Relevant bibliographies by topics / Recorder and guitar music

Contents

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

Academic literature on the topic 'Recorder and guitar music'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Recorder and guitar music"

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Lalela, Julius Saint Michael, and Yeni Rokhayati. "PEMBUATAN APLIKASI PEMBELAJARAN AKOR DASAR GITAR." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 3, no. 01 (2020): 51–60. http://dx.doi.org/10.30871/deca.v3i01.1985.

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Every person is now easier to express themselves through music. Many music-themed applications can be found on smartphones, including those based on Android. With the rapid development of smartphone technology nowadays, more and more applications are used as learning media. With the rapid development of technology, an application that can help a beginner guitarist learn basic guitar chords, their shape and tone, is needed. Therefore, an application was developed to facilitate beginner guitarists to learn basic guitar chords. In making this application, the software used consisted of Adobe Flash CS5, Adobe Air, Android Emulator, Android SDK, Adobe Photoshop CS6, and Sound Recorder application. This application had been tested and successfully implemented to facilitate beginner guitarists to learn basic guitar chords, along with their shape and tone.
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Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.

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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.
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Moten, Fred. "Rough Americana. By DJ Mutamassik (turntables, tape recorder, and effects) and Morgan Craft (stunt guitar). Circle of Light COL 002, 2003." Journal of the Society for American Music 2, no. 2 (2008): 283–87. http://dx.doi.org/10.1017/s1752196308081212.

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Üstün, Emre, and Aycan Özçimen. "The examination of the impact by expert views of school musical instruments on 6. primary school music class reach to its acquisitionsOkul çalgılarının ilköğretim 6. sınıf müzik dersi kazanımlarına ulaşmadaki etkililiğinin uzman görüşlerine göre incelenmesi." International Journal of Human Sciences 12, no. 2 (2015): 1026. http://dx.doi.org/10.14687/v12i2.3307.

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<p>The purpose of the research is to determine which school musical instrument (recorder, bağlama, guitar) is more effective in reaching music lesson acquisitions. The research is on an experimental basis. In accordance with the aforementioned purpose, the effect of the experimental application on experimental groups has been identified.</p><p>The work group of the research consists of 6th grade students which are divided into three groups, namely 6A-6B-6C, in 75. Yıl Primary School in the city of Nevşehir. In order to discover the impact of recorder, bağlama and guitar on music class acquisitions, cognitive entry behaviors (pre-acquisitions) test have been designed by using expert view. Acquisitions and level of learning and practice skills of each of the classes which constitute the experiment group have been evaluated by 5-point Likert scale. Data gathered via the experiment have been analyzed via SPSS statistical software with One Way ANOVA, Pearson’s Correlation, Levene, Shapiro-Wilks, Kruskal-Wallis, Variance, and Scheffe tests.</p><p>In the results of the research, it has been observed that all of the three instruments have an impact on acquisitions. When expert views are examined, it was determined that all of the three instruments increased the level of success in different acquisitions.</p><p> </p><p><strong>Özet</strong></p><p>Araştırmanın amacı ilköğretim müzik dersi kazanımlarına ulaşılmasında hangi okul çalgısının (blok flüt, bağlama, gitar) daha etkili olduğunun belirlenmesidir. Araştırma deneysel niteliktedir. Söz konusu amaca yönelik olarak deneysel uygulamanın deney grupları üzerindeki etkisi belirlenmiştir. </p><p>Araştırmanın çalışma grubunu Nevşehir İli 75. Yıl İlköğretim Okulunun 6A-6B-6C şeklinde üç şubeden oluşan 6. Sınıf öğrencileri oluşturmaktadır. Blok flüt, bağlama ve gitar çalgılarının müzik dersi kazanımlarında etkisini ortaya çıkarmak amacıyla uzman görüşlerinden faydalanılarak bilişsel giriş davranışları (ön öğrenmeler) testi hazırlanmıştır. Deney grubunu oluşturan her bir sınıfın kazanımları öğrenme ve uygulama beceri düzeyleri 5’li Likert tipi derecelendirme ölçeği ile değerlendirilmiştir. Deney sonucunda elde edilen veriler SPSS istatistik programı ile One Way Anova, Pearson Korelasyon, Levene, Shapiro-Wilks, Kruskall-Wallis Varyans ve Scheffe testi kullanarak değerlendirilmiştir.</p><p>Araştırma sonucunda süreç içerisinde kazanımlar üzerinde her üç çalgının da etkili olduğu, uzman görüşleri incelendiğinde üç çalgının da farklı kazanımlarda başarı seviyesini arttırdığı tespit edilmiştir.<strong></strong></p>
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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.

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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
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Zagorski-Thomas, Simon. "The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production." Popular Music 29, no. 2 (2010): 251–66. http://dx.doi.org/10.1017/s0261143010000061.

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AbstractThis article will discuss how two major contributing factors, functional staging and perceived authenticity, have had and continue to have a powerful influence on the sound of record production across geographical boundaries and throughout history. Functional staging is a concept building on the idea of phonographic staging developed by William Moylan and Serge Lacasse and related to Allan Moore's ‘sound-box’. The staging of sounds in the record production process is considered to be functional if the reason for their particular placement or treatment is related to the practicalities of audience reception rather than to aesthetics. It is not a question of whether the music has a function or not but whether that function has influenced the staging of the recorded music. Thus the divergence of staging techniques used in dance music and rock music that began in the 1970s can be seen as resulting from the different functions the music was put to by the different audiences. Music that is played back through large speakers in a club for the purpose of dancing needs to maintain the clarity of the rhythmic elements and so the ‘drier’ techniques of drum and percussive instrument mixing that characterise dance music developed. Rock, however, was more frequently played back in the smaller, less ambient, home environment and so reverberation was added to simulate the atmosphere of the large-scale venue. At the same time, a variety of culturally constructed notions of authenticity have developed within different musical audiences. Why is it that Queen felt the need to inscribe ‘no synthesisers were used in the making of this album’ on their early records and yet Brian May felt entirely comfortable constructing multiple layered performance ‘patchworks’ of guitar tracks? Why might the use of one type of technological mediation be considered more or less authentic than another? Using examples taken from recordings from all around the world and from ‘art’ and ‘popular’ forms of music, this article will explore how audience-led cultural trends in recording and production practice have resulted in the particular ‘sounds’ of different recorded music genres.
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Casas-Mas, Amalia, Guadalupe López-Íñiguez, Juan Ignacio Pozo, and Ignacio Montero. "Function of private singing in instrumental music learning: A multiple case study of self-regulation and embodiment." Musicae Scientiae 23, no. 4 (2018): 442–64. http://dx.doi.org/10.1177/1029864918759593.

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The aim of this article is to explore a range of largely embodied vocalisations and sounds produced by learners of string instruments and how they relate to the potential self-regulatory use provided by such vocalisations. This type of “singing” while learning to play an instrument may have similarities to the use of private speech in other types of learning tasks. This report describes a multiple case study based on the naturalistic observation of learners playing string instruments in different situations. We observed private rehearsals by six adult guitarists from different music cultures (classical, flamenco and jazz) who had different approaches to learning (traditional and constructivist). In addition, we observed the one-to-one lessons of a constructivist cello teacher with a 7-year-old beginner and a 12-year-old student. All sessions were recorded. We applied the System for Analysing the Practice of Instrumental Lessons to the video lessons and/or practices and participant discourse for constant comparative analysis across all categories and participants. From the theoretical framework of private speech, we identified a set of qualities in private singing, such as whistling, humming, and guttural sounds, with different levels of audibility. Self-guidance and self-regulation appeared to be the functions underlying both psychomotor learning and reflective-emotional learning from an embodiment approach. Guitar learners from popular urban cultures seemed to use less explicit singing expression than classical guitar learners, the explicitness of which may be related to the instructional use of the notational system. In the one-to-one cello lessons, we observed a process of increasing internalisation from the younger to the older student. Both results are consistent with the literature on private speech, indicating that this process is a natural process of internalisation at higher literacy levels. Singing is not as frequent in music lessons as might be expected, and it is even less frequently used as a reflective tool or understood as an embodied process. The examples provided in this article shed light on the multiplicity of applications and on the potential benefits of private singing in instructional contexts as a powerful learning tool.
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Wöllner, Clemens. "Call and response: Musical and bodily interactions in jazz improvisation duos." Musicae Scientiae 24, no. 1 (2018): 44–59. http://dx.doi.org/10.1177/1029864918772004.

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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.
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Vidal, Verónica, Carissa Ernat, and Laura DeThorne. "“I Think He Wants You to Play the Guitar:” Use of Behavioral Interpretation as a Strategy for Facilitating Peer Interaction Across Autistic and Nonautistic Peers." Perspectives of the ASHA Special Interest Groups 3, no. 1 (2018): 68–83. http://dx.doi.org/10.1044/persp3.sig1.68.

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Purpose The study examined the nature and potential impact of a relatively novel clinician strategy, behavioral interpretation, on peer interactions involving an autistic child. Method This extended qualitative analysis reviewed 49 instances of a clinician using behavioral interpretation as part of a music education program. The program was designed to facilitate peer interaction across a 7-year-old autistic child. Aaron, and 4 of his nonautistic peers from the same classroom. After reviewing the 21 video-recorded sessions, the research team selected the most salient examples of behavioral interpretation for microanalyses. Findings By focusing on a detailed review of the 6 most clear, concise, and compelling examples, we found that behavioral interpretation took 2 forms aimed at helping explain an unclear behavior: narrating (e.g., “I see you looking at strings”) and offering possible meanings (e.g., “I think he wants you to play guitar”). After limited exposure to behavioral interpretation, peers began displaying similar patterns of interaction that drew attention and speculation regarding Aaron's nonverbal forms of communication. Conclusions Behavioral interpretation, a relatively undocumented strategy in the autism literature, appeared as a feasible and promising strategy for shaping egalitarian peer interaction. Important nuances regarding the implementation and limitations of this strategy are also discussed.
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Rubens, Richard. "Guitar pick recorder and playback device." Journal of the Acoustical Society of America 125, no. 5 (2009): 3488. http://dx.doi.org/10.1121/1.3139587.

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Dissertations / Theses on the topic "Recorder and guitar music"

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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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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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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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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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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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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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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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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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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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Books on the topic "Recorder and guitar music"

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Hawaiian & Hawaiian guitar records, 1891-1960. Mahina Piha Press, 2007.

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

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group), Corrs (Musical. Play guitar with-- The Corrs. Wise, 1999.

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group), Smiths (Musical. Play guitar with-- The Smiths. Wise, 2005.

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Play guitar with-- U2: (1984-1987). Wise, 2004.

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Plourde, Yvon. Music is fun to play, 2: 50 traditional and popular melodies for recorder, xylophone, ukulele, guitar & percussion. Waterloo Music Ltd., 1985.

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Tom, McGirr, Boduch Doug, Wiegratz Warren, and Schroedl Scott, eds. Dark side of the moon. Hal Leonard, 2008.

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A star shines out: Christmas music for children 5 to 11 years : arranged for piano, voice, recorder and percussion; guitar chords given. Golden Apple Productions, 1986.

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Snidero, Jim. Jazz conception: 21 solo etudes for jazz phrasing, interpretation and improvisation : guitar. Advance Music, 1996.

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Radiohead. Radiohead: A step-by-step breakdown of the band's guitar styles and techniques. Hal Leonard, 2014.

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Book chapters on the topic "Recorder and guitar music"

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

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Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

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

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

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

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

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

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Herbst, Jan-Peter. "‘Gear Acquisition Syndrome’ – A Survey of Electric Guitar Players." In Popular Music Studies Today. Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_15.

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Wagar, Scott. "“They don’t just see some person with a guitar”." In Bruce Springsteen and Popular Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315672144-16.

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Conference papers on the topic "Recorder and guitar music"

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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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Feng, Yuanhao, Panlong Yang, Ziyang Chen, Gang Huang, Yubo Yan, and Xiangyang Li. "RF-Recorder: A Contactless Music Play Recording System Using COTS RFID." In 2019 15th International Conference on Mobile Ad-Hoc and Sensor Networks (MSN). IEEE, 2019. http://dx.doi.org/10.1109/msn48538.2019.00021.

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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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Otsuka, Isao, Hidetsugu Suginohara, Yoshiaki Kusunoki, and Ajay Divakaran. "Detection of Music Segment Boundaries using Audio-Visual Features for a Personal Video Recorder." In 2007 Digest of Technical Papers International Conference on Consumer Electronics. IEEE, 2007. http://dx.doi.org/10.1109/icce.2007.341444.

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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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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Riber, Adrián García. "Sonifigrapher. Sonified Light Curve Synthesizer." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.016.

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In an attempt to contribute to the constant feedback existing between science and music, this work describes the design strategies used in the development of the virtual synthesizer prototype called Sonifigrapher. Trying to achieve new ways of creating experimental music through the exploration of exoplanet data sonifications, this software provides an easy-to-use graph-to-sound quadraphonic converter, designed for the sonification of the light curves from NASA’s publicly-available exoplanet archive. Based on some features of the first analog tape recorder samplers, the prototype allows end-users to load a light curve from the archive and create controlled audio spectra making use of additive synthesis sonification. It is expected to be useful in creative, educational and informational contexts as part of an experimental and interdisciplinary development project for sonification tools, oriented to both non-specialized and specialized audiences.
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Tsai, Ming-June, Jai-Hong Chao, and Tzu-Wei Yang. "Construction of a General Motion Editing System for Human Body and Humanoid Robots." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34118.

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In this paper, a general body motion editing system for 3D body motion is constructed. The input of the system accepts any human-like structure according to a specified file designation. The body models are imported using STL format. The user-interface is designed for intuitive 3D manipulation just as operating a video recorder. The software system includes three main functions: motion editing, interpolation, and replication. There are three teaching modes available in world coordinate, local coordinate, and joint coordinate. For editing or retouching existing motions, users can easily choose a key frame to teach, and save the posture as a body motion staff (BMS). Several motion interpolation methods are provided to simulate different body motion characteristics. The BMS between the key frames are generated. The BMS can be used to edit and analyze body motions just like the musical staff does to the music.
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