Academic literature on the topic 'Guitar Guitar music Guitar music Guitare Guitare, Musique de Guitare, Musique de'

RESUMENEl Concierto Encuentro de Cuerdas Tradicionales Colombianas, evento anual que se realiza en la ciudad de Medellín y en varios municipios de Antioquia, es tomado aquí como una ventana para el análisis de la dinámica de esta práctica musical en el contexto regional. Se discute la participación de las nuevas generaciones, la disminución notoria de su público desde la óptica de una posible resistencia a cambios que no están a la altura de las exploraciones de las músicas populares en la actualidad; se establece una comparación entre las características de la práctica en la década previa a los inicios del evento y el período de su realización, y se examinan los mecanismos de apropiación, transmisión y circulación con que cuenta en la actualidad.PALABRAS CLAVECuerdas tradicionales de Colombia; bandola, tiple y guitarra; estudiantinas; música y cambio cultural; Concierto Encuentro de Cuerdas Tradicionales Colombianas.¿IMATAK ATUNKUNA SAKIPUSKA LLUKANKUNA KUNAURAMANDAKUNA? SUG KAWAI, SUG NIMANDA, KUNAURA KIÑANAKUSKATA LLULLACHISPA ÑUGPAMANDA KAUGSAIKUNA KAWACHISPASUGLLAPIKai tuna kuna rurankunami wata watapi kai Medellín sutipi chasallata kai pueblo kuna chillapita kaugsaikunapas rurankuna tapuchikuna chasallata kausakuna. Kawachinakami imasami kunaura ka rimai kaugsai kawachingapa kanchanimanda samunakuskata ima ruraikuna allilla kangapa tukikuna IMA SUTI RIMAI SIMI: Watachidiru ñugapamanda atun llagtapi tunai sugrigcha rurai, sugrigcha kaugsai, tunai tukuikunamanda ñugpa ullachidirukunawa.¿QUÉ LES QUEDA A LOS JÓVENES? UNA MIRADA DESDE EL CONCIERTO ENCUENTRO AL ROL DE LAS NUEVAS GENERACIONES EN LAS CUERDAS TRADICIONALES ANDINAS COLOMBIANAS EN ANTIOQUIAABSTRACTThe Concierto Encuentro de Cuerdas Tradicionales Colombianas (Concert Gathering of Traditional Colombian Strings), annual event that takes place in Medellin and several towns of Antioquia, is taken as a window to analyze the dynamics of this musical practice in the regional context. This article approaches and discusses the involvement of new generations and the noticeable decrease of its audience from the perspective of a possible resistance to change, or to changes that do not rise to the current explorations on popular music. A comparison is made between the characteristics of this practice in the decade prior to the beginning of the event and the period in which it started; the mechanisms of appropriation, transmission and circulation it currently has are examined as wellKEYWORDSColombian traditional strings; bandola, tiple and guitar; student bands; music and cultural change; Concierto Encuentro de Cuerdas Tradicionales Colombianas.QU’EST-CE QU’IL EN RESTE AUX JEUNES GENS ? UN REGARD, À PARTIR DU CONCIERTO ENCUENTRO, AU RÔLE DES NOUVELLES GÉNÉ- RATIONS DANS LES INSTRUMENTS À CORDES TRADITIONNELS DES ANDES COLOMBIENS EN ANTIOQUIAERÉSUMÉLe Concierto Encuentro de Cuerdas Tradicionales Colombianas (Concert-rencontre d’instruments à cordes traditionnels colombiens), événement annuel qui a lieu dans Medellin et plusieurs villes d’Antioquia, est considéré comme une fenêtre pour analyser la dynamique de cette pratique musicale dans le contexte régional. Cet article aborde et discute la participation des nouvelles générations et la diminution notable de son public dans la perspective d’une éventuelle résistance à un changement qui ne monte pas au niveau des explorations actuelles autour la musique populaire. Une comparaison est faite entre les caractéristiques de cette pratique dans la décennie qui a précédé le début de l’événement et celles de la période pendant laquelle il a commencé ; les mécanismes d’appropriation, de transmission et de circulation qu’elle possède actuellement sont examinés aussi bien. MOTS-CLEFS Instruments à cordes traditionnels colombiens ; bandola, tiple et guitare ; estudiantinas ; musique et changement culturel ; Concierto Encuentro de Cuerdas Colombianas Tradicionales.O QUE FICA AOS JOVENS? UMA OLHADA, DESDE O CONCERTO ENCONTRO, O PAPEL DAS NOVAS GERAÇÕES NAS CORDAS TRADICIONAIS ANDINAS COLOMBIANAS EM ANTIOQUIARESUMOO Concerto Encontro de Cordas Tradicionais Colombianas, evento anual que se realiza na cidade de Medellín e em vários municípios de Antioquia, é tomado aqui como uma janela para a análise da dinâmica desta prática musical no contexto regional. Discute-se a participação das novas gerações, a diminuição notória do seu público desde a ótica de uma possível resistência a mudanças que não estão à altura das explorações das músicas populares na atualidade: se estabelece uma comparação entre as características da prática na década previa aos inícios do evento e o período de sua realização, e se examinam os mecanismos de apropriação, transmissão e circulação com que conta na atualidade.PALAVRAS CHAVESCordas tradicionais da Colômbia; “Bandola”, “Tiple” e violão; estudantina; música e mudança cultural; Concerto Encontro de Cordas Tradicionais Colombianas. Recibido el 16 de abril de 2015 Aceptado el 16 de octubre de 2015

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.

Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.


 
 
 Jamming culture has become associated with digital manipulation and reuse of materials. As well, the term jamming has long been used by musicians (and other performers) to mean improvisation, especially in collaborative situations. A practice that gets to the heart of both these meanings is live coding; where digital content (music and/or visuals predominantly) is created through computer programming as a performance. During live coding performances digital content is created and presented in real time. Normally the code from the performers screen is displayed via data projection so that the audience can see the unfolding process as well as see or hear the artistic outcome. This article will focus on live coding of music, but the issues it raises for jamming culture apply to other mediums also. Live coding of music uses the computer as an instrument, which is “played” by the direct construction and manipulation of sonic and musical processes. Gestural control involves typing at the computer keyboard but, unlike traditional “keyboard” instruments, these key gestures are usually indirect in their effect on the sonic result because they result in programming language text which is then interpreted by the computer. Some live coding performers, notably Amy Alexander, have played on the duality of the keyboard as direct and indirect input source by using it as both a text entry device, audio trigger, and performance prop. In most cases, keyboard typing produces notational description during live coding performances as an indirect music making, related to what may previously have been called composing or conducting; where sound generation is controlled rather than triggered. The computer system becomes performer and the degree of interpretive autonomy allocated to the computer can vary widely, but is typically limited to probabilistic choices, structural processes and use of pre-established sound generators. In live coding practices, the code is a medium of expression through which creative ideas are articulated. The code acts as a notational representation of computational processes. It not only leads to the sonic outcome but also is available for reflection, reuse and modification. The aspects of music described by the code are open to some variation, especially in relation to choices about music or sonic granularity. This granularity continuum ranges from a focus on sound synthesis at one end of the scale to the structural organisation of musical events or sections at the other end. Regardless of the level of content granularity being controlled, when jamming with code the time constraints of the live performance environment force the performer to develop succinct and parsimonious expressions and to create processes that sustain activity (often using repetition, iteration and evolution) in order to maintain a coherent and developing musical structure during the performance. As a result, live coding requires not only new performance skills but also new ways of describing the structures of and processes that create music. Jamming activities are additionally complex when they are collaborative. Live Coding performances can often be collaborative, either between several musicians and/or between music and visual live coders. Issues that arise in collaborative settings are both creative and technical. When collaborating between performers in the same output medium (e.g., two musicians) the roles of each performer need to be defined. When a pianist and a vocalist improvise the harmonic and melodic roles are relatively obvious, but two laptop performers are more like a guitar duo where each can take any lead, supportive, rhythmic, harmonic, melodic, textual or other function. Prior organisation and sensitivity to the needs of the unfolding performance are required, as they have always been in musical improvisations. At the technical level it may be necessary for computers to be networked so that timing information, at least, is shared. Various network protocols, most commonly Open Sound Control (OSC), are used for this purpose. Another collaboration takes place in live coding, the one between the performer and the computer; especially where the computational processes are generative (as is often the case). This real-time interaction between musician and algorithmic process has been termed Hyperimprovisation by Roger Dean. Jamming cultures that focus on remixing often value the sharing of resources, especially through the movement and treatment of content artefacts such as audio samples and digital images. In live coding circles there is a similarly strong culture of resource sharing, but live coders are mostly concerned with sharing techniques, processes and tools. In recognition of this, it is quite common that when distributing works live coding artists will include descriptions of the processes used to create work and even share the code. This practice is also common in the broader computational arts community, as evident in the sharing of flash code on sites such as Levitated by Jared Tarbell, in the Processing site (Reas & Fry), or in publications such as Flash Maths Creativity (Peters et al.). Also underscoring this culture of sharing, is a prioritising of reputation above (or prior to) profit. As a result of these social factors most live coding tools are freely distributed. Live Coding tools have become more common in the past few years. There are a number of personalised systems that utilise various different programming languages and environments. Some of the more polished programs, that can be used widely, include SuperCollider (McCartney), Chuck (Wang & Cook) and Impromptu (Sorensen). While these environments all use different languages and varying ways of dealing with sound structure granularity, they do share some common aspects that reveal the priorities and requirements of live coding. Firstly, they are dynamic environments where the musical/sonic processes are not interrupted by modifications to the code; changes can be made on the fly and code is modifiable at runtime. Secondly, they are text-based and quite general programming environments, which means that the full leverage of abstract coding structures can be applied during live coding performances. Thirdly, they all prioritise time, both at architectural and syntactic levels. They are designed for real-time performance where events need to occur reliably. The text-based nature of these tools means that using them in live performance is barely distinguishable from any other computer task, such as writing an email, and thus the practice of projecting the environment to reveal the live process has become standard in the live coding community as a way of communicating with an audience (Collins). It is interesting to reflect on how audiences respond to the projection of code as part of live coding performances. In the author’s experience as both an audience member and live coding performer, the reception has varied widely. Most people seem to find it curious and comforting. Even if they cannot follow the code, they understand or are reassured that the performance is being generated by the code. Those who understand the code often report a sense of increased anticipation as they see structures emerge, and sometimes opportunities missed. Some people dislike the projection of the code, and see it as a distasteful display of virtuosity or as a distraction to their listening experience. The live coding practitioners tend to see the projection of code as a way of revealing the underlying generative and gestural nature of their performance. For some, such as Julian Rohrhuber, code projection is a way of revealing ideas and their development during the performance. “The incremental process of livecoding really is what makes it an act of public reasoning” (Rohrhuber). For both audience and performer, live coding is an explicitly risky venture and this element of public risk taking has long been central to the appreciation of the performing arts (not to mention sport and other cultural activities). The place of live coding in the broader cultural setting is still being established. It certainly is a form of jamming, or improvisation, it also involves the generation of digital content and the remixing of cultural ideas and materials. In some ways it is also connected to instrument building. Live coding practices prioritise process and therefore have a link with conceptual visual art and serial music composition movements from the 20th century. Much of the music produced by live coding has aesthetic links, naturally enough, to electronic music genres including musique concrète, electronic dance music, glitch music, noise art and minimalism. A grouping that is not overly coherent besides a shared concern for processes and systems. Live coding is receiving greater popular and academic attention as evident in recent articles in Wired (Andrews), ABC Online (Martin) and media culture blogs including The Teeming Void (Whitelaw 2006). Whatever its future profile in the boarder cultural sector the live coding community continues to grow and flourish amongst enthusiasts. The TOPLAP site is a hub of live coding activities and links prominent practitioners including, Alex McLean, Nick Collins, Adrian Ward, Julian Rohrhuber, Amy Alexander, Frederick Olofsson, Ge Wang, and Andrew Sorensen. These people and many others are exploring live coding as a form of jamming in digital media and as a way of creating new cultural practices and works. References Andrews, R. “Real DJs Code Live.” Wired: Technology News 6 July 2006. http://www.wired.com/news/technology/0,71248-0.html>. Collins, N. “Generative Music and Laptop Performance.” Contemporary Music Review 22.4 (2004): 67-79. Fry, Ben, and Casey Reas. Processing. http://processing.org/>. Martin, R. “The Sound of Invention.” Catapult. ABC Online 2006. http://www.abc.net.au/catapult/indepth/s1725739.htm>. McCartney, J. “SuperCollider: A New Real-Time Sound Synthesis Language.” The International Computer Music Conference. San Francisco: International Computer Music Association, 1996. 257-258. Peters, K., M. Tan, and M. Jamie. Flash Math Creativity. Berkeley, CA: Friends of ED, 2004. Reas, Casey, and Ben Fry. “Processing: A Learning Environment for Creating Interactive Web Graphics.” International Conference on Computer Graphics and Interactive Techniques. San Diego: ACM SIGGRAPH, 2003. 1. Rohrhuber, J. Post to a Live Coding email list. livecode@slab.org. 10 Sep. 2006. Sorensen, A. “Impromptu: An Interactive Programming Environment for Composition and Performance.” In Proceedings of the Australasian Computer Music Conference 2005. Eds. A. R. Brown and T. Opie. Brisbane: ACMA, 2005. 149-153. Tarbell, Jared. Levitated. http://www.levitated.net/daily/index.html>. TOPLAP. http://toplap.org/>. Wang, G., and P.R. Cook. “ChucK: A Concurrent, On-the-fly, Audio Programming Language.” International Computer Music Conference. ICMA, 2003. 219-226 Whitelaw, M. “Data, Code & Performance.” The Teeming Void 21 Sep. 2006. http://teemingvoid.blogspot.com/2006/09/data-code-performance.html>. 
 
 
 
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While digital remix practices in music have been researched extensively in the last few years (see recently Jansen; Navas; Pinch and Athanasiades; Väkevä), the specific challenges and skills that are central to remixing are still not well understood (Borschke 90). As writers like Demers, Lessig, and Théberge argue, the fact that remixers rework already existing songs rather than building a track from scratch, often means they are perceived as musical thieves or parasites rather than creative artists. Moreover, as writers like Borschke and Rodgers argue, because remixers make use of digital audio workstations to produce and rework their sounds, their practices tend to be seen as highly automated, offering relatively little by way of musical and creative challenges, especially compared to more traditional (electro)acoustic forms of music-making. An underestimation of skill is problematic, however, because, as my own empirical research shows, creative skills and challenges are important to the way digital remixers themselves experience and value their practice. Drawing from virtual ethnographic research within the online remix communities of Indaba Music, this article argues that, not despite but because remixers start from already existing songs and because they rework these songs with the help of digital audio workstations, a particular set of creative abilities becomes foregrounded, namely: ‘fluency’ and ‘flexibility’ (Gouzouasis; Guilford, “Creativity Research”, Intelligence, “Measurement”). Fluency, the way the concept is used here, refers to the ability to respond to, and produce ideas for, a wide variety of musical source materials, quickly and easily. Flexibility refers to the ability to understand, and adapt these approaches to, the ‘musical affordances’ (Gibson; Windsor and De Bézenac) of the original song, that is: the different musical possibilities and constraints the source material provides. For remixers, fluency and flexibility are not only needed in order to be able to participate in these remix contests, they are also central to the way they value and evaluate each other’s work.Researching Online Remix ContestsAs part of a larger research project on online music practices, between 2011 and 2012, I spent eighteen months conducting virtual ethnographic research (Hine) within several remix competitions hosted on online music community Indaba Music. Indaba is not the only online community where creative works can be exchanged and discussed. For this research, however, I have chosen to focus on Indaba because, other than in a remix community like ccMixter for example, competitions are very much central to the Indaba community, thus making it a good place to investigate negotiations of skills and techniques. Also, unlike a community like ACIDplanet which is tied explicitly to Sony’s audio software program ACID Pro, Indaba is not connected to any particular audio workstation, thus providing an insight into a relatively broad variety of remix practices. During my research on Indaba, I monitored discussions between participants, listened to work that had been uploaded, and talked to remixers via personal messaging. In addition to my daily monitoring, I also talked to 21 remixers more extensively through Skype interviews. These interviews were semi-structured, and lasted between 50 minutes and 3.5 hours, sometimes spread over multiple sessions. During these interviews, remixers not only talked about their practices, they also shared work in progress with me by showing their remixes on screen or by directing a webcam to their instruments while they played, recorded, or mixed their material. All the remixers who participated in these interviews granted me permission to quote them and to use the original nicknames or personal names they use on Indaba in this publication. Besides the online observations and interviews, I also participated in three remix competitions myself, in order to gain a better understanding of what it means to be part of a remix community and to see what kind of challenges and abilities are involved. In the online remix contests of Indaba, professional artists invite remixers to rework a song and share and discuss these works within the community. For the purpose of these contests, artists provide separate audio files (so-called ‘stems’) for different musical elements such as voice, drums, bass, or guitar. Remixers can produce their tracks by rearranging these stems, or they can add new audio material, such as beats, chords, and rhythms, as long as this material is not copyrighted. Remixers generally comply with this rule. During the course of a contest, remixers upload their work to the website and discuss and share the results with other remixers. A typical remix contest draws between 200 or 300 participants. These participants are mostly amateur musicians or semi-professionals in the sense that they do not make a living with their creative practices, but rather participate in these contests as a hobby. A remix contest normally lasts for four or five weeks. After that time, the hosting artist chooses a winner and the remixers move on to another contest, hosted by a different artist and featuring a new song, sometimes from a completely different musical genre. It is partly because of this move from contest to contest that fluency and flexibility can be understood as central abilities within these remix practices. Fluency and flexibility are concepts adopted from the work of Joy Paul Guilford (“Creativity Research”, Intelligence, “Measurement”) who developed them in his creativity research from the 1950s onwards. For Guilford, fluency and flexibility are part of divergent-production abilities, those abilities we need in order to be able to deal with open questions or tasks, in which multiple solutions or answers are possible, in a quick and effective way. Within creativity research, divergent-production abilities have mainly been measured and evaluated quantitatively. In music related studies, for example, researchers have scored and assessed so-called fluency and flexibility factors in the music practices of children and adults and compared them to other creative abilities (Webster). For the purpose of this article, however, I do not wish to approach fluency and flexibility quantitatively. Rather, I would like to show that in online remix practices, fluency and flexibility, as creative abilities, become very much foregrounded. Gouzouasis already alludes to this possibility, pointing out that, in digital music practices, fluency might be more important than the ability to read and write traditional music notation. Gouzouasis’ argument, however, does not refer to a specific empirical case. Also, it does not reflect on how digital musicians themselves consider these abilities central to their own practices. Looking at online remix competitions, however, this last aspect becomes clear.FluencyFor Guilford, ‘fluency’ can be understood as the ability to produce a response, or multiple responses, to an open question or task quickly and easily (“Creativity Research”, Intelligence, “Measurement”). It is about making associations, finding different uses or purposes for certain source materials, and combining separate elements into organised phrases and patterns. Based on this definition, it is not difficult to see a link with remix competitions, in which remixers are asked to come up with a musical response to a given song within a limited time frame. Online remix contests are essentially a form of working on demand. It is the artist who invites the audience to remix a song. It is also the artist who decides which song can be remixed and which audio files can be used for that mix. Remixers who participate in these contests are usually not fans of these artists. Often they do not even know the song before they enter a competition. Instead, they travel from contest to contest, taking on many different remix opportunities. For every competition, then, remixers have to first familiarise themselves with the source material, and then try to come up with a creative response that is not only different from the original, but also different from all the other remixes that have already been uploaded. Remixers do not consider this a problem, but embrace it as a challenge. As Moritz Breit, one of the remixers, explained to me: “I like remixing [on Indaba] because it’s a challenge. You get something and have to make something different out of it, and later people will tell you how you did.” Or as hüpersonique put it: “It’s really a challenge. You hear a song and you say: ‘OK, it’s not my taste. But it’s good quality and if I could do something in my genre that would be very interesting’.” If these remixers consider the competitions to be a challenge, it is mainly because these contests provide an exercise of call and response. On Indaba, remixers apply different tempos, timbres, and sounds to a song, they upload and discuss work in progress, and they evaluate and compare the results by commenting on each other’s work. While remixers officially only need to develop one response, in practice they tend to create multiple ideas which they either combine in a single eclectic mix or otherwise include in different tracks which they upload separately. Remixers even have their own techniques in order to stimulate a variety of responses. Some remixers, for example, told me how they expose themselves to a large number of different songs and artists before they start remixing, in order to pick up different ideas and sounds. Others told me how they prefer not to listen to the original song, as it might diminish their ability to move away from it. Instead, they download only one or two of the original stems (usually the vocals) and start improvising around those sounds, without ever having heard the original song as a whole. As Ola Melander, one of the remixers, explained: “I never listen to it. I just load [the vocals] and the drum tracks. [....] I have to do it [in] my own style. [….] I don’t want that the original influences it, I want to make the chords myself, and figure out what it will sound like.” Or as Stretched Mind explained to me: “I listen to the vocal stem, only that, so no synths, no guitars, just pure vocal stems, nothing else. And I figure out what could fit with that.” On Indaba, being able to respond to, and associate around, the original track is considered to be more important than what Guilford calls ‘elaboration’ (“Measurement” 159). For Guilford, elaboration is the ability to turn a rough outline into a detailed and finished whole. It is basically a form of fine tuning. In the case of remixing, this fine tuning is called ‘mastering’ and it is all about getting exactly the right timbre, dynamics, volume, and balance in a track in order to create a ‘perfect’ sounding mix. On Indaba, only a select group of remixers is actually interested in such a professional form of elaboration. As Moritz Breit told me: “It’s not that you have like a huge bunch of perfectly mastered submissions. So nobody is really expecting that from you.” Indeed, in the comment section remixers tend to say less about audio fidelity than about how they like a certain approach. Even when a critical remark is made about the audio quality of a mix, these criticisms are often preceded or followed by encouraging comments which praise the idea behind the track or applaud the way a remixer has brought the song into a new direction. In short, the comments are often directed more towards fluency than towards elaboration, showing that for many of these remixers the idea of a response, any response, is more important than creating a professional or sellable track.Being able to produce a musical response is also more important on Indaba than having specific musical instrument skills. Most remixers work with digital audio workstations, such as Cubase, Logic Pro, and Pro Tools. These software programs make it possible to manipulate and produce sounds in ways that may include musical instruments, but do not necessarily involve them. As Hugill writes, with these programs “a sound source could be a recording, a live sound, an acoustic instrument, a synthesizer, the human body, etc. In fact, any sounding object can be a sound source” (128). As such, remix competitions tend to draw a large variety of different participants, with a wide range of musical backgrounds and instrument skills. Some remixers on Indaba create their remixes by making use of sample libraries and loops. Others, who have the ability, also add sounds with instruments such as drums, guitars, or violins, which they record with microphones or, in the case of electronic or digital instruments, plug directly into their personal computers. Remixers who are confident about their instrument skills improvise around the original tracks in real-time, while less confident players record short segments, which they then alter and correct afterwards with their audio programs. Within the logic of these digital audio workstation practices, these differences are not significant, as all audio input merely functions as a starting point, needing to be adjusted, layered, combined, and recombined afterwards in order to create the final mix. For the contestants themselves these differences are also not so significant, as contestants are still, in their own ways, involved in the challenge of responding to and associating around the original stems, regardless of the specific techniques or instruments used. The fact that remixers are open to different methods and techniques does not mean, however, that every submission is considered to be as valid as any other. Remixers do have strong opinions about what is a good remix and what is not. Looking at the comments contestants give on each other’s work, and the way they talk about their practices during interviews, it becomes clear that remixers find it important that a remix somehow fits the original source material. As hüpersonique explained: “A lot of [remixes] don’t really match the vocals (…) and then it sounds not that good.” From this perspective, remixers not only need to be fluent, they also need to be flexible towards their source material. FlexibilityFor Guilford, flexibility is the readiness to change direction or method (Intelligence, “Measurement”). It is, as Arnold writes, “facilitated by having a great many tricks in your bag, knowing lots of techniques, [and] having broad experience” (129). In music, flexibility can be understood as the ability to switch easily between different sounds, rhythms, and approaches, in order to achieve a desired musical effect. Guilford distinguishes between two forms of flexibility: ‘spontaneous flexibility’, when a subject chooses himself to switch between different approaches, and ‘adaptive flexibility’ when a switch in approach is necessary or preferred to fit a certain task (“Measurement” 158). While both forms of flexibility can be found on Indaba, adaptive flexibility is seen as a particularly important criterion of being a skilled remixer, as it shows that a remixer is able to understand, and react to, the musical affordances of the original track. The idea that music has affordances is not new. As Windsor and De Bézenac argue, building on Gibson’s original theory of affordances, even in the most free expressive jazz improvisations, there are certain cues that make us understand if a solo is “going with” or “going against” the shared context, and it is these cues that guide a musician through an improvisation (111). The same is true for remix practices. As Regelski argues, any form of music rearranging or appropriation “requires considerable understanding of music’s properties – and the different affordances of those properties” (38). Even when remixers only use one of the original stems, such as the vocals, they need to take into account, for example, the tempo of the song, the intensity of the voice, the chord patterns on which the vocals are based, and the mood or feeling the singer is trying to convey. A skilled remixer, then, builds his or her ideas on top of that so that they strengthen and not diminish these properties. On Indaba, ironic or humoristic remixers too are expected to consider at least some of the basic features of the original track, such as its key or its particular form of musical phrasing. Remixes in which these features are purposely ignored are often not appreciated by the community. As Tim Toz, one of the remixers, explained: “There’s only so much you can do, I think, in the context of a melody plus the way the song was originally sung. […] I hear guys trying to bend certain vocal cadences into other kinds of grooves, and it somehow doesn’t work […], it [begins] to sound unnatural.” On Indaba, remixers complement each other when they find the right approach to the original track. They also critique each other when an approach does not fit the original song, when it does not go along with the ‘feel’ of the track, or when it seem to be out of key or sync with the vocals. By discussing each other’s tracks, remixers not only collectively explore the limits and possibilities of a song, they also implicitly discuss their abilities to hear those possibilities and be able to act on them appropriately. What remixers need in order to be able to do this is what Hugill calls, ‘aural awareness’ (15): the ability to understand how sound works, both in a broad and in-depth way. While aural awareness is important for any musician, remixers are especially reliant on it, as their work is centred around the manipulation and extension of already existing sounds (Hugill). In order to be able to move from contest to contest, remixers need to have a broad understanding of how different musical styles work and the kind of possibilities they afford. At the same time they also need to know, at a more granular level, how sounds interact and how small alterations of chords, timbres, or rhythms can change the overall feel of a track. ConclusionRemix competitions draw participants with a wide variety of musical backgrounds who make use of a broad range of instruments and techniques. The reason such a diverse group is able to participate and compete together is not because these practices do not require musical skill, but rather because remix competitions draw on particular kinds of abilities which are not directly linked to specific methods or techniques. While it might not be necessary to produce a flawless track or to be able to play musical material in real-time, remixers do need to be able to respond to a wide variety of source materials, in a quick and effective way. Also, while it might not be necessary for remixers to be able to produce a song from scratch, they do need to be able to understand, and adapt to, the musical affordances different songs provide. In order to be able to move from contest to contest, as true musical chameleons, remixers need a broad and in-depth understanding of how sound works in different musical contexts and how particular musical responses can be achieved. As soon as remixers upload a track, it is mainly these abilities that will be judged, discussed, and evaluated by the community. In this way fluency and flexibility are not only central abilities in order to be able to participate in these remix competitions, they are also important yardsticks by which remixers measure and evaluate both their own work and the achievements of their peers.AcknowledgementsThe author would like to thank Renée van de Vall, Karin Wenz, and Dennis Kersten for their comments on early drafts of this article. Parts of this research have, in an earlier stage, been presented during the IASPM International Conference for the Study of Popular Music in Gijon, Spain 2013. ReferencesArnold, John E. “Education for Innovation.” A Source Book for Creative Thinking. Eds. Sidney Jay Parnes and Harold F. Harding. New York: Charles Scribner’s Sons, 1962.Borschke, Margie. Rethinking the Rhetoric of Remix. Copies and Material Culture in Digital Networks. PhD Thesis U of New South Wales, 2012.Demers, Joanna. Steal This Music. How Intellectual Property Law Affects Musical Creativity. Athens: The U of Georgia P, 2006. Gibson, James J. The Ecological Approach to Visual Perception. London: Lawrence Erlbaum, 1986. Gouzouasis, Peter. “Fluency in General Music and Arts Technologies: Is the Future of Music a Garage Band Mentality?” Action, Criticism, and Theory for Music Education 4. 2 (2005). 26 Aug. 2012 .Guilford, Joy Paul. “Creativity: It’s Measurement and Development.” A Source Book for Creative Thinking. Eds. Sidney Jay Parnes and Harold F. Harding. New York: Charles Scribner’s Sons, 1962. Guilford, Joy Paul. “Creativity Research: Past, Present and Future.” Frontiers of Creativity Research. Beyond the Basics. Ed. Scott G. Isaksen. Buffalo: Bearly Limited, 1987 [1950]. 33–65. Guilford, Joy Paul. The Nature of Human Intelligence. London: McGraw-Hill, 1971. Hine, Christine. Virtual Ethnography. London: Sage, 2000. Hugill, Andrew. The Digital Musician. New York: Routledge, 2008.Jansen, Bas. Where Credit is Due: Cultural Practices of Recorded Music. PhD Thesis U of Amsterdam, 2011. Lessig, Lawrence. Remix. Making Art and Commerce Thrive in the Hybrid Economy. London: Bloomsbury, 2008. Navas, Eduardo. Remix Theory. The Aesthetics of Sampling. New York: Springer Wien, 2012.Pinch, Trevor, and Katherine Athanasiades. “Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com.” The Oxford Handbook of Sound Studies. Eds. Trevor Pinch and Karin Bijsterveld. Oxford: Oxford UP, 2011. 480–505.Regelski, Thomas A. “Amateuring in Music and its Rivals.” Action, Criticism, and Theory for Music Education 6. 3 (2007): 22–50. Rodgers, Tara. “On the Process and Aesthetics of Sampling in Electronic Music Production.” Organised Sound 8.3 (2003): 313–20. Théberge, Paul. “Technology, Creative Practice and Copyright.” Music and Copyright. Second Edition. Eds. Simon Frith and Lee Marshall. Edinburgh: Edinburgh UP, 2004. 139–56. Väkevä, Lauri. “Garage Band or GarageBand®? Remixing Musical Futures.” British Journal of Music Education 27. 1 (2010): 59–70.Webster, Peter R. “Research on Creative Thinking in Music: The Assessment Literature.” Handbook of Research on Music Teaching and Learning. Ed. Richard Colwell. New York: Shirmer, 1992. 266–80. Windsor, W. Luke, and Christophe de Bézenac. “Music and Affordances.” Musicae Scientiae 16. 1 (2012): 102–20.

Thèse--Musicologie--Paris-4-Sorbonne, 1999.<br>Catalogue des oeuvres pour guitare p. 479-548. Liste alphabétique avec notices biogr. des guitaristes et compositeurs p. 363-448. Bibliogr. p. 581-642. Index.

Akademisk avhandling--Philosophie--Göteborg, 2000.<br>Notices biogr. sur les luthistes et les compositeurs pour luth en Allemagne au 18e siècle p. 297-360. Liste des oeuvres pour luth composées en Allemagne au 18e siècle avec localisations p. 385-474. Bibliogr. p. 484-513.

À la charnière entre les XIXe et XXe siècles, alors que la question de l’identité nationale se pose avec acuité en Espagne, la guitare y est à maintes reprises évoquée comme « l’instrument national ». Ce lieu commun se révèle finalement être un symbole paradoxal d’une identité encore en débat. Tandis que le cliché caricature la réalité en la simplifiant, les pratiques de la guitare se diversifient au contraire pendant la Restauration, en raison des transformations techniques de l’instrument et de l’évolution de la musique populaire, classique et flamenca. La composition en 1920 par Manuel de Falla de la première pièce pour guitare soliste (Hommage à Debussy) et l’organisation du Premier Concours de Cante Jondo à Grenade en 1922 attestent la progressive reconnaissance de l’instrument. Pourtant, la multiplication des imprimés, favorisée par la loi de liberté de la presse (1883), donne lieu à de nombreuses représentations littéraires et plastiques de la guitare qui ne reflètent pas fidèlement ces mutations. Elles mettent surtout en lumière son caractère populaire, andalou, voire flamenco, et sa capacité à imprégner l’imaginaire. Publiées dans des périodiques andalous ou madrilènes, ces œuvres influencent la réception de l’instrument : celui-ci est à la fois apprécié par un public de plus en plus large, méconnu car il est absent des musées et des institutions, et rejeté selon des critères sociaux et moraux en raison de sa présence dans des lieux décriés. Pourtant, même lorsque le stéréotype est contesté, la guitare revêt une dimension symbolique originale, ancrée dans le quotidien, qui se manifeste à travers l’émotion qu’elle suscite<br>During the transition from the nineteenth to the twentieth centuries, when the question of national identity is continuing to develop in Spain, the guitar is repeatedly mentioned as the “national instrument”. This platitude ultimately proves to be a paradoxical symbol of an identity that is still under debate during this period. While stereotypical descriptions caricature the reality by oversimplifying it, on the contrary, guitar practices diversify during the Restoration, because of technical changes in the instrument and the evolution of folk, classical and flamenco music. The composition in 1920 by Manuel de Falla of the first piece for solo guitar (Homenaje a Debussy) and the organization of the First Contest of the Cante Jondo in Granada in 1922 testify to the gradual recognition of the instrument. Yet the proliferation of printed matter, favored by the freedom of the press law (1883), gives rise to numerous literary and visual representations of the guitar that do not accurately reflect these changes. They mostly bring out its popular, Andalusian and even flamenco character, and its ability to impregnate the imagination. Published in periodicals in Madrid or Andalusia, these works influence the reception of the instrument: it is both appreciated by an increasingly wide audience, disregarded for being absent from museums and institutions, and rejected by social and moral standards because of its presence in decried places. Yet, even when this stereotype is disputed, the guitar takes on an original symbolic dimension, rooted in everyday life, which manifests itself through the emotions it provokes<br>En la bisagra entre los siglos XIX y XX, cuando la cuestión de la identidad nacional se planteaba con intensidad en España, se aludió muchas veces a la guitarra como el “instrumento nacional”. Este lugar común aparece como un símbolo paradójico de una identidad todavía en debate. Mientras que el cliché caricaturiza la realidad simplificándola, las prácticas de la guitarra, por el contrario, se diversificaron durante la Restauración, debido a las transformaciones técnicas del instrumento y a la evolución de la música popular, clásica y flamenca. La composición en 1920 por Manuel de Falla de la primera obra para una guitarra solista (Homenaje a Debussy) y la organización del Primer Concurso de Cante Jondo en Granada en 1922 dan fe del progresivo reconocimiento del instrumento. Sin embargo, la multiplicación de los impresos, favorecida por la Ley de Policía de Imprenta (1883), dio lugar a numerosas representaciones literarias y plásticas de la guitarra que no reflejaban fielmente esas mutaciones, sino que destacaban, sobre todo, su carácter popular, andaluz e incluso flamenco, y su capacidad de impregnar todo el imaginario colectivo español. Publicadas en periódicos andaluces o madrileños, estas obras influyeron en la recepción del instrumento que, apreciado por un público cada vez más amplio, resultaba también desconocido, por su ausencia en museos e instituciones, al mismo tiempo que era rechazado según criterios sociales y morales por su presencia en lugares considerados deshonrosos. No obstante, incluso cuando se critica el estereotipo, la guitarra posee una dimensión simbólica, enraizada en lo cotidiano, que se manifiesta a través de la emoción que suscita

Ce mémoire porte sur le rôle du geste musical dans le développement de styles musicaux devenus syncrétiques. Il s’attarde à définir dans le détail le style de guitare populaire assiko propre aux Bassa du Cameroun du Sud lequel est représenté internationalement par le guitariste et percussionniste traditionnel Atna Njock. Grâce à une approche dialogique et participative, les techniques du jeu assiko sont explorées et comparées à des exemples de jeu de guitare européenne, afro-américaines et africaines. Les influences qui définissent le jeu d’Atna découlent de la culture Bassa et de son histoire marquée par l’influence coloniale et missionnaire, mais sont aussi alimentées par la «philosophie» (voire la spiritualité) et le passé musical de l’artiste. L’approche participative fournit une perspective émique, c’est-à-dire interne à la culture, de la gestuelle et de la structure du jeu assiko même si nous confrontons les propos du musicien à notre propre regard analytique. La comparaison avec divers instruments de percussion auxquels Atna a été initié montre comment ceux-ci ont forgé son jeu guitaristique. Son rôle de « garant » de la tradition musicale Bassa influence son approche et se manifeste par une préoccupation particulière pour l’« authenticité » dans la reproduction des rythmes d’un « langage » musical donné. Ses liens avec la culture Bassa, s’expriment notamment par le biais de sa reproduction du style de jeu de son maître, Jean Bikoko « Aladin ». La contribution particulière d’Atna à la technique de guitare de Bikoko est comprise comme un ajout à la lignée ancestrale. Une analyse d’un morceau du répertoire assiko issu du plus récent album d’Atna illustre d’ailleurs comment son incorporation de styles « modernes » reproduit les processus traditionnels en intégrant des éléments culturels étrangers.<br>This master’s thesis is concerned with the role of musical gesture in the development of musical styles that have become syncretic. It seeks to define in detail the popular guitar style of assiko, particular to the Bassa of Southern Cameroon, as represented internationally by the guitarist and traditionally initiated percussionist, Atna Njock. Through a dialogic and participative approach, the techniques that underlie assiko guitar playing are explored by comparison with European, African American, and African examples. The influences that define Atna’s playing are contextualized within Bassa culture, with its troubled history of colonial and missionary influence, and elaborated by an account of his particular musical philosophy (or spirituality) and background. The participatory approach provides an emic perspective, meaning internal to the culture, of assiko playing technique and structure while subjecting the musician’s statements to our own analytical scrutiny. The comparison with the various percussion instruments on which Atna was initiated demonstrates how these instruments shaped his guitar playing. His role as “guarantor” of Bassa musical tradition underlies his approach to music, which manifests as a particular concern for “authenticity” in the reproduction of the rhythms of a given musical “language”. His connection to Bassa culture is ultimately expressed through his reproduction of the playing style of his master, originator of modern assiko, Jean Bikoko “Aladin”. Atna’s particular contribution to Bikoko’s guitar technique is conceived as adding to the ancestral lineage. An analysis of a current assiko piece from Atna’s most recent album demonstrates how his incorporation of “modern” styles reflects traditional processes of incorporating foreign cultural elements.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).<br>La problématique de cette thèse concerne le lexique descripteur de timbre, ses définitions, ainsi que les stratégies d’enseignement de la production sonore à la guitare classique. Notre méthodologie est issue de la recherche par les méthodes mixtes, en ce sens qu’elle combine à la fois des données qualitatives et quantitatives, tandis que nos méthodes relèvent de différentes disciplines. En effet, la présente recherche est ancrée dans le domaine de la musicologie de l’interprétation, alors qu’elle porte plus exactement sur la conceptualisation des nuances de timbre à la guitare classique par les guitaristes classiques. La construction de cette recherche repose sur trois études distinctes. La première de ces études porte sur l’analyse d’adjectifs employés pour décrire les nuances de timbre ainsi que leurs définitions d’après des guitaristes classiques. Les résultats démontrent que la construction du lexique descripteur de timbre se rapporte principalement à la matière, renforçant ainsi la conception du timbre en tant que matière sonore. En ce qui concerne l’interaction entre le timbre et les autres paramètres sonores, une analyse du discours et des thèmes émergents a dévoilé l’importance du registre, de l’intensité et de la durée dans la définition du timbre. La mise en place d’un second questionnaire a permis de mieux définir encore les caractéristiques du vocabulaire descripteur du timbre de la guitare classique. En l’occurrence, la distribution des catégories lexicales a démontré que les adjectifs renvoient à une description souvent métaphorique du timbre alors que les substantifs rendent essentiellement compte de la technique instrumentale. Pour définir les nuances de timbre, les guitaristes classiques ont communément recours aux paramètres sonores, aux modes de production ainsi qu’à d’autres descripteurs de timbre. Notre analyse a par ailleurs mené à la construction d’un dictionnaire terminologique de huit nuances de timbre (métallique, rond, brillant, mince, sec, velouté, sombre et sourd). Finalement, l’élaboration d’un espace sémantique du timbre à partir de l’évaluation de la proximité sémantique de ces huit descripteurs de timbre révèle deux axes principaux, le premier est défini par la présence de l’attaque et le point de pincement, alors que le second se rapporte à la résonance, à la projection ainsi qu’aux jugements de valeur. La troisième et dernière étude porte sur les stratégies de communication employées dans le cadre de deux classes de maître. Les résultats de notre analyse mettent en évidence l’exploitation de trois modalités principales visant à expliciter la production sonore ainsi qu’à caractériser le rendement musical. Les professeurs analysés ont ainsi recours à l’explication verbale, à la démonstration instrumentale ainsi qu’à la vocalisation, voire à l’imitation. En définitive, notre recherche a permis d’illustrer que la conceptualisation des nuances de timbre se rapporte à la matière, aux paramètres sonores, à la description métaphorique, ainsi qu’aux modes de production. Une conceptualisation aussi inclusive permettrait d’accéder à toutes les subtilités de la production et de la perception sonore. En ce qui a trait à la communication, les nuances de timbre s’explicitent à travers la verbalisation, l’exécution ainsi que la vocalisation ou encore l’imitation.<br>This thesis is about the lexicon of timbre descriptors, its definitions, and teaching strategies regarding sound production of the classical guitar. Our methodology is based on mixed methods research, in that it combines both qualitative and quantitative data, while our methods are derived from different disciplines. This research is grounded in musicology of performance and focuses more specifically on the conceptualization of classical guitar timbral nuances by classical guitar players. The design of this research is based on three separate studies. The first study focuses on the analysis of adjectives used to describe timbral nuances and their definitions from classical guitarists. The results demonstrate that the construction of the lexicon of timbre descriptors relates primarily to matter, thus reinforcing the concept of timbre as sound matter. Regarding the interaction between timbre and other sound parameters, a discourse and emergent themes analysis has revealed the importance of register, intensity and duration in the definition of timbre. The implementation of a second questionnaire helped to define further the characteristics of the timbre descriptor vocabulary of the classical guitar. The distribution of lexical categories showed that adjectives often refer to a metaphorical timbre description while nouns essentially give an account of the instrumental technique. To define timbral nuances, classical guitarists commonly use sound parameters, production modes and other descriptors of timbre. Following those results, a terminological dictionary of 8 timbral nuances (metallic, round, bright, thin, dry, velvety, dark and dull) was also proposed. Finally, the development of a semantic space of timbre from the evaluation of semantic proximity between those 8 timbre descriptors reveals two main axis, the first is defined by the presence of the attack and the plucking position, while the second refers to the resonance, the projection and the value judgment. The third and final study examines the communication strategies used in the context of two master classes. The results of our analysis highlight the use of three main ways to explain the sound production and to characterize the musical performance. The participating professors have recourse to verbal explanation, instrumental demonstration as well as vocalization or imitation. Our research has demonstrated that the conceptualization of timbre nuances refers to matter, sound parameters, metaphorical descriptions, as well as production modes. Such an inclusive conceptualization allows access to all the subtleties of the production and perception of classical guitar. In regards to communication, timbral nuances are expressed by verbalization, performance as well as vocalization or imitation.

Ce mémoire présente l’élaboration d’une guitare augmentée et différentes techniques de traitement électroacoustique dans le but d’étendre mon langage compositionnel. Trois œuvres ont été composées et j’ai conçu différents systèmes de traitement et de générations sonores basés sur des dispositifs électroniques et informatiques. Les systèmes électroniques sont formés de différents capteurs et émetteurs sur l’instrument afin de permettre de nouvelles techniques de jeu. Ces systèmes comportent des capteurs piézoélectriques, de pressions, de mouvements et de capacitance. De plus, un système d’entretien continu sous les cordes a été fabriqué. Des logiciels ont été spécialement conçus pour l’instrument en plus d’un micrologiciel pour le microcontrôleur intégré à celui-ci. Ce dernier recueille et convertit les données des différents capteurs pour les transmettre à l’ordinateur en plus de contrôler directement le système d’entretien des cordes. Les logiciels sont contrôlés par les données des différents capteurs et sont utilisés pour déclencher des trames fixes et traiter le son de l’instrument par des algorithmes de traitement du son.<br>This paper presents the development of an augmented guitar combined with different electroacoustic techniques in order to expand my compositional language. Three works were composed in addition to the processes involved in their production like the design of different processing and sound generation systems based on electronic and computer devices. Electronic systems are built with different sensors and transmitters on the instrument in order to allow new and unconventional playing techniques. These are piezoelectric, pressure, movement and capacitance sensors. A hexaphonic magnetic string sustainer system was implemented below the strings. The computer systems consists of specially designed softwares for the instrument, as well as firmware for its integrated microcontroller. The firmware collects and converts the data from the various sensors and transmits it to the computer in addition to directly controlling the sustainer system. As for the softwares, it was developped to control the various sensors and to initiate the playback of samples. It also integrates the sound processing algorithms.