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Academic literature on the topic 'Lute music Guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Lute music Guitar music"

Spring, Matthew. "Songs and instrumental music for vihuela, guitar and lute." Early Music XXIII, no. 2 (1995): 330–31. http://dx.doi.org/10.1093/earlyj/xxiii.2.330.

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Študent, Miloslav. "Sources of Lute- and Guitar Music in the Holdings of the National Museum in Prague." Musicalia 8, no. 1-2 (2016): 114–29. http://dx.doi.org/10.1515/muscz-2017-0005.

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This study gives an overview of lute and guitar tablatures in the holdings of the National Museum (at the Czech Museum of Music and the National Museum Library), and it briefly characterizes them in the form of a catalogue. Since music from the Strahov and Lobkowicz collections, which also involve a rather large set of tablatures, has been returned to its original owners in restitution, the study provides up-to-date information about where this historical material is now kept. It reflects new knowledge and discoveries (lute tablature with the shelf mark KNM Nostic gg 412). The composers presented (e.g. G. P. Foscarini, P. Mutti, N. Vallet, Ch. Mouton, P. I. Jelínek, A. Dix, M. Galilei, J. Dowland, Ch. de Lespine, J. Regnart, S. L. Jacobides, J. Ch. Beyer and many others), living and working in the sixteenth through the eighteenth centuries, are primarily Italian, French, German, and Czech, and with respect to social classes, they represent practically all of the environments where playing on plucked instruments was cultivated.

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Elliker, Calvin, and Victor Anand Coelho. "Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation." Notes 55, no. 3 (1999): 636. http://dx.doi.org/10.2307/900415.

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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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Doğan, Tekin, and Barış Erdal. "Which one is your the favoritte instrument? A Study on the demographic and socio-cultural factors that affect the instrument preferenceSenin favori çalgın hangisi? Çalgı tercihini etkileyen demografik ve sosyo-kültürel faktörler üzerine bir araştırma." Journal of Human Sciences 13, no. 3 (2016): 6050. http://dx.doi.org/10.14687/jhs.v13i3.4122.

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Music, which is a part of the cultural expression, can be seen in all of the communities or societies of the world. Undoubtedly, instruments are among the most important elements that put music into being. Every culture from past to present has produced numerous musical instruments depending on the geography inhabited, production format, level of access to the technology, their varied customs and traditions. This diversity was also contribute to the formation of various kinds of music in a sense. Especially during the last fifty years research on the diversity of music preferences/tastes gained great momentum but it is amazing that there is limited research on musical instrument taste. In this study, people's musical instrument tastes were examined in accordance with certain demographic and social variables. Research was conducted among participants of 130 female and 102 male who are 18-27 years old (n = 232). Participants were asked to evaluate the selected 10 different instruments from four different continents (Pan Flute, Violin, Sitar, Kavala, Morin Khuur, Classical Guitar, Flute, Erhu, Lute, and Piano) with four predetermined simple melodies. The melodies used were selected of 4 different audio systems (tonal, modal, modal, pentatonic). In addition, the instruments were also evaluated with authentic melodies of culture each one belongs to. As a result of the study, a significant relationship has emerged between the levels of musical instrument tastes of the participants and their age, gender, income level and choice of music genre. Based on the relationship between gender and the music genre listened to, it has been identified that women prefer more pop music, while men choose to listen to Turkish music. In addition, while most women prefer the Calssical Guitar, the Flute and Piano, the men chose the lute. The instrument that men and women have preferred least was Morin Khuur. The low-income participants preferred more piano, the middle-income participants preferred Classical Guitar, while high-income participants preferred Oud mostly. At the same time, across all income levels, Morin Khuur was the least popular instrument. As the average age of participants decreases, like for the guitar grows, but as the average age increases, like for the Kavala grows. Özetİfade kültürünün bir parçası olan müzik bütün dünya topluluk ya da toplumlarında görülebilir. Bunun yanı sıra kuşkusuz müziğe varlık kazandıran en önemli öğelerden biri de çalgılardır. Geçmişten günümüze her kültür, yaşadığı coğrafyaya, üretim biçimine, erişmiş olduğu teknolojik düzeye, birbirinden farklı adet, örf ve geleneklere bağlı olarak sayısız çalgı üretmiştir. Bu çeşitlilik bir anlamda bir çok müzik türünün oluşmasına da katkı sağlamıştır. Özellikle son elli yılda müzik tercihi/beğenisi üzerine yapılan araştırmaların büyük bir ivme ve çeşitlilik kazanmasına rağmen çalgı beğenisine yönelik araştırmaların sınırlı olması şaşırtıcıdır. Bu çalışmada, insanların çalgı beğenileri belirli demografik ve sosyal değişkenler çerçevesinde incelenmiştir. Araştırma 18-27 yaş arasında 102 erkek 130 kadın (n=232) katılımcı ile gerçekleştirilmiştir. Katılımcılardan belirlenmiş dört yalın ezgiyi, dört farklı kıtadan seçilen 10 farklı çalgı ile (Pan Flüt, Keman, Sitar, Kaval, Morin Khuur, Klasik Gitar, Yan Flüt, Erhu, Ud, Piyano) değerlendirmeleri istenmiştir. Kullanılan ezgiler 4 farklı ses sisteminden (tonal, modal, makamsal, pentatonik) seçilmiştir. Ayrıca çalgıların her biri ait olduğu kültürün otantik ezgileriyle de değerlendirilmiştir. Çalışma sonucunda katılımcıların çalgı beğeni düzeyleriyle yaş, cinsiyet, gelir düzeyi ve dinlenen müzik türü arasında anlamlı ilişkiler olduğu ortaya çıkmıştır. Dinlenilen müzik türü ve cinsiyet arasındaki ilişkiye göre kadınların daha çok Pop müzik, erkeklerin ise daha çok Türk müziği dinlemeyi tercih ettikleri tespit edilmiştir. Buna ek olarak kadınlar en çok Gitar, Yan Flüt ve Piyano’yu tercih ederken, erkekler Ud’u tercih etmiştir. Toplamda erkek ve kadınların en az tercih ettiği çalgı ise Morin Khuur olmuştur. Gelir düzeyi düşük katılımcılar daha çok Piyano’yu, orta gelir düzeyindeki katılımcılar daha çok Klasik Gitar’ı, yüksek gelir düzeyindeki katılımcılar ise daha çok Ud’u tercih etmiştir. Aynı zamanda tüm gelir düzeyleri arasında en az beğenilen çalgı Morin Khuur olmuştur. Katılımcıların yaş ortalaması küçüldükçe Gitar beğenisi, yaş ortalaması büyüdükçe Kaval beğenisi artmıştır.

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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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Morrongiello, Christopher. "Elizabethan lute music." Early Music XXIII, no. 1 (1995): 155–57. http://dx.doi.org/10.1093/earlyj/xxiii.1.155.

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Crawford, Tim. "Music for lute." Early Music XXVI, no. 2 (1998): 347–52. http://dx.doi.org/10.1093/earlyj/xxvi.2.347.

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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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Tomalin, Marcus. "Lutes, vihuelas and guitars—filling in some gaps." Early Music 46, no. 4 (2018): 694–97. http://dx.doi.org/10.1093/em/cay072.

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Dissertations / Theses on the topic "Lute music Guitar music"

Fang, Ming-Jian. "Notational systems and practices for the lute, vihuela and guitar from the Renaissance to the present day." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558361.

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Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with the mastery and understanding of notation. After an introduction, the second chapter discusses three main tablatures for the lute and vihuela. It is important to confine oneself to the tablatures, in order that they be throughly understood. Thusthe third chapter deals with ornamentations, the fourth chapter with four-course, five course, six-course and six-string guitar notations, and the fifth chapter encompasses progressive notationfor the modern guitar. Systems for folk and commercial music are not addressed in this paper.The author hopes that with the use of this dissertation, tablatures can be handled with less difficulty and put into proper perspective. Careful thought has been given in selecting representative examples and notational literature excerpts as illustrations for the reader and/or performer. These examples need not only be studied but can be used as preparation for any other related composition. The purpose of this study is to supply teachers, students, and guitarists with a ready-reference guide to the notational practices for the lute, vihuela and guitar, a subject previously shrouded in confusion. School of Music

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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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Serrano, Munoz Jaime Renato. "Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss's Sonata." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/595984.

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"Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss's Sonata 36 (from the Dresden Manuscript) as a Model" analyzes the process of creating guitar transcriptions of Weiss's music. The methodology unfolds through three steps: 1) rendering the tablature into modern guitar notation, 2) analyses of stylistic issues for the definition of fingerings on the guitar, and 3) two categories of ornamental practices—essential embellishments and diminutions. In addition, the study includes a discussion about an alternative tuning and presents a suggested prelude for Sonata 36 from the Dresden manuscript. The purpose of this research is twofold: first, to create a new guitar transcription of a sonata by Weiss, analyzing the challenges inherent in this process, and second, to train intermediate and advanced guitar students to develop their own original transcriptions following the model presented in this study.

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Farstad, Per Kjetil. "German galant lute music in the 18th century : a study of the period, the style, central lutenists, ornaments, idiomatic, and problems that arise when adapting lute music from this period to the modern eight-stringed classical guitar /." Göteborg : University, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121471s.

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Akademisk avhandling--Philosophie--Göteborg, 2000. Notices biogr. sur les luthistes et les compositeurs pour luth en Allemagne au 18e siècle p. 297-360. Liste des oeuvres pour luth composées en Allemagne au 18e siècle avec localisations p. 385-474. Bibliogr. p. 484-513.

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Li, Zhi. "How a Schenkerian Analysis May Inform the Interpretation and Performance of J. S. Bach's Lute Music on the Guitar Using Selective Movements of Bach Lute Suite No. 4 in E Major (BWV1006A) as a Demonstration." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752403/.

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Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.

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Kapeller, Ulrike Sturt John. "Untersuchungen zu John Sturt's lute book." Regensburg : G. Bosse, 1988. http://catalog.hathitrust.org/api/volumes/oclc/19370549.html.

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Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.

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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.

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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.

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The purpose of this thesis was to build the Guitar Application ToolKit (GATK), a series of applications used to expand the sonic capabilities of the acoustic/electric stereo guitar. Furthermore, the goal of the GATK was to extend improvisational capabilities and the compositional techniques generated by this innovative instrument. During the GATK creation process, the current production guitar techniques and overall sonic result were enhanced by planning and implementing a personalized electroacoustic performance set up, designing custom-made performance interfaces, creating interactive compositional strategies, crafting non-standardized sounds, and controlling various music parameters in real-time using the Max/MSP programming environment. This was the first thesis project of its kind. It is expected that this thesis will be useful as a reference paper for electronic musicians and music technology students; as a product demonstration for companies that manufacture the relevant software; and as a personal portfolio for future technology related-jobs.

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Cockburn, Brian 1963. "The music of Cuthbert Hely in Cambridge, Fitzwilliam music ms. 689." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276717.

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Part I comments on the life and music of Cuthbert Hely. In Chapter 1, Hely's place in society is described. The only evidence for Hely's existence consists of a letter from Cuthbert Hely to Lord Herbert of Cherbury, and the unusual organization of the lute-book. Chapter 2 studies the style of Hely's lute music, using a pseudo-Schenkerian approach to show its harmonic and polyphonic characteristics. Part II presents a transcription of Hely's eight pieces, along with lute tablature, edited for modern performance. A selective bibliography is included.

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Craig-McFeely, Julia. "English lute manuscripts and scribes 1530-1630." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260011.

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Books on the topic "Lute music Guitar music"

Martin, Peter. Playing lute music on your guitar. Lute Society, 1999.

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Smith, Dorman H. Guitar and lute music in periodicals: An index. Fallen Leaf Press, 1990.

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Matanya, Ophee, ed. The Orphée data-base of guitar records. Editions Orphée, 1990.

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Ragossnig, Konrad. Handbuch der Gitarre und Laute. 3rd ed. Schott, 2003.

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Radole, Giuseppe. Liuto, chitarra e vihuela: Storia e letteratura. 2nd ed. Suvini Zerboni, 1986.

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Radole, Giuseppe. Liuto, chitarra e vihuela: Storia e letteratura. Suvini Zerboni, 1997.

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Farstad, Per Kjetil. German galant lute music in the 18th century: A study of the period, the style, central lutenists, ornaments, idiomatic, and problems that arise when adapting lute music from this period to the modern eight-stringed classical guitar. Göteborg University, Dept. of Musicology, 2000.

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Dowland, John. Lute music and dances. RCA Red Seal, 1986.

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Thomas, Irene. Catalogue of contemporary lute music. Nederlandse Vereniging, 1986.

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

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Book chapters on the topic "Lute music Guitar music"

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

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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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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Renaissance Lute Music." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-17.

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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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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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Rhodes, Christophe, and David Lewis. "An Editor for Lute Tablature." In Computer Music Modeling and Retrieval. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11751069_23.

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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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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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Conference papers on the topic "Lute music 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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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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Petrova, Elizaveta Vladimirovna. "Teacher's educational work at the children's art school and children's music school in classical guitar class." In II International Scientific and Practical Conference, chair Svetlana Alekseevna Podkorytova. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-462779.

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Hortencia Lopes Garcia, Denise, and Ricardo Henrique SerrÃo. "PEDAGOGICAL MUSIC IN XXI CENTURY: COMPOSITION OF AN GUITAR EDUCATIONAL STUDIES SERIES FROM WORKS BY EDINO KRIEGER." In XXIII Congresso de Iniciação Científica da Unicamp. Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-38167.

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