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Artykuły w czasopismach na temat „Electric guitar”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Oe, Hiroko, and Yasuyuki Yamaoka. "Exploring socioeconomic factors for the sustainability of electric guitar brands: focusing on traditional values and psychological attachment." SocioEconomic Challenges 7, no. 4 (2023): 36–53. http://dx.doi.org/10.61093/sec.7(4).36-53.2023.

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The primary objective of this study was to conduct a comprehensive quantitative analysis to investigate the factors influencing the purchase of electric guitars. Building upon prior research related to the decision-making process behind electric guitar purchases, our research took a quantitative approach to shed light on this intricate process. We designed and tested six hypotheses, utilizing structural equation modeling to analyze a dataset consisting of 433 responses collected within the electric guitar community. The results of our study have uncovered intriguing insights into the factors t

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2

Ralson, Roy A. "Electric guitar." Journal of the Acoustical Society of America 86, no. 5 (1989): 2053. http://dx.doi.org/10.1121/1.398496.

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Nyack, Norris, and Michael Nyack. "Electric guitar." Journal of the Acoustical Society of America 81, no. 6 (1987): 2006. http://dx.doi.org/10.1121/1.394702.

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Aprianno, Ryan Gredy. "PENGARUH ETUDE TERHADAP TEKNIK PERMAINAN GITAR KLASIK DAN GITAR ELEKTRIK." IKONIK : Jurnal Seni dan Desain 2, no. 2 (2020): 103. http://dx.doi.org/10.51804/ijsd.v2i2.740.

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Banyak gitaris yang memainkan gitar klasik dan gitar elektrik secara beriringan. Namun banyak dari mereka yang merasakan bahwa kedua teknik permainan gitar tersebut agak bertolak belakang dan saling mempengaruhi. Tujuan penelitian ini adalah untuk menjembatani antara teknik permainan gitar klasik dan gitar elektrik. Metodologi yang digunakan dalam penelitian ini adalah pendekatan studi kasus, kajian pustaka dan karya dengan memanfaatkan jurnal online, buku serta partitur karya. Hasilnya adalah teknik permainan gitar klasik dan elektrik yang agak bertolak belakang tersebut dapat diatasi salah s

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Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.

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Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless

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6

Woodworth, Henry F. "Electric guitar mountable upon acoustic guitar." Journal of the Acoustical Society of America 97, no. 2 (1995): 1365–66. http://dx.doi.org/10.1121/1.412157.

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7

Ahvenainen, Patrik. "Anatomy and mechanical properties of woods used in electric guitars." IAWA Journal 40, no. 1 (2019): 106—S6. http://dx.doi.org/10.1163/22941932-40190218.

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ABSTRACT Many endangered tropical hardwoods are commonly used in electric guitars. In order to find alternative woods, the current electric guitar woods need to be studied and classified as most research in this field has focused on acoustic instruments. Classification was done based on luthier literature, woods used in commercially available electric guitars, commercially available tonewoods and by interviewing Finnish luthiers. Here, the electric guitar woods are divided into three distinct classes based on how they are used in the guitar: low-density wood used in the body only (alder, popla

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8

Schlink, Robert. "Electric guitar/violin." Journal of the Acoustical Society of America 92, no. 3 (1992): 1798. http://dx.doi.org/10.1121/1.403864.

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9

Maloney, Terrance R. "Electric feedback guitar." Journal of the Acoustical Society of America 83, no. 3 (1988): 1212. http://dx.doi.org/10.1121/1.395997.

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10

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 mo

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11

Li, Tianchang. "Processing Measures for the Beautiful Tone of the Electric Guitar." Arts Studies and Criticism 4, no. 1 (2023): 10. http://dx.doi.org/10.32629/asc.v4i1.1272.

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A beautiful tone can not only make the electric guitar present a better performance effect, but also enable the player to immerse himself in the performance atmosphere and convey his performance demands to the audience. However, the factors affecting electric guitar tone include multiple individuals in both software and hardware, such as pickups, string lengths, circuits, paints, and musician's musical aesthetic ability, so it is necessary to apply tone processing methods according to the basic tone requirements, apply differentiated tone processing techniques based on the construction of elec

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12

Bandini, S., and F. Sartori. "From handicraft prototypes to limited serial productions: Exploiting knowledge artifacts to support the industrial design of high quality products." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 24, no. 1 (2010): 17–34. http://dx.doi.org/10.1017/s089006040999014x.

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AbstractThis paper presents a conceptual and computational framework to support experts in the design and manufacturing of high quality products. The framework is based on the development of specific knowledge artifacts characterized by tools for the management of functional, procedural, and experiential knowledge. As a case study, the GUITAR HERO project is presented. The project aims at building a knowledge-based system to support experts of a handicraft enterprise involved in the design and manufacturing of electric guitars characterized by an aluminum body. The domain of the project is ext

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13

Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleas

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14

Decker, John A. "Graphite-Epoxy Acoustic Guitar Technology." MRS Bulletin 20, no. 3 (1995): 37–39. http://dx.doi.org/10.1557/s0883769400044390.

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We have successfully developed an acoustic guitar (Figure 1) composed of graphite. Trademarked the RainSong® graphite guitar, this instrument uses no endangered tropical tonewoods. The instrument's sound quality is equal to that of a fine wooden guitar. At high frequencies, the clarity, sustain, and play-ability surpasses that of wooden guitars. Because of its construction, the instrument is sturdy and is impervious to humidity, heat, and water.The development of this guitar required analysis of the theory of anisotropic sound propagation in the guitar soundboard and body, and resulted in two

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15

Ghabili, Kamyar, Mohammadali M. Shoja, Ali D. Tabrizi, and Pooya Kamran. "Prostate Cancer in Electric Guitar Players." Medical Problems of Performing Artists 22, no. 3 (2007): 130. http://dx.doi.org/10.21091/mppa.2007.3027.

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Among the various risk factors for prostate cancer, the electromagnetic field (EMF) by which the electric guitar produces sound may pose a risk for electric guitar players. In addition, the acoustic features of the electric guitar may partly contribute to the underlying cause of prostate cancer among the guitarists. With the guitar held near the pelvic region of the guitarists, one may postulate that induction or progression of prostate cancer may occur by the potential carcinogenetic effects of both the EMF and loud noise from the electric guitar.

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16

Park, SeoHyun, and Jungshin Park. "Aspects of Comparison of Sound according to Pick Material." Korean Society of Culture and Convergence 45, no. 9 (2023): 1375–81. http://dx.doi.org/10.33645/cnc.2023.09.45.09.1375.

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In modern pop music, electric guitars are played in many different genres. When playing an electric guitar, use the pick to hit the strings of the guitar. The pick varies depending on the material, thickness, and shape, and it often has a great influence on other sound changes depending on the material and thickness of the pick. Nevertheless, there are no guidelines for pick selection in Korea according to the material of the pick. Therefore, the purpose of this study is to analyze the frequency of how the electric guitar sound changes depending on the material of the pick and to present the c

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17

Fjellman-Wiklund, Anncristine, and Kris Chesky. "Musculoskeletal and General Health Problems of Acoustic Guitar, Electric Guitar, Electric Bass, and Banjo Players." Medical Problems of Performing Artists 21, no. 4 (2006): 169–76. http://dx.doi.org/10.21091/mppa.2006.4036.

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The aim of this cross-sectional study was to describe self-reported problems among guitarists and to examine differences associated with type of guitar played. Data for the study were extracted from the University of North Texas Musician Health Survey (UNT-MHS) data set. Subjects for the present study (n = 520) were included if they identified acoustic guitar, electric guitar, electric bass or banjo as their primary instrument. Prevalences for musculoskeletal problems were determined for the total group, by guitar-specific groups, and by gender. Prevalences for nonmusculoskeletal, overall heal

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18

Wallace, Stephen M. "Electric stringless toy guitar." Journal of the Acoustical Society of America 89, no. 6 (1991): 3027. http://dx.doi.org/10.1121/1.400774.

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19

Lindroos, Niklas, Henri Penttinen, and Vesa Välimäki. "Parametric Electric Guitar Synthesis." Computer Music Journal 35, no. 3 (2011): 18–27. http://dx.doi.org/10.1162/comj_a_00066.

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20

Li, Tianchang. "Research and Application of Artificial Intelligence in Electric Guitar Performance." Journal of Electronic Research and Application 8, no. 1 (2024): 46–50. http://dx.doi.org/10.26689/jera.v8i1.5939.

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The article explores the application of artificial intelligence technology in electric guitar playing. It delvesinto the advantages of artificial intelligence and its seamless integration into electric guitar performance. Additionally, itinvestigates the application of artificial intelligence technology through an intelligent playing robot. The research aims tooffer substantial support for the advancement of artificial intelligence in electric guitar performance.

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21

Ables, Charles A. "Electric bow for the electric bass guitar." Journal of the Acoustical Society of America 78, no. 6 (1985): 2160. http://dx.doi.org/10.1121/1.392599.

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22

Aprianno, Ryan Gredy, and Timothy Revival April Torondek. "Creation of D.R.T.B Works for Guitar Major Students Who Participate in the Jakarta Six String Extracurricular in the FBS UNJ Music Education Study Program." Jurnal Indonesia Sosial Sains 6, no. 1 (2025): 24–36. https://doi.org/10.59141/jiss.v6i1.1544.

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The increasing challenge faced by guitar major students in mastering classical guitar techniques highlights the need for innovative approaches in music education. Many students transitioning from acoustic or electric guitars struggle with fundamental classical guitar techniques such as posture, hand positioning, and specific playing techniques like tirando and pizzicato. This research aims to address these challenges by developing a structured approach to creating classical guitar ensemble works tailored for the Jakarta Enam Senar extracurricular group. The importance of this research lies in

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23

Shockley, Gary. "Acoustic and electric combination guitar." Journal of the Acoustical Society of America 90, no. 1 (1991): 627. http://dx.doi.org/10.1121/1.402312.

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24

Ostberg, Jacob, and Benjamin J. Hartmann. "The electric guitar – marketplace icon." Consumption Markets & Culture 18, no. 5 (2015): 402–10. http://dx.doi.org/10.1080/10253866.2015.1046255.

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25

Carfoot, Gavin. "Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar." Leonardo Music Journal 16 (December 2006): 35–39. http://dx.doi.org/10.1162/lmj.2006.16.35.

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Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise”

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26

., Paryono, Sarana ., and Suharto . "GUITAR SIDE BODY MAKING TECHNIQUE USING SCREW PRESS AND HEATER." International Journal of Innovative Research in Advanced Engineering 8, no. 7 (2021): 161–66. http://dx.doi.org/10.26562/ijirae.2021.v0807.004.

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The guitar musical instrument industry located in Baki District, Sukoharjo, Central Java, Indonesia, is still using the manual method of guitar manufacturing process currently. The problem is that the guitar production time is not only 2 hours and is considered a long time and non-uniformity of the quality. A better Technology is needed to help improve the quality and quantity of guitar production. The purpose of this research is to design and manufacture a guitar side body press with a heater using an electric element and a gas stove. The benefit of this tool is that it speeds up the process

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27

Jameson, Ben. "‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!" Tempo 69, no. 274 (2015): 22–32. http://dx.doi.org/10.1017/s0040298215000340.

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AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (

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28

Miranda-Bonilla, Sergio. "Spiral Ouroboros: Metasimulacrum in Rock and Metal Electric Guitar Processing and Modeling Technologies." Artificial Intelligence in Music, Arts, and Theory Revisited, no. 12 (July 23, 2024): 63–80. http://dx.doi.org/10.51191/issn.2637-1898.2024.7.12.63.

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The article reviews Jean Baudrillard’s concept of simulacrum and puts it in dialogue with the evolution of signal processing technologies for electric guitar, introducing the concept of metasimulacrum—a simulacrum of a simulacrum—to describe the historical trajectory from early electric guitar amplification to recent advances in digital signal processing, taking a critical stance on technological determinism

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Braasch, Jonas, Joshua L. Braasch, and M. Torben Pastore. "Psychoacoustic phenomena in electric-guitar performance." Journal of the Acoustical Society of America 149, no. 4 (2021): A25—A26. http://dx.doi.org/10.1121/10.0004420.

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Palazzolo, Nicholas P. "Detachable electric guitar pick‐up system." Journal of the Acoustical Society of America 87, no. 3 (1990): 1385. http://dx.doi.org/10.1121/1.399464.

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Pagelli, Claudio. "Rotatable pickup head for electric guitar." Journal of the Acoustical Society of America 90, no. 4 (1991): 2221. http://dx.doi.org/10.1121/1.401590.

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32

McSwain, Rebecca. "The power of the electric guitar." Popular Music and Society 19, no. 4 (1995): 21–40. http://dx.doi.org/10.1080/03007769508591605.

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Marmaras, Nikos, and Nikos Zarboutis. "Ergonomic redesign of the electric guitar." Applied Ergonomics 28, no. 1 (1997): 59–67. http://dx.doi.org/10.1016/s0003-6870(96)00032-4.

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34

Li, Tianchang. "Analysis of Electric Guitar Improvisation Techniques." Journal of Contemporary Educational Research 7, no. 9 (2023): 86–90. http://dx.doi.org/10.26689/jcer.v7i9.5350.

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As an important form of modern fusion music performance, electric guitar improvisation is widely praised and welcomed for its unique performance style. The main points and difficulties of its performance lie in tone switching, speed playing skills, and grasping the title, mood, and style of the music. Therefore, it is necessary to integrate the conventional techniques of string sweeping, pizzicato, and dotted strings with improvisation, applying differentiated rhythmic rhythms, timbre modulation, and special playing techniques to deepen the distinctive art-rock music characteristics.

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35

Ray, Tony, Jasmin Kaljun, and Aleš Straže. "Comparison of the Vibration Damping of the Wood Species Used for the Body of an Electric Guitar on the Vibration Response of Open-Strings." Materials 14, no. 18 (2021): 5281. http://dx.doi.org/10.3390/ma14185281.

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Research show that the vibrations of the strings and the radiated sound of the solid body electric guitar depend on the vibrational behavior of its structure in addition to the extended electronic chain. In this regard, most studies focused on the vibro-mechanical properties of the neck of the electric guitar and neglected the coupling of the vibrating strings with the neck and the solid body of the instrument. Therefore, the aim of the study was to understand how the material properties of the solid body could affect the stiffness and vibration damping of the whole instrument when comparing a

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36

Dairianathan, Eugene, and Larry Hilarian Francis. "Teaching and Learning the Electric Guitar: A Case Study in a Singaporean Higher Education Teacher-Preparation Institution." IASPM Journal 5, no. 1 (2015): 81–99. http://dx.doi.org/10.5429/ij.v5i1.715.

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Many electric guitarists have earned their reputation as expert performers and connoisseurs, despite the absence, at least until very recently, of school-based curricula or internationally recognised examination bodies, and usually without any institution to validate their credentials. Despite recent initiatives to support new pedagogical paradigms in teaching and learning, teachers of the electric guitar continue to be confronted with problems of preparing learners for soundscapes beyond a gig setting or one of the recent electric guitar examinations. Instrumental fluency cannot be understood

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37

Steiger, Henry Martin. "Method and apparatus for producing acoustical guitar sounds using an electric guitar." Journal of the Acoustical Society of America 117, no. 4 (2005): 1706. http://dx.doi.org/10.1121/1.1920043.

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Pesatori, Alessandro, and Michele Norgia. "Multi-Sensor Laser System for Electric Guitar Pitch-Detection." Sensors 24, no. 8 (2024): 2468. http://dx.doi.org/10.3390/s24082468.

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To attain a direct MIDI output from an electric guitar, we devised and implemented a sophisticated laser sensor system capable of measuring finger positions. This sensor operates on the principle of optical triangulation, employing six lasers and seven position-sensing detectors that are time-multiplexed. The speed and precision of this sensor system meet the necessary criteria for creating an electric guitar with a direct digital output, perfectly satisfying the application’s requirements.

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39

Charan Agrawal, Vrushank. "The Effect of Thickness of A Plectrum Used on The Sound Produced by A Guitar String." Oriental Journal of Physical Sciences 3, no. 2 (2018): 87–91. http://dx.doi.org/10.13005/ojps03.02.03.

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It is believed that the human ear is very sensitive to subtle changes in sounds. In the context of a guitar, the myriad of sounds produced by the strings depends majorly on the plucking technique of the player, but it is hypothesized that the sound produced by a string is also influenced, to some degree, by the thickness of the plectrum used for playing. This has led many to speculate whether bands and artists like the Beatles, Led Zeppelin and the Rolling Stones would have sounded very different if they hadn't used the right guitar plectrum. In this research paper, three plectrums of differen

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40

Seption, Moch Faisal, Supriando Supriando, Della Rosa Panggabean, and Andranofa Andranofa. "Pertunjukan Solis Gitar dengan Repertoar Concerto in D Major Rv 93, Laila Canggung, dan Ephiphany (Guitar Solis Performance with Repertoire Concerto in D Major Rv 93, Laila Awkward, and Ephiphany)." Musica: Journal of Music 3, no. 1 (2023): 49. http://dx.doi.org/10.26887/musica.v3i1.3484.

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Artikel ini memuat tentang pertunjukan repertoar gitar dan analisis permainan karya seni musik instrumen gitar klasik dan elektrik dengan repertoar yang dipilih yaitu Concerto In D Major, Laila Canggung dan Ephiphany. Analisis yang dihadirkan berupa permainan teknik gitar klasik serta gitar elektrik seperti Tirando dan appoyando, Apergio Right Hand, Legato, Barrer, Palm Mute, Vibrato, Slide dan Bending, Form Musik, gaya dan genre, serta metode pertunjukan. Ketiga repertoar yang dipilih ditinjau dari tingkat kesulitan sebagai bentuk pencapaian dari hasil pembelajaran musik di kampus ISI Padangp

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41

Young, Lawrence P. "Acoustic‐electric guitar with interior neck extension." Journal of the Acoustical Society of America 91, no. 3 (1992): 1792. http://dx.doi.org/10.1121/1.403735.

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42

Minakuchi, Kiyoshi. "Electric guitar having an electronic vibrato apparatus." Journal of the Acoustical Society of America 86, no. 5 (1989): 2054. http://dx.doi.org/10.1121/1.398502.

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Soffer, Alfred. "The Electric Guitar, Eardrums, and Medical Meetings." Chest 100, no. 3 (1991): 594–95. http://dx.doi.org/10.1378/chest.100.3.594.

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44

Trianov, M. "Microtonality in the Works for Guitar Ensemble of Agustín Castilla-Ávila." Culture of Ukraine, no. 80 (June 30, 2023): 110–17. http://dx.doi.org/10.31516/2410-5325.080.14.

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The relevance is determined by the necessity of a comprehensive systematical study of contemporary microtonal music for the academic guitar ensemble and its significance in the works of Agustín Castilla-Ávila. The purpose of the article is to study the peculiarities of microtonality as a special technique of the musical composition in the A. Castilla-Ávila’s works for guitar ensembles. The methodology. In the process of research, the methods of abstraction, analysis and synthesis were applied as well as special musicological methods such as methods of musical analysis: theoretical

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45

Vitiuc, Alexandr. "The First Mass Produced Basses (1950s)." Arta 33, no. 2 (2024): 91–97. https://doi.org/10.52603/arta.2024.33-2.08.

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The article highlights the formation of the first mass-produced bass guitars (1950s). The electric model Fender Precision Bass, created by the American engineer and entrepreneur Clarence Leo Fender, based on the Fender Bloadcaster/Telecaster electric guitar, is investigated. L. Fender’s original idea is emphasized, which involves replacing the bulky double bass with a more convenient bass prototype, as well as the need for performers to amplify the acoustic power of the instrument. The role of bass guitarist Monk Montgomery is noted. He managed to introduce Fender Precision Bass into professio

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46

Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011034.

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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk

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Chen, Keyu. "Legal Obligations and Potential Risks for Chinese Electric Guitar Enterprises from a Perspective of International Commercial Law." Frontiers in Business, Economics and Management 14, no. 1 (2024): 341–43. http://dx.doi.org/10.54097/6q08c473.

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Brasil, André Luís Córdova. "Batuque de nação Ijexá: uma proposta de adaptação para guitarra elétrica." Revista Música 24, no. 1 (2024): 213–41. http://dx.doi.org/10.11606/rm.v24i1.225676.

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This paper presents four models of adaptation of toques and prayers from the Batuque of Rio Grande do Sul for the electric guitar, based on the study of elements of tradition and the Yorùbá language present in this religious practice. To achieve this, the author examines the tonal aspects of the language, from which claves, or small rhythmic-melodic fragments that structure the musical practice, are derived and used in adaptations. Each of the four models explores different approaches to adapting the claves for the guitar, based on rhythm, pitch variation, and the possibility of overlapping tw

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Gunawan, Caroline, Helena Margaretha, Lina Cahyadi, and Petrus Widjaja. "PEMODELAN FREKUENSI DAN SIMULASI GETARAN SENAR GITAR BASS LISTRIK DAN GITAR AKUSTIK [FREQUENCY MODELING AND VIBRATION SIMULATION OF ELECTRIC BASS AND ACOUSTIC GUITAR STRINGS]." FaST - Jurnal Sains dan Teknologi (Journal of Science and Technology) 7, no. 2 (2023): 173. http://dx.doi.org/10.19166/jstfast.v7i2.7594.

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<p><em>Mathematical equations can represent numerous real-world scenarios, a process known as mathematical modelling. Within this paper, we undertake modelling two musical instruments, specifically the electric bass guitar and the acoustic guitar. Our approach uses partial differential equations (PDEs) to represent these instruments accurately. By establishing the initial condition, we derive the final solution and simulate the frequency using parameters obtained from this solution alongside a frequency formula. The PDE for the electric bass guitar is of non-homogeneous second orde

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da Rosa Garcia, Marcos. "Mundell Lowe’s Accompaniment Style on the Electric Guitar." International Journal of Literature and Arts 10, no. 1 (2022): 16. http://dx.doi.org/10.11648/j.ijla.20221001.13.

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