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

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Published: 4 June 2021
Last updated: 1 February 2022

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1

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.<br>School of Music
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2

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, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. 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 <i>Académie de Poésie et de Musique</i>), 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 <i>ballet de cour</i>, to dance forms, and to solo instrumental styles such as <i>stile brisé</i> 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 <i>air de cour</i> commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the <i>voix de ville</i> 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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3

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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4

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.<br>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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5

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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6

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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7

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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8

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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9

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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10

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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11

Paget, Jonathan. "The guitar music of Peter Sculthorpe /." Digitized version, 2003. http://hdl.handle.net/1802/5358.

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Thesis (D.M.A.)--University of Rochester, 2003.<br>Includes vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5358
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12

Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.

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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.<br>https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg
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13

Walker, William J. (William Jared). "The Fantasias of John Dowland: An Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500694/.

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In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.
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14

Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.

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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
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Olson, Ted. "The Guitar: ‘An Orchestra Unto Itself'." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.

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16

Ferguson, Sean W. "The guitar in lexica: the development of the guitar as reflected in general and musical dictionaries and encyclopedias, 1611-1890." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730273.

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17

Lawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.

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Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).
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18

Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.

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This thesis demonstrates the need for and the importance of developing a comprehensive curriculum for the intermediate steel-string guitarist and provides a method to fill this need. The method is not specific to any one musical style and will serve to offer information necessary for the performance of music in any idiom. The lack of material presently available for the intermediate guitarist leaves them without proper musical guidance during this significant stage of their learning curve. The use of this method will help the prospective student to grow both as a guitarist and a musician.
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19

Pinta, Kristen Janet. "Inclusion strategies for the high school guitar class." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523263.

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<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>
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Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.

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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2007.<br>Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).
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23

Willits, William. "Borrowing in the Music and Culture of the Vihuela:A Case Study on the Intabulation." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406821759.

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24

Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.
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Casallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.

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How can I, as a leader, keep the motivation of the participants in a group?   When I started to write this report, I was focused on, how a group could affect the participants motivation of the participants, but little by little I realized that the biggest motivation came from that this group affected mostly my own motivationmyself. The guitar orchestra has given me the opportunity to learn and it has given another sense to my knowledge as musician and teacher. Analysing what I have done with the guitar orchestra has awakened more questions than answers. What exactly did I do? Why did I do it? Was it really effective?   This written part of my project at KMH describes how, together with my colleagues, we have organized an orchestra of guitars in Avonia music institute based in Espoo, Finland and how this group and my own motivation have affected the motivation of the participants.<br>Making Music with a guitar orchestra
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Yim, Gary. "Affordant Chord Transitions in Selected Guitar-Driven Popular Music." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308075022.

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Fugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.

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This thesis is an investigation on the influences that the Spanish Guitar and the traditional music from Spain had on the impressionistic composers of the late 19th century and early 20th century. I have also inquired on the opposite influence, the impressionistic influence on Spanish composers.It contains a description of the characteristics of the two musical genres, informations on their most renowned composers’ composing style and an analysis on two relevant pieces of the guitarist and orchestral repertoire.I found out a very strong link between the two genres, with Impressionism being very influenced by the traditional Flamenco style and the guitaristic idiomatic language and on the other hand the Spanish composers including in their compositions the new Impressionistic composing techniques and its new research on colors and timbres.Keywords:
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Taylor, John Wesley. "Hillbillies and sharecroppers : an introduction to East coast and Mississippi blues styles /." Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=99.

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Thesis (M.A.)--Marshall University, 2002.<br>Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).
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Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.
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Burlet, Gregory. "Automatic guitar tablature transcription online." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117224.

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Manually transcribing guitar tablature from an audio recording is a difficult and time-consuming process, even for experienced guitarists. While several algorithms have been developed to automatically extract the notes occurring in an audio recording, and several algorithms have been developed to produce guitar tablature arrangements of notes occurring in a music score, no frameworks have been developed to facilitate the combination of these algorithms. This work presents a web-based guitar tablature transcription framework capable of generating guitar tablature arrangements directly from an audio recording. The implemented transcription framework, entitled Robotaba, facilitates the creation of web applications in which polyphonic transcription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, resulting in a unified system that is capable of transcribing guitar tablature from a digital audio recording and displaying the resulting tablature in the web browser. The performance of the implemented polyphonic transcription and guitar tablature arrangement algorithms are evaluated using several metrics on a new dataset of manual transcriptions gathered from tablature websites.<br>Transcrire à la main une tablature pour guitare à partir d'un enregistrement audio est un processus difficile et long, même pour les guitaristes chevronnés. Bien que plusieurs algorithmes aient été créés pour extraire automatiquement les notes d'un enregistrement audio, et d'autres pour préparer des arrangements de notes de tablature pour guitare tels qu'on les retrouve dans la création musicale, aucun environnement n'a été mise en place pour faciliter l'association de ces algorithmes. Le travail qui suit présente un environnement accessible sur l'Internet, permettant la transcription et la préparation d'arrangements de tablatures de guitare, directement à partir d'un enregistrement audio. Cet environnement de transcription, nommée Robotaba, facilite la création d'applications Web, dans lesquelles la transcription polyphonique et les algorithmes d'arrangements de tablature pour guitare peuvent être intégrés. Une telle application Web permet d'obtenir un système unifié, capable de transcrire une tablature pour guitare à partir d'un enregistrement audio numérique, et d'afficher la tablature obtenue dans un navigateur Web. La performance de la transcription polyphonique mise en place et des algorithmes d'arrangements de tablature pour guitare est évaluée à l'aide de plusieurs paramètres et d'un nouvel ensemble de données, constitué de transcriptions manuelles recueillies dans des sites Web consacrés aux tablatures.
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Davis, Evan Brugh. "On the structural and acoustic design of guitar soundboards /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/7116.

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Lewon, Marc. "Transformational practices in fifteenth-century German music." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:2a11c52f-52e5-4702-bab6-574d86f1f8bc.

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In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces in this process, which led to numerous innovations, particularly in the development of instrumental music and its notation. I then investigate the question of the instrumental accompaniment of monophonic song and how the development of new instruments and techniques influenced and shaped the melody types in the late medieval sources. To do this, I consult the genre of Neidhart songs as an oeuvre of secular song that was cultivated and transmitted in sources from the thirteenth to the fifteenth centuries. The network of interdependencies between repertoires enables an analysis of transformational practices in the songs of Oswald von Wolkenstein, which are influenced by the Neidhart-genre. The analysis comes full circle with reworkings of his melodies in the Lochamer Liederbuch and related sources. The study shows that vocal music and instrumental intabulations influenced each other mutually to create new repertoires and styles. Amongst the most significant insights are the findings around the WolfenbÃ1⁄4ttel Lute Tablature, which open up a field of hitherto unknown instrumental practices and playing techniques, particularly on the plectrum lute. The process of transferring intabulation techniques from the keyboard to other polyphonic instruments leads to the formulation of a coherent, 'pan-instrumental' style of solo intabulation in the fifteenth century.
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McCallie, Michael. "A survey of the solo guitar works written for Julian Bream." Thesis, The Florida State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10000626.

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<p> The purpose of this treatise is to present a survey of the solo guitar works written for Julian Bream and to illuminate their historical significance and lasting importance to the guitar repertoire. For each piece, this treatise provides a brief biographical sketch of each composer, a survey of the relevant literature and, where necessary, a brief theoretical analysis. At the end of each section, a &ldquo;Performer&rsquo;s Note&rdquo; has been included, which details the specific difficulties of performing each piece. Hopefully, this treatise will provide guitarists interested in the pieces written for Julian Bream a reference for performance and study.</p>
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Ortiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.

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Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar. This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the instrument. Sonata III is Compeán’s most ambitious guitar composition and one of the most important twenty-first century contributions to the Mexican guitar literature. This research focuses on the production of a performing edition of Sonata III. This research also includes a comprehensive analysis of Compeán’s solo guitar music to provide context for guitarists so that they can better understand the composer’s style.
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Sequera, Héctor J. "Selected lute music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale reconstruction, edition, and commentary /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.library.unt.edu/theses/all/Dec2004/sequera%5Fhector%5Fj/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.<br>System requirements: Adobe Acrobat Reader. Includes score (p. 25-105) in tablature and modern notation. Includes bibliographical references (p. 110-112).
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36

Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.

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This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.
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Incze, Lajos. "Popular guitar pedagogy: fostering traditional musicianship in the culturally relevant classroom." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119382.

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Music education in North America remains loyal to the ideals, materials, and methodologies of a bygone era despite widespread calls for pedagogical change. Popular music has a limited role in schools although culturally relevant programming is increasingly important in modern contexts. Guitar class has the unrealized potential to reach those many students who are eager for music opportunities but unable to work within traditional formats. Guitar is motivational, inclusive, and relevant to students, and therefore has an appropriate place in the pluralistic classrooms of the twenty-first century. Unfortunately, a model is l lacking to bridge the gap between guitar performance, and materials from popular guitar-based genres, with traditional values of formal music education. Guitar instruction is consistently portrayed in opposition to, or as an alternative to, success in the time0homored priorities of school music. The question remains, then, as to if popular guitar performance can be reconciled with an emphasis on theory, literacy, and fine musicianship. This narrative study details a public school teacher's attempt to synthesize an original electric guitar curriculum for his middle school classes, one responsive to both academic and cultural concerns. Suggestions for concrete steps towards an achievement-oriented popular guitar pedagogy are presented, amidst the argument that such developments are feasible, necessary, and overdue.<br>L'éducation musicale en Amérique du Nord reste fidele aux idéaux, au matériel et aux méthodes d'une époque révolue, malgré de nombreux appels pour un changement pédagogique. La musique populaire a un rôle limite den les écoles, bien que des programmes culturellement pertinents soient de plus et plus important dans des contextes modernes. Les cours de guitare ont le potentiel inexploité d'atteindre ces nombreux étudiants qui sont désireux d'apprendre la musique, mais incapables de travailler dans un format traditionnel. La guitare est motivante, inclusive et pertinente pour les élevés, et a donc une place appropriée dans les groupes diversifies du vingt et unième siècle. Malheureusement, il existe un fosse ester les objectifs traditionnels et la musique populaire a la guitare. L'enseignement de la guitare est habituellement perçu comme une opposition, ou comme une alternative a la réussite scolaire. La question demeure donc a savoir si la guitare populaire peut être conciliée a la théorie et a la musicalité. Cette étude décrit comment un professeur d'école publique tente de synthétiser un programme de guitare électrique original qui répond aux besoins académiques et culturels. Des suggestion portant sur des mesures concrète ayant pour objectif d'atteindre une pédagogie tournée ver la réussite du cour sont présentées comme possibles, nécessaires et attendues.
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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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Serce, Andrew J. "A POST-TONAL ANALYTICAL APPROACH TO SYNCHRONISMS NO. 10 FOR GUITAR AND TAPE BY MARIO DAVIDOVSKY." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/97.

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Mario Davidovsky is an American composer who was born in Buenos Aires, Argentina on March 4, 1934. Beginning in 1958, he was a student of Aaron Copland at the Berkshire Music Center (currently the Tanglewood Music Center) in Lenox, Massachusetts. At Berkshire, he also met American composer, Milton Babbitt, who persuaded him to work at the Columbia-Princeton Electronic Music Center (currently the Computer Music Center at Columbia University) in New York City. Davidovsky was appointed Associate Director of the Columbia-Princeton Electronic Music Center in 1960 where he inevitably began experimenting with the relationships between live instruments and electronic sounds. Synchronisms No. 10 for guitar and tape (1992) is a piece for solo classical guitar and pre-recorded synthesized sounds. The piece was dedicated to David Starobin, the current Professor of Guitar at the Manhattan School of Music, who also edited the guitar part. This particular piece in the Synchronisms series shows that Davidovsky is aware of the limitations of the guitar in regard to dynamic range and decay of sound. Knowing these limitations, Davidovsky utilizes the various abilities of the instrument including its wide timbral range and use as a percussive medium. Although Davidovsky himself has been quoted as not using pitch-class sets of any kind, a post-tonal analysis can be applied to this piece in order to further understand individual sections and interaction between guitar and recording. Also, a review of the performance techniques necessary to approach this piece, and how said techniques are implemented, will help the musician perform at a higher level.
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40

Schroeder, Lisa Marie. "The flute and guitar duo: the development of an equal partnership." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2010.

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THE FLUTE AND GUITAR DUO: THE DEVELOPMENT OF AN EQUAL PARTNERSHIP By Lisa Marie Schroeder December 2015 The 21st century flute and guitar duo literature contains equal parts of intricate melodic and harmonic content, challenging both players with standard and contemporary techniques. In the past, beginning with the late seventeen hundreds, the repertoire for this combination consisted of simple flute melodies and sparse, accompanimental guitar parts. When did an equal partnership begin developing between the instruments and how are professional duos guiding this change? For the research of this document, a survey was drafted and sent to 104 professional flute and guitar duos around the globe, resulting in 51 duos completing and returning the questionnaire. Of the 51 duos that returned the survey, 48 duos qualified as professional and three duos were disqualified. The general consensus reached is that the flute and guitar duo has developed into an equal partnership in the last 30 years, accomplished through music with more substantial parts for both instruments, beginning with the legendary Histoire du Tango by Ástor Piazzolla. My hope is that those who read this document will understand the need for more flute and guitar music containing equal parts, thus inspiring commissions. I hope, too, that the lists of pieces revealed by seasoned flute and guitar duos (located in Appendix B and C), will be a useful tool for all flute and guitar duos, especially those starting out in the genre. This document is essential to the university flute and guitar studios and beginning duos in selecting pieces in which both performers will learn and grow as instrumentalists and chamber musicians.
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Kirsten, Ryan Kenneth. "An investigation into the process of transcribing keyboard works for guitar duet." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/76609.

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The purpose of this study is to investigate the process of transcribing keyboard music for guitar duet. Throughout history, few of the most important and prolific composers were guitarists or ever wrote for the guitar. This has resulted in the need for guitarists to expand the repertoire by arranging and transcribing music, originally written for other instruments or ensembles, for guitar solo, duet, trio, quartet or even larger groups. Furthermore, it is my hope that this study can serve as a guideline for prospective transcribers.<br>Mini Dissertation (MMus (Performing Art))--University of Pretoria, 2020.<br>Music<br>MMus (Performing Art)<br>Unrestricted
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Nilsson, Jokela Rickard. "SlowBass : exploring, adapting and evolving the possibilities of the bass guitar." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1440.

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43

Alcaraz, Roberto. "Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279989.

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This document is a study of Benjamin Britten's Nocturnal, Op. 70, a major work composed for solo guitar in 1963. It intends to demonstrate that the architecture used by the composer in this work is determined as much by its underlying program as well as to the variation structure used to convey it. This work is structured in eight sections: following an overview of the document in section one, section two consists of a brief biography of the composer as well as a general survey of his works, including those in which he makes use of the guitar. Sections three and four examine the works by Britten composed in variation form, as well as those which are related to the themes of night, death, sleep, and dreams. Sections five and six include a brief biography of Renaissance composer John Dowland, as well as a brief discussion of other Britten works inspired by the music of this composer. Benjamin Britten uses John Dowland's song "Come Heavy Sleep" as the basis for his Nocturnal, Op. 70. This song is examined and analyzed as part of section six. Section seven consists of a close examination of the Nocturnal, Op. 70. This examination looks closely at the most important harmonic, rhythmic, and formal elements of each variation and how they relate to the theme of Dowland. Finally, the conclusion sums up and reemphasizes the main thesis laid out in the introduction of this document.
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44

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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45

Liu, Terence Michael. "Development of the Chinese two-stringed bowed lute 'erhu' following the New Culture Movement (c. 1915-1985)." online access from Digital dissertation consortium, 1988. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8827170.

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46

Lazo, Alejandro. "Contemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193775.

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The purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works were chosen since they exemplify the stylistic trends I wish to highlight: Tres Instantáneas (1988) by Manuel Enríquez, Sonata (1992) and Elegía 2 (2000) by Hebert Vázquez, Haikus (2000) by Ana Lara, Sydolira (2000) by Gabriela Ortíz, and Impello (2003) by Francisco Javier González Compeán. By comparative analysis, I have associated certain stylistic features between these contemporary Mexican composers. I have been able to get a glimpse of some of the underlying stylistic unities found in these guitar compositions that seem rather separate. There are a number of stylistic features common to all of the composers discussed herein as well as few characteristics where only some of them converge. However, this research shows that Arturo Fuentes’ Primer Interludio is representative of several stylistic features commonly found in guitar music written by contemporary Mexican composers. There is a vast variety of Mexican guitar works created in recent years that remain unknown to today’s classical music world, academic community and general public. Mexico possesses a large repertoire of guitar works, music for solo guitar and guitar with a wide array of ensemble combinations from duets to large ensembles and guitar concertos. Many of these works would undoubtedly challenge a performer of the highest caliber. One of the purposes of this project is to promote contemporary Mexican classical guitar music. I hope to awake interest in this contemporary music style and encourage other musicians to include Mexican works in their concert repertoire.
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Denhard, August. "Lute realizations for the English cavalier songs (1630-1670) : a guide for performers /." Online version, 2006. http://www.cs.dartmouth.edu/~lsa/associated/Denhard/index.html.

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Chapman, David. "Doctoral thesis recital (guitar)." 2010. http://hdl.handle.net/2152/11421.

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"Vincenzo Galilei’s “26 Ricercari” from Fronimo, Transcribed for Guitar: Challenges and Solutions for Transcribing and Playing Italian Renaissance Lute Tablature on the Modern Guitar." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57023.

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abstract: In 1568, Vincenzo Galilei published the first edition of Fronimo as a guide to the art of intabulating vocal music for the lute. A second edition was released in 1584 in which Galilei presents “26 Ricercari” to demonstrate the sound of each Glarean mode. These short works provide a methodical approach to experiencing the Renaissance modes through his beautiful writing for the lute. This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included. Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected. My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures.<br>Dissertation/Thesis<br>"26 Ricercari" by Vincenzo Galilei, arranged and performed by John Oeth<br>Doctoral Dissertation Music 2020
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Milovanov, Alexander. "Doctoral thesis recital (guitar)." 2015. http://hdl.handle.net/2152/30067.

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