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Journal articles on the topic 'Flute and guitar music'
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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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Lamba, Linesti, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band." Journal of Music Science, Technology, and Industry 2, no. 2 (2019): 169–84. http://dx.doi.org/10.31091/jomsti.v2i2.865.
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This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.
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Zhumsakbayev, Aman T., Kadisha R. Nurgali, and Zhanat A. Aimukhambet. "Musicality of Plays by A. P. Chekhov and G. M. Musirepov." Interdisciplinary Literary Studies 25, no. 2 (2023): 163–75. http://dx.doi.org/10.5325/intelitestud.25.2.0163.
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ABSTRACT The dramaturgy of Musirepov and Chekhov is very closely related to music. The writers understood that with the help of music, the problems posed by playwrights acquire philosophical depth, images and situations are voiced, and the composition of a play is built. The study of the musicality of Chekhov and Musirepov’s plays is an urgent problem for both Russian and Kazakh literature. To analyze the musicality of their plays, various methods of scientific knowledge were used. Particular attention is paid to the study of the sound of musical instruments in Chekhov and Kazakh drama. Guitar, piano, flute, and dombra are designed to create a unique atmosphere and enhance psychologism. Thus, musical motives not only have an auxiliary function, but they, along with dialogues, are an integral and equal part of the dramatic structure. The analysis of the role of music in the plays of Chekhov and Musirepov can be used to study the creativity of the authors. This work can be used by teachers and students of higher educational institutions to study the musicality of plays during lectures and practical classes.
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Budhiono, Sofia Shieldy, and I. Dewa Made Bayu Atmaja Darmawan. "Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 3 (2020): 347. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p18.
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Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.
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Stenstadvold, Erik. "A Newly Discovered Letter of 1827 by Fernando Sor." Soundboard Scholar 3, no. 1 (2017): 4–12. http://dx.doi.org/10.56902/sbs.2017.3.4.
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This article discusses a hitherto unknown letter, written by Sor in Saint Petersburg in April 1827. It provides new insight into the publishing and personal relationship between Sor and his Paris publisher, Antoine Meissonnier, to whom the letter was addressed. We learn about three airs with variations Sor was busy composing at the time; he was particularly pleased with the variations Meissonnier later published as op. 30. The letter also mentions some unknown Sor works, including a book of drafts at Málaga, and it reveals that Meissonnier had published, without Sor’s knowledge, music that he had received from sources other than the composer himself. Furthermore, Sor blames Meissonnier for having published in his name two minuets that were not actually composed by him, and for releasing as a solo piece the guitar part of a duo for flute and guitar. Finally, the letter reveals Sor’s negative attitude toward the engraving by M. N. Bates of his portrait—the only sure pictorial record of Sor we have. The article also sheds new light on the relationship between Sor and the young ballerina Félicité Hullin and the rupture between the two in 1827.
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Rosner, Joshua. "Opening the “Door”: A Multifaceted Approach to the Analysis of Text Setting in the Third Movement of Kate Soper’s “Door” (2007)." Indiana Theory Review 39, no. 1 (2024): 1–26. http://dx.doi.org/10.2979/itr.00001.
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Abstract: The majority of Kate Soper’s (b. 1981) output as a composer-vocalist focuses intensely on the relationship between words and music. Methods of text and music analysis have primarily focused on relating musical materials to the semantic meaning of texts or have studied the ways composers musicalize sounds and use the materiality of poetry. Building on past scholarship and drawing from Soper’s program note to “Door” (2007), a setting of poems by Martha Collins for soprano, flute, tenor saxophone, accordion, and electric guitar, I develop a model that looks beyond semantics to investigate the roles of acoustic and aesthetic properties of words. My novel approach examines the relationship between music and words through four different but interrelated interpretive lenses: 1. Lexical, 2. Figurative, 3. Acoustic, and 4. Aesthetic. I demonstrate my methodology using the third movement of “Door” as a case study. I use Lexical interpretation to interrogate the piece-specific associations developed by Soper. My Figurative interpretation draws on the meaning of the words and extrapolates meaning from the poem before finding sonic analogues within the music. Acoustic interpretation involves inspecting the phonemes and acoustic envelopes of words and relating them to Soper’s choice of instruments. Finally, I observe which qualities of the poem and text resonate with me. Through Aesthetic interpretation, I attempt to understand what makes these qualities appealing. This multifaceted approach opens the door to consideration of new dimensions of comparison between text and music.
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Green, Emily H. "How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century." Journal of the American Musicological Society 73, no. 2 (2020): 267–325. http://dx.doi.org/10.1525/jams.2020.73.2.267.
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Written in the form and style of the popular “novel of circulation” (or “it-narrative”), this article examines and provides an experience of the performance practices of eighteenth-century amateur music. It tells the typically complex history of a minor hit, “Come Haste to the Wedding,” a tune that was sung in a 1760s Drury Lane pantomime, rewritten as a rondeau for London publishers, danced as a jig in Irish and Scottish halls, transcribed as a fiddle tune by a captain in the Continental Army, circulated as a flute or guitar melody as far abroad as Calcutta, and collected by a young loyalist in Charleston, South Carolina. I argue that common to all these versions—and among many similar and neglected amateur genres, including sectional variation sets and dance collections—was the practice of desultory reading. The term “desultory” itself comes from the period, and the practice suggested here extrapolates from evidence of readers' experience of approaching literature and periodicals out of order. Many musical texts asked readers to skip between pages and sections, rondeaux chief among them but also instructional treatises. Some of those same treatises, by C. P. E. Bach (1753–62) and Quantz (1752), hint at desultory reading in subtle admonitions. Through a lively engagement with period style, this article outlines a new definition of music reading informed by eighteenth-century language and practical context, a definition attuned to the ocular and physical habits of the era's most plentiful practitioners: domestic performers of domestic music.
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Terán Flores, Hugo, and Yessenia Mendieta Torres. "Uso de la guitarra como recurso de aprendizaje musical en los estudiantes de 5to año de Educación Básica de la Unidad Educativa María Montessori de la ciudad de Manta." Revista Cognosis. ISSN 2588-0578 5, no. 3 (2020): 69. http://dx.doi.org/10.33936/cognosis.v5i3.2792.
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El presente proyecto práctico se realizó en la parroquia de Tarqui, cantón Manta, Provincia de Manabí Ecuador, en la Unidad Educativa Particular María Montessori en el 5to año de Educación básica, donde contamos con 16 estudiantes entre niños y niñas. El objetivo de este estudio es establecer el uso adecuado de la guitarra dentro del aula de clases, como recurso enriquecedor del aprendizaje de la música en los estudiantes del 5to. Año de Educación Básica de la Unidad Educativa María Montessori. En esta institución se practica la enseñanza de instrumentos musicales como flauta dulce y lira, aquí contamos con 16 estudiantes de los cuales la mitad (8) han mostrado un gran interés en dicho aprendizaje, y unas excelentes condiciones musicales, por este motivo se ha buscado alternativas metodológicas que despierten la curiosidad y sensibilidad hacia la práctica musical, se observó que con el método tradicional, algunos niños presentan dificultades en la ejecución, a través de este trabajo se plantean acciones que permitan implementar técnicas eficientes en el uso de la guitarra. De esta forma la participación de las niñas y niños del 5to año de Educación General Básica de la Unidad Educativa María Montessori en la práctica activa del uso de la guitarra como medio de expresión dentro del arte musical se convierte en una acción que logra instaurar nuevas técnicas de enseñanza y aprendizaje a través de correcta aplicación y empleo de la guitarra. 
 PALABRAS CLAVE: aprendizaje musical; aprendizaje de la guitarra; enseñanza de la guitarra; técnicas guitarrísticas.
 USE OF THE GUITAR AS A MUSICAL LEARNING RESOURCE IN 5TH YEAR STUDENTS OF BASIC EDUCATION OF THE MARÍA MONTESSORI EDUCATIONAL UNIT OF THE CITY OF MANTA
 ABSTRACT
 The following project was carried out in the private school María Montessori in Manta, Ecuador with 16 students of 5th grade, including girls and boys. The objective of this study is establishing the proper use of the guitar in the classroom, as an enriching resource of learning music with the students of Basic Education of the Educational Unit María Montessori. In this institution is really important the teaching of musical instruments such as sweet flute and lyre. 8 of the 16 students have shown a great interest in learning this instruments, and develop excellent musical skills, for this reason, we had been searching methodological alternatives that stimulate their curiosity and sensitivity towards musical practice, it was observed that with the traditional method, some children have difficulties in execution, through this work actions are proposed that allow to implement efficient techniques in the use of the guitar. In this way the participation of girls and boys of the 5th year of Basic General Education of the “Maria Montessori” Educational Unit in the active practice of the use of the guitar as a means of expression within the musical art becomes an action that manages to establish new teaching and learning techniques through correct application and use of the guitar.
 KEYWORDS: musical learning; guitar learning; guitar teaching; guitar techniques.
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Ariesta, I. Made Jacky, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Bentuk dan Struktur Komposisi “Morning Happiness” Gus Teja." Journal of Music Science, Technology, and Industry 1, no. 1 (2018): 35. http://dx.doi.org/10.31091/jomsti.v1i1.504.
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ABSTRAKKomposisi musik “Morning Happiness” (2008) Gus Teja World Music terinspirasi saat komposernya Agus Teja Sentosa (Gus Teja) tertegun bahagia melihat anaknya di pagi hari tiba-tiba sembuh dari sakit dan bisa tersenyum. Muncullah nada-nada kebahagiaan yang dituangkan dalam karya musik instrumental “Morning Happiness” atau kebahagiaan di pagi hari yang dimasukkan dalam album “Rhytm of Paradise”. Permasalahan penelitian ini adalah bagaimana bentuk dan struktur komposisi “Morning Happiness” Gus Teja. Metode penelitian yang digunakan adalah kualitatif. Teori yang digunakan untuk mengupas permasalahan adalah teori analisis bentuk dan struktur lagu. Sumber data primer diperoleh dari hasil wawancara, pengamatan, dan diskografi (VCD). Data sekunder diperoleh dari sumber buku, jurnal, dan internet. Hasil penelitian menunjukan instrumen musik yang dipakai pada komposisi ini, yaitu suling, selokro, tingklik baro, gitar, bas, kendang angklung. Pada komposisi “Morning Happiness”, suling sangat banyak berperan yaitu sebagai melodi pokok lagu. Instrumen ini terbuat dari bambu, dan suling yang dipakai dalam komposisi ini yaitu bisa dikatakan perpaduan suling Bali dengan suling India dan Bandung. Dari aspek musikalnya, terdapat kaidah-kaidah seperti ketentuan jumlah birama, tanda sukat, progress chord di mana pola ritme dibawakan sesuai dengan yang ditentukan. Komposisi ini menggunakan nada dasar D=do, dengan tempo allegro (120MM), dan memakai sukat ¾ dan berbentuk tiga bagian yaitu A, B, C, C’, yang diawali oleh introduksi. Kata kunci: analisis bentuk dan struktur, komposisi musik, “Morning Happiness”, Gus Teja.ABSTRACTGus Teja World Music’s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his group’s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a ¾ and a three-part shaped A, B, C, C', started with an introduction. Keywords: form and structure analysis, musical composition, "Morning Happiness".
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Szydlowski, Joseph E. "Jobiniana no. 3 pour guitare, and: Jobiniana no. 1 pour 2 guitares, and: Circulo magico pour flute et guitare, and: Winter Impressions pour flute, alto et guitare, and: Uarekena pour quatuor de guitares (review)." Notes 60, no. 3 (2004): 804–8. http://dx.doi.org/10.1353/not.2004.0041.
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Rahayu, Made Lely, Eka Putra Setiawan, I. Ketut Sumerjana, et al. "Making tinnitus songs according to the frequency and amplitude of the sound of tinnitus sufferers that are safe and comfortable for sufferers." Indonesia Journal of Biomedical Science 17, no. 1 (2023): 28–32. http://dx.doi.org/10.15562/ijbs.v17i1.422.
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Background: Tinnitus is the perception of sound heard by a person without an external stimulus. About 10-14.5% of the world's population experience tinnitus, with the most common age group being 40-60. The management of tinnitus is still a challenge for researchers. Until now, there has been no effective management of tinnitus. The last therapy available is to make artificial sounds that imitate the tinnitus sound so that it can mask the actual tinnitus sound. In addition, music therapy is expected to reduce the stress level of tinnitus patients. Methods: This research is a follow-up study from previous research with 26 subjects. After getting the frequency and amplitude of tinnitus, a sound stimulus is made by combining tone variations and good generators obtained from audiometric masking. Tone variations are made using a basic tone that matches the patient's tinnitus frequency. After that, the patient will assess the results of the merger. Then all the participants will listen to dan evaluate the mixing song. Results: Of all subjective tinnitus sound generators, 3-5% have frequencies below 20 Hz and above 20,000 Hz. Songs made by recording in a soundproof room also have a frequency of 20 Hz and above 20,000 Hz, about 5 – 7%, where the song has an unnecessary frequency. The subjective tinnitus sound generator with the created song has an amplitude of < 85dB so that it can be adjusted with the volume control on the speaker. Conclusion: Tinnitus songs were made with the addition of Piano and Violin and Flute music, and Guitar, Bass and Balinese gamelan had a frequency of 20 – 20,000 Hz with an amplitude of < 85 dB, which can be adjusted with the volume so that it is safe and comfortable for tinnitus sufferers.
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CLARK, KATELYN. "‘OF THE TEMPERAMENT OF THOSE MUSICAL INSTRUMENTS’: CONSIDERING TIBERIUS CAVALLO AND THE SCIENTIFIC OBSERVATION OF MUSICAL SOUNDS IN LATE EIGHTEENTH-CENTURY LONDON." Eighteenth Century Music 15, no. 1 (2018): 47–51. http://dx.doi.org/10.1017/s1478570617000392.
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The connection of music to scientific exploration in late Enlightenment London can be considered from various perspectives, perhaps most evidently through the binary of amateur–professional. These two realms intersected within natural philosophical observation, a practice that often served concurrently as entertainment and as study. The development of scientific instruments for the observation of various phenomena appeared in both professional and amateur contexts, contributing to technological growth and research. Natural philosopher Tiberius Cavallo (1749–1809) and his 1788 article on musical temperament (‘Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c’) provide a captivating example of amateur interest overlapping effectively with the professional domain; as an amateur musician and professional scientist, Cavallo observed equal temperament in both mathematical and aesthetic terms. Consideration of his work promotes a more nuanced view of London as a place where scientific and musical ideas could meet and be ‘instrumentalized’, emphasizing the city's status as a vibrant arena for the interaction of scientific exploration, artistic endeavour and professional identities. In this sense, Cavallo's work on temperament was not merely a scientific activity; it reflected technological change during a stimulating period of scientific and musical progress in late eighteenth-century London. For example, instrument builders were actively developing ways to improve pitch control and tuning stability, as witnessed by numerous British patents for harp mechanisms, the addition of flute keys and keyboard construction.
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Asaulyuk, I. O., та A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, № 1 (2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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K.F. "String Orchestra: Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3)Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3). Jamey Aebersold/Peter Blair. Heritage Music Press, 2003. Student book $6.95, Conductor Score/Teacher's Guide (including CD) $19.95." American String Teacher 53, no. 3 (2003): 116. http://dx.doi.org/10.1177/000313130305300330.
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Ван, Ч. "Performance and pedagogy of an ensemble of woodwind instruments." Management of Education, no. 2(48) (April 14, 2022): 37–43. http://dx.doi.org/10.25726/t5807-7274-9656-f.
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Кларнет – относительно молодой музыкальный духовой инструмент, который стал продолжателем исторического развития и начал активно использоваться в композиторском творчестве, а значит и в исполнительстве (создан этот музыкальный инструмент в середине XIX века). Для нашего исследования особенно интересным и значительным смысловым фактом является то, что использование этого колоритного по звучанию музыкального инструмента началось с ансамблевого исполнения, в группе духовых инструментов духового и оперного, а позже – симфонического оркестрах. Отечественная музыкально-исполнительская культура развивалась параллельно с мировыми жанрами, поэтому использование кларнета было естественным в ее исполнительской культуре, а с начала ХХ в. кларнет использовался в исполнении джазовой музыки, эстрадной и поп-музыки. В 20-е годы появляется промежуточный стиль между традиционным джазом и свингом, так называемый Чикагский стиль, в котором в оркестрах (этого музыкального направления) появляется (среди контрабаса, фортепиано, гитары) флейта. Выдающимся исполнителем стиля “free jass” (50-е – начало 60-х годов) был известный кларнетист Лео Райт, игра которого имела большое влияние на отечественных музыкантов. С целью реализации методики обучения игры на кларнете начинающих учеников было разработано компонентную структуру данного вида обучения, которое имело такие составляющие, а именно: познавательный ( что отражает потребность в коллективном исполнении музыкальных произведений и уровень овладения музыкально-историческими и музыкально-теоретическими знаниями), операционнотехнологический (овладение исполнительско-двигательными умениями и навыками, что отражает процесс "перекодировки звуковых образов в моторные", которые обеспечивают способность для создания условий для совместной ансамблевой деятельности; регулятивно-оценочный (отражает уровень сформированности способности к адекватной оценки результатов собственной деятельности ученика-кларнетиста, направленной на исполнение музыкальных произведений). The clarinet is a relatively young musical wind instrument, which became the successor of historical development and began to be actively used in composing, and therefore in performance (this musical instrument was created in the middle of the XIX century). For our research, a particularly interesting and significant semantic fact is that the use of this colorful-sounding musical instrument began with an ensemble performance, in a group of wind instruments of brass and opera, and later – symphony orchestras. The Russian musical and performing culture developed in parallel with the world genres, so the use of the clarinet was natural in its performing culture, and since the beginning of the twentieth century the clarinet has been used in the performance of jazz music, pop and pop music. In the 20s, an intermediate style appeared between traditional jazz and swing, the so-called Chicago style, in which the flute appears in orchestras (of this musical direction) (among the double bass, piano, guitar). An outstanding performer of the “free jass” style (the 50s - early 60s) was the famous clarinetist Leo Wright, whose playing had a great influence on Russian musicians. In order to implement the methodology of teaching clarinet playing to novice students, a component structure of this type of training was developed, which had such components, namely: cognitive (which reflects the need for collective performance of musical works and the level of mastery of musical-historical and musical-theoretical knowledge), operational-technological (mastery of performance-motor skills and skills, which reflects the process of "transcoding sound images into motor images", which provide the ability to create conditions for joint ensemble activity; regulatory and evaluative (reflects the level of formation of the ability to adequately assess the results of a clarinetist student's own activity aimed at performing musical works).
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Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.
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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.
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Soldan, Robin. "Music for flute." British Journal of Music Education 4, no. 2 (1987): 198–201. http://dx.doi.org/10.1017/s0265051700005970.
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Burns, Cecilia E. "Therapeutic Uses of the Flute Within Music Therapy Practice." Music Therapy Perspectives 37, no. 2 (2019): 169–75. http://dx.doi.org/10.1093/mtp/miz003.
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AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.
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Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.
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Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.
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Wade, Graham. "Guitar." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966167.
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O'Loughlin, Niall, Claude Dorgeuille, Edward Blakeman, and Nancy Toff. "Flute." Musical Times 128, no. 1733 (1987): 388. http://dx.doi.org/10.2307/964536.
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O'Loughlin, Niall, Ellen Taaffe Zwilich, Niels Gade, et al. "Flute." Musical Times 133, no. 1797 (1992): 584. http://dx.doi.org/10.2307/1002595.
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Yeremchuk, Anastasiya Sergeevna. "Variation as the Dominant Factor in the Form Creation of I. Stravinsky’s Cycle “Four Russian Songs for Soprano, Flute, Harp and Guitar”." Pan-Art 2, no. 1 (2022): 15–22. http://dx.doi.org/10.30853/pa20220004.
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The research aims to substantiate that I. Stravinsky’s creative work is still relevant and innovative today in terms of updating the means of musical expression, searching for original timbre combinations, interpreting the features of Russian folklore in the modern musical language. The paper analyses I. Stravinsky’s cycle containing four Russian songs “Four Russian Songs for Soprano, Flute, Harp and Guitar” based on folk verses. The scientific novelty of the research lies in identifying the basic principle for the development of all elements of I. Stravinsky’s musical language, i.e. variation, which determines the form of each song in conjunction with its genre features. As a result, it has been proved that in each song of I. Stravinsky’s cycle “Four Russian Songs for Soprano, Flute, Harp and Guitar”, the fundamental method of forming a musical composition is the diversity of development variation, while the intonation mass shimmering with different tones is controlled by rhythm.
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Gurgul, Wojciech. "The Guitar in the Polish Music Periodicals “Poradnik Muzyczny” (1947–1989) and “Przegląd Muzyczny” (1990–1991)." Edukacja Muzyczna 18 (2023): 259–77. http://dx.doi.org/10.16926/em.2023.18.16.
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The aim of this article is to present the contents of two music journals, “Poradnik Muzyczny” [“Music Guide”] and “Przegląd Muzyczny” [“Music Review”], published by the Ludowy Instytut Muzyczny [People’s Institute of Music] in Łódź, with a focus on subjects related to classical guitar and guitar music in Poland. For many years, these periodicals, issued on a monthly or bimonthly basis, depending on the period of publication, were the primary platform for exchanging ideas about the guitar in Poland. These journals published historical and methodological articles on the guitar, reports on guitar events, reviews of publications for the instrument, and original compositions and arrangements for guitar solo as well as for ensembles with the guitar.
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Gurgul, Wojciech. "The Guitar in the Polish Music Periodicals “Poradnik Muzyczny” (1947–1989 ) and “Przegląd Muzyczny” (1990–1991)." Edukacja Muzyczna 18 (2023): 279–97. http://dx.doi.org/10.16926/em.2023.18.17.
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The aim of this article is to present the contents of two music journals, “Poradnik Muzyczny” [“Music Guide”] and “Przegląd Muzyczny” [“Music Review”], published by the Ludowy Instytut Muzyczny [People’s Institute of Music] in Łódź, with a focus on subjects related to classical guitar and guitar music in Poland. For many years, these periodicals, issued on a monthly or bimonthly basis, depending on the period of publication, were the primary platform for exchanging ideas about the guitar in Poland. These journals published historical and methodological articles on the guitar, reports on guitar events, reviews of publications for the instrument, and original compositions and arrangements for guitar solo as well as for ensembles with the guitar.
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Wang, Zhaosen. "Evolution of Chinese Bamboo Flutes and Flute Music from Six-Hole to Eight-Hole Flutes." Lecture Notes in Education Psychology and Public Media 42, no. 1 (2024): 32–41. http://dx.doi.org/10.54254/2753-7048/42/20240622.
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The flute is the oldest known musical instrument in China, with the six-hole bamboo flute representing a traditional fixed form. In the context of todays diverse musical culture, the traditional six-hole bamboo flute faces significant limitations when handling various stylistic compositions. In contrast, the eight-hole flute incorporates strengths from Western musical culture, enabling it to both maintain traditional characteristics and perform modern musical works. This paper, based on experimental and literature research methods, aims to elucidate the impact of the evolution from the six-hole to the eight-hole bamboo flute on the development of Chinese bamboo flute and flute music. The paper is divided into three parts. Firstly, it provides an overview of the basic structures of the six-hole and eight-hole bamboo flutes. Secondly, through flute music analysis, it explores the advantages of the eight-hole bamboo flute and the developmental relationship between bamboo flutes and flute music. The third part involves a new perspective on the development of bamboo flutes and flute music, contemplating how to coexist more effectively with the diverse music of the world.
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Cipolla, Wilma Reid, Aaron Copland, and Arthur Foote. "Chamber Music with Flute." American Music 7, no. 1 (1989): 120. http://dx.doi.org/10.2307/3052070.
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Smith, Richard Langham, Rachel Brown, Mark Caudle, and James Johnstone. "French Baroque Flute Music." Musical Times 135, no. 1811 (1994): 42. http://dx.doi.org/10.2307/1002839.
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Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (1986): 567. http://dx.doi.org/10.2307/964402.
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Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964753.
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Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965129.
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Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (1985): 737. http://dx.doi.org/10.2307/965210.
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Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965247.
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Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (1991): 449. http://dx.doi.org/10.2307/965651.
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Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (1985): 33. http://dx.doi.org/10.2307/962449.
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Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (1985): 350. http://dx.doi.org/10.2307/964035.
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O'Loughlin, Niall. "Modern Flute." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964755.
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O'Loughlin, Niall. "Flute Concertos." Musical Times 126, no. 1713 (1985): 677. http://dx.doi.org/10.2307/965056.
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