Relevant bibliographies by topics / Guitar technique

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Guitar technique'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Guitar technique"

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Aprianno, Ryan Gredy. "PENGARUH ETUDE TERHADAP TEKNIK PERMAINAN GITAR KLASIK DAN GITAR ELEKTRIK." IKONIK : Jurnal Seni dan Desain 2, no. 2 (2020): 103. http://dx.doi.org/10.51804/ijsd.v2i2.740.

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Banyak gitaris yang memainkan gitar klasik dan gitar elektrik secara beriringan. Namun banyak dari mereka yang merasakan bahwa kedua teknik permainan gitar tersebut agak bertolak belakang dan saling mempengaruhi. Tujuan penelitian ini adalah untuk menjembatani antara teknik permainan gitar klasik dan gitar elektrik. Metodologi yang digunakan dalam penelitian ini adalah pendekatan studi kasus, kajian pustaka dan karya dengan memanfaatkan jurnal online, buku serta partitur karya. Hasilnya adalah teknik permainan gitar klasik dan elektrik yang agak bertolak belakang tersebut dapat diatasi salah s
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Ibrahim, Muhammad, and Tulus Handra Kadir. "Analisis Teknik Permainan Gitar Klasik Karya Frederich Chopin: Nocturne In E-Flat Major Op.9 No.2." Jurnal Sendratasik 11, no. 1 (2022): 119. http://dx.doi.org/10.24036/js.v11i1.116243.

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This study aims to determine how the song nocturne in e-flat major op 9 no 2 by Fredrich Chopin is technically expressed through the classical guitar playing by Francisco Tarrega. This research is descriptive analysis, which in this case describes, outlines and describes the technique of playing nocturne in e-flat major op 9 no 2 which is played for classical guitar instruments. The object of this research is the classical guitar playing technique in nocturne in e-flat major op 9 no 2 by Frederich Chopin. The research instrument is the researcher himself is assisted by several equipment to pro
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., Paryono, Sarana ., and Suharto . "GUITAR SIDE BODY MAKING TECHNIQUE USING SCREW PRESS AND HEATER." International Journal of Innovative Research in Advanced Engineering 8, no. 7 (2021): 161–66. http://dx.doi.org/10.26562/ijirae.2021.v0807.004.

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The guitar musical instrument industry located in Baki District, Sukoharjo, Central Java, Indonesia, is still using the manual method of guitar manufacturing process currently. The problem is that the guitar production time is not only 2 hours and is considered a long time and non-uniformity of the quality. A better Technology is needed to help improve the quality and quantity of guitar production. The purpose of this research is to design and manufacture a guitar side body press with a heater using an electric element and a gas stove. The benefit of this tool is that it speeds up the process
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Trianov, M. "Microtonality in the Works for Guitar Ensemble of Agustín Castilla-Ávila." Culture of Ukraine, no. 80 (June 30, 2023): 110–17. http://dx.doi.org/10.31516/2410-5325.080.14.

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The relevance is determined by the necessity of a comprehensive systematical study of contemporary microtonal music for the academic guitar ensemble and its significance in the works of Agustín Castilla-Ávila.
 The purpose of the article is to study the peculiarities of microtonality as a special technique of the musical composition in the A. Castilla-Ávila’s works for guitar ensembles.
 The methodology. In the process of research, the methods of abstraction, analysis and synthesis were applied as well as special musicological methods such as methods of musical analysis: theoretical
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Permadi, Ida Bagus Hery Yoga. "Adaptasi Pengembangan Pola Kotekan Gamelan Bali dalam Permainan Gitar Klasik." Journal of Music Science, Technology, and Industry 4, no. 2 (2021): 293–305. http://dx.doi.org/10.31091/jomsti.v4i2.1799.

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Purpose: This study aims to understand and determine the effect of adjusting ideas in the process of adapting the development of the kotekan pattern on Balinese gamelan into classical guitar playing. Research methods: This article uses a literature review approach regarding the kotekan pattern on Balinese gamelan and playing techniques on classical guitar. Results and discussion: Development of the kotekan pattern based on its character as a tight link, connecting the initial melody or main melody in the game can be divided into two or more. While the playing technique on classical guitar can
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Prajayu, Al Iqsan Dwi, and Eti Arini. "The Effect of Promotion Through Utilization of Social Media Instagram Account @Bengkulu_Guitar on Guitar Purchase Decisions (At Bengkulu Guitar on Jalan Kalimantan, Kota Bengkulu)." Journal of Indonesian Management (JIM) 1, no. 4 (2021): 394–401. http://dx.doi.org/10.53697/jim.v1i4.277.

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This study aims to determine the effect of promotion through the use of the Instagram account @bengkulu_gutar on the purchase decision of a guitar at Bengkulu Guitar on Jalan Kalimantan, Bengkulu City. The sample in this study were 99 consumers who made purchases of guitars at Bengkulu Guitar. The data collection technique used a questionnaire. The analysis technique used is simple linear regression, coefficient of determination and hypothesis testing. The results showed the results of linear regression with the equation Y = 25.939 + 0.482X. This means that if X (promotion through the use of s
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Walidaini, Birul. "Formula Latihan Teknik Tangan Kanan dalam Gitar Klasik: Shearer, Parkening, dan Werner." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 3, no. 2 (2020): 89. http://dx.doi.org/10.26740/vt.v3n2.p89-96.

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Classical guitar developed until now. Aspects and the surrounding area have also experienced developments such as the creation of new compositions, innovation in guitar construction, and the holding of performances that accommodate classical guitar. However, the author tries to raise another area that is quite important in learning classical guitar, namely the teaching method. Along with the development of the times and technology, the basic methods of learning classical guitar are becoming less attention. This article aims to dissect the most basic classical guitar methods and are limited to
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Żegleń-Włodarczyk, Małgorzata. "The English guitar and the forgotten guitar repertoire of the second half of the 18th century." Edukacja Muzyczna 17 (2022): 139–55. http://dx.doi.org/10.16926/em.2022.17.10.

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The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar
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Anderson, M. B., and R. G. Beausoleil. "Classical guitar intonation and compensation: The well-tempered guitar." Journal of the Acoustical Society of America 156, no. 1 (2024): 683–705. http://dx.doi.org/10.1121/10.0026483.

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An intuitive model of classical guitar intonation is presented that includes the effects of the resonant length of the fretted string, linear mass density, tension, and bending stiffness. An expression is derived for the vibration frequencies of a stiff string using asymmetric boundary conditions at the saddle and the fret. Based on logarithmic frequency differences (“cents”) that decouple these physical effects, Taylor series expansions are introduced that exhibit clearly the origins of frequency deviations of fretted notes from the corresponding 12-tone equal temperament (12-TET) values. A s
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Sekti, Wahyu Broto, and Rendra Armayana. "Analisis SWOT Terhadap Strategi Pemasaran Usaha Mikro Kecil dan Menengah (UMKM) Sentra Industri Gitar dalam Menghadapi Covid-19." Literasi : Jurnal Kajian Keislaman Multi-Perspektif 1, no. 1 (2021): 49–70. http://dx.doi.org/10.22515/literasi.v1i1.3257.

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The purpose of this research is to find the factors about the strength, weakness, opportunity, and treath of guitar industry centre UMKM Mancasan Village as well as knowing marketing strategies by used marketing mix involve 4P (Product, Price, Promotion, and Place). These papers used research methods of descriptive kualitative with analytical data technique used SWOT analysis. SWOT Analysis is done by identifying and analyzing the internal and external factors that influence the basic component of the guitar industry centre UMKM Mancasan Village. Guitars industry center UMKM Mancasan Village h
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Dissertations / Theses on the topic "Guitar technique"

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Camponez, Miguel Aires. "Relatório de prática de ensino supervisionada realizada no Conservatório de Música de Coimbra: técnica de mão esquerda no ensino básico de guitarra contemprânea: elementos de esforço." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/26314.

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Este relatório vai consistir na descrição do estágio realizado no Conservatório de Coimbra e na investigação realizada com alguns alunos de Guitarra entre o 1.º e o 5.º grau de aprendizagem. Abordará as principais dificuldades que os discentes destes graus de ensino exibiram relativamente à técnica da mão esquerda do instrumento, bem como irá estudar as respostas deles às tentativas de resolução dos seus problemas. Examinará a possibilidade de uma investigação futura com uma maior amostra onde possam ser obtidos dados mais conclusivos sobre as tendências aqui identificadas. Pensará também nas
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Palmer, Matthew Clayton. "The Use of A-M-I Scale Technique to Facilitate the Performance of Joaquín Rodrigo's Concierto de Aranjuez." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/255152.

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The abundance of scale passages found in Joaquín Rodrigo's Concierto de Aranjuez for guitar and orchestra tests the stamina and swiftness of even the most capable guitarists. A relatively new technique of using three fingers of the right hand, known as A-M-I, to articulate fast scales provides an alternative means of effectively mastering Rodrigo's masterpiece. A-M-I scale technique is a fast and effective way to play scales on the classical guitar. In various forms, this three-finger right-hand system of fingering scales has been used effectively by a small group of classical guitarists sin
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Bergner, David. "Plektrumteknik på elgitarr : en kvalitativ studie om tre elgitarrlärares pedagogik avseende plektrumteknik." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2639.

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Syftet med denna studie var att undersöka hur elgitarrlärare går tillväga när de undervisar i elgitarrspel med plektrum och vilka de största tekniska utmaningarna är som uppkommer för studenten. Datainsamlingen har genomförts genom kvalitativa intervjuer med tre erfarna elgitarrpedagoger. Studien utgår från ett hermeneutiskt perspektiv. Resultatet visar att de tre pedagogerna till stor del låter eleverna själva välja hur de ska spela. Pedagogerna nämner några vanliga fel som eleverna gör, till exempel: de förankrar inte fingrarna eller handen i gitarren, plektrumet trycks för långt in mellan s
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Rodrigues, Roberto Pereira. "Relatório de prática de ensino supervisionada realizada no Conservatório Regional de Évora – EBORAE MVSICA: problemática de Fretboard da guitarra no ensino básico de música." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29769.

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O presente relatório surge no âmbito da Prática de Ensino Supervisionada, integrada no Mestrado em Ensino de Música realizado no Conservatório Regional de Évora Eborae Mvsica. Este documento está dividido em duas partes. A primeira parte pretende descrever a experiência e realização do estágio, abordando o enquadramento histórico e organizacional da instituição onde foi realizada a prática de ensino, como também a descrição de várias estratégias pedagógicas adotadas ao longo do ano letivo. A segunda parte baseia-se na investigação da problemática de fretboard da guitarra, direcionada especific
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Agstam, Mikael. "Alexanderteknik för emotionellt uttryck i musik : Alexanderteknik som metod för en effektiv spelteknik, och en tillfredsställande musikalisk framställning riktat huvudsakligen till den klassiska gitarristen." Thesis, Örebro University, School of Music, Theatre and Art, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-10333.

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<p>In this essay, I want to achieve an accessible and applicable entrance to Alexander Technique as a method for learning to use the body in such a way as to allow emotional expression in music. It is necessary to see the real need of Alexander Technique for the active musician, and therefore important components of music-making will be presented. These components are presented from an Alexander-perspective in order to produce a clear picture of the method of application.The prerequisite for emotional expression in music is musicians and music listeners with the ability to generate, and respon
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Widén, Kalle. "Speltekniska framsteg : En självstudie i elgitarrteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-38387.

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Syftet med studien är att undersöka olika gitarrtekniker samt min egen tekniska utveckling med tonvikt på metodik och progression. Studiens teoretiska perspektiv är designteori och dess frågeställningar lyder: Vilka resurser använder jag när jag övar på några specifikt utvalda gitarrtekniker? På vilka sätt kan jag använda dessa resurser i undervisning? Under 8 veckor fokuserade jag intensivt på min egen teknikutveckling och att övningen skulle vara kvalitativ. Jag använde mig av loggbok, metronom, video och uppsatta mål för att nå en teknisk utveckling. Resultatet presenteras med hjälp av två
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Cardoso, João Henrique Correa. "A técnica violonística: Um estudo das convergências e divergências nos métodos de ensino no decorrer da história do violão." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4769.

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Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-10-26T11:10:22Z No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-26T13:20:58Z (GMT) No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b
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Junior, Claudio José Corradi. "César Guerra-Peixe: suas obras para violão." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-04082009-215125/.

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Estudo da obra para violão de César Guerra-Peixe, sua importância dentro do repertório violonístico brasileiro, através de análises feitas com base nos textos do compositor. Elaboração do perfil do compositor relacionado a obra violonística com citações e depoimentos de personalidades relevantes. Levantamento do catálogo de obras para violão solo e música de câmara com violão, apresentando dados complementares coletados durante a pesquisa de campo e de informações preservadas pelo próprio autor. Pesquisa de terminologia empregada por Guerra- Peixe compatível com o seu pensamento amadurecido pe
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Canilha, Cauã Borges. "Uma análise mecânica sobre os 25 Etudes Mélodiques et Progressivas Op.60 para violão, de Matteo Carcassi." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-31102017-145029/.

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Este trabalho propõe uma análise sistemática das demandas mecânicas instrumentais básicas do violão, visando, assim, uma aquisição consciente de determinadas movimentações. A base teórica foi composta por autores que abordam questões essencialmente práticas do fazer instrumental do violão, destacando-se Abel Carlevaro e Eduardo Fernandez; este último diferencia claramente os termos mecânica e técnica, aspecto fundamental neste trabalho. As movimentações de cada mão são divididas entre horizontais (no sentido das cordas) e verticais (entre as cordas) e entre os aspectos mecânicos relacionados à
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Andréasson, Martin. "Tekniskt sett : En självstudie av teknikövning på elgitarr." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48488.

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Syftet med arbetet är att studera min egen läroprocess och hur mitt spel påverkas då jag fokuserar på teknikövningar för elgitarr. Med hjälp av videofilmning dokumenterade jag ett övningspass i veckan under den bestämda övningsperioden. Jag förde även loggbok som komplement för att dokumentera vad som hände under läroprocessen. Ett designteoretiskt perspektiv låg till grund för studien. I resultatet beskrivs hur jag designade min övning samt vilka konsekvenser detta hade för mitt spel. Användandet av många olika teckenskapande resurser visade sig ge positiva resultat. Med tiden utvecklade jag
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Books on the topic "Guitar technique"

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Quine, Hector. Guitar technique: Intermediate to advanced. Oxford University Press, 1990.

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Quine, Hector. Guitar Technique. Oxford University Press, 1990.

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Guitar technique. Frederick Harris Music, 2011.

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Wade, Graham. Guitar Technique. John Calder Pub Ltd, 1994.

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Classic Guitar Technique Vol 2 (Classic Guitar Technique). Alfred Publishing Company, 1985.

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Duthel, Heinz. Classical Guitar . Classical guitar Technique. Lulu Press, Inc., 2010.

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Dvd Guitar Technique. Hal Leonard Publishing Corporation, 2009.

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Green, Andrew. Jazz Guitar Technique. Andrew Green, 2004.

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Eyre, Nathan. Mastering Guitar Technique. Lulu Press, Inc., 2010.

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Duncan, Brett. Country Guitar Technique. L.T.P. Publications, 2004.

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Book chapters on the topic "Guitar technique"

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Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

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Quine, Hector. "Co-Ordination." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0006.

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Abstract The piano has occasionally been described as a ‘tuned percussion’ instrument. This implied limitation is one that it shares with the guitar—the lack of a genuine sostenuto such as bowed strings, woodwind, brass, or the human voice enjoy, means that after its initial attack, every note decays rapidly, making long-held notes impossible. In the case of the guitar, the problem is compounded by (1) shorter string-lengths (which, for all but a few notes, are a compromise); and (2) the vital importance of the exact synchronization of the fingers of the two hands. This last factor can be a severely inhibiting factor to legato, which in any case is one of the guitar’s main weaknesses.
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Quine, Hector. "Right Arm and Hand." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0004.

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Abstract We have seen from the remarks concerning posture and grip how the right arm, placed on the edge of the guitar, provides one of the three main points of support for the instrument. It has another, and no less important function: to provide a stable ‘base’ for the complex and precise movements of hand and fingers, which, as I have said, need to perform to within an accuracy of a millimetre or even less. The effect of a ‘floating’ right arm on this degree of precision can be imagined, particularly as, applying the principle of leverage, any movement at the elbow is greatly magnified at the fingertip. Instability at the ‘pivoting-point’ (i.e. the point of contact between arm and guitar edge) causes a feeling of insecurity, which in turn makes for weak and tentative playing, or tensing of the arm in the attempt to maintain a fixed position.
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Quine, Hector. "Introduction." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0001.

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Abstract A Book with the title ‘Guitar Technique’ needs to begin with a definition of the word ‘technique’, since the term is frequently misunderstood or misapplied. Guitarists arc often heard to refer to a player as having a ‘good technique’ when all that he has in reality is a measure of finger dexterity or the stamina to play pieces of acknowledged difficulty —usually at a rather faster speed than musical coherence suggests. This is the kind of ‘virtuoso’ of whom Beethoven said: ‘All reason and feeling are generally lost in the nimbleness of his fingers.’ A century earlier, Couperin expressed much the same view but in different terms: ‘I declare in all good faith, that I am more pleased with what moves me than with what astonishes me.’
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Quine, Hector. "Left Arm and Hand." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0005.

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Abstract The right hand may be considered as the artist in guitar playing, and the left as the artisan whose work consists almost entirely of preparing notes for articulation by the right hand. Though the functions of the hands are so different, the same physiological principles govern the operation of both. The right arm’s weight is supported by the guitar, while the left arm appears to have to support itself through tension in the biceps muscle. Although this is partly true, if, with shoulder and upper arm held loosely, the forearm is raised from the elbow and the thumb is allowed to lean against the guitar neck, some support is gained. If the wrist is also allowed to relax, the hand is brought forward in front of the fingerboard-where it needs to be-and pressure of the thumb in opposition to the fingers can be clearly felt; the arm is also prevented from pulling backwards.
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Quine, Hector. "The Physiology of Technique." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0002.

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Abstract The Oxford dictionary defines physiology as ‘the science of normal functions of living things’. This definition sums up what I believe to be the fundamental principle of all ‘mechanical’ techniques-whether of playing the guitar, or any other activity which involves trained actions by the human body. The word ‘mechanical’ may not please everyone, because most people do not like to think of themselves as machines, but the human body is, in reality, a superbly designed and constructed piece of engineering with all the attributes of a machine. (It goes without saying that it also has many other qualities which machines lack.)
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Quine, Hector. "Practising." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0008.

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Abstract The pianist Artur Rubinstein was stopped in a New York street one day by a lady who said: ‘Excuse me, ho-»1 do I get to Carnegie Hall?’ He looked at her and said: ‘Practise!’ Practising is a matter of forming habits, and it therefore entails an almost unlimited amount of repetition. It is learning to do something which you could not do before, or doing something very much better than you could do it before; training the muscles, tendons, and joints to work in a controlled and consistent way-mechanics plus thought all the time.
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Quine, Hector. "Techniques of Interpretation." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0007.

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Abstract ‘Music’, said a distinguished pianist in the course of a lecture a few years ago, ‘is a song and dance act!’ An over simple definition perhaps, particularly as dramatic or toccatatype music, written mainly for the purpose of displaying the performer’s technical skill, is omitted from it. Nevertheless, most ‘composed’ music owes its origins to either singing or dancing, however remote the connection, and this is the point that the lecturer was making.
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Quine, Hector. "Conclusion." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0009.

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Abstract When everything that can be said about technique has been said (and this book makes no claim to being exhaustive), the ultimate aim must be to forget about technique altogether, and just to play. While performing, making music should occupy all the thoughts and emotions; the technical detail which has been worked at through many hours of preparation must now be excluded. In any case, by then it is far too late to effect any changes or improvements! The ‘technically flawless’ performance, like the genuine ‘authentic’ one, will, for the vast majority of guitarists, remain forever an unattainable ideal, but real commitment to the music and a wish to communicate its message are within the reach of all players, and will give far more pleasure to player and audience alike than any amount of virtuosic ‘fireworks’.
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Quine, Hector. "Posture." In Guitar Technique. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193223233.003.0003.

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Abstract A Comfortably balanced sitting posture is of fundamental importance to the development of a sound technique; arms, hands, and fingers can only work efficiently from a stable base, which a sitting position free from unnecessary tension provides. Faulty posture, a fairly common problem for guitarists, is often due to unequal distribution of bodily weight (see Fig. l); there is a tendency to lean to one side—usually the left—so that the back is curved instead of being kept straight from the hips to the neck (see Fig. 2). This fault can be caused by too low a chair or too low a footstool; the left knee being allowed to point outwards (or inwards) instead of remaining on the centre line of the body (see Fig. 3).
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Conference papers on the topic "Guitar technique"

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Khan, Anwar Ulla, Debjyoti Kumar Mandal, V. Visalakshi, Boby George, and Bharath Bhikkaji. "A new TMR based sensing technique for electric guitar pickup." In 2017 Eleventh International Conference on Sensing Technology (ICST). IEEE, 2017. http://dx.doi.org/10.1109/icsenst.2017.8304510.

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Nishikawa, Yuta, and Toshie Matsumura. "Proficiency Estimation Method in Vibrato: A Special Technique of an Electric Guitar." In 2021 6th International Conference on Intelligent Informatics and Biomedical Sciences (ICIIBMS). IEEE, 2021. http://dx.doi.org/10.1109/iciibms52876.2021.9651606.

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Huang, Tung-Sheng, Ping-Chung Yu, and Li Su. "Note and Playing Technique Transcription of Electric Guitar Solos in Real-World Music Performance." In ICASSP 2023 - 2023 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2023. http://dx.doi.org/10.1109/icassp49357.2023.10095225.

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Sanders, Sara J. "Making STEAM: Build Your Custom Electric Guitar." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2024. http://dx.doi.org/10.1145/3641235.3664444.

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BELDING, MATTHEW, ALI ENSHAEIAN, and PIERVINCENZO RIZZO. "PREDICTING AXIAL STRESS IN CONTINUOUS WELDED RAILS USING MACHINE LEARNING." In Structural Health Monitoring 2023. Destech Publications, Inc., 2023. http://dx.doi.org/10.12783/shm2023/37067.

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Buckling is a major contributor to derailments on continuous welded rails (CWRs) and is caused by extreme compression due to high temperatures. Thus, the determination of the axial stress is necessary to gauge when buckling may occur. As many techniques are often invasive, this study focuses on the latest advancements of an ongoing noninvasive technique based on the use of low-frequency vibrations using machine learning (ML). Based on the theory seen in guitar strings, the relationship between the frequency of vibration and tension/compression is used to associate spectral features to axial st
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Agafița, Mihail. "Spanish baroque guitar: theoretical landmarks." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.22.

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Th e purpose of the article is to elucidate the evolution of the fi ve-string guitar in Spain during the Baroque period. It acquires a multidimensional character: interpretation techniques are developed, the repertoire is enriched, there is a plethora of talented performers and composers who promote new trends in the Spanish guitar practice. Th e author studies three major innovations of the time that led to the essential change of the guitar practice: the replacement of the polyphonic style with the homophone-harmonic one; introduction of a new notation system – Alfabeto; the formation of the
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Vitiuc, Alexandr. "The contribution of the bass guitar video cources to modern music education." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.14.

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This article is dedicated to the characteristic features of modern teaching to play the bass guitar, which is based on the study of video schools. The author considers the most representative publications for the bass guitar, focused on the practical use of the instrument in modern music. Particular attention is paid to the basics of playing the bass guitar, playing scales and arpeggios, slapping and tapping techniques, as well as to the study of Afro-Cuban styles.
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Santiago, John, Stanly Samuel, and Rahul Sawn. "Modified Virtual Air Guitar: A Concept Realized using Image Processing Techniques." In 3rd International Conference on Context-Aware Systems and Applications. ICST, 2015. http://dx.doi.org/10.4108/icst.iccasa.2014.257296.

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Kulkarni, Urja, Shrishti Kaushik, Lanita Lobo, and Reena Sonkusare. "Comparative Study of Digital Signal Processing Techniques for Tuning an Acoustic Guitar." In 2020 7th International Conference on Smart Structures and Systems (ICSSS). IEEE, 2020. http://dx.doi.org/10.1109/icsss49621.2020.9202368.

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Kramer, Patrick, Jakob Abesser, Christian Dittmar, and Gerald Schuller. "A digitalwaveguide model of the electric bass guitar including different playing techniques." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6287889.

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Reports on the topic "Guitar technique"

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CHURKIN, A. I. INTEGRATION OF THE EMOTIONAL AND TECHNICAL COMPONENT IN TEACHING VISUALLY IMPAIRED STUDENTS TO PLAY THE GUITAR. Science and Innovation Center, 2022. http://dx.doi.org/10.12731/978-0-615-67341-7-2.

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The method developed by the author for teaching visually impaired and blind children the skills of performing techniques on a musical instrument (guitar) without mastering embossed fonts is described. It is based on the compensation of emerging difficulties due to the synesthesia of the auditory and tactile (kinesthetic) analyzers.
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