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Journal articles on the topic 'Guitar in art'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Deloria, Philip J. "T.C. Cannon’s Guitar." Arts 8, no. 4 (2019): 132. http://dx.doi.org/10.3390/arts8040132.

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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergeneratio

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2

Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century." Culturology Ideas, no. 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.

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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and

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3

Filatova, Tetiana. "Academic Performing Traditions of Chilean Guitar Art." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 26–37. http://dx.doi.org/10.31318/2522-4190.2021.131.243205.

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The relevance of the article lies in the systematization of the phenomena of the Chilean academic guitar art, the study of the national origins of the performing school, its principles, achievements, transcultural processes and their mutual influences, which led to the popularization of the instrument on the Latin American continent. The purpose of the article is to create an overview panorama of the development of the academic traditions of Chilean guitar performance, to identify trends in the formation and genealogy of successive ties between generations of soloists. The methodology includes

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4

Budrianto, Budrianto Budrianto, Wilma Sriwulan, and Marta Rosa. "APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU." Gorga : Jurnal Seni Rupa 7, no. 2 (2018): 94. http://dx.doi.org/10.24114/gr.v7i2.10915.

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AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungka

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Gómez-Ullate García de León, Martín. "GUITAR TEACHING: STATE OF THE ART AND RESEARCH QUESTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 361. http://dx.doi.org/10.17770/sie2019vol4.3952.

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This work reviews guitar methodologies and didactic materials from the first 16th century methods of guitar and vihuela to the software/hardware devices patented now-a-days. One of the richest sources for guitar education research are master classes registered since the last 50-100 years and available today to the researcher. A set of 12 master classes are analysed in this study. Fundamental decisions for the education and practice of the guitar are highlighted as the fingernails vs. yolks playing, “learning by music” vs. “learning by ear”, the use of music vs. tablature notation or the autodi

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Ivanov, Oleksandr. "The Evolution of Composer's and Performer's Style in Guitar Art." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 168–77. https://doi.org/10.31866/2410-1176.38.2018.141817.

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The purpose of the article. The process of evolution of composer’s and performer’s style as a phenomenon of music culture which has historically formed in guitar art is considered in the article. The theoretical aspects of the problem are revealed on the basis of the analysis of scientific works devoted to the search of communicative interaction between the composer and the performer. The research methodology was based on the methods of analysis and systematization of scientific information and the experience of the composer’s and performer’s activity in

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7

Stryzhyboroda, Petro. "Guitar Art of Stepan Rak: Genre and Style, Image and Theme Aspects." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 141–47. https://doi.org/10.31866/2410-1176.42.2020.207643.

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The purpose of the article is to comprehend the achievements of the Ukrainian origin Czech guitarist S. Rak in compositional guitar work through the genre specificity, stylistics, symbolic themes and performance forms; to reveal the folklore based principles of the artist’s compositional pieces; to consider the peculiarities of the embodiment of the principles of academic guitar performance in the solo and ensemble works of S. Rak. The research methodology consists of historical, source, art studies methods, which allowed to conduct genre and style analysis of S. Rak’s guitar work

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8

Hansen, Uwe J. "Materials in Musical Instruments: Romance of Art and Science." MRS Bulletin 20, no. 3 (1995): 25–27. http://dx.doi.org/10.1557/s0883769400044353.

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A few years ago, I surprised my wife by asking for a guitar for Christmas. Our budget was limited in those days, so I started at the low-cost end and remember being disappointed with the tone quality of the guitar we purchased. Even with my poorly trained ear, I could tell the difference between a $50 guitar and a $100 instrument. The jump from $100 to $200 was also easily detectable. I could even make out the difference in tone quality between a $200 and a $500 guitar. One hand-crafted instrument with a $1000 price tag had a lovely tone. However, the limitations of my ear made it difficult to

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9

Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.

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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insig

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Жерздев, А. В. "«ОБРАЗ» ГИТАРЫ В СИСТЕМЕ СТРУННО-ЩИПКОВОГО ИНСТРУМЕНТАЛИЗМА: ИСТОРИЯ, ОРГАНОЛОГИЯ, АКТУАЛЬНАЯ ПРАКТИКА". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 99–109. https://doi.org/10.5281/zenodo.1803446.

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The article is devoted to discussing the concept of guitar “image” in the context of history, organology and the actual practice of plucked string music making. The basic ideas about the six-string (classical) guitar have been identified and systematized, which, however, has acquired such status on the basis of a number of historical-and-style modifications, distinguished according to the criteria of the visual-and-acoustic appearance (the body shape, the tuning, the number of strings). The article outlines the peculiarities of HIP – Historically Informed Performance practice

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Zhovnir, Stanislav. "Astor Piazzolla's Creative Activity Representation in Guitar Art of the Late 20th and Early 21st Centuries." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 2 (2018): 125–34. https://doi.org/10.31866/2616-7581.2.2018.153386.

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The article focuses on the personalized genre and style approach to the analysis of Latin American composers’ artistic activity for the guitar, which gained universal acclaim and popularity in academic music culture. The background context for the following analysis causes the necessity in thorough learning of Latin American composers’ creative activity for the guitar as an inseparable part of Latin American music. The author highlights the peculiarities of the main forms and genres of guitar works by Argentinian composer Astor Piazzolla. There has been defined the linkage between

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12

Sülün, Erkan, Hüseyin Kaya Uzunali, and Mehmet Özkanoğlu. "Transforming Art Environments: Online Classical Guitar Meetings." European Journal of Social and Behavioural Sciences 32, no. 3 (2023): 152–61. http://dx.doi.org/10.15405/ejsbs.338.

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The aim of this study is to investigate new approaches arising from the transfer of educational, artistic, and social activities to online environments after the COVID-19 pandemic period, and specifically to examine the "online guitar meetings" designed for this purpose. Guitar Meetings were conducted three times within a three-week period, each lasting 150 minutes, with 15 participants in each session. The nested single-case design of the qualitative research-based case study model was used in the research. The study group comprised artists, artist-scholars, and students. For data collection,

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13

Ma, Luisa Martínez Martínez, and Manuel Peter. "El Murciano's "Rondeña" and Early Flamenco Guitar Music: New Findings and Perspectives." Música Oral del Sur, no. 12 (November 13, 2015): 249–72. https://doi.org/10.5281/zenodo.4636695.

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Resumen: La Rondeña del guitarrista granadino Francisco Rodríguez Murciano (El Murciano, 1795 1848) tal y como se documenta en una transcripción realizada por su hijoha sido objeto de interés reciente entre investigadores y flamencólogos especializados en el estudio del desarrollo de la guitarra flamenca. Autores como Eusebio Rioja (2008 y 2013), Javier Suárez Pajares (2003), Guillermo Castro Buendía (2014) y Norberto Torres Cortés (2010), han sabido reconocer la importancia de esta obra en la reconstrucció

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14

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 his

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15

Shoaf, Eric C., and Darcy Kuronen. "Dangerous Curves: The Art of the Guitar." Galpin Society Journal 54 (May 2001): 413. http://dx.doi.org/10.2307/842468.

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16

Maksym, Trianov. "CREATIVE PORTRAIT OF VOLODYMYR DOTSENKO AS EXPRESSION OF THE CONCEPT OF UNIVERSALISM." Aspects of Historical Musicology 22, no. 22 (2021): 150–65. http://dx.doi.org/10.34064/khnum2-22.09.

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The contemporary national Ukrainian art of guitar performance is actively growing. In the latest decades it is experiencing a veritable takeoff. One of the primary objectives of modern musicology is to extensively study the phenomenon of Ukrainian guitar art, specifically its regional variations. The establishment of regional schools of guitar and study of prominent artists deserve detailed research. The article examines the multifaceted creative individuality of Volodymyr Dotsenko, the founder of professional school of classical guitar in Kharkiv. His artistic image is firstly pondered in the

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17

Bower, Rudi. "Heidegger, art, technology and luthiery." Acta Academica: Critical views on society, culture and politics 41, no. 4 (2009): 1–22. https://doi.org/10.38140/aa.v41i4.1224.

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Luthiery – the building of stringed instruments – is historically a discipline that has to a large extent evaded philosophical inquiry. This article seeks to explore the artistic and technological attributes of luthiery – with reference to guitar builders, in particular – using the thought of Martin Heidegger. His return to ancient Greek philosophy in determining the modes of technology and its initial close association with art will be interrogated and ultimately used to show that in luthiery, as practised by solitary luthiers as opposed to mass-produced factory instruments, both art and tech

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18

Kovalenko, A. S. "Historical background to establishment of the national instrumental guitar education in the context of music education development." Musical art in the educological discourse, no. 2 (2017): 86–91. http://dx.doi.org/10.28925/2518-766x.20172.8691.

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The article highlights the historical background to establishment of national instrumental guitar education in the context of music education development. We consider historical events that have influenced the dynamics of the formation of competencies of guitar education in Ukraine. Based on the analysis of the scientific literature the author shows that guitar education in Ukraine is a relatively new phenomenon. It is examined historical preconditions of the development of national guitar education in the context of three periods of development of music education. During the first period, gui

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19

Dotsenko, Volodymyr, and Viktoria Tkachenko. "CREATIVE STRATEGIES FOR THE GUITAR CLASS AT I. P. KOTLYAREVSKY KHNUA." Aspects of Historical Musicology 22, no. 22 (2021): 72–85. http://dx.doi.org/10.34064/khnum2-22.04.

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Introduction. The guitar class, opened by V. Dotsenko in 1989, recently celebrated its 30th anniversary and presented the university with many winners of international competitions, ensemble groups and new scholarly discourses. Together with the constant changes in society’s requirements for academic education and musician’s activities, this encourages us to estimate its achievements and prospects at the present stage. The aim of the article is to identify the key vectors of the guitar class of Kharkiv National University of Arts at the present stage. In accordance with the goal, such methods

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Kurniawan, Aldo, Ratna Rahayu Ronalta, Rahmat Prayogi, and Betnawati Betnawati. "EKSPLORASI SENI GITAR TUNGGAL DI KELURAHAN KOMERING AGUNG." JURNAL SELAKSA MAKNA 1, no. 1 (2025): 41–47. https://doi.org/10.23960/selaksamakna.v1i1.378.

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Seni gitar tunggal Lampung di Komering Agung adalah manifestasi seni yang kaya dan beragam yang menjadi bagian tak terpisahkan dari budaya dan identitas masyarakat di wilayah ini. Abstrak ini membawa kita dalam perjalanan melalui eksplorasi musik gitar tunggal, mengungkapkan akar sejarahnya, karakteristik uniknya, serta peran pentingnya dalam kehidupan sehari-hari dan perayaan budaya. Musik gitar tunggal ini merupakan ekspresi artistik yang mendalam dan beragam, mencerminkan kekayaan kreativitas dan keberlanjutan tradisi dalam masyarakat Komering Agung. Dengan menggali lebih dalam ke dalam sen

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GONZALEZ, Sebastian, Mark RAU, Carolina ESPINOZA, Giacomo LONGO, Fabio ANTONACCI, and Augusto SARTI. "Sound synthesis of geometric and material changes in archtop guitars: towards the timbral design of musical instruments." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 270, no. 5 (2024): 6294–303. http://dx.doi.org/10.3397/in_2024_3711.

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Through computer simulations and synthesis, our research studies the impact of various geometric and material modifications on archtop guitar sound. We use an accurate and realistic physical guitar model from which the bridge admittance and radiated sound pressure are computed. Subsequently, we synthesise the sound of this instrument via state-of-the-art methods for two different chords. The generated sound is then analysed in terms of traditional timbral descriptors. With this framework, it is possible to hear the design changes that the maker can perform in a guitar, paving the way for its t

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Kryhin, Oleksandr. "Segovia’s concert heritage as the basis of forming the guitar performing traditions of the XX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 17–28. http://dx.doi.org/10.34064/khnum1-50.02.

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Background. The academic guitar art, which announced itself at the beginning of the XXI century as one of the dominant and sought-after forms of the concert music making, in recent decades has become the subject of scientific reflection. However, due to a later start time of its evolvement, it turned out to be less explored than other concert genres. The birth of the academic guitar art in the early twentieth century associated with the name of A. Segovia, together with whose creativity it stepped beyond the limits of the Spanish national culture and came to the world level. Creativity of the

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Ivannikov, Tymur, та Tetiana Filatova. "Сuatro as a historical phenomenon of Venezuelan guitar art". Часопис Національної музичної академії України ім.П.І.Чайковського, № 4(45) (26 грудня 2019): 7–18. http://dx.doi.org/10.31318/2414-052x.4(45).2019.189778.

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Ganeev, Vitalii Rinatovich. "Professional Guitar Performance as a Component of Academic Art." Manuskript, no. 4 (April 2020): 156–59. http://dx.doi.org/10.30853/manuscript.2020.4.32.

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Li, Tianchang. "Analysis of Electric Guitar Improvisation Techniques." Journal of Contemporary Educational Research 7, no. 9 (2023): 86–90. http://dx.doi.org/10.26689/jcer.v7i9.5350.

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As an important form of modern fusion music performance, electric guitar improvisation is widely praised and welcomed for its unique performance style. The main points and difficulties of its performance lie in tone switching, speed playing skills, and grasping the title, mood, and style of the music. Therefore, it is necessary to integrate the conventional techniques of string sweeping, pizzicato, and dotted strings with improvisation, applying differentiated rhythmic rhythms, timbre modulation, and special playing techniques to deepen the distinctive art-rock music characteristics.

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Qin, ShengYang. "Blues Traditions of Guitar Performance in Modern Scientific Idea." Culture of Ukraine, no. 85 (September 25, 2024): 53–61. http://dx.doi.org/10.31516/2410-5325.085.06.

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The relevance of the article. Blues has always been and is still one of the most popular areas of non-academic art in the period from the end of the XIX century. However, after the Second World War, the blues tradition began to be actively assimilated against the background of other stylistic trends and subcultures. In this regard, the interest of modern scientists in blues specificity, which has become an important component of many modern musical phenomena, not only increased, but also expanded the perspectives of research. Starting from the second half of the XX century, blues traditions ga

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Andari, Imelda Tri, and Suharto Suharto. "The Function of Pantun in the Art Performace of Batang Hari Sembilan Solo Guitar during Sedekah Bumi Ceremony Held in Batu Urip Hamlet, South Sumatera." Harmonia: Journal of Arts Research and Education 20, no. 2 (2020): 195–204. http://dx.doi.org/10.15294/harmonia.v20i2.28057.

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This study aims to describe the form and function of the solo guitar performance of Batang Hari Sembilan in Batu Urip hamlet, Batu Urip Taba village, Lubuklinggau city, South Sumatra. This study used a qualitative de-scriptive approach. Data collection techniques using observation, interviews, and documentation. The collected data were then analyzed using analytical and interactive techniques with data reduction, data presentation, and conclusion drawing. Based on the discussion that has been done, this study found that the Single Batang Hari Sembilan Guitar is a rhythm of guitar strings conta

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Дедов, С. В. "Специфика работы с однородными и смешанными ансамблями в классе гитары детских музыкальных школ". Modern Humanities Success, № 8 (29 серпня 2024): 204–10. http://dx.doi.org/10.58224/2618-7175-2024-8-204-210.

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статья посвящена анализу игры обучающихся на начальной ступени музыкального образования (в детских музыкальных школах / детских школах искусств) в различных ансамблях в классе гитары. Чаще всего в практике преподавателей детских музыкальных школ и детских школ искусств выбор падает на однородный ансамбль. То есть гитарные дуэты, трио, квартеты, большие гитарные ансамбли, реже гитарный оркестр. Но также весьма интересна практика организации смешанных ансамблей, то есть сочетание гитары с другими инструментами (фортепиано, духовые, струнно-смычковые, народные). Работа с подобными видами ансамбля

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Siswanto, Silo, and Irfan Kurniawan. "Analisis Musikologis Struktur Lagu Gerobak Buruk Sapi Gile Kesenian Gitar Tunggal Sungai Pinang Kabupaten Ogan Ilir." Jurnal Sendratasik 10, no. 4 (2021): 61. http://dx.doi.org/10.24036/js.v10i4.115534.

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This study discusses the musical phenomenon of the reportoar song Gerobak Buruk Sapi Gile which is a characteristic of guitar tunggal art musicals in Sungai Pinang sub-district, Ogan Ilir district. The purpose of this research is to find out and understand more deeply the concepts of the single guitar musical culture. The approaches taken are; musicological analysis. This study uses qualitative methods with data collection techniques through observation, interviews and documentation. The results of interviews and documentation of guitar tunggal music were analyzed through laboratory work using

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Kochekov, Vladimir Fyodorovich. "To The Problems of the First Stage of Additional Musical Education in the Context of Russian Folk-Instrumental Performance." Culture. Art. Education, no. 3 (April 24, 2023): 49–56. http://dx.doi.org/10.37816/2949-1762-2023-2-1-49-56.

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The article deals with the problem associated with certain negative phenomena in the field of Russian folk instruments of the first educational link in the system of additional musical education. There is a tendency to remove the classical six-string guitar from the departments of folk instruments due to attempts to give this musical instrument a special status. The inconsistency of this direction is substantiated. Finding a classical six-string guitar is confirmed precisely in the departments and departments of Russian folk instruments according to various criteria. The direction of the domes

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Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.

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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-c

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Ganeev, Vitaly Rinatovich. "The Art of Classical Guitar in Saratov: Personalities and Events." Manuskript, no. 1 (January 2022): 15–18. http://dx.doi.org/10.30853/mns20230002.

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Rutkowska, Anna. "Guitar Music in the Academic Output of the Institute of Art of the Polish Academy of Sciences." Edukacja Muzyczna 18 (2023): 311–21. http://dx.doi.org/10.16926/em.2023.18.03.

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The present study is concerned with the analysis of all publications that appeared in the musicological journal “Muzyka”, published from April 1950 to the present day by the Institute of Art of the Polish Academy of Sciences (formerly State Institute of Art). The aim of the work was to find mentions of the classical guitar and discuss the contexts in which they appeared.

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Rutkowska, Anna. "Guitar Music in the Academic Output of the Institute of Art of the Polish Academy of Sciences." Edukacja Muzyczna 18 (2023): 299–309. http://dx.doi.org/10.16926/em.2023.18.02.

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The present study is concerned with the analysis of all publications that appeared in the musicological journal “Muzyka”, published from April 1950 to the present day by the Institute of Art of the Polish Academy of Sciences (formerly State Institute of Art). The aim of the work was to find mentions of the classical guitar and discuss the contexts in which they appeared.

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

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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative a

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Vitiuc, Alexandr. "The First Mass Produced Basses (1950s)." Arta 33, no. 2 (2024): 91–97. https://doi.org/10.52603/arta.2024.33-2.08.

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The article highlights the formation of the first mass-produced bass guitars (1950s). The electric model Fender Precision Bass, created by the American engineer and entrepreneur Clarence Leo Fender, based on the Fender Bloadcaster/Telecaster electric guitar, is investigated. L. Fender’s original idea is emphasized, which involves replacing the bulky double bass with a more convenient bass prototype, as well as the need for performers to amplify the acoustic power of the instrument. The role of bass guitarist Monk Montgomery is noted. He managed to introduce Fender Precision Bass into professio

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East, Bernard. "Death of a guitar hero: The art of metal reputation maintenance." Metal Music Studies 9, no. 2 (2023): 171–88. http://dx.doi.org/10.1386/mms_00104_1.

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Combining insights from identity, gender and ethnicity studies while incorporating notions of the sacred, the death of guitar hero, Randy Rhoads, in a plane crash in 1982 is addressed to establish how maintenance of Rhoads’s reputation as a saintly, innocent character who died because of a mysterious accident has been constructed and maintained for over forty years. Situating his death in a comparative analysis with premature deaths of other guitarists, Tommy Bolin and Allen Collins, in addition to artists from other musical genres, Amy Winehouse, Whitney Houston and Donna Summer, frames of si

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Priscilla, Birgita. "Imitasi Instrumen Kacapi Sunda Pada Aransemen Gitar Klasik Tunggal: Studi Kasus Terhadap Aransemen â€œBubuy Bulanâ€ Karya Iwan Tanzil." Urban: Jurnal Seni Urban 7, no. 1 (2023): 3–14. http://dx.doi.org/10.52969/jsu.v7i1.116.

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Iwan Tanzil merupakan komposer gitar klasik Indonesia yang cukup banyak menggunakan idiom musik tradisional Indonesia dalam karya-karyanya. Salah satu karya aransemennya â€œBubuy Bulanâ€, menggunakan idiom musik tradisional yaitu kacapi dan bas betot, dan diolah menggunakan teknik komposisi musik barat serta dieksekusi dengan berbagai teknik gitar klasik yang unik. Penelitian ini bertujuan untuk mengetahui bagaimana penerapan imitasi kacapi sunda pada aransemen gitar klasik â€œBubuy Bulanâ€ karya Iwan Tanzil. Metode yang digunakan dalam penelitian ini adalah art based research, dengan pendek

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Barnawi, Erizal, and Afrizal Yudha Setiawan. "Metode Pembelajaran Jarak Jauh Pada Mata Kuliah Gitar Klasik Lampung Pepadun di Prodi Pendidikan Musik, Fakultas Keguruan Ilmu Pendidikan, Universitas Lampung." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 3, no. 2 (2021): 117–30. http://dx.doi.org/10.24036/musikolastika.v3i2.70.

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The difficulties in learning the Lampung Pepadun Classical Guitar practice are caused by several factors, including; 1) the learning process is not guided directly by trainers who are experts in their fields; 2) many students of the Music Education study program are not yet able to read block notation in the form of songs; 3) some students do not have the skills to play guitar with the correct technique. The long-term goal in learning Lampung Pepadun Classical Guitar is that students are able to become agents of change in preserving the art of Lampung Pepadun Classical Guitar and become pionee

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Sinelnikova, Olga V., and Darya D. Maksimova. "NATIONAL TRADITIONS AND TECHNIQUES OF THE XXTH CENTURY COMPOSITION IN ALBERTO GINASTERA’S SONATA FOR GUITAR." Arts education and science 1, no. 38 (2024): 24–38. http://dx.doi.org/10.36871/hon.202401024.

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The article is devoted to the work of the Argentine composer Alberto Ginastera and the study of his Sonata for guitar Op. 47. This work represents Ginastera’s style as an organic combination of national traditions and achievements of professional music art of the XXth century. The article analyses the four parts of the work in order to identify elements of traditional culture as the basis of its musical material. Ginastera uses rhythms, intonations, melodic formulas, texture and timbre effects of Argentine folklore, such genres as malambo, milonga, vidala, chacarera. The guitar playing itself

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Wang, YanJun. "DEEP SINGING AND DYNAMIC MUSIC - RESEARCH AND INTRODUCTION OF SPANISH "FLAMENCO" ART." Scientific heritage, no. 125 (November 23, 2023): 4–7. https://doi.org/10.5281/zenodo.10199709.

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Flamenco dance is a special art form that combines song, dance, and guitar performance. Flamenco dance is the music and dance of the Andalusian Gypsies (also known as Flamenco people) in Spain. Originating from the folk songs and dances of Gypsy, Antalusia, Arabia, and Spanish Jews, in the 14th and 15th centuries, Gypsy wanderers brought the Eastern Indian tap dance style and Arab mystical and sentimental charm to Spain in their bold and unrestrained songs and dances.

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Matveyeva, О. А., and А. V. Martemianova. "Diagnosing the specialized and professional competence of future teachers of musical art by means of guitar art." Science and Education a New Dimension VI(164), no. 68 (2018): 33–36. http://dx.doi.org/10.31174/send-pp2018-164vi68-08.

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Dotsenko, Volodymyr, and Viktoria Tkachenko. "Marco Topchii’s style in the context of modern world guitar performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 64, no. 64 (2022): 38–56. http://dx.doi.org/10.34064/khnum1-64.03.

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Statement of the problem. Marko Topchii (1991) is one of the famous Ukrainian guitarists who began to conquer the music world at an early age. Winning in competitions (more than 90 times), performances in the world’s most prestigious concert halls (Carnegie Hall, Corto Hall, conservatories of San Francisco, Madrid, Vienna, Bologna) are the result of immense talent and great professional work. The young guitarist is one of those who expand the guitar repertoire by creating arrangements for guitar, in particular of works by J. S. Bach, M. Ravel, M. Mussorgsky. These facts contribute to the relev

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Rahmayani, Nur, Fatmawati Fatmawati, and Mohammad Nur Ahsan. "SENI SEBAGAI MEDIA DAKWAH PADA ANAK USIA DINI." Al-Mishbah | Jurnal Ilmu Dakwah dan Komunikasi 12, no. 2 (2017): 271. http://dx.doi.org/10.24239/al-mishbah.vol12.iss2.74.

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This paper deals with the art as media of preaching in early childhood at the Early Childhood Education Institution of Kabelo Singgah-Singgani, Palu. The questions include (1) How does art become media of preaching in early childhood at this institution? (2) How is the implementation of art as media of preaching in early childhood at this institution? The result showed that, first, the art which is categorized as media of preaching is one which contains Islamic values. This Islamic art which is taught in this educational institution includes dances such as Kaili’s local dance called momonte, q

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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.

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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool

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Boles, Coleton. "Westernization and Its Effects on the Sound of Japan." Global Insight: A Journal of Critical Human Science and Culture 3, no. 1 (2022): 22–28. http://dx.doi.org/10.32855/globalinsight.2022.003.

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A major source of influence on Japanese musicians has historically been Western art, and the resulting music has also served to influence much of Western contemporary music. This paper forms a timeline containing some key moments in Japanese music history, including the pioneering of Japanese-language rock, synth-pop, and Shibuya-kei. This investigation into these important moments is supplemented by quotes from interviews of musicians, including Haruomi Hosono of Yellow Magic Orchestra and Happy End, Keigo Oyamada of Flipper’s Guitar, and Yasuharu Konishi of Pizzicato Five. This paper finds t

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Bakovic, Marica, Slobodanka Karapandza, Sajed Mcheik, and Ana Pejović-Milić. "Scientific Study of the Origin of the Painting from the Early 20th Century Leads to Pablo Picasso." Heritage 5, no. 2 (2022): 1120–40. http://dx.doi.org/10.3390/heritage5020060.

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This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Additionally, the study provides thus far unknown pieces of Olga Picasso’s family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided a broad confirmation as to when the painting wa

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Robertson, David G. "“Turning Ourselves”." Religion and the Arts 21, no. 1-2 (2017): 236–58. http://dx.doi.org/10.1163/15685292-02101010.

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In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his

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Jin, Cong, Tao Wang, Shouxun Liu, et al. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.

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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely

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Hale, Casey. "“A not admitting of the wound”." Resonance: The Journal of Sound and Culture 4, no. 4 (2023): 391–98. http://dx.doi.org/10.1525/res.2023.4.4.391.

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This essay contextualizes my recent studio EP, Tender Carpenter, a cross-genre setting of an envelope poem by Emily Dickinson that uses electric guitar in 19-tone equal temperament, voice, and virtual instruments. I reflect on microtonality as a mode of Queer musicality and its personal significance in my own coming-out as bisexual in mid-life, drawing connections to the cultural and formal significance of Dickinson’s work. I situate my use of microtonal music theory within discourses of “purity” and “nature” inherited from just intonation, exploring temperament as a Queering gesture toward am

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