Relevant bibliographies by topics / Guitar music (2 guitars)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Guitar music (2 guitars)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Guitar music (2 guitars)"

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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 (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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Crump, Matthew J. C., Gordon D. Logan, and Jerry Kimbrough. "Keeping an Eye on Guitar Skill: Visual Representations of Guitar Chords." Music Perception 30, no. 1 (2012): 37–47. http://dx.doi.org/10.1525/mp.2012.30.1.37.

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we investigate a role for vision in skilled guitar playing, focusing on visual contributions to the representation of basic first-position root chords (C, A, G, E, D). Experiment 1 involved naming or playing guitar chords displayed in different visual formats (letter, photograph, chart) and orientations. Experiment 2 employed a Stroop-like design, involving identification of the visual or auditory dimension for congruent or incongruent pairs of chord photographs and sounds. Our results demonstrate that visual representations of guitar chords are orientation sensitive and associated with their corresponding actions and sounds. We discuss the implications of our findings for understanding the multimodal nature of musical skill, and consider how the format of visual information can impact acquisition of musical skill.
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Stimpson, Michael. "Microjazz 2 for Guitar Solo by Christopher Norton; arranged by Suzanne Court. Boosey and Hawkes, 1993. £3.95. - Microjazz 2 for Guitar Duet by Christopher Norton; arranged by Suzanne Court. Boosey and Hawkes, 1993. £3.95. - Jazzy Guitar 1 by Terry Drummond. Universal Edition, 1993. £4.95. - Music From The 15th–17th Centuries arranged for 3 guitars by Karl Bruckner. Universal Edition, 1993. £4.95." British Journal of Music Education 10, no. 3 (1993): 280–81. http://dx.doi.org/10.1017/s0265051700001893.

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Rodríguez Lozano, Carlos, and Gregorio Vicente Nicolás. "Diseño, implementación y evaluación de un programa para el aprendizaje de la guitarra en el grado de educación infantil a través de videotutoriales." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 16 (August 19, 2019): 95–115. http://dx.doi.org/10.5209/reciem.59794.

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Los objetivos de este estudio han sido (1) diseñar e implementar un programa para el aprendizaje de la guitarra en el Grado en Educación Infantil a través de videotutoriales y (2) explorar las percepciones del alumnado y profesorado acerca de dicho programa. Su planteamiento metodológico se fundamenta en el visionado de videotutoriales antes y después de cada una de las seis sesiones de las que consta dicho programa El conjunto de participantes del estudio estuvo formado por el alumnado del último curso del Grado en Educación Infantil de la Universidad de Murcia (N=167) y dos profesores que llevaron a la práctica dicho programa. Para la recogida de información se elaboró un cuestionario ad hoc destinado al alumnado y una entrevista para los profesores. Los resultados revelaron que los participantes otorgan un papel fundamental a los videotutoriales en el proceso de aprendizaje desarrollado en este programa. Asimismo, el 75% del alumnado constató sentir cumplidas sus expectativas iniciales y se sintieron competentes para acompañar canciones con la guitarra en el aula de Educación Infantil.
 
 The aim of this work is to design, implement and evaluate a program for learning to play the guitar in the degree of Early Childhood Education through the use of video tutorials. The sample of participants of the study was a group of 167 students of the last year of the Degree in Early Childhood Education of the University of Murcia. For the data collection an ad hoc questionnaire and an interview with the professors responsible for implementing the programme were designed. The results reveal the recognition of the guitar as an appropriate tool for the teachers of Early Childhood Education and the fundamental role of video tutorials in the learning process.
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Del Rio-Guerra, Marta Sylvia, Jorge Martin-Gutierrez, Vicente A. Lopez-Chao, Rodolfo Flores Parra, and Mario A. Ramirez Sosa. "AR Graphic Representation of Musical Notes for Self-Learning on Guitar." Applied Sciences 9, no. 21 (2019): 4527. http://dx.doi.org/10.3390/app9214527.

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Despite being one of the most commonly self-taught instruments, and despite the ready availability of significant amounts of didactic material, the guitar is a challenging instrument to learn. This paper proposes an application based on augmented reality (AR) that is designed to teach beginner students basic musical chords on the guitar, and provides details of the experimental study performed to determine whether the AR methodology produced faster results than traditional one-on-one training with a music teacher. Participants were divided into two groups of the same size. Group 1 consisted of 32 participants who used the AR app to teach themselves guitar, while Group 2, with a further 32 participants, received formal instruction from a music teacher. Results found no differences in learning times between the two groups based on the variables of method and gender. However, participant feedback suggested that there are advantages to the self-taught approach using AR that are worth considering. A system usability scale (SUS) questionnaire was used to measure the usability of the application, obtaining a score of 82.5, which was higher than the average of 68 that indicates an application to be good from a user experience point of view, and satisfied the purpose for which the application was created.
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Jomes, Roman, and Tulus Handra Kadir. "EKSTRAKURIKULER GITAR AKUSTIK DI SMAN 1 KOTA SUNGAI PENUH." Jurnal Sendratasik 10, no. 2 (2020): 118. http://dx.doi.org/10.24036/jsu.v9i2.110649.

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This study aims to describe the implementation of acoustic guitar extracurricular. This research belongsto a descriptive research using a qualitative approach. The data were collected through observation, interview, and documentation. The Data analysis started from data collection stage, reduction stage, data presentation stage, and the conclusion stage. Data validity testwasconducted by extending observations and increasing persistence.The results of this study indicate that: (1) extracurricular planning includes: a. the material taught is carried out in steps, b. The method used is the lecture method, demonstration method, question and answer method, and assignment method, (2) extracurricular implementation includes: initial activities, core activities, and final activities, (3) learning evaluation includes evaluation of the process seen from the discipline, activeness, and motivationof the students. Thelearning outcome evaluationis conductedby using indicators of technique, material, and appearanceon students’ demonstration. Based on the results of this study, it can be suggested that the school continues to maintain music extracurricularso that students can continue to develop in music. Through the extracurricular of music, especially in acoustic guitar extracurricular, it is hoped that it can accommodate students who want to develop talents in the music field.Keywords: extracurricular, material and learning outcomes
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Matsushita, Soyogu, and Shingo Nomura. "The Asymmetrical Influence of Timing Asynchrony of Bass Guitar and Drum Sounds on Groove." Music Perception 34, no. 2 (2016): 123–31. http://dx.doi.org/10.1525/mp.2016.34.2.123.

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Groove is a pleasant feeling that compels people to move their bodies along with music. In the past, there was some consensus among both musicians and researchers that the main factor in inducing this feeling is onset asynchrony of sounds. However, recent studies have asserted that no-asynchrony is the condition that will obtain the highest groove. The current study examined whether no-asynchrony exclusively elicits the highest groove. In Experiment 1, we measured the groove increment of a backbeat drum pattern as a function of the asynchronies between bass guitar and hi-hat cymbal sounds. Upon evaluation, the scores of no conditions exceeded those of the synchronous condition. However, the condition with slight bass guitar precedence over the hi-hat achieved an approximately equal score to the condition with complete synchrony, and that score was higher than the ones achieved with bass delay. In Experiment 2, we measured the participants’ sensitivities to timing discrimination. The results confirmed that the amount of bass precedence in Experiment 1 was perceptible to the listeners. These findings suggest that complete synchronization is not always the best condition to achieve groove and that listeners prefer perceivable asynchronies in some cases.
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Moradi, Foad, Hiwa Mohammadi, Mohammad Rezaei, et al. "A Novel Method for Sleep-Stage Classification Based on Sonification of Sleep Electroencephalogram Signals Using Wavelet Transform and Recurrent Neural Network." European Neurology 83, no. 5 (2020): 468–86. http://dx.doi.org/10.1159/000511306.

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<b><i>Introduction:</i></b> Visual sleep-stage scoring is a time-consuming technique that cannot extract the nonlinear characteristics of electroencephalogram (EEG). This article presents a novel method for sleep-stage differentiation based on sonification of sleep-EEG signals using wavelet transform and recurrent neural network (RNN). <b><i>Methods:</i></b> Two RNNs were designed and trained separately based on a database of classical guitar pieces and Kurdish tanbur Makams using a long short-term memory model. Moreover, discrete wavelet transform and wavelet packet decomposition were used to determine the association between the EEG signals and musical pitches. Continuous wavelet transform was applied to extract musical beat-based features from the EEG. Then, the pretrained RNN was used to generate music. To test the proposed model, 11 sleep EEGs were mapped onto the guitar and tanbur frequency intervals and presented to the pretrained RNN. Next, the generated music was randomly presented to 2 neurologists. <b><i>Results:</i></b> The proposed model classified the sleep stages with an accuracy of >81% for tanbur and more than 93% for guitar musical pieces. The inter-rater reliability measured by Cohen’s kappa coefficient (<i>κ</i>) revealed good reliability for both tanbur (<i>κ</i> = 0.64, <i>p</i> < 0.001) and guitar musical pieces (<i>κ</i> = 0.85, <i>p</i> < 0.001). <b><i>Conclusion:</i></b> The present EEG sonification method leads to valid sleep staging by clinicians. The method could be used on various EEG databases for classification, differentiation, diagnosis, and treatment purposes. Real-time EEG sonification can be used as a feedback tool for replanning of neurophysiological functions for the management of many neurological and psychiatric disorders in the future.
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El Ali, Abdallah, and Hamed Ketabdar. "Magnet-Based Around Device Interaction for Playful Music Composition and Gaming." International Journal of Mobile Human Computer Interaction 5, no. 4 (2013): 56–80. http://dx.doi.org/10.4018/ijmhci.2013100103.

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Around Device Interaction (ADI) has expanded the interaction space on mobile devices to allow 3D gesture interaction around the device. In this paper, the authors look specifically at magnet-based ADI and its applied use in a playful, music-related context. Using three musical applications developed under the magnet-based ADI paradigm (Air Disc-Jockey, Air Guitar, Air GuitaRhythm), the authors investigate whether the magnet-based ADI paradigm can be effectively used to support playful music composition and gaming on mobile devices. Based on results from a controlled user study (usability and user experience questionnaire responses, users’ direct feedback, and video observations), the authors 1) showed how magnet-based ADI can be effectively used to create natural, playful and creative mobile music interactions amongst both musically-trained and non-musically trained users and 2) distilled magnet-based ADI design considerations to optimize playful and creative music interactions in today’s smartphones.
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Pendergast, Seth, and Nicole R. Robinson. "Secondary Students’ Preferences for Various Learning Conditions and Music Courses: A Comparison of School Music, Out-of-School Music, and Nonmusic Participants." Journal of Research in Music Education 68, no. 3 (2020): 264–85. http://dx.doi.org/10.1177/0022429420931826.

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This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes ( N = 827). Participants represented secondary school music students ( n = 369), students who only participate in music outside of school ( n = 254), and nonparticipants in music ( n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as interest in six different secondary music courses. Findings showed out-of-school music participants and nonparticipants had a stronger preference for small group learning environments and repertoire choice when compared to school music participants. In-school and out-of-school music participants expressed similar levels of interest in four music course offerings and ranked them as follows: (1) piano/guitar class, (2) music composition with technology class, (3) popular music groups, and (4) music history/theory class. In-school and out-of-school music participants differed on only two course offerings: large ensembles and world music groups. In-school music participants expressed high interest in large ensembles, whereas out-of-school music participants conveyed a lower interest in large ensembles.
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Dissertations / Theses on the topic "Guitar music (2 guitars)"

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Vera, Fernand Toribio Soler Antonio Soler Antonio. "Selected harpsichord sonatas by Antonio Soler analysis and transcription for classical guitar duo /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9727.

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Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).
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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 conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer.
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Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2007.<br>Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).
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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 harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.
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Kvarnbrink, Johannes. "Klang, form, struktur eller funktion? : En kvalitativ studie i hur gitarrlärare och gitarrelever ser på ackordundervisning på elgitarr." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2949.

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The purpose of this study was to investigate how a small selection of guitar teachers go about to teach chords on electric guitar, as well as how a small selection of guitar students have experienced the phenomena during their studies. To answer the research questions, two experienced guitar teacher and two guitar students were subjects to qualitative interviews. The theoretical perspective of the study was hermeneutic. The results showed that the methods employed by the teachers to a high degree related to how they have been taught and also learned by themselves. Another result is that the combination of systems, music theory and practical musical performance can help guitar students to reach a point of musical independence. The results provide an insight in how chordal playing on electric guitar can take place on a higher level, and also opens up for research within several areas of guitar education.<br>Syftet med denna studie var att undersöka hur ett mindre urval av gitarrlärare lär ut ackord på elgitarr, samt hur ett mindre urval gitarrelever upplevt att de undervisats i ackordspel. För att besvara forskningsfrågorna genomfördes kvalitativa intervjuer med två erfarna gitarrlärare, samt två gitarrelever som studerat elgitarr på musikgymnasium och folkhögskola. Studiens teoretiska perspektiv var hermeneutiskt. Resultaten visar att lärarna till stor del undervisar med metoder som fungerat för dem själva, samt att en kombination av system, musikteori och framförallt praktiskt musicerande kan ge gitarrelever de grundkunskaper som behövs för att vara självgående som elgitarrist. Resultat ger en inblick i hur ackordundervisning kan ta form på högre nivå, och öppnar upp för flera områden av framtida forskning i elgitarrmetodik.
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Menton, Allen Walter Menton Allen Walter. "Volume I. The persistent fantasy extended single-movement form in twentieth-century composition ; Volume II. Convivencia : a fantasy for guitar and string quartet /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930284591&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.<br>CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).
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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.
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NUNES, Emanuel de Carvalho. "Edição crítica da sonata para violão de Guerra-Peixe a partir das fontes primárias." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2700.

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Made available in DSpace on 2014-07-29T16:25:11Z (GMT). No. of bitstreams: 1 Dissertacao part 1 Emanuel de Carvalho Nunes.pdf: 5446387 bytes, checksum: 0df27b882bfda618706dad076891be12 (MD5) Previous issue date: 2011-03-31<br>This research investigates the Sonata for Guitar by the Brazilian composer Cesar Guerra- Peixe; it aims a critical edition, as the result of a comparison among the primary sources. The work presents an introduction in which the reasons that led us to the research are shown, followed by general aspects from the guitar works by Guerra-Peixe, in search for analogous compositional characteristics. Then, the elements that set the theoretical bases for this work are presented, in which point we discuss the directions of our questions related to musical edition, analytical parameters, as well as the interpretation of the sonata. In the next chapter, the differences between the printed sources and the manuscripts are pointed, where the reasons for those choices are discussed and the results for achieving our critical edition are delimited. Finally, some technical-interpretative possibilities for the sonata are presented, targeting the increase of information related to the performance.<br>O presente trabalho tem por objetivo a realização de uma edição crítica da sonata para violão de César Guerra-Peixe, a partir da comparação entre as fontes primárias. O trabalho consta de uma introdução onde serão apresentados os motivos que nos levaram à pesquisa, seguida de aspectos gerais da obra para violão de Guerra Peixe buscando traços composicionais análogos. São apresentados a seguir os elementos para a fundamentação teórica de nosso trabalho, onde discutimos sobre direcionamentos às nossas indagações referentes à edição musical, à parâmetros analíticos, bem como às questões interpretativas da sonata. No capítulo seguinte são apontadas as diferenças entre as fontes impressas e os manuscritos, discutindo-se as prováveis razões dessas escolhas e delimitando os resultados para chegar à nossa edição crítica. Apresentamos então algumas possibilidades técnico-interpretativas na sonata visando ampliar as informações referentes à performance.
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Constantinidou, Elena Standley Jayne M. "Five case studies 1. CT scanning with hearing impaired children ; 2. Music therapy for Parkinson's, Alzheimer's and stroke patients ; 3. Music therapy for non-patients in a hospital setting ; 4. Review of pain assessment forms and their applicability to music therapy ; 5. Guitar instruction with a practicum college student /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-12162003-174915/.

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Thesis (M.M.) -- Florida State University, 2003.<br>Advisor: Jayne M. Standley, Florida State University, School of Music. Title and description from thesis home page (viewed 9-29-04). Document formatted into pages; contains 112 pages. Includes biographical sketch. Includes bibliographical references.
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Books on the topic "Guitar music (2 guitars)"

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Leisner, David. Mirage: For two guitars. Merion Music, 1991.

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Johanson, Bryan. Fresco II: For two guitars. Columbia Music Co., 1991.

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Johanson, Bryan. Tiento VI for two guitars. Columbia Music, 1991.

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Shattenkirk, Ray. Tastar de corde: Guitar duo. Guitar Arts, 1993.

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Satie, Erik. Vieux sequins et vieilles cuirasses. M. Eschig, 1996.

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Kruisbrink, Annette. Weather music (for 2 guitars). Productions d'Oz, 2005.

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Giuliani, Mauro. Divertimenti, op. 56, no. 2. MMB Music, 1987.

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Bach, Johann Sebastian. Cello suites nos. 1, 2, and 3, for guitar. International Music Co., 1999.

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Plourde, Yvon. Music is fun to play, 2: 50 traditional and popular melodies for recorder, xylophone, ukulele, guitar & percussion. Waterloo Music Ltd., 1985.

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1937-, Brinkmann John, and Briggs Larry 1944-, eds. Guitars, guitars, guitars: A pictorial reference manual. All American Music Publishers, 1988.

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Book chapters on the topic "Guitar music (2 guitars)"

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Longo, Shawna. "Instructional Plans: Grades K–2." In Integrating STEM with Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.003.0005.

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Chapter 5 presents three instructional plans that are geared toward grades K–2. Instructional plans consist of planning necessities, standard alignment, alignment to philosophies approached in earlier chapters, as well as instructional procedures and assessments. Adaptations for other grade-level bands as well as potential extensions are available for each plan. This chapter includes the following instructional plans: Shapes of Electric Guitars, Sound Amplification and Speaker Building, and Measuring Length and Pitch. In Shapes of Electric Guitars, students will design guitar bodies and perform on them using available technology. In Sound Amplification, students will analyze and experiment with sound waves, eventually building their own small speaker. In Measuring Length and Pitch, students will measure pitched tubes to determine the mathematical relationship between pitches.
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Evans, David. "The Guitar in the Blues Music of the Deep South1." In Guitar Cultures. Routledge, 2020. http://dx.doi.org/10.4324/9781003085522-2.

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"2. Jeans, Rock, and Electric Guitars, 1950s-mid-1960s." In Popular Music in Southeast Asia. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048534555-003.

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Obrecht, Jas. "November 1966." In Stone Free. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647067.003.0004.

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On November 2, 1966, the Experience record Jimi’s newly composed “Stone Free” during a single session at De Lane Lea Studios. Chas Chandler arranges a record deal with Track Records and Jimi begins work on his ambitious “Third Stone from the Sun,” inspired by his love of science fiction. Chandler, Jimi’s father James “Al” Hendrix, and best friend Billy Cox describe his extraordinary all-day, every-day dedication to the guitar. Kathy Etchingham details their home life together and forays around London. During a tour of Germany, Jimi accidentally smashes a guitar and discovers “demolition feedback.” The Experience’s London afternoon showcase at the Bag O’Nails is attended by Jimmy Page, Eric Clapton, members of the Beatles and Rolling Stones, and leading British music journalists, whose write-ups contribute to Jimi’s rapid ascent to fame. Meanwhile, his unprecedented guitarmanship and sexually-suggestive stage moves frighten The Who’s Pete Townshend and other leading British guitar icons.
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Manning, Jane. "JONATHAN DOVE (b. 1959)Cut My Shadow (2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0020.

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This chapter studies Jonathan Dove’s Cut My Shadow (2011). This set of three songs (‘Surprise’, ‘The Guitar, and ‘Song of the Dry Orange Tree’) amply demonstrates Dove’s musical acumen and special understanding of vocal writing. The musical style, with its frequent use of repetitive figures, could certainly be described as ‘minimalist’, especially with regard to the characterful piano writing. It goes without saying that Dove is also an excellent pianist. The music brims with rhythmic vitality, and an exotic, passionate ‘Spanishness’ is established from the outset, achieved by deceptively simple means. A light mezzo can even relish the deepest notes, which are set so well that they come off every time, as long as the singer does not push too hard. Significantly, there are no dynamics written over the vocal line, so it is up to the singer to develop a close awareness of balance with the piano, and to adjust the volume without feeling strained or overwhelmed.
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Choudhury, Suddhaloke Roy, and Kaushal B. K. "Consumer Buying Behavior of Budding Musicians Between 15 and 25 Purchasing Guitars in Pune." In Advances in Marketing, Customer Relationship Management, and E-Services. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5690-9.ch009.

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The earth-shattering effect of Rock and Roll on popular music put guitars on the map. Buying behavior of a guitar (instrument) is relatively a nascent topic in academic literature, although listening to and playing music itself has been an important part of human culture for centuries. Thus, the primary objective of this study is to investigate consumer buying behavior of budding musicians between the ages of 15 and 25, purchasing guitars in the city of Pune. The study ended up providing a significant insight into the mind of a budding musician while purchasing a guitar. All of this has helped shape the buying behavior of a potential consumer. Surprisingly, family influence has been low for most people since they have been quite sure while making a purchase.
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Lorbiecki, Marybeth. "New Life and Near Death: 1912– 1914." In A Fierce Green Fire. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780199965038.003.0011.

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Estella said yes. After such news, Aldo could hardly concentrate. He wrote home, “Somehow, this time, I don’t seem to be able to write.” On December 2, he wrote in his work journal, “In at least 6 lines of work today and nothing particularly accomplished in any one.” Aldo celebrated the holidays and his engagement at the Bergeres’ with his father beside him, warmly regaled with guitar music, Spanish and Italian carols, pasta, luminarias, and piñatas. Then came the promenade of New Year’s fiestas and parties honoring New Mexico’s statehood. Work looked pretty dull in comparison. On his return to Tres Piedras, Leopold found his desk buried under requests for grazing permits. Altogether, Carson headquarters had received applications for 220,000 sheep. The new plan allowed only 198,000, and it was Leopold’s job to reject the extra applications and to make the decisions stick. He and his rangers patrolled the forests, their six-shooters at their sides. Even so, they relied mostly on forceful words as a means of persuasion. When he met ranchers or sheepers to talk, Leopold carefully left his pistols in his saddle. By March, the business of permits was well under way. Hall had accomplished the job he came for, and he moved on. Ringland promoted Leopold to acting supervisor of Carson National Forest. Aldo boasted to his fiancée: “Of all the men in our class from Forest School there are only two of us Acting Supervisors, and none are Supervisors yet.” By fall, he was Carson’s full supervisor. Leopold hired more rangers to hold the grazing situation steady. He closely inspected the rangers’ stations, work journals, and reports. When a forester’s idea or accomplishment impressed him, he dashed off “Bully!” in the margin. That summer, Aldo built a house for his bride- to- be, assisted by Estella’s brother and his own brother Frederic, who was working at headquarters for the summer. Aldo’s correspondence to his beloved never faltered.
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Chapman, Con. "The Blues." In Rabbit's Blues. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0020.

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The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.
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