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Dissertations / Theses on the topic 'Guitar music'
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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.
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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument.
During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment.
This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.
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Fugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.
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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:
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Paget, Jonathan. "The guitar music of Peter Sculthorpe /." Digitized version, 2003. http://hdl.handle.net/1802/5358.
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Thesis (D.M.A.)--University of Rochester, 2003.<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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Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.
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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.<br>https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg
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Chapalain, Guy. "La guitare et son répertoire au XIXe siècle : 1850-1920 : novations et permanence /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224993c.
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Thèse--Musicologie--Paris-4-Sorbonne, 1999.<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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Banks, Zane. "The electric guitar in contemporary arts music." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11805.
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Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument. Although the electric guitar is still on the fringe of mainstream classical music, the instrument is more popular now amongst contemporary art music composers and contemporary art music ensembles than in previous times. This dissertation is divided into three sections. The first, Section A, is an introduction to the electric guitar, with a focus on its history and role in both western popular music and western art music. Chapters 2 and 3 address the development of the electric guitar, the electric guitar in American popular music and the development of art music repertoire featuring the electric guitar. Section B (Chapter 4) includes the analysis of forty-eight interviews given by musicians involved in composition, performance and musicology for the electric guitar. The focus of this section is on the interviewees’ experiences with and common views, perceptions and attitudes towards the electric guitar’s role in art music. It also contains common recommendations made by the interviewees regarding writing successfully for the instrument, and addresses the nature of previous collaborative partnerships between composers and electric guitarists. The final section, Section C (Chapter 5 and 6), is partly an auto-ethnography. It includes the proposition of useful collaborative models. This section also features an in-depth discussion regarding how technological mediation can affect the collaborative process as well as proposing performance and recording logistics that composers should keep in mind when composing for the electric guitar. This dissertation culminates in a detailed, first-hand account of a successful composer-electric guitarist collaboration so that future composers1, considering writing for the instrument, have a model to assist them in their artistic endeavours. Included in the ‘Creative Work’ portfolio of this dissertation is an mp4 recording (on a USB) of my performance of Georges Lentz’s unaccompanied electric guitar composition Ingwe at the 2012 Amsterdam Guitar Heaven Festival and my Naxos CD recording of Ingwe2. 1 The term ‘composer’ in this context refers to composers who have never written for the electric guitar but are interested in writing a work for the instrument. 2 Georges Lentz, "Ingwe from ‘Mysterium’ (“Caeli Enarrant...” Vii) for Solo Electric Guitar (2003–2009) Performed by Zane Banks," ([Hong Kong] Naxos, 2011)
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Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.
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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
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Mangueira, Bruno Rosas. "Concepções estilísticas de Hélio Delmiro : violão e guitarra na música instrumental brasileira." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284634.
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Orientador: Marcos Siqueira Cavalcante<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
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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 norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto<br>Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context<br>Mestrado<br>Mestre em Música
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Nilsson, Jokela Rickard. "SlowBass : exploring, adapting and evolving the possibilities of the bass guitar." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1440.
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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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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 audio recording. The implemented transcription framework, entitled Robotaba, facilitates the creation of web applications in which polyphonic transcription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, resulting in a unified system that is capable of transcribing guitar tablature from a digital audio recording and displaying the resulting tablature in the web browser. The performance of the implemented polyphonic transcription and guitar tablature arrangement algorithms are evaluated using several metrics on a new dataset of manual transcriptions gathered from tablature websites.<br>Transcrire à la main une tablature pour guitare à partir d'un enregistrement audio est un processus difficile et long, même pour les guitaristes chevronnés. Bien que plusieurs algorithmes aient été créés pour extraire automatiquement les notes d'un enregistrement audio, et d'autres pour préparer des arrangements de notes de tablature pour guitare tels qu'on les retrouve dans la création musicale, aucun environnement n'a été mise en place pour faciliter l'association de ces algorithmes. Le travail qui suit présente un environnement accessible sur l'Internet, permettant la transcription et la préparation d'arrangements de tablatures de guitare, directement à partir d'un enregistrement audio. Cet environnement de transcription, nommée Robotaba, facilite la création d'applications Web, dans lesquelles la transcription polyphonique et les algorithmes d'arrangements de tablature pour guitare peuvent être intégrés. Une telle application Web permet d'obtenir un système unifié, capable de transcrire une tablature pour guitare à partir d'un enregistrement audio numérique, et d'afficher la tablature obtenue dans un navigateur Web. La performance de la transcription polyphonique mise en place et des algorithmes d'arrangements de tablature pour guitare est évaluée à l'aide de plusieurs paramètres et d'un nouvel ensemble de données, constitué de transcriptions manuelles recueillies dans des sites Web consacrés aux tablatures.
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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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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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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 to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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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? Was it really effective? This written part of my project at KMH describes how, together with my colleagues, we have organized an orchestra of guitars in Avonia music institute based in Espoo, Finland and how this group and my own motivation have affected the motivation of the participants.<br>Making Music with a guitar orchestra
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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 guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>
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Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Thesis (D.M.A.)--UCLA, 2007.<br>Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).
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Nguyen, Le Tuyen. "A new voice: Australian guitar music with Vietnamese cultural influences." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/151930.
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For more than fifty years, Australian composers have continued to look for new musical ideas and inspiration in the music of other cultures demonstrating significant interest in the music of China, Bali, Java, Japan and the Pacific. This thesis aims to contribute to the Australasian musical interchanges with a repertoire of guitar music with Vietnamese cultural influences. Based on ethnomusicological research, these creative works will weave together Vietnamese social-cultural contexts and musical materials with Western art music styles, exploring and enhancing the musical-technical possibilities of the guitar as the expressive medium. International collaborations have extended this repertoire to ensemble performances of guitar and Vietnamese traditional instruments; guitar and Vietnamese Gong ensemble; and guitar and percussion from Europe, Africa, India, Tibet, China, Middle East, and the Caribbean. In the process of ethnomusicological research into Vietnamese and French primary sources, this thesis has also made original contributions shedding new light on the changes and development of Southern Vietnamese traditional music in the late nineteenth century to the early decades of the twentieth century. A new voice in Australian music, this creative project is an expression of tradition, innovation and global interaction.
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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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Hopkins, Evan James. "Arranging the Music of Radiohead for Classical Guitar Quartet." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26357.
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For over two decades the music of Radiohead has delighted and intrigued listeners around the world. Their music is fascinating precisely for the ways in which it confounds our expectations, carefully treading the line between established norms and the unpredictable. Music that achieves this is deemed to be ‘salient’. Brad Osborn identifies four domains in which Radiohead reliably elicit salience in the listener: form, rhythm, timbre and harmony. Building on Osborn’s pioneering work into the analysis of Radiohead’s music, I developed ten arrangements of songs by Radiohead that sought to maintain these salient elements when arranged for the classical guitar quartet. In creating these arrangements, I designed an aesthetic framework from which to operate which outlined the goals and objectives of the arrangements, including limiting the scope and design of these arrangements.
In creating these arrangements, I developed a number of novel solutions and techniques uncommon in the classical guitar repertoire. These solutions were developed in the pursuit of maintaining the salient elements of Radiohead’s music. At times, I also made use of the same compositional techniques that Radiohead frequently employ to create salience through the composition of original parts so that I might create more satisfying arrangements.
This dissertation outlines the process of creating these arrangements while also undertaking a musical analysis of the songs arranged for this project in order to understand and preserve the salient elements. The discussion of this dissertation follows the structure of Osborn’s analysis and is appropriately divided into the four domains identified as evoking salience in the listener.
This dissertation describes how in creating these arrangements for classical guitar quartet I was able to maintain the salient elements of Radiohead’s music, while creating arrangements that are appealing to a wide variety of listeners. This research shows the value in making arrangements of popular music for classical instruments and how in doing so we may develop our own instances of salience, subverting the commonly held notions of what is expected in classical music.
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Rogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.
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This dissertation is an exploration of the rhythmic concepts used in two South Indian musical theory concepts, solkattu and konokol. Konokol application largely depends on instrument limitations and musical contexts. The principle focus here is on my personal application of konokol to the guitar both through composed and improvised music. A detailed study of konokol was undertaken through private lessons in India and personal experimentation to determine how these concepts could be adapted to Western improvisation, harmony and composition, as well as right--‐hand classical guitar and plectrum techniques. This was done intuitively by exploring guitar techniques and konokol simultaneously. The outcome of this study was a process applied to guitar composition and improvisation. Graphic numerical tables and geometrical representations are outlined in this dissertation as a guide to understanding this process.
The second outcome of this research includes a series of Western compositions improvised and through--‐composed. This outcome explores a fundamental concept, the practical applications of konokol and mrdangam patterns to guitar composition and guitar improvisation. The appendices include a practical reference guide to many of these concepts, providing a valuable and a beneficial resource for any musician who would like to use and understand rhythmic concepts outside the Western musical tradition. A compact disc of my original compositions demonstrating my application of konokol concepts and theories to guitar composition is also included as part of this research. This dissertation presents an alternative framework and methodology to the Western canon of rhythmic knowledge and involves rethinking numbers, rhythm and phrasing in a manner that is essentially different to the Western pedagogy of rhythmic knowledge. Possible future research on the collective memory and fractal design of konokol and how this is related to memory is also proposed.
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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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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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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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Douglas, Charles William. "An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars"." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505150/.
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Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer.
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Klčo, Michal. "Electric Guitar to MIDI Conversion." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.
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Automatický přepis hudby a odhad vícero znějících tónu jsou stále výzvou v oblasti dolování informací z hudby. Moderní systémy jsou založeny na různých technikách strojového učení pro dosažení co nejpřesnějšího přepisu hudby. Některé z nich jsou také omezeny na konkrétní hudební nástroj nebo hudební žánr, aby se snížila rozmanitost analyzovaného zvuku. V této práci je navrženo, vyhodnoceno a porovnáváno několik systémů pro konverzi nahrávek elektrické kytary do MIDI souború, založených na různých technikách strojového učení a technikách spektrální analýzy.
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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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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. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.
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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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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 instrument. Sonata III is Compeán’s most ambitious guitar composition and one of the most important twenty-first century contributions to the Mexican guitar literature. This research focuses on the production of a performing edition of Sonata III. This research also includes a comprehensive analysis of Compeán’s solo guitar music to provide context for guitarists so that they can better understand the composer’s style.
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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 pieces written for Julian Bream a reference for performance and study.</p>
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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 experimenting with the relationships between live instruments and electronic sounds.
Synchronisms No. 10 for guitar and tape (1992) is a piece for solo classical guitar and pre-recorded synthesized sounds. The piece was dedicated to David Starobin, the current Professor of Guitar at the Manhattan School of Music, who also edited the guitar part. This particular piece in the Synchronisms series shows that Davidovsky is aware of the limitations of the guitar in regard to dynamic range and decay of sound. Knowing these limitations, Davidovsky utilizes the various abilities of the instrument including its wide timbral range and use as a percussive medium. Although Davidovsky himself has been quoted as not using pitch-class sets of any kind, a post-tonal analysis can be applied to this piece in order to further understand individual sections and interaction between guitar and recording. Also, a review of the performance techniques necessary to approach this piece, and how said techniques are implemented, will help the musician perform at a higher level.
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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 century. Unfortunately, a model is l lacking to bridge the gap between guitar performance, and materials from popular guitar-based genres, with traditional values of formal music education. Guitar instruction is consistently portrayed in opposition to, or as an alternative to, success in the time0homored priorities of school music. The question remains, then, as to if popular guitar performance can be reconciled with an emphasis on theory, literacy, and fine musicianship. This narrative study details a public school teacher's attempt to synthesize an original electric guitar curriculum for his middle school classes, one responsive to both academic and cultural concerns. Suggestions for concrete steps towards an achievement-oriented popular guitar pedagogy are presented, amidst the argument that such developments are feasible, necessary, and overdue.<br>L'éducation musicale en Amérique du Nord reste fidele aux idéaux, au matériel et aux méthodes d'une époque révolue, malgré de nombreux appels pour un changement pédagogique. La musique populaire a un rôle limite den les écoles, bien que des programmes culturellement pertinents soient de plus et plus important dans des contextes modernes. Les cours de guitare ont le potentiel inexploité d'atteindre ces nombreux étudiants qui sont désireux d'apprendre la musique, mais incapables de travailler dans un format traditionnel. La guitare est motivante, inclusive et pertinente pour les élevés, et a donc une place appropriée dans les groupes diversifies du vingt et unième siècle. Malheureusement, il existe un fosse ester les objectifs traditionnels et la musique populaire a la guitare. L'enseignement de la guitare est habituellement perçu comme une opposition, ou comme une alternative a la réussite scolaire. La question demeure donc a savoir si la guitare populaire peut être conciliée a la théorie et a la musicalité. Cette étude décrit comment un professeur d'école publique tente de synthétiser un programme de guitare électrique original qui répond aux besoins académiques et culturels. Des suggestion portant sur des mesures concrète ayant pour objectif d'atteindre une pédagogie tournée ver la réussite du cour sont présentées comme possibles, nécessaires et attendues.
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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 saxophone and drums.
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Duque, Cuartas Alejandro. "Colombia's Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394724.
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This research explores the diversity of Colombia’s classical guitar repertoire (CCGR). Using musicological and artistic approaches, it aims to expand understanding of the wide stylistic range and diversity of CCGR. In particular, building on previous categorisations of Colombian music, this project offers a three-part framework for better understanding the diversity of CCGR idioms in their contemporary manifestations: namely, traditional, traditional-popular, and art music. Drawing on methods characteristic of historical musicology and artistic research, this research contributes to new understandings of these CCGR idioms through (1) inductive thematic analysis of academic and non-academic publications, including creative outputs such as compositional scores and recordings related to CCGR and the music genres involved; and (2) a CD I recorded for this research that showcases repertoire—including a world premiere piece—displaying the diversity of CCGR across the three idioms outlined above. It is hoped that the research outcomes will (a) expand current knowledge of the nature and diversity of CCGR, (b) help to profile and disseminate relatively unknown CCGR, and (c) inform future research on Colombian music and CCGR. In these ways, these outcomes may be of interest and benefit to composers, guitarists, and researchers, particularly but not only those from Colombia, in understanding, identifying and contextualising the diversity of CCGR.<br>Thesis (Masters)<br>Master of Music Research (MMusRes)<br>Queensland Conservatorium<br>Arts, Education and Law<br>Full Text
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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 instruments and how are professional duos guiding this change? For the research of this document, a survey was drafted and sent to 104 professional flute and guitar duos around the globe, resulting in 51 duos completing and returning the questionnaire. Of the 51 duos that returned the survey, 48 duos qualified as professional and three duos were disqualified. The general consensus reached is that the flute and guitar duo has developed into an equal partnership in the last 30 years, accomplished through music with more substantial parts for both instruments, beginning with the legendary Histoire du Tango by Ástor Piazzolla. My hope is that those who read this document will understand the need for more flute and guitar music containing equal parts, thus inspiring commissions. I hope, too, that the lists of pieces revealed by seasoned flute and guitar duos (located in Appendix B and C), will be a useful tool for all flute and guitar duos, especially those starting out in the genre. This document is essential to the university flute and guitar studios and beginning duos in selecting pieces in which both performers will learn and grow as instrumentalists and chamber musicians.
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Dean, Alexander. "The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song /." Digitized version, 2009. http://hdl.handle.net/1802/1098.
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Thesis (Ph. D.)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978
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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 opportunity to incorporate more sophisticated harmonic devices into their music. This thesis endeavors to furnish a preliminary case study on the development of harmonic language in guitar music after circa 1630 by tracing the evolution of a tonal harmonic syntax in minor-mode Allemandes from two mid-seventeenth-century guitar books by Bolognese guitarist Angelo Michele Bartolotti (c. 1615--after 1682).
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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
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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 foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos<br>Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software<br>Doutorado<br>Doutor em Música
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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 Pretoria, 2020.<br>Music<br>MMus (Performing Art)<br>Unrestricted
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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. Homenaje a Tárrega, Op. 69 (1932): Garrotin, Soleares. (TABLE ENDS)
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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 to "shred" the guitar—seemed sexist, arrogant, and apathetic. To oppose heavy metal's hierarchy, alternative rockers fashioned a contrastive aesthetic style in order to signify their democratic values. For Nirvana, doing so meant "killing" the guitar god by creating compelling hard rock without shred and satirizing the guitar god's "glam" appearance, thus rendering them impotent. Although alternative rock was generally suspicious of virtuosic display, several virtuosos took part in the genre including bassist Les Claypool of Primus, electric guitarist Tom Morello of Rage Against the Machine, and acoustic guitarist Ani DiFranco. These alternative musicians share many characteristics with virtuosos of other genres. Yet, that which most distinguishes alternative virtuosos from other kinds is the "loser" persona types they embody. Furthermore, unlike guitar gods, alternative virtuosos were understood to put their virtuosity in the service of something greater than themselves: alternative politics. Taking a dialogical approach involving a cultural semiotic analysis of various sonic, visual, and verbal styles that construct virtuosity and its meaning within the context of the alternative genre, this study demonstrates how alternative virtuosos fashioned virtuosic styles that could express alternative values.<br>Après la parution de l'album Nevermind du groupe Nirvana en 1991, le rock alternatif auparavant “underground” a émergé sur la scène musicale traditionnelle, détrônant le heavy metal en tant que forme dominante du hard rock. La culture entourant la musique alternative se voulait un mouvement post-punk progressiste américain, qui recherchait un monde plus égalitaire, tolérant et démocratique que celui offert par le heavy metal. La culture alternative a perçu le style heavy metal comme le symbole des valeurs masculinistes qui semblaient sous-tendre le genre. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare—semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare – semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Bien que le rock alternatif demeure généralement méfiant envers les démonstrations de virtuosité, plusieurs virtuoses ont pris part à ce genre musical, incluant le bassiste Les Claypool du groupe Primus, le guitariste électrique Tom Morello de Rage Against the Machine, et la guitariste acoustique Ani DiFranco. Ces musiciens alternatifs partagent plusieurs caractéristiques avec les virtuoses issus d'autres genres musicaux. Pourtant, ce qui distingue le plus ces virtuoses alternatifs d'autres catégories de virtuoses est la personnalité de "perdant" qu'ils incarnent. De plus, contrairement aux dieux de la guitare, il était établi que les virtuoses alternatifs mettaient leur virtuosité au service de quelque chose de plus grand qu'eux-même: la politique alternative. Empruntant une approche dialogique se fondant sur une analyse sémiotique culturelle de plusieurs styles soniques, visuels et verbaux construisant la virtuosité et son sens dans le contexte du genre alternatif, cette étude démontre que les musiciens alternatifs ont façonné des styles virtuoses de manière à exprimer des valeurs alternatives.
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Chapman, David. "Doctoral thesis recital (guitar)." 2010. http://hdl.handle.net/2152/11421.
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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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Palmer, Joseph W. "Doctoral thesis recital (guitar)." Thesis, 2012. http://hdl.handle.net/2152/23946.
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Milovanov, Alexander. "Doctoral thesis recital (guitar)." 2015. http://hdl.handle.net/2152/30067.
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Bustos, Isaac. "Doctoral thesis recital (guitar)." 2010. http://hdl.handle.net/2152/11386.
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Dotson, Jonathan. "Doctoral thesis recital (guitar)." 2010. http://hdl.handle.net/2152/11478.
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Grohovac, Janet. "Doctoral thesis recital (guitar)." 2011. http://hdl.handle.net/2152/16867.
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