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Journal articles on the topic 'Guitar in art'
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1
Deloria, Philip J. "T.C. Cannon’s Guitar." Arts 8, no. 4 (October 14, 2019): 132. http://dx.doi.org/10.3390/arts8040132.
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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergenerational relations between myself, Cannon, and my father Vine Deloria, Jr., the three of us evenly spaced over the course of the late twentieth century, and it does so in an effort to understand something about the historical impulses of the period between 1965 and 1978. In that moment—accessible to me through memories of affects more than memories of actions—Native politics and art were both figuring out ways to honor the past while making it new, creating distinctive forms that we can recognize around concepts such as survivance, sovereignty, and indigenous modernism.
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Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century." Culturology Ideas, no. 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.
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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.
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Filatova, Tetiana. "Academic Performing Traditions of Chilean Guitar Art." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 26–37. http://dx.doi.org/10.31318/2522-4190.2021.131.243205.
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The relevance of the article lies in the systematization of the phenomena of the Chilean academic guitar art, the study of the national origins of the performing school, its principles, achievements, transcultural processes and their mutual influences, which led to the popularization of the instrument on the Latin American continent. The purpose of the article is to create an overview panorama of the development of the academic traditions of Chilean guitar performance, to identify trends in the formation and genealogy of successive ties between generations of soloists. The methodology includes methods of historical, systemic, as well as comparative analysis (for contextual consideration of the creative activities of famous performers, the formation of a national guitar school, the detection of successive ties between different generations of musicians, the study of the influence of the Spanish academic tradition, Latin American everyday practice of playing and the specifics of playing music on ancient guitar-like instruments of the Baroque era). Results and conclusions. The cultural and historical panorama of the formation and development of the Chilean academic guitar school of the 20th— early 21st centuries is investigated. The principles and main vectors of the pedagogical activity of its key representatives — Liliana Perez Corey, Luis Lopez, Oscar Ohlsen are characterized. A “genealogical tree” of creative contacts and successive ties between guitarists of different generations has been built. It is concluded that the academic traditions of the Chilean guitar music of the 20th century were formed in the general direction of the development of transcultural phenomena. The performing discourse developed in a complementary way: under the influence of the most famous Spanish classical guitar school that dominates the world (F. Tarrega, A. Segovia, E. Pujol); in the conditions of indirect interaction with the Latin American everyday practice of playing (Argentinean, Uruguayan, Chilean) and the experience of playing music on ancient authentic European instruments (lute, vihuela, baroque guitar). It is noted that as a result of the intensification of creative exchange in the institutional, concert, and festival spheres, at the end of the twentieth century, a representative generation of virtuosos and teachers of classical guitar arose in Chilean culture. Chilean guitarists, no matter in which of the spheres their personal interests were fixed — European old, classical-romantic, modern music or Latin American popular, folklore tradition — put forward the creativity of their compatriots and contemporaries to the leading positions. The appearance of a large number of albums of Chilean guitar music performed by J. A. Escobar, J. Contreras, M. Valdebenito, J. A. Sanchez, L. Orlandini, E. Espinoza, E. Salazar, D. Castro is evidence of close and effective cooperation between virtuosos and domestic composers.
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Budrianto, Budrianto Budrianto, Wilma Sriwulan, and Marta Rosa. "APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU." Gorga : Jurnal Seni Rupa 7, no. 2 (October 8, 2018): 94. http://dx.doi.org/10.24114/gr.v7i2.10915.
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AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia. Kata Kunci : Rejung, Gitar Konvensional, Apropriasi. AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation.
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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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Hansen, Uwe J. "Materials in Musical Instruments: Romance of Art and Science." MRS Bulletin 20, no. 3 (March 1995): 25–27. http://dx.doi.org/10.1557/s0883769400044353.
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A few years ago, I surprised my wife by asking for a guitar for Christmas. Our budget was limited in those days, so I started at the low-cost end and remember being disappointed with the tone quality of the guitar we purchased. Even with my poorly trained ear, I could tell the difference between a $50 guitar and a $100 instrument. The jump from $100 to $200 was also easily detectable. I could even make out the difference in tone quality between a $200 and a $500 guitar. One hand-crafted instrument with a $1000 price tag had a lovely tone. However, the limitations of my ear made it difficult to detect significant improvement in tone quality beyond that stage. At any rate, I realized that an instrument manufacturer would clearly not waste precious select woods on a “cigar-box” instrument. Since then, while trying to unlock the secrets of fine tone quality, the importance of materials in crafting fine musical instruments has become apparent during my investigations of various musical instruments in the laboratory.
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Anindita Roy Chowdhury and Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument." Mathematical Journal of Interdisciplinary Sciences 8, no. 2 (March 30, 2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.
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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insight into the mathematical pattern involved in the music of a guitar.
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Shoaf, Eric C., and Darcy Kuronen. "Dangerous Curves: The Art of the Guitar." Galpin Society Journal 54 (May 2001): 413. http://dx.doi.org/10.2307/842468.
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Sülün, Erkan, Hüseyin Kaya Uzunali, and Mehmet Özkanoğlu. "Transforming Art Environments: Online Classical Guitar Meetings." European Journal of Social and Behavioural Sciences 32, no. 3 (August 16, 2023): 152–61. http://dx.doi.org/10.15405/ejsbs.338.
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The aim of this study is to investigate new approaches arising from the transfer of educational, artistic, and social activities to online environments after the COVID-19 pandemic period, and specifically to examine the "online guitar meetings" designed for this purpose. Guitar Meetings were conducted three times within a three-week period, each lasting 150 minutes, with 15 participants in each session. The nested single-case design of the qualitative research-based case study model was used in the research. The study group comprised artists, artist-scholars, and students. For data collection, a researcher-developed interview form consisting of seven questions was used. Data was collected one-on-one in an online environment. The data was analysed using the content analysis method. Six categories emerged from the analysis: the Positive and Negative Aspects of Online Activities, the Contribution of Online Guitar Meetings to Guitarists, Similarities and Differences Between Online and Face-to-Face Activities, Experiences that Influence Participants, Benefits Obtained by Participants from the Meetings, and Recommendations of Participants. The themes and findings resulting from the research are discussed in relation to the literature.
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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.
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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.
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Maksym, Trianov. "CREATIVE PORTRAIT OF VOLODYMYR DOTSENKO AS EXPRESSION OF THE CONCEPT OF UNIVERSALISM." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 150–65. http://dx.doi.org/10.34064/khnum2-22.09.
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The contemporary national Ukrainian art of guitar performance is actively growing. In the latest decades it is experiencing a veritable takeoff. One of the primary objectives of modern musicology is to extensively study the phenomenon of Ukrainian guitar art, specifically its regional variations. The establishment of regional schools of guitar and study of prominent artists deserve detailed research. The article examines the multifaceted creative individuality of Volodymyr Dotsenko, the founder of professional school of classical guitar in Kharkiv. His artistic image is firstly pondered in the light of universalism. Such major areas of the artist’s interest are explored as conducting, teaching practice, research and socio-educational activity, which all lie in close conjunction with each other and contribute to the universalistic image of a modern musician. A specific focus is made on the early development of artistic universalism in Dotsenko, which begins in the early days of his professional activity. The article shows how the quality of education and upbringing contributes to shaping a multifaceted creative individuality. The analysis of Dotsenko’s performance style displays such universalistic features as a deep understanding of the interpretative idea core, stylistic and technical immaculacy in performance of guitar pieces from diverse styles, exquisite taste in selection of conceptual concert programs. Afresh approach to the teaching of guitar performance and years of experience in training firstclass performer laid groundwork to a corpus of academic methodical literature, which fully conveys the principles of comprehensive universalist development of a musician. Dotsenko’s teaching and scholarly activities are characterized by deep understanding of the technical aspects of classical guitar performance, a highly academic approach, extensive knowledge, precise turn of phrase, and colorful imagery. Meanwhile, Dotsenko’s organization skills brought about the creation of a unique ensemble: the Kharkiv guitar orchestra, as well as a number of academic and practical conferences and classical guitar contests. All of these events heavily contributed to further development of Ukrainian guitar art. Dotsenko is an example of Ukrainian creative elite, a unique musician, professor, academic, and social activist. The universalist traits characteristic of his artistic individuality, can be observed in every field of his creative output and are the main qualitative feature of his personality.
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Kovalenko, A. S. "Historical background to establishment of the national instrumental guitar education in the context of music education development." Musical art in the educological discourse, no. 2 (2017): 86–91. http://dx.doi.org/10.28925/2518-766x.20172.8691.
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The article highlights the historical background to establishment of national instrumental guitar education in the context of music education development. We consider historical events that have influenced the dynamics of the formation of competencies of guitar education in Ukraine. Based on the analysis of the scientific literature the author shows that guitar education in Ukraine is a relatively new phenomenon. It is examined historical preconditions of the development of national guitar education in the context of three periods of development of music education. During the first period, guitar education is not systemic. Guitar playing is popular among Lviv seminarians and as home performance. The second period is characterized by the fact that guitar art emerges from the global crisis, which has been reflected in national performance and pedagogy. Playing the guitar attracts the attention of professional musicians; it is examined performance abilities of the instrument, its structure and repertoire. During this period, guitar education acquires systemic features. The performance of the guitar players improves significantly, and the repertoire is replenished with the best examples of world classical music. The third period is characterized by intensification of competitive activity in the field of guitar performance. A guitar class appears in the Kyiv Conservatory. In postwar times, the development of guitar performances is influenced by the political situation and sensorship. Besides, the third period is characterized by the flowering of national performers’ schools, the intensification of international relations with foreign guitar performers and educators, which is the basis for the establishment and development of national instrumental guitar education.
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Dotsenko, Volodymyr, and Viktoria Tkachenko. "CREATIVE STRATEGIES FOR THE GUITAR CLASS AT I. P. KOTLYAREVSKY KHNUA." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 72–85. http://dx.doi.org/10.34064/khnum2-22.04.
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Introduction. The guitar class, opened by V. Dotsenko in 1989, recently celebrated its 30th anniversary and presented the university with many winners of international competitions, ensemble groups and new scholarly discourses. Together with the constant changes in society’s requirements for academic education and musician’s activities, this encourages us to estimate its achievements and prospects at the present stage. The aim of the article is to identify the key vectors of the guitar class of Kharkiv National University of Arts at the present stage. In accordance with the goal, such methods are chosen as historical, which allows to reveal the dynamics of development of the Kharkiv guitar school in the period of its formation to the present; typological – to identify key areas of activity of the guitar class at the present stage. Results and Discussion. The study of the Kharkiv guitar school and guitar class of KhNUA from its formation to the present day allows us to identify the leading vectors and key features of their activities, among which it is proposed to distinguish two main ones: innovation and multivectority. Already at the stage of formation, the Kharkiv guitar school proved to be innovative – it was in Kharkiv where the first guitar club in Ukraine and the USSR was opened, within which the first guitar quartet in the USSR soon appeared, the first in Ukraine scholarly conference dedicated to guitar art, it was one of the first to join the digitalization process, conducting online performances and successfully presenting the guitar orchestra at the international level, resulting in two Grand Prix in 2020. Already within the activities of the guitar club, another leading feature of the Kharkiv guitar school – multivectority – has declared itself. Gathering like-minded people to share experiences and get acquainted with samples of modern guitar art, the club “nurtured” teachers, masters of instruments, and musicians-ensembles. All the directions initiated in the last century deepen and continue to branch out in the XXI century in the activities of the guitar class KhNUA: educational one is supplemented by scientific (conferences, defense of PhD theses), pedagogical one – by methodical complex (methodical works of V. Dotsenko), solo and ensemble performance – by the orchestra. Conclusions. Innovativeness and multivectority become leading features of the guitar class of KhNUA at the present stage. In recent years, the school’s activities are supplemented by such vectors as the formation of a guitar orchestra (2016), cooperation with European institutions of higher music education (Erasmus), active immersion in the digitalization process, in particular, online competitions and online broadcasts of the concerts, which fit its activity into the latest trends in the development of musical performance and education and shows the involvement in the European standards of artistic activity.
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Kryhin, Oleksandr. "Segovia’s concert heritage as the basis of forming the guitar performing traditions of the XX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 17–28. http://dx.doi.org/10.34064/khnum1-50.02.
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Background. The academic guitar art, which announced itself at the beginning of the XXI century as one of the dominant and sought-after forms of the concert music making, in recent decades has become the subject of scientific reflection. However, due to a later start time of its evolvement, it turned out to be less explored than other concert genres. The birth of the academic guitar art in the early twentieth century associated with the name of A. Segovia, together with whose creativity it stepped beyond the limits of the Spanish national culture and came to the world level. Creativity of the contemporaries and compatriots of A. Segovia, the famous guitarists of the first half of the twentieth century C. Romero, R. Sáinz de la Maza and M. Llobet, did not have that cultural and artistic weight, which could be a basis for ascension of the Spanish guitar art to the European professional heights. Exactly A. Segovia was able to do this. In spite of the fact that the importance of A. Segovia’s activities for the formation of the new performing guitar traditions of the twentieth century is enormous, it has not yet received its systemic coverage. Thus, the relevance of this article is caused, on the one hand, by the great interest in the academic guitar art in recent years, and on the other, by the lack of the special scientific studies dedicated to the performing art of the outstanding Spanish guitarist. Existing studies contain only incomplete historical data [3; 7] or the compressed socio-cultural panorama of A. Segovia’s creative activity and the period of formation of the guitar performing traditions of the twentieth century [1, p. 4–6]. Objectives. The proposed research considers the features of the performing art of A. Segovia at its different stages in order to identify the patterns of its evolvement and the main its achievements from the point of view of the contemporary guitar art. For the first time, a comprehensive assessment of the concert heritage of the Spanish maestro in the aspect of its legislative influence upon the modern academic guitar creativity is given. Methods of the research. The complex of general scientific research methods makes it possible to disclose the basic positions of the article: signification of the classical guitar in the family of the academic solo instruments (systems approach); the evolution paths of an academic guitar (historical approach); comprehension of the guitar creativity in a broad socio-cultural aspect (cultural approach); definition of the author’s performing style of A. Segovia (interpretational approach). Results. For comprehension of the evolution of A. Segovia’s performing arts, maestro’ concert programs are considered. The first big performance (March 12, 1916) included 19 pieces (Par I – the arrangements by A. Segovia and one piece by M. Llobet; Part II – the works by J. Bach, J. Haydn, F. Mendelssohn, F. Chopin, all transcribed for guitar by F. Tárrega; Part III – the music by I. Albeniz, E. Granados and one play by P. Tchaikovsky). At this stage of evolution of the academic guitar art, A. Segovia could not present in the program the works of the Renaissance epoch; besides, in the historical and cultural aspect, the program is formatted inconsequently. However, in our opinion, the program is logical and justified in its own way, and its third part that almost entirely formed from the works of the Spanish national classics one can consider as a response to the ideology of “Renacimiento” – the movement for the national revival of Spain. The ending of the decade of the fruitful concert activity of A. Segovia coincided with his tours in the territory of present-day Russia and Ukraine. In 1926, A. Segovia gave six concerts in Moscow and two concerts in Leningrad, and in 1927 – six concerts in Moscow, three concerts in Leningrad, and one each in Kharkov and Kiev. The analysis shows that the total number of works in A. Segovia’s repertoire list during his Moscow tour performances in 1926–1927 has grown to 75. They belonged to different historical eras and various performing styles, to 28 authors from different countries. The extensive repertoire corresponding to A. Segovia’s exquisite taste embodied in elegant performing interpretations, which reflected in the feedback from listeners and music critics. Over 10 years of his concert activity, the total repertoire of A. Segovia expanded significantly (up to 300 works), not only due to his own transcriptions of works by J. Bach, G. Handel, W. Mozart, J. Haydn, F. Schubert, F. Tárrega, I. Albeniz and E. Granados, but also thanks to the works of a new wave of composers: A. Tansman, F. Moreno Torroba, J. Turina, which created a number of pieces for guitar at the request of A. Segovia. Conclusions. Thus, contingently, A. Segovia’s concert activity one can divide into two big stages: before and after 1924. The culmination point of the first stage is related with the successful performance in Barcelona (1916), which eliminated some acoustic and psychological barriers that hampered guitar performers and organizers of concerts (A. Segovia is the first guitarist who was playing in the hall for 1000 seats). The first tour in Paris in April 1924, which began the second stage of the maestro’s concert activity, can be considered as a landmark event on the path of world recognition of A. Segovia. Henceforth the format of the concert programs of A. Segovia and his recordings on disks thought out clearly, it is structured delicately based on the musical styles of certain historical periods. An important place the works of modern composers occupied. The concert heritage of A. Segovia is a reflection of the evolution of the guitar repertoire. It progressed from the limited by the previous tradition in the early twentieth century up to the universal format, combining the best examples of the folk music (flamenco), the transcriptions of European classical music and the modern works bearing the newest sound images. Among the authors of such, at the request of A. Segovia, were M. Castelnuovo-Tedesko, F. Moreno Torroba, M. Ponce, J. Rodrigo, A. Tansman.
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Ivannikov, Tymur, and Tetiana Filatova. "Сuatro as a historical phenomenon of Venezuelan guitar art." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(45) (December 26, 2019): 7–18. http://dx.doi.org/10.31318/2414-052x.4(45).2019.189778.
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Ganeev, Vitalii Rinatovich. "Professional Guitar Performance as a Component of Academic Art." Manuskript, no. 4 (April 2020): 156–59. http://dx.doi.org/10.30853/manuscript.2020.4.32.
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Li, Tianchang. "Analysis of Electric Guitar Improvisation Techniques." Journal of Contemporary Educational Research 7, no. 9 (September 26, 2023): 86–90. http://dx.doi.org/10.26689/jcer.v7i9.5350.
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As an important form of modern fusion music performance, electric guitar improvisation is widely praised and welcomed for its unique performance style. The main points and difficulties of its performance lie in tone switching, speed playing skills, and grasping the title, mood, and style of the music. Therefore, it is necessary to integrate the conventional techniques of string sweeping, pizzicato, and dotted strings with improvisation, applying differentiated rhythmic rhythms, timbre modulation, and special playing techniques to deepen the distinctive art-rock music characteristics.
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Andari, Imelda Tri, and Suharto Suharto. "The Function of Pantun in the Art Performace of Batang Hari Sembilan Solo Guitar during Sedekah Bumi Ceremony Held in Batu Urip Hamlet, South Sumatera." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 195–204. http://dx.doi.org/10.15294/harmonia.v20i2.28057.
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This study aims to describe the form and function of the solo guitar performance of Batang Hari Sembilan in Batu Urip hamlet, Batu Urip Taba village, Lubuklinggau city, South Sumatra. This study used a qualitative de-scriptive approach. Data collection techniques using observation, interviews, and documentation. The collected data were then analyzed using analytical and interactive techniques with data reduction, data presentation, and conclusion drawing. Based on the discussion that has been done, this study found that the Single Batang Hari Sembilan Guitar is a rhythm of guitar strings containing rhymes. Pantun is an identity and plays a very important role in the life of the community. The function of the pantun in the solo guitar performance of Batang Hari Sembilan was originally used as a communication function. Currently, this art performance has developed, namely as a ritual function, a function of preserving culture, a function of entertainment, a function of cultural continuity, a function of means of communication, and a function of emotional expression.
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Siswanto, Silo, and Irfan Kurniawan. "Analisis Musikologis Struktur Lagu Gerobak Buruk Sapi Gile Kesenian Gitar Tunggal Sungai Pinang Kabupaten Ogan Ilir." Jurnal Sendratasik 10, no. 4 (December 15, 2021): 61. http://dx.doi.org/10.24036/js.v10i4.115534.
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This study discusses the musical phenomenon of the reportoar song Gerobak Buruk Sapi Gile which is a characteristic of guitar tunggal art musicals in Sungai Pinang sub-district, Ogan Ilir district. The purpose of this research is to find out and understand more deeply the concepts of the single guitar musical culture. The approaches taken are; musicological analysis. This study uses qualitative methods with data collection techniques through observation, interviews and documentation. The results of interviews and documentation of guitar tunggal music were analyzed through laboratory work using the analytical transcription method. The results of this study describe the form and structure of the song of the bad cow gile cart which consists of; scale system analysis, cadence melody analysis, antisedent and consequent phrase analysis, song period analysis, and bar analysis.
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Kochekov, Vladimir Fyodorovich. "To The Problems of the First Stage of Additional Musical Education in the Context of Russian Folk-Instrumental Performance." Culture. Art. Education, no. 3 (April 24, 2023): 49–56. http://dx.doi.org/10.37816/2949-1762-2023-2-1-49-56.
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The article deals with the problem associated with certain negative phenomena in the field of Russian folk instruments of the first educational link in the system of additional musical education. There is a tendency to remove the classical six-string guitar from the departments of folk instruments due to attempts to give this musical instrument a special status. The inconsistency of this direction is substantiated. Finding a classical six-string guitar is confirmed precisely in the departments and departments of Russian folk instruments according to various criteria. The direction of the domestic guitar art is determined on the basis of the native fret-intonation language, the Russian mentality, and the cultural code. The article considers negative orientations of substitution by teachers of the bayan, balalaika, domra classes of specialist guitarists.
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Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (July 2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.
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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-conductor Alan Stephenson has similarly developed a keen interest in Brouwer's large-scale works, inspiring in 1998 a memorable rendition of Brouwer's acclaimed Elegiaco Concerto, performed by the talented soloist Christiaan Van der Vyver and the University of Cape Town Orchestra. In line with this, one of Brouwer's underlying goals has been to create works that are accessible to players of varying standards of performance. As a consequence, young, inexperienced, moderate, advanced as well as top internationally-acclaimed virtuosic players have all found some measure of contentment in performing Brouwer's guitar works.
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Ganeev, Vitaly Rinatovich. "The Art of Classical Guitar in Saratov: Personalities and Events." Manuskript, no. 1 (January 2022): 15–18. http://dx.doi.org/10.30853/mns20230002.
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Rutkowska, Anna. "Guitar Music in the Academic Output of the Institute of Art of the Polish Academy of Sciences." Edukacja Muzyczna 18 (2023): 299–309. http://dx.doi.org/10.16926/em.2023.18.02.
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The present study is concerned with the analysis of all publications that appeared in the musicological journal “Muzyka”, published from April 1950 to the present day by the Institute of Art of the Polish Academy of Sciences (formerly State Institute of Art). The aim of the work was to find mentions of the classical guitar and discuss the contexts in which they appeared.
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Rutkowska, Anna. "Guitar Music in the Academic Output of the Institute of Art of the Polish Academy of Sciences." Edukacja Muzyczna 18 (2023): 311–21. http://dx.doi.org/10.16926/em.2023.18.03.
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The present study is concerned with the analysis of all publications that appeared in the musicological journal “Muzyka”, published from April 1950 to the present day by the Institute of Art of the Polish Academy of Sciences (formerly State Institute of Art). The aim of the work was to find mentions of the classical guitar and discuss the contexts in which they appeared.
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Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.
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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.
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East, Bernard. "Death of a guitar hero: The art of metal reputation maintenance." Metal Music Studies 9, no. 2 (June 1, 2023): 171–88. http://dx.doi.org/10.1386/mms_00104_1.
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Combining insights from identity, gender and ethnicity studies while incorporating notions of the sacred, the death of guitar hero, Randy Rhoads, in a plane crash in 1982 is addressed to establish how maintenance of Rhoads’s reputation as a saintly, innocent character who died because of a mysterious accident has been constructed and maintained for over forty years. Situating his death in a comparative analysis with premature deaths of other guitarists, Tommy Bolin and Allen Collins, in addition to artists from other musical genres, Amy Winehouse, Whitney Houston and Donna Summer, frames of similarities and differences emerge to reveal how identity and reputation is achieved and maintained after death within heavy metal but also in other genres. Three specific tropes including accident equals innocence, transgression equals recklessness and transgression equals criminality are defined and applied throughout. These reveal that posthumous identity, be it positive or negative, is actively constructed and is imbued at times with gendered and racial elements. Via the application of criticality, the findings show how the posthumous consecration of Rhoads and other decedents is accomplished via selective emphasis on particular claims and the silencing of others, with locus of responsibility for a tragic death, either internal or external, being crucial.
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Priscilla, Birgita. "Imitasi Instrumen Kacapi Sunda Pada Aransemen Gitar Klasik Tunggal: Studi Kasus Terhadap Aransemen “Bubuy Bulan†Karya Iwan Tanzil." Urban: Jurnal Seni Urban 7, no. 1 (September 6, 2023): 3–14. http://dx.doi.org/10.52969/jsu.v7i1.116.
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Iwan Tanzil merupakan komposer gitar klasik Indonesia yang cukup banyak menggunakan idiom musik tradisional Indonesia dalam karya-karyanya. Salah satu karya aransemennya “Bubuy Bulanâ€, menggunakan idiom musik tradisional yaitu kacapi dan bas betot, dan diolah menggunakan teknik komposisi musik barat serta dieksekusi dengan berbagai teknik gitar klasik yang unik. Penelitian ini bertujuan untuk mengetahui bagaimana penerapan imitasi kacapi sunda pada aransemen gitar klasik “Bubuy Bulan†karya Iwan Tanzil. Metode yang digunakan dalam penelitian ini adalah art based research, dengan pendekatan musikologi Beard and Gloag. Hasil dari penelitian ini adalah pengimitasian kacapi Sunda pada aransemen gitar klasik “Bubuy Bulan†karya Iwan Tanzil dicapai melalui mengimitasi aspek-aspek musik pada instrumen kacapi Sunda (yang meliputi melodi, harmoni, tekstur, ritmis dan warna suara), mengubah penalaan, serta menggunakan teknik-teknik gitar klasik yang disesuaikan untuk menghasilkan suara yang menyerupai kacapi Sunda. Kesimpulan dari penelitian ini adalah Iwan Tanzil menyajikan karya aransemen gitar klasik tunggal yang sarat dengan asimilasi budaya, serta dapat merepresentasikan idiom instrument kacapi Sunda melalui teknik imitasi dengan baik. -------------- Iwan Tanzil is an Indonesian classical guitar composer who uses quite a lot of Indonesian traditional music idioms in his works. One of his arranged works, "Bubuy Bulan", uses traditional musical idioms, namely kacapi and bas betot, and is processed using western music composition techniques and executed with various unique classical guitar techniques. This study aims to find out how the imitation of Sundanese kacapi is applied to Iwan Tanzil's arrangement of "Bubuy Bulan". The method used in this research is art based research, with the Beard and Gloag musicology approach. The result of this study is that the imitation of Sundanese Kacapi to the classical guitar arrangement by Iwan Tanzil's on "Bubuy Bulan" is achieved through applying the musical aspects of the Sundanese Kacapi instrument (which includes melody, harmony, texture, rhythm and tone colour), changing the tuning, and using some adapted classical guitar techniques to reproduce the sound of kacapi Sunda. The conclusion of this study is that Iwan Tanzil presents a solo classical guitar arrangement that is full of cultural assimilation, and can represent the Sundanese kacapi instrument idiom well through imitation technique.
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Barnawi, Erizal, and Afrizal Yudha Setiawan. "Metode Pembelajaran Jarak Jauh Pada Mata Kuliah Gitar Klasik Lampung Pepadun di Prodi Pendidikan Musik, Fakultas Keguruan Ilmu Pendidikan, Universitas Lampung." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 3, no. 2 (December 19, 2021): 117–30. http://dx.doi.org/10.24036/musikolastika.v3i2.70.
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The difficulties in learning the Lampung Pepadun Classical Guitar practice are caused by several factors, including; 1) the learning process is not guided directly by trainers who are experts in their fields; 2) many students of the Music Education study program are not yet able to read block notation in the form of songs; 3) some students do not have the skills to play guitar with the correct technique. The long-term goal in learning Lampung Pepadun Classical Guitar is that students are able to become agents of change in preserving the art of Lampung Pepadun Classical Guitar and become pioneers in developing and creating music, both contemporary music and creative music. The specific target to be achieved in this research is the creation of a new teaching pattern in the field of Lampung traditional music, namely learning by using several applications and distance learning methods in accordance with the concept of learning. Several online learning methods have been applied using various applications such as Youtube, MP3, and Sibelius. Online learning is learning that is carried out without face to face directly, using smartphone/gadget/laptop devices, and video conferencing platforms as a space for the learning process to take place. However, the seven learning components which include teachers/lecturers, students, objectives, materials, methods, media, and evaluation must remain an integral component of online learning, which will be integrated in achieving learning objectives
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Sinelnikova, Olga V., and Darya D. Maksimova. "NATIONAL TRADITIONS AND TECHNIQUES OF THE XXTH CENTURY COMPOSITION IN ALBERTO GINASTERA’S SONATA FOR GUITAR." Arts education and science 1, no. 38 (2024): 24–38. http://dx.doi.org/10.36871/hon.202401024.
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The article is devoted to the work of the Argentine composer Alberto Ginastera and the study of his Sonata for guitar Op. 47. This work represents Ginastera’s style as an organic combination of national traditions and achievements of professional music art of the XXth century. The article analyses the four parts of the work in order to identify elements of traditional culture as the basis of its musical material. Ginastera uses rhythms, intonations, melodic formulas, texture and timbre effects of Argentine folklore, such genres as malambo, milonga, vidala, chacarera. The guitar playing itself with its original sound production techniques goes back to the traditional musical culture of Argentina. In the Sonata, Ginastera uses serial dodecaphonic, sonorous, aleatoric composition techniques, natural and symmetrical frets, and includes quotation as ways of developing musical material. The article examines the composer’s original refraction of avant-garde techniques and methods of their adaptation to folklore material, which lead to an interesting result. A comprehensive analysis of the Guitar Sonata is carried out against the broad socio-cultural background: it is preceded by a brief excursion into the folklore traditions of Argentina and a characterisation of the evolution of Ginastera’s work.
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Matveyeva, О. А., and А. V. Martemianova. "Diagnosing the specialized and professional competence of future teachers of musical art by means of guitar art." Science and Education a New Dimension VI(164), no. 68 (May 27, 2018): 33–36. http://dx.doi.org/10.31174/send-pp2018-164vi68-08.
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Dotsenko, Volodymyr, and Viktoria Tkachenko. "Marco Topchii’s style in the context of modern world guitar performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 64, no. 64 (December 7, 2022): 38–56. http://dx.doi.org/10.34064/khnum1-64.03.
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Statement of the problem. Marko Topchii (1991) is one of the famous Ukrainian guitarists who began to conquer the music world at an early age. Winning in competitions (more than 90 times), performances in the world’s most prestigious concert halls (Carnegie Hall, Corto Hall, conservatories of San Francisco, Madrid, Vienna, Bologna) are the result of immense talent and great professional work. The young guitarist is one of those who expand the guitar repertoire by creating arrangements for guitar, in particular of works by J. S. Bach, M. Ravel, M. Mussorgsky. These facts contribute to the relevance of the topic of the article and create a context for the theoretical research of M. Topchii’s performance principles. Recent research and publications. A number of works are devoted to the theme of musical / composer’s thinking (Dys, 1989; Kotlyarevskiy, 1989; Malyi, 2018), guitar thinking and style (Tkachenko, 2008, 2012; Nikolaievska, 2008), M. Topchii’s performance style (Chechenia, 2021, 2016), “musical interpretation” (Moskalenko, 2013), “performance style” (Martienssen, 1930; Katrich, 2000; Tkach, 2012). The purpose of the study is an attempt to identify the features of M. Topchii’s performance style through the context of shaping his musical thinking, communication, social and cultural paradigm and worldview. The scientific novelty is explained by the lack of study of M. Topchii’s personality in Ukrainian and world musicology. M. Topchii’s performance thinking is revealed on the example of the analysis of his own transcriptions of J. S. Bach’s Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ” and M. Mussorgsky’s suite “Pictures from the Exhibition”. The study uses such methods of contemporary cognitivism as historical and cultural (research of the evolution of guitar schools, performance, development of M. Topchii’s style and thinking) and interpretative (identification of principles of performance / interpretation of works); comparative method of analysis of M. Topchii’s style in the context of guitar performance. Results and conclusion. M. Topchii’s style is a concentrated combination of the best achievements of guitar performance schools, which originate from A. Segovia and F. Tarrega. In the context of guitar art, M. Topchii is a unique performer, which is due not only to the number of victories in international competitions and performances on the world’s most prestigious stages, but also to the fact that M. Topchii demonstrates original interpretation of musical works, depth of understanding of the composer’ idea and high technical level of playing the instrument. These qualities make up his unique performance style – emotional, monolithic, crystallized.
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Rahmayani, Nur, Fatmawati Fatmawati, and Mohammad Nur Ahsan. "SENI SEBAGAI MEDIA DAKWAH PADA ANAK USIA DINI." Al-Mishbah | Jurnal Ilmu Dakwah dan Komunikasi 12, no. 2 (July 11, 2017): 271. http://dx.doi.org/10.24239/al-mishbah.vol12.iss2.74.
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This paper deals with the art as media of preaching in early childhood at the Early Childhood Education Institution of Kabelo Singgah-Singgani, Palu. The questions include (1) How does art become media of preaching in early childhood at this institution? (2) How is the implementation of art as media of preaching in early childhood at this institution? The result showed that, first, the art which is categorized as media of preaching is one which contains Islamic values. This Islamic art which is taught in this educational institution includes dances such as Kaili’s local dance called momonte, qasidah songs, Arabic calligraphy that contains Quranic verses, Hadith, and Islamic poetry. Various art instruments provided by this institution in supporting children’s activities comprise guitar, rebana (tambourine), kerincing (triangle), and sound system. The benefits of art gained by the children include giving joyful entertainment to children, introducing Islam through art, and habituating them with Islamic and local cultures. In addition, art will become a way to sharpen instinct and teach Islam with the tenderness of art.
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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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Boles, Coleton. "Westernization and Its Effects on the Sound of Japan." Global Insight: A Journal of Critical Human Science and Culture 3, no. 1 (September 29, 2022): 22–28. http://dx.doi.org/10.32855/globalinsight.2022.003.
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A major source of influence on Japanese musicians has historically been Western art, and the resulting music has also served to influence much of Western contemporary music. This paper forms a timeline containing some key moments in Japanese music history, including the pioneering of Japanese-language rock, synth-pop, and Shibuya-kei. This investigation into these important moments is supplemented by quotes from interviews of musicians, including Haruomi Hosono of Yellow Magic Orchestra and Happy End, Keigo Oyamada of Flipper’s Guitar, and Yasuharu Konishi of Pizzicato Five. This paper finds that a country’s art and culture, in this case Japanese music, can evolve through the importation and assimilation of foreign culture.
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Bakovic, Marica, Slobodanka Karapandza, Sajed Mcheik, and Ana Pejović-Milić. "Scientific Study of the Origin of the Painting from the Early 20th Century Leads to Pablo Picasso." Heritage 5, no. 2 (May 28, 2022): 1120–40. http://dx.doi.org/10.3390/heritage5020060.
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This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Additionally, the study provides thus far unknown pieces of Olga Picasso’s family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided a broad confirmation as to when the painting was created. The artwork includes colors (white, black, blue, yellow, green, red, and brown/red) and prevalent use of lead- and iron-based historic pigments—chrome yellow, yellow ochre, and red ochre. It also documents the use of unconventional materials, such as the colorant Pigment Red 4, and nitrocellulose. This investigation led to the conclusion that the artwork, Red Guitar, is authentic and in accordance with Picasso’s work during the first two decades of the 20th century.
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Robertson, David G. "“Turning Ourselves”." Religion and the Arts 21, no. 1-2 (2017): 236–58. http://dx.doi.org/10.1163/15685292-02101010.
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In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his apparent attempts to realize the former’s idea of “objective art” through his music. I pay particular attention to the development of Guitar Craft, in which Fripp applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s teaching is a little examined scion of the Gurdjieff lineage, and a case study of discrete cultural production.
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Jin, Cong, Tao Wang, Shouxun Liu, Yun Tie, Jianguang Li, Xiaobing Li, and Simon Lui. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (July 2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.
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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.
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Hale, Casey. "“A not admitting of the wound”." Resonance: The Journal of Sound and Culture 4, no. 4 (2023): 391–98. http://dx.doi.org/10.1525/res.2023.4.4.391.
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This essay contextualizes my recent studio EP, Tender Carpenter, a cross-genre setting of an envelope poem by Emily Dickinson that uses electric guitar in 19-tone equal temperament, voice, and virtual instruments. I reflect on microtonality as a mode of Queer musicality and its personal significance in my own coming-out as bisexual in mid-life, drawing connections to the cultural and formal significance of Dickinson’s work. I situate my use of microtonal music theory within discourses of “purity” and “nature” inherited from just intonation, exploring temperament as a Queering gesture toward ambiguity that opens onto alternate paths, referencing Sara Ahmed’s Queer Phenomenology. I discuss the role of embodiment and the interactions between performer and altered instruments—the 19-tone guitar, the pitch- and formant-shifted voice—as tools of disorientation and play with musical relationships and gendered identities. And I reflect on the role-play involved in musical genre, referencing Jack Halberstam’s The Queer Art of Failure.
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Terán Flores, Hugo, and Yessenia Mendieta Torres. "Uso de la guitarra como recurso de aprendizaje musical en los estudiantes de 5to año de Educación Básica de la Unidad Educativa María Montessori de la ciudad de Manta." Revista Cognosis. ISSN 2588-0578 5, no. 3 (September 28, 2020): 69. http://dx.doi.org/10.33936/cognosis.v5i3.2792.
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El presente proyecto práctico se realizó en la parroquia de Tarqui, cantón Manta, Provincia de Manabí Ecuador, en la Unidad Educativa Particular María Montessori en el 5to año de Educación básica, donde contamos con 16 estudiantes entre niños y niñas. El objetivo de este estudio es establecer el uso adecuado de la guitarra dentro del aula de clases, como recurso enriquecedor del aprendizaje de la música en los estudiantes del 5to. Año de Educación Básica de la Unidad Educativa María Montessori. En esta institución se practica la enseñanza de instrumentos musicales como flauta dulce y lira, aquí contamos con 16 estudiantes de los cuales la mitad (8) han mostrado un gran interés en dicho aprendizaje, y unas excelentes condiciones musicales, por este motivo se ha buscado alternativas metodológicas que despierten la curiosidad y sensibilidad hacia la práctica musical, se observó que con el método tradicional, algunos niños presentan dificultades en la ejecución, a través de este trabajo se plantean acciones que permitan implementar técnicas eficientes en el uso de la guitarra. De esta forma la participación de las niñas y niños del 5to año de Educación General Básica de la Unidad Educativa María Montessori en la práctica activa del uso de la guitarra como medio de expresión dentro del arte musical se convierte en una acción que logra instaurar nuevas técnicas de enseñanza y aprendizaje a través de correcta aplicación y empleo de la guitarra.
PALABRAS CLAVE: aprendizaje musical; aprendizaje de la guitarra; enseñanza de la guitarra; técnicas guitarrísticas.
USE OF THE GUITAR AS A MUSICAL LEARNING RESOURCE IN 5TH YEAR STUDENTS OF BASIC EDUCATION OF THE MARÍA MONTESSORI EDUCATIONAL UNIT OF THE CITY OF MANTA
ABSTRACT
The following project was carried out in the private school María Montessori in Manta, Ecuador with 16 students of 5th grade, including girls and boys. The objective of this study is establishing the proper use of the guitar in the classroom, as an enriching resource of learning music with the students of Basic Education of the Educational Unit María Montessori. In this institution is really important the teaching of musical instruments such as sweet flute and lyre. 8 of the 16 students have shown a great interest in learning this instruments, and develop excellent musical skills, for this reason, we had been searching methodological alternatives that stimulate their curiosity and sensitivity towards musical practice, it was observed that with the traditional method, some children have difficulties in execution, through this work actions are proposed that allow to implement efficient techniques in the use of the guitar. In this way the participation of girls and boys of the 5th year of Basic General Education of the “Maria Montessori” Educational Unit in the active practice of the use of the guitar as a means of expression within the musical art becomes an action that manages to establish new teaching and learning techniques through correct application and use of the guitar.
KEYWORDS: musical learning; guitar learning; guitar teaching; guitar techniques.
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Zuber, Devin. "Blindness, the Blues and Abstract Art Wallace Stevens' "The Man with the Blue Guitar"." Variations 2004, no. 12 (May 1, 2004): 141–61. http://dx.doi.org/10.3726/85597_141.
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KRYGIN, ALEXANDER. "The Guitar Sound Image in the Creativity of Sabikas." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(59) (June 30, 2023): 66–80. http://dx.doi.org/10.31318/2414-052x.2(59).2023.295417.
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The author proves that the concept of sound image appeared in musicological literature at the beginning of the 20th century. The defined phenomenon is characterized as a set of sound (speech, music, noise) elements that create, with the help of associations, a generalized image about material object, phenomenon, historical event, human character. In modern musicology, scientists consider the concepts of "sound image of an instrument" and "performance style" to be related, where these concepts are interpreted as an individual stylistic perspective in the perception of expressive possibilities of a musical instrument: timbral, dynamic, register characteristics and associated artistic semantics. The basis of the sound image of the Sabikas guitar was formed thanks to the environment of prominent representatives of flamenco - R. Montoya, A. Chacon, M. de Huelva and others, and the method of A. Marin was taken as the technological foundation. The author presents the main parameters of the sound image of Sabikas' guitar, which are based on the intonation dictionary of R. Montoya's era, as well as compositional, interpretive and technological innovations of Sabikas. It was found that the compositional innovations of Sabikas consisted in the use of traditional falsettos in other forms of flamenco (Sevillanas, Zambra, Garrotín, etc.), as well as the creation of a composition in the form of a theme with variations based on folk melodies. The virtuosity and purity of the intonation of the new sample, the timbre richness of the guitar texture, the use of artificial flagolets and chromatic scales during the solo performance were noted in the interpretive aspect. Technological innovations of Sabikas focused on innovation in the alzapúa technique, the rationality of the maestro's performance technique with the help of open strings and well-chosen left-hand fingering. The author proves this statement with relevant material. The conclusion is that the sound image of Sabikas' guitar became a reference point for many outstanding musicians of the next generation - Paco de Lucía, Manolo Sanlúcar, Vicente Amigo and others. The article provides an explanation that for many years the art of flamenco existed in a trinity - guitar, dance, vocals. It is noted that Ramón Montoya was the first soloist-guitarist, after whom it was Sabikas who got the opportunity (1959) to present the sound image of the flamenco guitar to US listeners during a solo concert in the most prestigious New York hall "Town Hall". It has been proven that Sabikas' discography was the largest among flamenco guitarists (about 40 studio albums), which can be conventionally divided into solo and ensemble recordings.
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Clark, Walter. "Of Self and Circumstance: Music and Representation in the Works of Rodrigo." Soundboard Scholar 7, no. 1 (2021): 1–17. http://dx.doi.org/10.56902/sbs.2021.7.5.
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Though Joaquín Rodrigo (1901-99) is renowned for his guitar works, especially the Concierto de Aranjuez, less well known is the fact that his compositions embrace a wide variety of genres, styles, and media, from piano solos to art songs and from orchestral tone poems to film scores. This article proposes a novel way of organizing and comprehending the roughly 200 works in his catalogue. Rather than the standard method of organization by chronology or medium, it surveys his oeuvre through multiple lenses, including literary, folkloric, virtuosic, sacred, historical, theatrical and descriptive. Each of these categories represents the salient dimension of a particular work, though it allows for the presence of two or more such traits. We are then in a position to make some generalizations about his basic stylistic orientation, which follows in the footsteps of Falla’s neoclassicism by incorporating national elements to produce a style often referred to as neocasticismo. The article concludes with a bibliography of writings, published and unpublished, about Rodrigo's guitar music, beginning with a general overview and proceeding to those devoted to the Aranjuez.
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Suroso, Panji, Adina Sastra Sembiring, Uyuni Widiastuti, Muklis Hasbulah, and Bakhrul Khair Amal. "Performance Model of Kulcapi (Karo Musical Instrument) as a Teaching Material in Guitar Learning." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 1, no. 4 (December 22, 2018): 136–43. http://dx.doi.org/10.33258/birci.v1i4.102.
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This study examines performance model of Kulcapi Karo as a teaching material in guitar learning classes at Music Art Study Program in Unimed. To obtain maximum learning outcomes in the learning process, creative strategies and methods are created in utilizing local music culture as a capital in improving music playing skills. Efforts are made in various ways to maximize learning by reviewing and analyzing matters related to the learning process such as; analyze learning objectives, teaching material, strategies or learning methods, including local cultural material as a learning resource that can be adapted to the development and needs of the community in the world of education that continues to grow. Based on this, it is very important if Kulcapi's musical instrument culture as local culture can be packaged and used as teaching material in learning guitar music instruments. This is intended to further enrich students' understanding of theoretical concepts and the practice of playing stringed musical instruments is not only limited to popular knowledge, but also on things that are more specifically including traditional ones. With the effort to study and understand the Kulcapi instrument as teaching material, students must absolutely understand the organology structure and the technique of playing Kulcapi to be able to be developed to the level of being able to play better musical instruments. The technique of playing Kulcapi instrument as a capital in developing students' abilities in guitar courses seems to be more able to improve the achievement of better quality learning outcomes
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Kovalenko, Anatoliі. "DEVELOPMENT OF UKRAINIAN GUITAR EDUCATION IN THE CONDITIONS OF DISTANCE LEARNING." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 100–104. http://dx.doi.org/10.36550/2415-7988-2020-1-190-100-104.
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The article reveals the positive and negative aspects of the development of domestic guitar education in terms of distance learning. Applying the methods of historical and pedagogical analysis and a systematic approach, the recommendations of the Ministry of Education and Science of Ukraine were analyzed, which considered this area of development of the educational process and scientific works of guitar researchers. It is determined that the standards of higher education in the specialty 025 «Musical Arts» do not specify the quality of computer and software. It has been found that students, teachers, and heads of educational institutions from time to time face the issue of updating computer equipment to implement a quality educational process. It is proved that when using the software «Zoom» or «Skype» for group practical classes, a small error in the work of the Internet can lead to desynchronization in the work of the music group. It is highlighted that professions related to training, individual services, and creativity will remain relevant, as they cannot be replaced by automated systems even with the use of artificial intelligence; «the introduction of distance learning tools in schools is positive, in particular the use of the Microsoft Teams for Education Center, which includes the following options: downloading materials, storing and sharing them; possibility to add electronic textbooks / educational games; placement of announcements, digests for all participants of the educational process», etc.; negative aspects of the development of domestic guitar education in terms of distance learning are the lack of live contact between teacher and student, the inability to visually adjust the performance movements (left and right hand, artistic gestures, etc.); the ability of the mentor to remove the mental and physiological clamp from the performer is lost; slow internet connection speed and low quality of computer components can hinder a quality educational process and others. In terms of distance learning, domestic guitar education has changed the vector of its development. Users of Internet resources became the target audience of performing guitar art, and music education of guitarists received new opportunities for improvement. However, there are still factors that hinder the full implementation of positive changes. We consider the following to be the main ones: the lack of live communication between the teacher and the student, the unstable speed of the Internet connection in some regions of Ukraine and the low quality of computer components among some participants in the educational process.
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Sologub, Victoria. "FEATURES OF IMPLEMENTATION OF INCLUSIVE EDUCATION AT THE HIGHER ART SCHOOLS OF UKRAINE." Pedagogical Process: Theory and Practice, no. 1-2 (2019): 78–84. http://dx.doi.org/10.28925/2078-1687.2019.1-2.7884.
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The purpose of the research is to highlight the role of inclusive education in higher art educational institutions of Ukraine. The realization of this goal implies attention to the issue of introducing music education for people with special needs, ways of improving the educational process and its facilitation. The methodology of the research is connected with the use of methods of analysis and synthesis, thanks to which the actual problematic aspects that are available in this field are highlighted. The task of the study is to highlight the specifics of working with students in the class by specialty (using the example of mastering the art of playing the classical guitar). Thanks to the practice of working with students who have visual problems, the author of the article singles out the innovative algorithm for learning the music text and further work with the works. It is proposed to actively involve various programs related to typing notation text, recording audio files, processing them and modifying them. The scientific novelty consists in synthesizing practical conclusions obtained by the author in the course of teaching activities. A number of problem aspects and algorithms for their solution are singled out. The importance of learning a musical material with a teacher is emphasized, especially when it comes to persons with special abilities - visual impairments. Existing software, for example Finale, Sibelius and other music editors provide the ability to change the typed music text, its slowdown, and solfeging. Although this innovation is not capable of becoming a complete substitute for a nocturnal text, typed in Braille, it becomes a good alternative. In modern art education there are a number of problematic moments. First of all, despite the fact that the issue of introducing inclusive education in the Ukrainian space has been actualized, the practical implementation of this task involves a number of difficulties. Development and musical education in the guitar class by specialty involves the introduction of computer equipment and technically computer equipment during classes, which will simplify the process of learning and the subsequent reproduction of a musical text.
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Reza, Amra, DJ Dimas Phetorant, and Demi Tatipikalawan. "Metode Uploading sebagai Sarana Pertunjukan Musik Online: Studi Kasus Duo Guitar Dumotsiny." Journal of Music Science, Technology, and Industry 5, no. 2 (November 27, 2022): 199–211. http://dx.doi.org/10.31091/jomsti.v5i2.2132.
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Purpose: Technology provides color and a new way of viewing music. Music performances that originally relied on physical and communal meeting rooms had to adapt to social distancing policies due to the pandemic. This condition attracted the attention of researchers to observe the dynamics of the lives of art workers in the field of music. Research methods: Researchers observe musical performances that are displayed on several digital media platforms. Many of the artists who use the uploading method. The research method used is qualitative using a case study approach with the subject of the guitar duo Dumotsiny. Results and discussion: As a result, online music performances can be done by uploading by recording audio and video separately or by recording audio and video simultaneously. Implication: In music, every era always experiences changes in technology.
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Bashmakova, Natalia, and Liliya Bakalinska. "„HOMMAGE A PACO” BY FRANK ANGELIS IN THE CONTEXT OF CONTEMPORARY TRENDS OF ACCORDIONAL ART." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 102–10. http://dx.doi.org/10.33287/222009.
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The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.
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Tan, Ian. "To Sound and to Absorb: Art, Solipsism and the Problem of Mediation in John Banville’s the Blue Guitar and Wallace Stevens’ “The Man with the Blue Guitar”." Critique: Studies in Contemporary Fiction 62, no. 1 (June 4, 2020): 112–22. http://dx.doi.org/10.1080/00111619.2020.1773387.
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Sara Foroozani, Seyedeh, and Bahee Hadaegh. "NEGATING AGENTS IN O’NEILL’S BEYOND THE HORIZON AND THEIR COUNTERPARTS IN PICASSO’S ARLEQUIN À LA GUITAR." Folia linguistica et litteraria XII, no. 36 (September 2021): 87–101. http://dx.doi.org/10.31902//fll.36.2021.6.
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Postmodern art emerged as a critical compulsion in response to the domineering institutions of modern era which were suffering from conceptual absolutism and hesitant aesthetic outlooks. Being ascribed to chaotic qualities, the approach stood as the social and aesthetic antithesis of its qualitative unity, so as to reach an authentic understanding of the intrinsic reality. Hence, postmodern art embarked on negation, as its determinative trait in reception of modern aesthetic debates. Correspondingly, the current study ponders on lives of the margin in works of two prominently modern autobiographical artists, Pablo Picasso’s Cubist painting Arlequin à la guitar accompanied by Eugene O’Neill’s modern American drama, Beyond the Horizon, further to approach the interconnectedness of the masked with the concept of determinate self-negation in marginal existentialities. The discussion further concentrates on the role of society on modern individual’s imprisonment and spiritual remoteness. Regarding this, the paper has concerned itself with presenting modern artists’ intended application of metanarratives adjacent to dialogue scarcities in artworks. In addition, postmodern negation of aesthetic ideals provide readers with a more unifying and authentic perception of subjective truth content while dealing with hesitant yet overlapping representations of multilayered reality.
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Filatova, Tetiana. "Chilean Guitar Music: Modern Reconstructions of Genre Traditions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 166–81. http://dx.doi.org/10.31318/2522-4190.2021.132.250001.
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The relevance of the article is to deepen the analytical aspect of knowledge about Chilean guitar music of the second half of the 20th — early 21st centuries in the context of the reconstruction of genre traditions on the example of works by Juan Antonio Sanchez, Gustavo Becerra-Schmidt, Javier Contreras.
Main objective of the study is to identify the leading genre traditions of Chilean guitar music and reveal their modern reconstructions in the works of famous authors.
The methodology includes methods of historical, cultural, comparative, phenomenological, as well as structural and functional analysis (for a contextual consideration of the creative activities of composers, the study of genre and stylistic elements of the Chilean traditions of folk music, professional-academic and non-academic origin in their influence on European genre models).
Results and conclusions. The cultural and historical environment of the formation and development of the Chilean academic guitar repertoire of the second half of the 20th — early 21st centuries is characterized, the links with the performing achievements of domestic virtuosos are determined. The work of composers Juan Antonio Sanchez, Gustavo Becerra-Schmidt, Javier Contreras is considered in the discourse of modern processes of reconstruction of traditions, approbation of innovative methods and techniques of writing of the European avant-garde, use of the resources of American non-academic art. The national genre roots of thematic phenomena have been identified in the process of studying music scores and audio recordings of works, which go back to the primary authentic layers and influence musical vocabulary, creating the foundation of its national identity: Creole cueca, tonada with Iberian origins and hemiole rhythmic archetypes, in particular, in the Sonata for guitar by H. Sanchez; elements of the Araucanian ritual chants of the indigenous Mapuche population in the Fourth Sonata by G. Becerra-Schmidt, as well as the rhythmic formula of the Afro-Brazilian batukada in the finale of the Third Sonata by G. Becerra-Schmidt. It was found that secondary genre and style layers are formed in line with European concert genres: sonatas, concerts, cycles, the compositional and dramatic profile of which changes under the influence of the organic nature of the musical material, its transcultural ethnic ties. Jazz and fusion music-making with elements of the Chilean musical is defined as an equally important genre-style resource. The interferential nature of the inheritance of the authentic cueca tradition through its modern versions created by the legendary Violeta Parra leads to targeted citations, allusions in modern guitar works. Analytically substantiated are the conclusions that thanks to the numerous mosaic carnival contrasts, the abundance of colorful ethno-genre mixtures of Iberian, Indian, African American folklore, to which it is possible to connect the poetics of fusion or experimental percussion techniques of sound production, the originality of the modern Chilean reconstruction of ancient traditions is formed. Such syntheses are due to the internal cultural and historical situation and artistic processes that take place on both sides of the Atlantic.