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Academic literature on the topic 'Guitar Guitar music Performance practice (Music) Gitaren'
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Journal articles on the topic "Guitar Guitar music Performance practice (Music) Gitaren"
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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.
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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.
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Elliker, Calvin, and Victor Anand Coelho. "Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation." Notes 55, no. 3 (1999): 636. http://dx.doi.org/10.2307/900415.
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Suroso, Panji, Adina Sastra Sembiring, Uyuni Widiastuti, Muklis Hasbulah, and Bakhrul Khair Amal. "Performance Model of Kulcapi (Karo Musical Instrument) as a Teaching Material in Guitar Learning." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 1, no. 4 (2018): 136–43. http://dx.doi.org/10.33258/birci.v1i4.102.
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This study examines performance model of Kulcapi Karo as a teaching material in guitar learning classes at Music Art Study Program in Unimed. To obtain maximum learning outcomes in the learning process, creative strategies and methods are created in utilizing local music culture as a capital in improving music playing skills. Efforts are made in various ways to maximize learning by reviewing and analyzing matters related to the learning process such as; analyze learning objectives, teaching material, strategies or learning methods, including local cultural material as a learning resource that can be adapted to the development and needs of the community in the world of education that continues to grow. Based on this, it is very important if Kulcapi's musical instrument culture as local culture can be packaged and used as teaching material in learning guitar music instruments. This is intended to further enrich students' understanding of theoretical concepts and the practice of playing stringed musical instruments is not only limited to popular knowledge, but also on things that are more specifically including traditional ones. With the effort to study and understand the Kulcapi instrument as teaching material, students must absolutely understand the organology structure and the technique of playing Kulcapi to be able to be developed to the level of being able to play better musical instruments. The technique of playing Kulcapi instrument as a capital in developing students' abilities in guitar courses seems to be more able to improve the achievement of better quality learning outcomes
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Okhotnikov, Vladimir E. "About the Development of Artistry in Elementary School Pupils in a Guitar Class." ICONI, no. 3 (2021): 173–81. http://dx.doi.org/10.33779/2658-4824.2021.3.173-181.
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The article dwells upon the necessity of forming artistic qualities in elementary school pupils during the process of teaching performance mastery. The preparation of future performing musicians must be carried out in the context of a theatrical rendition of the performing profession, with the inclusion of elements of vocational psychology. The artistry of the pupils of children’s music schools must be developed inseparably from the process itself of development of performance skills and the skills of reading the musical text and performance technique, otherwise the development artistry acquires an accidental character and is subordinated, albeit, being an inseparable part of a successful concert performance. An analysis of performance working programs in children’s music schools for pupils with a professional inclination shows a lack of a goal-directed systematic work with the pupil in forming artistry as a professionally significant quality, whereas the brightest indicator of creative development is particularly artistry. The discipline of pedagogy recognizes this necessity, but the latter is not realized in the conditions of teaching practice. The overcoming of this contradiction is possible by means of the pupils’ familiarization with artistic techniques and stage organization. The article proposes examples of special exercises directed at the development of artistry and creative imagination of elementary level guitarists.
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
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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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Lucas, Alex, Franziska Schroeder, and Miguel Ortiz. "Enabling Communities of Practice Surrounding the Design and Use of Custom Accessible Music Technology." Computer Music Journal 44, no. 2-3 (2020): 9–23. http://dx.doi.org/10.1162/comj_a_00567.
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Abstract In this article, the research group Performance without Barriers reflect on the process of collaboratively designing a custom guitar-inspired instrument with Eoin Fitzpatrick, a physically disabled musician from the Drake Music Project, Northern Ireland. As part of a longitudinal ethnographic case study designed to uncover factors that contribute to the longevity of custom assistive music technology, the authors monitored Fitzpatrick using this instrument over two months. The findings of this study inform a reflection on the social, technical, and environmental factors that the provision of such technology a reality. The authors make suggestions for ways to achieve long-term, sustained use. Custom technologies, seemingly unique on the surface, may well utilize similar underlying hardware and software components. Those involved in its design, fabrication, facilitation, and use could benefit from a concerted effort to share resources, knowledge, and skill as a mobilized community of practitioners. In such a pursuit, the authors recommend that practitioners consider strategies for managing the inherent complexity of digital technology. Fostering shared mental models within open-source communities can result in improved efficiency in the development of accessible music technology.
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Moore, Thomas R. "Stilte dirigeren. Michael Maierhofs gebruik van gedirigeerde en gemeten stiltes / Conducting Silence. Michael Maierhof’s use of conducted and measured silences." Forum+ 26, no. 3 (2019): 64–71. http://dx.doi.org/10.5117/forum2019.3.moor.
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Stiltes zijn een essentieel onderdeel van muziek. Wanneer stilte nauwkeurig wordt gemeten, zoals in Michael Maierhofs Zonen 6 voor gitaarorkest, kan deze een hele compositie structureren en de luisteraar helpen om een stuk zin te geven. Het artistieke gebruik ervan heeft ook een dramatische invloed op de rol en de uitvoeringspraktijk van de dirigent. Precies 75% van Zonen 6 voor gitaarorkest van Michael Maierhof bestaat uit gecomponeerde en uitgemeten soundscapes, uitgevoerd door zeventien gitaristen. De andere 25% van het stuk bestaat uit afgemeten en gedirigeerde stilte. In dit artikel peilt Thomas Moore het artistieke gebruik van deze stiltes en onderzoekt hij de manier waarop zij de soundscapes omlijsten en helpen structureren. Ook het nut van de dirigent(e) tijdens deze stiltes wordt overwogen, net als de manieren waarop de dirigent(e) invloed uitoefent op de uitvoering door de gitaristen, en de perceptie van het stuk door het publiek.Silences are an essential part of music. When rigorously measured, like in Michael Maierhof's Zonen 6 for guitar orchestra, silences can structure an entire composition and help the listener make sense of a piece. Their artistic usage also has a dramatic affect on the conductor's role and performance practice. Exactly 75% of Michael Maierhof's Zonen 6 for guitar orchestra can be described as composed and metered soundscapes played and performed by seventeen guitar players. The other 25% of the piece is comprised of measured and conducted silence. In this article, Thomas Moore will delve in the artistic use of these silences and examine the manner in which they frame the soundscapes and help create structure. The use of the conductor throughout these silences will also be considered, as well as the possible ways in which this affects the guitarists' performance and the audience's perception of the piece.
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Alvionita, Shelvy, and Esy Maestro. "PERKEMBANGAN MUSIK TALEMPONG DUDUAKDISANGGAR SENI PUTI TUNGGA KABUPATEN DHARMASRAYA." Jurnal Sendratasik 9, no. 1 (2020): 45. http://dx.doi.org/10.24036/jsu.v8i3.108145.
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Abstract The tradition of talempong music has been hereditary into a part of the Minangkabau social life. In its journey, traditional art has been in contact with the sharing of symptoms that develop in the life of a dynamic society, based on it, there also emerged the genre of talempong creation in the Minangkabau region. Puti Tunggastudioplays talempong with the type of talempong duduak (diatonic). The form of the talempong duduak performance is usually combined with several modern instruments such as electric guitar, sexophone, drums and also other traditional Minangkabau musical instruments. The purpose of this study is to analyze the development of talempong duduak music at Puti Tungga Studio in Dharmasraya Regency. Type of this research was qualitative with using a descriptive analysis approach. The object of this research was Talempong in the Pulau Punjung sub-district, Dharmasraya Regency. Techniques of data collection were done by using library studies, observations, interviews and documentation. Efforts that are done by Puti Tungga Studio for the development of the Talempong Duduak are such as gathering members, training in a week and being active in the appearance of the Talempong Duduak in Dharmasraya. There are several obstacles found by Puti Tungga Studio in developing the Talempong Duduak , such as the players who often change because of their busy activities, the higher flow of modern music and the high interest of the society towards modern music. The development and preservation of the Talempong Duduak musical instrument currently needs to be done by socializing to the wider society, especially the younger generation through the Department of Education by incorporating traditional art knowledge both in theory and practice into the curriculum through elementary school to senior high school level. Keywords: music development, talempong duduak, puti tungga art gallery
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Zagorski-Thomas, Simon. "The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production." Popular Music 29, no. 2 (2010): 251–66. http://dx.doi.org/10.1017/s0261143010000061.
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AbstractThis article will discuss how two major contributing factors, functional staging and perceived authenticity, have had and continue to have a powerful influence on the sound of record production across geographical boundaries and throughout history. Functional staging is a concept building on the idea of phonographic staging developed by William Moylan and Serge Lacasse and related to Allan Moore's ‘sound-box’. The staging of sounds in the record production process is considered to be functional if the reason for their particular placement or treatment is related to the practicalities of audience reception rather than to aesthetics. It is not a question of whether the music has a function or not but whether that function has influenced the staging of the recorded music. Thus the divergence of staging techniques used in dance music and rock music that began in the 1970s can be seen as resulting from the different functions the music was put to by the different audiences. Music that is played back through large speakers in a club for the purpose of dancing needs to maintain the clarity of the rhythmic elements and so the ‘drier’ techniques of drum and percussive instrument mixing that characterise dance music developed. Rock, however, was more frequently played back in the smaller, less ambient, home environment and so reverberation was added to simulate the atmosphere of the large-scale venue. At the same time, a variety of culturally constructed notions of authenticity have developed within different musical audiences. Why is it that Queen felt the need to inscribe ‘no synthesisers were used in the making of this album’ on their early records and yet Brian May felt entirely comfortable constructing multiple layered performance ‘patchworks’ of guitar tracks? Why might the use of one type of technological mediation be considered more or less authentic than another? Using examples taken from recordings from all around the world and from ‘art’ and ‘popular’ forms of music, this article will explore how audience-led cultural trends in recording and production practice have resulted in the particular ‘sounds’ of different recorded music genres.
Dissertations / Theses on the topic "Guitar Guitar music Performance practice (Music) Gitaren"
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Ortiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.
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Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar.
This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the instrument. Sonata III is Compeán’s most ambitious guitar composition and one of the most important twenty-first century contributions to the Mexican guitar literature. This research focuses on the production of a performing edition of Sonata III. This research also includes a comprehensive analysis of Compeán’s solo guitar music to provide context for guitarists so that they can better understand the composer’s style.
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Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.
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Graham, Richard. "Expansion of electronic guitar performance practice through the application and development of interactive digital music systems." Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.586709.
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Contemporary guitar design, pedagogy and performance practice methods present a series of multidisciplinary issues, which concern homogenous musical structure and performance control. A performer may extend their musical craft through the development of digital signal processing systems in order to attend to structural homogeneity. Such an approach may result in physical control and perceptual problems. Physical and figurative gestural relationships between the performer, instrument, transformative signal processes and resultant sound structure may appear contrary to more conventional instrumental performance schemata concerning performance engagement, effort and involvement. This thesis will present a technologically-driven instrumental performance methodology, underpinned by relevant multidisciplinary theoretical research concerning the role of instrumental performance gesture categories and the perceptual organisation of musical performance events. The resultant theoretical framework will inform the development of a digital music system for real-time improvisatory hyperinstrumental performance, exploiting relevant instrumental performance gestures and associated musical schemata. The resultant digital music performance system will attend to structural homogeneity whilst considering emergent research issues in relation to conventional instrumental design, pedagogy and practice. Through creative practice, the performer may develop unique musical relationships between performance gesture categories, cognitive schemas in musical memory and cognition-based formal music models. Such an approach may encourage the cultivation of a unique and coherent hyperinstrumental music performance practice, beyond the conventions and limitations of the standardised chordophone.
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Sandoval-Cisternas, Enrique. "A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.
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Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
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Crossley, Jonathan Mark. "The cyber-guitar system: a study in technologically enabled performance practice." Thesis, 2017. https://hdl.handle.net/10539/25212.
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A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements for the degree of Doctor of Philosophy, March 2017<br>This thesis documents the development and realisation of an augmented instrument, expressed through the processes of artistic practice as research. The research project set out to extend my own creative practice on the guitar by technologically enabling and extending the instrument. This process was supported by a number of creative outcomes (performances, compositions and recordings), running parallel to the interrogation of theoretical areas emerging out of the research.
In the introduction I present a timeline for the project and situate the work in the field of artistic practice as research, explaining relationship between the traditional and creative practices. Following on from this chapter one, Notation, Improvisation and the Cyber-Guitar System discusses the impact of notation on my own education as a musician, unpacking how the nature of notation impacted on improvisation both historically and within my own creative work. Analysis of fields such as graphic notation led to the creation of the composition Hymnus Caesus Obcessiones, a central work in this research.
In chapter two, Noise, Music and the Creative Boundary I consider the boundary and relationship between noise and music, beginning with the futurist composer Luigi Russolo. The construction of the augmented instrument was informed by this boundary and aimed to bring the lens onto this in my own practice, recognising what I have termed the ephemeral noise boundary. I argue that the boundary line between them yields the most fertile place of sonic and technological engagement.
Chapter three focuses on the instrumental development and a new understanding of organology. It locates an understanding of the position of the musical instrument historically with reference to the values emerging from the studies of notation and noise. It also considers the impacts of technology and gestural interfacing. Chapter four documents the physical process of designing and building the guitar. Included in the Appendix are three CDs and a live DVD of the various performances undertaken across the years of research.<br>XL2018
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"A Pedagogical and Performance Edition of J. S. Bach's Violin Sonata I in G minor, BWV 1001, Transcribed for Guitar: Transcription, Analysis, Performance Guide, Pedagogical Practice Guide, and Recording." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17892.
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abstract: Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.<br>Dissertation/Thesis<br>D.M.A. Music 2013
Books on the topic "Guitar Guitar music Performance practice (Music) Gitaren"
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Josef, Holeček. För musikens skull: Studier i interpretativ gitarrspelteknik från tidsperioden ca 1800-ca 1930, med utgångspunkt från gitarrskolor och etyder. Göteborgs universitet, Musikhögskolan, Avdelningen för musikvetenskap, 1996.
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Dawe, Kevin. The new guitarscape in critical theory, cultural practice and musical performance. Ashgate, 2009.
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The new guitarscape in critical theory, cultural practice and musical performance. Ashgate, 2010.
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Victor, Coelho, ed. Performance on lute, guitar, and vihuela: Historical practice and modern interpretation. Cambridge University Press, 1997.
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Coelho, Victor Anand. Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation (Cambridge Studies in Performance Practice). Cambridge University Press, 1998.
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Coelho, Victor Anand. Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation (Cambridge Studies in Performance Practice). Cambridge University Press, 2005.
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Dawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2016.
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Berg, Christopher. The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.001.0001.
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The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.