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Dissertations / Theses on the topic 'Guitar music Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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

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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being ver

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2

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

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

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3

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

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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road

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4

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

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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compos

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5

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

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6

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

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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-06T11:45:47Z (GMT). No. of bitstreams: 1 Mangueira_BrunoRosas_M.pdf: 1094068 bytes, checksum: bd77c8129c048a3adc829705f40d9b87 (MD5) Previous issue date: 2006<br>Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz no

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

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

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8

Casallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.

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How can I, as a leader, keep the motivation of the participants in a group? When I started to write this report, I was focused on, how a group could affect the participants motivation of the participants, but little by little I realized that the biggest motivation came from that this group affected mostly my own motivationmyself. The guitar orchestra has given me the opportunity to learn and it has given another sense to my knowledge as musician and teacher. Analysing what I have done with the guitar orchestra has awakened more questions than answers. What exactly did I do? Why did I do it?

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Olson, Ted. "The Guitar: ‘An Orchestra Unto Itself'." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.

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10

Ferguson, Sean W. "The guitar in lexica: the development of the guitar as reflected in general and musical dictionaries and encyclopedias, 1611-1890." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730273.

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11

Lawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.

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Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).

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12

Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2007.<br>Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).

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13

Yim, Gary. "Affordant Chord Transitions in Selected Guitar-Driven Popular Music." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308075022.

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14

Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.

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This thesis demonstrates the need for and the importance of developing a comprehensive curriculum for the intermediate steel-string guitarist and provides a method to fill this need. The method is not specific to any one musical style and will serve to offer information necessary for the performance of music in any idiom. The lack of material presently available for the intermediate guitarist leaves them without proper musical guidance during this significant stage of their learning curve. The use of this method will help the prospective student to grow both as a guitarist and a musician.

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Pinta, Kristen Janet. "Inclusion strategies for the high school guitar class." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523263.

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<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guit

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Chapalain, Guy. "La guitare et son répertoire au XIXe siècle : 1850-1920 : novations et permanence /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224993c.

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Thèse--Musicologie--Paris-4-Sorbonne, 1999.<br>Catalogue des oeuvres pour guitare p. 479-548. Liste alphabétique avec notices biogr. des guitaristes et compositeurs p. 363-448. Bibliogr. p. 581-642. Index.

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

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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic t

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19

Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.

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20

Burlet, Gregory. "Automatic guitar tablature transcription online." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117224.

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Manually transcribing guitar tablature from an audio recording is a difficult and time-consuming process, even for experienced guitarists. While several algorithms have been developed to automatically extract the notes occurring in an audio recording, and several algorithms have been developed to produce guitar tablature arrangements of notes occurring in a music score, no frameworks have been developed to facilitate the combination of these algorithms. This work presents a web-based guitar tablature transcription framework capable of generating guitar tablature arrangements directly from an a

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21

Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophon

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22

Taylor, John Wesley. "Hillbillies and sharecroppers : an introduction to East coast and Mississippi blues styles /." Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=99.

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Thesis (M.A.)--Marshall University, 2002.<br>Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).

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23

Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.

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This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chap

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24

Davis, Evan Brugh. "On the structural and acoustic design of guitar soundboards /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/7116.

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25

McCallie, Michael. "A survey of the solo guitar works written for Julian Bream." Thesis, The Florida State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10000626.

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<p> The purpose of this treatise is to present a survey of the solo guitar works written for Julian Bream and to illuminate their historical significance and lasting importance to the guitar repertoire. For each piece, this treatise provides a brief biographical sketch of each composer, a survey of the relevant literature and, where necessary, a brief theoretical analysis. At the end of each section, a “Performer’s Note” has been included, which details the specific difficulties of performing each piece. Hopefully, this treatise will provide guitarists interested in the piece

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Ortiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.

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Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar. This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the in

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Rocha, Marcel Eduardo Leal. "A tecnologia como meio expressivo do guitarrista atuante no mercado musical pop." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284480.

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Orientador: José Eduardo Ribeiro de Paiva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T07:57:29Z (GMT). No. of bitstreams: 1 Rocha_MarcelEduardoLeal_D.pdf: 1511252 bytes, checksum: 31cce2dc1a1f22d0663cd62cde894493 (MD5) Previous issue date: 2011<br>Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais for

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Fang, Ming-Jian. "Notational systems and practices for the lute, vihuela and guitar from the Renaissance to the present day." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558361.

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Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with

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Renberg, Gustav. "Musikaliska influenser : Och deras inflytande på en kompositionsprocess." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3994.

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In this project, Gustav Renberg has explored new methods of integrating different musical influences into his compositions. He examines how incorporating rules and criteria can affect the creative process, as well as the result. Some of his main goals with the project has been to broaden his perspective and to strengthen his own musical voice. Renberg describes the creative process of each composition, as well as the methods he used. He also conducted two separate interviews with two established and renowned musicians to dwell even deeper into the subject. Furthermore, he describes the process

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Incze, Lajos. "Popular guitar pedagogy: fostering traditional musicianship in the culturally relevant classroom." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119382.

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Music education in North America remains loyal to the ideals, materials, and methodologies of a bygone era despite widespread calls for pedagogical change. Popular music has a limited role in schools although culturally relevant programming is increasingly important in modern contexts. Guitar class has the unrealized potential to reach those many students who are eager for music opportunities but unable to work within traditional formats. Guitar is motivational, inclusive, and relevant to students, and therefore has an appropriate place in the pluralistic classrooms of the twenty-first centu

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Schroeder, Lisa Marie. "The flute and guitar duo: the development of an equal partnership." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2010.

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THE FLUTE AND GUITAR DUO: THE DEVELOPMENT OF AN EQUAL PARTNERSHIP By Lisa Marie Schroeder December 2015 The 21st century flute and guitar duo literature contains equal parts of intricate melodic and harmonic content, challenging both players with standard and contemporary techniques. In the past, beginning with the late seventeen hundreds, the repertoire for this combination consisted of simple flute melodies and sparse, accompanimental guitar parts. When did an equal partnership begin developing between the instru

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32

Welch, Chapman. "Tele using vernacular performance practices in an eight channel environment /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/welch%5Fchapman/index.htm.

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Serce, Andrew J. "A POST-TONAL ANALYTICAL APPROACH TO SYNCHRONISMS NO. 10 FOR GUITAR AND TAPE BY MARIO DAVIDOVSKY." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/97.

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Mario Davidovsky is an American composer who was born in Buenos Aires, Argentina on March 4, 1934. Beginning in 1958, he was a student of Aaron Copland at the Berkshire Music Center (currently the Tanglewood Music Center) in Lenox, Massachusetts. At Berkshire, he also met American composer, Milton Babbitt, who persuaded him to work at the Columbia-Princeton Electronic Music Center (currently the Computer Music Center at Columbia University) in New York City. Davidovsky was appointed Associate Director of the Columbia-Princeton Electronic Music Center in 1960 where he inevitably began experimen

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Kirsten, Ryan Kenneth. "An investigation into the process of transcribing keyboard works for guitar duet." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/76609.

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The purpose of this study is to investigate the process of transcribing keyboard music for guitar duet. Throughout history, few of the most important and prolific composers were guitarists or ever wrote for the guitar. This has resulted in the need for guitarists to expand the repertoire by arranging and transcribing music, originally written for other instruments or ensembles, for guitar solo, duet, trio, quartet or even larger groups. Furthermore, it is my hope that this study can serve as a guideline for prospective transcribers.<br>Mini Dissertation (MMus (Performing Art))--University of

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Douglas, Charles William. "An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars"." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505150/.

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Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal c

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Handel, Amanda Jane. "Music of balance circles and squares /." View thesis View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041022.170632/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004.<br>Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.

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Silva, Júnior Mário da 1962. "Violão expandido : panorama, conceito e estudos de caso nas obras de Edino Krieger, Arthur Kampela e Chico Mello." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285296.

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Orientador: Denise Hortência Lopes Garcia<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-24T17:21:49Z (GMT). No. of bitstreams: 2 SilvaJunior_Marioda_D.pdf: 48186743 bytes, checksum: 133cb0b9a4725173147c881e36889dbf (MD5) SilvaJunior_MarioDa_D_Arquivo.zip: 2038235767 bytes, checksum: e34dd9f893c69f19aaacf3280395d90e (MD5) Previous issue date: 2013<br>Resumo: O trabalho investiga as obras para violão dos compositores Edino Krieger (1928) (Ritmata, 1974 para violão solo), Chico Mello (1958) (Do Lado Do Dedo, 1987 para violão s

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Jältfors, Katarina. "Nisch eller genrebredd? : en studie av undervisningsinnehåll i fråga om genrer inom akustisk gitarrundervisning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2308.

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Syftet med studien är att undersöka hur pedagoger som undervisar i akustisk, nylonsträngad gitarr inom musik-och kulturskolan förhåller sig till musikgenrer i undervisningsinnehållet. Detta har studerats med avseende på hur repertoaren väljs genremässigt och vad som har inverkan på detta. Datainsamlingen har gjorts med utgångspunkt från kvalitativa intervjuer med tre gitarrpedagoger. Resultaten visar att genrebredd präglar undervisningen. En viktig aspekt av detta ur pedagogens perspektiv är att visa på gitarrens bredd och möjligheter. Ur ett elevperspektiv ges möjligheter till inflytande över

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Sjösten, Christoffer. "YouTube som resurs för lärande av improviserat solospel : En studie av den virtuella gitarrläraren." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76361.

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This study focus on six video tutorials found on YouTube that teach how to improvise blues guitar solos. The study has grounded theory as its theoretical perspective and uses two kinds of scientific observations: unstructured and structured. First unstructured observations were made of all the video tutorials, whereby eleven categories and twelve undercategories was found. These where then used as observational categories for new observations of the video tutorials. The categories where then analyzed and found to be connected through a central category object of teaching (in Swedish: lärandeob

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Alcaraz, Roberto. "Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279989.

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This document is a study of Benjamin Britten's Nocturnal, Op. 70, a major work composed for solo guitar in 1963. It intends to demonstrate that the architecture used by the composer in this work is determined as much by its underlying program as well as to the variation structure used to convey it. This work is structured in eight sections: following an overview of the document in section one, section two consists of a brief biography of the composer as well as a general survey of his works, including those in which he makes use of the guitar. Sections three and four examine the works by Britt

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Bert, Alison. "The influence of Flamenco on the guitar works of Joaquin Turina." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185487.

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Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Hom

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Lazo, Alejandro. "Contemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193775.

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The purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works wer

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Melvin, Michael John. "Tonal harmonic syntax and guitar performance idiom in two mid-seventeenth-century Italian guitar books by Angelo Michele Bartolotti (c. 1615--after 1682)." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278814.

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Since the 1960s the publications of American musicologist Richard Hudson, along with recent articles by other scholars, have shown the five-course Spanish guitar to have been at the forefront of harmonic innovation in the early seventeenth century. Existing publications in this area, however, deal exclusively with guitar music in the rudimentary battuto strumming style and do not address the development of harmonic language in guitar music after circa 1630. From circa 1630 the battuto style gave way to a new guitar idiom that combined both strumming and plucking, thus affording guitarists the

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Vishnick, Martin Lawrence. "A survey of extended techniques on the classical six-string guitar with appended studies in new morphological notation." Thesis, City University London, 2014. http://openaccess.city.ac.uk/4164/.

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This dissertation comprises two volumes. Volume 1 presents a critique and exploration of the way extended techniques with particular sound properties are used and notated in the contemporary repertoire for the classical six-string guitar. In Volume 2, a set of practical exercises provide both instrumentalists and composers with a way to perceive, think through, and use a repertory of sounds based on developed and newly invented extended techniques. Volume 1 is divided into three sections. The first section constitutes an extensive survey of the literature, where extended guitar techniques are

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Tuttle, Brian. "Who killed rock guitar? Virtuosity in nineteen-nineties alternative rock." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121303.

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After the release of Nirvana's Nevermind in 1991, previously underground alternative rock burst into the mainstream and dethroned heavy metal as the dominant form of hard rock. The culture that surrounded alternative music was a politically progressive American post-punk movement that sought a more egalitarian, tolerant, and democratic world than heavy metal offered. Alternative culture saw heavy-metal style as a symbol for the masculinist values that seem to underlie the genre. Heavy-metal guitar gods—hyper-masculine virtuosic figures revered by fans for their "cool kid" personas and ability

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

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Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).

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Chapman, David. "Doctoral thesis recital (guitar)." 2010. http://hdl.handle.net/2152/11421.

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Milovanov, Alexander. "Doctoral thesis recital (guitar)." 2015. http://hdl.handle.net/2152/30067.

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Palmer, Joseph W. "Doctoral thesis recital (guitar)." Thesis, 2012. http://hdl.handle.net/2152/23946.

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Pinsonnault, Andre Paul. "Spanish and Latin American music for the guitar : guitar recital." Thesis, 1992. http://hdl.handle.net/2429/1648.

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