Relevant bibliographies by topics / Hawaiian steel guitar

Academic literature on the topic 'Hawaiian steel guitar'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Hawaiian steel guitar"

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Troutman, John W. "The Steel Heard ‘Round the World: Exposing the Global Reach of Indigenous Musical Journeys with the Hawaiian Steel Guitar." Itinerario 41, no. 2 (July 31, 2017): 253–74. http://dx.doi.org/10.1017/s0165115317000365.

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In the late nineteenth century, Kānaka Maoli (Native Hawaiians) physically modified guitars and created a new technique for playing them. In the years that followed, hundreds of Hawaiian troupes, engaging new entertainment circuits that crisscrossed the globe, introduced the world to their “Hawaiian steel guitar,” from Shanghai to London, Kolkata to New Orleans. While performing Hawaiianmele, or songs, with their instrument, they demonstrated new virtues for the guitar’s potential in vernacular and commercial music making in these international markets. Based upon archival research, this essay considers the careers of several Hawaiian guitarists who travelled the world in the early twentieth century, connecting local soundscapes through the proliferation of an indigenous technology.
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Burke, Patrick. "Kīkā Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music." Ethnohistory 64, no. 4 (October 1, 2017): 531–32. http://dx.doi.org/10.1215/00141801-4174296.

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3

Trimillos, Ricardo D. "Kīkā Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music." Journal of American History 104, no. 1 (June 2017): 203–4. http://dx.doi.org/10.1093/jahist/jax058.

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Diettrich, Brian. "Kīkā Kila: how the Hawaiian steel guitar changed the sound of modern music." Journal of Pacific History 52, no. 1 (January 2, 2017): 125–27. http://dx.doi.org/10.1080/00223344.2016.1258028.

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Neill, Daniel. "Kika Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music by John Troutman." Notes 74, no. 3 (2018): 451–55. http://dx.doi.org/10.1353/not.2018.0019.

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Gunn, Milly. "The Soundscape of Alola." Journal of Sound and Music in Games 3, no. 2-3 (2022): 59–76. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.59.

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This article explores how Pokémon Sun and Pokémon Moon use Hawaiian musical tropes and nondiegetic signifiers throughout the games, helping to “situate the player in the game.” This identification relies on a combination of player cultural literacy and game musical literacy to contextualize the Pokémon region of Alola. The soundscape of the game is made up of the underscore, incorporating traditional instruments from the steel guitar to Ka'eke'eke drums, alongside diegetic sounds to evoke and situate gameplay in a culture and geography most likely foreign to the player. The player’s ability to contextualize and situate themselves in this region relies on a combination of their cultural and game musical literacy. This investigation will also address the consumption of Hawaiian culture both within Japan and in the West, and the portrayal of its traditional music and performance within not only the Pokémon franchise but other AAA game titles that have been enjoyed globally. The use of these musical tropes and nondiegetic signifiers simultaneously grounds the player in the region of Alola, whilst constructing a sense of “otherness” in a Hawaiian soundscape designed by composers who are observing and enjoying the culture as tourists and visitors. The soundscape developed for Alola takes inspiration from traditional Hawaiian culture and music, but it ultimately diverges from these musical traditions and thereby produces a sonic environment unique to the fictional region. Consequently, players develop a literacy built through a return to the sounds traditionally associated with the Pokémon game franchise with a new addition of Hawaiian musical tropes to create a region that serves as something of a pastiche of Hawai'i, packaged to be culturally palatable and consumable to nonnative audiences.
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Donaghy, Keola. "Review: Kīka Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music by John Troutman." Pacific Historical Review 87, no. 1 (2018): 208–9. http://dx.doi.org/10.1525/phr.2018.87.1.208.

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Gough, Peter. "Review: Kika Kila: How the Hawaiian Steel Guitar Changed the Sound of Modern Music by John W. Troutman." Southern California Quarterly 99, no. 1 (2017): 98–100. http://dx.doi.org/10.1525/scq.2017.99.1.98.

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9

Fellezs, Kevin. "James Revell Carr. Hawaiian music in motion: Mariners, missionaries, and minstrels. Chicago: University of Illinois Press, 2014. 217 pp. John W. Troutman. Kīkā Kila: How the Hawaiian steel guitar changed the sound of modern music. Chapel Hill: University." Journal of Popular Music Studies 28, no. 4 (December 2016): 495–98. http://dx.doi.org/10.1111/jpms.12199.

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10

Himpele, Jeff. "Making a Film about a Sound: The Steel Guitar from Hawaii to the Honky-Tonk." Anthropology News 52, no. 1 (January 2011): 4–6. http://dx.doi.org/10.1111/j.1556-3502.2011.52104.x.

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Dissertations / Theses on the topic "Hawaiian steel guitar"

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Cundell, Roger Guy Scott. "Across the Pacific: the transformation of the steel guitar from Hawaiian folk instrument to popular music mainstay." Thesis, 2014. http://hdl.handle.net/2440/86478.

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This project examines the transformation in the early 20th century of the steel guitar from a Hawaiian folk instrument to a mainstay of American popular music. The steel guitar – here characterised as a prepared instrument and a performance style whereby a guitar is positioned face up on the lap of a seated player who stops the strings by means of a steel bar – is a late 19th century Hawaiian adaption of the Spanish guitar. Its original role was that of a solo and accompanying instrument in the performance of Hawaiian music, which was itself an ethnic music tradition that had developed under American and European colonial influences. Once Hawaiian music was exposed to Western audiences in the early 20th century, its popularity grew rapidly and it evolved from an ethnic curiosity to a global popular music phenomenon. The steel guitar was at first synonymous with Hawaiian music, but just as the music became more global in its outreach, so too did the instrument itself. The steel guitar came to be gradually divorced from its original, ethnic Hawaiian context, and was incorporated steadily into a range of mainland American popular music stylings. This study examines the origins of the steel guitar, the evolution of early steel guitar style and the context in which the evolution occurred.
Thesis (M.Phil.) -- University of Adelaide, Elder Conservatorium of Music, 2014
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Books on the topic "Hawaiian steel guitar"

1

Goldmark, Joe. Steel and dobro instrumentals!: International steel guitar and dobro discography. 7th ed. San Francisco: J. Goldmark, 1994.

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2

Sacred steel: Inside an African American steel guitar tradition. Urbana: University of Illinois Press, 2010.

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3

Noe, George T. Chris J. Knutsen: From harp guitars to the new Hawaiian family : history and development of the Hawaiian steel guitar. Everett, WA: Noe Enterprises, 1999.

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4

Filiberto, Roger. The Mel Bay complete steel guitar method. Pacific, Mo: Mel Bay Publications, 1987.

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5

Stone, Robert L. Sacred steel: Inside an African American steel guitar tradition. Urbana: University of Illinois Press, 2010.

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6

Uchizaki, Isami. The Hawaiian guitar: A celebration of early acoustic steel guitars : the Tony Ku Collection. Mililani, HI: Pila Hawai'i Press, 2008.

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7

Ruymar, Lorene. Hawaiian Steel Guitar. Centerstream Publications, 1996.

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8

The Art of Hawaiian Steel Guitar. Mel Bay Publications, 1993.

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9

Phillips, Stacy. The Art of Hawaiian Steel Guitar. Mel Bay Publications, 1993.

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10

Lorene, Ruymar, and Byrd Jerry, eds. The Hawaiian steel guitar and its great Hawaiian musicians. Anaheim Hills, CA: Centerstream publishing, 1996.

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