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Journal articles on the topic 'Collaborative work for guitar'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Fikri, Kanzul. "Inovasi Proses Kreatif Rosette Guitar Quartet Di Era New Normal." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (June 30, 2021): 53. http://dx.doi.org/10.26740/vt.v4n1.p53-57.

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Rosette guitar quartet is a guitar quartet group consisting of four guitar players and on originally the Rosette guitar quartet was performing classical guitar songs arranged in four guitars. Method in this research using an qualitative approach. Qualitative research tries to answer question rather than testing the hypothesis. This research uses creative process theory and innovations theory which consist of 4 types, namely (1) Discovery (2) Extension (3) Duplication (4) Synthesis. The Result of innovation made by Rosette guitar quartet are (1) Invention made by Rosette Guitar is creating a new process in the guitar quartet group perfoming songs in postmodern era and uploaded on social media, such as “Youtube”, (2) Development of the Rosette guitar expresses his works in social media, where to adjust the new habits to music enthusiast that can appreciate perfoming of Rosette by virtual. (3) Rosette Guitar duplicate the most successful musicians used to express and maximize each his work in “Youtube” which gets a lot of appreciation (viewers) according to the new normal era. (4) The Rosette guitar perfoms synthesis with create new works every month and uploaded on “Youtube”. Collaborative creative process of this synthesis considered by Rosette guitar quartet as great opportunity to music works, expression as well as new innovations in industry creative in the new normal era.Keywords: Innovation, Creative Process, New Normal.

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DELİGÖZ, Atakan, and Ejder PAMUKÇU. "ROMANTIC GUITAR RESTORATION WORK." Yegah Müzikoloji Dergisi 5, no. 1 (June 30, 2022): 1–25. http://dx.doi.org/10.51576/ymd.1124200.

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In this article; The stages of the restoration work of a 130-year-old romantic guitar produced in France are described. When we received the instrument in question; The neck and sound box were separated from each other, the keyboard was broken in two, cracks were formed in the upper and lower soundboards, some of the harmonic beams had come off from the adhesion surfaces, and some of the ornaments on the rosettes had fallen off. When this unplayable musical instrument is considered in detail in terms of both its historical background, materials and workmanship, it has been understood that it is a valuable and good musical instrument reflecting its period, and it has been decided to be restored. After the evaluation, first of all, the plan of the study was prepared and all repairs of the instrument were carried out step by step in line with this planning. In the repair work carried out, care was taken to preserve the original structure of the instrument as much as possible. However, necessary structural changes have been made in order for it to be performed today and used easily for many years. All stages of the meticulous work were photographed and documented. Thanks to this restoration, the romantic guitar was made functional again and brought to the use of the performers.

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3

Turchet, Luca, and Mathieu Barthet. "An ubiquitous smart guitar system for collaborative musical practice." Journal of New Music Research 48, no. 4 (July 5, 2019): 352–65. http://dx.doi.org/10.1080/09298215.2019.1637439.

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4

Risteski, Ice B. "A New Guitar Teaching Philosophy." Acta Universitaria 18, no. 1 (April 1, 2008): 33–49. http://dx.doi.org/10.15174/au.2008.155.

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In this present work it is given an opinion for a new approach to guitar teaching philosophy in a sufficiently sophisticated way, which surpasses up to now all known looks. With a goal to shed light on this important topic, this work will introduce a new guitar teaching philosophy on the virtue of musical-aesthetical knowledge of classical guitar music. With the intention to better understand this approach, emphasis is made throughout the prismof the guitar experience and from the viewpoint of new needs of classical guitar study.

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5

Aleixo, Ricardo. "Guitar Music Manuscripts in the Senate Library of Madrid: The Canción patriótica de la Alianza and Its Experimental Notation." Soundboard Scholar 3, no. 1 (2017): 30–34. http://dx.doi.org/10.56902/sbs.2017.3.8.

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The modest collection of manuscripts of guitar music preserved in the Senate Library of Madrid seems to provide a representative sampling of the types of guitar repertoire circulating in Spain in the late eighteenth and early nineteenth centuries. Despite its small size, this corpus contains the most typical genres of the period— namely, two chamber music works for guitar with bowed string instruments, by Federico Moretti and Antonio Ximénez, a guitar duet by Pierre-Jean Porro, a solo guitar work by the mysterious señor D. G. G. M. A., and two songs with guitar accompaniment, one by Francisco Xavier Moreno and the other by the same D. G. G. M. A., titled Canción patriótica de la Alianza. Among other interesting aspects, what is truly remarkable about this song is that its author uses two G-clef staves in the introduction to write the music of a single guitar, a surprising notational device also used in another of his pieces.

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6

MILLER, KIRI. "Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity." Journal of the Society for American Music 3, no. 4 (October 15, 2009): 395–429. http://dx.doi.org/10.1017/s1752196309990666.

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AbstractThis article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies, popular music studies, gender and sexuality studies, and interdisciplinary digital media scholarship, I investigate the games' models of rock heroism, media debates about their impact, and players' ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world.

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7

Dossick, S. E., and G. Kalser. "Collaborative work." IEEE Internet Computing 1, no. 5 (1997): 80–81. http://dx.doi.org/10.1109/4236.623973.

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8

Douglas, Jacinta, and Robyn Tate. "Collaborative Work." Brain Impairment 2, no. 1 (May 2001): iii—iv. http://dx.doi.org/10.1375/brim.2.1.iii.

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9

Spiegelman, C. H. "Collaborative work." Chemometrics and Intelligent Laboratory Systems 4, no. 4 (October 1988): 265. http://dx.doi.org/10.1016/0169-7439(88)80102-3.

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10

Zintel, Harold A. "Computer simulation of the guitar, work in progress." Journal of the Acoustical Society of America 85, S1 (May 1989): S78. http://dx.doi.org/10.1121/1.2027146.

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11

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 (December 1, 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 health problems were established for the whole guitar group and by instrument. Of the total subjects, 81% reported one or more musculoskeletal problems. The acoustic guitar group reported the highest prevalence (83%), followed by the banjo (78%), electric bass (77%), and electric guitar groups (74%). The highest site-specific prevalences for the whole group were the left fingers (32.9%), left wrist (29.8%), and left hand (24.7%). Regarding nonmusculoskeletal problems, 66% of the total group perceived stress due to work environment as a moderate to high problem. The total group reported mostly problems with fatigue, depression, headache, and eye strain. The overall findings of the study show that musculoskeletal problems as well as stress-related health problems are a major concern for the guitar community.

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12

Rizal, Syamsul. "Proses pembelajaran gitar klasik sebagai nilai-nilai pendidikan di Prodi Pendidikan Seni Pertunjukan FKIP Untirta." AKSARA: Jurnal Bahasa dan Sastra 22, no. 2 (October 31, 2021): 249–59. http://dx.doi.org/10.23960/aksara/v22i2.pp249-259.

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Learning guitar in the Performing Arts Education Study Program (PSP) FKIP Untirta is an effort made by students to play an existing repertoire created by a composer. The repertory is studied gradually and continuously. From the beginning to the end of the repertory, students play with the techniques, dynamics, and tempo written from a repertory. This is a process that is carried out continuously by the students of PSP FKIP Untirta. The guitar learning process is certainly interesting to be used as a study. Given that there is no guitar learning in PSP FKIP Untirta that has made a scientific study material. This study used a qualitative method described descriptively to obtain data about educational values in classical guitar learning at PSP FKIP Untirta. This study will discuss the educational values that exist in classical guitar learning in PSP FKIP Untirta. The results of this study are as follows. Educational values in classical guitar learning at PSP FKIP Untirta (1) Discipline values; (2) the value of hard work; (3) the value of being used to reading; and (4) aesthetic value / taste.

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13

Finkelshtein, Yulia A. "Features of mass culture in works for guitar by Russian composers of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 64 (2022): 304–15. http://dx.doi.org/10.37816/2073-9567-2022-64-304-315.

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The influence of subculture is characteristic for academic works of the 20th century, including those written for a six-string guitar and compositions with a guitar part. Many authors have recognized the instrument as an attribute of mass culture since the Middle Ages. Democracy as a historical property of the guitar leaves its mark on academic music that addresses it. Having never been a part of orchestras before, guitar becomes a permanent and almost the main member of the jazz ensemble. The paper discusses the diversity of embodiment of the features of mass culture in academic Russian guitar works of the 20th century. Melodic and harmonic features of the proletarian song are introduced by composers of the Soviet period (Asafyev, Shebalin, Retchmensky, Kamaldinov) into guitar opuses. The author shows that the instrument is perceived by composers of the second half of the century as a phenomenon of mass culture, and therefore the introducing of guitar into the score entails the use of means from its arsenal — melodic-harmonic, rhythmic, textured, compositional. The specifics of the film industry express themselves in the introduction of a part of the soundtrack into the work, the use of montage techniques. The study revealed that the influence of pop music and jazz styles manifests itself in pieces for the guitar solo by composers of the second half of the 20th century, whose style is formed on the basis of performance (Vinitsky, Rudnev, Koshkin, Kozlov).

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14

Gómez-Ullate García de León, Martín. "GUITAR TEACHING: STATE OF THE ART AND RESEARCH QUESTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 361. http://dx.doi.org/10.17770/sie2019vol4.3952.

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This work reviews guitar methodologies and didactic materials from the first 16th century methods of guitar and vihuela to the software/hardware devices patented now-a-days. One of the richest sources for guitar education research are master classes registered since the last 50-100 years and available today to the researcher. A set of 12 master classes are analysed in this study. Fundamental decisions for the education and practice of the guitar are highlighted as the fingernails vs. yolks playing, “learning by music” vs. “learning by ear”, the use of music vs. tablature notation or the autodidactic way vs. the teacher-student interaction in class. Despite the successful new devices and advances in software and hardware, literature review reveals the importance of the teacher and the classical methods.

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15

Dipper, Andrew, and JosE L. Romanillos. "Antonio de Torres, Guitar Maker - His Life and Work." Galpin Society Journal 42 (August 1989): 167. http://dx.doi.org/10.2307/842650.

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16

Dhrithi, M. Aill, Parul Raj Agrawal, and Kurian Aju. "PREVALENCE OF PLAYING-RELATED MUSCULOSKELETAL DISORDER (PRMSD) AMONG AMATEUR YOUNG GUITAR PLAYERS." Journal of Musculoskeletal Research 16, no. 02 (June 2013): 1330002. http://dx.doi.org/10.1142/s0218957713300020.

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Context: Since learning guitar and playing it requires repetitive use of muscles, very often with poor posture, guitarists are at an increased risk of nerve or musculoskeletal damage. As playing is the work of musicians, playing-related musculoskeletal disorders (PRMDs) are an appropriate music-specific derivative of work-related musculoskeletal disorder. Since learning guitar and playing it requires repetitive use of muscles, very often with poor posture, guitarists are at an increased risk of musculoskeletal disorder. Aim: To estimate the prevalence of playing related musculoskeletal disorder among non-professional guitar players. Methodology: it was a cross-sectional study done on non-professional guitar players in the age group of 18-30 years. Modified Nordic Questionnaire was used to screen for the symptoms and a self prepared validated questionnaire was used to take the details of playing related activities. Statistical analysis: Results were analyzed using descriptive statistics. Results: The neck and lower back were reported to be most affected with symptoms of pain (29% each) among the selected population, followed by the wrist (17%) and shoulder (15.5%). The main contributing factor was found to be awkward sitting posture and non-use of back support while sitting.

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17

FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand." Journal of the Society for American Music 6, no. 2 (May 2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.

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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece's inception, outlining the organological evolution of resophonic guitars and their relationship to Hawaiian music. It addresses the practical and aesthetic implications of the composer's choice of tuning, and examines the work of additional artists, such as Terry Riley and Larry Polansky, who have contributed to the growing repertoire for the just intonation resophonic guitar.

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18

Gámez-Pérez, Karla M., Ana Maria Sarmiento, Heriberto Garcia-Reyes, and Josué C. Velázquez-Martínez. "An international university-industry collaboration model to develop supply chain competences." Supply Chain Management: An International Journal 25, no. 4 (March 23, 2020): 475–87. http://dx.doi.org/10.1108/scm-08-2019-0317.

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Purpose The increase in the supply chain complexity demands new professionals who are able to deal with the new challenges faced nowadays. The purpose of this work is to propose an international university–industry collaboration model to develop supply chain management competences in students as a tool for the training of future professionals. Design/methodology/approach This study proposes an international collaboration model to develop supply chain competences. The model consists of three main phases from the genesis of the collaboration to the assessment of the competence development. This study validates the model collaborating with one of the largest retailer companies in Mexico. Findings Results identify collaboration good practices and point at possible improvements for the next model iteration. This study identifies four key supply chain competences as part of this model. Three didactic approaches (i.e. guidance methods) and two student’s involvement schemes were tested. The results show that professors acting as an advisor (i.e. acting as a guider without telling student directly what to do or how to do it) plus a voluntary student’s involvement in the project promote better competence development. Originality/value The first contribution of this research is the definition of an international collaboration model that promotes competence-based education. Also, this study documents good practices for this type of partnership. The second one refers to a large-scale model validation (i.e. 14-week experiment in nine different regions of Mexico involving a retail company, 20 professor-researchers and more than 100 students). The third contribution includes the assessment of different levels of competences development using diverse students’ participation schemes and professor’s guidance methods.

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19

Lahasky, Sarah. "Municipal Sponsorship and Musical Work in Argentina: Ensemble Institutionalization in a Neoliberal Economy." SOCIOLOGIA DEL LAVORO, no. 157 (August 2020): 108–24. http://dx.doi.org/10.3280/sl2020-157006.

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The institutionalization of musical groups through local, decentralized govern-ments may provide artists an alternative to the precarious working conditions as characterized by the gig economy. The article uses the Tito Francia Guitar Or-chestra as a case study and suggests that artists living in areas with autonomous local governments may be able to frame their work as a social, political, or eco-nomic benefit to the city. The article contains three sections: the first one explains Argentina's current economic situation and its effects on musical work in the country; the second one introduces the guitar orchestra and their relationship with the Municipality of Guaymallén; the last section considers the benefits and risks of institutionalizing an ensemble, and how musicians' work may change as a result.

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Kozlin, Valery, and Valentina Grishenko. "Creation of musical pieces At GUITAR PRO 6 (Part 2)." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 88–96. http://dx.doi.org/10.32461/2226-2180.39.2021.238694.

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The purpose of the article is to find out the specifics and methods of creating music in the sequencer GUITAR PRO 6. Methodology. The article uses a systematic approach, and also applies methods of comparison and generalization. Scientific novelty. For the first time in domestic musicology, innovative methods of working in the modern computer program sequencer GUITAR PRO 6 were discovered and proposed. The application of the methods and rules presented in the study provides the opportunity to transfer the work of a composer, arranger, sound engineer, musician, with a computer to a completely new stage in the development of musical creativity, which significantly improves the result of the study of musical texture, expanding the ways of existence of the work and the like. Conclusions. This software product is a powerful editor that allows you to create original scores at a professional level for subsequent editing. The program presents many useful tools with which the user can work with a different set of symbols of musical notation, as well as with a wide range of regulation of sound dynamics and tempo, which allows you to create samples of musical scores that sound and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and many other useful instruments for musicians. Ability to run Guitar Pro 6 on Windows, Linux, Mac OS platforms. Widely used by composers, arrangers, and sound engineers. Also, the methods of work in Guitar Pro 6 can be used for study by students who master the relevant specialties.

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21

Hasan, Mohammad Mainul, and Saiful Islam. "Development of an Acoustic Guitar Tuner and Graphical User Interface (GUI) using MATLAB." Applied Research and Smart Technology (ARSTech) 3, no. 2 (December 27, 2022): 49–55. http://dx.doi.org/10.23917/arstech.v3i2.1185.

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Beautiful music requires precisely tuned instruments. Tuning a guitar is a necessary skill for any guitarist on their first day. This work demonstrates an understanding of the critical characteristics that must be considered while developing an acoustic guitar tuner and the logical process used to design such a tuner. The study aimed to create an algorithm using the Butterworth Filter and Fast Fourier Transform (FFT) capable of adequately analysing the frequency spectrum of a plucked guitar string to determine its fundamental frequency. The developed system compared the detected frequency and the standard frequency of the picked guitar string, which then requested the user on the tuning state of that corresponding string. The error in frequency detection was found to be in the order of 0.02%. The MATLAB App Designer tool created a Graphical User Interface (GUI) that users could use to tune guitars using the generated application easily. The implemented tuner overcame the steep learning curve and high sensitivity of traditional ones.

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22

Siegel, Jane, and Elaine Hyder. "Enabling collaborative work: Work in progress." Personal Technologies 3, no. 1-2 (March 1999): 65–71. http://dx.doi.org/10.1007/bf01305321.

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23

Sutaryo, Haris Natanael, Tri Wahyu Widodo, and Mahardika Kusumo Simbolon. "Penerapan Tangga Nada Pentatonis dalam Penciptaan Musik Gavotte untuk Kuartet Gitar." PROMUSIKA 10, no. 2 (December 3, 2022): 97–103. http://dx.doi.org/10.24821/promusika.v10i2.7955.

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Pengertian Gavotte adalah tari Perancis antara abad ke 16-18 dalam birama 2/4 atau 4/4. Termasuk sebagai salah satu bagian dalam suita. Memasuki abad 19 Gavotte tidak lagi terbatas pada musik untuk iringan tarian saja, tetapi sudah berdiri sendiri sebagai komposisi musik. Ide penciptaan musik Gavotee untuk kuartet gitar, terinspirasi dari keprihatinan dalam mengajar praktek gitar klasik baik disekolah musik yang formal maupun non formal. Penelitian ini mencari solusi yang terarah, untuk menciptakan model pembelajaran gitar klasik dasar, melalui sebuah penciptaan karya musik Gavotte dengan penerapan tangga nada pentatonik mayor (C-D-E-G-A) untuk kuartet gitar. Pengertian tangga nada pentatonik adalah jenis tangga nada yang memakai lima nada pokok , masing-masing dibedakan dari jarak antar nada. Penciptaan karya musik Gavotte ini dirancang untuk kuartet gitar (gitar 1, 2, 3, 4) bertujuan untuk penempatan pemain sesuai kemampuan ketrampilannya. Gitar 1 untuk murid yang paling tinggi dengan skil tinggi, gitar 2 lebih rendah ketrampilannya begitu juga untuk gitar 3 dan 4. Penggarapan komposisi musik Gavotte lebih ditekankan pada pengolahan ritme, melodi, dan harmoni yang sederhana yang disesuaikan ketrampilan gitar dasar. Metode penciptaan musik terdiri dari tiga langkah yaitu proses tindakan kelas, eksplorasi, dan sosialisasi. Penelitian dalam penciptaan karya musik ini digunakan sebagai model pembelajaran praktik gitar dan dapat menjembatani dalam membantu penguasaan membaca notasi balok, khususnya untuk mengajar kelas group yang terdiri dari 4-6 orang.AbstractApplication of the Pentatonic Scale in the Creation of Gavotte Music for the Guitar Quartet. Gavotte is a French dance between the 16th-18th centuries in rhythms of 2/4 or 4/4. It was included as one of the parts in the suita. Entering the 19th century, Gavotte was no longer limited to music for dance accompaniment but already stood alone as a musical composition. The idea of creating Gavotee music for guitar quartets was inspired by concerns about teaching classical guitar practice in formal and non-formal music schools. This research seeks a purposeful solution to make a basic classical guitar learning model by creating Gavotte's musical works with the application of major pentatonic scales (C-D-E-G-A) to guitar quartets. The notation of pentatonic scale is a type of scale that uses five principal tones, each distinguished by the distance between notes. The creation of Gavotte's musical work was designed for a quartet of guitars (guitars 1, 2, 3, 4) aimed at placing players according to their abilities. Guitar 1 is for the highest students with high skills; guitar 2 is lower in skill, as well as for guitars 3 and 4. Gavotte's musical compositions emphasize simple rhythm, melody, and harmonic processing tailored to basic guitar skills. The music creation method consists of three steps, namely, the process of class action, exploration, and socialization. Research in creating this musical work is used as a learning model for guitar practice. It can bridge in helping the mastery of reading block notation, especially for teaching group classes of 4-6 people.Keywords: music composition; Gavotte; guitar skill

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Castro-Magas, Diego. "GESTURE, MIMESIS AND IMAGE: ADORNO, BENJAMIN AND THE GUITAR MUSIC OF BRIAN FERNEYHOUGH." Tempo 70, no. 278 (September 28, 2016): 16–28. http://dx.doi.org/10.1017/s0040298216000310.

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AbstractOne important stimulus in attempting to apply Adorno's constellation of concepts on performance to Brian Ferneyhough's guitar music is that both display the influence of Walter Benjamin's thought. Benjamin's concept of mimesis influenced Adorno's theory of musical reproduction, however much Adorno may have reformulated it, and various Benjaminian topics are traceable in Ferneyhough's guitar music, especially Kurze Schatten II (1983–89) for solo guitar. Adorno claims that true reproduction is the X-ray image of the work of music, a rendition of all the aspects that lie hidden beneath the surface. By exploring the conceptual traces of Benjamin's thought in Kurze Schatten II, this article examines how performer's interpretative choices are likely to render the X-ray image of this music in performance, as seen through a gesture-based approach.

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25

Heerwagen, Judith H., Kevin Kampschroer, Kevin M. Powell, and Vivian Loftness. "Collaborative knowledge work environments." Building Research & Information 32, no. 6 (November 2004): 510–28. http://dx.doi.org/10.1080/09613210412331313025.

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Magagna, Jeanne, and Jude Piercey. "Collaborative Work with Parents." British Journal of Psychotherapy 36, no. 2 (February 19, 2020): 275–93. http://dx.doi.org/10.1111/bjp.12526.

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Bietti, Lucas M., and Michael J. Baker. "Collaborative remembering at work." Interaction Studies 19, no. 3 (December 31, 2018): 459–86. http://dx.doi.org/10.1075/is.17010.bie.

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Abstract Collaborative remembering is essential to enabling teams to build shared understanding of projects and their progress. This article presents an analysis of collaborative remembering sequences in a corpus of interactions collected in a workplace where a team of designers developed a video television commercial. On the basis of coding and analysing linguistic and bodily behaviors in 158 such sequences, extracted from over 45 hours of video recordings, recurrent patterns of collaborative remembering processes were identified, relating to the interplay of work roles. This article shows that collaborative remembering in the design studio is structured by behavioural, interactive and social factors.

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Starbird, Kate, Ahmer Arif, and Tom Wilson. "Disinformation as Collaborative Work." Proceedings of the ACM on Human-Computer Interaction 3, CSCW (November 7, 2019): 1–26. http://dx.doi.org/10.1145/3359229.

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Camargo, Anamaria A., and Andrew J. G. Simpson. "Collaborative research networks work." Journal of Clinical Investigation 112, no. 4 (August 15, 2003): 468–71. http://dx.doi.org/10.1172/jci200319520.

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Lutters, Wayne G. "Storytelling in collaborative work." ACM SIGGROUP Bulletin 23, no. 2 (August 2002): 22–23. http://dx.doi.org/10.1145/962185.962194.

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Torge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (December 1, 2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.

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Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.

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Gámiz Sánchez, Vanesa María, Norma Torres Hernández, and María Jesús Gallego Arrufat. "Construcción colaborativa de una e-rúbrica para la autoevaluación formativa en estudios universitarios de pedagogía." REDU. Revista de Docencia Universitaria 13, no. 1 (March 28, 2015): 319. http://dx.doi.org/10.4995/redu.2015.6438.

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<p>Este artículo presenta un estudio sobre la construcción de e-rúbricas para la autoevaluación. Las rúbricas, como instrumento de autoevaluación, permiten la reflexión, aportan al estudiante una mayor implicación en su aprendizaje y un mayor grado de conciencia de sus propios logros. En este caso, se logró la colaboración del estudiante desde el mismo momento del diseño y creación de la rúbrica a través de un proceso de construcción colaborativa donde participaron estudiantes y profesorado. La investigación1 se realizó con estudiantes del grado de Pedagogía de la Universidad de Granada que cursaron una materia optativa de tercer curso de la titulación. Se desarrolló en varias etapas sucesivas durante un cuatrimestre: la formación para el uso de rúbricas electrónicas, el diseño y construcción de las e-rúbricas, la utilización de las e-rúbricas elaboradas como instrumento de autoevaluación y la aplicación de un cuestionario a las estudiantes participantes para conocer sus opiniones y valoración sobre el uso de la e-rúbrica. Es importante considerar que cuando se evalúa con herramientas innovadoras es fundamental que los alumnos no sólo conozcan el instrumento, sino que se les forme e informe sobre el potencial e importancia que este tiene para la mejora de sus aprendizajes y, lo más importante, lo usen y lo incorporen a sus propias prácticas evaluadoras. Como resultado principal, las estudiantes destacaron la importancia de la rúbrica para guiar y reflexionar sobre su aprendizaje y su capacidad para predecir sus resultados en la asignatura.</p><p><strong>ABSTRACT</strong></p><p><strong>Building a collaborative e-rubric for educational self-assessment in degree of pedagogy.</strong></p><p>This paper is focused on the self-assessment trough e-rubrics. Rubrics as an instrument of self-assessment involve a process of reflection that can contribute to increase the involvement and awareness of their own achievements. Here we wanted to engage students from the design and creation of rubric through a collaborative process of building an e-rubric by the students and the teacher. In this study, undergraduate students of Pedagogy participated in an elective subject in their third year. It was developed in several stages in a semester: training for using e-rubrics, designing and construction of e-rubrics, using the e-rubric as a tool for self-assessment and filling a final questionnaire to collect their views. It’s important to consider that when we work with innovative strategies of assessment, students have to know not only the features of the instrument but also they have to know the influence to improve their learning processes and they have to achieve the ability to incorporate it to their own skills as education professionals. As main result, students highlighted the importance of rubrics to guide their learning processes and to reflect about it and the capacity of rubric to predict their performance in the subject.</p>

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Витюк, Александр. "Синтез техник игры на бас-гитаре в исполнительской практике (середина 1980-х годов – начало XXI века)." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 48, no. 2 (August 21, 2021): 90–98. http://dx.doi.org/10.46727/jshs.2021.v48.i2.p90-98.

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This article discusses the processes of synthesis of existing techniques of playing the bass guitar used in professional practice (mid 1980s – the beginning of the XXI century). The set of techniques of sound production is studied on the basis of the work of the leading bass guitarists of our time, who had the greatest influence on the evolution of performing on the bass guitar. The author pays special attention to the design features of stringed bass instruments in the context of the formation of innovative ways of sound production.

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Cave, Sam. "RIDING THE WILD OCEAN: HORATIU RADULESCU'S SUBCONSCIOUS WAVE IN THEORY, PERFORMANCE AND RECORDING." Tempo 76, no. 299 (December 15, 2021): 30–43. http://dx.doi.org/10.1017/s0040298221000632.

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AbstractThis article focuses on Radulescu's 1984 Subconscious Wave, for guitar and pre-recorded digital sound, a work that features on my 2019 solo CD recording Refracted Resonance, for Métier Records, alongside music by Tristan Murail, Christopher Fox, George Holloway and myself. The article places the work in the context of Radulescu's output, demonstrates how it displays the key aesthetic concepts that drive his music and shares my insights into the technical and interpretive aspects of preparing the piece for performance and recording. The article has been adapted from a lecture-recital given at the 2021 edition of the 21st Century Guitar Conference, which was hosted by the Faculty of Social Sciences and Humanities at the Universidade NOVA de Lisboa (NOVA FCSH), Portugal in March 2021.

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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (December 10, 2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.

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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).

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Holters, Martin. "Antiderivative Antialiasing for Stateful Systems." Applied Sciences 10, no. 1 (December 18, 2019): 20. http://dx.doi.org/10.3390/app10010020.

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Nonlinear systems, such as guitar distortion effects, play an important role in musical signal processing. One major problem encountered in digital nonlinear systems is aliasing distortion. Consequently, various aliasing reduction methods have been proposed in the literature. One of these is based on using the antiderivative of the nonlinearity and has proven effective, but is limited to memoryless systems. In this work, it is extended to a class of stateful systems which includes but is not limited to systems with a single one-port nonlinearity. Two examples from the realm of virtual analog modeling show its applicability to and effectiveness for commonly encountered guitar distortion effect circuits.

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Ozerturk, Saltuk, and Huseyin Yildirim. "Credit attribution and collaborative work." Journal of Economic Theory 195 (July 2021): 105264. http://dx.doi.org/10.1016/j.jet.2021.105264.

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Dix, A., T. Rodden, and I. Sommerville. "Modelling versions in collaborative work." IEE Proceedings - Software Engineering 144, no. 4 (1997): 195. http://dx.doi.org/10.1049/ip-sen:19971514.

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Danielewicz, Jane, and John McGowan. "Collaborative Work: A Practical Guide." symploke 13, no. 1 (2005): 168–81. http://dx.doi.org/10.1353/sym.2006.0014.

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Koschmann, Matthew A., and Nicholas R. Burk. "Accomplishing Authority in Collaborative Work." Western Journal of Communication 80, no. 4 (April 6, 2016): 393–413. http://dx.doi.org/10.1080/10570314.2016.1159728.

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Gant, Valerie, Lisa Cheatham, Hannah Di Vito, Ebenezer Offei, Gemma Williams, and Nathalie Yatosenge. "Social work through collaborative autoethnography." Social Work Education 38, no. 6 (February 13, 2019): 707–20. http://dx.doi.org/10.1080/02615479.2019.1570109.

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GONZALEZ, ARTHUR A. "Building a Collaborative Work Culture." Survey of Anesthesiology 36, no. 1 (February 1992): 29???31. http://dx.doi.org/10.1097/00132586-199202000-00030.

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Lundin, J., and M. Magnusson. "Collaborative learning in mobile work." Journal of Computer Assisted Learning 19, no. 3 (September 2003): 273–83. http://dx.doi.org/10.1046/j.0266-4909.2003.00029.x.

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Brumfiel, Geoff. "Curtain falls on collaborative work." Nature 468, no. 7320 (November 2010): 16. http://dx.doi.org/10.1038/468016a.

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Hall, Kathryn V., and Susan W. Veise-Berry. "Maryland Nursing Work Force Collaborative." Journal of Nursing Administration 28, no. 1 (January 1998): 5–7. http://dx.doi.org/10.1097/00005110-199801000-00002.

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Gant, Val. "Collaborative autoethnography and social work." Social Work and Social Sciences Review 23, no. 2 (December 7, 2022): 82–102. http://dx.doi.org/10.1921/swssr.v23i2.2085.

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Like autoethnography, (AE), collaborative autoethnography (CAE) results in highly personalised narrative accounts of the researcher’s engagement with specific sociocultural contexts. CAE adds a collective interpretation to that engagement. While CAE has thus far been little used in social work practice and education, it is an emerging methodological approach that offers new and different insights and opportunities. This paper discusses CAE and its relationship with social work practice and education. In it I discuss how CAE allows for a collective exploration of an individual experience and how these explorations, and the process of obtaining them, have many benefits for social work practitioners and social work students alike. The similarities between CAE and social work are highlighted, by focussing on some of the very core skills and values that lie at the heart of social work, such as listening, collaborating and showing empathy, CAE would seem a natural progression for inquiry within social work. This contribution to the special issue has implications for both social work practice and social work education.

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Furdui, Yulia, and Оlena Yehorova. "GENRE CHARACTERISTICS OF ROMANTIC FANTASY FOR THE GUITAR ON A BORROWED THEME BY F. TARREGA." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 115–24. http://dx.doi.org/10.33287/222022.

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The purpose of this article is to identify the individual-style features and genre characteristics of romantic fantasy for the academic professional guitar. The methods of the research are based by investigator on the application of a comprehensive approach, namely: evolutionary and historical methods – in the disclosure of the processes of formation and subsequent evolution of the genre under study; analytical – in the study of different genre literature, concerning the chosen problem and others. The scientific novelty lies in the fact that fantasies for F. Tarrega’s guitar is analyzed by researcher for the first time. On their example, the individual-style features of the fantasy genre are revealed by scholar. Conclusions. In the course of the work, the genre characteristics of F. Tarrega’s romantic fantasy were analyzed, and it was discovered that virtuosity comes to the forefront as a mandatory quality of fantasy, which was associated with the emergence of virtuosos of composers and performers Napoleon Costa and Francisco Tarrega. Thanks to them, the guitar falls a focus of attention of famous virtuosos who study its chamber and orchestral capabilities. Fantasies for the guitar are improved in form and thematism, using as exclusively original thematism, and borrowed. In the era of romanticism, fantasies on a borrowed topic get the most development, a prerequisite for which was the growth of a virtuoso style of performance, which undoubtedly led to revolutionary achievements in the field of expressive means. One of the main features of guitar fantasies on a borrowed topic was the superiority not of composing, but of performing means of expression: agogics, dynamics, intonation and others. Fantasies for the guitar are extremely virtuosic and require considerable performing skills. However, virtuoso techniques are only of a subordinate nature, and borrowed themes become only an impulse for creating a new artistic integrity. From the point of view of the actual musical structure, such works are characterized by a combination of the form of fantasy with the variational principle of material development.

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Zebua, Candra Gunawan. "PENERAPAN TEKNIK PERMAINAN GITAR ELEKTRIK GLASSGOW KISS KARYA JOHN PETRUCCI PADA LAGU LEBIH DARI PEMENANG." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 17, no. 2 (September 1, 2019): 34–54. http://dx.doi.org/10.46965/ja.v17i2.250.

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Abstract - The purpose of this study was to describe the playing technique of electric guitar in one of John Petrucci works. The subject of this study is John Petrucci Glassgow Kiss score which has been transcribed into an electric guitar. While the object of his research is John Petrucci Glassgow Kiss guitar playing technique. So that the researcher will apply some of these techniques to a praise song more than the winner. Data analysis techniques are carried out with the stages of analysis before in the field and at the time in the field consisting of data reduction (data reduction), display data (data presentation), and verification (conclusions). The study material in this thesis is done based on the problems the author discussed. Then the results of the data produce conclusions that become problem solving in this thesis. The results of this study that the techniques contained in the work of Glassgow Kiss consist of several parts, namely; Alternate picking, Sweep picking, String skipping, Hammer-On, Pull-Off, Bending, Vibrato, Slide, Arpegio, Palm Mute, and Tapping. From some of these techniques, researchers applied several techniques that were considered capable of adding harmonization that included the structure of the melody into a song of praise more than the winner, including: Palm mute, bending, slide, tapping, hammer on, pull of, skipping strings, alternate picking, and vibrato. Researchers have applied the techniques contained in this work to a "more than a winner" hymn to improve the flow of a more varied melody. So that with the application of techniques that include the structure of melodies in certain times, it will add harmonization to the song More Than Winners.Keywords: Game Technique, Electric Guitar, Glassgow Kiss

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Chesney, Thomas. "“other people benefit. i benefit from their work.” Sharing Guitar Tabs Online." Journal of Computer-Mediated Communication 10, no. 1 (June 23, 2006): 00. http://dx.doi.org/10.1111/j.1083-6101.2004.tb00230.x.

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Burns, Catherine, Gerard Torenvliet, Bruce Chalmers, and Stacey Scott. "Work Domain Analysis for Establishing Collaborative Work Requirements." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 53, no. 4 (October 2009): 314–18. http://dx.doi.org/10.1177/154193120905300432.

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