Academic literature on the topic 'Guitar; musical performance; expressivity'
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Journal articles on the topic "Guitar; musical performance; expressivity"
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (March 7, 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
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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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Parrott, Mackenzie L., and John Nix. "Listener ratings of singer expressivity in musical performance." Journal of the Acoustical Society of America 139, no. 4 (April 2016): 2035. http://dx.doi.org/10.1121/1.4950015.
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Supriando, Supriando. "PERTUNJUKAN MUSIK GRANDE OUVERTURE, ASTURIAS, DAN KARAK LILISAN DALAM SOLO GITAR." Puitika 12, no. 2 (September 18, 2016): 160. http://dx.doi.org/10.25077/puitika.12.2.160--175.2016.
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Musical performances Grande Ouverture, Asturias, and Karak Lilisan in a guitar solo is instrumental performances by classical guitar performer who puts as the sole major player in a musical performance. A performances that shows the maturity of the skill of a player on the composition of the music being played. Mechanical performances that have a distinctive character of a soloist who gives a new feel without forgetting the values desired musical composers to a composition played. Keywords: Grande Ouverture, Asturias, Karak Lilisan, guitar
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Torge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (December 1, 2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.
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Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.
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Ivannikov, Tymur, and Tetiana Filatova. "Specific Sound Production Techniques in Academic Guitar Music." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 111–25. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.08.
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"The article is focused on the problematic research area in the borderline between performance, musical and composer’s interests in academic guitar music. Modern growth trends have been identified in the sound production experimental reserves being not typical for the classical guitar performance stroke in concert practice until the early 20th century. A specific method typology of sound production has been proposed: using the technical performance parameters, phonic and visual sound effects, the origin, and primary, authentic realms of life. The connections with similar processes in other instrumental areas have been traced. The light has been thrown on technical and aesthetic facets. The specific methods in sound production stroke, the tone quality and acoustic characteristics varying in range, the expanded visual noise sound effects, and graphic images in the score have been examined. The artistic music samples of the whole generation of experimental composers, namely the French ones: Maurice Ohana, Roland Dyens, Francis Kleynjans and the Chilean ones: Juan Antonio Sánchez, Gustavo Becerra Schmidt analyzed through specific methods of guitar sound extraction have resulted in marked imaginative connections and associations with the content core of musical works. Keywords: guitar music, specific methods of sound extraction, modern guitar concert practice "
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Vuoskoski, Jonna K., Marc R. Thompson, Eric F. Clarke, and Charles Spence. "Crossmodal interactions in the perception of expressivity in musical performance." Attention, Perception, & Psychophysics 76, no. 2 (November 15, 2013): 591–604. http://dx.doi.org/10.3758/s13414-013-0582-2.
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Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (November 3, 2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
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Castro, Renato Moreira Varoni de. "Performance and Autoethnography in Historical Ethnomusicology: Differentiating the Viola and the Violão." Per Musi, no. 34 (August 2016): 35–61. http://dx.doi.org/10.1590/permusi20163402.
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Abstract This article proposes the combination of performance and autoethnography as alternative methods to make use of musical scores concerning the viola (five-course guitar) and the violão (six-course guitar) in historical ethnomusicology. The author performs and records the same set of songs on the viola and the violão, and based on the multidimensionality of the interaction performer/instrument, writes an autoethnography differentiating his experiences in playing at both chordophones. This approach strives for overcoming the duality body/mind in academic musical research and comprises the embodied knowledge that arises from experience as a complementary epistemology to the corpus of knowledge about these instruments. Moreover, it is added the professional viewpoint of the virtuoso viola player Ivan Vilela who, interviewed by the author, gives his impressions about the differences in ergonomics and playing technics between those chordophones.
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Indrawan, Andre, Noer Iskandar Albarsani, Kustap Kustap, and Suryati Suryati. "Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 204–20. http://dx.doi.org/10.15294/harmonia.v21i2.31750.
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This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.
Dissertations / Theses on the topic "Guitar; musical performance; expressivity"
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Costalonga, Leandro. "Biomechanical modelling of musical performance : a case study of the guitar." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/2517.
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Computer-generated musical performances are often criticised for being unable to match the expressivity found in performances by humans. Much research has been conducted in the past two decades in order to create computer technology able to perform a given piece music as expressively as humans, largely without success. Two approaches have been often adopted to research into modelling expressive music performance on computers. The first focuses on sound; that is, on modelling patterns of deviations between a recorded human performance and the music score. The second focuses on modelling the cognitive processes involved in a musical performance. Both approaches are valid and can complement each other. In this thesis we propose a third complementary approach, focusing on the guitar, which concerns the physical manipulation of the instrument by the performer: a biomechanical approach. The essence of this thesis is a study on capturing, analyzing and modelling information about motor and biomechanical processes of guitar performance. The focus is on speed, precision, and force of a guitarist's left-hand. The overarching questions behind our study are: 1) Do unintentional actions originating from motor and biomechanical functions during musical performance contribute a material "human feel" to the performance? 2) Would it be possible determine and quantify such unintentional actions? 3) Would it be possible to model and embed such information in a computer system? The contributionst o knowledgep ursued in this thesis include: a) An unprecedented study of guitar mechanics, ergonomics, and playability; b) A detailed study of how the human body performs actions when playing the guitar; c) A methodologyt o formally record quantifiable data about such actionsin performance; d) An approach to model such information, and e) A demonstration of how the above knowledge can be embeddedin a system for music performance.
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Silva, Luciano Cesar Morais e. "Interpretação musical como hermenêutica da música: um ensaio sobre performance." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17122014-094150/.
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A interpretação musical, enquanto campo de pesquisa, trava ainda importantes embates em torno da epistemologia. A sua auto-compreensão alterna-se entre posturas subjetivas e normatividades estanques, deixando em estado latente os pressupostos históricos que validam as possibilidades interpretativas. Como a hermenêutica estuda as condições de validade da interpretação, propusemo-nos apresentar uma formulação da interpretação musical baseada nessa vertente filosófica tal qual é elaborada por Hans-Georg Gadamer. A consciência hermeneuticamente formada propõe uma sistematização que visa tanto à obra quanto ao intérprete, no potencial de crítica e superação dos limites normativos que a discussão de sua estrutura prévia de compreensão permite. Dois estudos de caso exemplificam o ganho interpretativo que a abordagem hermenêutica oferece: um manual técnico de Andrés Segovia e uma obra de Domenico Scarlatti, transcrita para violão por Sérgio AbreuPerformance, as research field, takes an argumentation about epistemology. Its self-comprehension changes from a subjectivity to fixed normativities, letting hidden the historic pre-supositions that makes valid the statements of validly. Since hermeneutics, in the proposition of Hans-Georg Gadamer, studies the conditions of validly of interpretation, we propose think musical interpretation based on this philosophical approach. The conscience hermeneutically formed makes systematic study of the interpreter as well as the work, in the potential critics and overwhelming of the normativity limits that the discussion about the previous structure of comprehension allows. Two cases give the examples of the interpretative gain of hermeneutic offers: a manual of technics by Andrés Segovia, and a Domenico Scarlatti\'s work transcribed for guitar by Sérgio Abreu.
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Pires, Aristoteles de Almeida. "A sonoridade do violão na execução musical : um estudo sobre os seus aspectos formadores e análise de duas gravações das Quatro Peças Breves de Frank Martin." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7376.
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A sonoridade é um aspecto importante para a execução violonística. Esse trabalho tem por objetivo estudar a sonoridade com um elemento da execução musical, entender os seus aspectos formadores dentro do âmbito técnico, textual e perceptivo, utilizando-se como exemplo duas gravações das Quatro Peças Breves de Frank Martin. Os resultado são discutidos à luz do embasamento teórico, fazendo-se considerações a respeito das possibilidades de execução musical e como a sonoridade do violão atua nesse contexto.Sound is an important aspect to guitar performance. The purpose of this work is to study the sound as an element of musical performance, understanding the aspects which form it as seen through technique, text and perception, using two recordings of the Frank Martin´s Quatre Pièces Brèves as example. The results were based on the theoretical framework considering the possibilities of musical performance and how the guitar sound works in this context.
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Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.
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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.
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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown.
This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam.
The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players.
Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.
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Pires, Thomas König. "Changes (1983) para violão de Elliott Carter : a construção de um plano de estudo a partir de um auto-relato." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61263.
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Esse trabalho apresenta um auto-relato da construção da performance da obra Changes (1983) para violão de Elliott Carter, com uma análise estrutural e sua relação com as dificuldades encontradas ao longo do processo de estudo. Foram utilizadas estratégias de estudo já conhecidas e novas foram criadas à medida do necessário. O trabalho oferece um plano para o estudo rítmico da peça, propondo exercícios direcionados para as dificuldades encontradas, as quais se relacionaram principalmente com as configurações de quiálteras de cinco e com as modulações métricas. A identificação de personagens musicais foi fundamental para a construção da interpretação de Changes. A sistematização do plano de estudo apresentado assim como as estratégias criadas poderão auxiliar a preparação dessa e outras obras.This work presents a self-report concerning the construction of the performance of Changes (1983) for guitar, by Elliot Carter, with a structural analysis and its relationship towards the difficulties encountered during its preparation. Well-known learning strategies were applied and new ones were created when necessary. A plan for the study of the rhythmic complexities of the piece was elaborated with exercises that address the difficulties encountered, especially those pertaining to the quintuplets and metric modulation. The identification of musical characters was fundamental for the construction of the interpretation of the piece. The system organized as the study plan, as well as the learning strategies developed may help others in the preparation of this and other works.
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Lemos, Caio Victor de Oliveira [UNESP]. "O estatuto enunciativo do intérprete violonista." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151465.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho investiga o estatuto do intérprete de violão. Partindo da hipótese de que o intérprete contribui para a construção de sentido em uma realização musical, constatou-se a insuficiência de um instrumental teórico que possibilitasse a averiguação de sua relevância enquanto instância participativa do fazer musical. A perspectiva de uma abordagem enunciativa mostrou-se oportuna para os propósitos deste trabalho, além de contribuir para a construção de uma cientificidade na área musical. A dissertação foi desenvolvida em quatro capítulos. O primeiro trata das principais designações atribuídas à atividade do intérprete e das consequências teóricas de cada assunção. No segundo, é traçado um paralelo entre linguística e música, apresentando a afinidade de problemáticas presentes em ambas as áreas, ao mesmo tempo em que desenha paulatinamente o panorama enunciativo sobre essas questões. No terceiro, foram apresentados os princípios da teoria enunciativa, basicamente: as categorias de pessoa, tempo e espaço; os mecanismos de instauração dessas categorias no enunciado; além dos conceitos de dialogismo, uso linguístico e contrato veridictório. Foram apontadas algumas possibilidades de transposição desses princípios e sua aplicação mostrou-se, assim, exequível na área musical. Por fim, no quarto capítulo, foram analisados, dentro de uma perspectiva enunciativa, dois enunciados musicais em vídeo de diferentes intérpretes —Paul Galbraith e Kazuhito Yamashita—tocando a mesma obra, Nocturnal op. 70 de Benjamin Britten. Concluiu-se que é possível atribuir um estatuto ao intérprete de violão por meio de uma abordagem enunciativa. As marcas da enunciação no enunciado nos permitiram depreender como se deu a construção de sentido, as estratégias discursivas, a imagem que o enunciador construiu de si mesmo, além da intencionalidade marcada, atribuindo assim um lugar central ao intérprete na construção do sentido musical.
This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.
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Vanzela, Alexsander. "Aplica??o do software Guitar Pro no ensino de guitarra el?trica e a colabora??o para o aprendizado e redu??o da ansiedade: uma proposta de uso de partitura e tablatura." UFVJM, 2016. http://acervo.ufvjm.edu.br/jspui/handle/1/1180.
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? comum deparar-se com um grande n?mero de pessoas que buscam aprender a tocar guitarra de forma r?pida, sem o aux?lio de um profissional qualificado, atrav?s de cursos livres e, ou outros meios dispon?veis na Internet. Na ?nsia deste aprendizado, o indiv?duo passa a receber informa??es fracionadas, n?o utilizando m?todos que aliem o uso de teoria musical ? pr?tica da guitarra, trazendo consigo uma defici?ncia te?rica musical. Para que isso n?o ocorra, existem institui??es que trabalham com o ensino musical, ? o caso do Conservat?rio Estadual de M?sica ?Lobo de Mesquita? de Diamantina, em Minas Gerais, que disponibiliza gratuitamente ? popula??o cursos de m?sica, buscando a forma??o de profissionais nesta ?rea, deixando-os aptos a ingressar em uma universidade ou a seguir uma carreira profissional. Um dos desafios neste processo do ensino trata-se da leitura e escrita musical, cujo aprendizado requer dedica??o e causa ansiedade por ser uma linguagem musical. A quest?o central que norteou esse trabalho foi se a aplica??o de recursos atuais poderia facilitar a leitura e a performance musical pelos estudantes de guitarra el?trica. A pesquisa foi desenvolvida no Conservat?rio Estadual de M?sica ?Lobo de Mesquita? com estudantes do curso inicial de guitarra el?trica e visou avaliar um m?todo de aprendizado em leitura de tablatura e partitura balizado pelas novas tecnologias dispon?veis, sem prescindir das tradicionais. Pretendeu-se proporcionar ao estudante de guitarra el?trica uma forma diferenciada de aprender e executar pe?as escritas em partitura e tablatura, reduzir sua ansiedade e melhorar a performance com o uso de tecnologia da informa??o atrav?s do software Guitar Pro 6. Foram estimuladas as habilidades de escuta musical, leitura em partitura e tablatura e pr?tica no instrumento musical a partir de exerc?cios propostos pelo professor, comparando-se o desempenho desenvolvido atrav?s do m?todo tradicional e o resultado do uso do software Guitar Pro 6. Al?m da avalia??o comparativa da t?cnica de execu??o desenvolvida pelos estudantes, foi analisada a ansiedade na performance musical inspirado na tabela Kenny Music Performance Anxiety Inventory (K-MPAI), cujo m?todo foi modificado para aplica??o a um p?blico diferente. Com a an?lise dos resultados foi poss?vel observar que o uso do software Guitar Pro 6 durante o curso de guitarra para alunos iniciantes influenciou positivamente o aprendizado, proporcionando aos mesmos uma melhora quanto ?s habilidades de leitura e execu??o a partir do registro em pauta e da leitura conjunta pauta/tablatura, contribuindo ainda para o aumento da autonomia e redu??o da ansiedade dos estudantes.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Sa?de, Sociedade e Ambiente, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016.
It is common to came across a large number of people who seek a quick way of learning how to play the guitar, without the help of a qualified professional, by means of informal courses and/or by other ways available on the Internet. Longing for this learning, the individual ends up with receiving fractional information, and does not use methods that entail the music theory to the guitar practice, carrying along a theoretical musical deficiency. In order to avoid this, there are institutions that work with musical learning, like the Conservat?rio Estadual de M?sica ?Lobo de Mesquita?, in Minas Gerais, which offers to the population free musical courses, seeking to form professionals in this area, to qualify them either for joining a University or to follow a professional career. One of the challenges in the process of teaching is related to the music reading and writing, whose learning requires endeavor and causes anxiety due to the musical language. The central matter that guided this work was to verify if the use of current tools could turn easier the musical reading and performance by students of electric guitar. The research was developed in the Conservat?rio Estadual de M?sica ?Lobo de Mesquita? with students of the initial course of electric guitar, and it aimed to evaluate a method of learning how to read tablature and score, based on new available technologies, without excluding the traditional ones. The intention was to offer the students of electric guitar a differentiated way of learning and playing musical pieces written in score and tablature, to reduce the anxiety and to improve performance by means of informational technology with the use of the software Guitar Pro 6. Abilities of musical listening, reading of score and tablature, as well as practice in the musical instrument were stimulated with the use of exercises proposed by the teacher. The performance developed by means of the traditional method and results obtained by using the software Guitar Pro 6 were compared. Besides the comparative evaluation of the technique developed by students, it was analyzed the anxiety in musical performance with inspiration in the Kenny Music Performance Anxiety Inventory (K-MPAI) questionnaire, whose method was modified to be applied to a different public. Analyzing results, it was possible to verify that the use of the software Guitar Pro 6 during the guitar course for beginning students influenced the learning positively, providing the students an improvement in the abilities of learning and practicing from the score records, and in the combined reading from score/tablature, contributing to increase autonomy of students and to decrease anxiety.
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Pierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.
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Tenorio, Luciana Elisa Lozada. "O processo de transcrição de villancicos do cancioneiro de Upsala para voz e violão." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/5314.
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This article is the result of the investigative work on the methods and criteria regarding XVI centry single voice and vihuela villancicos transcripts. The data was obtnaied through the bilbiographic research of articles, dissertations, Juan Bermudo's treatise on the subject (1555) and the comparative analysis of then villancicos transcriptions dated from the XVI century. The main goal in this project is to apply the studied procedures in transcribing eight villancicos form the Cancionero de Upsala for guitar single-voice, confirming that the knowledge gained through the study of past methods and procedures are applicable to contemporany music perfomance. The core of the work consistis of a study on the history and characteristics of the villancicos; a contextualization on the Italian, French, German, Englihs and Spanish transcribing methods for works regarding plucked string instruments and voice; a detailed analysis on Spanish transcription procedures of sixteenth century and the application of those methods on eight villancicos for voice and guitar.
O presente trabalho pretende investigar e registrar critérios e procedimentos de transcrição de villancicos para uma voz e vihuela utilizados no século XVI, por meio da análise bibliográfica do quarto livro, intitulado "De tañer vihuela",contido no tratado "Declaración de instrumentos musicales" (1555) de Juan Bermudo, além do estudo de artigos e dissertações, assim como da análise comparativa de dez entabulações de villancicos realizados na época e suas respectativas fontes vocais. O objetivo principal desta pesquisa consiste na aplicação destes procedimentos na transcrição de oito villancicos do Cancionero de Upsala para uma voz e violão, consubstanciando a assertiva de que os conhecimentos adquiridos através da investigação musicológica atuam como esteio à performance musical da contemporaneidade. O trabalho consta de um estudo sobre a história e características do villancico; uma contextualização sobre o processo de entabulação para uma voz e instrumento de cordas dedilhadas na Itália, Inglaterra, Alemanha, França e Espanha; uma análise dos procedimentos utilizados na entabulação de villancicos; na Espanha, século XVI e finalmente uma exposição e justificativa dos procedimentos de transcrição aplicados em oito villancicos para uma voz e violão.
Books on the topic "Guitar; musical performance; expressivity"
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Dawe, Kevin. The new guitarscape in critical theory, cultural practice and musical performance. Burlington, VT: Ashgate, 2009.
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The new guitarscape in critical theory, cultural practice and musical performance. Farnham, Surrey, England: Ashgate, 2010.
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A guide to playing the baroque guitar. Bloomington: Indiana University Press, 2011.
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Dawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2016.
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Dawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2017.
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Dawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2017.
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Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. New York, USA: Hal Leonard, 2001.
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Parker, Charlie, and Mark Voelpel. Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Hal Leonard Corporation, 2001.
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Voelpel, Mark, and Charlie Parker. Charlie Parker for Guitar: Note-For-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Leonard Corporation, Hal, 2001.
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Voelpel, Mark, and Charlie Parker. Charlie Parker for Guitar: Note-For-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Leonard Corporation, Hal, 2001.
Find full textBook chapters on the topic "Guitar; musical performance; expressivity"
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WILLIAMON, AARON. "Feedback learning of musical expressivity." In Musical ExcellenceStrategies and Techniques to Enhance Performance, 247–70. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198525356.003.0013.
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Miller, Kiri. "How Musical Is Guitar Hero?" In Playing AlongDigital Games, YouTube, and Virtual Performance, 85–124. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199753451.003.0003.
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"Ten Musical Lives of the Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 1–18. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-1.
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"Materiality and the Virtual Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 87–108. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-5.
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"Taking Stock of the Guitar Phenomenon." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 19–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-2.
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"The Sensual Culture of the Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 109–28. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-6.
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"The Power and Agency of the Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 151–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-8.
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Margulis, Elizabeth Hellmuth. "5. The psychology of music performance." In The Psychology of Music: A Very Short Introduction, 63–78. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190640156.003.0005.
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Performers occupy a special role within contemporary Western musical culture. Since two individuals can produce markedly different responses by playing the same notes, it is clear that notation fails to capture some of the most critical dimensions of musical communication. What are these dimensions? What does it take to acquire the kind of expertise in manipulating them that top-notch performers possess? How do listeners perceive and respond to them? “The psychology of music performance” tries to understand this expressive power. It considers expressivity in performance as well as its mechanics, the way that practice shapes performance, listener responses to performer choices, and the processes of creativity and improvisation.
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Sloboda, John. "The Acquisition of Musical Performance Expertise: Deconstructing the ‘Talent’ Account of Individual Differences in Musical Expressivity." In Exploring the Musical MindCognition, emotion, ability, function, 274–96. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198530121.003.0016.
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Kenny, Elizabeth. "Italian Performance Practices in Seventeenth-Century English Song." In The Edinburgh Companion to Literature and Music, 209–18. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0022.
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This chapter discusses the role of performer additions in mid-seventeenth-century English song. It re-examines the relationship between delivery of a poetic text and musical performance. The ‘Hilton’ Songbook, BL Additional Manuscript 11608, demonstrates how a group of professional singers learned their ornamentation techniques from Italian sources such as Giulio Caccini, and how vocal expressivity could be achieved by breaking the customary rules of verbal rhetoric. Songs by Henry and William Lawes, Nicholas Lanier and Thomas Brewer, as well as theatrical music by Robert Johnson, are seen in varying stages of textual completion, allowing performers to insert themselves into the relationship between poets and composers. The results contradict the prevailing view of simplicity, artlessness and even musical decline that have often characterised descriptions of mid-seventeenth-century English song.
Conference papers on the topic "Guitar; musical performance; expressivity"
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Parrott, Mackenzie L., and John P. Nix. "Listener ratings of singer expressivity in musical performance." In 171st Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000237.
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Vieira, Rômulo, João Teixeira Araújo, Edimilson Batista, and Flávio Luiz Schiavoni. "Automatic classification of instruments from supervised methods of machine learning." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19418.
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Sorting instruments is not an easy task for humans or computers, especially when it comes to elements with the same acoustic properties, such as wind, percussion, or strings. Nevertheless, the use of audio descriptors and artificial intelligence techniques can make this duty more accessible. In this paper, three supervised methods, Naive Bayes, decision tree and Support Vector Classifier (SVC) are used to categorize acoustic guitar and bass sounds in a database, using as a parameter the information extracted from audio descriptors. The research resulted in a performance comparison of these three algorithms, considering their hit rates and processing time when classifying samples in different parts of the dataset. After all, some relevant considerations about the feasibility of automatically classifying instruments are presented.