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Academic literature on the topic 'Guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Guitar music"

Sutaryo, Haris Natanael, Tri Wahyu Widodo, and Mahardika Kusumo Simbolon. "Penerapan Tangga Nada Pentatonis dalam Penciptaan Musik Gavotte untuk Kuartet Gitar." PROMUSIKA 10, no. 2 (December 3, 2022): 97–103. http://dx.doi.org/10.24821/promusika.v10i2.7955.

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Pengertian Gavotte adalah tari Perancis antara abad ke 16-18 dalam birama 2/4 atau 4/4. Termasuk sebagai salah satu bagian dalam suita. Memasuki abad 19 Gavotte tidak lagi terbatas pada musik untuk iringan tarian saja, tetapi sudah berdiri sendiri sebagai komposisi musik. Ide penciptaan musik Gavotee untuk kuartet gitar, terinspirasi dari keprihatinan dalam mengajar praktek gitar klasik baik disekolah musik yang formal maupun non formal. Penelitian ini mencari solusi yang terarah, untuk menciptakan model pembelajaran gitar klasik dasar, melalui sebuah penciptaan karya musik Gavotte dengan penerapan tangga nada pentatonik mayor (C-D-E-G-A) untuk kuartet gitar. Pengertian tangga nada pentatonik adalah jenis tangga nada yang memakai lima nada pokok , masing-masing dibedakan dari jarak antar nada. Penciptaan karya musik Gavotte ini dirancang untuk kuartet gitar (gitar 1, 2, 3, 4) bertujuan untuk penempatan pemain sesuai kemampuan ketrampilannya. Gitar 1 untuk murid yang paling tinggi dengan skil tinggi, gitar 2 lebih rendah ketrampilannya begitu juga untuk gitar 3 dan 4. Penggarapan komposisi musik Gavotte lebih ditekankan pada pengolahan ritme, melodi, dan harmoni yang sederhana yang disesuaikan ketrampilan gitar dasar. Metode penciptaan musik terdiri dari tiga langkah yaitu proses tindakan kelas, eksplorasi, dan sosialisasi. Penelitian dalam penciptaan karya musik ini digunakan sebagai model pembelajaran praktik gitar dan dapat menjembatani dalam membantu penguasaan membaca notasi balok, khususnya untuk mengajar kelas group yang terdiri dari 4-6 orang.AbstractApplication of the Pentatonic Scale in the Creation of Gavotte Music for the Guitar Quartet. Gavotte is a French dance between the 16th-18th centuries in rhythms of 2/4 or 4/4. It was included as one of the parts in the suita. Entering the 19th century, Gavotte was no longer limited to music for dance accompaniment but already stood alone as a musical composition. The idea of creating Gavotee music for guitar quartets was inspired by concerns about teaching classical guitar practice in formal and non-formal music schools. This research seeks a purposeful solution to make a basic classical guitar learning model by creating Gavotte's musical works with the application of major pentatonic scales (C-D-E-G-A) to guitar quartets. The notation of pentatonic scale is a type of scale that uses five principal tones, each distinguished by the distance between notes. The creation of Gavotte's musical work was designed for a quartet of guitars (guitars 1, 2, 3, 4) aimed at placing players according to their abilities. Guitar 1 is for the highest students with high skills; guitar 2 is lower in skill, as well as for guitars 3 and 4. Gavotte's musical compositions emphasize simple rhythm, melody, and harmonic processing tailored to basic guitar skills. The music creation method consists of three steps, namely, the process of class action, exploration, and socialization. Research in creating this musical work is used as a learning model for guitar practice. It can bridge in helping the mastery of reading block notation, especially for teaching group classes of 4-6 people.Keywords: music composition; Gavotte; guitar skill

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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 (October 8, 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 ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia. Kata Kunci : Rejung, Gitar Konvensional, Apropriasi. AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation.

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Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (August 1986): 443. http://dx.doi.org/10.2307/965165.

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Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (November 1, 2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.

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Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless device for guitar effects is designed that is directly connected to a guitar instrument. This system itself aims to facilitate the movement of guitar players on stage and can also activate guitar effects without the need to step on the guitar pedals at their feet.

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Żegleń-Włodarczyk, Małgorzata. "The English guitar and the forgotten guitar repertoire of the second half of the 18th century." Edukacja Muzyczna 17 (2022): 139–55. http://dx.doi.org/10.16926/em.2022.17.10.

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The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar (guittar), which differed in design and tuning from the instrument we know today. At present, it would be futile to look for the guitar repertoire of the second half of the 18th century on concert stages or in academic curricula (with a few exceptions, such as Luigi Boccheri-ni's quintets or Giuseppe Antonio Brescianello's partitas), and English music is almost nowhere to be found. It is, to a large extent, undiscovered and nearly forgotten. Bringing it back to life will not only provide insight into the design and performing capabilities of the now unknown guittar (as well as its distinctive playing technique, fingering and articulation) and allow us to learn more about the works composed for the instrument (and their characteristic features), but – above all – give a full picture of the evolving aesthetics of the 18th century. These compositions will also fill the existing gap in the guitar repertoire of the second half of the 18th century, offering broad prospects for their performance in the future. The most important consequence of that is the preservation of the continuity of guitar literature from the Renaissance to the present day, and the resulting possibility to make the world described in Leopold Mozart’s or Carl Philipp Emanuel Bach’s treatises tangible.

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Pratama, Muhammad Yoga, and Erfian Junianto. "Simulator Instrumen Gitar Berbasis Android di Duff Music Studio." Jurnal Nasional Komputasi dan Teknologi Informasi (JNKTI) 6, no. 5 (November 1, 2023): 612–20. http://dx.doi.org/10.32672/jnkti.v6i5.6790.

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Abstrak - Memainkan alat musik gitar akan membawa rasa puas bagi para pengunjung studio musik. Mempelajari gitar secara otodidak bagi pemula tidaklah mudah, serta orang-orang yang tidak mempunyai cukup biaya untuk kursus gitar tentu menjadi masalah. Belum lagi harga instrumen gitar yang terbilang cukup mahal bagi para pemula yang hanya ingin bersenang-senang saja memainkan alat musik tersebut. Hal ini membuat pihak studio memiliki kekhawatiran bahwa peralatannya akan cepat rusak jika digunakan oleh pemula yang masih belajar. Dibutuhkan solusi agar seseorang mampu berlatih alat musik gitar secara mandiri. Sehingga ketika datang berkunjung ke studio musik dapat langsung memainkan gitar tanpa ada jeda kekakuan memainkan alat musik tersebut. Model 4D Thiagaraja cukup tepat digunakan pada pembuatan aplikasi multimedia dengan tujuan dari penelitian ini adalah membuat aplikasi edukatif belajar gitar untuk pemula berbasis Android. Penelitian ini menghasilkan aplikasi dengan fitur suara gitar dan efek strum yang realistis, gaya gitar yang berbeda, serta tombol konten pengguna. Hasil pengujian didapatkan kelayakan aplikasi dalam memberikan fasilitas bagi pengunjung studio yang khususnya masih pemula dalam bermain gitar.Kata kunci: Alat Musik Gitar, Simulator Alat Musik, Aplikasi Berbasis Android, Duff Music Studio. Abstract - Playing a guitar instrument will bring satisfaction to the music studio visitors. Learning guitar self-taught for beginners is not easy, and people who don't have enough money for guitar lessons are certainly a problem. Not to mention the price of the guitar instrument which is quite expensive for beginners who just want to have fun playing the instrument. This makes the studio have concerns that the equipment will be damaged quickly if used by beginners who are still learning. A solution is needed so that someone is able to practice guitar instruments independently. So that when you come to visit the music studio, you can directly play the guitar without a pause in the stiffness of playing the instrument. Thiagaraja's 4D model is quite appropriate to use in making multimedia applications with the aim of this research being to create an educational application for learning guitar for Android-based beginners. This research resulted in an application that features realistic guitar sounds and strum effects, different guitar styles, as well as user content buttons. The test results obtained the feasibility of the application in providing facilities for studio visitors, especially those who are still beginners in playing guitar.Keywords: Guitar Musical Instrument, Musical Instrument Simulator, Android Based Application, Duff Music Studio.

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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (April 1, 2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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Fikri, Kanzul. "Inovasi Proses Kreatif Rosette Guitar Quartet Di Era New Normal." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (June 30, 2021): 53. http://dx.doi.org/10.26740/vt.v4n1.p53-57.

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Rosette guitar quartet is a guitar quartet group consisting of four guitar players and on originally the Rosette guitar quartet was performing classical guitar songs arranged in four guitars. Method in this research using an qualitative approach. Qualitative research tries to answer question rather than testing the hypothesis. This research uses creative process theory and innovations theory which consist of 4 types, namely (1) Discovery (2) Extension (3) Duplication (4) Synthesis. The Result of innovation made by Rosette guitar quartet are (1) Invention made by Rosette Guitar is creating a new process in the guitar quartet group perfoming songs in postmodern era and uploaded on social media, such as “Youtube”, (2) Development of the Rosette guitar expresses his works in social media, where to adjust the new habits to music enthusiast that can appreciate perfoming of Rosette by virtual. (3) Rosette Guitar duplicate the most successful musicians used to express and maximize each his work in “Youtube” which gets a lot of appreciation (viewers) according to the new normal era. (4) The Rosette guitar perfoms synthesis with create new works every month and uploaded on “Youtube”. Collaborative creative process of this synthesis considered by Rosette guitar quartet as great opportunity to music works, expression as well as new innovations in industry creative in the new normal era.Keywords: Innovation, Creative Process, New Normal.

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FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand." Journal of the Society for American Music 6, no. 2 (May 2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.

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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece's inception, outlining the organological evolution of resophonic guitars and their relationship to Hawaiian music. It addresses the practical and aesthetic implications of the composer's choice of tuning, and examines the work of additional artists, such as Terry Riley and Larry Polansky, who have contributed to the growing repertoire for the just intonation resophonic guitar.

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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (November 1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.

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Dissertations / Theses on the topic "Guitar music"

Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.

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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.

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Fugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.

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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:

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Paget, Jonathan. "The guitar music of Peter Sculthorpe /." Digitized version, 2003. http://hdl.handle.net/1802/5358.

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Thesis (D.M.A.)--University of Rochester, 2003. Includes vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5358

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Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.

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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation. https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg

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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. 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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Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.

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Banks, Zane. "The electric guitar in contemporary arts music." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11805.

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Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument. Although the electric guitar is still on the fringe of mainstream classical music, the instrument is more popular now amongst contemporary art music composers and contemporary art music ensembles than in previous times. This dissertation is divided into three sections. The first, Section A, is an introduction to the electric guitar, with a focus on its history and role in both western popular music and western art music. Chapters 2 and 3 address the development of the electric guitar, the electric guitar in American popular music and the development of art music repertoire featuring the electric guitar. Section B (Chapter 4) includes the analysis of forty-eight interviews given by musicians involved in composition, performance and musicology for the electric guitar. The focus of this section is on the interviewees’ experiences with and common views, perceptions and attitudes towards the electric guitar’s role in art music. It also contains common recommendations made by the interviewees regarding writing successfully for the instrument, and addresses the nature of previous collaborative partnerships between composers and electric guitarists. The final section, Section C (Chapter 5 and 6), is partly an auto-ethnography. It includes the proposition of useful collaborative models. This section also features an in-depth discussion regarding how technological mediation can affect the collaborative process as well as proposing performance and recording logistics that composers should keep in mind when composing for the electric guitar. This dissertation culminates in a detailed, first-hand account of a successful composer-electric guitarist collaboration so that future composers1, considering writing for the instrument, have a model to assist them in their artistic endeavours. Included in the ‘Creative Work’ portfolio of this dissertation is an mp4 recording (on a USB) of my performance of Georges Lentz’s unaccompanied electric guitar composition Ingwe at the 2012 Amsterdam Guitar Heaven Festival and my Naxos CD recording of Ingwe2. 1 The term ‘composer’ in this context refers to composers who have never written for the electric guitar but are interested in writing a work for the instrument. 2 Georges Lentz, "Ingwe from ‘Mysterium’ (“Caeli Enarrant...” Vii) for Solo Electric Guitar (2003–2009) Performed by Zane Banks," ([Hong Kong] Naxos, 2011)

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Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.

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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.

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Mangueira, Bruno Rosas. "Concepções estilísticas de Hélio Delmiro : violão e guitarra na música instrumental brasileira." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284634.

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Orientador: Marcos Siqueira Cavalcante Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-06T11:45:47Z (GMT). No. of bitstreams: 1 Mangueira_BrunoRosas_M.pdf: 1094068 bytes, checksum: bd77c8129c048a3adc829705f40d9b87 (MD5) Previous issue date: 2006 Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context Mestrado Mestre em Música

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Nilsson, Jokela Rickard. "SlowBass : exploring, adapting and evolving the possibilities of the bass guitar." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1440.

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Books on the topic "Guitar music"

musikkinformasjon, Norsk, ed. Guitar: Contemporary Norwegian guitar music. Oslo, Norway: Norwegian Music Information Centre, 1996.

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Renato, Velasco. La guitare brésilienne =: Brazilian guitar method. Paris: Editions H. Lemoine, 2006.

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Sharman, Rodney. In a room: [guitare seule = solo guitar]. Saint-Nicolas, Qué: Éditions Doberman-Yppan, 2003.

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Rodrigo, Joaquín. Music for guitar: 19 pieces for guitar. Mainz: Schott, 1995.

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Aurélien, Budynek, ed. Guitar collection. Milwaukee, WI: Hal Leonard, 2011.

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Guitar Music. Michael Raven, 1991.

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Publishers, Johan, and Will Humble. Guitar Music Book Tablature: Guitar Music Sheets. Independently Published, 2019.

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Humble, Will. Guitar Music Book Tablature: Guitar Music Paper. Independently Published, 2019.

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Sparks, Paul, and James Tyler. The Guitar and Its Music. Oxford University Press, 2007.

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Hal Leonard Publishing Corporation (COR). Spanish Guitar Music: Guitar Solo. G. Schirmer, Inc., 1986.

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Book chapters on the topic "Guitar music"

Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Guitar." In Popular Music Pedagogies, 27–41. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-4.

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Weekhout, Hans. "Mixing | Guitar." In Music Production, 225–30. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

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Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production, 309–11. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

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Williams, Tom. "Distorting Jazz Guitar." In Distortion in Music Production, 228–44. London: Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-19.

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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions, 333–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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Lydon, Michael. "Reading Music." In How To Play Classic Jazz Guitar, 35–40. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003419549-4.

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Özaslan, Tan Hakan, Enric Guaus, Eric Palacios, and Josep Lluis Arcos. "Identifying Attack Articulations in Classical Guitar." In Exploring Music Contents, 219–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_15.

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Werner, Duncan, Bruce Wiggins, and Emma Fitzmaurice. "Development of an Ambisonic Guitar System." In Innovation in Music, 125–45. New York: Routledge, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-10.

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Introduction to Guitar, Bass, and Ukulele." In Popular Music Pedagogies, 15–26. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-3.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Guitar and Classroom Teaching." In The Teaching of Instrumental Music, 182–94. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-14.

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Conference papers on the topic "Guitar music"

Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

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Vitiuc, Alexandr. "The contribution of the bass guitar video cources to modern music education." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.14.

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This article is dedicated to the characteristic features of modern teaching to play the bass guitar, which is based on the study of video schools. The author considers the most representative publications for the bass guitar, focused on the practical use of the instrument in modern music. Particular attention is paid to the basics of playing the bass guitar, playing scales and arpeggios, slapping and tapping techniques, as well as to the study of Afro-Cuban styles.

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Dittmar, Christian, Andreas Mannchen, and Jakob Abeber. "Real-time guitar string detection for music education software." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616120.

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Ramelli, Marco. "The Influence of the Spanish Civil War in Gerhard’s Guitar Music." In Roberto Gerhard (1896-1970): Re-appraising a Musical Visionary. University of Huddersfield, 2021. http://dx.doi.org/10.5920/gerhardwarguitar.

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Humphrey, Eric J., and Juan P. Bello. "From music audio to chord tablature: Teaching deep convolutional networks toplay guitar." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6854952.

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Pereira, Renato Santos, and Rodrigo Varejão Andreão. "Electric guitar distortion effects unit using a Raspberry Pi." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19436.

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With the advance of electronics, techniques and algorithms for digital signal processing, digital equipment has been gaining more and more space in the music scene. Micro-processed tools now generate several effects such as modulation, echo, and distortion of sounds generated by musical instruments, previously obtained only by analog units. In this context, this study aimed to develop aprototype of distortion effects unit using a Raspberry Pi (a low-cost small single-board computer) and affordable electronic components. Therefore, five nonlinear functionswere used, four of which are present in the literature andone of them was originally developed by the authors. These functions model the behavior of an active element (suchas transistors, valves, and operational amplifiers), which when they exceed their amplification thresholds produce distortions in the audio signals. Throughout this article, all the steps in the development of the analog circuits for signal acquisition and output will be presented, as well as the simulation and implementation of the functions in the microcontroller. At the end, with the finished prototype, the frequency response analysis is performed and the sound results achieved by the algorithms is compared with each other and with other distortion units.

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Huang, Tung-Sheng, Ping-Chung Yu, and Li Su. "Note and Playing Technique Transcription of Electric Guitar Solos in Real-World Music Performance." In ICASSP 2023 - 2023 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2023. http://dx.doi.org/10.1109/icassp49357.2023.10095225.

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Silva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral, and Rodrigo Mendes de Carvalho Pereira. "A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.

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The emergence of Digital Musical Instruments (DMIs) in the computer music field has been providing new means of interaction with music performances. Particularly, with the advancements in the Internet of Things (IoT) area, there has been an increase in augmented musical instruments containing LEDs within their own bodies to support music learning. These instruments can help musicians by having the capabilities to display musical notes, chords and scales. This research uses research through design to present a preliminary study of some of the challenges related to the design of these instruments and attempts to provide some insights associated with their usability and development, particularly related to the development of an augmented acoustic guitar, the VioLED, developed alongside the company Daccord Music. The system provides three modes of operation: song mode, solo/improvising mode and animation mode. The preliminary results present challenges and obstacles pertinent to usability and development of these instruments identified in different iterations of design. These challenges are associated with areas such hardware-software co-design, usability, latency/jitter, energy consumption, etc.

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Petrova, Elizaveta Vladimirovna. "Teacher's educational work at the children's art school and children's music school in classical guitar class." In II International Scientific and Practical Conference, chair Svetlana Alekseevna Podkorytova. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-462779.

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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.

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