Relevant bibliographies by topics / Guitar in art / Dissertations / Theses
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Dissertations / Theses on the topic 'Guitar in art'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2025

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1

Duque, Cuartas Alejandro. "Colombia's Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394724.

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This research explores the diversity of Colombia’s classical guitar repertoire (CCGR). Using musicological and artistic approaches, it aims to expand understanding of the wide stylistic range and diversity of CCGR. In particular, building on previous categorisations of Colombian music, this project offers a three-part framework for better understanding the diversity of CCGR idioms in their contemporary manifestations: namely, traditional, traditional-popular, and art music. Drawing on methods characteristic of historical musicology and artistic research, this research contributes to new unders
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2

Ahles, Ian Charles. "The Music of Phillip Houghton: Interpreting the Influence of Visual Art Works in his Compositions." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382721.

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Phillip Houghton (April 26, 1954 – September 30, 2017) was “one of Australia’s greatest guitar figures and composers” (Slava Grigoryan as cited by Cerabona, 2018). Houghton had been trained in visual arts before studying music, and influences from the visual art and references to visual stimuli played a major role in his compositions. This study discusses the process of developing a meaningful interpretation, performance and presentation of Houghton’s compositions with a focus on the visual art influences referenced in his music. This research project unfolds through three case studies, spanni
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3

Roberts, Samuel Christian. "A portfolio of compositions expanding the role of the electric bass guitar in contemporary Western art music." Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1.

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My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aim
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Parkhurst, Padraig Leo. ""Spoken Lieder": Expanding upon the growing field of music for spoken voice and instrument." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/377585.

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In 2014 while working as guitarist in the Iranian folk ensemble ‘Sweet Sound’ I was asked by Shirin Majd to write a setting of poetry for guitar and spoken voice for the combined arts project ‘Rebirth’. The question arose of how to combine speech with music in such a manner as to aid both performance and comprehension of the work. To achieve this, existing works in this field were examined through their scores, recordings, relevant literature and historical context, then used as inspiration for new compositions. The process of writing, rehearsing, performing and sometimes recording these compo
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Chapalain, Guy. "La guitare et son répertoire au XIXe siècle : 1850-1920 : novations et permanence /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224993c.

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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.
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6

Pierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.

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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass
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7

Fugazza, Lorenzo. "Methods to support guitarists to recover from injuries and/or maintain health." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3338.

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Musicians tend to suffer from a broad range of problematics related to their playing, from muscle/tendon injuries, to joint injuries, nerve compression disorders and central nervous system disorders. The purpose of this essay was therefore to explore methods used for health and wellbeing of guitarists. The research question was: Which actions are described to support guitarists to recover from injuries and/or maintain health? A qualitative approach was used to collect and analyse the data that were acquired through in-depth interviews and analysis of annotations of musicians who have been pati
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8

Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.

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Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver
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9

Baumann, Judith Marie. "Fabricated Histories (or My American Daydreams)." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/144.

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The three print series I completed within the past two years appear hardly related at first. However, these individual bodies of work, when examined chronologically, are continually informed by similar ideas. The most obvious of these is the act of piecing elements together to form something that had previously not existed, yet still influences the original source. In all three series, images are taken from an original source and re-contextualized. The idea of cultural or anthropological landscapes is also a theme throughout my work. Each individual series toyed with the idea of an imaginary o
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10

Douglas, Charles William. "An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars"." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505150/.

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Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal c
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11

Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a ron
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12

Aronsen, Björn-Ove. "Inte enbart elgitarren : Elgitarrlärares val av undervisningsmaterial samt hur de motiverar och använder det i sitt arbete." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78962.

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Studien syftar till att få djupare insikt i vad elgitarrlärare på kommunala musik- och kulturskolor använder för undervisningsmaterial, hur de motiverar användandet och på vilka sätt materialet verkar inspirerande på eleverna. I bakgrundsavsnittet presenteras tidigare forskning och annan litteratur som berör studien samt de teoretiska utgångspunkterna. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation.  Studiens datamaterial består av kvalitativa intervjuer med tre elgitarrlärare som undervisar inom den kommunala musik- eller kulturskolan.
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13

Rodriguez, Sergio (Guitarist). "Comparison of the Méthode Pour La Guitare by Fernando Sor with the Méthode Complète Pour La Guitare Par Ferdinand Sor, Rédigée Et Augmentée De Nombreux Exemples Et Leçons Suivis D'une Notice Sur La 7e Corde by Napoléon Coste." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011789/.

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The nineteenth century presents a great increase in publications of guitar methods. Most authors of the time published several versions of their works. Fernando Sor, perhaps the most prominent guitar composers of the time—whose Méthode is regarded today as the most important of the period—only published one edition. However, Napoleon Coste took on the task to do a second account. The literature reviewed shows substantial existing information regarding background, type of text, tone, and contents of Sor's work, but comparisons to date are not substantial. Therefore, there is a need to compare t
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14

Lochbaum, Stephen. "An Overview and Performance Guide to the 10 Etudes for Guitar by Giulio Regondi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505178/.

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The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several
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15

Lähdeoja, Otso. "Une approche de l'instrument augmenté : la guitare électrique." Paris 8, 2010. http://octaviana.fr/document/155983601#?c=0&m=0&s=0&cv=0.

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Cette thèse examine la notion de l’instrument de musique augmenté, dans un mouvement de dialogue entre une approche théorique et un engagement subjectif dans la réalisation d’une guitare électrique augmentée. La première partie de la thèse est consacrée à l’élaboration d’une réflexion sur l’instrument augmenté en tant qu’un objet d’étude. Elle développe une approche où l’instrument de musique est vu comme un continuum reliant l’homme, l’objet-instrument et le son au sein d’un ensemble que nous nommons l’environnement instrumental. Le processus d’augmentation est envisagé comme l’introduction d
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16

Vera, Fernand Toribio. "Selected Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Classical Guitar Duo." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9727/.

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Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque har
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17

Holecek, Josef. "För musikens skull : studier i interpretativ gitarrspelteknik från tidsperioden ca 1800 - ca 1930, med utgångspunkt från gitarrskolor och etyder /." Göteborg : Göteborg universitet, 1996. http://catalogue.bnf.fr/ark:/12148/cb36963727p.

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18

Gaviria, Carlos A. "Alberto Ginastera and the Guitar Chord: An Analytical Study." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33152/.

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The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modification
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19

Realino, Umberto. "Un siècle de guitare en France : 1750-1850 /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224915k.

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Thèse--Musicologie--Paris-4-Sorbonne, 1999.<br>Catalogue des ouvrages conservés au Département de la Musique de la BnF, comportant une notice biogr. pour chaque compositeur ainsi que la liste de ses oeuvres p. 466-589. Glossaire p. 805-810. Bibliogr. et discogr. p. 403-420. Index.
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20

Bousson, Florent. "Les mondes de la guitare /." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb40945380c.

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21

Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.

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This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chap
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Morey, Michael J. "A Pedagogical and Analytical Study of Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84256/.

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Polymeter has been a relatively unexplored compositional technique of music of the Common Practice Period. Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar is recognized in the guitar world as not only an important theoretical treatise, but also a benchmark for more advanced levels of improvisation. Currently, his treatise remains the best source for learning polymetric improvisation on the guitar. My personal contribution stems from the idea that multiple interpretations of thought processes and technical approaches are possible when learning to play polymeters on the guitar.
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Noonan, Jeffrey James. "The guitar in America as reflected in topical periodicals, 1882-1933 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050019x.

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Diss.--Philosophie--Saint Louis (Mo)--Washington Univ., 2004.<br>Musique imprimée pour guitare publiée dans les périodiques américains p. 639-701, par compositeurs p. 702-733. Bibliogr. et discogr. p. 734-748.
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Amoric, Michel. "Spécificités du répertoire contemporain de la guitare /." [Paris] : [M. Amoric], 2000. http://catalogue.bnf.fr/ark:/12148/cb37638496w.

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Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.

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There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through
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Lignitz, Kellie. "A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271856/.

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In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early ninete
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Dettke, Manfred. "Lehrwerke für die sechssaitige Konzertgitarre in deutschsprachigen Ausgaben des 19. und 20. Jahrhunderts : unter Berücksichtigung von Gitarrenschulen, theoretischen Schriften und anderen Handreichungen, die sich mit der Gitarre auseinandersetzen /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb35471178n.

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28

Huber, Karl. "Die Wiederbelebung des künstlerischen Gitarrespiels um 1900 : Untersuchungen zur Sozialgeschichte des Laienmusikwesens und zur Tradition der klassischen Gitarre /." Augsburg : Lisardo, 1995. http://catalogue.bnf.fr/ark:/12148/cb375114284.

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Plesch, Melanie. "The guitar in nineteenth-century Buenos-Aires : towards a cultural history of an Argentine musical emblem /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40039124j.

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Schmitz, Peter. "Gitarrenmusik für Dilettanten : Entwicklung und Stellenwert des Gitarrenspiels in der bürgerlichen Musikpraxis der ersten Hälfte des 19. Jahrhunderts im deutschsprachigen Raum /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb369944251.

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Realino, Umberto. "Un siècle de guitare en France : 1750-1850 : catalogue /." [Paris] : [U. Realino], 1999. http://catalogue.bnf.fr/ark:/12148/cb37211836b.

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Thèse--Musicologie--Paris-4-Sorbonne, 1999.<br>N'avons que le volume 2. Catalogue des ouvrages conservés au Département de la Musique de la BnF, comportant une notice biogr. pour chaque compositeur ainsi que la liste de ses oeuvres. Résumé en anglais et en français.
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Hodges, Jeff. ""Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28430/.

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Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists
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Frackenpohl, David J. (David John). "Analysis of Nocturnal op. 70 by Benjamin Britten." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500442/.

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Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, iden
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Lee, Chris. "Establishing Editorial Principles to Create a Performance Edition of Selections From Appunti Op 210 By Mario Castelnuovo-tedesco." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115108/.

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This paper examined editorial methods used in producing published versions of the music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial principles to create a performance edition of five movements from book two of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in establishing editorial criteria. at the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic pieces for young guitarists. the pieces were to be collaboratively e
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LeBlanc, Paul G. "Structure and Performance of El Polifemo de Oro for Solo Guitar by Reginald Smith Brindle." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279142/.

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El Polifemo de Oro was written in 1956 and revised by the composer in 1981. This two-fold investigation clarifies the structure of El Polifemo through careful analysis of the work and its revision, and by Smith Brindle's approach to composition based on his interviews and books. The second aspect is aimed toward the pragmatic performance issues of tempo, articulation, timbre, voice leading, and the other details of execution. Although the work was written according to serial techniques, the presence, in the twelve-note row, of triadic formations (minor triad, dominant seventh, fully-diminished
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Lang, Matthias. "Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271851/.

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Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of th
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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.

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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many poi
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Todd, Richard. "The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3606/.

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The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that
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Noël, Jeanne. "La Guitare en France au temps de Louis XIV d'après les textes." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617038z.

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Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.

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Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal wi
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Harris, Joshua Kimball. "“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407859/.

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Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/su
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Pierce, Justin. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609135/.

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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass
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Perricone, Eloisa Sebastiani Adriano. "Segovia e il suo repertorio /." Genova : Graphos, 2002. http://catalogue.bnf.fr/ark:/12148/cb390238061.

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Kyzer, Dan. "Beyond Nothingness: A Broader Nihilism in Cinema Paradiso by Stephen Goss." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538670/.

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Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence
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Handel, Amanda Jane. "Music of balance circles and squares /." View thesis View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041022.170632/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004.<br>Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.
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Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.

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The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the re
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Einbrodt, Ulrich Dieter. "Experimentelle Untersuchungen zum Gitarrensound in der Rockmusik /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb369650304.

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Michel, Bénédicte. "La "Bible historiale" de Guiart des Moulins : édition critique de la Genèse d'après le manuscrit Bruxelles II 1987." Dijon, 2004. http://www.theses.fr/2004DIJOL024.

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Li, Zhi. "How a Schenkerian Analysis May Inform the Interpretation and Performance of J. S. Bach's Lute Music on the Guitar Using Selective Movements of Bach Lute Suite No. 4 in E Major (BWV1006A) as a Demonstration." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752403/.

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Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the la
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Whitney, Megan Leigh. "Happily We Are Only Women: An Investigation into the Lives and Works of Artemisia Gentileschi, Adélaïde Labille-Guiard, and Mary Cassatt." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/271929.

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The lives of Artemisia Gentileschi, Adélaïde Labille-Guiard, and Mary Cassatt are distinct, varying greatly from one another. Yet, for all of their differences these artists have far more in common. Each negotiated social systems, ideologies, and institutions which were stacked against them, using only those resources immediately available. The professional careers, private lives, and artistic and social institutions which shaped these artists are discussed through a collection of paintings exemplifying their life and work. Influenced in part by tragedy and scandal early in life, great artists
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