Relevant bibliographies by topics / History of guitar music

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Academic literature on the topic 'History of guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "History of guitar music"

Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.

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Deloria, Philip J. "T.C. Cannon’s Guitar." Arts 8, no. 4 (2019): 132. http://dx.doi.org/10.3390/arts8040132.

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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergenerational relations between myself, Cannon, and my father Vine Deloria, Jr., the three of us evenly spaced over the course of the late twentieth century, and it does so in an effort to understand something about the historical impulses of the period between 1965 and 1978. In that moment—accessible to me through memories of affects more than memories of actions—Native politics and art were both figuring out ways to honor the past while making it new, creating distinctive forms that we can recognize around concepts such as survivance, sovereignty, and indigenous modernism.

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Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century." Culturology Ideas, no. 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.

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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.

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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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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.

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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.

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BANNISTER, MATTHEW. "‘Loaded’: indie guitar rock, canonism, white masculinities." Popular Music 25, no. 1 (2006): 77–95. http://dx.doi.org/10.1017/s026114300500070x.

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Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.

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Rigg, John L., Randy Marrinan, and Mark A. Thomas. "Playing-related Injury in Guitarists Playing Popular Music." Medical Problems of Performing Artists 18, no. 4 (2003): 150–52. http://dx.doi.org/10.21091/mppa.2003.4026.

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Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to possible etiologic factors. A survey of 15 questions was distributed to professional, amateur, and student guitarists who play the musical genres of rock/blues, jazz, and folk across the United States and Canada. The questions addressed type of guitar played, style of music performed, playing posture, picking technique, anatomic location of pain, history of formal training, presence of playing-related pain in the past 12 months, history of trauma to the affected area, and history of other nonrelated medical problems. Playing-related pain was reported by 160 (61.3%) of 261 guitarists who completed the survey. The most often reported location was the fretting hand, with 109 (41.8%) of 261 subjects reporting the presence of playing-related pain in the previous 12 months. The back and neck were the next most reported sites of playing-related pain, with 45 (17.2%) of 261 subjects reporting back pain and 39 (14.9%) of 261 subjects reporting neck pain in the previous 12 months. The results suggest that a substantial number of guitarists playing various styles of popular music are experiencing playing-related pain.

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Dalmas, Franck. "Pierre Reverdy et les musiciens." Nottingham French Studies 52, no. 3 (2013): 281–95. http://dx.doi.org/10.3366/nfs.2013.0060.

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Recent scholarship on Pierre Reverdy has neglected to study the relationship between Reverdy's poetry and music. The union of the two arts was questioned after André Breton's rejection of it. However, in a tribute to Reverdy back in 1962, composer Henry Barraud shared memories of his encounters with the poet and disclosed the talks they had had on his radio show about transposing poems into music. This article sets out to explore the fragile and little-known connection between Reverdy and music, as documented by his aesthetic debates with musicians such as in the radio broadcast and the unpublished correspondence with Barraud, and through the evidence of musical works inspired by his poems by artists of different generations. Notable associations between Reverdy's poetry and music are, among others, a piece of 1927 by André Jolivet, an early example of influence on Olivier Messiaen, the successive compositions of Betsy Jolas from 1949 through to 2009, and, finally, the 1989 centenary of the poet as celebrated by five pieces for solo guitar, each written by a different composer, and based upon the 1919 collection La Guitare endormie.

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Somyk, O. "The history of classical guitar music instrument in the context of European musical culture." Scholarly Works of the Faculty of History, Zaporizhzhia National University 49 (2017): 277–79. http://dx.doi.org/10.26661/swfh-2017-49-053.

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VanWeelden, Kimberly, Virginia Wayman Davis, and Laura Singletary. "No Fear, Just Fun!: Meaningful, Memorable Musicking in Secondary General Music." General Music Today 32, no. 3 (2019): 13–19. http://dx.doi.org/10.1177/1048371319834921.

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Secondary general music is hard to define. For some, this denotes an accelerated version of elementary general music or a decelerated version of a college music appreciation course. Others view this as any nontraditional ensemble geared for middle or high school students, such as guitar, keyboard, or steel pans. Still, for others, secondary general music is not so much a stand-alone course as it is any time devoted to teaching fundamental skills to students in band, orchestra, and choir so they may more successfully perform the repertoire. The authors acknowledge each of the above-listed views as valid; thus, rather than debate what is secondary general music, we will highlight each viewpoint in a three-part series. The first of this series will focus on a class structure where students experience various activities all while learning music fundamentals, studying music history, and developing music literacy skills.

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Dissertations / Theses on the topic "History of guitar music"

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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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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James, Douglas Goff. "Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.

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Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteenth-century. This study is in two parts. The first will present as concise a biography as possible, particularly regarding Legnani's concert itineraries, contributions to guitar construction, and relationship with Paganini. An examination of little-known contemporary reviews of his performances will serve as a means of both documenting his concertizing and developing a concept of Legnani's performance style. The second part, an annotated performance edition of selections from Legnani's most famous composition, 36 Capricci per tutti i tuoni maggiori e minori, opus 20, will provide a basis for the understanding and successful performance of Legnani's music by modern guitarists. In conclusion, Legnani's unique contributions to both guitar composition and construction are reevaluated, and an up-to-date list of compositions appended.

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

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Hodges, Jeff. ""Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28430/.

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Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.

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Willett, Toby T. "California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.

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Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.

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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the AcadÃ©mie de PoÃ©sie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisÃ© are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurÃ©e may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.

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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.

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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.

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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.

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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown. This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam. The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players. Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.

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Wright, Brian F. "How the Electric Bass Became the Norm: An Alternative History of American Popular Music, 1951-1964." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case151084623256552.

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Books on the topic "History of guitar music"

Guitar: Music, history, players. Dorling Kindersley, 2000.

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Guitar: Music, history, players. Dorling Kindersley Ltd., 2000.

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Chapman, Richard. Guitar: Music, history, players. Dorling Kindersley Pub., 2000.

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Wager-Schneider, John. The contemporary guitar. University of California Press, 1985.

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James, Steve. Inside blues guitar. String Letter Pub., 2001.

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Button, Stewart. The guitar in England, 1800-1924. Garland Pub., 1989.

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Shiri͡alin, A. Poėma o gitare. AOZT Redakt͡sionno-izdatelʹskai͡a firma "Molodezhnai͡a ėstrada", 1994.

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Paul, Sparks, ed. The guitar and its music: From the Renaissance to the Classical era. Oxford University Press, 2002.

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Tyler, James. The guitar and its music: From the Renaissance to the classical era. Oxford University Press, 2007.

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The guitar in Venezuela: A concise history to the end of the 20th century. Doberman-Yppan, 2005.

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Book chapters on the topic "History of guitar music"

Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Guitar." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-4.

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Weekhout, Hans. "Mixing | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

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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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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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French, Richard Mark. "History of the Guitar." In Engineering the Guitar. Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-74369-1_1.

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Werner, Duncan, Bruce Wiggins, and Emma Fitzmaurice. "Development of an Ambisonic Guitar System." In Innovation in Music. Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-10.

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Özaslan, Tan Hakan, Enric Guaus, Eric Palacios, and Josep Lluis Arcos. "Identifying Attack Articulations in Classical Guitar." In Exploring Music Contents. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_15.

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Introduction to Guitar, Bass, and Ukulele." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-3.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Guitar and Classroom Teaching." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-14.

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Schulps, Dave. "“The King of Surf Guitar”." In The Rock History Reader. Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-15.

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Conference papers on the topic "History of guitar music"

Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

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Dittmar, Christian, Andreas Mannchen, and Jakob Abeber. "Real-time guitar string detection for music education software." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616120.

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Dias, Ricardo, Manuel J. Fonseca, and Daniel Gonçalves. "Music listening history explorer." In the 2012 ACM international conference. ACM Press, 2012. http://dx.doi.org/10.1145/2166966.2167013.

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Humphrey, Eric J., and Juan P. Bello. "From music audio to chord tablature: Teaching deep convolutional networks toplay guitar." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6854952.

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Castillo, Francisco. "EVOLUTIONISM IN MUSIC HISTORY: TOWARD RECONCILIATION." In 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.004.

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Liu, Jen-Yu, and Yi-Hsuan Yang. "Inferring personal traits from music listening history." In the second international ACM workshop. ACM Press, 2012. http://dx.doi.org/10.1145/2390848.2390856.

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Simanjuntak, Hendrik, Lono Simatupang, and Viktor Ganap. "Indonesian Piano Composition In History Of Music." In Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296601.

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Iatesen, Loredana Viorica. "NEW VISIONS IN THE RESEARCH OF MUSIC HISTORY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.046.

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Rose, Stephen, and Sandra Tuppen. "Prospects for a Big Data History of Music." In the 1st International Workshop. ACM Press, 2014. http://dx.doi.org/10.1145/2660168.2660177.

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Lehtiniemi, Arto, and Jarno Ojala. "Using adaptive avatars for visualizing recent music listening history and supporting music discovery." In ACE '14: 11th ADVANCES IN COMPUTER ENTERTAINMENT TECHNOLOGY CONFERENCE. ACM, 2014. http://dx.doi.org/10.1145/2663806.2663820.

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Reports on the topic "History of guitar music"

Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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Abstract:

As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

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