Academic literature on the topic 'String guitar music'
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Journal articles on the topic "String guitar music"
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Provost, Richard, and Kerry Arlt. "Music for Guitar and String Quartet." American String Teacher 37, no. 1 (1987): 58–60. http://dx.doi.org/10.1177/000313138703700118.
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Ciszak, Thomas, and Seth F. Josel. "OF NEON LIGHT: MULTIPHONIC AGGREGATES ON THE ELECTRIC GUITAR." Tempo 74, no. 291 (2019): 25–49. http://dx.doi.org/10.1017/s0040298219000962.
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AbstractConsiderable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analogue effect pedals (compression, overdrive and distortion). In order to precisely indicate the spectral components and harmonic nodes, we have used the Extended Helmholtz-Ellis JI Pitch Notation (HEJI).
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Bell, Adam Patrick. "Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome." British Journal of Music Education 31, no. 3 (2014): 343–57. http://dx.doi.org/10.1017/s026505171400028x.
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The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches to enabling the guitar are examined including open-tuning, standard tuning and a modified two-string guitar. Findings discuss the importance of the guitar to the participant as a percussive and rhythmic instrument and additionally as support for singing in the context of jamming.
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Century, Paul, and Roberto Sierra. "Triptico for Guitar and String Quartet." Notes 49, no. 1 (1992): 363. http://dx.doi.org/10.2307/897264.
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Suwanpakdee, Suppabhorn. "Sounds of Lisu Music to New Music for Guitar and String Quartet." Malaysian Journal of Music 7 (March 2, 2018): 159–79. http://dx.doi.org/10.37134/mjm.vol7.9.2018.
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Kang, Sangmi. "Motivation and Preference for Acoustic or Tablet-Based Musical Instruments: Comparing Guitars and Gayageums." Journal of Research in Music Education 66, no. 3 (2018): 278–94. http://dx.doi.org/10.1177/0022429418785379.
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The purpose of this study was to examine the effect of motivation on upper-grade elementary students’ preferences for acoustic or tablet-based instruments. The effect of cultural familiarity on musical instrument preference was also investigated. Participants ( N = 138) were classified by motivation levels (low, medium-low, medium-high, and high) and played the guitar, tablet-based guitar, gayageum (Korean string instrument), and tablet-based gayageum. After playing each instrument, participants rated preferences and provided their reasons. Results of the mixed-model ANOVA revealed two significant main effects for instrumental mode (acoustic vs. tablet-based) and motivation on instrument preference. A significant three-way interaction was also found: Cultural Familiarity × Mode × Motivation. The two main effects of mode and motivation produced a general pattern in instrument preference: (a) Students generally preferred acoustic instruments to tablet-based instruments, and (b) the level of motivation was associated with the degree of preference ratings. However, the interaction effect deviated from the general pattern; the low motivation group participants’ preference ratings between acoustic and tablet-based guitars were not significantly different. This deviation from the general pattern appeared only for the culturally familiar instrument (guitar) but not the culturally unfamiliar instrument (gayageum) among the low motivation group.
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Pols, Freek. "The sound of music: determining Young’s modulus using a guitar string." Physics Education 56, no. 3 (2021): 035027. http://dx.doi.org/10.1088/1361-6552/abef07.
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Downs, Dennis, and Ellen Lindquist. "Harp Lessons by Telecommunication." American String Teacher 44, no. 2 (1994): 59–62. http://dx.doi.org/10.1177/000313139404400223.
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Dennis A. Downs, orchestra instructor at Cedar Falls High School and Peet Junior High School, has taught public school orchestras for 25 years. Past president of the Iowa String Teachers Association and Iowa School Orchestra Association, he is an MENC Certified Music Instructor with a BFAE from Wayne State College, MA from the University of Northern Colorado, and Ed Ad from the University of Nebraska. A cellist in the Waterloo-Cedar Falls Symphony, he also directs the Cedar Falls Municipal Band and performs professionally on guitar, bass, and trombone. Downs is the project facilitator for the distance education program he describes in this article.
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Finan, Donald, and Deanna Meinke. "A Novel Interdisciplinary Course: Musical Acoustics and Health Issues." Perspectives of the ASHA Special Interest Groups 1, no. 19 (2016): 15–25. http://dx.doi.org/10.1044/persp1.sig19.15.
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In response to a college call for new interdisciplinary coursework in the Natural and Health Sciences, an undergraduate level course was created with focus on the physics and biophysics of sound. The physics of sound production in musical instruments is used as a model for understanding vocal production and sound reception, with emphasis on relevant issues of vocal and hearing health promotion. This project-based course, titled “Musical Acoustics and Health Issues,” was designed in collaboration with faculty from Audiology, Speech Science, Public Health, Music, Physics, Music Technology, and Science Education. Student performance is assessed through a series of eight hands-on projects designed to maximize active learning strategies. Course projects center on the concept of “sound as energy” and include the construction of string-based (cigar box guitar) and tube-based (PVC pipe didgeridoo) instruments. Course design, project details, and course outcomes are presented.
Dissertations / Theses on the topic "String guitar music"
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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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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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Vishnick, Martin Lawrence. "A survey of extended techniques on the classical six-string guitar with appended studies in new morphological notation." Thesis, City University London, 2014. http://openaccess.city.ac.uk/4164/.
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This dissertation comprises two volumes. Volume 1 presents a critique and exploration of the way extended techniques with particular sound properties are used and notated in the contemporary repertoire for the classical six-string guitar. In Volume 2, a set of practical exercises provide both instrumentalists and composers with a way to perceive, think through, and use a repertory of sounds based on developed and newly invented extended techniques. Volume 1 is divided into three sections. The first section constitutes an extensive survey of the literature, where extended guitar techniques are investigated in relation to performance and pedagogy by centring on significant research and key repertoire. The examined techniques are characterized by being alternative to the conventional pitch-based attack/decay paradigm. This is followed by an examination of composers’ notational practices, where certain anomalies in the repertoire are addressed. For example, how spectral relationships may be put into a morphological context by employing tablaturebased systems. A concluding section summarises the current use of extended techniques and how compositional methodologies from key composers can be further developed. Volume 2 presents two sets of studies. The first twenty-eight studies centre on individual techniques, after which techniques are combined in the remaining six studies. A new morphologically based notation model is employed, derived by developing the surveyed composers creativity further through enhancing the perception and execution of music comprising only extended techniques. The archetypal attack/resonance morphology of guitar sound is discussed, and this forms the basis for classifying certain extended techniques as archetypes or variants of the archetype. The pedagogical, compositional, and improvisational potential of the chosen extended techniques are exploited in the studies, both through the juxtaposing and the merging of morphologies. After an overview that reflects upon musical relationships between the theoretical and practical aspects of the dissertation, the final section is concerned with the use of amplification in performance, and further ideas are proposed for expanding morphological combinations.
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Ginder, Jon. "The Fields We Watched." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459292665.
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Menton, Allen Walter Menton Allen Walter. "Volume I. The persistent fantasy extended single-movement form in twentieth-century composition ; Volume II. Convivencia : a fantasy for guitar and string quartet /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930284591&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.
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Pereira, Vinícius Muniz. "Entre o sertão e a sala de concerto : um estudo da obra de Renato Andrade." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284399.
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Previous issue date: 2011<br>Resumo: Em meados da década de 1970, o compositor e instrumentista mineiro Renato Andrade lança seu primeiro disco solo intitulado A fantástica viola de Renato Andrade. No repertório, composições instrumentais interpretadas com muito virtuosismo na viola caipira. Esse é o início de uma produção precursora dentro da música sertaneja e que acabou por criar um novo segmento desse gênero. Resultado das transformações formais e estéticas da música popular brasileira a partir dos anos 70, a obra de Renato Andrade reflete o surgimento de fronteiras tênues entre a esfera popular e erudita, na qual compositores e instrumentistas vão buscar nas "tradições" populares elementos destinados a dar "autenticidade" e "legitimidade" às suas produções, ao mesmo tempo adotam procedimentos da música erudita para dar corpo e organicidade a suas músicas. Esta dissertação buscou investigar a obra do compositor e violeiro Renato Andrade. Para isso, partiu dos dados biográficos do artista, do levantamento de sua produção fonográfica e a partir desses dados procurou compreender as estratégias criativas de Renato Andrade, a maneira com qual o músico organiza o material musical na viola caipira e a consolidação daquilo que identificamos como sendo o seu idioma composicional. Num segundo momento, o foco deste trabalho foi compreender o performer Renato Andrade, sua atuação nos palcos e a construção do que identificamos como o personagem Renato Andrade<br>Abstract: In the 1970's, the composer and performer from Minas Gerais Renato Andrade releases his first record playing solo. It was called A fantástica viola de Renato Andrade. The album was made of instrumental compositions for viola caipira (Brazilian Ten String Guitar), an instrument that he played with a great virtuosity. This was the beginning of a one of a kind production in Brazil that ended up creating a new segment in the field of a genre known as "Música Caipira". As a result of the Brazilian's Popular Music formal and aesthetic transformations, ever since the seventies, Renato Andrade's work reflects the emergence of fine lines between the popular and the classical. In order to compose their plays, composers and musicians searched for Brazilian popular traditions so they could give to them "authenticity" and "legitimacy". At the same time, they adopt classic procedures to make the plays coherent and dense. This dissertation has the intent to explore Renato Andrade's work. It aims to expose the musical elements used in his compositions and his musical influences and tendencies and also, the construction of a specific style of the author, either through his music or through his ten string Brazilian guitar execution. To do that, we researched his biography and his music production in order to understand his creative procedures, his way to organize the musical materials in the Ten String Guitar and, finally, the consolidation of what we call his compositional language. On a second moment, we describe Renato Andrade as a performer: his performance on stage, and the construction of the "character" Renato Andrade<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Pinto, João Paulo do Amaral. "A viola caipira de Tião Carreiro." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284078.
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Previous issue date: 2008<br>Resumo: Esse trabalho é resultado de uma pesquisa sobre a obra musical do músico e compositor Tião Carreiro (José Dias Nunes, 1934-1993). O enfoque principal foi identificar os elementos constitutivos e as características do estilo desse artista como instrumentista de viola, instrumento reconhecido como o símbolo da chamada música caipira. Para tanto, foram analisados musicalmente os dois LPs instrumentais do violeiro gravados em 1976 e 1979. Além disso, foram abordados os aspetos históricos da viola caipira, do segmento instrumental sertanejo e da trajetória do artista no mercado fonográfico. A partir das análises musicais, foi identificado um conjunto de elementos e técnicas utilizados pelo músico para construir seus toques e solos. A pesquisa também relacionou e caracterizou musicalmente as matrizes e gêneros, caipiras ou não, utilizados pelo violeiro na gravação desses dois discos. Entre eles, destaca-se o pagode de viola, gênero criado no final dos anos cinqüenta a partir da combinação de algumas matrizes musicais e que, por ter se tornado a marca principal do violeiro, foi objeto de uma investigação mais aprofundada.<br>Abstract: This work is the result of a research on the musical work of the musician and composer Tião Carreiro (José Dias Nunes, 1934-1993). The main focus was to identify the constituent elements and the characteristics of the style of this artist as a viola (Brazilian ten-string guitar) instrumentalist, considering the viola a recognized instrument as the symbol of what is so called música caipira (typical rural music of the central-southern region of Brazil). For that, the two first instrumental LPS of the artist, recorded in 1976 and 1979, were musically analysed. Besides that, historical aspects of viola caipira, also from the instrumental sertanejo segment and the trajectory of the artist in the phonographic market were approached. From these musical analyses a group of elements and techniques used by the musician to build his touches and solos was identified. The research also related and musically characterized the origins and genders, caipira or not, used by the violeiro in the recordings of these two records. Among them, there is one in particular, the pagode de viola, gender created at the end of the fifties's, from the combination of some musical origins and that, for having become the main mark of the violeiro, was the subject of a deepened investigation.<br>Mestrado<br>Mestre em Música
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Pedro, Renato Cardinali 1981. "Uma orquestra de viola caipira do município de São Carlos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284491.
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Previous issue date: 2013<br>Resumo: Este trabalho é resultado da pesquisa realizada sobre a Orquestra Amigos Violeiros de São Carlos, uma formação musical de caráter social sem fins lucrativos, que se dedica à prática da viola caipira. O enfoque principal foi investigar como o envolvimento com a Orquestra ativa aspectos de identificação destes sujeitos com a cultura caipira e a música sertaneja. Para tanto, utilizamos os métodos etnográficos e etnomusicológico que busca compreender os sentidos das ações dos sujeitos envolvidos nessa formação musical, suas representações e prática musical. Os procedimentos realizados para a coleta dos dados foram observações participantes dos ensaios e apresentações do grupo, registradas em caderno de campo, entrevistas e gravações de áudio e vídeo. Além disso, abordamos aspectos históricos da viola, da cultura caipira, do segmento musical sertanejo, bem como da formação e desenvolvimento da Orquestra. A partir das análises dos dados, foi identificado como o envolvimento dos integrantes com o grupo e com sua prática musical ativa aspectos de identificação destes sujeitos com o que consideram ser a cultura caipira<br>Abstract: This work is the result of the research conducted on the Orchestra Amigos Violeiros of São Carlos. A non-profit and social musical formation dedicated to the practice of Brazilian ten-string guitar. The main focus was to investigate how the involvement with the Orchestra activates identification aspects of these subjects with the caipira culture and Brazilian country music. Therefore, it was used ethnographic and ethnomusicological methods that seeks to understand the meanings behind the actions of those involved with the musical formation, its representations and musical practice. The procedures carried out for data collection were participant observation of rehearsals and performances of the group, recorded in the field notebook, interviews and audio and video recordings. Besides, it was discussed historical aspects of the viola, the caipira culture, the Brazilian country musical segment as well as the formation and development of the Orchestra. From the data analysis, it was identified how the involvement of the members in the group and their musical practice activates identification aspects of these subjects with what they consider to be the caipira culture<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Werneck, Nicolau Leal. "Analise da distorção musical de guitarras eletricas." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259107.
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Previous issue date: 2007<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico<br>Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico<br>Mestrado<br>Eletrônica, Microeletrônica e Optoeletrônica<br>Mestre em Engenharia Elétrica
Books on the topic "String guitar music"
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Association, American String Teachers. String syllabus: Harp, guitar. Edited by Littrell David Ault 1949-. The Association, 1997.
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Association, American String Teachers. String syllabus: Violin, viola, cello, double bass, ensembles. 2nd ed. Edited by National School Orchestra Association. The Association, 2003.
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Association, American String Teachers. String syllabus: Violin, viola, cello, double bass, ensembles. The Association, 2000.
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Association, American String Teachers. String syllabus: (revised 1997) : violin, viola, violoncello, double bass. The Association, 1997.
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Guitarmaking, tradition and technology: A complete reference for the design & construction of the steel-string folk guitar & the classical guitar. Chronicle Books, 1993.
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Cumpiano, William R. Guitarmaking, tradition and technology: A complete reference for the design and construction of the steel-string folk guitar and the classical guitar. Rosewood Pr., 1987.
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Cumpiano, William R. Guitarmaking, tradition and technology: A complete reference for the design and construction of the steel-string folk guitar and the classical guitar. Rosewood Press, 1987.
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Corner, Philip. Punktus cum punktum: A pizzicato piece : quartet for plucking and string-striking instruments : harp, piano, cello, guitar. Frog Peak Music, 2002.
Find full textBook chapters on the topic "String guitar music"
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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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Bader, Rolf. "Guitars and Plucked String Instruments." In How Music Works. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67155-6_9.
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Berg, Christopher. "Slurs." In The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0005.
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Explanations of slur technique, known also as ligado, in guitar methods tend to be limited. This chapter looks at what Matteo Carcassi and Ferdinando Carulli called “vibration” or “´écho” slurs, which allow players to keep slurs aligned with strong and weak beats. Other composers, such as Felix Horetsky and Mauro Giuliani, indicated slurs that occur across beats as left-hand fingers slur all notes on a string within a position, regardless of the metric divisions. Music in this chapter explores both of these idiomatic techniques. The chapter concludes with an in-depth look at advanced slur technique by examining the relationship between where the left-hand fingertip contacts the string and the path the left-hand finger must take after the slur. Included are original diagrams and original exercises.
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Pradeep Atre, Minakshi, and Shaila Apte. "Impulse Response Modeling of the Box Shaped Acoustic Guitar." In Music in Health and Diseases [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99757.
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Music is the pulse of human lives and is an amazing tool to relieve and re-live. And when it comes to the signal processing, impulse is the pulse of the researchers. The work presented here is focused on impulse response modeling of noted produced by box shaped acoustic guitar. The impulse response is very fundamental behavior of any system. The music note is the convolution of the impulse response and the excitation signal of that guitar. The frequency of the generated music note follows the octave rule. The octave rule can be checked for impulse responses as well. If the excitation signal and impulse response are separated, then an impulse response of a single fret can be used to generate the impulse responses of other frets. Here the music notes are analyzed and synthesized on the basis of the plucking style and plucking expression of the guitar-player. If the impulse response of the musical instrument is known, the output music note can be synthesized in an unusual manner. Researchers have been able to estimate the impulse response by breaking the string of the guitar. Estimating the impulse response from the recorded music notes is possible using the methodology of cepstral domain window. By means of the Adaptive Cepstral Domain Window (ACDW) the author estimated the impulse response of guitar notes. The work has been further extended towards the classification of synthesized notes for plucking style and plucking expression using Neural Network and Machine Learning algorithms.
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Fujibayashi, Akiko. "Exploring the Collaborative Musical Experience of Swedish Bunne® Method in Japan." In Advances in Early Childhood and K-12 Education. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch007.
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Universal design has been a timely and important research topic of our time both in the realms of music therapy and education. Bunne Method, Swedish music method, was developed by Sten Bunne in 1980 to overcome physical and social difficulties and age gaps by sharing musical ensemble experience. This qualitative study explores the collaborative musical experience of elderly people and children in Japan by implementing Bunne Method. Bunne instruments are made in universal design with a four string swing bar guitar, one string mini bass, chime bar, monophonic flute for the use of anyone regardless of music experience, handicap, etc. In music activities with Bunne instruments, human physical, psychological, and social nature are activated in a synergistic manner so that it also helps to create positive feelings and confidence and livelihood through the pleasure of playing music.
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Johnson, George. "Explanatory Writing." In A Field Guide for Science Writers. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195174991.003.0026.
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I remember with some precision when I began believing that there is nothing so complex that a reasonably intelligent person cannot comprehend it. It was a summer day, when I was 15 or 16, and my best friend, Ron Light, and I decided that we wanted to understand how a guitar amplifier works. We both played in a mediocre I96os-era garage band. While Ron went on to become a fairly accomplished guitarist, I was slowly learning that any talent I had didn't lie within the realm of music. Already the aspiring little scientist, I was able to learn enough of the logic of basic harmony theory to execute the mindlessly simple algorithms called bass riffs, and if pressed I could even fire off a bass solo, the dread of concertgoers everywhere. But my approach to the performance was purely intellectual. I didn't have rhythm, or maybe soul. Poring over the symbols on the circuit diagram of Ron's Fender Deluxe Reverb amplifier seemed infinitely more interesting than trying to read music. I wanted to know what that impressively convoluted blueprint really meant, how electricity flowing through the labyrinth of wires and components could cause the tiny vibration of a guitar string to be multiplied so many times that it rocked the walls of the living room, inciting the neighbors to call the police. This was still the era of the vacuum tube, before those glowing glass envelopes were replaced by coldly efficient transistors and microchips. Electronics was pretty simple to understand. I had already learned some basics from The Boys' Second Book of Radio and Electronics and the guide for the Boy Scout electricity merit badge (the colorful embroidered patch was decorated with a human fist clutching zigzag lightning bolts). In a typical circuit, there were resistors that, true to their calling, resisted electricity, pinching the flow of electrons. There were capacitors, also aptly named, that stored electrical charges. There were tightly wound coils of copper wire called inductors that would hold energy in the form of electromagnetic fields. Finally, there were the vacuum tubes themselves, mysterious pockets of illuminated nothingness inside of which the actual amplification took place.
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Sneider, Bob. "Jazz Guitar." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0017.
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Throughout the history of jazz, the guitar has been an omnipresent voice as a rhythm section instrument and a solo voice. Having a strong guitarist in any jazz ensemble is a benefit and significantly increases the breadth of material that an ensemble can effectively perform. Taking a student with limited notational staff reading and chord vocabulary on the journey toward being a well-functioning guitarist in a jazz ensemble is no small feat! By understanding guitar function in jazz and melodic technique best practices, school music teachers can have a positive impact on young guitarists. This chapter addresses the technical possibilities/limitations of the guitar, diagnoses the needs and strengths of a young guitarist, recommends best practices, and provides a hands-on demonstration of learning through notated melodic and chordal examples.
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Russell, Tony. "“Forty Per Cent”." In Rural Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.003.0057.
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Berg, Christopher. "What Next?" In The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0011.
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The final chapter poses questions to readers who have successfully navigated material in the book in the interests of determining the steps best suited for their long-term artistic development: Do I have the foundational background to study successfully my next repertoire piece? Do I have the experience to make artistic and nuanced decisions, or will my ear be compromised by a struggling, exercise-like reading of a work? Am I only drawn to the type of music that comes easily to me, or am I willing to strike out in new directions? The answers may highlight differences between unexamined received wisdom and critical thinking. It is in these differences that a student’s development as an artist can begin to take flight.
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Bellaviti, Sean. "Introduction." In Música Típica. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0001.
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It was some time after I first met Panamanian vocalist and multi-instrumentalist Lucho de Sedas, in early 2005, that he began playing a custom designed Fender Stratocaster whenever he performed for audiences in Toronto. In contrast to the sleek B. C. Rich Gunslinger Assassin that had followed him from Panama, Lucho’s new electric guitar had emblazoned on its front the tricolored Panamanian flag. This new guitar would become a key part of his signature look, for it communicated his connection to and love of country. Indeed, for the highly diverse contingent of Hispanic Canadians that made up the audience for his music in his newly adopted land, the instrument was also the most striking if not principal reference to the musician’s nationality. This is because—as Lucho would remark to me on several occasions—Panamanian music is little known outside of Panama. This lack of familiarity with the music to which he had devoted his life was deeply felt by Lucho, who is not only a household name in his own country, but had risen to fame performing the most widely embraced form of popular music in Panama....
Conference papers on the topic "String guitar music"
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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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