Relevant bibliographies by topics / Humanities -> music -> guitar

Contents

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

Academic literature on the topic 'Humanities -> music -> guitar'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Humanities -> music -> guitar"

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Ramsey, Gordon P., and Jessica R. Moore. "Factors that affect guitar timbre." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A198. http://dx.doi.org/10.1121/10.0018646.

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This is part one of two presentations on the same project. Guitars have been used for centuries, but their versatility due to technical developments have made them very popular in most genres of music. Our research has investigated how various physical properties of the guitar affect its timbre. We have investigated the effects of (a) string excitement location, (b) string type and gauge, (c) pick versus pluck excitement, and (e) the placement of a capo on an acoustic guitar. The main goal is to investigate how each of these factors play a role in certain genres of music where guitars are one of the main instruments. Measurements were taken at the LU acoustics lab and the anechoic chamber at Northwestern. This talk will present theoretical basis for our measurements and discuss the effects of the pick versus pluck and placing a capo on the neck of the guitar. The following talk will discuss the remaining factors and how our study contributes to the capability of the player to create different moods.
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Moore, Jessica R., and Gordon P. Ramsey. "How musicians can utilize the guitar’s acoustic properties." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A198. http://dx.doi.org/10.1121/10.0018647.

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Guitars are extremely versatile instruments due to the myriad of ways in which the player can alter the timbre. Specific adjustments are made to the guitar that correspond to stylistic distinctions between genres of music. This study explores how the timbre of the guitar is affected by the string type, gauge, and excitement location, in addition to the previous talk topics. Using the spectra, we can determine how our results can be utilized by musicians. Continuing from the first talk on the physical implication of these alterations, I will focus on how the results justify guitarist’s artistic decisions in Flamenco, Irish Traditional, and country/folk music. Understanding the connection between the technical and artistic aspects of the guitar can guide a musician in creating the effects appropriate for each genre.
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Cave, Sam. "RIDING THE WILD OCEAN: HORATIU RADULESCU'S SUBCONSCIOUS WAVE IN THEORY, PERFORMANCE AND RECORDING." Tempo 76, no. 299 (2021): 30–43. http://dx.doi.org/10.1017/s0040298221000632.

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AbstractThis article focuses on Radulescu's 1984 Subconscious Wave, for guitar and pre-recorded digital sound, a work that features on my 2019 solo CD recording Refracted Resonance, for Métier Records, alongside music by Tristan Murail, Christopher Fox, George Holloway and myself. The article places the work in the context of Radulescu's output, demonstrates how it displays the key aesthetic concepts that drive his music and shares my insights into the technical and interpretive aspects of preparing the piece for performance and recording. The article has been adapted from a lecture-recital given at the 2021 edition of the 21st Century Guitar Conference, which was hosted by the Faculty of Social Sciences and Humanities at the Universidade NOVA de Lisboa (NOVA FCSH), Portugal in March 2021.
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Bonanno, Carmine. "Guitar controller for a music synthesizer." Journal of the Acoustical Society of America 82, no. 5 (1987): 1864. http://dx.doi.org/10.1121/1.395729.

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Bonanno, Carmine. "Guitar controller for a music synthesizer." Journal of the Acoustical Society of America 83, no. 5 (1988): 1995. http://dx.doi.org/10.1121/1.396416.

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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011034.

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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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Smith, Sarah R., and Benjamin Thompson. "Leveraging audio and music experience in a first-year engineering sequence." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A60. http://dx.doi.org/10.1121/10.0022793.

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Recently, the introductory courses in Audio and Music Engineering (AME) at the University of Rochester have succeeded in attracting an academically diverse group of students, such that engineering majors often comprise a minority of those enrolled. Therefore, we see our mandate as balancing the need to prepare AME majors for subsequent courses while simultaneously engaging and supporting non-majors. To meet this challenge, we leverage students’ existing experiences with sound and music to introduce foundational concepts in acoustics, circuits, and programming in a project-based environment. In the fall, students complete a series of labs where they build and conduct experiments on sections of a guitar amplifier. Each lab emphasizes a key electronics concept, culminating in a completed amplifier that students can keep. Similarly, the spring semester centers around a series of MATLAB assignments, culminating in a short-time Fourier transform project where students investigate the properties of reverberant speech. In both classes, lectures are designed to provide students with the theoretical tools necessary to fully engage with these projects. In this presentation, we share a specific approach that has been successful for us in engaging non-majors while supporting majors in STEM courses and plan to provide associated open curriculum materials.
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Baltes, Felix, Leon Chemnitz, and Elke B. Lange. "Pleasantness of nonlinear distortion in isolated triads of synthetic timbre." Journal of the Acoustical Society of America 154, no. 2 (2023): 1028–40. http://dx.doi.org/10.1121/10.0020667.

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Distortion of sound is an important tool to increase the variety of timbres in musical compositions, but perceived pleasantness of distortion is understudied, and studies are limited to guitar practices in rock and metal music. This study applied a more systematic approach, using synthetic timbre and creating an audio-plugin that realized nonlinear symmetric and asymmetric distortion. Participants evaluated the perceived pleasantness of isolated triads differing in distortion (undistorted, symmetric, asymmetric), tonality (minor, major), and position (low, high, wide), taking baseline differences of tonality and position into account. Perceived pleasantness decreased by distortion, and the decrease was stronger for minor than major triads and stronger for asymmetric than symmetric distortion. Position played only a minor role in the evaluations, except for stimuli in high positions. Stimulus-based analyses showed a relation between pleasantness and the variability of roughness, mean spectral centroid, and mean sound intensity. Subject-based analyses revealed a smaller decrease in pleasantness with a preference for electronic music. Importantly, some distorted triads were rated as pleasant in absolute terms: major triads with symmetric distortion in low or wide position. That is, indeed, distortion is not always categorized as unpleasant but can be perceived as pleasant.
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Sovine, Melanie L. ": Discovering Country and Western Music . Bernard Wilets. ; Full of Life A-Dancin' . Robert Fiore, Richard Nevell. ; Guitar Craft . Rob Williams. ; Gypsy Yodeler . Ron Taylor. ; Homemade American Music . Carrie Aginsky, Yasha Aginsky. ; New England Fiddles . John M. Bishop. ; Nimrod Workman: To Fit My Own Category . Appalshop. ; Oaksi . Appalshop. ; Ralph Stanley's Bluegrass Festival . Jim Kent. ..." American Anthropologist 89, no. 2 (1987): 522–25. http://dx.doi.org/10.1525/aa.1987.89.2.02a00950.

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MCCUSKER, KRISTINE M. "Kevin Fellezs, Listen but Don't Ask Question: Hawaiian Slack Key Guitar across the Transpacific (Durham, NC: Duke University Press, 2019, $28.95). Pp. 336. isbn 978 1 4780 0671 8. - Stephanie Vander Wel, Hillbilly Maidens, Okies, and Cowgirls: Women's Country Music, 1930–1960 (Urbana: University of Illinois Press, 2020, $25.95). Pp. 272. isbn 978 0 2520 8495 9. - Michael Lasser, City Songs and American Life, 1900–1950 (Rochester, NY: University of Rochester Press, 2019, $34.99). Pp. 318. isbn 978 1 5804 6952 4." Journal of American Studies 57, no. 2 (2023): 310–14. http://dx.doi.org/10.1017/s002187582300004x.

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Dissertations / Theses on the topic "Humanities -> music -> guitar"

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Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.

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Darcey, Stephanie J. "An immersive study of the artistry of Gilbert Biberian —guitarist, composer, and pedagogue— and creative responses from a musical apprenticeship." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2764.

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This project examines the music of Istanbul-born British classical guitarist and composer Gilbert Biberian (1944-2023) and the potential of this music to stimulate original composition using an intuitive approach. Biberian is recognized as one of the most original and creative guitar composers from the second half of the twentieth century. His musical language embraces and integrates traditional tonality, jazz, post-tonal idioms, and the music of the Middle East. There are three strands to this project: an overview of Biberian’s life, philosophy, and music; a musical apprenticeship with Biberian on technique and musicianship; and also on my compositions. There will be three outcomes: an introduction to the guitar music of Biberian; a performance of selected works by Biberian; and scores and recordings of my original compositions inspired by an immersive study of Biberian’s music and enriched by his guidance
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Nylander, Peter. "Pentatonik för gitarrister : en studie av gitarristers pentatoniska förkunskaper inom högre musikutbildning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2573.

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Syftet med denna studie är att undersöka gitarrlärares syn på studenters förkunskaper inom pentatonik då de börjar inom högre musikutbildning. Metoden för studien bygger på kvalitativa intervjuer av tre erfarna gitarrpedagoger med flera decennier bakom sig inom högskola och folkhögskola. Studien har sin utgångspunkt ur ett sociokulturellt perspektiv. Resultatet visar på att lärarna uppfattar att studenter besitter förkunskaper inom pentatonik men att det finns tydliga kunskapsluckor.<br>The purpose of this study is to investigate guitar teachers’ views on college students’ prior knowledge of the pentatonic scale. The methodology used was based on interviews with three experienced college level teachers with several decades of teaching experience behind them. The study is rooted in a socio-cultural perspective. The result shows that the teachers unanimously believe the students enter higher education with prior knowledge of the pentatonic scale. However, there is consensus that there are gaps in their knowledge.
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Book chapters on the topic "Humanities -> music -> guitar"

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Pearson, David. "The Dystopian Sublime of Extreme Hardcore Punk." In Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.003.0004.

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With roots in the 1980s and becoming a coherent trend in the 1990s, extreme hardcore punk pushed the intensity of punk music beyond previous levels with beats over 800 BPM, screamed or growled vocals, and guitar riffs built from dissonant and nondiatonic pitch material. Its lyrics often provided dystopian warnings of environmental catastrophe and humanity’s downfall due to globalized capitalism. Analysis and reception history of the music of bands such as Dropdead, His Hero Is Gone, Hellnation, and Capitalist Casualties identify the musical techniques and sublime effects of the extreme hardcore punk subgenre, also referred to as grindcore and power violence.
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Conference papers on the topic "Humanities -> music -> guitar"

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Szymanska-Stulka, Katarzyna. "TRAJECTORY OF GREEN BY ANDRZEJ KARALOW AND JERZY PRZEZDZIECKI: TOWARDS THE LANDSCAPE MUSIC." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.11.

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Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, originates from the album Pedestal�s Complement (2020). In this production, Karalow and Przezdziecki present environmental or landscape music that reflects the patterns of the surrounding world. Their works are mostly improvised and are a perfect example of the use of space as a vital element of the composition. Inspirations with the landscape and its components appearing in our perception determine the general vision of the work as well as its details. The composer draws patterns from the space around him and creatively transforms them into a new artistic construct. This prompts the following question: To what extent does the increasingly popular concept of environmental music apply to the work in question? The article offers an analysis of the compositional devices along with the language of expression/artistic style, both at the level of the work�s microform and macroform, while also considering the influence of ambient music on this type of composition. Given the evident landscape component in the idea, form and structure of the work, Trajectory of Green is analysed as an example of landscape music.
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