Journal articles on the topic 'Guitar music'
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Sutaryo, Haris Natanael, Tri Wahyu Widodo, and Mahardika Kusumo Simbolon. "Penerapan Tangga Nada Pentatonis dalam Penciptaan Musik Gavotte untuk Kuartet Gitar." PROMUSIKA 10, no. 2 (December 3, 2022): 97–103. http://dx.doi.org/10.24821/promusika.v10i2.7955.
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Pengertian Gavotte adalah tari Perancis antara abad ke 16-18 dalam birama 2/4 atau 4/4. Termasuk sebagai salah satu bagian dalam suita. Memasuki abad 19 Gavotte tidak lagi terbatas pada musik untuk iringan tarian saja, tetapi sudah berdiri sendiri sebagai komposisi musik. Ide penciptaan musik Gavotee untuk kuartet gitar, terinspirasi dari keprihatinan dalam mengajar praktek gitar klasik baik disekolah musik yang formal maupun non formal. Penelitian ini mencari solusi yang terarah, untuk menciptakan model pembelajaran gitar klasik dasar, melalui sebuah penciptaan karya musik Gavotte dengan penerapan tangga nada pentatonik mayor (C-D-E-G-A) untuk kuartet gitar. Pengertian tangga nada pentatonik adalah jenis tangga nada yang memakai lima nada pokok , masing-masing dibedakan dari jarak antar nada. Penciptaan karya musik Gavotte ini dirancang untuk kuartet gitar (gitar 1, 2, 3, 4) bertujuan untuk penempatan pemain sesuai kemampuan ketrampilannya. Gitar 1 untuk murid yang paling tinggi dengan skil tinggi, gitar 2 lebih rendah ketrampilannya begitu juga untuk gitar 3 dan 4. Penggarapan komposisi musik Gavotte lebih ditekankan pada pengolahan ritme, melodi, dan harmoni yang sederhana yang disesuaikan ketrampilan gitar dasar. Metode penciptaan musik terdiri dari tiga langkah yaitu proses tindakan kelas, eksplorasi, dan sosialisasi. Penelitian dalam penciptaan karya musik ini digunakan sebagai model pembelajaran praktik gitar dan dapat menjembatani dalam membantu penguasaan membaca notasi balok, khususnya untuk mengajar kelas group yang terdiri dari 4-6 orang.AbstractApplication of the Pentatonic Scale in the Creation of Gavotte Music for the Guitar Quartet. Gavotte is a French dance between the 16th-18th centuries in rhythms of 2/4 or 4/4. It was included as one of the parts in the suita. Entering the 19th century, Gavotte was no longer limited to music for dance accompaniment but already stood alone as a musical composition. The idea of creating Gavotee music for guitar quartets was inspired by concerns about teaching classical guitar practice in formal and non-formal music schools. This research seeks a purposeful solution to make a basic classical guitar learning model by creating Gavotte's musical works with the application of major pentatonic scales (C-D-E-G-A) to guitar quartets. The notation of pentatonic scale is a type of scale that uses five principal tones, each distinguished by the distance between notes. The creation of Gavotte's musical work was designed for a quartet of guitars (guitars 1, 2, 3, 4) aimed at placing players according to their abilities. Guitar 1 is for the highest students with high skills; guitar 2 is lower in skill, as well as for guitars 3 and 4. Gavotte's musical compositions emphasize simple rhythm, melody, and harmonic processing tailored to basic guitar skills. The music creation method consists of three steps, namely, the process of class action, exploration, and socialization. Research in creating this musical work is used as a learning model for guitar practice. It can bridge in helping the mastery of reading block notation, especially for teaching group classes of 4-6 people.Keywords: music composition; Gavotte; guitar skill
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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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Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (August 1986): 443. http://dx.doi.org/10.2307/965165.
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Luchmansyaroni, Aditya Wahyu. "Design a Guitar Effects Controller Using a Wireless System." Jurnal Jartel: Jurnal Jaringan Telekomunikasi 5, no. 2 (November 1, 2017): 42–45. http://dx.doi.org/10.33795/jartel.v5i2.203.
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Wireless is a wireless network technology that can be used for voice and data communications. The need for a wireless network system makes the need for technology grow very rapidly starting from communication and data transmission media, one of the technological developments in data transmission media. One of them is in the field of music. Most of the musical instruments such as microphones, bass guitars, acoustic guitars, and electric guitars already use wireless. This can facilitate the movement of these musical players while playing their musical instruments on stage. Therefore, a wireless device for guitar effects is designed that is directly connected to a guitar instrument. This system itself aims to facilitate the movement of guitar players on stage and can also activate guitar effects without the need to step on the guitar pedals at their feet.
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Żegleń-Włodarczyk, Małgorzata. "The English guitar and the forgotten guitar repertoire of the second half of the 18th century." Edukacja Muzyczna 17 (2022): 139–55. http://dx.doi.org/10.16926/em.2022.17.10.
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The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar (guittar), which differed in design and tuning from the instrument we know today. At present, it would be futile to look for the guitar repertoire of the second half of the 18th century on concert stages or in academic curricula (with a few exceptions, such as Luigi Boccheri-ni's quintets or Giuseppe Antonio Brescianello's partitas), and English music is almost nowhere to be found. It is, to a large extent, undiscovered and nearly forgotten. Bringing it back to life will not only provide insight into the design and performing capabilities of the now unknown guittar (as well as its distinctive playing technique, fingering and articulation) and allow us to learn more about the works composed for the instrument (and their characteristic features), but – above all – give a full picture of the evolving aesthetics of the 18th century. These compositions will also fill the existing gap in the guitar repertoire of the second half of the 18th century, offering broad prospects for their performance in the future. The most important consequence of that is the preservation of the continuity of guitar literature from the Renaissance to the present day, and the resulting possibility to make the world described in Leopold Mozart’s or Carl Philipp Emanuel Bach’s treatises tangible.
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Pratama, Muhammad Yoga, and Erfian Junianto. "Simulator Instrumen Gitar Berbasis Android di Duff Music Studio." Jurnal Nasional Komputasi dan Teknologi Informasi (JNKTI) 6, no. 5 (November 1, 2023): 612–20. http://dx.doi.org/10.32672/jnkti.v6i5.6790.
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Abstrak - Memainkan alat musik gitar akan membawa rasa puas bagi para pengunjung studio musik. Mempelajari gitar secara otodidak bagi pemula tidaklah mudah, serta orang-orang yang tidak mempunyai cukup biaya untuk kursus gitar tentu menjadi masalah. Belum lagi harga instrumen gitar yang terbilang cukup mahal bagi para pemula yang hanya ingin bersenang-senang saja memainkan alat musik tersebut. Hal ini membuat pihak studio memiliki kekhawatiran bahwa peralatannya akan cepat rusak jika digunakan oleh pemula yang masih belajar. Dibutuhkan solusi agar seseorang mampu berlatih alat musik gitar secara mandiri. Sehingga ketika datang berkunjung ke studio musik dapat langsung memainkan gitar tanpa ada jeda kekakuan memainkan alat musik tersebut. Model 4D Thiagaraja cukup tepat digunakan pada pembuatan aplikasi multimedia dengan tujuan dari penelitian ini adalah membuat aplikasi edukatif belajar gitar untuk pemula berbasis Android. Penelitian ini menghasilkan aplikasi dengan fitur suara gitar dan efek strum yang realistis, gaya gitar yang berbeda, serta tombol konten pengguna. Hasil pengujian didapatkan kelayakan aplikasi dalam memberikan fasilitas bagi pengunjung studio yang khususnya masih pemula dalam bermain gitar.Kata kunci: Alat Musik Gitar, Simulator Alat Musik, Aplikasi Berbasis Android, Duff Music Studio. Abstract - Playing a guitar instrument will bring satisfaction to the music studio visitors. Learning guitar self-taught for beginners is not easy, and people who don't have enough money for guitar lessons are certainly a problem. Not to mention the price of the guitar instrument which is quite expensive for beginners who just want to have fun playing the instrument. This makes the studio have concerns that the equipment will be damaged quickly if used by beginners who are still learning. A solution is needed so that someone is able to practice guitar instruments independently. So that when you come to visit the music studio, you can directly play the guitar without a pause in the stiffness of playing the instrument. Thiagaraja's 4D model is quite appropriate to use in making multimedia applications with the aim of this research being to create an educational application for learning guitar for Android-based beginners. This research resulted in an application that features realistic guitar sounds and strum effects, different guitar styles, as well as user content buttons. The test results obtained the feasibility of the application in providing facilities for studio visitors, especially those who are still beginners in playing guitar.Keywords: Guitar Musical Instrument, Musical Instrument Simulator, Android Based Application, Duff Music Studio.
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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (April 1, 2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.
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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.
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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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FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand." Journal of the Society for American Music 6, no. 2 (May 2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.
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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece's inception, outlining the organological evolution of resophonic guitars and their relationship to Hawaiian music. It addresses the practical and aesthetic implications of the composer's choice of tuning, and examines the work of additional artists, such as Terry Riley and Larry Polansky, who have contributed to the growing repertoire for the just intonation resophonic guitar.
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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (November 1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.
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Ramsey, Gordon P., and Jessica R. Moore. "Factors that affect guitar timbre." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A198. http://dx.doi.org/10.1121/10.0018646.
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This is part one of two presentations on the same project. Guitars have been used for centuries, but their versatility due to technical developments have made them very popular in most genres of music. Our research has investigated how various physical properties of the guitar affect its timbre. We have investigated the effects of (a) string excitement location, (b) string type and gauge, (c) pick versus pluck excitement, and (e) the placement of a capo on an acoustic guitar. The main goal is to investigate how each of these factors play a role in certain genres of music where guitars are one of the main instruments. Measurements were taken at the LU acoustics lab and the anechoic chamber at Northwestern. This talk will present theoretical basis for our measurements and discuss the effects of the pick versus pluck and placing a capo on the neck of the guitar. The following talk will discuss the remaining factors and how our study contributes to the capability of the player to create different moods.
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Gurgul, Wojciech. "The Guitar in the Polish Music Periodicals “Poradnik Muzyczny” (1947–1989) and “Przegląd Muzyczny” (1990–1991)." Edukacja Muzyczna 18 (2023): 259–77. http://dx.doi.org/10.16926/em.2023.18.16.
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The aim of this article is to present the contents of two music journals, “Poradnik Muzyczny” [“Music Guide”] and “Przegląd Muzyczny” [“Music Review”], published by the Ludowy Instytut Muzyczny [People’s Institute of Music] in Łódź, with a focus on subjects related to classical guitar and guitar music in Poland. For many years, these periodicals, issued on a monthly or bimonthly basis, depending on the period of publication, were the primary platform for exchanging ideas about the guitar in Poland. These journals published historical and methodological articles on the guitar, reports on guitar events, reviews of publications for the instrument, and original compositions and arrangements for guitar solo as well as for ensembles with the guitar.
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Gurgul, Wojciech. "The Guitar in the Polish Music Periodicals “Poradnik Muzyczny” (1947–1989 ) and “Przegląd Muzyczny” (1990–1991)." Edukacja Muzyczna 18 (2023): 279–97. http://dx.doi.org/10.16926/em.2023.18.17.
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The aim of this article is to present the contents of two music journals, “Poradnik Muzyczny” [“Music Guide”] and “Przegląd Muzyczny” [“Music Review”], published by the Ludowy Instytut Muzyczny [People’s Institute of Music] in Łódź, with a focus on subjects related to classical guitar and guitar music in Poland. For many years, these periodicals, issued on a monthly or bimonthly basis, depending on the period of publication, were the primary platform for exchanging ideas about the guitar in Poland. These journals published historical and methodological articles on the guitar, reports on guitar events, reviews of publications for the instrument, and original compositions and arrangements for guitar solo as well as for ensembles with the guitar.
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Moore, Jessica R., and Gordon P. Ramsey. "How musicians can utilize the guitar’s acoustic properties." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A198. http://dx.doi.org/10.1121/10.0018647.
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Guitars are extremely versatile instruments due to the myriad of ways in which the player can alter the timbre. Specific adjustments are made to the guitar that correspond to stylistic distinctions between genres of music. This study explores how the timbre of the guitar is affected by the string type, gauge, and excitement location, in addition to the previous talk topics. Using the spectra, we can determine how our results can be utilized by musicians. Continuing from the first talk on the physical implication of these alterations, I will focus on how the results justify guitarist’s artistic decisions in Flamenco, Irish Traditional, and country/folk music. Understanding the connection between the technical and artistic aspects of the guitar can guide a musician in creating the effects appropriate for each genre.
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Ciszak, Thomas, and Seth F. Josel. "OF NEON LIGHT: MULTIPHONIC AGGREGATES ON THE ELECTRIC GUITAR." Tempo 74, no. 291 (December 19, 2019): 25–49. http://dx.doi.org/10.1017/s0040298219000962.
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AbstractConsiderable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analogue effect pedals (compression, overdrive and distortion). In order to precisely indicate the spectral components and harmonic nodes, we have used the Extended Helmholtz-Ellis JI Pitch Notation (HEJI).
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Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (July 1987): 392. http://dx.doi.org/10.2307/964544.
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Wade, Graham. "Guitar." Musical Times 129, no. 1744 (June 1988): 306. http://dx.doi.org/10.2307/964893.
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Wade, Graham. "Guitar." Musical Times 131, no. 1767 (May 1990): 273. http://dx.doi.org/10.2307/966167.
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Bell, Adam Patrick. "Guitars have disabilities: exploring guitar adaptations for an adolescent with Down syndrome." British Journal of Music Education 31, no. 3 (October 2, 2014): 343–57. http://dx.doi.org/10.1017/s026505171400028x.
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The guitar has a high value in cultural capital and we are immersed in a culture in which the guitar is the predominant vehicle of music-making. Given the guitar's mass popularity, it follows that the guitar-learning community is vast and diverse. Subscribing to the social model of disability, I problematise the guitar as being disabled and conducted an instrumental case study using the ethnographic tools of video-based observation, field notes and a semi-structured interview to chronicle the experience of teaching an adolescent with Down syndrome how to play the guitar. Different approaches to enabling the guitar are examined including open-tuning, standard tuning and a modified two-string guitar. Findings discuss the importance of the guitar to the participant as a percussive and rhythmic instrument and additionally as support for singing in the context of jamming.
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De Souza, Jonathan. "Guitar Thinking." Soundboard Scholar 7, no. 1 (2021): 1–23. http://dx.doi.org/10.56902/sbs.2021.7.7.
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Playing the guitar develops physical skills but also ways of listening and thinking about music. For example, guitarists often conceptualize chords as two-dimensional shapes—an approach that is foreign to pianists. What does it mean, then, to think like a guitarist? This article approaches “guitar thinking” through music theory and cognitive science. Psychological experiments help to reveal auditory, visual, and tactile aspects of guitar playing and to show how guitarists respond to the instrument’s affordances (i.e., its possibilities for action). Additionally, recent research in music theory models fretboard space and examines patterns of body-instrument interaction. To demonstrate this mode of analysis, the article discusses Leo Brouwer’s Estudios sencillos, nos. 1 and 7. Ultimately, this investigation suggests that the guitar is not only a tool for producing musical sound; it also produces musical knowledge.
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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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Trianov, M. "Microtonality in the Works for Guitar Ensemble of Agustín Castilla-Ávila." Culture of Ukraine, no. 80 (June 30, 2023): 110–17. http://dx.doi.org/10.31516/2410-5325.080.14.
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The relevance is determined by the necessity of a comprehensive systematical study of contemporary microtonal music for the academic guitar ensemble and its significance in the works of Agustín Castilla-Ávila.
The purpose of the article is to study the peculiarities of microtonality as a special technique of the musical composition in the A. Castilla-Ávila’s works for guitar ensembles.
The methodology. In the process of research, the methods of abstraction, analysis and synthesis were applied as well as special musicological methods such as methods of musical analysis: theoretical notation-based analysis, interpretative analysis.
The results. Microtonality, which originates from the ancient traditional musical culture, rapidly developed in the music of the XX century as a complexification and alteration of the equal temperament. Since the 1950s, which were marked by a qualitatively new type of guitar performance, there has been a gradual adaptation of the guitar technique to the performance of microtones. The combination of traditionally and microtonally tuned guitars in the ensemble allows the composer to use a wide range of microtonal systems (third, quarter tones and various edos — equal division of the octave).
Agustín Castilla-Ávila is one of the most prominent guitar composers nowadays. In his works, microtonality appears to be one of the main creative and aesthetic principles. Decided not to modify the traditional classical guitar, Agustín Castilla-Ávila uses:
– retuning the strings (microtone scordatura) as the most effective way to get microtones on the guitar. In the works of the early period, the composer often replaces a set of guitar strings with six of the same type in thickness tuned in 36edo;
– extended techniques: band, bi-tone, glissando, playing with the slider;
– preparations.
The whole list of microtonal ensemble works of A. Castilla-Ávila can be classified into three main periods. For early works six same strings and 36edo are typical. The next period is characterized by using of bi-tones and harmonics. In the third period, he combines the material of two previous phases with using of electric guitar.
The scientific novelty. The study is within the field of actual research on a classical guitar ensemble and its contemporary repertoire.
The practical significance. The materials of this article can be used as a basis for further research of guitar ensemble music. In particular, obtained results can be useful for contemporary music performers.
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Agus Grasia Halawa. "Pendampingan Pelatihan Musik Bagi Pemuda-Pemudi Ebenhaezer Bawuaya Sebagai Upaya Peningkatan Kemandirian Jemaat Beribah." Jurnal Pendidikan Agama dan Teologi 1, no. 2 (May 12, 2023): 41–51. http://dx.doi.org/10.59581/jpat-widyakarya.v1i2.241.
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Based on research on guitar music training for youth in church (GKSI) one of the goals is to help increase the independence of congregations for worship. teaching youth to play the guitar is in the ministry at the GKSI EBENHAEZER BAWUAYA church. One of the methods that will be held by God's servants for youth is one of the approaches. the method of approach used by God's servants in training skills/proficiencies for young people learning to play music (guitar) and so that it produces good and correct music playing techniques. in guiding mentoring and also teaching playing music (guitar) both done individually and collectively for the music team with the aim of increasing self-confidence to worship so that activities to learn to play music (guitar) can be carried out patiently and happily. In the process of learning to play the guitar, it is carried out using the training and mentoring method. through this method is done either orally or also in theory and also in practice. In training activities, results are assessed. We can do it together with the music training team with the song leader in the last music (guitar) playing activity carried out by the trainer.
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Martín-Gil, Damián. "A Checklist of Works Attributed to Charles de Marescot." Soundboard Scholar 4, no. 1 (2018): 12–16. http://dx.doi.org/10.56902/sbs.2018.4.5.
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The musical output of Charles de Marescot (1790–1842) has never been subjected to close examination. Only a few of his compositions are featured in guitar scholarship, notably his Méthode de guitare, op. 15, and the collection of pieces entitled La Guitaromanie, op. 46. And yet Marescot was rather prolific in his time. This checklist offers, for the first time, a catalogue—albeit incomplete—of all his guitar music published in France and England, offering, if possible, locations and dates for each work.
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Bulgren, Christopher W. "Jail Guitar Doors: A case study of guitar and songwriting instruction in Cook County Jail." International Journal of Community Music 13, no. 3 (December 1, 2020): 299–318. http://dx.doi.org/10.1386/ijcm_00026_1.
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Jail Guitar Doors USA (JGD USA) is an initiative that provides guitars and songwriting instruction in correctional facilities. Founded in 2009, JGD USA is currently in 100 jails, prisons and youth facilities with a waiting list of 50. This study examined the phenomenon of JGD USA in Cook County Jail (Chicago, Illinois) and was guided by the following research question: How do participants describe their experiences in the case of JGD USA in Cook County Jail? Participants consisted of six adult male residents. Other data sources included interviews with the class teacher, the jail administrator who implemented JGD USA, Billy Bragg (founder of the original JGD) and Wayne Kramer (founder of JGD USA). This study employed instrumental case study methodology in order to explore a real-world phenomenon of guitar instruction in jail. Data sources included observation, a focus group interview, four semi-structured phone interviews and examination of lyrics and chord structure. Data were coded for emergent themes. Analysis of data sources revealed themes of group dynamics, expression, flow and intrinsic motivation. Other findings included insights related to the benefits of guitar and songwriting instruction in correctional settings.
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Yuliana, Dika Yuliana, and Pranichayudha Rohsulina. "The Potential of the Guitar Craft Industry in Mancasan Village, Baki District in 2021." Journal of Geography Science and Education 4, no. 2 (November 8, 2022): 1. http://dx.doi.org/10.32585/jgse.v4i2.2331.
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Mancasan Village is one of the villages in Baki District, Sukoharjo Regency. Mancasan Village is one of the villages that is famous for the existence of the guitar industry in the area. The guitar industry is a potential for Mancasan Village because the guitar industry can be one of the successful developments of a region, namely the ability to create job opportunities. The guitar industry in this Mancasan Village classified to in industry small, because on generally every House business this employ around 5-15 employee people, type ownership from business guitar the is individual, using technology which simple and traditional, no have permission business, and the place business which used is the place live or their house alone. The production of guitars in Mancasan Village used to be only through word of mouth or by selling their products directly to music shops. However, along with the times and increasingly sophisticated technology, many guitar craftsmen in Mancasan Village are now marketing their guitar productions online. The potential of the guitar industry in Mancasan Village has an impact on the surrounding community, both the impact on social life and the impact on the economy of the people in Mancasan Village.
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Robertson, A. "Results of Medical and Hospice Music Therapy Internship Directors’ Views of Advanced Guitar Skills Needed for Interviews." Music Therapy Perspectives 38, no. 2 (December 6, 2019): 205–9. http://dx.doi.org/10.1093/mtp/miz022.
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Abstract The purpose of this study was to determine which guitar skills beyond the American Music Therapy Association (AMTA) functional guitar skill competencies are important for prospective music therapy interns to perform during the medical and hospice music therapy interview process. Participants (n = 32) for this study were medical or hospice music therapy internship supervisors from AMTA approved and university-affiliated internship sites that were asked to rate eight advanced guitar skills on their importance during the internship interview process. Of the 64 internship directors to whom the survey was sent, 32 (50%) participants representing five of the seven AMTA regions responded. The majority of internship directors (94%) reported the guitar as the primary instrument for therapy at their facility. Results indicated that four of the eight advanced guitar skills in question were considered important for interns to perform during the interview process, suggesting students should learn these advanced skills before applying to a medical or hospice music therapy internship. These findings are consistent with previous research suggesting the use of advanced guitar skills to meet musical demands within contemporary music therapy practice.
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Seption, Moch Faisal, Supriando Supriando, Della Rosa Panggabean, and Andranofa Andranofa. "Pertunjukan Solis Gitar dengan Repertoar Concerto in D Major Rv 93, Laila Canggung, dan Ephiphany (Guitar Solis Performance with Repertoire Concerto in D Major Rv 93, Laila Awkward, and Ephiphany)." Musica: Journal of Music 3, no. 1 (July 3, 2023): 49. http://dx.doi.org/10.26887/musica.v3i1.3484.
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Artikel ini memuat tentang pertunjukan repertoar gitar dan analisis permainan karya seni musik instrumen gitar klasik dan elektrik dengan repertoar yang dipilih yaitu Concerto In D Major, Laila Canggung dan Ephiphany. Analisis yang dihadirkan berupa permainan teknik gitar klasik serta gitar elektrik seperti Tirando dan appoyando, Apergio Right Hand, Legato, Barrer, Palm Mute, Vibrato, Slide dan Bending, Form Musik, gaya dan genre, serta metode pertunjukan. Ketiga repertoar yang dipilih ditinjau dari tingkat kesulitan sebagai bentuk pencapaian dari hasil pembelajaran musik di kampus ISI PadangpanjangKata Kunci: Pertunjukan Solois; Teknik Gitar Klasik dan Elektrik; Repertoar; ConcertoABSTRACTThis article contains an repertoire show and analysis of the playing of classical and electric guitar instruments with the selected repertoire of Concerto In D Major, Laila Canggung and Ephiphany. The analysis presented is in the form of playing classical guitar and electric guitar techniques such as Tirando and appoyando, Right Hand Apergio, Legato, Barrer, Palm Mute, Vibrato, Slide and Bending, Music Form, style and genre, and performance methods. The three repertoires chosen are reviewed from the level of difficulty as a form of achievement from the results of music learning at the ISI Padangpanjang campus.Keywords: Soloist Performance; Classical and Electric Guitar Technique; Repertoire; Concerto
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Criswick, Mary. "Guitar Plus." Musical Times 127, no. 1723 (October 1986): 567. http://dx.doi.org/10.2307/964402.
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Wade, Graham. "Guitar Duos." Musical Times 129, no. 1745 (July 1988): 349. http://dx.doi.org/10.2307/964753.
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Criswick, Mary. "Guitar Plus." Musical Times 128, no. 1731 (May 1987): 277. http://dx.doi.org/10.2307/965129.
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Criswick, Mary. "Guitar Duets." Musical Times 126, no. 1714 (December 1985): 737. http://dx.doi.org/10.2307/965210.
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Harris, Colette, and Meredith Alice McCutcheon. "Guitar, Vihuela." Musical Times 127, no. 1720 (July 1986): 390. http://dx.doi.org/10.2307/965247.
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Wade, Graham. "Contextualized Guitar." Musical Times 132, no. 1783 (September 1991): 449. http://dx.doi.org/10.2307/965651.
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Criswick, Mary. "Guitar Songs." Musical Times 126, no. 1703 (January 1985): 33. http://dx.doi.org/10.2307/962449.
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Criswick, Mary, and Werner Schwarz. "Guitar Selection." Musical Times 126, no. 1708 (June 1985): 350. http://dx.doi.org/10.2307/964035.
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Sasmita, Pelangi Dienna Deyane. "PROSES KREATIF SISWA HOMESCHOOLING DALAM PENCIPTAAN MUSIK MELALUI PEMBELAJARAN GITAR (STUDI KASUS : KELAS GITAR SANGGAR REGENERASI)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 14, no. 1 (July 10, 2022): 35–46. http://dx.doi.org/10.33153/sorai.v14i1.3777.
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Guitar learning are held in formal institutions such as schools, generally only give basic theoretically teaching about music or just how to play a musical instrument well. The same thing is often found in many music courses. However, in the case of the Sanggar Regeneration guitar class, beside doing guitar lesson, students are often able to produce musical works. Guitar learning in the Sanggar Regeneration guitar class are conducted by mentors to homeschooling students of PKBM Semesta Ilmu. This research shows that the guitar learning process at Sanggar Regeneration also includes the transmission process and creativity in it. In this case, knowledge between mentors and homeschooling students is carried out and becomes continuous learning. The highlight of this guitar learning is a change in behavior in the form of students' ability to play the guitar. Through this guitar learning process students are also active and critical, so that students' creativity can emerge based on their practice and experience. This has an impact on students and is developed into innovative products, one of which is the music of the homeschooling student.
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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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Aleixo, Ricardo. "Guitar Music Manuscripts in the Senate Library of Madrid: The Canción patriótica de la Alianza and Its Experimental Notation." Soundboard Scholar 3, no. 1 (2017): 30–34. http://dx.doi.org/10.56902/sbs.2017.3.8.
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The modest collection of manuscripts of guitar music preserved in the Senate Library of Madrid seems to provide a representative sampling of the types of guitar repertoire circulating in Spain in the late eighteenth and early nineteenth centuries. Despite its small size, this corpus contains the most typical genres of the period— namely, two chamber music works for guitar with bowed string instruments, by Federico Moretti and Antonio Ximénez, a guitar duet by Pierre-Jean Porro, a solo guitar work by the mysterious señor D. G. G. M. A., and two songs with guitar accompaniment, one by Francisco Xavier Moreno and the other by the same D. G. G. M. A., titled Canción patriótica de la Alianza. Among other interesting aspects, what is truly remarkable about this song is that its author uses two G-clef staves in the introduction to write the music of a single guitar, a surprising notational device also used in another of his pieces.
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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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Pethel, Robert. "The state of guitar education in the United States." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 245–60. http://dx.doi.org/10.1386/jpme.3.2.245_1.
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Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.
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Hasan, Mohammad Mainul, and Saiful Islam. "Development of an Acoustic Guitar Tuner and Graphical User Interface (GUI) using MATLAB." Applied Research and Smart Technology (ARSTech) 3, no. 2 (December 27, 2022): 49–55. http://dx.doi.org/10.23917/arstech.v3i2.1185.
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Beautiful music requires precisely tuned instruments. Tuning a guitar is a necessary skill for any guitarist on their first day. This work demonstrates an understanding of the critical characteristics that must be considered while developing an acoustic guitar tuner and the logical process used to design such a tuner. The study aimed to create an algorithm using the Butterworth Filter and Fast Fourier Transform (FFT) capable of adequately analysing the frequency spectrum of a plucked guitar string to determine its fundamental frequency. The developed system compared the detected frequency and the standard frequency of the picked guitar string, which then requested the user on the tuning state of that corresponding string. The error in frequency detection was found to be in the order of 0.02%. The MATLAB App Designer tool created a Graphical User Interface (GUI) that users could use to tune guitars using the generated application easily. The implemented tuner overcame the steep learning curve and high sensitivity of traditional ones.
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Rauter, Branislav. "Kitarske šole slovenskih avtorjev od Adolfa Gröbminga do Stanka Preka / Guitar Schools by Slovenian Authors from Adolf Gröbming to Stanko Prek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 109–30. http://dx.doi.org/10.26493/2712-3987.16(33)109-130.
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The main purpose of the article is to present textbooks for guitar written by Slovenian authors and published between 1925 and 1950. With basic instructions for playing in Slovenian and mostly domestic musical examples they satisfied the needs of selftaught people for the basics of guitar technique and chordal accompaniment to singing. The first textbooks were entitled Kitarska šola (Guitar School), the basic problems of the guitar playing were treated comprehensively and as such did not envisage continuation. In addition to the basics of the guitar playing, they also included music theory, which was essential for self-taught people without prior musical knowledge, as this was the only way they could follow the practical instructions for playing according to the musical notation. With the reintroduction of guitar teaching into public music education, textbooks were created from the end of the 1960s, entitled Začetnica za kitaro (The Textbook for Beginners) with sequels, and followed the guidelines and development of public music education.
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Finkelshtein, Yulia A. "Igor Stravinsky and Academic Guitar Music." Observatory of Culture, no. 1 (February 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-1-40-45.
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Presents the results of the study in classical guitar music by Stravinsky. The author considers three pieces by Stravinsky where he used guitar and his transcription of the “Four Russian songs” suite (version of 1953-1954) that included a guitar part. The specificity of interpretation of the tone quality, the instrument capabilities in Stravinsky’s understanding and the features of composer’s style apparent in this music cycle are revealed. The author also focuses on the bell ringing effects that are particular of the piece.
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Yun Yi, Tan, and Sinthu Thiruvarul. "Understanding the Potential of Music Learning Application as a Tool for Learning and Practicing Musical Skills." International Journal of Creative Multimedia 2, no. 1 (April 30, 2021): 42–56. http://dx.doi.org/10.33093/ijcm.2021.1.3.
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This paper explores the potential of mobile applications that are developed to assist music learners in learning and practicing musical skills. Specifically, it attempts to shed light on the affordances of such mobile applications in elevating guitar skill learning among guitar players. This paper presents case studies of four guitar players who have used a mobile application namely “Yousician” to facilitate their guitar learning and practicing process. Findings of this study are drawn upon an investigation into their uses of the mobile application over a practicing period of one week. The study will also provide insights on the characteristics of such application from the music learners’ perspectives. It is also anticipated that findings from this study could contribute towards the understanding of the characteristics of mobile-based music applications that could potentially assist music learners in informal learning environments.
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Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (September 1986): 502. http://dx.doi.org/10.2307/964602.
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Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (December 1986): 695. http://dx.doi.org/10.2307/964679.
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Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965019.
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Criswick, Mary. "Voice and Guitar." Musical Times 127, no. 1719 (June 1986): 341. http://dx.doi.org/10.2307/965088.
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