Auswahl der wissenschaftlichen Literatur zum Thema „Guitar picking“
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Zeitschriftenartikel zum Thema "Guitar picking"
KATO, Tomoaki, und Yoshihiro SHIMOMURA. „Muscle activity during guitar picking“. Japanese Journal of Ergonomics 58, Supplement (30.07.2022): 2E2–04–2E2–04. http://dx.doi.org/10.5100/jje.58.2e2-04.
Der volle Inhalt der QuelleZebua, Candra Gunawan. „PENERAPAN TEKNIK PERMAINAN GITAR ELEKTRIK GLASSGOW KISS KARYA JOHN PETRUCCI PADA LAGU LEBIH DARI PEMENANG“. Areopagus : Jurnal Pendidikan Dan Teologi Kristen 17, Nr. 2 (01.09.2019): 34–54. http://dx.doi.org/10.46965/ja.v17i2.250.
Der volle Inhalt der QuelleMachfudz, Shoiful, Supriando Supriando und Yon Hendri. „Interpretasi Repertoar Sonata No.1, Dondang Sayang, dan Pagan Part II pada Pertunjukan Gitar (Interpretation of the Repertoire of Sonata No.1, Dondang Sayang, and Pagan Part II on Guitar Performance)“. Musica: Journal of Music 3, Nr. 1 (03.07.2023): 19. http://dx.doi.org/10.26887/musica.v3i1.3471.
Der volle Inhalt der QuelleTANIDA, Ryo, Keita UCHINO und Yuichi MATSUMURA. „740 Generation mechanism of transient response by picking the strings of the guitar with a pick“. Proceedings of the Dynamics & Design Conference 2010 (2010): _740–1_—_740–6_. http://dx.doi.org/10.1299/jsmedmc.2010._740-1_.
Der volle Inhalt der QuelleRigg, John L., Randy Marrinan und Mark A. Thomas. „Playing-related Injury in Guitarists Playing Popular Music“. Medical Problems of Performing Artists 18, Nr. 4 (01.12.2003): 150–52. http://dx.doi.org/10.21091/mppa.2003.4026.
Der volle Inhalt der QuelleNadeak, Salam Irianto, Yusmar Ali und Djaka Suryadi. „An Interactive Medium to Introduce Sasando Traditional Music Using Multimedia Development Life Cycle Method“. Jurnal Riset Informatika 5, Nr. 2 (14.03.2023): 229–36. http://dx.doi.org/10.34288/jri.v5i2.518.
Der volle Inhalt der QuelleNadeak, Salam Irianto, Yusmar Ali und Djaka Suryadi. „An Interactive Medium to Introduce Sasando Traditional Music Using Multimedia Development Life Cycle Method“. Jurnal Riset Informatika 5, Nr. 2 (25.03.2023): 229–36. http://dx.doi.org/10.34288/jri.v5i2.214.
Der volle Inhalt der QuelleMurphy, Jim, James McVay, Paul Mathews, Dale A. Carnegie und Ajay Kapur. „Expressive Robotic Guitars: Developments in Musical Robotics for Chordophones“. Computer Music Journal 39, Nr. 1 (März 2015): 59–73. http://dx.doi.org/10.1162/comj_a_00285.
Der volle Inhalt der QuelleRahmanadia, Hyunisa. „PRAGMATIC MARKERS AS CONTEXT BOUNDARIES IN INDONESIAN HUMOROUS TALK SHOWS DISCOURSE“. Italiano LinguaDue 15, Nr. 2 (15.12.2023): 179–92. http://dx.doi.org/10.54103/2037-3597/22026.
Der volle Inhalt der QuelleNazuri, Nur Shuhamin, Mohd Roslan Rosnon, Sara Shakilla Mohd Salim, Mohamad Firdaus Ahmad, Siti Shazwani Ahmad Suhaimi und Nur Syazwani Zulaikha Safwan. „Promoting Economic Empowerment Through Effective Implementation and Linking Social Capital in Urban Agriculture Programs“. Journal of Law and Sustainable Development 11, Nr. 11 (28.11.2023): e726. http://dx.doi.org/10.55908/sdgs.v11i11.726.
Der volle Inhalt der QuelleDissertationen zum Thema "Guitar picking"
Maia, Marcos da Silva. „Tecnica hibrida aplicada ao violão“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285051.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T11:50:06Z (GMT). No. of bitstreams: 1 Maia_MarcosdaSilva_M.pdf: 1288060 bytes, checksum: 0d432b91de9c8e88dcfd6fb1d21df8d0 (MD5) Previous issue date: 2007
Resumo: Cordofones beliscados são instrumentos musicais que apresentam características variadas de timbres, advindas de suas formas, tamanhos, qualidade das cordas e diferentes maneiras de fazê-las vibrar. Desde a Antigüidade, as preferências oscilam entre o som obtido pelo pulsar das cordas com os dedos ou aquele produzido pela utilização de um plectro ou palheta. A técnica híbrida (do inglês, hybrid picking) refere-se à utilização simultânea da palheta e dos dedos. No violão, os bordões são tocados com palheta, presa entre o indicador e o polegar da mão direita, e as primas tangidas com qualquer combinação dos dedos médio, anular e mínimo. Dessa forma, a técnica funciona bem tanto para bases rítmico-harmônicas, como para músicas polifônicas e linhas melódicas. No presente trabalho, a tradicional simbologia do violão p-i-m-a (polegar, indicador, médio e anular) foi alterada. As letras p e i foram substituídas pelos símbolos usuais dos movimentos alternados da palheta: ou, mantendo-se as letras m-a e incluindo-se a letra c (chico, dedo mínimo em espanhol). Assim, a pesquisa objetivou contextualizar a técnica híbrida e sua aplicação ao violão, discorrendo sobre aspectos históricos referenciais ao uso da palheta e dedos; indicando exemplos musicais para a aplicação da técnica; enfatizando a importância da adequada seleção de palhetas para a mesma, bem como investigando sua aplicação por diversos músicos na atualidade e sua eficácia na realização de variados repertórios
Abstract: Plucked chordophones are musical instruments that offer a great variety of tones from their forms, sizes, quality of the strings and different ways of making them vibrate. Since ancient times, the preferences sway between the sound obtained by the vibration of the strings with the fingers or that produced by the use of a pick. Hybrid Picking refers to the simultaneous use of the pick and the fingers. In nylon strings guitar, the bass-strings are played with the pick, held between the right forefinger and the thumb, and the first strings are played with any combination of the middle, the ring and little fingers. Therefore, the technique works well for rhythm-harmonic bases, polyphonic music and melodic lines. In the present work, the traditional guitar terminology of p-i-m-a (from the Portuguese, polegar [thumb], indicador [forefinger], médio [middle finger] and anular [ring finger) was altered. The letters p and i were changed for the usual symbols of the picks¿ up and down movementsor, maintaining the m-a (middle and ring fingers) and including the c letter (chico, Spanish for little finger). So, this study aimed at contextualizing the hybrid picking applied for nylon strings guitar by discussing referential historical aspects of the use of the pick and the fingers; indicating musical examples for applying the technique; emphasizing the importance of adequate selection of picks for that, as well as by examining its application by diverse musicians from actuality and its efficacy for different repertoire
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Bücher zum Thema "Guitar picking"
Stump, Joe. Guitar sweep picking & arpeggios. Boston, MA: Berklee Press, 2017.
Den vollen Inhalt der Quelle findenKaufman, Steve. My first bluegrass guitar picking songs. Pacific, Mo: Mel Bay, 2010.
Den vollen Inhalt der Quelle findenSokolow, Fred. The dictionary of strum & picking patterns. Milwaukee, WI: H. Leonard Corp., 1995.
Den vollen Inhalt der Quelle findenJohnson, Chad. Guitarist's guide to economy picking: Learn to play fast, lean and clean with the picking techniques of the masters. Milwaukee, WI: Hal Leonard, 2017.
Den vollen Inhalt der Quelle findenHanson, Mark. The art of contemporary Travis picking: How to play alternating-bass fingerpicking style. Palo Alto, CA: Accent on Music, 1986.
Den vollen Inhalt der Quelle findenGuitar Picking Tunes - Spirituals. Mel Bay Publications, Incorporated, 2022.
Den vollen Inhalt der Quelle findenBrasil, Gustavo Assis. Hybrid Picking for Guitar. Gustavo Assis Brasil Music, 2005.
Den vollen Inhalt der Quelle findenEconomy Picking Guitar Technique. www.fundamental-changes.com, 2021.
Den vollen Inhalt der Quelle findenGambale, Frank. Speed Picking - Frank Gambale. Hal Leonard Corporation, 1994.
Den vollen Inhalt der Quelle findenCarlson, Ed. Guitar Etudes: 25 Picking Studies. Independently Published, 2019.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Guitar picking"
Keebler, Joseph R., Travis J. Wiltshire, Dustin C. Smith und Stephen M. Fiore. „Picking Up STEAM: Educational Implications for Teaching with an Augmented Reality Guitar Learning System“. In Virtual, Augmented and Mixed Reality. Systems and Applications, 170–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39420-1_19.
Der volle Inhalt der Quelle„Basic Picking and Plucking Patterns“. In Acoustic Guitar Styles, 19–23. Routledge, 2013. http://dx.doi.org/10.4324/9780203827901-11.
Der volle Inhalt der Quelle„More Flat-picking and Fingerpicking Patterns“. In Acoustic Guitar Styles, 58–65. Routledge, 2013. http://dx.doi.org/10.4324/9780203827901-14.
Der volle Inhalt der Quelle„Using Alternating Bass Notes to Vary Picking and Strumming Patterns“. In Acoustic Guitar Styles, 24–35. Routledge, 2013. http://dx.doi.org/10.4324/9780203827901-12.
Der volle Inhalt der QuelleCoelho, Victor Anand. „Picking through cultures: a guitarist's music history“. In The Cambridge Companion to the Guitar, 1–12. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol9780521801928.002.
Der volle Inhalt der QuelleStarr, Larry. „Accompanying Bob Dylan“. In Listening to Bob Dylan, 81–88. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043956.003.0006.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Guitar picking"
Yoshida, Nozomu, und Katsutsugu Matsuyama. „A picking interface seamlessly connecting passive and active performance on guitar“. In International Workshop on Advanced Imaging Technologies 2020 (IWAIT 2020), herausgegeben von Phooi Yee Lau und Mohammad Shobri. SPIE, 2020. http://dx.doi.org/10.1117/12.2566285.
Der volle Inhalt der QuelleMatsushita, Soichiro. „A wrist-worn motion evaluation system for fast and powerful down picking of heavy metal guitar“. In UbiComp '19: The 2019 ACM International Joint Conference on Pervasive and Ubiquitous Computing. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3341163.3347726.
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