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Academic literature on the topic 'Viola and guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Viola and guitar music"

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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Turetzky, Bertram, Douglas Leedy, Erzsebet Szonyi, Jean Chastanet, and Barry Guy. "Canti: Music for Contrabass and Chamber Ensemble [Flute, Guitar, Vibraphone, Marimba, Viola] (1975)." Notes 47, no. 3 (1991): 963. http://dx.doi.org/10.2307/941944.

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HOLMAN, PETER. "ANN FORD REVISITED." Eighteenth Century Music 1, no. 2 (2004): 157–81. http://dx.doi.org/10.1017/s1478570604000119.

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Twentieth-century accounts of the life and musical activities of Ann Ford, later Mrs Thicknesse (1737–1824), have largely relied on the entry for her in the Victorian Dictionary of National Biography. The rediscovery of a fifty-four-page article on her in Public Characters (London, 1806) has led to a re-evaluation of other sources of information, including her semi-autobiographical novel The School for Fashion (London, 1800), the pamphlets published in the course of her dispute with the Earl of Jersey and her treatises on playing the English guitar and the musical glasses. These throw new light on her musical activities and help us to understand the context and significance of her public concerts in 1760 and 1761. Her public persona and her preference for soft, exotic instruments such as the viola da gamba, the archlute and the guitar are seen as embodying the cult of sensibility, at its height during her period of fame around 1760.

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HOWARD, ALAN. "ATTILIO ARIOSTI (1666–?1729) THE STOCKHOLM SONATAS I: LESSONS AND SONATAS FOR VIOLA D’AMORE Thomas Georgi (viola d’amore), Lucas Harris (theorbo/archlute/guitar), Joëlle Morton (viola da gamba/great bass viol) BIS CD 1535, 2006." Eighteenth Century Music 4, no. 1 (2007): 164–65. http://dx.doi.org/10.1017/s1478570607000851.

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Reily, Suzel Ana. "Música sertaneja and migrant identity: the stylistic development of a Brazilian genre." Popular Music 11, no. 3 (1992): 337–58. http://dx.doi.org/10.1017/s0261143000005183.

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Música sertaneja could be considered the Brazilian counterpart to American ‘country’ music. What defines the genre is not its rhythmic patterns, which vary considerably, but a performance style involving duplas (duos) singing in parallel thirds to the accompaniment of a guitar and a viola. Having developed out of southeastern traditional genres, it is the popular musical style that most appeals to migrants from these regions now living in the industrial centres of Greater São Paulo. Although today música sertaneja is primarily an urban phenomenon, the style also reaches audiences throughout the rural areas of central and southeastern Brazil.

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Weiss, Ledice Fernandes. "Arthur Kampela e os Exoskeleton." Per Musi, no. 40 (July 4, 2021): 1–23. http://dx.doi.org/10.35699/2317-6377.2020.15077.

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Este artigo analisa os Percussion Studies IV e V de Arthur Kampela, onde a técnica e postura do violonista são transpostos para a viola. Ambas as peças questionam a técnica do violão, mesclando dedilhados característicos com o uso de um arco metálico. As obras são entendidas dentro de uma perspectiva gestual, onde o som e o gesto, o instrumentista e o instrumento coexistem dentro de uma relação física. Estudam-se a Tapping Technique, a emancipação entre mãos, a Air Guitar, e a ideia da música sem som. Sao revistas propostas científicas a favor de um entendimento corporal da prática musical: a técnica do violão segundo Hubert Käppel, a música visível de Dieter Schnebel, além de estudos sobre o gesto (Gritten e King, Godoy e Leman, Delalande, Cox, Oberhaus e Stange…). O estudo culmina com a tentativa de compreensão da maneira como o instrumentista se torna o cerne da composição.

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Dragomirescu, Daniel. "15. Stylistic-Interpretative Analysis of the Creation for Guitar Solo by Heitor Villa Lobos (Preludes no. 1-4)." Review of Artistic Education 19, no. 1 (2020): 121–33. http://dx.doi.org/10.2478/rae-2020-0015.

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AbstractAlong with the structural analysis of the preludes, an interpretive analysis is extremely necessary for a practitioner of this instrument. Carlos Bonell, in an article in the specialized magazine “Guitar” (vol.11 of April 9, published in 1983), states that when the music of Villa-Lobos guitar parts becomes familiar to our ears, it is difficult let us imagine how they were in their “raw” state, in other words, how they were conceived in the composer’s imagination. But our duty as performers is to try to give this music its freshness and spontaneity, instead of imitating famous recordings or interpretations, which can only lead us to an outdated and at the same time lacking originality.

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da Viola, Paulinho. "Samba beyond the parade." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 124–31. http://dx.doi.org/10.33178/alpha.19.09.

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In this interview, singer and songwriter Paulinho da Viola comments on the documentary Partido alto (1976–1982) and his friendship with director Leon Hirszman. He also describes the origins of partido-alto as a variety of samba, the transformations of samba schools in the 1960s and 70s and his relationship with audiovisual media during this time period, including the music documentary Saravah (Pierre Barouh, 1972) and televised music festivals. A crucial figure in the history of samba, Paulinho da Viola was born in Rio de Janeiro in 1942. As a son of a middle-class choro guitar player, he soon became interested in the samba that was played in the slums, most notably Samba School Portela in the Rio de Janeiro neighbourhood of Oswaldo Cruz. Paulinho’s career, which started in the 1960s and continues today, combines a plethora of vital song releases such as “Foi um rio que passou em minha vida” (“A River Broke into My Life”, 1970) and “Dança da solidão” (“The Dance of Loneliness”, 1972) that helped rejuvenate samba, with a political stance that vindicates the roots of this music genre as a popular community practice. In line with his political beliefs, in 1970 Paulinho used his popularity to endorse the first album by Velha Guarda da Portela, a band of senior singer-songwriters who had been marginalised by the music industry. In the mid-1970s, Paulinho became increasingly critical with the gradual commodification of samba and Carnival in Rio de Janeiro, to the point of breaking up with Portela Samba School when traditional composers, such as those from Velha Guarda, were ignored by the directorship. His involvement with Hirszman’s Partido alto was strongly attuned with that moment in his career, because partido-alto contains a variety of archaic, improvised samba that contrasts with commercial, commodified practices. He worked as a consultant, interviewer and narrator for that film, as well as a performer, alongside his admired colleagues from Velha Guarda da Portela.

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Kosovsky, Robert, and Arnold Schoenberg. "Denza: Funiculi-Funicula; Schubert: Standchen; Sioly: Weil i a alter Drahrer bin, for Violin, Mandolin, Clarinet, Bassoon, Viola, Guitar, Cello." Notes 46, no. 3 (1990): 817. http://dx.doi.org/10.2307/941457.

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Asaulyuk, I. O., та A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, № 1 (2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.

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The main goal of the work is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body Methods of research: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. Results. It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. Findings. The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study.

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

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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Orientador: Jose Roberto Zan Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-14T17:30:30Z (GMT). No. of bitstreams: 1 Pinto_JoaoPaulodoAmaral_M.pdf: 6828945 bytes, checksum: b0e6967a207bca86632cf629ed108239 (MD5) Previous issue date: 2008 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. 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. Mestrado Mestre em Música

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Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.

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The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.

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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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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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Orientador: José Roberto Zan Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-23T23:24:52Z (GMT). No. of bitstreams: 2 Pedro_RenatoCardinali_M.pdf: 4003211 bytes, checksum: c177a9a4597ecda867aec690a1740dbf (MD5) Pedro_RenatoCardinali_Anexo.zip: 93548042 bytes, checksum: ed20c54416700bf4929a3073e2fb3a5b (MD5) Previous issue date: 2013 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 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 Mestrado Fundamentos Teoricos Mestre em Música

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Huether, Joy 1985. "Villa-Lobos’s Cinq Preludes: An Analysis of Influences." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11515.

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ix, 82 p. : music While musical styles from various parts of the world intermingled in the early twentieth century, Heitor Villa-Lobos sought to promote Brazilian music throughout the classical music world. Instead of presenting only Brazilian styles, Villa-Lobos, in an attempt to showcase the international adaptability of Brazil's musical culture, developed a style all his own, which was a combination of his classical training in the western tradition and his first-hand experience with both Brazilian popular and Native Brazilian music. Much of his music manifests these influences, but his music for solo guitar, Brazil's national instrument, also features new techniques and timbres. This thesis examines the interaction of the various styles and techniques used in his <italic>Cinq Preludes</italic> for solo guitar. Committee in charge: Jack Boss, Chairperson; Steven Rodgers, Member; David Case, Member

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Amelkina-Vera, Olga Hume Tobias. "Solo lyra viol music of Tobias Hume (c. 1579-1645) historical context and transcription for modern guitar /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9125.

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Paiva, Guilherme Orelli 1987. "Análise modal vibroacústica da caixa de ressonância de uma viola caipira." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/263227.

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Orientador: José Maria Campos dos Santos Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica Made available in DSpace on 2018-08-22T11:33:43Z (GMT). No. of bitstreams: 1 Paiva_GuilhermeOrelli_M.pdf: 4245499 bytes, checksum: dbf4eaee15fa8956c837eb4d59464baf (MD5) Previous issue date: 2013 Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed Mestrado Mecanica dos Sólidos e Projeto Mecanico Mestre em Engenharia Mecânica

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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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Orientador: José Roberto Zan Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-20T10:01:07Z (GMT). No. of bitstreams: 1 Pereira_ViniciusMuniz_M.pdf: 56101342 bytes, checksum: 514793000f3a81a61f247c0ccd82a831 (MD5) Previous issue date: 2011 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 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 Mestrado Fundamentos Teoricos Mestre em Música

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Pessoa, Almir Júnio. "Improvisação à viola caipira: um estudo de caso aplicando modelos selecionados ao cateretê vide vida marvada." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6859.

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Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-02-17T16:33:44Z No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-20T12:02:42Z (GMT) No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2017-02-20T12:02:42Z (GMT). No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-02 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES This work is related to improvisation in the brazilian ten strings guitar with open tuning (Cebolão), using as a case study and application the rhythm (cateretê) in music Vide Vida Marvada, by Rolando Boldrin. Because I have not yet found specific material for improvisation in this instrument, I have raised questions about the existence and form of this practice. My hypothesis is that, with a method suitable to the instrument and its particularities, which includes the study of scales and arpeggios, the student shortens the way in the realization of different pieces, facilitates the immediate transposition of songs to other tones and fosters basic knowledge to improvise . The objective of this work is to investigate the processes of improvisation for viola, starting from scales, arpeggios and rhythmic / melodic models. The methodology used was to listen and to transcribe elements of the common practice of diverse violeiros and to extract the basic technique for its construction. I started with authors who deal with improvisation in a general way (BENSON, 2003), idiomatics (ALVIN and ASSIS, 2000), and authors dealing specifically with the instrument and the like (VILELA, 2013) . The results were the confirmation of the hypothesis raised and the construction of didactic material for brazilian ten strings guitar with cebolão tuning, besides the evidence that improvisation in the traditional context not only exists, but also in a particular way, more associated with prosody Rhythm, and that the choice of tonality, within the described tuning influences directly in its practice. Esse trabalho diz respeito a improvisação na viola caipira com afinação cebolão, utilizando como estudo de caso e aplicação o cateretê Vide Vida Marvada, de Rolando Boldrin. Por não ter encontrado até a presente data, material específico para improvisação na viola, levantei questões sobre a existência e a forma dessa prática. Minha hipótese é de que, com um método adequado ao instrumento e suas particularidades, que abarque o estudo de escalas e arpejos, o estudante encurta caminho na realização de peças diversas, facilita a transposição imediata de músicas para outros tons e fomenta conhecimento básico para improvisar. O objetivo deste trabalho é investigação dos processos de improvisação para viola, partindo de escalas, arpejos e modelos rítmico/melódicos. A metodologia utilizada foi de ouvir e transcrever elementos da prática comum de violeiros diversos e extrair a técnica básica para a sua construção. Embasei-me em autores que dizem respeito a improvisação de uma maneira geral (BENSON, 2003), idiomatismo (ALVIN e ASSIS, 2000), e autores que tratam especificamente do instrumento viola e afins (VILELA, 2013), (CORRÊA, 2000). Os resultados foram a confirmação da hipótese levantada e a construção de material didático para viola com afinação cebolão, além da evidenciação de que a improvisação no contexto violeiro tradicional não só existe, como é recorrente, entretanto de uma maneira particular, mais associada a prosódia ao ritmo, e que a escolha da tonalidade, dentro da afinação descrita influencia diretamente na sua prática.

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Nogueira, Gisela Gomes Pupo. "A viola con anima: uma construção simbólica." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-15052009-140811/.

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As pesquisas históricas sobre as violas brasileiras foram delimitadas pelas referências textuais e iconográficas ao instrumento musical e à sua utilização na produção musical, particularmente da segunda metade do século XVIII ao início do XIX, com pequena citação de César das Neves em s eu Cancioneiro de Músicas Populares, cujo primeiro volume é datado de 1893. Usualmente confundida com alaúdes, cistros e violões, a literatura histórica deixa lacunas sobre a descrição do instrumento. Fato é que, não raro, os violeiros brasileiros de hoje ignoram se tratar de uma guitarra barroca. A primeira parte desta pesquisa investiga, através de fontes primárias e secundárias, a utilização da viola no Brasil desde os tempos de Anchieta, consagrando-se como o instrumento de cordas dedilhadas mais antigo ainda em uso na produção cultural do país, bem como sua classificação como instrumento da família das guitarras; trata da construção simbólica de uma viola rural, com forte ênfase no preconceito àqueles que a tocam e da sua ascensão e declínio a partir das investidas de Cornélio Pires na indústria fonográfica. Analisada através dos códigos da escrita em Tablaturas e Alfabeto Musical, a Musicologia Histórica é utilizada como ferramenta para pesquisar a linguagem elitista do instrumento à época colonial e, ao mesmo tempo, popular no Reino de Portugal, visto que não há qualquer documentação musical brasileira que legitime sua utilização no Brasil daquele período. Com base nas publicações portuguesas da produção musical brasileira, é possível reconstituir modinhas e lundus nesse instrumento, como relatado por inúmeros viajantes, a partir de um mapeamento dos recursos idiomáticos utilizados na Europa Ocidental e, particularmente, em Portugal, expondo a riqueza de linguagem, enquanto instrumento das elites, e seu empobrecimento, a partir do vínculo com o universo rural, que marcou até mesmo sua denominação mais popular utilizada atualmente na mídia em geral viola caipira ou sertaneja. The historical researches on the Brazilian violas were limited by textual and iconographical references to the musical instrument and its musical production, particularly from the second half of the 17th century to the beginnings of the 18th, except from a small reference found in Cancioneiro de Músicas Populares by Cesar das Neves, published first in 1893. Usually confused with lutes, citterns e classical guitars, the historical Brazilian literature shows gaps on the description of the musical instrument. In fact, the violeiros (Brazilian baroque guitarists) often do not acknowledge the instrument as abaroque guitar. The first part of the present work seeks the musical production on the viola in Brazil since Pe. Anchieta arrival, through primary and secondary sources, being considered the earliest plucked string instrument brought to Brazil which remains in use until now, as well as its classification in the plucked stringed instrument families; also, treats its history from the symbolic view of a peasants instrument, emphasizing the prejudice to its performers, as well as its ascension and decline after Cornelio Pires investment son the record industry. The Historical Musicology analyzed from the specific notation in Tablatures and Alfabeto Musical, is here used as a tool to investigate the language from the artistic music written for this kind of guitar during the Portuguese colonization, and in the same time, its popular production in Portugal, since there is no musical manuscripts from Brazil to demonstrate its use here in that period. Based on Portuguese editions of Brazilian music, its possible to recreate modinhas and lundus on the violas, as told by several travelers who described details of our culture, showing the richness of the artistic language, when used as a musical instrument of the dominant classes, and its decline to a poor language, while getting the vinculum to the peasant working classes, marking its most popular denomination on the general medias - viola caipira or sertaneja.

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Books on the topic "Viola and guitar music"

Ribeiro, Manoel da Paixao. Nova arte de viola. Minkoff, 1985.

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Schickele, Peter. Windows: Three pieces for viola (or flute or clarinet) and guitar. Elkan-Vogel, 1989.

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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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Amorim, Humberto. Heitor Villa-Lobos e o violão. Academia Brasileira de Música, 2009.

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Zeyringer, Franz. Literatur für Viola =: Literature for viola = Littérature pour alto : Verzeichnis der Werke für Viola-Solo, Duos mit Viola, Trios mit Viola, Viola-Solo mit Begleitung, Blockflöte mit Viola, Gesang mit Viola und der Schul- und Studienwerke für Viola. Schönwetter, 1985.

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Paganini, Nicolò. Terzetto concertante for viola, guitar, and violoncello. Masters Music Publications, 1989.

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Zeyringer, Franz. Literatur für Viola: Verzeichnis der Werke für Viola-Solo, Duos mit Viola, Trios mit Viola, Viola-Solo mit Begleitung, Blockflöte mit Viola, Gesang mit Viola und der Schul- und Studienwerke für Viola = Literature for viola : catalogue of works for viola solo, duos with viola, trios with viola, solo viola with accompaniment, recorder with viola, voice with viola, and methods, etudes and exercises for viola = Littérature pour alto : répertoire des oeuvres pour alto seul, dous avec alto, trois avec alto, alto seul avec accompagnement, flûte et alto, chant et alto, pièces pour méthodes et conservatoires. J. Schönwetter Jun., 1985.

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Book chapters on the topic "Viola and guitar music"

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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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Viola." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-29.

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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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Conference papers on the topic "Viola and guitar music"

Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

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Dittmar, Christian, Andreas Mannchen, and Jakob Abeber. "Real-time guitar string detection for music education software." In 2013 14th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2013. http://dx.doi.org/10.1109/wiamis.2013.6616120.

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Humphrey, Eric J., and Juan P. Bello. "From music audio to chord tablature: Teaching deep convolutional networks toplay guitar." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6854952.

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

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

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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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