Bibliografias temáticas / Guitar in art

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Literatura científica selecionada sobre o tema "Guitar in art"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Guitar in art"

Deloria, Philip J. "T.C. Cannon’s Guitar". Arts 8, n.º 4 (14 de outubro de 2019): 132. http://dx.doi.org/10.3390/arts8040132.

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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergenerational relations between myself, Cannon, and my father Vine Deloria, Jr., the three of us evenly spaced over the course of the late twentieth century, and it does so in an effort to understand something about the historical impulses of the period between 1965 and 1978. In that moment—accessible to me through memories of affects more than memories of actions—Native politics and art were both figuring out ways to honor the past while making it new, creating distinctive forms that we can recognize around concepts such as survivance, sovereignty, and indigenous modernism.

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Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century". Culturology Ideas, n.º 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.

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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.

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Filatova, Tetiana. "Academic Performing Traditions of Chilean Guitar Art". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n.º 131 (30 de junho de 2021): 26–37. http://dx.doi.org/10.31318/2522-4190.2021.131.243205.

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The relevance of the article lies in the systematization of the phenomena of the Chilean academic guitar art, the study of the national origins of the performing school, its principles, achievements, transcultural processes and their mutual influences, which led to the popularization of the instrument on the Latin American continent. The purpose of the article is to create an overview panorama of the development of the academic traditions of Chilean guitar performance, to identify trends in the formation and genealogy of successive ties between generations of soloists. The methodology includes methods of historical, systemic, as well as comparative analysis (for contextual consideration of the creative activities of famous performers, the formation of a national guitar school, the detection of successive ties between different generations of musicians, the study of the influence of the Spanish academic tradition, Latin American everyday practice of playing and the specifics of playing music on ancient guitar-like instruments of the Baroque era). Results and conclusions. The cultural and historical panorama of the formation and development of the Chilean academic guitar school of the 20th— early 21st centuries is investigated. The principles and main vectors of the pedagogical activity of its key representatives — Liliana Perez Corey, Luis Lopez, Oscar Ohlsen are characterized. A “genealogical tree” of creative contacts and successive ties between guitarists of different generations has been built. It is concluded that the academic traditions of the Chilean guitar music of the 20th century were formed in the general direction of the development of transcultural phenomena. The performing discourse developed in a complementary way: under the influence of the most famous Spanish classical guitar school that dominates the world (F. Tarrega, A. Segovia, E. Pujol); in the conditions of indirect interaction with the Latin American everyday practice of playing (Argentinean, Uruguayan, Chilean) and the experience of playing music on ancient authentic European instruments (lute, vihuela, baroque guitar). It is noted that as a result of the intensification of creative exchange in the institutional, concert, and festival spheres, at the end of the twentieth century, a representative generation of virtuosos and teachers of classical guitar arose in Chilean culture. Chilean guitarists, no matter in which of the spheres their personal interests were fixed — European old, classical-romantic, modern music or Latin American popular, folklore tradition — put forward the creativity of their compatriots and contemporaries to the leading positions. The appearance of a large number of albums of Chilean guitar music performed by J. A. Escobar, J. Contreras, M. Valdebenito, J. A. Sanchez, L. Orlandini, E. Espinoza, E. Salazar, D. Castro is evidence of close and effective cooperation between virtuosos and domestic composers.

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Budrianto, Budrianto Budrianto, Wilma Sriwulan e Marta Rosa. "APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU". Gorga : Jurnal Seni Rupa 7, n.º 2 (8 de outubro de 2018): 94. http://dx.doi.org/10.24114/gr.v7i2.10915.

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AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia. Kata Kunci : Rejung, Gitar Konvensional, Apropriasi. AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation.

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Gómez-Ullate García de León, Martín. "GUITAR TEACHING: STATE OF THE ART AND RESEARCH QUESTIONS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (21 de maio de 2019): 361. http://dx.doi.org/10.17770/sie2019vol4.3952.

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This work reviews guitar methodologies and didactic materials from the first 16th century methods of guitar and vihuela to the software/hardware devices patented now-a-days. One of the richest sources for guitar education research are master classes registered since the last 50-100 years and available today to the researcher. A set of 12 master classes are analysed in this study. Fundamental decisions for the education and practice of the guitar are highlighted as the fingernails vs. yolks playing, “learning by music” vs. “learning by ear”, the use of music vs. tablature notation or the autodidactic way vs. the teacher-student interaction in class. Despite the successful new devices and advances in software and hardware, literature review reveals the importance of the teacher and the classical methods.

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Hansen, Uwe J. "Materials in Musical Instruments: Romance of Art and Science". MRS Bulletin 20, n.º 3 (março de 1995): 25–27. http://dx.doi.org/10.1557/s0883769400044353.

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A few years ago, I surprised my wife by asking for a guitar for Christmas. Our budget was limited in those days, so I started at the low-cost end and remember being disappointed with the tone quality of the guitar we purchased. Even with my poorly trained ear, I could tell the difference between a $50 guitar and a $100 instrument. The jump from $100 to $200 was also easily detectable. I could even make out the difference in tone quality between a $200 and a $500 guitar. One hand-crafted instrument with a $1000 price tag had a lovely tone. However, the limitations of my ear made it difficult to detect significant improvement in tone quality beyond that stage. At any rate, I realized that an instrument manufacturer would clearly not waste precious select woods on a “cigar-box” instrument. Since then, while trying to unlock the secrets of fine tone quality, the importance of materials in crafting fine musical instruments has become apparent during my investigations of various musical instruments in the laboratory.

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Anindita Roy Chowdhury e Naresh Sharma. "Scientific Numerical Pattern in Stringed-Fretted Musical Instrument". Mathematical Journal of Interdisciplinary Sciences 8, n.º 2 (30 de março de 2020): 69–74. http://dx.doi.org/10.15415/mjis.2020.82009.

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Music, a creative art has a strong foundation on science and mathematics. Source of music can vary from vocal chord to various types of musical instruments. One of the popular stringed and fretted musical instrument, the guitar has been discussed here. The structure of the guitar is based on mathematical and scientific concepts. Harmonics and frequency play pivotal role in generation of music from a guitar. In this paper, the authors have investigated various factors related to the structure of a guitar. Aspects related to the musical notes of a guitar have been analyzed to gain a better insight into the mathematical pattern involved in the music of a guitar.

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Shoaf, Eric C., e Darcy Kuronen. "Dangerous Curves: The Art of the Guitar". Galpin Society Journal 54 (maio de 2001): 413. http://dx.doi.org/10.2307/842468.

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Sülün, Erkan, Hüseyin Kaya Uzunali e Mehmet Özkanoğlu. "Transforming Art Environments: Online Classical Guitar Meetings". European Journal of Social and Behavioural Sciences 32, n.º 3 (16 de agosto de 2023): 152–61. http://dx.doi.org/10.15405/ejsbs.338.

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The aim of this study is to investigate new approaches arising from the transfer of educational, artistic, and social activities to online environments after the COVID-19 pandemic period, and specifically to examine the "online guitar meetings" designed for this purpose. Guitar Meetings were conducted three times within a three-week period, each lasting 150 minutes, with 15 participants in each session. The nested single-case design of the qualitative research-based case study model was used in the research. The study group comprised artists, artist-scholars, and students. For data collection, a researcher-developed interview form consisting of seven questions was used. Data was collected one-on-one in an online environment. The data was analysed using the content analysis method. Six categories emerged from the analysis: the Positive and Negative Aspects of Online Activities, the Contribution of Online Guitar Meetings to Guitarists, Similarities and Differences Between Online and Face-to-Face Activities, Experiences that Influence Participants, Benefits Obtained by Participants from the Meetings, and Recommendations of Participants. The themes and findings resulting from the research are discussed in relation to the literature.

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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION". Aesthetics and Ethics of Pedagogical Action, n.º 15 (9 de março de 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.

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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.

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Mais fontes

Teses / dissertações sobre o assunto "Guitar in art"

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.

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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
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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.

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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
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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.

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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).

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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.

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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
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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.

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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.

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Pierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.

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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

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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.

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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.

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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.

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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.

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Baumann, Judith Marie. "Fabricated Histories (or My American Daydreams)". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/144.

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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.

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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/.

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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.

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Livros sobre o assunto "Guitar in art"

Grunfeld, Frederic V. The art and times of the guitar. New York: Da Capo, 1988.

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Tomić, Violeta. Guitar Visual Art: Izložba likovnih radova. Požarevac: Narodni muzej Požarevac, 2009.

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Hickey, Dave. Air guitar: Essays on art & democracy. Los Angeles: Art issues. Press, 1997.

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Rodríguez, Manuel. The art and craft of making classical guitars. Milwaukee, WI: H. Leonard, 2003.

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Rodríguez, Manuel. The art and craft of making classical guitars. Milwaukee, WI: Hal Leonard Books, 2009.

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Rodríguez, Manuel. The art and craft of making classical guitars. New York: Hal Leonard Books, 2009.

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Rodríguez, Manuel. The art and craft of making classical guitars. New York: Hal Leonard Books, 2009.

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Rodríguez, Manuel. The art and craft of making classical guitars. Milwaukee, WI: Hal Leonard Books, 2009.

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Gustafson, Grant. The art of guitar: Beginning class method. San Diego, Calif: Neil A. Kjos Music Co., 1997.

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Robert, Shaw. Electrified: The art of the contemporary electric guitar. New York: Sterling Pub., 2011.

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Capítulos de livros sobre o assunto "Guitar in art"

Benford, Steve, e Gabriella Giannachi. "How a guitar started to self-document its ‘identity’". In Documentation as Art, 185–96. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130963-19.

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Sarmento, Pedro, Adarsh Kumar, Yu-Hua Chen, CJ Carr, Zack Zukowski e Mathieu Barthet. "GTR-CTRL: Instrument and Genre Conditioning for Guitar-Focused Music Generation with Transformers". In Artificial Intelligence in Music, Sound, Art and Design, 260–75. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-29956-8_17.

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Hinrichs, Reemt, Kevin Gerkens e Jörn Ostermann. "Classification of Guitar Effects and Extraction of Their Parameter Settings from Instrument Mixes Using Convolutional Neural Networks". In Artificial Intelligence in Music, Sound, Art and Design, 101–16. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-03789-4_7.

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Kraushaar, Wolfgang. "Guitar Smashing: Gustav Metzger, the Idea of Auto-destructive Works of Art, and Its Influence on Rock Music". In The Global Sixties in Sound and Vision, 119–34. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137375230_8.

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Young, Jon. "“Roll Over Guitar Heroes; Synthesizers Are Here”". In The Rock History Reader, 221–28. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-45.

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Keeken, Alan van. "Boutique and Beyond. An Explorative Netnography of German (Guitar) Effect Pedal Forums". In »All the Things You Are« - Die materielle Kultur populärer Musik, 205–24. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839470107-010.

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Lingga, Arin Patria, e Yudi Sukmayadi. "Best Practice for Making VINOV with the Theme of C Major Guitar Using PowerPoint". In Proceedings of the Fifth International Conference on Arts and Design Education (ICADE 2022), 179–83. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-100-5_26.

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KLICKI, M. "Jimi Hendrix: The Guitar Legend". In Digital Art Masters, 104–9. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-52085-8.50024-1.

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Watson, Robert N. "The Blue Guitar and the Uses of Art". In Cultural Evolution and its Discontents, 110–45. Routledge, 2018. http://dx.doi.org/10.4324/9780429019937-4.

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"3 Provenance, or, Authenticity: The Guitar Player and the Arc of a Life". In On Art and War and Terror, 58–75. Edinburgh University Press, 2009. http://dx.doi.org/10.1515/9780748641383-006.

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Trabalhos de conferências sobre o assunto "Guitar in art"

Petrova, Elizaveta Vladimirovna. "Teacher's educational work at the children's art school and children's music school in classical guitar class". In II International Scientific and Practical Conference, chair Svetlana Alekseevna Podkorytova. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-462779.

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Szymanska-Stulka, Katarzyna. "TRAJECTORY OF GREEN BY ANDRZEJ KARALOW AND JERZY PRZEZDZIECKI: TOWARDS THE LANDSCAPE MUSIC". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.11.

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Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, originates from the album Pedestal�s Complement (2020). In this production, Karalow and Przezdziecki present environmental or landscape music that reflects the patterns of the surrounding world. Their works are mostly improvised and are a perfect example of the use of space as a vital element of the composition. Inspirations with the landscape and its components appearing in our perception determine the general vision of the work as well as its details. The composer draws patterns from the space around him and creatively transforms them into a new artistic construct. This prompts the following question: To what extent does the increasingly popular concept of environmental music apply to the work in question? The article offers an analysis of the compositional devices along with the language of expression/artistic style, both at the level of the work�s microform and macroform, while also considering the influence of ambient music on this type of composition. Given the evident landscape component in the idea, form and structure of the work, Trajectory of Green is analysed as an example of landscape music.

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Cournut, Jules, Louis Bigo, Mathieu Giraud, Nicolas Martin e David Régnier. "What are the most used guitar positions?" In DLfM '21: 8th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3469013.3469024.

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Faizin, Syahrul, A. M. Susilo Pradoko e Citra Rahma El Kautsar. "Local Wisdom of Lampung Guitar Petting Performed by Saibatin Ethnic". In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.023.

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Tomé-Marques, Horácio. "While my brain sounds my guitar imagines". In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483763.

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Pramadita, Tabita Octamia, e Ayu Niza Machfauzia. "Guitar Accompaniment for Folk Songs Learning Material for Junior High School Students". In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.053.

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Permana, Catur Surya, Ferry Matias e Ahmad Hidayat. "Why Heavy Metal?: A Sound of Guitar Study in Dangdut". In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763202640271.

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Utama, Danar Gayuh, Ayu Niza Machfauzia e Hana Permata Heldisari. "The Innovation Through Mind Mapping to Learn Classical Guitar Interpretation in Facing Industry 4.0". In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.015.

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Agafița, Mihail. "Spanish baroque guitar: theoretical landmarks". In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.22.

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Th e purpose of the article is to elucidate the evolution of the fi ve-string guitar in Spain during the Baroque period. It acquires a multidimensional character: interpretation techniques are developed, the repertoire is enriched, there is a plethora of talented performers and composers who promote new trends in the Spanish guitar practice. Th e author studies three major innovations of the time that led to the essential change of the guitar practice: the replacement of the polyphonic style with the homophone-harmonic one; introduction of a new notation system – Alfabeto; the formation of the Spanish composers’ school. Treatises written by J.C. Amat, G. Sans, L. R. de Ribayaz, S. de Murcia are analyzed as well as the time repertoire composed by famous performers and composers. Th e most important features of the Spanish baroque guitar style are revealed in the conclusions: favorite genres, typical guitar texture, etc.

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Voicescu, George. "CONCEPTUAL PREVISIONARY STYLES OF THE MUSICAL INTERPRETATIVE PHENOMENON OF THE CLASSICAL GUITAR". In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.020.

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Relatórios de organizações sobre o assunto "Guitar in art"

Calijuri, Mónica, Gustavo A. GArcía, Juan José Bravo e José Elías Feres de Almeida. Documentos tributarios electrónicos y big data económica para el control tributario y aduanero: utilización y codificación de los estados financieros electrónicos para control fiscal y datos económico en América Latina y el Caribe: Tomo 3. Banco Interamericano de Desarrollo, julho de 2023. http://dx.doi.org/10.18235/0005000.

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El tercer tomo de la serie Documentos tributarios electrónicos y big data económica para el control tributario y aduanero analiza la implementación de los estados financieros electrónicos (EF-e) en el contexto de las Normas Internacionales de Información Financiera (NIIF) y su impacto en el control tributario por parte de las administraciones tributarias (AT). También se presentan marcos para guiar iniciativas y planes para implementar la información contable electrónica por parte de AT y gobiernos. La implementación de las NIIF ha llevado a una estandarización en los registros contables, lo que ha facilitado su digitalización y ha tenido un efecto positivo en términos de reducción de costos y mejora de la transparencia tributaria. Se propone la utilización de la tecnología de lenguaje ampliado para divulgación de informes financieros (XBRL) para estandarizar los datos financieros de las empresas, lo que no solo posibilita la integración por parte de las AT, ya que este lenguaje electrónico permite elaborar, extraer y publicar estados financieros, sino también facilita el intercambio de esta información entre las AT. Además, la implementación de los EF-e bajo las NIIF posibilita la producción de estadísticas e indicadores actualizados y detallados de la actividad económica, lo que puede contribuir al diseño de políticas públicas oportunas en beneficio de los ciudadanos.

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Kristoffersson, Anders. Hållbara Smarta Parker : digitalt stöd för utemiljöskötsel. Fakulteten för landskapsarkitektur, trädgårds- och växtproduktionsvetenskap, Sveriges lantbruksuniversitet, 2023. http://dx.doi.org/10.54612/a.7d6liv65g9.

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Projektet Planeringssystem för behovsstyrd utemiljöskötsel genom användning av mätdata från sensorer har drivits under 2021 och 2022. Medverkande parter har varit Göteborgs stad, Husqvarna AB och Institutionen för Landskapsarkitektur, planering och förvaltning på SLU. Finansieringen kommer från Movium Partnerskap och parterna i lika delar. Resultatet har blivit ett spännande sökande efter användning av smart teknik för att se vilka möjligheter det finns att i högre grad arbeta med behovsstyrda skötselaktiviteter, i motsats till frekvensstyrda sådana. Tillförda projektmedel har möjliggjort tester och uppföljning av sådant som inte rymts inom Vinnovatestbädden Hållbara Smarta Parker där, utöver ovannämnda parter, även Johanneberg Science Park och Decerno medverkat. Geografiskt har fokus varit på Trädgårdsföreningen och Slottsskogen, kompletterat med ett antal andra platser i Göteborg. De inledande försöken i detta projekt under 2021 fokuserade på ett system för uppkopplade handhållna maskiner (t ex trimrar, lövblåsar och motorsågar) och hur data från maskinerna skulle kunna användas i planeringen av utemiljöskötseln. Parallellt utforskades hur data från olika typer av sensorer skulle kunna användas för ökad behovsstyrning av skötseln. Baserat på en workshop för uppföljning av erfarenheterna från 2021 avslutades försöken med de uppkopplade maskinerna, då utvecklingsmöjligheterna inom projektet betraktades som begränsade. Istället planererades inför 2022 nya försök med fokus på möjligheten att ta fram lösningar för identifiering av skötselbehov kopplade till de resurskrävande skötselaktiviteterna gräsklippning, ogräsrensning och renhållning. Parallellt undersöktes också ett system för planering och automatiska arbetsordrar i anslutning till skötsel av förskolegårdar inom Lokalförvaltningen i Göteborg. I denna rapport beskrivs arbetet med de olika försöken baserat på en inledande mer teoretisk utgångspunkt för vad hållbara smarta parker kan vara och hur de kan sättas i ett större sammanhang. Resultatet är att det finns många möjligheter att använda de testade lösningarna för att öka behovsstyrningen av utemiljöskötseln. Det finns när rapporten skrivs många olika möjligheter att via sensorer och annan teknik ta fram dataunderlag för att i högre grad styra skötseln baserat på behov. Det finns dock ett stort behov att utveckla lösningar som täcker större del av de skötselaktiviteter som utförs i utemiljöer. De lösningar som finns tillgängliga för t ex fuktsensorer som via en app kan guida beslut om när bevattning bör ske är avgränsade till mindre delar av arbetet och ger inte grund för att planera det samlade arbetet med skötsel. Här finns ett behov av ett utvecklat system som kan ligga till grund för behovsstyrd planering av skötselarbetet där olika delar kan integreras. Erfarenheterna från projektet pekar på att det finns en intressant utmaning i att balansera hur ett samlande system kan hjälpa till att skapa överblick mot att undvika att samma system blir alltför styrande och administrativt tungt att arbeta med. Både ett samlande system och de olika delarna för indata via sensorer, kameror, drönare och satellit är under utveckling och det kommer att dröja ett antal år innan det finns samlande system som inkluderar indata från merparten av utemiljön.

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Toivonen, Tuuli, Aina Brias Guinart, Johanna Eklund, Hästbacka Matti, Leppämäki Tatu e Torkko Jussi. Potential of mobile big data for visitor monitoring : Report of the MOBICON workshop held in Helsinki 28.9.2023. Digital Geography Lab, University of Helsinki, 2023. http://dx.doi.org/10.31885/2024.030501.

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The Changes in Nature Visitation and the Potential of Mobile Big Data for Visitor Monitoring workshop was held in Helsinki on 28.9.2023. We organized the workshop as part of the five-year MOBICON research project (Mobile Big Data for Understanding People in Nature - Detecting short- and long-term changes and their implications for biodiversity conservation) funded by Kone Foundation. The aim of the workshop was to collect expert opinions related to the changes in the recreational use of nature, the monitoring needs related to the changing visitations, and to discuss the possibilities of various new data sources to meet managerial information needs. Eight experts from different organisations (Metsähallitus, City of Helsinki, Uusimaa Recreation Area Association Uuvi and Suomen Latu r.y.) participated in the event. Prior to the workshop, the participants had answered a survey about their experiences and information needs related to the changing visitations. The discussion progressed from the results of the survey to more in-depth discussions. Below we summarize the key results from the discussions. The recreational use of nature was seen to be changing. Recreational use is increasing and its temporal rhythms are changing. At the same time, the visitor base becomes more diverse because of the general diversification of society and the fact that new user-groups have started to explore nature. Activities and ways of being in nature are also diversifying. Approaching the changes through four megatrends (social, environmental, political and technological changes). The social and environmental drivers of change were seen as the most important. social changes were identified to be related to the ageing of the population and the diversification of nature visitors. Climate change, as an environmental factor, was identified as the most important driver of change, impacting both nature but also human behaviour. Among the political drivers of change, particularly the increasing polarisation of society emerged in the discussion. In addition, political decisions relating to everyone's rights, biodiversity protection and resources directed for the management of recreational areas were seen as important. Technological changes were identified as important and this change taking place as part of the broader technologization of society. On the one hand, this general technologization increases the opportunities for access to and sharing of information. On the other hand, the increased ‘measurement culture’ also affects the amounts of recreational use, as people are aiming to reach their kilometer or step targets. The information needs of organisations were recognized to include 1) planning of management actions, 2) justifying one's own activities for securing funding and 3) informing visitors. Information is needed on visitor flows and their spatial and temporal distribution. In addition, information about the visitors themselves was considered necessary, especially as the visitor base is becoming more diverse. The workshop participants also expressed concern about those who do not visit recreational areas: how get more information about them and the factors that limit nature visits. Collecting visitor data was seen as expensive and time-consuming, which is why finding new kinds of data sources has potential. Mobile data was evaluated as an interesting source of information and its various aspects were discussed through a SWOT analysis. However, it was clear that in operational use, information must be reliable and easily accessible and some doubts were raised on the potential of mobile big data from this aspect. The event was organised by Aina Brias Guinart, Matti Hästbacka, Tatu Leppämäki, Jussi Torkko and Tuuli Toivonen. Johanna Eklund participated in the workshop from maternity leave. More information about the event or research can be found on the project's website or by e-mail to the project's researchers: mobicon-project@helsinki.fi. The MOBICON project will operate from 2022 to 2026 and it is funded by Kone Foundation. Website: https://www.helsinki.fi/en/researchgroups/digital-geography-lab/projects/mobicon.

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