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Seis sonatas e partias para violino solo de J. S. Bach ao violão: fundamentos para adaptação do ciclo; Six sonatas and partias for solo violin by J. S. Bach on the guitar: adaptation principles for arranging the cycle

Costa, Gustavo Silveira
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 30/03/2012 PT
Relevância na Pesquisa
37.77%
Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário...

Concerto para violãoe orquestra de Francisco Mignone: edição crítica a partir da versão de Sérgio Abreu; Concerto for guitar and orchestra of Francisco Mignone: critical edition from version Sérgio Abreu.

Orosco, Mauricio Tadeu dos Santos
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 12/11/2013 PT
Relevância na Pesquisa
37.5%
Esta tese aborda o Concerto para Violão e Orquestra de Francisco Mignone, ainda pouco conhecido do público e violonistas de modo geral, apesar de seu retorno gradativo aos programas de concerto durante a última década. Nosso trabalho abrangeu duas frentes: a revisão da obra como um todo e o estudo das sugestões de Sérgio Abreu para a parte solista, concebida como apoio às primeiras apresentações brasileiras. A revisão da parte orquestral, a partir do confronto entre fontes primárias, seguiu ideias centrais de James Grier em seu conceito do intérprete-editor, que intervém para prover uma partitura alinhada às suas fontes históricas, ao mesmo tempo de fácil leitura e realização. Contextualizamos as proposições violonísticas de Sérgio Abreu em meio a revisões representativas de outros repertórios por personagens referenciais do instrumento, com as análises iniciais balizadas em princípios gerais do estruturalismo de Arnold Schönberg e William Caplin. Posteriormente as confrontamos também com as fontes primárias do violão solista e contexto orquestral. Embora nossa meta principal tenha sido a revisão crítica deste Concerto, nossa dupla abordagem propiciou uma reflexão em torno de suas características centrais...

Violão-canção: diálogos entre o violão solo e a canção popular no Brasil; Guitar-Song: dialogues between solo guitar and popular song in Brazil

Saraiva, Chico
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 24/02/2014 PT
Relevância na Pesquisa
37.58%
Este trabalho se propõe a investigar o trânsito de informações musicais que se dá no campo de intersecção existente entre o universo do violão solo, em especial aquele ligado à música erudita ou de concerto, e o universo da canção popular no Brasil. Foram realizadas entrevistas com sete mestres de reconhecida atuação nos universos abordados. Sérgio Assad, Marco Pereira e Paulo Bellinati ligados à prática do violão solo; João Bosco, Paulo César Pinheiro e Luiz Tatit, à canção popular; e Guinga, que atua na face de contato entre os campos estudados. A opção pelo formato de montagem permite que os diversos discursos convivam entre si por meio dos sete capítulos que compõem esta dissertação. Essa montagem pode ser acompanhada através da leitura das transcrições descritivas das entrevistas realizadas e da escuta dos tracks do DVD anexo. Assim, o presente trabalho se vale tanto dos recursos próprios da tradição escrita quanto de recursos que obedecem à dinâmica da tradição não-escrita, os quais se complementam nesta pesquisa a fim de contemplar a natureza da matéria musical nascida da interação entre estes universos.; The present work investigates the exchange of musical information within the intersection between the universe of solo guitar - especially when connected with classical music - and the universe of Brazilian popular song. For this purpose seven renowend guitar masters from both universes were interviewed: Sérgio Assad...

Os cinco prelúdios para violão de Heitor Villa-Lobos e a transcrição para piano de José Vieira Brandão: uma análise comparativa; The Five Preludes for guitar by Heitor Villa-Lobos and José Vieira Brandão’s piano transcription : a comparative analysis

Wolff, Daniel; Alessandrini, Olinda
Fonte: Universidade Federal do Rio Grande do Sul Publicador: Universidade Federal do Rio Grande do Sul
Tipo: Artigo de Revista Científica Formato: application/pdf
POR
Relevância na Pesquisa
37.5%
Este artigo discute a transcrição para piano dos Cinco Prelúdios para violão de Heitor Villa-Lobos. O autor das transcrições, José Vieira Brandão, aluno e colaborador de Villa-Lobos, contou com a aprovação do compositor para a publicação das mesmas. Após contextualizar os prelúdios dentro da obra de Villa-Lobos para violão e estabelecer as circunstâncias históricas das transcrições, a discussão enfoca a problemática da adaptação para o piano dos recursos característicos do violão empregados na versão original.; The present article discusses the piano transcription of Heitor Villa-Lobos’s Five Preludes for guitar. The author of the transcriptions, José Vieira Brandão, pupil and collaborator of Villa-Lobos, had the composer’s approval for publishing the piano version. Upon presenting the preludes in the context of Villa-Lobos’s guitar works and establishing the historical background of the transcriptions, the discussion focuses on the problem of adapting for the piano the idiomatic guitar writing of the original score.

Violão expandido : panorama, conceito e estudos de caso nas obras de Edino Krieger, Arthur Kampela e Chico Mello; Extended technique guitar : overview, concept and case study in works for guitar in Brazil by Edino Krieger, Arthur Kampela and Chico Mello

Mário da Silva Junior
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 09/12/2013 PT
Relevância na Pesquisa
37.69%
O trabalho investiga as obras para violão dos compositores Edino Krieger (1928) (Ritmata, 1974 para violão solo), Chico Mello (1958) (Do Lado Do Dedo, 1987 para violão solo e Dança para quatro violões, 1986) e Arthur Kampela (1960) (Percussion Study 1,1991-93, para violão solo) visando criar um guia de interpretação e escrita da técnica expandida no Brasil. As obras perpassam um âmbito produtivo que se estende de 1974 a 1994 e investigaram-se conceitos e tendências em visão panorâmica da técnica expandida de maneira histórica nacional e internacional. Tal investigação teve como objetivo a abordagem das características complexas do ponto de vista rítmico-percussivo e timbrístico. Procedimentos articulatórios variáveis da execução do violonista implicam aprimoramento e enriquecimento da qualidade estética do repertório. Esses procedimentos consistem em processos criativos de viabilização acústica e adequação mecânica, suportes instrumentais e materiais para melhor clareza e exequibilidade nas obras. Elencou-se e categorizou-se cada possibilidade sonora expandida encontrada nessas obras.; The thesis investigates the works of composers Edino Krieger (1928) (Ritmata 1974 for solo guitar ), Chico Mello (1958) ( Do Lado do Dedo...

Ensino de guitarra e violão : uma construção social e pessoal; Guitar and electric guitar teaching : a social and personal construction

José Tadeu Dutra Zafani
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 29/07/2014 PT
Relevância na Pesquisa
37.77%
Utilizando conceitos sociológicos de Pierre Bourdieu (1996,1998,2004) e Bernard Lahire (2002,2004,2010) e da sociologia da educação de Maria da graça Setton (2002, ,2007,2008, 2010, 2011,2012), o presente trabalho tem como objetivo esboçar o "retrato sociológico musical" de professores de guitarra, professores de violão e professores de ambos os instrumentos. Para isso, conectou-se o processo socializador pelo qual passou cada professor durante sua formação junto ao campo sociomusical em que atuam com suas formas particulares de agir, pensar, crer e perceber (disposições) os aspectos musicais no presente de seus respectivos trabalhos, tendo como principais eixos de investigação as respectivas práticas do ensino da guitarra e do violão e as possíveis relações didáticas entre os dois instrumentos e suas simultâneas atuações artísticas. Para obter as informações necessárias para a realização da pesquisa, foram realizadas entrevistas presenciais com doze professores, com qualquer trajetória musical, que se encaixaram no perfil da pesquisa. Observou-se que a forma de agir, pensar, crer e perceber o ensino de guitarra e violão se mostra como reflexo de uma construção social e musical através da qual os professores transitam...

Lyrics for Guitar Pieces

Brown, Chris (1945 - )
Fonte: Universidade de Rochester Publicador: Universidade de Rochester
Tipo: Trabalho em Andamento
ENG
Relevância na Pesquisa
37.58%
Lyrics to a mellow, jazzy guitar duet by Bugs Bower and a western-sounding guitar trio by John Wiesenthal. ; Lyrics to a guitar duet by Bugs Bower and a guitar trio by John Wiesenthal.

The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song

Dean, Alexander
Fonte: Thesis (Ph.D)--University of Rochester Publicador: Thesis (Ph.D)--University of Rochester
Tipo: Thesis; Book
ENG
Relevância na Pesquisa
37.64%
xv, 404 leaves : ill., music ; 28 cm.
Includes abstract and vita.
Includes bibliographical references.; This dissertation examines the repertory of printed Italian song with the chordsymbol notation for five-course guitar known as alfabeto. This repertory spans the first half of the seventeenth century, representing the notated trace of a widespread unwritten tradition of semi-improvised song and dance that influenced both the performance and composition of printed Italian song in the seventeenth century. An examination of the relationship between the alfabeto symbols and the notated music reveals varied approaches to alfabeto notation in these songbooks. In some, particularly the Roman and Neapolitan editions from the 1610s and 20s, the alfabeto symbols are incompletely integrated into the music, and are set with little or no attention to their practical value for the guitarist. But in later prints, particularly from Venice in the 1620s-1650s, the alfabeto suggests a new understanding of and influence from the dance-song tradition.
This division between “non-practical” and “practical” alfabeto sources allows a more detailed discussion of the guitar and song accompaniment than has heretofore been possible...

Referenciais para o ensino de violão na formação do musicoterapeuta; References for the teaching guitar in the training of music therapists

TEIXEIRA, Levi Trindade
Fonte: Universidade Federal de Goiás; BR; UFG; Mestrado em Música; Linguística, Letras e Artes Publicador: Universidade Federal de Goiás; BR; UFG; Mestrado em Música; Linguística, Letras e Artes
Tipo: Dissertação Formato: application/pdf
POR
Relevância na Pesquisa
37.69%
This work, in view of encompassing a interdisciplinary research, presents as theoretical references, knowledge in the areas of high learning education, Music Therapy and Musical Education. In general, the guitar teacher, while involved in the teaching of Music Therapy is frequently faced with specific challenges in the area where the guitar traditional teaching methods, popular or erudite neglect. Thus, some questions have been raised, amongst them: 1) Would the guitar graduation in Music therapy offer the graduate the necessary skills for him to face the real demands of the profession? 2) Which playing abilities would the music therapist have to achieve? 3) Which contents the music educator do have to know in Music therapy to orient and contextualize his classes? In order to respond to these questions, this research has the general objective of describing, analyzing and comparing knowledge in the area of Musical Education as well as in Music Therapy in a interdisciplinary perspective for instrumental graduation guitar practice of the graduate and the music therapist. For this purpose, it made use of a collection of data performed into two phases: 1) structured interviews of professionals in Music therapy possessing more than three years of experience...

Ensino do trêmolo e da scordatura na contemporaneidade: aproximações entre técnica tradicional e estendida no repertório para violão erudito; The teaching of tremolo and scordatura nowadays: similiraties between traditional and extended ito the repertoire for classical guitar

STEFAN, Gilberto de Souza
Fonte: Universidade Federal de Goiás; BR; UFG; Mestrado em Música; Linguística, Letras e Artes Publicador: Universidade Federal de Goiás; BR; UFG; Mestrado em Música; Linguística, Letras e Artes
Tipo: Dissertação Formato: application/pdf
POR
Relevância na Pesquisa
37.64%
This 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...

A música para violão solo de Edino Krieger: um estudo do idiomatismo técnico-instrumental e processos composicionais; The solo guitar music by Edino Krieger: a study of the technical-instrumental "idiomatism" and compositional processes

Kreutz, Thiago de Campos
Fonte: Universidade Federal de Goiás; Brasil; UFG; Programa de Pós-graduação em Musica (EMAC); Escola de Música e Artes Cênicas - EMAC (RG) Publicador: Universidade Federal de Goiás; Brasil; UFG; Programa de Pós-graduação em Musica (EMAC); Escola de Música e Artes Cênicas - EMAC (RG)
Tipo: Dissertação Formato: application/pdf
POR
Relevância na Pesquisa
37.64%
This thesis is about the five solo-guitar works composed by brazilian composer Edino Krieger: Prelúdio, Ritmata, Romanceiro, Passacalha para Fred Schneiter and Alternâncias. As these works present notorious functionality and effect on the instrument, we seek to understand how the composer uses the idiossyncratic caracteristics of the guitar in writing for this instrument. Thus, we discuss the relationship involving the composer, the refered works and the instrument. The work itself is divided in three parts. In the first we present biographical data, compositional caracteristics, works and the relationship between the composer and the classical guitar. In the second the compositional process used in the works is discussed, as well as their recurrence in the presented compositions. For this analysis the used methods were the analytical precepts proposed by John White (1976). In the third part we discuss the use and application of “idiomatism” as and applicable term in the field of music studies. To evidentiate the use of idiomatic elements of the guitar in the works of Edino Krieger, the method used was that proposed by Fábio Scarduelli (2007) – two distinct aspects of idiomatism: “implicit” and “explicit”.; Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq; Este trabalho aborda as cinco obras escritas para violão solo pelo compositor brasileiro Edino Krieger: Prelúdio...

The prevalence of playing-related musculoskeletal disorders to the upper limb in student guitar players

Scully, Damien
Fonte: Department of Physiotherapy, University of Limerick Publicador: Department of Physiotherapy, University of Limerick
Tipo: Bachelor thesis; all_ul_research; ul_theses_dissertations; none
ENG
Relevância na Pesquisa
37.58%
non-peer-reviewed; Background: Interest in playing-related musculoskeletal disorders (PRMDs) has been stimulated in the last thirty years. Physiotherapists are beginning to see increasing cases of PRMDs. PRMD prevalence in musicians has been reviewed in current research but there is a lack of evidence pertaining to PRMD prevalence in the use of a certain single instrument. Objectives: The primary aim of this study was to determine the prevalence of PRMDs to the upper limb in third-level student guitar players, and the most affected upper limb location. Secondary aims were to assess the relationship between the occurrence of PRMDs and gender, age, length of time learning guitar, and weekly practise time. Methods: A questionnaire of original design was created using Survey Monkey. 244 students from the University of Limerick were recruited by e-mail to complete it. Results: PRMD prevalence in third-level student guitar players was found to be 40.98%. Females (49.12%) were more affected than males (38.50%). However, this was statistically insignificant (p = 0.17). The most affected location was the finger. No significant relationship was found between years learning the guitar and PRMD development. Conclusion: The PRMD prevalence in this sample was within the previously reported range. No previous risk factors were shown to be of statistical significance. Further research should continue looking at PRMDs in other instruments in isolation.

A Graduate Guitar Recital Consisting of Works by Leo Brouwer and Mario Castelnuovo-Tedesco with Extended Program Notes

Caboverde, Enrique, III
Fonte: FIU Digital Commons Publicador: FIU Digital Commons
Tipo: Artigo de Revista Científica Formato: application/pdf
Relevância na Pesquisa
37.69%
This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

Replacing patterns : towards a revision of guitar fretboard pedagogy.

Elmer, Colin
Fonte: Universidade de Adelaide Publicador: Universidade de Adelaide
Tipo: Tese de Doutorado
Publicado em //2009
Relevância na Pesquisa
37.69%
This thesis deals with pedagogical shortcomings encountered by contemporary guitar students and players, which have been further exacerbated by what is shown to be teaching syllabi that hamper a deeper understanding of the theoretical underpinnings of the guitar fretboard. The thesis is structured in two halves. The first half discusses deficiencies in current guitar teaching methodologies, as identified by the candidate, and through a survey of leading South Australian guitar teachers. The second half addresses those deficiencies by means of a series of structured exercises and original short compositions designed to imbue the guitar student with a deeper understanding of the harmonic and melodic capabilities of the instrument. These, it is argued, should form the basis of a revised pedagogical approach to the guitar, its fretboard in particular.; Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

Across the Pacific: the transformation of the steel guitar from Hawaiian folk instrument to popular music mainstay.

Cundell, Roger Guy Scott
Fonte: Universidade de Adelaide Publicador: Universidade de Adelaide
Tipo: Tese de Doutorado
Publicado em //2014
Relevância na Pesquisa
37.84%
This project examines the transformation in the early 20th century of the steel guitar from a Hawaiian folk instrument to a mainstay of American popular music. The steel guitar – here characterised as a prepared instrument and a performance style whereby a guitar is positioned face up on the lap of a seated player who stops the strings by means of a steel bar – is a late 19th century Hawaiian adaption of the Spanish guitar. Its original role was that of a solo and accompanying instrument in the performance of Hawaiian music, which was itself an ethnic music tradition that had developed under American and European colonial influences. Once Hawaiian music was exposed to Western audiences in the early 20th century, its popularity grew rapidly and it evolved from an ethnic curiosity to a global popular music phenomenon. The steel guitar was at first synonymous with Hawaiian music, but just as the music became more global in its outreach, so too did the instrument itself. The steel guitar came to be gradually divorced from its original, ethnic Hawaiian context, and was incorporated steadily into a range of mainland American popular music stylings. This study examines the origins of the steel guitar, the evolution of early steel guitar style and the context in which the evolution occurred.; Thesis (M.Phil.) -- University of Adelaide...

Bridging Two Worlds: Baroque Violin Performance Practices as a Model for the Transcription of Selected Movements of J.S. Bach's Sonatas and Partitas for Solo Violin on the Modern Guitar

Ribeiro Alves, Júlio
Fonte: Universidade de Indiana Publicador: Universidade de Indiana
Tipo: Document (D. Mus.)--Indiana University, 2012.
EN_US
Relevância na Pesquisa
37.69%
This document explores the role of the baroque violin practices of bowing, chord playing, and slurring in arrangements for the modern guitar, of selected movements of J. S. Bach’s Sonatas and Partitas (BWV 1001-1006) for solo violin. This document aims to expand the range of possible solutions for all guitarists interested in playing Bach’s unaccompanied solo music by making a “bridge” between these essential performance practices of the baroque violin and the capabilities of the modern guitar. Some practices associated with other baroque instruments such as the lute and the harpsichord are also considered. The guitar arrangements included at the end of the document were conceived taking into account techniques that were intrinsic to Bach’s conception of these violin pieces as violin music. As a consequence, the musical content has a primary position in the final product. The methodology is primarily based on the study of the bowing practices, and the slurring practices of the baroque violin (both of them essential aspects of the technique of the instrument) and their realization in terms of modern classical guitar technique. These elements of violin technique are the structural pillars of the proposed bridge. Secondary to them...

A obra para violão de Pedro Cameron: características idiomáticas e estilísticas; The works for classical guitar of Pedro Cameron: idiomatic and stylistic characteristics

PEROTTO, Leonardo Luigi
Fonte: Universidade Federal de Goiás; BR; UFG; Mestrado em Música; Linguística, Letras e Artes Publicador: Universidade Federal de Goiás; BR; UFG; Mestrado em Música; Linguística, Letras e Artes
Tipo: Dissertação Formato: application/pdf
POR
Relevância na Pesquisa
37.64%
The proposal of this research is to investigate the process of creation of the Brazilian composer Pedro Cameron, mainly through the survey and analysis of his work, pointing out specific stylistic characteristics, his perception of the classical guitar idiomatism, and its influence on compositional solutions. In the beginning of the twentieth century, there was a significant growth in the number of works written for the classical guitar by composers of diverse musical backgrounds. These works consolidated a more reorganization both in the writing and the idiomatic absorption of the instrument. The musical works for classical guitar by Pedro Cameron is part of this context, creating an important investigative link for the Brazilian contemporary repertoire. The first part of this master thesis contextualizes this moment, presenting information about the classical guitar in Brazil and the world, and a brief biography of the composer. The second part presents an analytical inquiry of some Cameron's pieces, encompassing the period between the decade of 1970 and the present days. The theoretical framework is based on authors such as Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). The last part evaluates the procedures of the composer through what was observed in the analyses...

A guitarra elétrica na música popular brasileira : os estilos dos músicos José Menezes e Olmir Stocker; The electric guitar in brazilian popular music : The styles of the musicians José Menezes and Olmir Stocker

Eduardo de Lima Visconti
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 08/09/2010 PT
Relevância na Pesquisa
37.69%
O tema desta tese é a inserção da guitarra elétrica na música popular brasileira, processo que se deu de forma gradativa a partir de meados do século XX. Através do estudo dos estilos de José Meneses e Olmir Stocker, dois músicos que se dedicaram a esse instrumento, procuro compreender o modo pelo qual a guitarra elétrica não apenas foi introduzida, mas se adequou ao repertório da nossa música popular. Identificada como instrumento dotado de dispositivos artificiais (captadores eletrônicos) e portadora de uma carga de significados associados ao jazz e à música pop anglo-americana, a guitarra foi objeto de veneração e rejeição por parte de críticos e músicos. Ao mesmo tempo em que fora repudiada por uns como símbolo de "estrangeirismo" ou até mesmo do imperialismo cultural sobre a nação brasileira, era reconhecida por outros como elemento de sofisticação e de modernidade musical. Apoiado em análises de composições e gravações de José Meneses e Olmir Stocker, procurei demonstrar que os estilos desses músicos expressam, de certa forma, uma gama de conflitos simbólicos que permearam o meio musical ao longo de décadas, balizados pelas oposições entre nacional x internacional, erudito x popular, comercial x não comercial...

Real-time software electric guitar audio transcription

Fiss, Xander
Fonte: Rochester Instituto de Tecnologia Publicador: Rochester Instituto de Tecnologia
Tipo: Tese de Doutorado
EN_US
Relevância na Pesquisa
37.69%
Guitar audio transcription is the process of generating a human-interpretable musical score from guitar audio. The musical score is presented as guitar tablature, which indicates not only what notes are played, but where they are played on the guitar fretboard. Automatic transcription remains a challenge when dealing with polyphonic sounds. The guitar adds further ambiguity to the transcription problem because the same note can often be played in many ways. In this thesis work, a portable software architecture is presented for processing guitar audio in real time and providing a set of highly probable transcription solutions. Novel algorithms for performing polyphonic pitch detection and generating confidence values for transcription solutions (by which they are ranked) are also presented. Transcription solutions are generated for individual signal windows based on the output of the polyphonic pitch detection algorithm. Confidence values are generated for solutions by analyzing signal properties, fingering difficulty, and proximity to previous highest confidence solutions. The rules used for generating confidence values are based on expert knowledge of the instrument. Performance is measured in terms of algorithm accuracy, latency...

The acoustic guitar in American culture, 1880-1980

Bozanic, Andrew Durkota Augustine
Fonte: University of Delaware Publicador: University of Delaware
Tipo: Tese de Doutorado
Relevância na Pesquisa
37.58%
Mohun, Arwen P.; Daniel, Pete; Once primarily a Victorian parlor instrument, the acoustic guitar emerged in the twentieth century as a key component of almost every major genre of popular American music. How did this happen? The path to ubiquity involved manufacturers, cultural movements, networks of mass communication, and musicians. These factors combined to gradually transform the design, construction, dissemination, and use of the instrument in American musical culture. Makers employed new methods of mass-producing instruments to lower costs and improve the guitar's intrinsic qualities. They also utilized the strategy of "aspirational marketing." This tactic enticed consumers to purchase a guitar not simply as a music-making device, but rather as an object that could virtually transport a listener to faraway destinations or possibly serve as the ticket to gaining fame and fortune alongside the celebrities of mass media. The story of the popularization of the acoustic guitar is inextricably tied to periods of heightened American cultural interest in two other members of the fretted stringed instrument family: the mandolin and ukulele. Ultimately, this process culminated in a wide range of instruments from flimsy plywood guitars decorated with cowboy imagery to durable "Space Age" instruments like the Ovation guitars endorsed by recording artists. Yet this is not just a story about an object...