Relevant bibliographies by topics / Guitar with orchestra

Contents

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

Academic literature on the topic 'Guitar with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 February 2023

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Journal articles on the topic "Guitar with orchestra"

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Downs, Dennis, and Ellen Lindquist. "Harp Lessons by Telecommunication." American String Teacher 44, no. 2 (May 1994): 59–62. http://dx.doi.org/10.1177/000313139404400223.

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Dennis A. Downs, orchestra instructor at Cedar Falls High School and Peet Junior High School, has taught public school orchestras for 25 years. Past president of the Iowa String Teachers Association and Iowa School Orchestra Association, he is an MENC Certified Music Instructor with a BFAE from Wayne State College, MA from the University of Northern Colorado, and Ed Ad from the University of Nebraska. A cellist in the Waterloo-Cedar Falls Symphony, he also directs the Cedar Falls Municipal Band and performs professionally on guitar, bass, and trombone. Downs is the project facilitator for the distance education program he describes in this article.
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Dotsenko, Volodymyr, and Viktoria Tkachenko. "CREATIVE STRATEGIES FOR THE GUITAR CLASS AT I. P. KOTLYAREVSKY KHNUA." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 72–85. http://dx.doi.org/10.34064/khnum2-22.04.

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Introduction. The guitar class, opened by V. Dotsenko in 1989, recently celebrated its 30th anniversary and presented the university with many winners of international competitions, ensemble groups and new scholarly discourses. Together with the constant changes in society’s requirements for academic education and musician’s activities, this encourages us to estimate its achievements and prospects at the present stage. The aim of the article is to identify the key vectors of the guitar class of Kharkiv National University of Arts at the present stage. In accordance with the goal, such methods are chosen as historical, which allows to reveal the dynamics of development of the Kharkiv guitar school in the period of its formation to the present; typological – to identify key areas of activity of the guitar class at the present stage. Results and Discussion. The study of the Kharkiv guitar school and guitar class of KhNUA from its formation to the present day allows us to identify the leading vectors and key features of their activities, among which it is proposed to distinguish two main ones: innovation and multivectority. Already at the stage of formation, the Kharkiv guitar school proved to be innovative – it was in Kharkiv where the first guitar club in Ukraine and the USSR was opened, within which the first guitar quartet in the USSR soon appeared, the first in Ukraine scholarly conference dedicated to guitar art, it was one of the first to join the digitalization process, conducting online performances and successfully presenting the guitar orchestra at the international level, resulting in two Grand Prix in 2020. Already within the activities of the guitar club, another leading feature of the Kharkiv guitar school – multivectority – has declared itself. Gathering like-minded people to share experiences and get acquainted with samples of modern guitar art, the club “nurtured” teachers, masters of instruments, and musicians-ensembles. All the directions initiated in the last century deepen and continue to branch out in the XXI century in the activities of the guitar class KhNUA: educational one is supplemented by scientific (conferences, defense of PhD theses), pedagogical one – by methodical complex (methodical works of V. Dotsenko), solo and ensemble performance – by the orchestra. Conclusions. Innovativeness and multivectority become leading features of the guitar class of KhNUA at the present stage. In recent years, the school’s activities are supplemented by such vectors as the formation of a guitar orchestra (2016), cooperation with European institutions of higher music education (Erasmus), active immersion in the digitalization process, in particular, online competitions and online broadcasts of the concerts, which fit its activity into the latest trends in the development of musical performance and education and shows the involvement in the European standards of artistic activity.
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Pethel, Robert. "The state of guitar education in the United States." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 245–60. http://dx.doi.org/10.1386/jpme.3.2.245_1.

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Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.
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Gurgul, Wojciech. "A Panorama of Polish Guitar Concertos." Edukacja Muzyczna 15 (2020): 85–103. http://dx.doi.org/10.16926/em.2020.15.12.

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The present article constitutes an attempt at outlining the musical oeuvre of Polish composers in the field of concertos for guitar and orchestra. Since the 1940s, when the first concerto with a guitar part was created, more than 100 concertos have been composed in Poland. In an effort to write such a piece of music, composers discovered different creative paths, which often revealed various new colours of the guitar. The article discusses a proposal to divide the concertos created in Poland according to the specificity of the pieces, introduces the history of the first Polish concertos and paints a picture of guitar literature created by 2020.
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Gurgul, Wojciech. "Adam Franciszek Epler (1902–1940): A Forgotten Musician of Interwar Lviv." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 23–58. http://dx.doi.org/10.4467/23537094kmmuj.20.029.13902.

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This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.
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McKenzie, Don, and Toru Takemitsu. "To the Edge of Dream, for Guitar and Orchestra." Notes 46, no. 1 (September 1989): 230. http://dx.doi.org/10.2307/940776.

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Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (July 2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.

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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-conductor Alan Stephenson has similarly developed a keen interest in Brouwer's large-scale works, inspiring in 1998 a memorable rendition of Brouwer's acclaimed Elegiaco Concerto, performed by the talented soloist Christiaan Van der Vyver and the University of Cape Town Orchestra. In line with this, one of Brouwer's underlying goals has been to create works that are accessible to players of varying standards of performance. As a consequence, young, inexperienced, moderate, advanced as well as top internationally-acclaimed virtuosic players have all found some measure of contentment in performing Brouwer's guitar works.
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Rosenfeld, Marina. "The Sheer Frost Orchestra: A Nail Polish Bottle, A Guitar String and the Birth of an Orchestra." Leonardo Music Journal 12 (December 2002): 59–61. http://dx.doi.org/10.1162/096112102762295151.

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Palawi, Ari, Setyabudhi Rahardjo Situmorang, and Raden Agustinus Arum Eka Nugroho. "Yogyakarta Guitar Orchestra (YGO): managing innovation and creativity in creative resource management for classical guitar education in Indonesia." International Journal of Visual and Performing Arts 3, no. 2 (December 20, 2021): 117–26. http://dx.doi.org/10.31763/viperarts.v3i2.509.

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Many researchers are fascinated by creativity and innovation. The question of creative resources at the Yogyakarta Guitar Orchestra (YGO) becomes the primary topic to be discussed in this paper. The premise is that the innovation and creativity framework embedded in YGO's creative resources directly impacts and influences the creative process so that the role of creative resources becomes visible. The goal of this study was to establish a model for YGO's creative resource management to manage innovation and creativity effectively. The research method is grounded theory, with data collected via interviews, literature reviews, and photo documentation. The data analysis was conducted using the innovation paradigm and the creative resource management perspective on creativity. The study's findings include information about how YGO acts as an accelerator for creative resources in order to foster innovation and creativity. This contribution can assist policymakers in directing resources and actions toward YGO or similar communities in order to foster the future development of a high-quality innovation and creative ecosystem
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Lahasky, Sarah. "Municipal Sponsorship and Musical Work in Argentina: Ensemble Institutionalization in a Neoliberal Economy." SOCIOLOGIA DEL LAVORO, no. 157 (August 2020): 108–24. http://dx.doi.org/10.3280/sl2020-157006.

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The institutionalization of musical groups through local, decentralized govern-ments may provide artists an alternative to the precarious working conditions as characterized by the gig economy. The article uses the Tito Francia Guitar Or-chestra as a case study and suggests that artists living in areas with autonomous local governments may be able to frame their work as a social, political, or eco-nomic benefit to the city. The article contains three sections: the first one explains Argentina's current economic situation and its effects on musical work in the country; the second one introduces the guitar orchestra and their relationship with the Municipality of Guaymallén; the last section considers the benefits and risks of institutionalizing an ensemble, and how musicians' work may change as a result.
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Dissertations / Theses on the topic "Guitar with orchestra"

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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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Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.
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Diedova, A. B. "An electric guitar as a small orchestra." Thesis, Sumy State University, 2014. http://essuir.sumdu.edu.ua/handle/123456789/45591.

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I cannot imagine my life without my electric guitar. It is not a thing. It is an extension of myself. It is who I am. Today not many people can tell about creation of this instrument. An electric guitar is a guitar that uses a pickup to convert the vibration of its strings into electrical impulses. Some of the earliest electric guitars adapted hollow bodied acoustic instruments and used tungsten pickups. The first electrically amplified guitar was designed in 1931 by George Beauchamp. George Beauchamp was born in Coleman County, Texas. Beauchamp performed in vaudeville, playing the violin and the lap steel guitar, before he settled in Los Angeles, California.
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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.
Making Music with a guitar orchestra
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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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Tan, Wann-Dar. "Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis and Performance Considerations." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/tan%5Fwann-dar/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 2000, Apr. 16, 2001, Nov. 3, 2003, and Mar. 28, 2005. Includes bibliographical references (p. 113-115).
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Cuellar, Camargo Lucio Edilberto. "General process in the creation of Estruendos and principal structural elements of the composition." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/cuellar%5Fcamargo%5Flucio%5Fedilberto/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
For orchestra, guitar and computer generated sounds. Duration: 23:45. Compact disc contains computer-generated and processed sounds. Includes bibliographical references (p. ciii-cvii).
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Fourie-Gouws, Josina Nina. "The solo classical guitar concerto : a soloist’s preparatory guide to selected works." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63459.

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The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated. The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. As an addendum the study provides a comprehensive list of published concerti for solo classical guitar.
Mini Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
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Shanley, Adam. "The Use of Guitar in Anton Webern's Op. 18 and its Influence on His Late Works." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20524.

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Anton Webern’s Op. 18 stands at nearly the exact center of his published work. Though it was in his Op. 17 that Webern began working with ordered pitches, there are some logistic struggles evident in his diversions from the row throughout that work. It is in Op. 18 that Webern first consistently uses a row in its complete, unchanged form. His increasing mastery of this style of composition is shown throughout Op. 18, a collection of three songs; the first with a single row repeated with no permutations of any kind; in the 2nd song, inversions and retrograde are introduced; and in the final song Webern experiments with simultaneous unique row forms for each instrument. These songs feature a guitar, E-flat clarinet, and soprano voice, with the first song a setting of a folk text. In this dissertation I argue that Webern’s later style–his orchestration, harmonic progressions, and formal structures–grows out of his choice of guitar as harmonic foundation in Op. 18. In my analysis I look at row construction and usage, as well as orchestrational considerations, folk implications, text setting, and specific voice-leading properties of Webern’s Opp. 18, 25, and 30. In so doing I will uncover a link between Webern’s pivotal Op. 18 song cycle, with the guitar playing a central role, and many of his compositional choices in his later works. My analysis looks at Webern’s works through the lens of a guitarist. I will explore the piano accompaniment of Op. 25 as if it were written for guitar, and do the same for his Op. 30 Variations for Orchestra. These analyses will show that his later works, and later style in general, have an underlying idiomatic character of guitar music. I argue that Webern’s late works feature, as a result, are his own version of folk music through their simplicity, clarity of form, and overall encapsulation of the sound of the guitar.
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Almeida, Renato da Silva. "Do intimismo à Grandiloqüência (Trajetória e estética do concerto para violão e orquestra: das raízes até a primeira metade do século XX em torno de Segovia e Heitor Villa Lobos)." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-14082009-171602/.

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O presente trabalho constitui-se numa pequena colaboração para o estabelecimento de um panorama dos Concertos para Violão e Orquestra. Desde suas primeiras obras no século XIX até a primeira metade do século XX. Buscamos identificar nessa exposição, personagens, fatos e eventos de fundamental relevância para o desenvolvimento do gênero e uma análise do Concerto para Violão e Pequena Orquestra de Heitor Villa-Lobos.
This work is a small collaboration to establish a panorama of Guitar Concertos since the initial works of the 19th century until the works of the first half of the 20th century. In this exposition, we focused on identifying characters, facts and events of fundamental relevance to the development of the genre. Especially, we developed a detailed analysis of the Concerto para Violão e Pequena Orquestra by Heitor Villa-Lobos.
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Books on the topic "Guitar with orchestra"

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Granados, Enrique. guitar orchestra. Saint-Romuald, QC: Productions d'Oz, 2006.

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Kruisbrink, Annette. Concerto for guitar and orchestra (opus 44). Essen, Germany: Verlag Hubertus Nogatz, 1995.

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Takemitsu, To ru. Vers, l'arc-en-ciel, Palma: For guitar, oboe d'amore and orchestra. Tokyo: Schott, 1989.

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Piazzolla, Astor. Double concerto: Pour guitare, bandoneón et orchestre à cordes. Paris: H. Lemoine, 1985.

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Rodrigo, Joaquín. Concierto andaluz: For 4 guitars and orchestra. London: E. Eulenburg, 1991.

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Bach, Johann Sebastian. Bach for relaxation. New York, NY: RCA Victor, 1998.

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name, No. Concertino pour guitare et orchestre cordes. Saint-Romuald, QC: Productions d'Oz, 2003.

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Orchestra, Trans-Siberian. Trans-Siberian Orchestra Guitar Anthology. Leonard Corporation, Hal, 2015.

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Orchestra, Electric Light. Electric Light Orchestra Guitar Collection. Leonard Corporation, Hal, 2002.

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Orchestra, Electric Light. Electric Light Orchestra Guitar Collection. Leonard Corporation, Hal, 2002.

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Book chapters on the topic "Guitar with orchestra"

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van Delden, Ate. "A Shop and a Trio." In Adrian Rollini, 317–31. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0018.

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Rollini had been an orchestra member for most of his professional career, but his wish had been to be his own boss, a wish that had been partially realized during record dates under his own name during the last few years. In 1936, he decides to make it permanent. He opens a shop for musical instruments, the White Way Musical Products, and starts a Trio centred on his vibraphone. Frank Victor plays guitar and Henry Clark plays bass.Both ventures are sufficiently successful to support Dixie and Adrian for years to come.
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Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "The Meridian Hustlers." In Fiddle Tunes from Mississippi, 340–41. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0026.

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This three-piece string band, consisting of fiddle, banjo, and guitar, recorded for Paramount-the only known old-time act from Mississippi to do so-in Chicago in June 1929. In September 1929, the Meridian Hustlers placed first in the Band category at a Labor Day rodeo on the Meridian fairgrounds. (An otherwise unidentified “Leake County Band” placed second.) In February 1930, Radio Digest reported that the “Meridian Hustlers Orchestra from Meridian, Miss.” were broadcasting on WAPI Birmingham, Alabama. These fugitive sightings apart, little has been discovered about this band.
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Burlingame, Jon. "“Man, woman, birth, death, infinity”Drama." In Music for Prime Time, 159—C5.P166. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0006.

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Abstract Television drama has inspired a wide variety of styles and colors of music. Nelson Riddle and Jerry Goldsmith enjoyed chart hits from their Route 66 and Dr. Kildare themes; a Moog synthesizer was used in the Medical Center theme, and the entire pilot of St. Elsewhere was created using electronic means; ER had both synths and electric guitar. Lawyer shows range from a mild R&B treatment (Perry Mason) to fanfares for the law (The Defenders) to dignified French horns meet sexy saxophone (L.A. Law). War series merit dissonance (Combat), an anthem (12 O’Clock High), and even gentle guitars (M*A*S*H). Anthologies are where John Williams learned his trade (Alcoa Premiere, Kraft Suspense Theatre). Homespun Americana served The Waltons, while dignified contemporary Americana worked for The West Wing; Dallas and Dynasty, meanwhile, merited a touch of disco and a lot of elegance. In the new century, a hint of irony via orchestra and choir seemed right for Desperate Housewives. Umbrella themes attracted such major musical names as Burt Bacharach, Isaac Hayes, and Henry Mancini.
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Clark, Walter Aaron. "The Romero Repertoire." In Los Romeros, 215–47. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0014.

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There are basically five ways that the Romeros have added new works to the guitar repertoire: commissioning, composing, arranging, reviving, or improvising them. They have requested works from leading composers in Spain and the U.S.; composed works, mostly by Celedonio for solo guitar; arranged numerous orchestral and stage works for quartet; revived neglected classics, especially from the 1800s; and improvised flamenco numbers, as well as adding flourishes to notated music.
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West, Chad, C. Michael Palmer, Michael Grace, and Daniel Fabricius. "Beginning Rhythm Section." In Teaching School Jazz, 77–92. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0008.

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How does one take a concert band snare drummer, classically trained pianist, orchestral bass player, and self-taught guitar player and turn them into a jazz rhythm section? The drummer has never had so many drums and cymbals to worry about, the pianist may be playing with a group for the very first time, the bass player has to learn to “walk” a bass line, and the guitar player has to play in foreign keys. This chapter addresses the teaching of the rhythm section with regard to (a) rhythm section notation, (b) bass, (c) piano, (d) guitar, (e) drum set, (f) auxiliary instruments, and (g) rhythm section rehearsal strategies. It presents a sequential approach to teaching the beginning rhythm section: (a) walking bass lines, (b) voicing chords, (c) comping patterns, (d) playing setups and fills, and (e) interpreting and realizing instrument-specific rhythm section notation markings.
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Conference papers on the topic "Guitar with orchestra"

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Cavalieri, Lorenzo, Maura Mengoni, and Michele Germani. "A Gesture-Based Application for Aspiring Orchestra Conductors." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59505.

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A product is chosen by users not only for the features it offers but also for the perceived experience of use. This statement widely recognized in literature highlight that key issues for the success of interactive products are the practical, experiential, affective, meaningful and valuable aspects of interaction. In the last years, gesture-based interfaces have been introduced to make the experience of interaction more emotional, intuitive and natural. For this reason, the design and development of products integrated gesture-based interfaces represent a challenging issue. In this context, a User-Centered Design (UCD) method to implement novel interaction paradigms into traditional consumer products is proposed. Its application in a real case study addresses the development and prototyping of a system exploiting gesture-based interaction to train aspiring conductors of orchestra. If a young musician wants to play a guitar, it is usually no great problem to find one, but if a musician wants to learn the ins and outs of being a conductor, the problem shifts to search for an electronic device managed by hands as used by conductors. The developed system provides three main functionalities: tempo control, velocity control and instruments activation. It represents both a use case to validate the proposed UCD method and an innovative solution in the context of aspiring conductor’s training.
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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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