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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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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 &#x3e;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> &#x3c; 0.001) and guitar musical pieces (<i>κ</i> = 0.85, <i>p</i> &#x3c; 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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Maekawa, Yui, Yoshiyuki Shoji, and Martin J. Durst. "Geographic Entity Retrieval for Finding Places Suitable for Certain Purposes by Using Relevance Graphs on Places and Reviews." Journal of Data Intelligence 3, no. 4 (2022): 401–20. http://dx.doi.org/10.26421/jdi3.4-1.
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This paper proposes a method of ranking geographic entities (places) where a purpose, given as a query, can be achieved. Most existing map search engines accept only the name of a place or the type of a place. Thus when searchers want to find a suitable place for ``guitar practice'', they have to input a place type such as ``music studio''. To create such a query, prior knowledge (\textit{i.e.}, that a music studio is suitable for playing guitar) is required. Our proposed method uses online review information on places to enable direct place retrieval from a given purpose query. Our method creates a bipartite graph consisting of places and the words that appear in the reviews of these places. The relevance between the given keyword query and a place is calculated by using the Random Walk with Restart algorithm. Additionally, we expand the graph with three hypotheses: 1) places that are suitable for the same purpose are similar to each other, and purposes that can be achieved in the same place are similar to each other, 2) the same purpose can be achieved in places with similar metadata, and 3) purposes which have semantically similar meaning can be achieved in the same places. Through an experiment using real review data taken from Google Maps, the usefulness of the proposed method was demonstrated. In particular, experimental result shows that the expansion by places' metadata is effective for finding more relevant places.
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Allsup, Randall Everett. "Mutual Learning and Democratic Action in Instrumental Music Education." Journal of Research in Music Education 51, no. 1 (2003): 24–37. http://dx.doi.org/10.2307/3345646.
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This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups culture. The group members and researcher saw classical music as unproductive for group composing or community-making. Composing in a jazz or popular style was conceived of as fun, nonobligatory, self-directed, and personally meaningful. In such settings, there was an emphasis on interpersonal relationships, peer learning and peer critique, as well as an expectation that members will take care of each other.
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Pereira, Adrian Estrela, Jehan Alghneimin, Do T. Dung, Daria Borodina, Byambasuren Nyamkhuu, and György Mészáros Mészáros. "A Postcolonial Curriculum Investigation in the Course “Instrument – Acoustic Guitar” of the Federal University of Bahia." International Journal of Higher Education Pedagogies 3, no. 1 (2022): 24–37. http://dx.doi.org/10.33422/ijhep.v3i1.100.
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Regardless of the field, the establishment of a curriculum is intrinsically connected with discussions that incorporate struggles from broader social contexts. A scrutinizing analysis of a music course’s curriculum can disclose complex power structures that interfere with the social perception not only of the courses’ direct stakeholders but also with the perception of general members of society. In this context, the current article has as its main aim to reflect on possible connections between the establishment of the curriculum of an influential higher education music institution and the general social perception toward different types of musical knowledge. Influenced by a postcolonial perspective and focused on Salvador, a Brazilian northeastern city, this investigation has three specific aims to support the general purpose: 1) to review the literature which discusses the connections between social struggles and curriculum development; 2) to contextualize the Federal University of Bahia (UFBA) in the Salvador city by presenting their main characteristics that are related to the presented discussion; and 3) to examine the curriculum of the course “Instrument – Acoustic Guitar” offered at UFBA. Supported by the aforementioned aims, this inquiry employs the “Qualitative Document Analysis” methodology to analyze academically relevant sources that can support and foster the proposed reflections. Likewise, this paper intends to contribute to the ongoing scientific debate about the impact of social structures in the curricula of higher education music courses and to stimulate conscious and active participation of higher education organizations in the promotion of fairer societies.
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Seidlitz, Kirsten. "Playing and Fighting as an Electric Violinist." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 9–18. http://dx.doi.org/10.30819/aemr.8-2.
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The violin is an instrument used in various musical genres. Besides preserving, elaborating, and valuating, the classical form of the instrument as well as the classical violin repertory, an electronic version of the instrument has entered the music business many decades ago. It allows the musician to produce sounds ranging from classical violin sounds to electric guitar or even electric bass sounds. Nora Kudrjawizki (‘Angelstrings’, “One Violin Orchestra”) is an electric violinist living in Berlin and using the instrument for as many different genres and occasions as possible: playing Nirvana songs or fighting with the violin bow as an improvised sword to “Pirates of the Caribbean” music as part of her performance. Her work will be presented as a case study and will be set into a bigger framework with further electric violinist statements generated from the literature. I focus on the differences in the instrumentalist–instrument relation when playing electric or acoustic. My aim is to prove that the electric violin is mostly used to play public and impress others and that there are also musically interesting aspects and individual experiences that should be valued.
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Hadi, Harisnal. "THE USE OF AUDIO VISUAL MEDIA IN THE LEARNING PROCESS OF GUITAR SUBJECT." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 18, no. 1 (2017): 39. http://dx.doi.org/10.24036/komposisi.v18i1.7573.
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PENGGUNAAN MEDIA AUDIOVISUAL DALAM PEMBELAJARAN MATA KULIAH GITARAbstractThis study aims to describe the data and events that exist, especially in the use of audio visual media in the classical guitar learning in the Music, Drama, and Dance Department of FBS Universitas Negeri Padang. It used descriptive method. This method is considered appropriate to describe and systematically intrepreted facts and characteristics of the problems studied. Data were processed by: 1) collecting and classifying data from the observation and interview with the speakers about the guitar lesson and then presented again into the research report, 2) presentation of data with the intent to conduct discussion and analyze based on the problems formulated, that is about the material, And the use of audio-visual media in learning. 3) The conclusion of the data obtained during the study. Then data were carefully reviewed by comparing the data obtained to find the deficiencies and the advantages and uniqueness that can produce conclusions. The result of the research is that the learning media, especially in the use of audio visual media is a supportive tool in learning that is very useful in motivating students, so that students are eager to start learning.Keywords: Learning, Guitar, Audio Visual Media AbstrakPenelitian ini bertujuan untuk mendeskripsikan data-data dan peristiwa yang ada, khususnya dalam penggunaan media audio visual dalam pembelajaran gitar klasik di jurusan Pendidikan Sendratasik FBS Universitas Negeri Padang. Dengan menggunakan metode deskriptif. Metode ini dianggap tepat untuk menggambarkan dan mengin-trepetasikan secara sistematis fakta dan karakteristik masalah yang diteliti. Teknik pengolahan data dilakukan dengan: 1) Mengumpulkan dan mengklasi-fikasikan data dari hasil observasi dan wawancara dengan para narasumber mengenai pembelajaran gitar lalu kemudian dipaparkan lagi ke dalam laporan penelitian, 2) Penyajian data dengan maksud melakukan pembahasan dan menganalisis berdasarkan permasalahan yang dirumuskan, yaitu mengenai materi, dan penggunaan media audio visual dalam pembelajaran. 3) Penarikan kesimpulan dari data yang diperoleh selama penelitian, kemudian ditinjau ulang secara seksama dengan cara membandingkan data yang diperoleh untuk menemukan kekurangan dan kelebihan serta keunikan yang dapat menghasilkan kesimpulan.hasil. Hasil penelitian dapat diperoleh temuan, bahwa media pembelajaran, khususnya dalam penggunaan media audio visual merupakan sarana pendukung dalam pembelajaran yang sangat bermanfaat dalam memotivasi mahasiswa, sehingga mahasiswa bersemangat untuk memulai pembelajaran. Kata Kunci: Pembelajaran, Gitar, Media Audio Visual
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Fitri, Putri Ariska, Jagar Lumbantoruan, and Irdhan Epria Darma Putra. "ARANSEMEN LAGU AYAH." Jurnal Sendratasik 8, no. 3 (2019): 9. http://dx.doi.org/10.24036/jsu.v7i3.103277.
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AbstractThe purpose of this work is to arrange Ayah song as a form of expression of the author's musical experience in arranging, making musical arrangements that are relevant to the works of musical works of students and maximizing the potential of human resources (students) in school. In this work, the author uses a mixed ensemble presentation format. The musical instruments used for accompanying vocals are pianika, piano, guitar, bass, and drum-set. This arrangement uses 2 parts, namely part A and part B with a time signature of 4/4. Part A starts from 1 time to 46 time and part B starts from the time of 47 to 103. The musical arrangement of this work contains lyrics that tell about the attitude of a father who loves and protects his child. The development techniques applied are (1) repetition melodically and rhythmically, (2) sequences, (3) augmentation, (4) diminution, and various other techniques without changing the essence of the song Ayah.Keywords: Arrangement, School Music, Father's Song.
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Cosynala, W. Ranta, and Ahmad Fajar Ariyanto. "THE INTERIOR DESIGN OF A MUSIC SCHOOL FOR PERSONS WITH VISION IMPAIRMENT WITH THE CONCEPT OF LANDMARK PERCEPTION IN SURAKARTA, INDONESIA." Pendhapa 11, no. 1 (2021): 18–23. http://dx.doi.org/10.33153/pendhapa.v11i1.3604.
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The Law of the Republic of Indonesia, article 5, paragraphs 1 and 2 concerning the education system, states that every citizen has the same right to obtain a good quality education. Citizens who have physical, emotional, mental, intellectual, and social disabilities are entitled to special education, including vision impairment. One of those people with vision impairment skills is their music expertise by maximizing touch and the sense of hearing. This work aims to realize the Landmark Perception concept by applying dynamic repetition by visualizing the repetition of several elements, such as line, shapes, textures, colors, dimensional gradations, shape gradations, and circulation patterns. These work results are the interior designs for the main facilities, including vocal classrooms, guitar classrooms, Violin classrooms, drum classrooms, piano classrooms, concert halls, and some supporting facilities such as cafeterias and libraries. The results of this work can be a reference for interior designers in designing interiors in a contemporary style based on the needs of people with vision impairment.
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Cespedes-Guevara, Julian, and Nicola Dibben. "The Role of Embodied Simulation and Visual Imagery in Emotional Contagion with Music." Music & Science 5 (January 2022): 205920432210938. http://dx.doi.org/10.1177/20592043221093836.
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Emotional contagion has been explained as arising from embodied simulation. The two most accepted theories of music-induced emotions presume a mechanism of internal mimicry: the BRECVEMA framework proposes that the melodic aspect of music elicits internal mimicry leading to the induction of basic emotions in the listener, and the Multifactorial Process Model proposes that the observation or imagination of motor expressions of the musicians elicits muscular and neural mimicry, and emotional contagion. Two behavioral studies investigated whether, and to what extent, mimicry is responsible for emotion contagion, and second, to what extent context for affective responses in the form of visual imagery moderates emotional responses. Experiment 1 tested whether emotional contagion is influenced by mimicry by manipulating explicit vocal and motor mimicry. In one condition, participants engaged in mimicry of the melodic aspects of the music by singing along with the music, and in another, participants engaged in mimicry of the musician’s gestures when producing the music, by playing along (“air guitar”-style). The experiment did not find confirmatory evidence for either hypothesized simulation mechanism, but it did provide evidence of spontaneous visual imagery consistent with the induced and perceived emotions. Experiment 2 used imagined rather than performed mimicry, but found no association between imagined motor simulation and emotional intensity. Emotional descriptions read prior to hearing the music influenced the type of perceived and induced emotions and support the prediction that visual imagery and associated semantic knowledge shape listeners’ affective experiences with music. The lack of evidence for the causal role of embodied simulation suggests that current theorization of emotion contagion by music needs refinement to reduce the role of simulation relative to other mechanisms. Evidence for induction of affective states that can be modulated by contextual and semantic associations suggests a model of emotion induction consistent with constructionist accounts.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Szydlowski, Joseph E. "Jobiniana no. 3 pour guitare, and: Jobiniana no. 1 pour 2 guitares, and: Circulo magico pour flute et guitare, and: Winter Impressions pour flute, alto et guitare, and: Uarekena pour quatuor de guitares (review)." Notes 60, no. 3 (2004): 804–8. http://dx.doi.org/10.1353/not.2004.0041.
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Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (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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Wood, Christina, Susanne M. Cutshall, Donna K. Lawson, et al. "Music Therapy for Anxiety and Pain After Spinal Cord Injury: A Pilot Study." Global Advances in Health and Medicine 10 (January 2021): 216495612110586. http://dx.doi.org/10.1177/21649561211058697.
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Background Music therapy (MT) programs have been used in various health care settings to reduce patients’ pain, anxiety, and stress. However, few studies have investigated its effects on patients with spinal cord injury (SCI), a frequently serious event requiring extensive rehabilitation. Objective This pilot study evaluated the feasibility of offering music-assisted relaxation (MAR) during rehabilitation for patients with SCI. We also measured the effect of MAR on the patients’ pain, anxiety, and stress levels. Methods Patients were hospitalized at Mayo Clinic (Rochester, Minnesota) from September 2015 through September 2017 for rehabilitation of an SCI. Eligible patients received 2, 20-minute, personalized MAR sessions. Interventions were facilitated by a board-certified music therapist (MT-BC) and included diaphragmatic breathing, guided imagery, and passive muscle relaxation with live guitar accompaniment and spoken, improvised, or singing voice. Two surveys (Generalized Anxiety Disorder [GAD-7] and Perceived Stress Scale [PSS-10]) were used at the time of study consent and again upon hospital dismissal. Pain, anxiety, and relaxation were assessed before and after both MT sessions with visual analog scales (VASs), scored from 0 to 10. Participants completed a 7-question satisfaction survey after the second MAR session. Results Twenty patients were enrolled (12 men, 8 women); 13 (65%) completed the MAR interventions. The mean (SD) age was 53.7 (17.7) years. VAS scores for pain significantly improved after both sessions (P ≤ .02). VAS scores for anxiety also significantly improved after both sessions (P ≤ .02), as did VAS scores for relaxation (P ≤ .02 for both). The satisfaction survey indicated that patients generally believed that they benefited from MT. Rehabilitation staff indicated that MT did not interfere with routine clinical care. Conclusion MT with live MAR is a feasible treatment for patients with SCI and may be effective for reducing their pain and anxiety.
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Bell, Adam Patrick. "Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome." British Journal of Music Education 31, no. 3 (2014): 343–57. http://dx.doi.org/10.1017/s026505171400028x.
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The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches to enabling the guitar are examined including open-tuning, standard tuning and a modified two-string guitar. Findings discuss the importance of the guitar to the participant as a percussive and rhythmic instrument and additionally as support for singing in the context of jamming.
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Vidal, Verónica, Carissa Ernat, and Laura DeThorne. "“I Think He Wants You to Play the Guitar:” Use of Behavioral Interpretation as a Strategy for Facilitating Peer Interaction Across Autistic and Nonautistic Peers." Perspectives of the ASHA Special Interest Groups 3, no. 1 (2018): 68–83. http://dx.doi.org/10.1044/persp3.sig1.68.
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Purpose The study examined the nature and potential impact of a relatively novel clinician strategy, behavioral interpretation, on peer interactions involving an autistic child. Method This extended qualitative analysis reviewed 49 instances of a clinician using behavioral interpretation as part of a music education program. The program was designed to facilitate peer interaction across a 7-year-old autistic child. Aaron, and 4 of his nonautistic peers from the same classroom. After reviewing the 21 video-recorded sessions, the research team selected the most salient examples of behavioral interpretation for microanalyses. Findings By focusing on a detailed review of the 6 most clear, concise, and compelling examples, we found that behavioral interpretation took 2 forms aimed at helping explain an unclear behavior: narrating (e.g., “I see you looking at strings”) and offering possible meanings (e.g., “I think he wants you to play guitar”). After limited exposure to behavioral interpretation, peers began displaying similar patterns of interaction that drew attention and speculation regarding Aaron's nonverbal forms of communication. Conclusions Behavioral interpretation, a relatively undocumented strategy in the autism literature, appeared as a feasible and promising strategy for shaping egalitarian peer interaction. Important nuances regarding the implementation and limitations of this strategy are also discussed.
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Barger, Rita, and Martha Haehl. "Guitars, Violins, and Geometric Sequences." Mathematics Teaching in the Middle School 12, no. 8 (2007): 462–66. http://dx.doi.org/10.5951/mtms.12.8.0462.
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Middle schoolers are not the easiest students to motivate. There are so many things going on in their lives that often school is valued more for its social opportunities than for its educational activities. Imagine the reactions of your students as they come into your room, hearing guitar music coming from the CD player on your desk. Better yet, imagine that they walk in to see you sitting on a tall stool at the front of the room, strumming a guitar. Either way, you have set the stage for an engaging lesson on ratio, proportion, and proportional reasoning.
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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.
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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.
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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (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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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Ciszak, Thomas, and Seth F. Josel. "OF NEON LIGHT: MULTIPHONIC AGGREGATES ON THE ELECTRIC GUITAR." Tempo 74, no. 291 (2019): 25–49. http://dx.doi.org/10.1017/s0040298219000962.
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AbstractConsiderable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analogue effect pedals (compression, overdrive and distortion). In order to precisely indicate the spectral components and harmonic nodes, we have used the Extended Helmholtz-Ellis JI Pitch Notation (HEJI).
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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 (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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Deloria, Philip J. "T.C. Cannon’s Guitar." Arts 8, no. 4 (2019): 132. http://dx.doi.org/10.3390/arts8040132.
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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergenerational relations between myself, Cannon, and my father Vine Deloria, Jr., the three of us evenly spaced over the course of the late twentieth century, and it does so in an effort to understand something about the historical impulses of the period between 1965 and 1978. In that moment—accessible to me through memories of affects more than memories of actions—Native politics and art were both figuring out ways to honor the past while making it new, creating distinctive forms that we can recognize around concepts such as survivance, sovereignty, and indigenous modernism.
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K.F. "String Orchestra: Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3)Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3). Jamey Aebersold/Peter Blair. Heritage Music Press, 2003. Student book $6.95, Conductor Score/Teacher's Guide (including CD) $19.95." American String Teacher 53, no. 3 (2003): 116. http://dx.doi.org/10.1177/000313130305300330.
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Bulgren, Christopher W. "Jail Guitar Doors: A case study of guitar and songwriting instruction in Cook County Jail." International Journal of Community Music 13, no. 3 (2020): 299–318. http://dx.doi.org/10.1386/ijcm_00026_1.
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Jail Guitar Doors USA (JGD USA) is an initiative that provides guitars and songwriting instruction in correctional facilities. Founded in 2009, JGD USA is currently in 100 jails, prisons and youth facilities with a waiting list of 50. This study examined the phenomenon of JGD USA in Cook County Jail (Chicago, Illinois) and was guided by the following research question: How do participants describe their experiences in the case of JGD USA in Cook County Jail? Participants consisted of six adult male residents. Other data sources included interviews with the class teacher, the jail administrator who implemented JGD USA, Billy Bragg (founder of the original JGD) and Wayne Kramer (founder of JGD USA). This study employed instrumental case study methodology in order to explore a real-world phenomenon of guitar instruction in jail. Data sources included observation, a focus group interview, four semi-structured phone interviews and examination of lyrics and chord structure. Data were coded for emergent themes. Analysis of data sources revealed themes of group dynamics, expression, flow and intrinsic motivation. Other findings included insights related to the benefits of guitar and songwriting instruction in correctional settings.
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Kang, Sangmi. "Motivation and Preference for Acoustic or Tablet-Based Musical Instruments: Comparing Guitars and Gayageums." Journal of Research in Music Education 66, no. 3 (2018): 278–94. http://dx.doi.org/10.1177/0022429418785379.
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The purpose of this study was to examine the effect of motivation on upper-grade elementary students’ preferences for acoustic or tablet-based instruments. The effect of cultural familiarity on musical instrument preference was also investigated. Participants ( N = 138) were classified by motivation levels (low, medium-low, medium-high, and high) and played the guitar, tablet-based guitar, gayageum (Korean string instrument), and tablet-based gayageum. After playing each instrument, participants rated preferences and provided their reasons. Results of the mixed-model ANOVA revealed two significant main effects for instrumental mode (acoustic vs. tablet-based) and motivation on instrument preference. A significant three-way interaction was also found: Cultural Familiarity × Mode × Motivation. The two main effects of mode and motivation produced a general pattern in instrument preference: (a) Students generally preferred acoustic instruments to tablet-based instruments, and (b) the level of motivation was associated with the degree of preference ratings. However, the interaction effect deviated from the general pattern; the low motivation group participants’ preference ratings between acoustic and tablet-based guitars were not significantly different. This deviation from the general pattern appeared only for the culturally familiar instrument (guitar) but not the culturally unfamiliar instrument (gayageum) among the low motivation group.
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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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Miller, Farley. "Co-consuming a “fun addiction”." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (2020): 5–19. http://dx.doi.org/10.7146/se.v9i1.112699.
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Once considered an obsolete technology, modular synthesizers have experienced an unanticipated renaissance since the 1990s. While the reemergence of interest in modular synthesizers is attributable to a variety of factors, the internet has played an especially important role in facilitating the growth of a distributed, virtual scene around these instruments. Though several formats exist, Eurorack’s commercial and cultural growth has been the most dramatic. Once the province solely of specialists, Eurorack modules are now manufactured by large firms like Roland and Behringer and sold by mainstream music retailers like Guitar Center and Sweetwater.
 For many users, a Eurorack system is a physical manifestation of their musical tastes and aspirations. The planning, purchasing, and realization of a system is thus a constitutive element of self-identification and belonging within the scene. But while Eurorack users privilege customization to an intense degree, the modality of their choice is strongly mediated by communal wisdom and the personal testimony of distant others. How do scene members negotiate these tensions? In order to explicate these dynamics, I analyze two interrelated phenomena that are characteristic of the milieu: (1) personal narratives of an individual’s journey through modular synthesis and Eurorack; and (2) the instructional and promotional roles played by user-made demonstration videos of Eurorack modules. Both reveal a gap between the imagined and actual affordances of a system and its user, a discrepancy that I address by introducing the notion of “drift.”
 The marked heterogeneity of Eurorack and the potential of a system for future modification strongly distinguishes it from other formats, and I conclude by discussing Eurorack as an instrument that is never “finished.” As such, Eurorack invites us to consider a musical instrument not just as a bounded object or assemblage, but as an ongoing process of individuation rooted in practices of co-consumption.
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Yuliana, Dika Yuliana, and Pranichayudha Rohsulina. "The Potential of the Guitar Craft Industry in Mancasan Village, Baki District in 2021." Journal of Geography Science and Education 4, no. 2 (2022): 1. http://dx.doi.org/10.32585/jgse.v4i2.2331.
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Mancasan Village is one of the villages in Baki District, Sukoharjo Regency. Mancasan Village is one of the villages that is famous for the existence of the guitar industry in the area. The guitar industry is a potential for Mancasan Village because the guitar industry can be one of the successful developments of a region, namely the ability to create job opportunities. The guitar industry in this Mancasan Village classified to in industry small, because on generally every House business this employ around 5-15 employee people, type ownership from business guitar the is individual, using technology which simple and traditional, no have permission business, and the place business which used is the place live or their house alone. The production of guitars in Mancasan Village used to be only through word of mouth or by selling their products directly to music shops. However, along with the times and increasingly sophisticated technology, many guitar craftsmen in Mancasan Village are now marketing their guitar productions online. The potential of the guitar industry in Mancasan Village has an impact on the surrounding community, both the impact on social life and the impact on the economy of the people in Mancasan Village.
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HOLOVIN, M., та N. HOLOVINA. "НАВЧАЛЬНИЙ ПРИКЛАД МАСКУВАННЯ ІНФОРМАЦІЇ В АКУСТИЧНОМУ СИГНАЛІ". Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, № 2 (2021): 203–10. http://dx.doi.org/10.31494/2412-9208-2021-1-2-203-210.
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The paper presents a steganographic method of hiding textual information in an audio file. Hiding is implemented by a program in Python. The introduction of individual letters of the text into the sound is carried out by the method of «the least significant bit». The program can be used for both educational and practical purposes. The commonly used wave library was used to work with sound files. It is not a library specialized for cryptographic and steganographic needs. Its use and the conciseness of the program code makes it possible to visualize the mechanism of hiding information in the classroom and demonstrate in the process of creating a program its debugging and testing. It is also important for educational purposes that working within the library allows you to see the state of an empty and filled audio container at the level of individual bits. To assess the practical value of the program, it was tested with texts of different lengths and with sound containers of different grades. In particular, the sound of a tuning fork, the sound of a guitar string, classical music, rap, jazz, and an audiobook were used. The experiment showed the correct reproduction of texts. It was found that if you listen carefully to the «pure sound» of the tuning fork, when the container is overloaded with information, suspicions of a text bookmark may arise. A text bookmark in the sound, in which the volume, tempo and frequency change quickly, does not reveal the suspicion of a possible bookmark. However, if the party who intercepted the masked message has guesses about how to bookmark the text, then the text is easily removed. Therefore, the use of the program for practical purposes requires additional manipulations in the code, in particular related to the order of text input and the choice of location. Additional text encryption is also desirable. Analysis of sound and its manipulation at the level of individual bits also has educational value in the sense that it gives an idea of the noise level, the magnitude of the useful physical signal and the sensitivity of the human ear. Key words: Python language, steganography, hiding information, masking information in an audio file, educational example.
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Hasan, Mohammad Mainul, and Saiful Islam. "Development of an Acoustic Guitar Tuner and Graphical User Interface (GUI) using MATLAB." Applied Research and Smart Technology (ARSTech) 3, no. 2 (2022): 49–55. http://dx.doi.org/10.23917/arstech.v3i2.1185.
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Beautiful music requires precisely tuned instruments. Tuning a guitar is a necessary skill for any guitarist on their first day. This work demonstrates an understanding of the critical characteristics that must be considered while developing an acoustic guitar tuner and the logical process used to design such a tuner. The study aimed to create an algorithm using the Butterworth Filter and Fast Fourier Transform (FFT) capable of adequately analysing the frequency spectrum of a plucked guitar string to determine its fundamental frequency. The developed system compared the detected frequency and the standard frequency of the picked guitar string, which then requested the user on the tuning state of that corresponding string. The error in frequency detection was found to be in the order of 0.02%. The MATLAB App Designer tool created a Graphical User Interface (GUI) that users could use to tune guitars using the generated application easily. The implemented tuner overcame the steep learning curve and high sensitivity of traditional ones.
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Taufani, Agusta Rakhmat, and Harits Ar Ar Rosyid. "Sistem Tutorial Berbasis Kecerdasan Buatan Pada Proses Pengambilan Keputusan Perawatan dan Perbaikan Gitar." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 3, no. 1 (2019): 79–86. http://dx.doi.org/10.29207/resti.v3i1.842.
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Guitar is a popular musical instrument in the world and is a metronome for every use in various music events and its correlation. As a metronome, the guitar must be well standardized on the quality of each part so that sound that comes in line with the user's expectations in this case is the guitarist. Damage to the guitar is something normal because of its intense use so it needs proper handling in the repair process. The easiest thing is to bring a broken guitar to the experts, but when there are not many guitar service experts or a long enough distance to reach it, then guitar repairs need to be done immediately. Therefore, it is necessary to develop a system that can act as a tutor in the maintenance and repair of guitars by utilizing artificial intelligence embedded in the system. With the help of artificial intelligence, it is expected that the system can assist in the decision making of guitar technicians in the process of making guitar repair decisions based on the symptoms that occur. Decision making used uses the certainty factor method based on certainty factors. After going through the equivalence partitioning testing process, in general this system produces a total percentage of 100% on the success of the item test by experts in the testing process of the 25 items tested. Thus the application meets the requirements for making the program, which is readable and valid.
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Jenson, Jen, Suzanne De Castell, Rachel Muehrer, and Milena Droumeva. "So you think you can play: An exploratory study of music video games." Journal of Music, Technology and Education 9, no. 3 (2016): 273–88. http://dx.doi.org/10.1386/jmte.9.3.273_1.
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Digital music technologies have evolved by leaps and bounds over the last 10 years. The most popular digital music games allow gamers to experience the performativity of music, long before they have the requisite knowledge and skills, by playing with instrument-shaped controllers (e.g. Guitar Hero, Rock Band, Sing Star, Wii Music), while others involve plugging conventional electric guitars into a game console to learn musical technique through gameplay (e.g. Rocksmith). Many of these digital music environments claim to have educative potential, and some are actually used in music classrooms. This article discusses the findings from a pilot study to explore what high school age students could gain in terms of musical knowledge, skill and understanding from these games. We found students improved from pre- to post-assessment in different areas of musicianship after playing Sing Party, Wii Music and Rocksmith, as well as a variety of games on the iPad.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.
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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Troutman, John W. "The Steel Heard ‘Round the World: Exposing the Global Reach of Indigenous Musical Journeys with the Hawaiian Steel Guitar." Itinerario 41, no. 2 (2017): 253–74. http://dx.doi.org/10.1017/s0165115317000365.
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In the late nineteenth century, Kānaka Maoli (Native Hawaiians) physically modified guitars and created a new technique for playing them. In the years that followed, hundreds of Hawaiian troupes, engaging new entertainment circuits that crisscrossed the globe, introduced the world to their “Hawaiian steel guitar,” from Shanghai to London, Kolkata to New Orleans. While performing Hawaiianmele, or songs, with their instrument, they demonstrated new virtues for the guitar’s potential in vernacular and commercial music making in these international markets. Based upon archival research, this essay considers the careers of several Hawaiian guitarists who travelled the world in the early twentieth century, connecting local soundscapes through the proliferation of an indigenous technology.
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Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.
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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some development techniques such as reps, modulation, Augmentsi, diminution, arpeggio and various other techniques without changing the essence of the song of our house. Arransemen song popularized by one of the Indonesian rock band Goodbles with the title song "Rumah Kita" played by students of SMK Negeri 7 Padang. The Arransemen is played by 6 people with vocal formations, guitars, keyboards, bass and drums. Keywords: Rumah Kita