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Journal articles on the topic 'History of guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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 Dav

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2

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 intergeneratio

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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

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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 pa

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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 his

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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)

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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

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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 unpubl

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9

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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10

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

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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 broadcas

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Pendergast, Seth, and Nicole R. Robinson. "Secondary Students’ Preferences for Various Learning Conditions and Music Courses: A Comparison of School Music, Out-of-School Music, and Nonmusic Participants." Journal of Research in Music Education 68, no. 3 (2020): 264–85. http://dx.doi.org/10.1177/0022429420931826.

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This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes ( N = 827). Participants represented secondary school music students ( n = 369), students who only participate in music outside of school ( n = 254), and nonparticipants in music ( n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as in

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Zuhdi, Nabeel, Kris Chesky, Said Surve, and Yein Lee. "Occupational Health Problems of Classical Guitarists." Medical Problems of Performing Artists 35, no. 3 (2020): 167–79. http://dx.doi.org/10.21091/mppa.2020.3022.

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AIMS: Classical guitarists may experience unique occupational health problems due to a constellation of biopsychosocial demands associated with the physical characteristics of the classical guitar, performance techniques, repertoire, and performance practices consistent with the classical music genre. Unfortunately, epidemiologic studies of classical guitarists are limited. The purpose of this study was to examine musculoskeletal and non-musculoskeletal problems in classical guitarists. METHODS: A sample of 190 classical guitarists completed a web-based survey. The survey assessed demographics

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Donaghy, Keola. "Review: Kīka Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music by John Troutman." Pacific Historical Review 87, no. 1 (2018): 208–9. http://dx.doi.org/10.1525/phr.2018.87.1.208.

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VERA, ALEJANDRO. "THE CIRCULATION OF INSTRUMENTAL MUSIC BETWEEN OLD AND NEW WORLDS: NEW EVIDENCE FROM SOURCES PRESERVED IN MEXICO CITY AND LIMA." Eighteenth Century Music 12, no. 2 (2015): 183–96. http://dx.doi.org/10.1017/s1478570615000299.

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ABSTRACTThis article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johan

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Waksman, Steve. "It Might Get Loud. David Guggenheim, director. Sony Pictures Classics, 2009./Les Paul—Chasing Sound. John Paulson, director. John Paulson Productions, 2007./Solidbodies: The 50-Year Guitar War. Guy Hornbuckle, director. Lightning Lab Productions, 2007./Stars and Their Guitars: A History of the Electric Guitar. Kent Hagen, director. Passport, 2008." Journal of the Society for American Music 4, no. 2 (2010): 267–71. http://dx.doi.org/10.1017/s1752196310000106.

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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epoch

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18

brackett, david. "elvis costello, the empire of the e chord, and a magic moment or two." Popular Music 24, no. 3 (2005): 357–67. http://dx.doi.org/10.1017/s0261143005000565.

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the phrase ‘this magic moment’ recurs throughout elvis costello's ‘it’s time' (1996). an allusion to pop history – the drifter's ‘this magic moment’ (1960) – is thus used in the service of a fatalistic narrative that manages to evoke both the ‘revenge and guilt’ famously associated with costello's early career and the early 1960's romanticism of brill building pop. the musical ‘magic moment’ of the song arrives in a ringing e major chord at the end of the chorus, played in open position on the electric guitar. the use of this e major chord references another line of pop music history, one that

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19

Homan, Shane. "Losing the local: Sydney and the Oz Rock tradition." Popular Music 19, no. 1 (2000): 31–49. http://dx.doi.org/10.1017/s0261143000000040.

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In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recen

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20

Lubet, Alex. "Disability Studies and Performing Arts Medicine." Medical Problems of Performing Artists 17, no. 2 (2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.

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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to partici

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Størvold, Tore. "Sigur Rós: reception, borealism, and musical style." Popular Music 37, no. 3 (2018): 371–91. http://dx.doi.org/10.1017/s0261143018000442.

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AbstractSince the international breakthrough of The Sugarcubes and Björk in the late 1980s, the Anglophone discourse surrounding Icelandic popular music has proven to be the latest instance of a long history of representation in which the North Atlantic island is imagined as an icy periphery on the edge of European civilization. This mode of representation is especially prominent in the discourse surrounding post-rock band Sigur Rós. This article offers a critical reading of the band's reception in the Anglo-American music press during the period of their breakthrough in the UK and USA. Interp

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22

Fjellman-Wiklund, Anncristine, Christine Brulin, and Gunnevi Sundelin. "Physical and Psychosocial Work-related Risk Factors Associated with Neck–Shoulder Discomfort in Male and Female Music Teachers." Medical Problems of Performing Artists 18, no. 1 (2003): 33–41. http://dx.doi.org/10.21091/mppa.2003.1007.

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The aim of this cross-sectional study was to investigate the relationship between individual, physical, and psychosocial aspects of the work environment and musculoskeletal discomfort in the neck-shoulder region, in male and female music teachers. A questionnaire was distributed by mail that was based on the Standardised Nordic Questionnaire on work-related musculoskeletal disorders (WMSD) and the demand-control-support questionnaire on psychosocial work factors. The questionnaire included additional items on playing habits, weekly amount of performing and practice time, physical exercise duri

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23

Green, Emily H. "How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century." Journal of the American Musicological Society 73, no. 2 (2020): 267–325. http://dx.doi.org/10.1525/jams.2020.73.2.267.

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Written in the form and style of the popular “novel of circulation” (or “it-narrative”), this article examines and provides an experience of the performance practices of eighteenth-century amateur music. It tells the typically complex history of a minor hit, “Come Haste to the Wedding,” a tune that was sung in a 1760s Drury Lane pantomime, rewritten as a rondeau for London publishers, danced as a jig in Irish and Scottish halls, transcribed as a fiddle tune by a captain in the Continental Army, circulated as a flute or guitar melody as far abroad as Calcutta, and collected by a young loyalist

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24

Coggin, Philip. "‘This easy and agreable Instrument’ A history of the English guittar." Early Music XV, no. 2 (1987): 205–20. http://dx.doi.org/10.1093/earlyj/xv.2.205.

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Zagorski-Thomas, Simon. "The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production." Popular Music 29, no. 2 (2010): 251–66. http://dx.doi.org/10.1017/s0261143010000061.

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AbstractThis article will discuss how two major contributing factors, functional staging and perceived authenticity, have had and continue to have a powerful influence on the sound of record production across geographical boundaries and throughout history. Functional staging is a concept building on the idea of phonographic staging developed by William Moylan and Serge Lacasse and related to Allan Moore's ‘sound-box’. The staging of sounds in the record production process is considered to be functional if the reason for their particular placement or treatment is related to the practicalities o

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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.

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If there is a single narrative that captures the modern understanding of transformative crossroads magic it is the spurious fable of the selling of Robert Johnson's soul. When, in the palaeoanthropology of 20th century rock and roll music, the biographers of the short-lived blues legend claimed that he had been down to the Dockery Plantation crossroads at midnight to sell his soul to the Devil in exchange for guitar skills, they were perhaps unwitting witnesses to the deep history of myth and ritual that has long been associated with the transformative space of the crossroads. They were not la

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Khakim, Moch Nurfahrul Lukmanul. "Museum Musik Indonesia sebagai Wisata Edukasi di Kota Malang." Jurnal Pendidikan Sejarah 8, no. 1 (2019): 67–78. http://dx.doi.org/10.21009/jps.081.06.

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Malang as a city with many tourist destinations, has advantages in every field of tourism. Of the many tourist destinations, research on museums is very rare, even though museums can be interesting educational facilities for students or the general public. One of the museums in Malang City is the Indonesian Music Museum, this museum is relatively new so it is interesting to study. This museum has 26000 music collections. The details, as many as 16,718 are cassettes; 3,118 compact discs (CDs); 3,108 printed materials such as posters, books and leaflets; 2,985 LPs; 108 musical instruments (guita

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Lim, Vanessa K., and Eckart Altenmüller. "Musicians’ Cramp: Instrumental and Gender Differences." Medical Problems of Performing Artists 18, no. 1 (2003): 21–26. http://dx.doi.org/10.21091/mppa.2003.1005.

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Musicians’ cramp is a disorder characterized by its task specificity and gender bias; male musicians have a higher prevalence of this disorder than females. Previous epidemiological studies on musicians’ cramp have demonstrated that certain instrumental groups are more prone to develop this disorder than others. These studies, however, have not accounted for the gender distribution in healthy musicians. Therefore, the current study investigated 2,661 healthy musicians collected from eight music conservatories within Germany. These controls were compared with 183 patients (154 males) with music

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29

da Viola, Paulinho. "Samba beyond the parade." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 124–31. http://dx.doi.org/10.33178/alpha.19.09.

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In this interview, singer and songwriter Paulinho da Viola comments on the documentary Partido alto (1976–1982) and his friendship with director Leon Hirszman. He also describes the origins of partido-alto as a variety of samba, the transformations of samba schools in the 1960s and 70s and his relationship with audiovisual media during this time period, including the music documentary Saravah (Pierre Barouh, 1972) and televised music festivals. A crucial figure in the history of samba, Paulinho da Viola was born in Rio de Janeiro in 1942. As a son of a middle-class choro guitar player, he soon

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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.

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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand

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Murphy, Jim, James McVay, Paul Mathews, Dale A. Carnegie, and Ajay Kapur. "Expressive Robotic Guitars: Developments in Musical Robotics for Chordophones." Computer Music Journal 39, no. 1 (2015): 59–73. http://dx.doi.org/10.1162/comj_a_00285.

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This article provides a history of robotic guitars and bass guitars as well as a discussion of the design, construction, and evaluation of two new robotic chordophones, with a focus on different techniques to extend the expressivity of robotic guitars. Swivel and MechBass, two new robots we built, are discussed. Construction techniques likely to interest other musical roboticists are included. These robots use a variety of techniques, both new and inspired by prior work, to afford composers and performers the ability to precisely control pitch and string-picking parameters. Both new robots are

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32

Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.

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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.

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Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.

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Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.

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Wade, Graham. "Guitar." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966167.

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Stephens, Randall J. "“Where else did they copy their styles but from church groups?”: Rock ‘n’ Roll and Pentecostalism in the 1950s South." Church History 85, no. 1 (2016): 97–131. http://dx.doi.org/10.1017/s0009640715001365.

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Church leaders and laypeople in the US went on the defensive shortly after rock and roll became a national youth craze in 1955 and 1956. Few of those religious critics would have been aware or capable of understanding that rock ‘n’ roll, in fact, had deep religious roots. Early rockers, all southerners—such as Elvis Presley, Johnny Cash, Little Richard, Jerry Lee Lewis, and James Brown—grew up in or regularly attended pentecostal churches. Pentecostalism, a vibrant religious movement that traced its origins to the early 20th century, broke with many of the formalities of traditional protestant

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Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (1985): 33. http://dx.doi.org/10.2307/962449.

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Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (1985): 350. http://dx.doi.org/10.2307/964035.

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Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (1986): 567. http://dx.doi.org/10.2307/964402.

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Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964753.

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Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965129.

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Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (1985): 737. http://dx.doi.org/10.2307/965210.

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Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965247.

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Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (1991): 449. http://dx.doi.org/10.2307/965651.

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Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (1985): 163. http://dx.doi.org/10.2307/961677.

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Wade, Graham. "The Blue Guitar." Musical Times 130, no. 1761 (1989): 691. http://dx.doi.org/10.2307/1193802.

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Thomson, Andrew, Maurice Ohana, and Stephan Schmidt. "Works for Guitar." Musical Times 135, no. 1816 (1994): 398. http://dx.doi.org/10.2307/1003237.

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Duarte, John W. "Guitar on Record." Musical Times 132, no. 1777 (1991): 138. http://dx.doi.org/10.2307/965827.

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Wade, Graham. "Landscape with Guitar." Musical Times 132, no. 1780 (1991): 296. http://dx.doi.org/10.2307/966538.

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