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Aramburu, Roberto Horacio. "Expanding guitar production techniques : building the guitar application toolkit (GATK)". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1301.
Pełny tekst źródłaFugazza, Lorenzo. "The Impressionistic Guitar : Is there a mutual influence between the Spanish guitar and the Impressionist masters?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2505.
Pełny tekst źródłaPaget, Jonathan. "The guitar music of Peter Sculthorpe /". Digitized version, 2003. http://hdl.handle.net/1802/5358.
Pełny tekst źródłaIncludes vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5358
Olson, Ted. "A Century of Heritage Guitar Music". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.
Pełny tekst źródłahttps://dc.etsu.edu/etsu_books/1160/thumbnail.jpg
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.
Pełny tekst źródłaCatalogue des oeuvres pour guitare p. 479-548. Liste alphabétique avec notices biogr. des guitaristes et compositeurs p. 363-448. Bibliogr. p. 581-642. Index.
Swoger-Ruston, John Paul. "The fifteen-cent guitar re-tempering the standard six-string guitar /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59201.pdf.
Pełny tekst źródłaBanks, Zane. "The electric guitar in contemporary arts music". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11805.
Pełny tekst źródłaLawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.
Pełny tekst źródłaMangueira, Bruno Rosas. "Concepções estilísticas de Hélio Delmiro : violão e guitarra na música instrumental brasileira". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284634.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto
Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context
Mestrado
Mestre em Música
Nilsson, Jokela Rickard. "SlowBass : exploring, adapting and evolving the possibilities of the bass guitar". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1440.
Pełny tekst źródłaOlson, Ted. "The Guitar: ‘An Orchestra Unto Itself'". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.
Pełny tekst źródłaBurlet, Gregory. "Automatic guitar tablature transcription online". Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117224.
Pełny tekst źródłaTranscrire à la main une tablature pour guitare à partir d'un enregistrement audio est un processus difficile et long, même pour les guitaristes chevronnés. Bien que plusieurs algorithmes aient été créés pour extraire automatiquement les notes d'un enregistrement audio, et d'autres pour préparer des arrangements de notes de tablature pour guitare tels qu'on les retrouve dans la création musicale, aucun environnement n'a été mise en place pour faciliter l'association de ces algorithmes. Le travail qui suit présente un environnement accessible sur l'Internet, permettant la transcription et la préparation d'arrangements de tablatures de guitare, directement à partir d'un enregistrement audio. Cet environnement de transcription, nommée Robotaba, facilite la création d'applications Web, dans lesquelles la transcription polyphonique et les algorithmes d'arrangements de tablature pour guitare peuvent être intégrés. Une telle application Web permet d'obtenir un système unifié, capable de transcrire une tablature pour guitare à partir d'un enregistrement audio numérique, et d'afficher la tablature obtenue dans un navigateur Web. La performance de la transcription polyphonique mise en place et des algorithmes d'arrangements de tablature pour guitare est évaluée à l'aide de plusieurs paramètres et d'un nouvel ensemble de données, constitué de transcriptions manuelles recueillies dans des sites Web consacrés aux tablatures.
Ferguson, Sean W. "The guitar in lexica: the development of the guitar as reflected in general and musical dictionaries and encyclopedias, 1611-1890". The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730273.
Pełny tekst źródłaLawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /". Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.
Pełny tekst źródłaTitle from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).
Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs". Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
Pełny tekst źródłaCasallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.
Pełny tekst źródłaMaking Music with a guitar orchestra
Pinta, Kristen Janet. "Inclusion strategies for the high school guitar class". Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523263.
Pełny tekst źródłaAs researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program.
This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.
Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Pełny tekst źródłaVita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).
Nguyen, Le Tuyen. "A new voice: Australian guitar music with Vietnamese cultural influences". Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/151930.
Pełny tekst źródłaYim, Gary. "Affordant Chord Transitions in Selected Guitar-Driven Popular Music". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308075022.
Pełny tekst źródłaHopkins, Evan James. "Arranging the Music of Radiohead for Classical Guitar Quartet". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26357.
Pełny tekst źródłaRogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.
Pełny tekst źródłaTaylor, John Wesley. "Hillbillies and sharecroppers : an introduction to East coast and Mississippi blues styles /". Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=99.
Pełny tekst źródłaTitle from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).
Davis, Evan Brugh. "On the structural and acoustic design of guitar soundboards /". Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/7116.
Pełny tekst źródłaLedroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.
Pełny tekst źródłaDouglas, 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/.
Pełny tekst źródłaKlčo, Michal. "Electric Guitar to MIDI Conversion". Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.
Pełny tekst źródłaCarey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.
Pełny tekst źródłaNystel, 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/.
Pełny tekst źródłaVera, Fernand Toribio Soler Antonio Soler Antonio. "Selected harpsichord sonatas by Antonio Soler analysis and transcription for classical guitar duo /". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9727.
Pełny tekst źródłaOrtiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.
Pełny tekst źródłaMcCallie, Michael. "A survey of the solo guitar works written for Julian Bream". Thesis, The Florida State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10000626.
Pełny tekst źródłaThe purpose of this treatise is to present a survey of the solo guitar works written for Julian Bream and to illuminate their historical significance and lasting importance to the guitar repertoire. For each piece, this treatise provides a brief biographical sketch of each composer, a survey of the relevant literature and, where necessary, a brief theoretical analysis. At the end of each section, a “Performer’s Note” has been included, which details the specific difficulties of performing each piece. Hopefully, this treatise will provide guitarists interested in the pieces written for Julian Bream a reference for performance and study.
Serce, Andrew J. "A POST-TONAL ANALYTICAL APPROACH TO SYNCHRONISMS NO. 10 FOR GUITAR AND TAPE BY MARIO DAVIDOVSKY". UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/97.
Pełny tekst źródłaIncze, Lajos. "Popular guitar pedagogy: fostering traditional musicianship in the culturally relevant classroom". Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119382.
Pełny tekst źródłaL'éducation musicale en Amérique du Nord reste fidele aux idéaux, au matériel et aux méthodes d'une époque révolue, malgré de nombreux appels pour un changement pédagogique. La musique populaire a un rôle limite den les écoles, bien que des programmes culturellement pertinents soient de plus et plus important dans des contextes modernes. Les cours de guitare ont le potentiel inexploité d'atteindre ces nombreux étudiants qui sont désireux d'apprendre la musique, mais incapables de travailler dans un format traditionnel. La guitare est motivante, inclusive et pertinente pour les élevés, et a donc une place appropriée dans les groupes diversifies du vingt et unième siècle. Malheureusement, il existe un fosse ester les objectifs traditionnels et la musique populaire a la guitare. L'enseignement de la guitare est habituellement perçu comme une opposition, ou comme une alternative a la réussite scolaire. La question demeure donc a savoir si la guitare populaire peut être conciliée a la théorie et a la musicalité. Cette étude décrit comment un professeur d'école publique tente de synthétiser un programme de guitare électrique original qui répond aux besoins académiques et culturels. Des suggestion portant sur des mesures concrète ayant pour objectif d'atteindre une pédagogie tournée ver la réussite du cour sont présentées comme possibles, nécessaires et attendues.
Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital". FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.
Pełny tekst źródłaDuque, Cuartas Alejandro. "Colombia's Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394724.
Pełny tekst źródłaThesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
Schroeder, Lisa Marie. "The flute and guitar duo: the development of an equal partnership". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2010.
Pełny tekst źródłaDean, Alexander. "The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song /". Digitized version, 2009. http://hdl.handle.net/1802/1098.
Pełny tekst źródłaIncludes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978
Melvin, Michael John. "Tonal harmonic syntax and guitar performance idiom in two mid-seventeenth-century Italian guitar books by Angelo Michele Bartolotti (c. 1615--after 1682)". Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278814.
Pełny tekst źródłaRocha, Marcel Eduardo Leal. "A tecnologia como meio expressivo do guitarrista atuante no mercado musical pop". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284480.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos
Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software
Doutorado
Doutor em Música
Kirsten, Ryan Kenneth. "An investigation into the process of transcribing keyboard works for guitar duet". Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/76609.
Pełny tekst źródłaMini Dissertation (MMus (Performing Art))--University of Pretoria, 2020.
Music
MMus (Performing Art)
Unrestricted
Bert, Alison. "The influence of Flamenco on the guitar works of Joaquin Turina". Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185487.
Pełny tekst źródłaTuttle, Brian. "Who killed rock guitar? Virtuosity in nineteen-nineties alternative rock". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121303.
Pełny tekst źródłaAprès la parution de l'album Nevermind du groupe Nirvana en 1991, le rock alternatif auparavant “underground” a émergé sur la scène musicale traditionnelle, détrônant le heavy metal en tant que forme dominante du hard rock. La culture entourant la musique alternative se voulait un mouvement post-punk progressiste américain, qui recherchait un monde plus égalitaire, tolérant et démocratique que celui offert par le heavy metal. La culture alternative a perçu le style heavy metal comme le symbole des valeurs masculinistes qui semblaient sous-tendre le genre. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare—semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Les dieux de la guitare heavy-metal—des figures virtuoses hyper-masculines adulées par les fans pour leur personnalité "décontractée" et leur abilité à faire du shred avec leur guitare – semblaient sexistes, arrogants et apathiques. Afin de s'opposer à la hiérarchie du heavy-metal, les rockeurs alternatifs ont développé leur propre style esthétique afin de démontrer leurs valeurs démocratiques. Pour Nirvana, ceci signifiait "tuer" les dieux de la guitare en créant un hard-rock irrésistible sans shred et en satirisant l'apparence "glamour" des dieux de la guitare, les rendant ainsi impotents. Bien que le rock alternatif demeure généralement méfiant envers les démonstrations de virtuosité, plusieurs virtuoses ont pris part à ce genre musical, incluant le bassiste Les Claypool du groupe Primus, le guitariste électrique Tom Morello de Rage Against the Machine, et la guitariste acoustique Ani DiFranco. Ces musiciens alternatifs partagent plusieurs caractéristiques avec les virtuoses issus d'autres genres musicaux. Pourtant, ce qui distingue le plus ces virtuoses alternatifs d'autres catégories de virtuoses est la personnalité de "perdant" qu'ils incarnent. De plus, contrairement aux dieux de la guitare, il était établi que les virtuoses alternatifs mettaient leur virtuosité au service de quelque chose de plus grand qu'eux-même: la politique alternative. Empruntant une approche dialogique se fondant sur une analyse sémiotique culturelle de plusieurs styles soniques, visuels et verbaux construisant la virtuosité et son sens dans le contexte du genre alternatif, cette étude démontre que les musiciens alternatifs ont façonné des styles virtuoses de manière à exprimer des valeurs alternatives.
Chapman, David. "Doctoral thesis recital (guitar)". 2010. http://hdl.handle.net/2152/11421.
Pełny tekst źródłaPinsonnault, Andre Paul. "Spanish and Latin American music for the guitar : guitar recital". Thesis, 1992. http://hdl.handle.net/2429/1648.
Pełny tekst źródłaPalmer, Joseph W. "Doctoral thesis recital (guitar)". Thesis, 2012. http://hdl.handle.net/2152/23946.
Pełny tekst źródłaMilovanov, Alexander. "Doctoral thesis recital (guitar)". 2015. http://hdl.handle.net/2152/30067.
Pełny tekst źródłaBustos, Isaac. "Doctoral thesis recital (guitar)". 2010. http://hdl.handle.net/2152/11386.
Pełny tekst źródłaDotson, Jonathan. "Doctoral thesis recital (guitar)". 2010. http://hdl.handle.net/2152/11478.
Pełny tekst źródłaGrohovac, Janet. "Doctoral thesis recital (guitar)". 2011. http://hdl.handle.net/2152/16867.
Pełny tekst źródła