Добірка наукової літератури з теми "Scordatura guitar"
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Статті в журналах з теми "Scordatura guitar"
Castilla-Ávila, Agustín. "Microtonal Scordatura in the Guitar Works of A. Castilla- Ávila (1996-2021)." Revista Vórtex 9, no. 3 (December 15, 2021): 1–16. http://dx.doi.org/10.33871/23179937.2021.9.3.1.
Повний текст джерелаДисертації з теми "Scordatura guitar"
Souza, João Batista Costa de. "Estratégias para o aprendizado de obras com scordaturas não usuais : Um estudo com violinistas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142481.
Повний текст джерелаThe learning of guitar works composed in nontraditional tunings is commonly considered a complex task. Depending on the tuning, the arrangement of notes along the instrument fretboard can change radically. It interferes directly in the preparation of a work from the initial reading moments and through the processes of fingering and memorization. The purpose of this research was to investigate the effectiveness of different study strategies during the initial approach to guitar works with unusual scordaturas by eight guitarists of different academic levels. Other objectives included identifying common problems for guitarists during the study of works with scordatura and investigating whether prior training influences the learning of works with nontraditional tunings. For data collection, two separate meetings were held. Each meeting consisted of a session of study of musical excerpts, followed by the performance of the studied excerpt and a semi-structured interview. A questionnaire was applied with he purpose to access the musical experience of the subjects. In the first meeting, subjects were allowed to conduct the study deliberately, in order to prepare the piece in the shortest time possible. In the second meeting, the subjects received study strategies previously established for each piece. The meetings, performances and interviews were filmed. Different academic levels determined the quality of the final products of the first study session. The use of four strategies generated performances with less qualitative differences between the subjects, regardless of their academic level. Also, the effectiveness of these was influenced by its capacity to fit effectively the texture and harmonic idiom of the pieces. Interviews and questionnaires showed also that the learning profile, the individual use of mental representations, the use of study guides in the score and the musical background of each subject, have influenced how different strategies may or may not be effective, regardless of how much information they provide in the score.
Cardoso, Iury. "A adaptação para violão das 12 Danzas Españolas Op.37 de Enrique Granados através de novas propostas de scordature." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17042018-141816/.
Повний текст джерелаThis work deals with the process of transcription for guitar solo of the 12 Danzas Españolas Op. 37 of Enrique Granados, written originally for piano. This process was developed through the observation of guitar versions of other original works for piano, comparisons between the specific instrumental resources of these two instruments and a historical survey, where the main problems of adaptation of the musical and aesthetic elements of the original work were analyzed in a new medium. In order to contextualize this work in the transcription panorama, we visit the history of Granados, analyzing the general aspects of its Danzas Españolas, as well as discussing the conception of the scordatura to, from there, to use the research method of different tuning possibilities in the seeking to make feasible the satisfactory assimilation of the work in question, without losing sight of, during this process, the original idea of the composer. Through the results obtained, as understood by the methods employed, we find a wide field of possibilities to be researched and new solutions of adaptation and scordature to be used, establishing the practice of transcription as an artfully valid procedure, provided that it is properly contextualized.
STEFAN, Gilberto de Souza. "Ensino do trêmolo e da scordatura na contemporaneidade: aproximações entre técnica tradicional e estendida no repertório para violão erudito." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2710.
Повний текст джерелаThis work deals with teaching of tremolo and scordatura techniques as extended techniques. To do so, it is based on the repertoire of contemporary classical guitar, in this dissertation understood as that covering the period of the last 35 years. The goal is to demonstrate the use of these resources in the teaching of musical performance addressed to the musicians previously able to perform the tremolo and scordatura in the traditional way. Divided into three parts, this work presents, in Chapter I, the state of the art in concepts of extended techniques, tremolo, scordatura and guitar pedagogy. Books, articles, theses, dissertations and communications published in the last 10 years, both in Brazil and abroad, have been consulted in search of theoretical background to justify such research. The theoretical framework that supports this dissertation can be seen in the productions of Carinci, Oliveira and Ray (2010), Batista (2009), Ishii (2005), and Tokeshi (2003). Chapter II presents the selection criteria and the excerpts of works containing the resources of tremolo and scordatura. A demonstrative frame with the pieces is firstly exposed. Other relevant information, such as year of publication of the pieces, is presented along with a brief biography of their composers. The extended resources identified in each work are also presented so that they can be compared to their traditional techniques. Chapter III contains the analysis of the extended resources and suggests a pedagogical application for the teaching of guitar. The main considerations resulting from this dissertation summarize, besides the thought about the teaching of extended techniques to the guitar, initial reflections on the genesis and taxonomy of newly invented technical and composicional resources.
Este trabalho trata do ensino das técnicas de trêmolo e scordatura sob o viés de técnicas estendidas. Para tanto, apoia-se no repertório do violão erudito contemporâneo, compreendido nesta dissertação como aquele que abrange o período dos últimos 35 anos. O objetivo é demonstrar o uso destes recursos no ensino da performance musical dirigida a instrumentistas previamente aptos a executar o trêmolo e a scordatura por seu viés tradicional. Dividido em três partes, este trabalho apresenta no primeiro capítulo o estado da arte referente aos conceitos de técnicas estendidas, trêmolo, scordatura e pedagogia do violão. Foram consultados livros, artigos, teses, comunicações e dissertações publicadas nos últimos 10 anos, tanto no Brasil quanto no exterior, na busca de subsídio teórico que justificasse tal pesquisa. O quadro teórico que embasa esta dissertação apresenta-se na produção de Carinci, Oliveira e Ray (2010), Batista (2009), Ishii (2005), e Tokeshi (2003). O segundo capítulo apresenta os critérios de seleção e trechos de obras que contêm os recursos de trêmolo e scordatura. Um quadro demonstrativo com as peças é exposto de início. Outras informações relevantes, como o ano de publicação das peças, são apresentadas junto a uma breve biografia de seus compositores. Os recursos estendidos identificados em cada obra também são apresentados de modo que seja possível compará-los ao seu viés tradicional. O terceiro capítulo contém a análise dos recursos estendidos e aponta uma aplicação pedagógica para o ensino destes ao violão. As principais considerações resultantes desta dissertação sintetizam, além do pensamento sobre o ensino de técnicas estendidas ao violão, reflexões iniciais sobre a gênese e a taxonomia de recursos técnicos e composicionais recém-inventados.
Borges, Rafael Garcia. "O uso de scordatura para a execução no violão de obras compostas para alaúde barroco : transcrição e exemplos extraídos da obra de Silvius Leopold Weiss." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10557.
Повний текст джерелаThe aim of the present work is to analyze the problems involved in transcribing for guitar works originally composed for the baroque lute. The differences between the two instruments regarding notation, number of strings and tuning are discussed, followed by an overview of the use of scordatura in a variety of plucked instruments. The idiomatic characteristics of the music written for the Baroque lute and the possibility to adapt them to the guitar are analyzed. Finally, a guitar transcription of the Suíte XIII in D Major, by S. L. Weiss, originally written to the baroque lute, is presented.