Log in

Relevant bibliographies by topics / Viola and guitar music / Journal articles

To see the other types of publications on this topic, follow the link: Viola and guitar music.

Journal articles on the topic 'Viola and guitar music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Viola and guitar music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

<p><em>The main goal of the work</em> 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 <em>Methods of research</em>: 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”. <em>Results</em><em>.</em><strong> </strong> 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. <em>Findings.</em> 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. </p>

APA, Harvard, Vancouver, ISO, and other styles

11

K.F. "String Orchestra: Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3)Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3). Jamey Aebersold/Peter Blair. Heritage Music Press, 2003. Student book $6.95, Conductor Score/Teacher's Guide (including CD) $19.95." American String Teacher 53, no. 3 (2003): 116. http://dx.doi.org/10.1177/000313130305300330.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

WALLS, PETER. "GIUSEPPE TARTINI (1692–1770) SONATE A VIOLINO SOLO; ARIA DEL TASSO Chiara Banchini (violin), Patrizia Bovi (soprano) Zig-Zag Territoires, ZZT080502, 2006/2007; one disc, 69 minutes - GIUSEPPE TARTINI (1692–1770), FRANCESCO MARIA VERACINI (1690–1768) THE DEVIL'S TRILL: SONATAS BY GIUSEPPE TARTINI [AND FRANCESCO MARIA VERACINI] Rodolfo Richter (violin), Susanne Heinrich (viola da gamba), Silas Standage (harpsichord), William Carter (archlute, baroque guitar) / Palladians Linn, CKD 292, 2008; one disc, 61 minutes." Eighteenth Century Music 7, no. 2 (2010): 314–16. http://dx.doi.org/10.1017/s1478570610000230.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Castro, Renato Moreira Varoni de. "Performance and Autoethnography in Historical Ethnomusicology: Differentiating the Viola and the Violão." Per Musi, no. 34 (August 2016): 35–61. http://dx.doi.org/10.1590/permusi20163402.

Full text

Abstract:

Abstract This article proposes the combination of performance and autoethnography as alternative methods to make use of musical scores concerning the viola (five-course guitar) and the violão (six-course guitar) in historical ethnomusicology. The author performs and records the same set of songs on the viola and the violão, and based on the multidimensionality of the interaction performer/instrument, writes an autoethnography differentiating his experiences in playing at both chordophones. This approach strives for overcoming the duality body/mind in academic musical research and comprises the embodied knowledge that arises from experience as a complementary epistemology to the corpus of knowledge about these instruments. Moreover, it is added the professional viewpoint of the virtuoso viola player Ivan Vilela who, interviewed by the author, gives his impressions about the differences in ergonomics and playing technics between those chordophones.

APA, Harvard, Vancouver, ISO, and other styles

16

Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Wade, Graham. "Guitar." Musical Times 131, no. 1767 (1990): 273. http://dx.doi.org/10.2307/966167.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Wallace, Helen, Clarke, Phillip Dukes, and Sophia Rahman. "Viola Sonata Maconchy: Five Sketches for Viola Shostakovich: Viola Sonata." Musical Times 135, no. 1817 (1994): 462. http://dx.doi.org/10.2307/1003267.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (1985): 33. http://dx.doi.org/10.2307/962449.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (1985): 350. http://dx.doi.org/10.2307/964035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (1986): 567. http://dx.doi.org/10.2307/964402.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (1988): 349. http://dx.doi.org/10.2307/964753.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965129.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (1985): 737. http://dx.doi.org/10.2307/965210.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (1986): 390. http://dx.doi.org/10.2307/965247.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (1991): 449. http://dx.doi.org/10.2307/965651.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Sills, David, and Philip J. Kass. "Viola Forum: The Viola Music of Lillian Fuchs." American String Teacher 35, no. 2 (1985): 59–61. http://dx.doi.org/10.1177/000313138503500222.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Rose, Ellen C., and Karen Ritscher. "Viola Excerpts as Music." American String Teacher 44, no. 1 (1994): 54–58. http://dx.doi.org/10.1177/000313139404400117.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Criswick, Mary. "Flute and Guitar." Musical Times 126, no. 1705 (1985): 163. http://dx.doi.org/10.2307/961677.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Wade, Graham. "The Blue Guitar." Musical Times 130, no. 1761 (1989): 691. http://dx.doi.org/10.2307/1193802.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Thomson, Andrew, Maurice Ohana, and Stephan Schmidt. "Works for Guitar." Musical Times 135, no. 1816 (1994): 398. http://dx.doi.org/10.2307/1003237.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Duarte, John W. "Guitar on Record." Musical Times 132, no. 1777 (1991): 138. http://dx.doi.org/10.2307/965827.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Wade, Graham. "Landscape with Guitar." Musical Times 132, no. 1780 (1991): 296. http://dx.doi.org/10.2307/966538.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (1986): 695. http://dx.doi.org/10.2307/964679.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Criswick, Mary. "Voice and Guitar." Musical Times 127, no. 1719 (1986): 341. http://dx.doi.org/10.2307/965088.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Criswick, Mary. "East European Guitar." Musical Times 127, no. 1717 (1986): 156. http://dx.doi.org/10.2307/965503.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Duarte, John, and Mauro Giuliani. "Abundance for Guitar." Musical Times 132, no. 1776 (1991): 81. http://dx.doi.org/10.2307/966603.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Crump, Matthew J. C., Gordon D. Logan, and Jerry Kimbrough. "Keeping an Eye on Guitar Skill: Visual Representations of Guitar Chords." Music Perception 30, no. 1 (2012): 37–47. http://dx.doi.org/10.1525/mp.2012.30.1.37.

Full text

Abstract:

we investigate a role for vision in skilled guitar playing, focusing on visual contributions to the representation of basic first-position root chords (C, A, G, E, D). Experiment 1 involved naming or playing guitar chords displayed in different visual formats (letter, photograph, chart) and orientations. Experiment 2 employed a Stroop-like design, involving identification of the visual or auditory dimension for congruent or incongruent pairs of chord photographs and sounds. Our results demonstrate that visual representations of guitar chords are orientation sensitive and associated with their corresponding actions and sounds. We discuss the implications of our findings for understanding the multimodal nature of musical skill, and consider how the format of visual information can impact acquisition of musical skill.

APA, Harvard, Vancouver, ISO, and other styles

42

Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

Full text

Abstract:

YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.

APA, Harvard, Vancouver, ISO, and other styles

43

Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.

Full text

Abstract:

Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insight into the mathematical pattern involved in the music of a guitar.

APA, Harvard, Vancouver, ISO, and other styles

44

Cyr, Mary, Jason Paras, George Houle, and Glenna Houle. "The Music for Viola Bastarda." Notes 45, no. 1 (1988): 146. http://dx.doi.org/10.2307/941405.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Milliot, Sylvette, and Jason Paras. "The Music for Viola Bastarda." Revue de musicologie 73, no. 1 (1987): 129. http://dx.doi.org/10.2307/928922.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Broe, Carolyn Waters. "Viola Music by Women Composers." American String Teacher 57, no. 3 (2007): 68–71. http://dx.doi.org/10.1177/000313130705700312.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Hancock, Virginia, Jason Paras, George Houle, and Glenna Houle. "The Music for Viola Bastarda." Sixteenth Century Journal 19, no. 1 (1988): 124. http://dx.doi.org/10.2307/2540977.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.

Full text

Abstract:

Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.

APA, Harvard, Vancouver, ISO, and other styles

49

McKenzie, Don, Michael Tippett, and Julian Bream. "The Blue Guitar: Sonata for Solo Guitar." Notes 43, no. 1 (1986): 182. http://dx.doi.org/10.2307/897866.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!