Academic literature on the topic 'Guitar collaboration'
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Journal articles on the topic "Guitar collaboration"
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Decker, John A. "Graphite-Epoxy Acoustic Guitar Technology." MRS Bulletin 20, no. 3 (March 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 patents. We designed prototype guitars in collaboration with Pimentel & Sons, Guitar Makers, and used combinations of unidirectional and woven graphite and aramid fibers in an epoxy-resin matrix.The goal of our project was to accurately duplicate—panel by panel—the acoustic properties of a fine wooden guitar. We had the resulting acoustic modes and frequencies verified in the laboratory. We then developed and constructed open-mold and resin-transfer molding tooling for a family of classical, steel-string acoustic and hollow-body electric guitars, which are now in commercial production.Possibly the first all-composite acoustic guitar, the RainSong® represents a fundamental change in stringed-instrument construction, perhaps the first since the 17th Century Italian masters.The RainSong® technology allows musicians to skirt the effects of climate and transport damage on their instruments. The instrument contains essentially no wood, and hence negates environmental concerns about rapid depletion of the virgin-forest woods, from which stringed instruments have traditionally been made.
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Machleder, Anton. "Chamber Music for Bowed Strings and Guitar: A Beneficial Collaboration." American String Teacher 49, no. 1 (February 1999): 70–76. http://dx.doi.org/10.1177/000313139904900111.
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Lamba, Linesti, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band." Journal of Music Science, Technology, and Industry 2, no. 2 (October 30, 2019): 169–84. http://dx.doi.org/10.31091/jomsti.v2i2.865.
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This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.
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Finan, Donald, and Deanna Meinke. "A Novel Interdisciplinary Course: Musical Acoustics and Health Issues." Perspectives of the ASHA Special Interest Groups 1, no. 19 (March 31, 2016): 15–25. http://dx.doi.org/10.1044/persp1.sig19.15.
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In response to a college call for new interdisciplinary coursework in the Natural and Health Sciences, an undergraduate level course was created with focus on the physics and biophysics of sound. The physics of sound production in musical instruments is used as a model for understanding vocal production and sound reception, with emphasis on relevant issues of vocal and hearing health promotion. This project-based course, titled “Musical Acoustics and Health Issues,” was designed in collaboration with faculty from Audiology, Speech Science, Public Health, Music, Physics, Music Technology, and Science Education. Student performance is assessed through a series of eight hands-on projects designed to maximize active learning strategies. Course projects center on the concept of “sound as energy” and include the construction of string-based (cigar box guitar) and tube-based (PVC pipe didgeridoo) instruments. Course design, project details, and course outcomes are presented.
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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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Wöllner, Clemens. "Call and response: Musical and bodily interactions in jazz improvisation duos." Musicae Scientiae 24, no. 1 (May 8, 2018): 44–59. http://dx.doi.org/10.1177/1029864918772004.
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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.
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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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Simanjuntak, Bella Cindy Juwita, Pulumun Peterus Ginting, and Wiflihani Wiflihani. "Kolaborasi Alat Musik Tradisional dan Alat Musik Modern dalam Mengiringi Ibadah Minggu di HKBP Tanjung Sari Medan." Journal of Education, Humaniora and Social Sciences (JEHSS) 1, no. 3 (March 10, 2019): 170–76. http://dx.doi.org/10.34007/jehss.v1i3.35.
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This study discusses the collaboration of traditional musical instruments and modern musical instruments in accompanying Sunday services at HKBP Tanjung Sari Medan. The purpose of this study was to find out the background and process of collaboration of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan. The method used in this study is qualitative descriptive. The location of the study was carried out at the Tanjung Sari HKBP church, Jl. Setia Budi No. 11, Medan. The population of this study is traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan. While the samples in this study were Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone which were used to accompany Sunday services at HKBP Tanjung Sari Medan. The data collection technique is through observation, interviews, documentation, and library studies. Based on the results of the study, it can be seen that traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan, namely: Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone. The songs used in accompanying Sunday Service at HKBP Tanjung Sari Medan, and the collaboration process of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan.
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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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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.
Dissertations / Theses on the topic "Guitar collaboration"
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Leathwood, Jonathan. "Ideas and Idioms : Composition, collaboration and interpretation in some recent guitar works." Thesis, University of Surrey, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521714.
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Gomes, Sabrina Souza. "A reelaboração de passagens não-idiomáticas do estudo n.10 para violão solo de Marcelo Rauta por meio da colaboração intérprete-compositor." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/184851.
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A presente pesquisa teve como objetivo a reelaboração de passagens não-idiomáticas do Estudo nº 10 para violão solo de Marcelo Rauta por meio do processo colaborativo. Após a leitura e mapeamento da obra, identificamos excertos que consideramos ser não-idiomáticos, e dado que Rauta não executa o violão, propusemos ao compositor a reelaboração desses por meio da colaboração intérprete-compositor. A partir da bibliografia revisada discutimos o idiomatismo em música e os aspectos da colaboração intérprete-compositor. A investigação se deu em três momentos diferentes: 1) antes, 2) durante e 3) depois da interação com o compositor. No primeiro momento, estudei a obra e organizei minhas sugestões de modificação; em seguida, a fim de atestar se as passagens consideradas por mim como não-idiomáticas eram da mesma forma vistas por outros violonistas, entrevistei três participantes após estudarem a obra por uma semana; e por fim, com o objetivo de realizar o primeiro contato antes da colaboração, realizamos uma entrevista inicial com Rauta. No segundo momento, iniciamos o processo colaborativo – o qual foi dividido em nove etapas, e realizado à distância – onde utilizamos recursos de texto digitalizado, vídeos e fotos para nos comunicarmos de forma produtiva com o compositor. No terceiro momento, a fim de nos inteirar sobre as impressões de Rauta em relação ao processo vivenciado, realizamos uma entrevista final com o mesmo, e por fim, discutimos a relevância dos procedimentos adotados antes da colaboração, e os resultados técnicos e sonoros relativos às duas edições da obra: a edição que preserva o texto original, e a edição criada a partir das modificações realizadas no texto original. O produto final dessa pesquisa constitui-se de uma edição interpretativa, bem como de um registro em áudio e vídeo da primeira performance do Estudo nº 10.The present research aims the re-elaboration of passages of Marcelo Rauta’s Study nº 10 for solo guitar through the collaborative process with the composer. From the reading and mapping of the work, we identify excerpts that we consider non-idiomatic, and, since Rauta does not play the guitar, we proposed him the re-elaboration of these passages, through the process of collaboration between performer and composer. From the revised bibliography, we discuss the idiomatism in music and the aspects of the collaboration. The investigation took place in three different moments: 1) before, 2) during and 3) after the interaction with the composer. At first, I studied the work and organized my suggestions for modification. Then, in order to attest if the passages considered by me as non-idiomatic were in the same way seen by other guitarists, I interviewed three participants after studying the work for a week; and finally, in order to make the first contact before the collaboration, we conducted an initial interview with the composer. In the second moment, we began the collaborative process - divided into nine stages, and carried out at a distance – where we used digitized text resources, videos and photos to communicate productively with the composer. In the third moment, in order to find out about Rauta's impressions of the process, we conducted a final interview with him. Finally, we discussed the relevance of the procedures performed before the collaboration, and the technical and sonorous results related to the two editions of the work: the edition that preserves the original text, and the edition created from the modifications made in the original text. The final product of this research consists of an interpretative edition, as well as the audio and video recording of the first performance of Study nº 10.
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Vieira, Márlou Peruzzolo. "The collaborative process from the performer’s perspective: a case study of non-guitarist composers." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/17882.
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Doutoramento em MúsicaNesta tese discute-se a interação entre compositor e performer a partir de um processo colaborativo para a criação de obras musicais para violão solo. O objetivo é categorizar e caracterizar os estágios relevantes de um processo colaborativo, demonstrando e discutindo a adaptação das peças comissionadas, bem como analisando o processo criativo. Apesar de o campo de pesquisa (colaboração compositor-performer) já ter sido alvo de atenção recente, esta pesquisa segue por um viés pouco explorado: processos de colaboração entre compositor e performer em que o compositor não toca o instrumento para o qual está escrevendo. Portanto, o foco principal da discussão situa-se na problemática da composição para violão por compositores não violonistas em colaboração com violonistas. A primeira parte desta pesquisa consistiu em um estágio exploratório em que um estudo do processo colaborativo de compositores brasileiros não violonistas – ainda atuantes e com obras para violão publicadas – que foram assessorados por um ou mais violonistas. Os dados obtidos através da análise das entrevistas serviram de guia para a segunda parte desta pesquisa, que consiste em um estudo de caso de base fenomenológica para a criação de três novas obras para violão solo, discorrendo sobre a colaboração entre o autor desta tese e o compositor Samuel Peruzzolo-Vieira.
This thesis discusses the interaction between composer and performer in the context of collaborative processes involving the creation of musical works for solo guitar. The aim is to categorise and characterise the relevant stages of a collaborative process, demonstrating and discussing the adaptation of the commissioned pieces, and analysing the creative results. Although the research field (composer-performer collaboration) has been the subject of recent attention, this research approaches a rarely explored perspective: the collaborative process between composers and performers in which composers do not play the instrument they are composing for. Therefore, the main focus lies in the problematic of composition for guitar by a non-guitarist composer interacting with a guitarist. The first section of this research consisted of an exploratory stage which analysed the collaborative processes of non-guitarist composers from Brazil – active composers with published guitar works – who were advised by one or more guitarists. All data obtained from the analysis of the interviews was used to guide the second part of this research, which addressed a case study based on a phenomenological approach: three new works for guitar were created in order to discuss the collaboration between the author of this thesis and the composer Samuel Peruzzolo-Vieira.
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Ikemoto, Miriam Naomi. "SOME4PM: um framework prescritivo para guiar o uso integrado de mídias sociais em gerenciamento de projetos." Universidade Nove de Julho, 2017. http://bibliotecatede.uninove.br/handle/tede/1698.
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O atual ambiente competitivo leva as empresas a procurarem soluções para melhorar o desempenho de seus projetos. Nesse contexto, a adoção de ferramentas para suportar a gestão desses projetos é essencial. Mídias sociais como wikis, blogues e microblogues, surgiram para apresentar novas formas de facilitar as atividades de gerenciamento de projetos (GP), para que possam contribuir para o sucesso do projeto. No entanto, as empresas subexploram o efetivo uso integrado de tais ferramentas como suporte no GP. Os gerentes de projeto enfrentam alguns desafios, tais como falta de conhecimento das ferramentas e, onde e como armazenar dados para a utilização eficaz destas tecnologias. O objetivo desta pesquisa é desenvolver um framework prescritivo para orientar o uso integrado de mídias sociais para apoiar o GP. Esta pesquisa exploratória e qualitativa foi conduzida sob a epistemologia construtivista social e hermenêutica. Primeiro, eu realizei uma revisão de literatura utilizando uma abordagem hermenêutica. Como o uso de mídias sociais no GP ainda é um tema emergente, existem poucos estudos empíricos sobre o assunto. Para superar esse problema, entrevistei gerentes de projetos e realizei um grupo focal exploratório com participantes que usavam mídias sociais em sua profissão. Analisei os dados usando Grounded Theory Methodology (GTM) da Escola Charmaz, versão construtivista e mais recente do Grounded Theory. Finalmente, realizei um grupo focal confirmatório para validar o framework. Os resultados mostram que o entendimento dos recursos de cada mídia social, juntamente com ações de conscientização do uso de um conjunto comum de ferramentas, representa um instrumento poderoso para a condução de projetos nas organizações. Foram identificadas quatro categorias de uso das mídias sociais: comunicação, controle, disseminação e repositório. Considerando que a maioria das pesquisas explora o uso de uma única ferramenta ou seu uso isolado, esta pesquisa adiciona à literatura o SOME4PM - um framework prescritivo de uso integrado de mídias sociais para GP. Como contribuição prática, apresenta uma visão do framework contendo exemplos de mídias sociais atuais para ajudar as organizações na escolha do conjunto dessas mídias que melhor se encaixa em suas necessidades. Além disso, fornece cenários e recomendações para o uso efetivo do SOME4PM nas organizações. Assim, os gerentes de projeto têm uma visão ampla sobre como as mídias sociais estão sendo usadas e como elas podem ser integradas para apoiar o GP.
The current competitive environment drives companies to seek solutions to improve the performance of their projects. In this context, the adoption of tools to support the management of these projects is essential. Social media such as wikis, blogs and microblogs, have emerged to present innovative ways to facilitate project management (PM) activities so that they can contribute to the success of the projects. However, companies underexplore the effective integrated use of such tools as a support in PM. Project managers face some challenges, such as lack of knowledge of the tools and, where and how to store data for the effective use of these technologies. The objective of this research is to develop a prescriptive framework to guide the integrated use of social media to support PM. This exploratory and qualitative research was conducted under the social constructivist epistemology and hermeneutics. First, I performed a literature review using a hermeneutic approach. As the use of social media in PM is still an emerging theme, there are few empirical studies on the subject. To overcome this problem, I interviewed project managers and I led an exploratory focus group with participants who use social media in their profession. I analyzed the data using Grounded Theory Methodology (GTM) of the Charmaz, a constructivist and the later version of Grounded Theory. Finally, I led a confirmatory focus group to validate the framework. Findings show the understanding of the resources of each social media, along with actions to raise awareness of the use of a common set of tools, represent a powerful instrument for conducting projects in organizations. Four categories of the use of social media were identified: communication, control, dissemination and repository. Considering that most research explores the use of a single tool or their use isolated, this research adds to the literature SOME4PM - a prescriptive framework of integrated use of social media in PM. As a practical contribution, it presents a view of framework contains examples of currently social media to help organizations choice the set of social media that better fit in their needs. Furthermore, it provides scenarios and recommendations for the effective use of SOME4PM in organizations. Hence, project managers have a broad vision on how social media are being used and how they can be integrated to support PM.
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Dubé, Caroline. "L'utilisation de protocoles pour guider la négociation entre des élèves du troisième cycle du primaire en situation de collaboration en face à face et à distance /." Trois-Rivières : Université du Québec à Trois-Rivières, 2003. http://www.uqtr.ca/biblio/notice/resume/17731921R.html.
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Dubé, Caroline. "L'utilisation de protocoles pour guider la négociation entre des élèves du troisième cycle du primaire en situation de collaboration en face à face et à distance." Thèse, Université du Québec à Trois-Rivières, 2003. http://depot-e.uqtr.ca/4030/1/000104284.pdf.
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Peretti, Andrezza Gomes. "Discursos normativos e de profissionais da rede de proteção à infância: o trabalho intersetorial contra a violência em uma região de São Paulo - SP." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/5/5137/tde-05062018-124015/.
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O entendimento de que toda criança é sujeita de direitos é historicamente recente no Brasil. O paradigma atual, pautado nos direitos humanos, preconiza o fim da exploração e de quaisquer tipos de abusos a essa fase da vida. Entretanto, o fenômeno ainda ocorre e as consequências podem ser de curto a longo prazo, sendo um dos fatores de risco associado à problemas cognitivos, linguísticos, afetivos e acadêmicos. O enfrentamento da questão no Brasil se estabelece a partir de várias instituições que fazem parte da Rede de proteção à criança vítima de violência, como disposto desde 1990 pelo Estatuto da Criança e do Adolescente e melhor estruturado em 2006 pelo Sistema de Garantia de Direitos, que prevê um trabalho considerado intersetorial. Todavia, a literatura aponta certa falha na comunicação entre os seus componentes. Entender o funcionamento da Rede e em que medida ela compõe um trabalho intersetorial é importante para refletir acerca de sua dinâmica e suas potencialidades. Para tanto, o objetivo desta pesquisa é compreender a composição e funcionamento da Rede de proteção. Para a realização da pesquisa utilizamos duas fontes de informação: 1) normas, orientações e diretrizes voltadas aos profissionais de grandes áreas que fazem parte da rede protetiva, separando-as pelos seguintes setores: Direitos Humanos, Justiça e Segurança Pública, Saúde, Educação e Assistência Social; e 2) entrevistas semiestruturadas com profissionais que atuam nesses setores e trabalham em uma mesma região na zona Sul da cidade de São Paulo. O material foi analisado de forma qualitativa utilizando a análise discursiva para compreender como a articulação das diferentes esferas atuantes na proteção infantil emerge como um dispositivo para o enfrentamento da violência contra crianças. Notamos que há algumas diferenças entre as atribuições esperadas por cada setor e há uma maior flexibilização dos fluxos de atendimento nos discursos dos profissionais quando comparados aos discursos normativos. Quanto às notificações de violência, destacamos desafios para sua ocorrência relacionados a falta de capacitação dos profissionais para lidar com a temática, insegurança para notificar e ainda ausência de confiança no Conselho Tutelar. Quanto a este órgão, observamos falta de legitimidade quanto a eficácia de suas ações, tornando-se apenas uma instituição necessária para a Rede protetiva porque as normas e leis assim determinam. No que se refere ao funcionamento da rede, notamos que embora os documentos afirmem a sua importância, conceituem a violência de maneira homogênea e definam encaminhamentos a serem tomados, a rede funciona de forma ainda frágil, como constatam os discursos dos profissionais. Para a construção de uma política intersetorial torna-se necessário uniformizar o fluxo de atendimento, os sistemas de informação e notificação de violência e capacitar os profissionais para este processo. Estratégias promissoras para a construção de planos intersetoriais de atendimento na região são as audiências concentradas e outras reuniões semelhantes. A institucionalização desses mecanismos poderia facilitar uma maior articulação entre os setoresThe knowledge that every child is a subject of rights is historically recent in Brazil. The current paradigm, based on human rights, advocates the end of exploitation and any other type of abuse in this stage of life. However, the phenomena still occurs and its lead to short or long term consequences, and is one of the risk factors associated to cognitive, linguistic, affective and academic problems. The coping to that question in Brazil is established from many institutions that are part of a child abuse network protection, as it is recommended since 1990 by Child and Adolescent Statute (Estatuto da Criança e do Adolescente) and better organized in 2006 by the Rights Guarantee System (Sistema de Garantia de Direitos), that seeks a work considered intersectoral. Nevertheless, the literature points some failure in the communication of its components. Understand how the network works and to what extent it makes up an intersectoral work is important to reflect about its dynamic and possibilities. Therefore, the objective of this research is to understand the composition and operation of the Protection Network. In order to carry out the research, we used two sources of information: 1) standards, orientation and guidelines for professionals in large areas that are part of the protection network, separating them by the following sectors: Human Rights, Justice and Public Security, Health, Education and Social Assistance; and 2) semi-structured interviews with professionals who work in these sectors and acts in the same region in the southern part of Sao Paulo city. The material was analysed by qualitative methods using discursive analysis to understand how the articulation of the different spheres of child protection emerges as a device for coping with violence against children. We note that there are some differences between the attributions expected by each sector and there is a greater flexibility of the service flows in the professionals\' discourses when compared to normative discourses. Regarding the notifications of violence, we highlight challenges to its occurrence related to the lack of capacity of professionals to deal with the issue, insecurity to notify and still lack of trust in the Tutelary Council. Concerning this institution, we observe a lack of legitimacy regarding the effectiveness of its actions, becoming only a necessary institution for the Protective Network because the rules and laws so determine. Regarding the functioning of the network, we note that although the documents affirm their importance, conceptualize violence in a homogeneous way and define guidelines to be taken, the network works in a still fragile way, as evidenced by the professionals\' discourses. In order to build an intersectoral policy, it is necessary to standardize the flow of attendance, the information and notification systems of violence, and to empower professionals for this process. Promising strategies for building intersectoral service plans in the region are concentrated audience and other similar meetings. The institutionalization of these mechanisms could facilitate greater articulation between sectors
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Rigonato, Lucas Gustavo do Nascimento. "A correção com os pares em um contexto de ensino-aprendizagem de Português como língua estrangeira: um estudo com alunos intercambistas na UFG." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7142.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The teaching of Portuguese as a Foreign Language (PLE) has gained prominence in recent years (ALMEIDA FILHO, 2011; FARIA, 2015; FURTOSO, 2015). However, Almeida Filho (2011) calls our attention to the need for research in the area of PLE that re-elaborates the teaching of the language. In this study, I sought to investigate the possible benefits of using an orientation guide during peer review activities in a group of Portuguese as a Foreign Language. Peer review is an activity in which students correct the written text of each other and is premised on the argument that interaction favors learning (FIGUEIREDO, 2006; VYGOTSKY, 1998). For that, the first and second versions of texts written by non-Brazilian exchange students at the Federal University of Goiás (UFG) were contrasted during the first half of 2016. The first language of these students is Spanish. The data were analyzed qualitatively, although some numerical data were used to facilitate the comprehension of the results (NUNAN, 1992). The results demonstrate that peer review activities can be beneficial for language learning as it provides improvement in texts, and students feel benefited by discussing their texts with peers with the aid of an orientation guide.
O ensino de Português como Língua Estrangeira (PLE) tem ganhado destaque nos últimos anos (ALMEIDA FILHO, 2011; FARIA, 2015; FURTOSO, 2015). No entanto, Almeida Filho (2011) nos chama atenção para a necessidade de pesquisas na área de PLE que reelaborem o ensino do idioma. Neste estudo, procurei investigar os possíveis benefícios da utilização de um guia de orientação durante atividades de correção com os pares em uma turma de Português como Língua Estrangeira. A correção com os pares é uma atividade em que os alunos corrigem o texto escrito um do outro e parte da premissa de que a interação favorece a aprendizagem (FIGUEIREDO, 2006; VYGOTSKY, 1998). Para tanto, foram contrastadas as primeiras e segundas versões de textos escritos por estudantes intercambistas na Universidade Federal de Goiás (UFG) no primeiro semestre de 2016, cuja primeira língua é o espanhol. Os dados foram analisados prioritariamente de forma qualitativa, embora alguns dados numéricos tenham sido utilizados para facilitar a compreensão dos resultados (NUNAN, 1992). Os resultados demonstram que a correção com os pares pode ser benéfica para a aprendizagem de línguas, pois proporciona melhoria nos textos, e os alunos sentem-se beneficiados ao discutirem seus textos com os colegas com o auxílio de um guia de orientação.
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Robalo, Natalício Tiago Teodoro. "Comunicação entre cientistas de diferentes áreas: Guia de auxílio à comunicação entre cientistas." Master's thesis, 2021. http://hdl.handle.net/10362/135854.
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A interdisciplinaridade já é considerada pela generalidade dos intervenientes em Ciência como algo necessário e a incluir cada vez mais nas diferentes esferas da investigação. O entrosamento de diferentes áreas do conhecimento é indispensável para resolver problemas relevantes da atualidade como são os tratamentos para o cancro, o aquecimento global ou o crescimento e abastecimento das grandes metrópoles. Apesar de ser clara para a grande maioria da comunidade científica a importância da interdisciplinaridade, esta enfrenta barreiras. Os cientistas e investigadores — que são quem na prática faz acontecer a interdisciplinaridade — encontram várias dificuldades ao colaborar com colegas de outras disciplinas, em particular na comunicação interdisciplinar (ou na falta de preparação para esta), que é o objeto deste trabalho.
Como solução para a dificuldade da comunicação interdisciplinar, este trabalho propõe um guia de auxílio à comunicação entre cientistas de diferentes áreas disciplinares. Para a criação deste documento, foi feito um levantamento de guias semelhantes que pudessem existir (à venda e disponíveis on-line), uma análise aos conteúdos dos guias encontrados e entrevistas a cientista e investigadores. O resultado deste trabalho é um guia protótipo que se apresenta integralmente no capítulo seis. A Comunicação de Ciência é, por definição, uma área interdisciplinar que tem como função facilitar a comunicação, em particular a interdisciplinar. Assumindo que disciplinas diferentes são no fundo culturas diferentes, este trabalho propõe e aplica o uso de conhecimentos do diálogo intercultural, adaptados ao contexto da interdisciplinaridade.Interdisciplinarity is widely regarded as indispensable by science practitioners and to be incorporated in the various research fields. Be it to solve significant contemporary challenges, such as cancer therapies, climate change, or, the growth and supply of major metropolitan areas. Whilst the relevance of interdisciplinarity is evident to the vast majority it faces a variety of barriers. For instance, scientists and researchers who make the practice of interdisciplinarity happen are faced with several difficulties, in particular, cross-field communication (or the insufficient preparation therein). This is the subject of this work. As a solution for interdisciplinary communication, this work proposes a guide to aid exchange among scientists of different subjects. In order to produce this document, a survey of existing guides (commercially or freely available) was conducted, and subsequently, their contents were analyzed. Further, interviews were held with scientists and researchers to corroborate the study. The result of this work is a prototype guide that can be found in its entirety in chapter six of this text. Science Communication being, by definition, an interdisciplinary field whose function is to facilitate communication, particularly interdisciplinary communication. Assuming that different disciplines are basically different cultures, this work proposes and applies the use of knowledge from intercultural dialogue, adapted to the context of interdisciplinarity.
Books on the topic "Guitar collaboration"
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Caproni, Giorgio. Il Girasole. Edited by Giada Baragli. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-495-4.
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«Apriamo a caso il libro». È così che si eclissava tra il ’72 e il ’75 la voce-guida di Caproni per lasciare ad altri il microfono della trasmissione radiofonica «Il girasole». Una rubrica destinata alla divulgazione, trasmessa nelle ore di massimo ascolto del programma nazionale, con lo scopo di offrire ad un pubblico largo e diversificato una sorta di ‘sussidiario’ letterario che desse ai colti il piacere della rilettura e ai più giovani e sprovveduti quello della scoperta. Un grande poeta, Giorgio Caproni, aveva il compito di scegliere i passi da testi di ogni tempo e paese (poesia, narrativa, teatro…) e di collegarli tra loro con poche parole di presentazione in grado di ricreare un ambiente, un’epoca, insomma quanto sta intorno all’opera d’arte e la rende per tutti comprensibile e umana. È questa singolare avventura che – perduti/distrutti i materiali radiofonici – riusciamo infine a conoscere grazie all’attenta cura di Giada Baragli, che da copioni spesso lacunosi ha ricostruito il florilegio di un centinaio di brani che non solo offrono una preziosa antologia comparata della letteratura, ma ci parlano delle predilezioni e delle letture di uno straordinario, indimenticabile autore che ha anche collaborato con la radio.
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Clarke, Eric F., Mark Doffman, David Gorton, and Stefan Östersjö. Fluid practices, solid roles? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0009.
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This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of the piece. The chapter demonstrates how the affordances of both the instrument in the hands of Östersjö and the particular tuning specified by Gorton combined with improvised discoveries, and the ‘filtering’ force of a piece by Dowland, result in a piece whose creative ecology is distributed across a variety of timescales and practices.
Book chapters on the topic "Guitar collaboration"
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Swick, Bill. "Concerts and On-Campus Performances." In Building an Award-Winning Guitar Program, 37—C4.P73. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609804.003.0004.
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Abstract Learning to play a musical instrument lends itself by its nature to performing in front of others. That is just one part of the picture. Performing as an ensemble teaches collaboration, teamwork, self-confidence, and belonging to an organization that is larger than yourself. Donning the performance uniform transforms individuals into team members. Chapter 4 focuses on the steps toward performing, the importance of creating a concert season, and the tasks necessary toward building an audience. This chapter offers fifteen detailed steps to prepare for an on-campus performance. The content in this chapter should prove to be helpful in the organization required to put on a successful show and give your audiences reasons to want to attend the next performance and each one thereafter.
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Chapman, Con. "The Blues." In Rabbit's Blues, 151–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0020.
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The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.
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Fujibayashi, Akiko. "Exploring the Collaborative Musical Experience of Swedish Bunne® Method in Japan." In Research Anthology on Music Education in the Digital Era, 427–51. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-5356-8.ch025.
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Universal design has been a timely and important research topic of our time both in the realms of music therapy and education. Bunne Method, Swedish music method, was developed by Sten Bunne in 1980 to overcome physical and social difficulties and age gaps by sharing musical ensemble experience. This qualitative study explores the collaborative musical experience of elderly people and children in Japan by implementing Bunne Method. Bunne instruments are made in universal design with a four string swing bar guitar, one string mini bass, chime bar, monophonic flute for the use of anyone regardless of music experience, handicap, etc. In music activities with Bunne instruments, human physical, psychological, and social nature are activated in a synergistic manner so that it also helps to create positive feelings and confidence and livelihood through the pleasure of playing music.
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Fujibayashi, Akiko. "Exploring the Collaborative Musical Experience of Swedish Bunne® Method in Japan." In Advances in Early Childhood and K-12 Education, 108–36. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch007.
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Universal design has been a timely and important research topic of our time both in the realms of music therapy and education. Bunne Method, Swedish music method, was developed by Sten Bunne in 1980 to overcome physical and social difficulties and age gaps by sharing musical ensemble experience. This qualitative study explores the collaborative musical experience of elderly people and children in Japan by implementing Bunne Method. Bunne instruments are made in universal design with a four string swing bar guitar, one string mini bass, chime bar, monophonic flute for the use of anyone regardless of music experience, handicap, etc. In music activities with Bunne instruments, human physical, psychological, and social nature are activated in a synergistic manner so that it also helps to create positive feelings and confidence and livelihood through the pleasure of playing music.
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Katz, Mark. "7. Five theses about music and technology." In Music and Technology: A Very Short Introduction, 99–112. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/actrade/9780199946983.003.0007.
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Abstract The concluding chapter proposes five central takeaways from this volume in the form of five theses about music and technology. They are as follows: 1. All music is technological. 2. Our relationship with music technology is fundamentally collaborative. 3. All uses of musical technologies reveal power relationships. 4. The mass mediation of music has not eliminated cultural differences. 5. The study of music technology is the study of people. The five theses are illustrated through a diverse array of examples, including a comparison of the traditional piano and the player piano; the musical demands and possibilities of video games such as Guitar Hero; the use of radio in Nazi Germany; the emergence of the steel drum as a musical instrument in Trinidad; hip hop in Zimbabwe; and the musical handclapping and rope jumping games of African American girls.
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Jones Simpson, Misty. "Name that Synth Patch (Advanced)." In The Music Technology Cookbook, 297–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0049.
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When looking through sound presets on keyboards, guitars, synths, or any sound generating device, it is common for the title of the preset to verbally foreshadow the sound. In this game-based activity designed for undergraduate students, learners reverse-engineer sounds determined by patch names created by their peers. Students must play their sounds and have their peers guess which name matches their sound. This activity is a useful exercise because it gets learners to more closely analyze why certain words are used to describe certain sounds. The collaborative naming process also gets students thinking about how others perceive things and how to reconcile differences in interpretation.
Conference papers on the topic "Guitar collaboration"
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Marc, Hernandez Güell, Ana Maria Garrido Ferrer, Elisa Hernandez Pastor, and Núria Molist Capella. "Estrategias digitales colaborativas en tiempos de pandemia. Aplicación en redes de museos arqueológicos de una plataforma compartida de colecciones. Collaborative digital strategies in times of pandemic. Application in archaeological museum networks of a." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12648.
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Arqueoxarxa es una red que, desde el año 2010, aglutina a los principales museos de arqueología, equipamientos y yacimientos museizados de Cataluña, así como otros museos de ámbito local con colecciones de interés arqueológico. Desde esta red, encabezada por el Museu d’Arqueologia de Catalunya, se ha promocionado desde el inicio el trabajo colaborativo y la maximización de los recursos. Entre sus principales objetivos se encuentra el de dar a conocer los diferentes museos y sus extensas colecciones arqueológicas; por este motivo se ha puesto en marcha un programa transversal con el propósito de agrupar las colecciones arqueológicas y ponerlas en línea a disposición de toda la ciudadanía. Este proyecto llega en un momento especialmente crítico, debido a las dificultades que impone la pandemia COVID19 para acceder presencialmente a un patrimonio ya de por sí muy distribuido en el territorio. El formato inicial escogido para la presentación de las colecciones arqueológicas es un catálogo virtual colectivo dotado de las facetas y controladores para poder filtrar y obtener resultados de manera dinámica. Se trata de un primer paso en la voluntad de dar acceso a las colecciones mediante formatos enriquecidos orientados a la consulta y el descubrimiento del patrimonio arqueológico: mapas de georreferenciación, narrativas digitales (storytelling), anotaciones en objetos 3D y vinculación de documentación histórica (fotografía , fichas de intervención...). El desarrollo de esta plataforma común ha requerido de un esfuerzo para poder superar algunos obstáculos sistémicos como los distintos enfoques en la gestión de la documentación, la diversidad de programas de gestión, la escasez de criterios y pautas comunes, la falta de recursos económicos… Asimismo, este proyecto ha permitido enlazar y poner en valor algunas de las líneas de trabajo transversales impulsadas en los últimos años como, por ejemplo, los esfuerzos de normalización documental o el escaneo 3D de determinadas piezas que forman parte del catálogo en línea, la vinculación de los registros con LOD. El uso de software libre (OMEKA S) ha permitido extender el proyecto a un gran número de instituciones y profesionales sin el coste añadido de las licencias de usuario creando de este modo economías de escala. También ha permitido empoderar tanto la red de museos como sus diferentes miembros y mancomunar el esfuerzo de documentación compartiendo el conocimiento especializado en una plataforma común. Territorio, innovación, accesibilidad y transversalidad son los valores que guian este proyecto de plataforma común de colecciones arqueológicos.
Reports on the topic "Guitar collaboration"
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Gruson-Daniel, Célya, and Maya Anderson-González. Étude exploratoire sur la « recherche sur la recherche » : acteurs et approches. Ministère de l'enseignement supérieur et de la recherche, November 2021. http://dx.doi.org/10.52949/24.
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• Introduction Dans le cadre du deuxième Plan National de la Science Ouverte, le Comité pour la science ouverte a souhaité mener une étude pour la préfiguration d’un Lab de la science ouverte (LabSO) afin de mieux comprendre le périmètre de la recherche sur la recherche (research on research) dans un contexte international. • Objectifs de l’étude : L’étude répond ainsi à trois objectifs : 1. repérer des grands courants de recherche sur la recherche (RoR) dans le paysage plus général de la recherche universitaire en Europe et outre-atlantique, en reconnaître les principaux acteurs institutionnels et différencier les approches mobilisées par les uns et les autres ; 2. proposer une méthodologie d’analyse dans une démarche de science ouverte (méthodes mixtes et cartographie numérique) pour faciliter l’appropriation de son contenu ; 3. émettre des recommandations pour faciliter le positionnement du LabSO et s’inspirer d’initiatives existantes. • Méthodologie Une série de treize entretiens et une collecte de données d’une sélection thématique de sites web ont permis de dresser un paysage d’acteurs et d’approches impliqués dans des recherches sur la recherche. Ce dernier s’est nourri d’une démarche de cartographie numérique pour repérer et visualiser les liens existants entre différentes communautés, mouvements, réseaux et initiatives (financeurs, projets, centres de recherche, fournisseurs de données, éditeurs, etc.). • Résultats Le rapport présente différents courants de « recherche sur la recherche » issus des traditions théoriques et méthodologiques de la sociologie, de l’économie, des sciences politiques, de la philosophie, des sciences de l’information et des mesures (biblio/scientométrie). Des courants plus récents sont aussi décrits. Ils s’inscrivent dans un contexte de politiques publiques favorables à la science ouverte et ont émergé dans le champ des sciences sociales computationnelles, des Big Data ou encore des domaines biomédicaux. Si certaines de ces approches s’appuient sur des courants académiques (STS, sciences des mesures) établis depuis de nombreuses décennies, d’autres comme ceux de la « métascience » ou de la « science de la science », se sont structurées plus récemment avec une visée prescriptive et de changement fondé sur des preuves (evidence-based) se basant sur un engagement normatif pour une science plus ouverte, inclusive et diverse. Bien loin d’un paysage statique, l’étude fait ressortir des recherches en mouvement, des débats tout autant que des mises en garde afin que certains courants « ne réinventent pas la roue » en faisant fit d’une longue tradition académique de l’étude des sciences et de la production scientifiques. De nouvelles alliances entre centres de recherche et laboratoires, institutions subventionnaires, décideurs politiques et fournisseurs de données ont été repérées. Elles participent à une dynamique actuelle d’équipement des politiques publiques par des outils d’évaluation et des protocoles de recherche pour guider les actions menées, on parle d’évidence-based policies. Un des exemples les plus récents étant laa seconde feuille de route du RoRI1 poussant notamment à la formation d’un réseau international d’instituts de recherche sur la recherche, fondé sur le partage et la mutualisation de données, de méthodes et d’outils. Outre la présentation de ces différents acteurs et courants, le rapport pointe le rôle joué par les infrastructures et les fournisseurs de données scientifiques (publications, données, métadonnées, citations, etc.) dans la structuration de ce paysage et les équilibres à trouver. • Recommandations 1. Accompagner la construction d’indicateurs et de métriques par le biais d’un regard critique et de discussions collectives pour mesurer leurs impacts sur les comportements des professionnels de la recherche (mésusages, gaming). 2. Porter attention aux étapes de diffusion des résultats scientifiques issus des « recherches sur la recherche » pour les adapter aux différents publics ciblés (chercheurs, responsables des politiques publiques de recherche, journalistes, etc.). 3. Articuler les travaux de « recherche sur la recherche » avec une démarche de science ouverte en questionnant notamment les choix faits concernant les fournisseurs de données, les infrastructures et outils d’évaluation, de découvrabilité et d’analyse de la production scientifique (gouvernance, utilisation des données, etc.). 4. Soutenir les approches thématiques et transversales plutôt que disciplinaire de manière collaborative entre les différents membres du Lab de la science ouverte et aider le dialogue entre les différentes approches et mouvements (STS, research on research, science of science, scientométrie, etc.)