Relevant bibliographies by topics / Steel guitar

Academic literature on the topic 'Steel guitar'

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

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Journal articles on the topic "Steel guitar"

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Decker, John A. "Graphite-Epoxy Acoustic Guitar Technology." MRS Bulletin 20, no. 3 (March 1995): 37–39. http://dx.doi.org/10.1557/s0883769400044390.

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We have successfully developed an acoustic guitar (Figure 1) composed of graphite. Trademarked the RainSong® graphite guitar, this instrument uses no endangered tropical tonewoods. The instrument's sound quality is equal to that of a fine wooden guitar. At high frequencies, the clarity, sustain, and play-ability surpasses that of wooden guitars. Because of its construction, the instrument is sturdy and is impervious to humidity, heat, and water.The development of this guitar required analysis of the theory of anisotropic sound propagation in the guitar soundboard and body, and resulted in two patents. We designed prototype guitars in collaboration with Pimentel & Sons, Guitar Makers, and used combinations of unidirectional and woven graphite and aramid fibers in an epoxy-resin matrix.The goal of our project was to accurately duplicate—panel by panel—the acoustic properties of a fine wooden guitar. We had the resulting acoustic modes and frequencies verified in the laboratory. We then developed and constructed open-mold and resin-transfer molding tooling for a family of classical, steel-string acoustic and hollow-body electric guitars, which are now in commercial production.Possibly the first all-composite acoustic guitar, the RainSong® represents a fundamental change in stringed-instrument construction, perhaps the first since the 17th Century Italian masters.The RainSong® technology allows musicians to skirt the effects of climate and transport damage on their instruments. The instrument contains essentially no wood, and hence negates environmental concerns about rapid depletion of the virgin-forest woods, from which stringed instruments have traditionally been made.
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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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Stanciu, Mariana Domnica, Voichița Bucur, Violeta Mihaela Munteanu, Sergiu Valeriu Georgescu, and Silviu Marian Năstac. "Moisture-induced deformation in the neck of a classical guitar." Holzforschung 73, no. 4 (April 24, 2019): 371–79. http://dx.doi.org/10.1515/hf-2018-0021.

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AbstractClassical guitar necks were submitted to 40, 65 and 80% relative humidity (RH) during time periods ranging from 24 h to several months, and moisture-induced deformations were observed. Different types of classical guitar necks were investigated in terms of structure and reinforcement. The influences of the wood species and the neck reinforcements on the moisture content (MC)-induced deformation were in focus. First, before humidity exposure in the climatic chamber, the relative positions of three points marked on each sample were measured with a control ruler and noted. After exposure, the displacement of the reference points on the samples were verified periodically. The differences between the measurements in different stages and reference positions were calculated, resulting in relative displacement data of the measured points. During the experiments, the MC of the sample was monitored by weighing. The variation of RH leads to dimensional instability and moisture-induced stresses of the guitar necks, which affect the acoustic quality of a guitar. Steel enforcement of the guitar neck improves this situation.
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Rolich, Tomislav, Iva Rezić, and Lidija Ćurković. "Estimation of steel guitar strings corrosion by artificial neural network." Corrosion Science 52, no. 3 (March 2010): 996–1002. http://dx.doi.org/10.1016/j.corsci.2009.11.024.

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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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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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Bonastre, José, José Luis López, Jorge Gabriel Segura, José María Gadea, Ernesto Juliá, and Francisco Cases. "Cathodic protection of steel guitar strings against the corrosive effect of human sweat." Engineering Failure Analysis 97 (March 2019): 645–52. http://dx.doi.org/10.1016/j.engfailanal.2019.01.029.

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Rezić, I., L. Ćurković, and M. Ujević. "Study of microstructure and corrosion kinetic of steel guitar strings in artificial sweat solution." Materials and Corrosion 61, no. 6 (August 3, 2009): 524–29. http://dx.doi.org/10.1002/maco.200905368.

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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 "Steel guitar"

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Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.

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This thesis demonstrates the need for and the importance of developing a comprehensive curriculum for the intermediate steel-string guitarist and provides a method to fill this need. The method is not specific to any one musical style and will serve to offer information necessary for the performance of music in any idiom. The lack of material presently available for the intermediate guitarist leaves them without proper musical guidance during this significant stage of their learning curve. The use of this method will help the prospective student to grow both as a guitarist and a musician.
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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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Inta, Ra Ata Physics Faculty of Science UNSW. "The acoustics of the steel string guitar." 2007. http://handle.unsw.edu.au/1959.4/40471.

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To improve the replication of acoustic guitars, measurements of three Martin OOO style steel-string guitars were made at various stages of their construction. The guitars were constructed in parallel, as similar to each other as possible, with the exception of the soundboard material---which were made of Sitka spruce, Engelmann spruce and Western Red cedar. To improve the similarity of the instruments, methods were developed to measure and control the material properties of key components before their incorporation into the instruments, including a device to measure the thickness of a guitar soundboard attached to the back and sides of the instrument. Some of these measurements were compared to numerical models of the instrument and, after the establishment of a lexicon to describe guitar sounds, some physical factors contributing towards the timbre of guitar sounds were determined. The results of these investigations may be developed to improve the consistency in the manufacture of stringed musical instruments.
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Books on the topic "Steel guitar"

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Steel guitar. New York, N.Y: Delacorte Press, 1991.

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Barnes, Linda. Steel guitar. Thorndike, Me: Thorndike Press, 1992.

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Barnes, Linda. Steel guitar. New York, N.Y: Dell, 1993.

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

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

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Young, David Russell. The steel string guitar: Construction & repair. Westport, CT: Bold Strummer, 1987.

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Steel guitar: A Carlotta Carlyle mystery. London: Coronet Books, 1993.

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Young, David Russell. The steel string guitar: Construction & repair. London: Kahn & Averill, 1989.

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Barnes, Linda. Steel guitar: A Carlotta Carlyle mystery. London: Hodder & Stoughton, 1992.

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

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Book chapters on the topic "Steel guitar"

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Pennebaker, James. "CURTIS RAY’S LAP STEEL." In A Perfectly Good Guitar, 135–38. University of Texas Press, 2017. http://dx.doi.org/10.7560/312575-034.

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Alvin, Dave. "A NATIONAL STEEL AMONG THE HOPI DOLLS." In A Perfectly Good Guitar, 1–6. University of Texas Press, 2017. http://dx.doi.org/10.7560/312575-002.

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Dijo, Herman. "Javanese Music in Suriname." In Surinamese Music in the Netherlands and Suriname, 30–35. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0004.

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Javanese music in Suriname came with the first group of Javanese who arrived there in 1890 as indentured servants for the sugar company, Nederlandsche Handelsmaatschappij at Mariënburg plantation. Gamelan, steel gamelan, terbangen, and kroncong were the main types of Javanese music that developed in Suriname. Due to a lack of brass, scrapped iron from abandoned railway ties were used to make the pans, and a lack of experienced gamelan musicians made for drastically reduced ensembles of five people. Gamelan in Suriname also came under the influence of the nearby Caribbean music, especially by steel bands from Trinidad. Islamic religious songs were accompanied by a terbangen ensemble, consisting of kinds of tambourines and large drum called bedug, Surinamese kroncong ensembles mostly use three or more acoustic guitars, a ukulele (sometimes a banjo), a double bass (or bass guitar), and a cello. However, because cellists are scarce, this is usually taken over by a guitar.
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Russell, Tony. "“Home Again Medley”." In Rural Rhythm, 101–3. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.003.0027.

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"FOUR The Steel Guitar in Western Swing." In The Jazz of the Southwest, 113–42. University of Texas Press, 1998. http://dx.doi.org/10.7560/708594-006.

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Troutman, John W. "Joseph Kekuku’s Steel Guitar and the Era of Overthrow." In Kika Kila, 43–73. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469627922.003.0003.

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Katz, Mark. "7. Five theses about music and technology." In Music and Technology: A Very Short Introduction, 99–112. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/actrade/9780199946983.003.0007.

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Abstract The concluding chapter proposes five central takeaways from this volume in the form of five theses about music and technology. They are as follows: 1. All music is technological. 2. Our relationship with music technology is fundamentally collaborative. 3. All uses of musical technologies reveal power relationships. 4. The mass mediation of music has not eliminated cultural differences. 5. The study of music technology is the study of people. The five theses are illustrated through a diverse array of examples, including a comparison of the traditional piano and the player piano; the musical demands and possibilities of video games such as Guitar Hero; the use of radio in Nazi Germany; the emergence of the steel drum as a musical instrument in Trinidad; hip hop in Zimbabwe; and the musical handclapping and rope jumping games of African American girls.
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Gussow, Adam. "Heaven & Hell Parties." In Beyond the Crossroads. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633664.003.0002.

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This chapter explores the origins and meaning of the phrase "the devil's music," paying particular attention to the way in which black southern blues performers, male and female, contest the term. Africa, through the mechanism of the slave trade and the condemnation of instrumental music by Islamic clerics, offers one possible origin for devil's music concept. The prelude to the demonization of the blues and its representative instrument, the steel-stringed guitar, is the evangelization of the slaves and the demonization of the fiddle during the second Great Revival. As blues emerged in the Mississippi Delta early in the Twentieth Century, blues musicians like John Lee Hooker, Robert Johnson, and the Mississippi Sheiks, along with an irreverent "young modern" generation of black youth, mocked the hypocrisy of black ministers and spurned the religious certainties of their parents and the church.
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"STEEL-STRING GUITARS IN UNPRECEDENTED VARIETY." In Rugs, Guitars, and Fiddling, 64–111. University Press of Mississippi, 2022. http://dx.doi.org/10.2307/j.ctv2z0vtzt.6.

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Conference papers on the topic "Steel guitar"

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Portone, Teresa, John Niederhaus, Jason Sanchez, and Laura Swiler. "Bayesian model selection for metal yield models in high-velocity impact." In 2019 15th Hypervelocity Impact Symposium. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/hvis2019-012.

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Abstract There are multiple candidate models for the von Mises yield stress in elastoplastic models that are used to simulate material deformation in high-velocity impact. Previous work has studied the effects of such models on quantities of interest in high-strain-rate deformation, in order to select the most appropriate model in comparison to experimental data [1-2]. This work focuses on selecting between three such models, based on their ability to reproduce time-varying depth of penetration data of a tungsten-alloy rod impacting a hardened steel plate at high velocity, measured by Anderson, Hohler et al. [3]. Novel in the present study is the systematic treatment of uncertainty in the process, and automation of the process. The three models considered are the Johnson-Cook (JC), Zerilli-Armstrong (ZA), and Steinberg-Guinan-Lund (SGL) flow stress models [4-6].
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