğu teknolojik düzeye, birbirinden farklı adet, örf ve geleneklere bağlı olarak sayısız çalgı üretmiştir. Bu çeşitlilik bir anlamda bir çok müzik türünün oluşmasına da katkı sağlamıştır. Özellikle son elli yılda müzik tercihi/beğenisi üzerine yapılan araştırmaların büyük bir ivme ve çeşitlilik kazanmasına rağmen çalgı beğenisine yönelik araştırmaların sınırlı olması şaşırtıcıdır. Bu çalışmada, insanların çalgı beğenileri belirli demografik ve sosyal değişkenler çerçevesinde incelenmiştir. Araştırma 18-27 yaş arasında 102 erkek 130 kadın (n=232) katılımcı ile gerçekleştirilmiştir. Katılımcılardan belirlenmiş dört yalın ezgiyi, dört farklı kıtadan seçilen 10 farklı çalgı ile (Pan Flüt, Keman, Sitar, Kaval, Morin Khuur, Klasik Gitar, Yan Flüt, Erhu, Ud, Piyano) değerlendirmeleri istenmiştir. Kullanılan ezgiler 4 farklı ses sisteminden (tonal, modal, makamsal, pentatonik) seçilmiştir. Ayrıca çalgıların her biri ait olduğu kültürün otantik ezgileriyle de değerlendirilmiştir. Çalışma sonucunda katılımcıların çalgı beğeni düzeyleriyle yaş, cinsiyet, gelir düzeyi ve dinlenen müzik türü arasında anlamlı ilişkiler olduğu ortaya çıkmıştır. Dinlenilen müzik türü ve cinsiyet arasındaki ilişkiye göre kadınların daha çok Pop müzik, erkeklerin ise daha çok Türk müziği dinlemeyi tercih ettikleri tespit edilmiştir. Buna ek olarak kadınlar en çok Gitar, Yan Flüt ve Piyano’yu tercih ederken, erkekler Ud’u tercih etmiştir. Toplamda erkek ve kadınların en az tercih ettiği çalgı ise Morin Khuur olmuştur. Gelir düzeyi düşük katılımcılar daha çok Piyano’yu, orta gelir düzeyindeki katılımcılar daha çok Klasik Gitar’ı, yüksek gelir düzeyindeki katılımcılar ise daha çok Ud’u tercih etmiştir. Aynı zamanda tüm gelir düzeyleri arasında en az beğenilen çalgı Morin Khuur olmuştur. Katılımcıların yaş ortalaması küçüldükçe Gitar beğenisi, yaş ortalaması büyüdükçe Kaval beğenisi artmıştır.

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Koto, Erizon. "Idiom Musikal Minangkabau dalam Komposisi Karawitan, Sebuah Analisis Konteks Adaptasi Musikal." Gondang: Jurnal Seni dan Budaya 1, no. 1 (2017): 12. http://dx.doi.org/10.24114/gondang.v1i1.7918.

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The study aims at understanding and analyzing (a) understanding of the terminology of the composition and method of cultivation so that the terms of composition and arrangement can be understood contextually, (b) the mustering of Minangkabau musical idioms developed using Western elements and instruments to become a work of music; (c) Adapting Minangkabau karawitan to Western music concepts in a musical work in Karawitan ISI Padangpanjang. This research is field work, field includes observation, interview, and recording. Work in the laboratory includes processing, selecting, and filtering field data. The method used is qualitative method verivikatif begins with data collection both field, interview, and library then looking for theoretical approach to analyze the data that have been obtained. The results of the analysis show (a) The existence of inappropriate perception of the term compositional terms to be confused with the term arrangement. Cultivation works tend to be done collectively, not purely from the creativity of the owner of the work, but the work of the music on behalf of a person alone. (b) There is the use of Western musical elements and instruments in musical works in the form of harmonious harmonies, homophonic textures and polyphony and the use of flute instruments, alto saxophone, tenor saxophone, trumpet, trombone, tuba, guitar, bass guitar, keyboard and drum set. (c) Minangkabau Karawitan adapts to Western music in an academic context, in ISI Padangpanjang on musical forms.

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Christensen, Jean, Bent Lorentzen, and Ivar Lunde. "Paradiesvogel, for 7 Instruments: Flute/Piccolo, Clarinet, Violin, Cello, Guitar, Percussion, Piano (1983)." Notes 46, no. 1 (1989): 241. http://dx.doi.org/10.2307/940787.

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Barbosa, Eliana Rosa de Queiroz. "‘Being the culture’ and ‘playing the culture’: Choro and the Brazilianness performed in Brussels." Crossings: Journal of Migration & Culture 12, no. 2 (2021): 413–28. http://dx.doi.org/10.1386/cjmc_00042_1.

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Choro is an instrumental Brazilian music genre that emerged in Rio de Janeiro in the nineteenth century. It can adopt various forms with a basis of guitar, flute and cavaquinho ‐ the latter, a small guitar of Portuguese origin. Musical arrangements are normally elaborate, although in Brazil the players gather in usually informal and open settings, in indoors or outdoors formations called rodas (‘circles’). Following the customs of many Brazilian genres, players sit in a circle facing each other, the audience stands around and, occasionally, skilled couples dance to it. A roda de choro is not a concert, yet it is not just a rehearsal, but also a musical experience based on spontaneity. This article, drawing upon an observation exercise in the Brussels (Belgium) Choro scene, intends to explore the multitude of meanings of Choro as a practice in which Brazilians in diaspora, other migrants and locals engage and share experiences with each other, focusing on the social geographies of Choro and the social networks derived from this musical practice. The observation of this music-making process in Brussels raises additional questions of Brazilian (musical) identity in diaspora and its relation to the notions of longing (saudades), authenticity, affinity, transcendence and joy.

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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Dissertations / Theses on the topic "Flute and guitar music"

Schroeder, Lisa Marie. "The flute and guitar duo: the development of an equal partnership." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2010.

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THE FLUTE AND GUITAR DUO: THE DEVELOPMENT OF AN EQUAL PARTNERSHIP By Lisa Marie Schroeder December 2015 The 21st century flute and guitar duo literature contains equal parts of intricate melodic and harmonic content, challenging both players with standard and contemporary techniques. In the past, beginning with the late seventeen hundreds, the repertoire for this combination consisted of simple flute melodies and sparse, accompanimental guitar parts. When did an equal partnership begin developing between the instruments and how are professional duos guiding this change? For the research of this document, a survey was drafted and sent to 104 professional flute and guitar duos around the globe, resulting in 51 duos completing and returning the questionnaire. Of the 51 duos that returned the survey, 48 duos qualified as professional and three duos were disqualified. The general consensus reached is that the flute and guitar duo has developed into an equal partnership in the last 30 years, accomplished through music with more substantial parts for both instruments, beginning with the legendary Histoire du Tango by Ástor Piazzolla. My hope is that those who read this document will understand the need for more flute and guitar music containing equal parts, thus inspiring commissions. I hope, too, that the lists of pieces revealed by seasoned flute and guitar duos (located in Appendix B and C), will be a useful tool for all flute and guitar duos, especially those starting out in the genre. This document is essential to the university flute and guitar studios and beginning duos in selecting pieces in which both performers will learn and grow as instrumentalists and chamber musicians.

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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986. The following excerpt from the programme note in the score summarizes the 'spirit' of the composition. "The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound. 'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

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Griffeath-Loeb, Brian Griffeath-Loeb Brian Griffeath-Loeb Brian Griffeath-Loeb Brian. "Three pieces." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453364.

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Thesis (M.A.)--University of California, San Diego, 2008. The 2nd work for piano, amplified guitar, baritone saxophone, and tuba. Accompanying disc is DVD-ROM, and contains sound files of recordings of works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 8:00 ; ca. 6:00 ; ca. 11:00-12:00. Explanatory or program notes precede each work.

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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

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Rego, Eusiel Silva do. "Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analítica." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06032013-160229/.

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Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

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Jokic, Natasa. "Flute partita a-minor BWV 1013 : arrangement for guitar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-60.

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Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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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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Petterson, Jill. "Extended flute techniques in three culturally different solo flute pieces." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.

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Includes bibliographical references. Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.

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Michell, Paul. "Twentieth century Czechoslovakian flute music /." Title page, abstract and table of contents only, 1994. http://web4.library.adelaide.edu.au/theses/09MUM/09mumm623.pdf.

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Books on the topic "Flute and guitar music"

Hoover, Katherine. Canyon echos: Flute & guitar. Papagena Press, 1991.

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Strizich, Robert. Landscapes: For flute and guitar. Fallen Leaf Press, 1990.

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Tower, Joan. Snow dreams: For flute and guitar. Associated Music Publishers, 1987.

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Babbitt, Milton. Soli e duettini, flute and guitar. C.F. Peters, 1996.

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Satie, Erik. Three gnossiennes: For flute and guitar. Pierrot Press, 1987.

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Rochberg, George. Muse of fire: For flute and guitar. T. Presser, 1991.

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Paulus, Stephen. Fantasy in three parts: For flute and guitar. European American Music, 1989.

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Stravinsky, Igor. Four pieces for flute (or violin) and guitar. Chester Music, 1987.

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Schickele, Peter. Windows: Three pieces for viola (or flute or clarinet) and guitar. Elkan-Vogel, 1989.

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Diemer, Emma Lou. A certain slant of light, winter afternoons--: For flute and guitar : December, 1989. Seesaw Music, 1993.

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Book chapters on the topic "Flute and guitar music"

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

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Weekhout, Hans. "Mixing | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Flute." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-16.

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Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

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Williams, Tom. "Distorting Jazz Guitar." In Distortion in Music Production. Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-19.

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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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Lydon, Michael. "Reading Music." In How To Play Classic Jazz Guitar. Routledge, 2023. http://dx.doi.org/10.4324/9781003419549-4.

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Wallrup, Erik. "The tune of the magic flute." In Music as Atmosphere. Routledge, 2019. http://dx.doi.org/10.4324/9780815358718-11.

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Özaslan, Tan Hakan, Enric Guaus, Eric Palacios, and Josep Lluis Arcos. "Identifying Attack Articulations in Classical Guitar." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_15.

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Werner, Duncan, Bruce Wiggins, and Emma Fitzmaurice. "Development of an Ambisonic Guitar System." In Innovation in Music. Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-10.

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Conference papers on the topic "Flute and guitar music"

Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

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Zhao, Fenghua, Minghua Li, Caijie Zhou, Guangzeng Chen, and Yunjiang Lou. "Music Melody Extraction Algorithm for Flute Robot." In 2020 IEEE International Conference on Real-time Computing and Robotics (RCAR). IEEE, 2020. http://dx.doi.org/10.1109/rcar49640.2020.9303271.

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Liu, Hongfei. "Historical Development Overview on Cucurbit Flute Music." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.26.

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Liu, Hongfei. "Study on Wei Shijian Cucurbit Flute Music." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.52.

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Mastruzzo, Ana Ligia. "The Mesoamerican Sound Heritage in Current Argentinian Music for Flute." In Socratic Lectures 8. University of Lubljana Press, 2023. http://dx.doi.org/10.55295/psl.2023.ii19.

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The theme of the discussion is the influence of Mesoamerican culture legacy in the Argentinian contemporary music for flute. The aim of the article is to analyse the piece ”Coyolyantototl'' (in Náhuatl language meaning place of action of the rattle bird) for Pre columbian flute, flute and recitation in Náhuatl (one performer) composed in 2021 by Federico Núñez and dedicated to Argentinian- Italian flutist Ana Ligia Mastruzzo. Also it was the aim of the article to find the connections between Mesoamerican legacy and the actual musical productions in Latin America. Keywords: Mesoamerican culture; music; Flute; Mexicas; Contemporary music; Prehispanic instrument

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Worland, Randy. "Flute measurements in a Physics of Music lab." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4895818.

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Dittmar, Christian, Andreas Mannchen, and Jakob Abeber. "Real-time guitar string detection for music education software." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616120.

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Vitiuc, Alexandr. "The contribution of the bass guitar video cources to modern music education." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.14.

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This article is dedicated to the characteristic features of modern teaching to play the bass guitar, which is based on the study of video schools. The author considers the most representative publications for the bass guitar, focused on the practical use of the instrument in modern music. Particular attention is paid to the basics of playing the bass guitar, playing scales and arpeggios, slapping and tapping techniques, as well as to the study of Afro-Cuban styles.

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Luan, Xinmeng, Song Wang, Zijin Li, and Gary Scavone. "Acoustical Analysis of the Chinese Transverse Flute (dizi) using the Transfer Matrix Method." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001678.

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Ashtamoorthy, Anand, Pranav Prasad, Shashank Dhar, and Deepu Vijayasenan. "Frequency Contour Modeling to Synthesize Natural Flute Renditions for Carnatic Music." In 2018 International Conference on Signal Processing and Communications (SPCOM). IEEE, 2018. http://dx.doi.org/10.1109/spcom.2018.8724444.

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