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1
Duque, Cuartas Alejandro. "Colombia's Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394724.
Testo completoAbstract (sommario):
This research explores the diversity of Colombia’s classical guitar repertoire (CCGR). Using musicological and artistic approaches, it aims to expand understanding of the wide stylistic range and diversity of CCGR. In particular, building on previous categorisations of Colombian music, this project offers a three-part framework for better understanding the diversity of CCGR idioms in their contemporary manifestations: namely, traditional, traditional-popular, and art music. Drawing on methods characteristic of historical musicology and artistic research, this research contributes to new understandings of these CCGR idioms through (1) inductive thematic analysis of academic and non-academic publications, including creative outputs such as compositional scores and recordings related to CCGR and the music genres involved; and (2) a CD I recorded for this research that showcases repertoire—including a world premiere piece—displaying the diversity of CCGR across the three idioms outlined above. It is hoped that the research outcomes will (a) expand current knowledge of the nature and diversity of CCGR, (b) help to profile and disseminate relatively unknown CCGR, and (c) inform future research on Colombian music and CCGR. In these ways, these outcomes may be of interest and benefit to composers, guitarists, and researchers, particularly but not only those from Colombia, in understanding, identifying and contextualising the diversity of CCGR.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
2
Ahles, Ian Charles. "The Music of Phillip Houghton: Interpreting the Influence of Visual Art Works in his Compositions". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382721.
Testo completoAbstract (sommario):
Phillip Houghton (April 26, 1954 – September 30, 2017) was “one of Australia’s greatest
guitar figures and composers” (Slava Grigoryan as cited by Cerabona, 2018). Houghton had
been trained in visual arts before studying music, and influences from the visual art and
references to visual stimuli played a major role in his compositions. This study discusses the
process of developing a meaningful interpretation, performance and presentation of
Houghton’s compositions with a focus on the visual art influences referenced in his music.
This research project unfolds through three case studies, spanning a period of a year and a
half. Each case study draws repertoire that I selected for the respective concert programmes
in which I focused on the works by Phillip Houghton. The selection was made by
instrumentation, namely, works for solo guitar, works for ensemble guitar, and mixed
chamber ensemble works including the guitar. These three different programs were presented
live on June/2016, November/2016, and June/2017 respectively. During this period, I had the
opportunity to communicate with Phillip Houghton in person, which added further insight
and personal dimension to both the technical and interpretative aspects of his compositions.
The exegesis also contains a video with selections from the three performances.
Each case study is discussed in a specific chapter, in which I also provide analyses on the
relevant aspects of the works, the artworks that inspired them, and the process of developing
a musical interpretation and a visual display. This design was developed to allow the reader to
focus on each stage of a progression as it follows: 1) basic background of the pieces in the
given program, 2) identification of the art works referenced by Houghton and my
impressions from such works, 3) followed by musical analyses that serve to determine the
correlations between the referenced artworks and the musical features, and finally 4) a
discussion on strategies to bring the emerged understanding into interpretative and
performative decisions. Each of Chapters 4, 5 and 6 follow the same progression, and reflect
the contents of the three concerts mentioned above.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
3
Roberts, Samuel Christian. "A portfolio of compositions expanding the role of the electric bass guitar in contemporary Western art music". Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1.
Testo completoAbstract (sommario):
My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aims to expand the sonic and technical palette of the instrument whilst demonstrating its potential to be a valued part of the modern composer’s instrumental resource. This project comprises: a compositional portfolio of solo and ensemble works; eight CDs, containing recordings of both improvised and scored works; an accompanying written commentary (original musical scores are included as an appendix in the commentary).
4
Parkhurst, Padraig Leo. ""Spoken Lieder": Expanding upon the growing field of music for spoken voice and instrument". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/377585.
Testo completoAbstract (sommario):
In 2014 while working as guitarist in the Iranian folk ensemble ‘Sweet Sound’ I was asked
by Shirin Majd to write a setting of poetry for guitar and spoken voice for the combined
arts project ‘Rebirth’. The question arose of how to combine speech with music in such a
manner as to aid both performance and comprehension of the work. To achieve this,
existing works in this field were examined through their scores, recordings, relevant
literature and historical context, then used as inspiration for new compositions. The
process of writing, rehearsing, performing and sometimes recording these compositions
then fed back into the research. The scope of the investigations was limited to works from
the Western Art Music canon that have an available score, and use at least some live
component in both the narration and the music. Of particular interest was the 19th century
genre of the musical declamation, and its way of notating the text-music correlation which
I call ‘checkpoint’. The research revealed that what appeared at first to be a small field
was in fact a large but poorly examined field, and that many of the accepted facts in the
relevant literature were incorrect.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
5
Chapalain, Guy. "La guitare et son répertoire au XIXe siècle : 1850-1920 : novations et permanence /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224993c.
Testo completoAbstract (sommario):
Thèse--Musicologie--Paris-4-Sorbonne, 1999.Catalogue des oeuvres pour guitare p. 479-548. Liste alphabétique avec notices biogr. des guitaristes et compositeurs p. 363-448. Bibliogr. p. 581-642. Index.
6
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/.
Testo completoAbstract (sommario):
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.
7
Fugazza, Lorenzo. "Methods to support guitarists to recover from injuries and/or maintain health". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3338.
Testo completoAbstract (sommario):
Musicians tend to suffer from a broad range of problematics related to their playing, from muscle/tendon injuries, to joint injuries, nerve compression disorders and central nervous system disorders. The purpose of this essay was therefore to explore methods used for health and wellbeing of guitarists. The research question was: Which actions are described to support guitarists to recover from injuries and/or maintain health? A qualitative approach was used to collect and analyse the data that were acquired through in-depth interviews and analysis of annotations of musicians who have been patients or were at the time of the interview been following a rehabilitation program in those centres. The analysis of the data produced eight common actions used by both the institutes. The result showed that there is a common ground between the two schools which could be a start for the development of further treatment strategies.
8
Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext". Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.
Testo completoAbstract (sommario):
Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver jag designen av min improvisationsövning och konsekvenserna av den designen. Utforskningen av improvisation gick från fri utforskning mot att begränsningar lades till under övningstidens gång. I resultatet kunde ett antal tecken på utveckling av improvisationsförmåga ses. Det framkom också att mina improvisationer blev mer stringenta, med stabilare flöde och med fler musikaliska idéer under projektets gång. I diskussionen diskuteras olika perspektiv på improvisation i relation till resultatet.This study examines a learning process in improvisation based on historical western art music repertoire and two sonatas by Domenico Scarlatti. The purpose of this project was to see how my ability to improvise was affected by practice and study of historical improvisation. Improvisation was explored on basis of historical improvisation techniques and contemporary research during the practice period of this study. The practice period took place over ten weeks and was documented with video observation and a logbook, which then was transcribed and analyzed using thematic analysis. In the result section I describe my design of my improvisation practice and the consequences of that design. The exploration of improvisation went from free to exploration to a more restricted exploration by the end of the practice period. A number of signs of development of my ability to improvise could be observed by the end of the practice period. I also found that my improvisations became more stringent, with a more stable flow and with more musical ideas during the project. The discussion section discusses different perspectives of improvisation in relation to the result.
9
Baumann, Judith Marie. "Fabricated Histories (or My American Daydreams)". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/144.
Testo completoAbstract (sommario):
The three print series I completed within the past two years appear hardly related at first. However, these individual bodies of work, when examined chronologically, are continually informed by similar ideas. The most obvious of these is the act of piecing elements together to form something that had previously not existed, yet still influences the original source. In all three series, images are taken from an original source and re-contextualized. The idea of cultural or anthropological landscapes is also a theme throughout my work. Each individual series toyed with the idea of an imaginary or theoretical anthropological landscape in direct comparison to its pre-existing model. These humorous and oftentimes puzzling images are influenced by my over-active imagination, fueled by equal parts pop culture, playful cynicism, and desperate idealism.
10
Douglas, Charles William. "An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars"". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505150/.
Testo completoAbstract (sommario):
Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer.
11
Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.
Testo completoAbstract (sommario):
The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.
12
Aronsen, Björn-Ove. "Inte enbart elgitarren : Elgitarrlärares val av undervisningsmaterial samt hur de motiverar och använder det i sitt arbete". Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78962.
Testo completoAbstract (sommario):
Studien syftar till att få djupare insikt i vad elgitarrlärare på kommunala musik- och kulturskolor använder för undervisningsmaterial, hur de motiverar användandet och på vilka sätt materialet verkar inspirerande på eleverna. I bakgrundsavsnittet presenteras tidigare forskning och annan litteratur som berör studien samt de teoretiska utgångspunkterna. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation. Studiens datamaterial består av kvalitativa intervjuer med tre elgitarrlärare som undervisar inom den kommunala musik- eller kulturskolan. I resultatavsnittet beskrivs informanternas syn på undervisningsmaterial i elgitarrundervisning samt hur de motiverar användandet av den och om den är inspirerande. Deras undervisningsmaterial kan vara lika men ingångarna eller hur de använder dem, kan vara olika till sättet de används på. Vad de menar är inspirerande motiverar också deras val av material men motiveringen kan också ha en annan bakgrund. Materialet i sig behöver inte vara motiverande eller inspirerande utan det som är viktigast är den inre motivationen och inspirationen till att vilja fördjupa sig i elgitarrspel: Att eleven har en egen drivkraft! I det avslutande diskussionsavsnittet lyfts studiens resultat till diskussion i relation till tidigare forskning och till det sociokulturella perspektivet på lärande. Här framkommer att elgitarrlärarna har olika metoder för att lära ut att spela elgitarr. Trots att undervisningen handlar om att lära sig spela elgitarr visar lärarna på olika pedagogiker för att lära ut. Ibland använder lärarna sig av samma redskap men trots detta så kan de använda dem på skilda sätt.This study aims to create deeper insight in what kind of equipment electric guitar teachers use in their teaching, how they motivate it and also if it is inspiring. The background chapter presents previous research and other literature in the field and also the theoretical basis for the study, the socio-cultural perspective on learning and communication. The data consists of qualitative interviews with three electric guitar teachers who teaches at the school of music and art. The results chapter show the teacher’s view on the subject, - teaching material in electric guitar teaching and how they motivate it´s use and also if it is inspiring. Their teaching materials may be equal but how they utilize them is different What they mean is that an inspirational teaching material also motivates their choice of the same. But the opinion - what is inspiring may also be of a different view. The teaching material doesn´t need to be inspiring. Most important is the inner inspiration that motivates to immerse in electric guitar playing. In the concluding discussion the results are discussed in relation to the previous research and to the socio-cultural perspective on learning. It appears that in spite of the tuition of electric guitar playing the tuition shape depends on the teacher. Sometimes the teacher uses same tools, but they may use them differently.
13
Rodriguez, Sergio (Guitarist). "Comparison of the Méthode Pour La Guitare by Fernando Sor with the Méthode Complète Pour La Guitare Par Ferdinand Sor, Rédigée Et Augmentée De Nombreux Exemples Et Leçons Suivis D'une Notice Sur La 7e Corde by Napoléon Coste". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011789/.
Testo completoAbstract (sommario):
The nineteenth century presents a great increase in publications of guitar methods. Most authors of the time published several versions of their works. Fernando Sor, perhaps the most prominent guitar composers of the time—whose Méthode is regarded today as the most important of the period—only published one edition. However, Napoleon Coste took on the task to do a second account. The literature reviewed shows substantial existing information regarding background, type of text, tone, and contents of Sor's work, but comparisons to date are not substantial. Therefore, there is a need to compare these two texts side by side to yield a complete view of their pairing. The existing negative views of Coste's edition hinder the importance of Coste's work as reference to Segovia's publication of Sor studies, and as a clearer pedagogical application of many of Sor's concepts which are sidetracked by his response to criticism and his elaborations in matters beyond his main subject matter. I provide a comprehensive review of Sor's method, an outline and a consideration of his concepts. Then I offer a complete English translation of Coste's method which is inexistent until now. The comparison follows pointing at differences and similarities. Results show that Coste clarifies and complements many of the principles in less text and simpler language. He modifies certain others either to approach Sor's practice or to depart to a newer standard. He offers his own lessons and sections to apply Sor's concepts. Coste's text heads towards a pedagogical synthesis of Sor's method, but it is incomplete because he omits some concepts without leading the readers to consult Sor. Coste's pedagogical and practical relevance is fundamental for modern standard techniques.
14
Lochbaum, Stephen. "An Overview and Performance Guide to the 10 Etudes for Guitar by Giulio Regondi". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505178/.
Testo completoAbstract (sommario):
The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can prepare the guitarist for challenges found in playing music that is not written for the guitar or even by guitarists which consists of a substantial portion of the modern concert guitarist's repertoire. His music pushes what is possible on the guitar and borderlines what many would call idiomatic. This paper establishes a small number of techniques that will allow players to solve any challenge presented in the etudes from multiple technical viewpoints.
15
Lähdeoja, Otso. "Une approche de l'instrument augmenté : la guitare électrique". Paris 8, 2010. http://octaviana.fr/document/155983601#?c=0&m=0&s=0&cv=0.
Testo completoAbstract (sommario):
Cette thèse examine la notion de l’instrument de musique augmenté, dans un mouvement de dialogue entre une approche théorique et un engagement subjectif dans la réalisation d’une guitare électrique augmentée. La première partie de la thèse est consacrée à l’élaboration d’une réflexion sur l’instrument augmenté en tant qu’un objet d’étude. Elle développe une approche où l’instrument de musique est vu comme un continuum reliant l’homme, l’objet-instrument et le son au sein d’un ensemble que nous nommons l’environnement instrumental. Le processus d’augmentation est envisagé comme l’introduction d’une greffe technologique au sein de cet environnement. La relation instrumentale qui s’instaure entre l’homme et l’instrument est étudié de manière détaillée, ainsi que la guitare électrique en tant qu’un instrument augmenté et augmentable. La première partie se clôt avec la présentation d’un ensemble de stratégies pour la conception des augmentations avec une qualité instrumentale optimale. Les travaux pratiques présentés dans la seconde partie de la thèse ont été menés en parallèle avec le développement théorique dont ils constituent une facette complémentaire et nécessaire. La réflexion sur l’instrument augmenté y trouve une correspondance ancrée dans la réalité des travaux technologiques, logiciels et artistiques. Une guitare augmentée expérimentale, conçue et réalisée pendant cette thèse est présentée. Cet environnement instrumental augmenté fournit le cadre pour le développement de neuf augmentations spécifiques comportant chacune les dimensions gestuelle, technologique (logicielle) et sonore. La guitare augmentée a donné lieu à la création d’un ensemble de travaux artistiques, analysés et documentés à la fin de la seconde partie. Deux disques, un CD-ROM et un DVD comportent des matériaux audiovisuels illustrant les augmentations et les travaux artistiques réaliséesThis thesis approaches the notion of an augmented musical instrument from two complementary perspectives : an « objective » view aimed to outline a theoretical framework for instrument augmentation, as well as a subjective engagement in the process of creating an experimental augmented electric guitar and composing/performing music with it. The first part of the thesis discusses the nature and the history of instrument augmentation, establishing a basis for a view of the instrument as a system, comprising the musician, the instrument-object and the sound in a continuum of energy and/or information. The relationship between the musician and the instrument is studied in detail as a key element in the creation of an augmentation’s instrumental quality. A personal methodology for instrument augmentation presented, combining gesture, object and sound in a single conceptual tool. The second part presents the practical aspects of the research work. The technological specifications of our augmented electric guitar are described, in parallel to a discussion on the the technological and aesthetical choises. The guitar’s instrumental environment provides the basis for the development of nine specific augmentations with gestural, technological (sensor and software) and sonic aspects. A series of musical and intermedia works with the augmented guitar is presented and analysed at the end of the thesis. A CD-ROM and a DVD attached to the monograph provide sonic and visual illustrations of the augmentations and of the related artistic works
16
Vera, Fernand Toribio. "Selected Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Classical Guitar Duo". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9727/.
Testo completoAbstract (sommario):
Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.
17
Gaviria, Carlos A. "Alberto Ginastera and the Guitar Chord: An Analytical Study". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33152/.
Testo completoAbstract (sommario):
The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modifications of the guitar chord. Chapter VI explores the use of the guitar chord as a referential sonority based on Variaciones Concertantes, Op. 23: I-II, examining vertical (subsets) and horizontal (derivation of motives) aspects. Chapter VII explores uses of trichords and hexachords derived from the guitar chord in the Sonata for Guitar Op. 47.
18
Holecek, Josef. "För musikens skull : studier i interpretativ gitarrspelteknik från tidsperioden ca 1800 - ca 1930, med utgångspunkt från gitarrskolor och etyder /". Göteborg : Göteborg universitet, 1996. http://catalogue.bnf.fr/ark:/12148/cb36963727p.
Testo completo
19
Realino, Umberto. "Un siècle de guitare en France : 1750-1850 /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37224915k.
Testo completoAbstract (sommario):
Thèse--Musicologie--Paris-4-Sorbonne, 1999.Catalogue des ouvrages conservés au Département de la Musique de la BnF, comportant une notice biogr. pour chaque compositeur ainsi que la liste de ses oeuvres p. 466-589. Glossaire p. 805-810. Bibliogr. et discogr. p. 403-420. Index.
20
Bousson, Florent. "Les mondes de la guitare /". Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb40945380c.
Testo completo
21
Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.
Testo completoAbstract (sommario):
This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.
22
Morey, Michael J. "A Pedagogical and Analytical Study of Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84256/.
Testo completoAbstract (sommario):
Polymeter has been a relatively unexplored compositional technique of music of the Common Practice Period. Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar is recognized in the guitar world as not only an important theoretical treatise, but also a benchmark for more advanced levels of improvisation. Currently, his treatise remains the best source for learning polymetric improvisation on the guitar. My personal contribution stems from the idea that multiple interpretations of thought processes and technical approaches are possible when learning to play polymeters on the guitar. The first section focuses on providing an alternative technical approach towards learning to play polymeters on the guitar by simplifying selected exercises in Bogdanović’s treatise from their original presentation, and demonstrating further possibilities as to how the exercises can be applied in a practical manner to improvisation. The second part reveals through analysis of the Concert Studies 1, 2, and 5 both his innovative improvisatory use of polymeter as a stylistic device, and his ties to traditional ideas of structure.
23
Noonan, Jeffrey James. "The guitar in America as reflected in topical periodicals, 1882-1933 /". Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050019x.
Testo completoAbstract (sommario):
Diss.--Philosophie--Saint Louis (Mo)--Washington Univ., 2004.Musique imprimée pour guitare publiée dans les périodiques américains p. 639-701, par compositeurs p. 702-733. Bibliogr. et discogr. p. 734-748.
24
Amoric, Michel. "Spécificités du répertoire contemporain de la guitare /". [Paris] : [M. Amoric], 2000. http://catalogue.bnf.fr/ark:/12148/cb37638496w.
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25
Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.
Testo completoAbstract (sommario):
There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.
26
Lignitz, Kellie. "A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271856/.
Testo completoAbstract (sommario):
In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann's Serenata Svizzera Op.29, Ferdinand Rebay's Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen's Blue Third Piece, and Gernot Wolfgang's Four Miniatures. An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and more than one clarinet and/or guitar is included.
27
Dettke, Manfred. "Lehrwerke für die sechssaitige Konzertgitarre in deutschsprachigen Ausgaben des 19. und 20. Jahrhunderts : unter Berücksichtigung von Gitarrenschulen, theoretischen Schriften und anderen Handreichungen, die sich mit der Gitarre auseinandersetzen /". Frankfurt am Main ; Bern ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb35471178n.
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Huber, Karl. "Die Wiederbelebung des künstlerischen Gitarrespiels um 1900 : Untersuchungen zur Sozialgeschichte des Laienmusikwesens und zur Tradition der klassischen Gitarre /". Augsburg : Lisardo, 1995. http://catalogue.bnf.fr/ark:/12148/cb375114284.
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Plesch, Melanie. "The guitar in nineteenth-century Buenos-Aires : towards a cultural history of an Argentine musical emblem /". Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40039124j.
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30
Schmitz, Peter. "Gitarrenmusik für Dilettanten : Entwicklung und Stellenwert des Gitarrenspiels in der bürgerlichen Musikpraxis der ersten Hälfte des 19. Jahrhunderts im deutschsprachigen Raum /". Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb369944251.
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31
Realino, Umberto. "Un siècle de guitare en France : 1750-1850 : catalogue /". [Paris] : [U. Realino], 1999. http://catalogue.bnf.fr/ark:/12148/cb37211836b.
Testo completoAbstract (sommario):
Thèse--Musicologie--Paris-4-Sorbonne, 1999.N'avons que le volume 2. Catalogue des ouvrages conservés au Département de la Musique de la BnF, comportant une notice biogr. pour chaque compositeur ainsi que la liste de ses oeuvres. Résumé en anglais et en français.
32
Hodges, Jeff. ""Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28430/.
Testo completoAbstract (sommario):
Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.
33
Frackenpohl, David J. (David John). "Analysis of Nocturnal op. 70 by Benjamin Britten". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500442/.
Testo completoAbstract (sommario):
Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.
34
Lee, Chris. "Establishing Editorial Principles to Create a Performance Edition of Selections From Appunti Op 210 By Mario Castelnuovo-tedesco". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115108/.
Testo completoAbstract (sommario):
This paper examined editorial methods used in producing published versions of the music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial principles to create a performance edition of five movements from book two of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in establishing editorial criteria. at the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic pieces for young guitarists. the pieces were to be collaboratively edited and fingered by Chiesa, and then given final approval by the composer. Unfortunately, the composer died before finishing the work. the pieces and sketches that survive exist in four volumes published by the Italian house, Suvini Zerboni, containing the pieces that Chiesa edited with the approval of Castelnuovo-Tedesco. the published edition also includes unedited pieces that did not undergo the collaborative process. with the goal of maintaining an unadulterated portrayal of the composer’s intentions, Chiesa presented these pieces as they appear in the manuscript. Much of the music is unidiomatic and either impossible or highly impractical to play. My study established some editorial principles for use in creating a performance edition of this work. the edition includes my engraving of the original unedited manuscript as well as ossia measures containing solutions to performance problems. the suggested solutions balance the perception of the composer’s intentions, established editorial practices, and idiomatic concerns to creating a playable edition.
35
LeBlanc, Paul G. "Structure and Performance of El Polifemo de Oro for Solo Guitar by Reginald Smith Brindle". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279142/.
Testo completoAbstract (sommario):
El Polifemo de Oro was written in 1956 and revised by the composer in 1981. This two-fold investigation clarifies the structure of El Polifemo through careful analysis of the work and its revision, and by Smith Brindle's approach to composition based on his interviews and books. The second aspect is aimed toward the pragmatic performance issues of tempo, articulation, timbre, voice leading, and the other details of execution. Although the work was written according to serial techniques, the presence, in the twelve-note row, of triadic formations (minor triad, dominant seventh, fully-diminished seventh) juxtaposed with many tritone intervals suggests the use of tonal devices, which Smith Brindle does employ to effect tension and relaxation. It is assumed that tonal devices such as leading tones, stepwise movement in the bass, fourth and fifth relationships, and triadic constructions are heard against a traditional contextual basis and are therefore ways of implying resolution. Where tonal devices are not present, other structural components, i.e., rhythm, dynamics, timbre, etc., are examined with regard to their functions in creating or dissipating tension. Following the analysis of each of the four fragments is a discussion of performance implications based on the analysis. Both the analysis and performance aspects are non-prescriptive and are presented in the spirit that there are many other valid interpretations.
36
Lang, Matthias. "Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271851/.
Testo completoAbstract (sommario):
Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.
37
Amelkina-Vera, Olga. "Solo lyra viol music of Tobias Hume (c. 1579-1645): Historical context and transcription for modern guitar". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9125/.
Testo completoAbstract (sommario):
The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.
38
Todd, Richard. "The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3606/.
Testo completoAbstract (sommario):
The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.
39
Noël, Jeanne. "La Guitare en France au temps de Louis XIV d'après les textes". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617038z.
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40
Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.
Testo completoAbstract (sommario):
Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.
41
Harris, Joshua Kimball. "“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407859/.
Testo completoAbstract (sommario):
Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.
42
Pierce, Justin. "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, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
Testo completoAbstract (sommario):
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.
43
Perricone, Eloisa Sebastiani Adriano. "Segovia e il suo repertorio /". Genova : Graphos, 2002. http://catalogue.bnf.fr/ark:/12148/cb390238061.
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Kyzer, Dan. "Beyond Nothingness: A Broader Nihilism in Cinema Paradiso by Stephen Goss". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538670/.
Testo completoAbstract (sommario):
Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.
45
Handel, Amanda Jane. "Music of balance circles and squares /". View thesis View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041022.170632/index.html.
Testo completoAbstract (sommario):
Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004.Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.
46
Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.
Testo completoAbstract (sommario):
The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
47
Einbrodt, Ulrich Dieter. "Experimentelle Untersuchungen zum Gitarrensound in der Rockmusik /". Frankfurt am Main ; Bern ; Paris : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb369650304.
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48
Michel, Bénédicte. "La "Bible historiale" de Guiart des Moulins : édition critique de la Genèse d'après le manuscrit Bruxelles II 1987". Dijon, 2004. http://www.theses.fr/2004DIJOL024.
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Li, Zhi. "How a Schenkerian Analysis May Inform the Interpretation and Performance of J. S. Bach's Lute Music on the Guitar Using Selective Movements of Bach Lute Suite No. 4 in E Major (BWV1006A) as a Demonstration". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752403/.
Testo completoAbstract (sommario):
Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.
50
Whitney, Megan Leigh. "Happily We Are Only Women: An Investigation into the Lives and Works of Artemisia Gentileschi, Adélaïde Labille-Guiard, and Mary Cassatt". Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/271929.
Testo completoAbstract (sommario):
The lives of Artemisia Gentileschi, Adélaïde Labille-Guiard, and Mary Cassatt are distinct, varying greatly from one another. Yet, for all of their differences these artists have far more in common. Each negotiated social systems, ideologies, and institutions which were stacked against them, using only those resources immediately available. The professional careers, private lives, and artistic and social institutions which shaped these artists are discussed through a collection of paintings exemplifying their life and work. Influenced in part by tragedy and scandal early in life, great artists of her age, and by the social, religious, and political constructs of her time, Artemisia Gentileschi was a painter of biblical, mythological, and allegorical heroines. Adélaïde Labille-Guiard's proficiency in representing with accuracy the details of the world, placed her in the realm of her male contemporaries which she continuously strove to justify throughout her artistic career. Mary Cassatt was an artist, professional, and entrepreneur who happened to be a lady and painter of women: women in society, in the home, and with their children. Each of these artists possessed authority over their profession, life, and business, developing their skills in the context of powerful men and women.