Relevant bibliographies by topics / Guitar music (Guitars (2))

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

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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

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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 (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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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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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 pioneers in developing and creating music, both contemporary music and creative music. The specific target to be achieved in this research is the creation of a new teaching pattern in the field of Lampung traditional music, namely learning by using several applications and distance learning methods in accordance with the concept of learning. Several online learning methods have been applied using various applications such as Youtube, MP3, and Sibelius. Online learning is learning that is carried out without face to face directly, using smartphone/gadget/laptop devices, and video conferencing platforms as a space for the learning process to take place. However, the seven learning components which include teachers/lecturers, students, objectives, materials, methods, media, and evaluation must remain an integral component of online learning, which will be integrated in achieving learning objectives
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Murcahyanto, Hary. "Aransemen Lagu Lembaga Kita Dalam Ansambel Campuran." PROMUSIKA 8, no. 1 (2020): 30–35. http://dx.doi.org/10.24821/promusika.v1i1.4196.

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Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble
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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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Walidaini, Birul, Suminto A. Sayuti, and AM Susilo Pradoko. "The Patterns of Music Learning in Phenomena of Valerio International Guitar Festival." Harmonia: Journal of Arts Research and Education 22, no. 1 (2022): 91–102. http://dx.doi.org/10.15294/harmonia.v22i1.35775.

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This study aims to reveal the finalists’ learning patterns and outcomes at the 2018 Valerio International Guitar Festival. It is qualitative research with the phenomenological approach. It was conducted in the final round of the open category of the 2018 Valerio International Guitar Festival. The informants in this study include the finalists, judges, and organizers. The data were obtained through observation, interviews, and documentation studies. The research findings show that the music learning process among the finalists of the 2018 Valerio International Guitar Festival is carried out through lectures (formal), courses (non-formal), and community (non-formal). The learning patterns experienced by the finalists have shaped the competitive mentality of the finalists of the 2018 Valerio International Guitar Festival. The competitive mentality formed includes: (1) increasing repertoire mastery which reflects independence in achieving the target of mastery of the chosen repertoire that will be performed; and (2) the mentality to perform on stage in the competition arena. In this mentality, the finalists have high motivation when performing on the stage. The motivation that grows comes from within and outside the finalists. In addition, the finalists also have the mentality to be ready to face various possibilities that will be experienced, both in terms of musical and non-musical abilities, such as how to use the right strategy when facing the audience and maintain calm while playing.
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Kozlin, Valery, and Valentina Grishenko. "Creation of musical pieces At GUITAR PRO 6 (Part 2)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 88–96. http://dx.doi.org/10.32461/2226-2180.39.2021.238694.

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The purpose of the article is to find out the specifics and methods of creating music in the sequencer GUITAR PRO 6. Methodology. The article uses a systematic approach, and also applies methods of comparison and generalization. Scientific novelty. For the first time in domestic musicology, innovative methods of working in the modern computer program sequencer GUITAR PRO 6 were discovered and proposed. The application of the methods and rules presented in the study provides the opportunity to transfer the work of a composer, arranger, sound engineer, musician, with a computer to a completely new stage in the development of musical creativity, which significantly improves the result of the study of musical texture, expanding the ways of existence of the work and the like. Conclusions. This software product is a powerful editor that allows you to create original scores at a professional level for subsequent editing. The program presents many useful tools with which the user can work with a different set of symbols of musical notation, as well as with a wide range of regulation of sound dynamics and tempo, which allows you to create samples of musical scores that sound and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and many other useful instruments for musicians. Ability to run Guitar Pro 6 on Windows, Linux, Mac OS platforms. Widely used by composers, arrangers, and sound engineers. Also, the methods of work in Guitar Pro 6 can be used for study by students who master the relevant specialties.
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Khositditsayanan, Natthawat, Chaloemchai Sosutha, and Kanit Promnil. "A guideline for development a short-term classical guitar curriculum in Thailand." Journal of Green Learning 1, no. 2 (2021): 28–33. http://dx.doi.org/10.53889/jgl.v1i2.43.

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The objectives of this research were to (1) study criteria for practice of the classical guitar test to be used as a guideline for the entrance examination for higher education in Thailand and (2) find the ways to develop curriculum of a short- term classical guitar for entrance examinations of higher education by studying the information from documents, principles, theories, and criteria of the classical guitar test to be used as a guideline for admission to higher education in Thailand. The results of the research were as follows 1) criteria for practice of classical guitar test to be used as a guideline for the entrance examination for higher education. There were 2 parts of the contents for examination including technically, candidates must be able to practice the scale, length was not more than 4 sharps, 4 flats in major and minor scales with arpeggio and the piece contained and exercise song and 2 general pieces, difficulty from Intermediate to advanced and there were differences in style of music eras or musical styles from different composers and all the pieces that test takers must play from memory, and 2) curriculum of a short-term classical guitar for tertiary entrance examinations that had a content consists of 2 parts. The first one, the content and course details, were the curriculum competency, course descriptions, tools, materials, equipment, training materials and learning resources and background knowledge and qualifications of trainees and the second one, measurement and evaluation consisted of 3 parts : a post-test to review the process and the duration of attending the training was not less than 80 percentage of the training time according to the curriculum.
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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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Dissertations / Theses on the topic "Guitar music (Guitars (2))"

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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 (Guitars (2))"

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

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

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Johanson, Bryan. Fresco II: For two guitars. Columbia Music Co., 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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Leavitt, William. Classical Studies for Pick-Style Guitar - Volume 1: Develop Technical Proficiency with Innovative Solos and Duets. Leonard Corporation, Hal, 1986.

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Classical Studies for Pick-Style Guitar - Volume 1: Develop Technical Proficiency with Innovative Solos and Duets. Berklee Press Publications, 1986.

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

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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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Katz, Mark. "7. Five theses about music and technology." In Music and Technology: A Very Short Introduction. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/actrade/9780199946983.003.0007.

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Abstract The concluding chapter proposes five central takeaways from this volume in the form of five theses about music and technology. They are as follows: 1. All music is technological. 2. Our relationship with music technology is fundamentally collaborative. 3. All uses of musical technologies reveal power relationships. 4. The mass mediation of music has not eliminated cultural differences. 5. The study of music technology is the study of people. The five theses are illustrated through a diverse array of examples, including a comparison of the traditional piano and the player piano; the musical demands and possibilities of video games such as Guitar Hero; the use of radio in Nazi Germany; the emergence of the steel drum as a musical instrument in Trinidad; hip hop in Zimbabwe; and the musical handclapping and rope jumping games of African American girls.
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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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Dijo, Herman. "Javanese Music in Suriname." In Surinamese Music in the Netherlands and Suriname. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0004.

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Javanese music in Suriname came with the first group of Javanese who arrived there in 1890 as indentured servants for the sugar company, Nederlandsche Handelsmaatschappij at Mariënburg plantation. Gamelan, steel gamelan, terbangen, and kroncong were the main types of Javanese music that developed in Suriname. Due to a lack of brass, scrapped iron from abandoned railway ties were used to make the pans, and a lack of experienced gamelan musicians made for drastically reduced ensembles of five people. Gamelan in Suriname also came under the influence of the nearby Caribbean music, especially by steel bands from Trinidad. Islamic religious songs were accompanied by a terbangen ensemble, consisting of kinds of tambourines and large drum called bedug, Surinamese kroncong ensembles mostly use three or more acoustic guitars, a ukulele (sometimes a banjo), a double bass (or bass guitar), and a cello. However, because cellists are scarce, this is usually taken over by a guitar.
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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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Randles, Clint. "Instruments and Effects." In Music Teacher as Music Producer. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197519455.003.0004.

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Abstract The history of musical instruments is full of innovative musicians and composers working to stretch what is possible in their music. The pursuit of new sounds and the emerging technologies surrounding them tell a story of curiosity, exploration, and discovery. Human beings push their art as far as they can, stretch it to include sounds that were not typical, use scales that were once foreign, and employ techniques for sound enhancement that were once not employed. Instruments are all at some level a form of technology. This chapter considers instruments as tools for creative expression in the classroom. Its focus is on the electric guitar and its associated effects and amplification, but it also considers bass guitars, keyboards and acoustic and digital drum sets. The chapter closes with a short look at custom instrument building.
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Swick, Bill. "Selecting Your Instrument and Approach." In Building an Award-Winning Guitar Program. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609804.003.0006.

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Abstract At one time in the United States, no public schools anywhere offered music classes in guitar. Chapter 6 offers a brief history of how guitar education in public schools has evolved since the 1960s and what has developed since that time. There is also a brief summary of the history of the guitar in Europe from the Renaissance onward. Chapter 6 additionally addresses twelve reasons for using classical nylon-string guitars in the classroom. The chapter also identifies the two distinct camps of current music educators and reasons for teaching classical music along with popular music, teaching modern Western staff notation, and teaching to the national standards. Solo playing and ensemble playing are also addressed.
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