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"Guitar Performance."
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21st century guitar : evolutions and augmentations
\"Examines the diverse physical manifestations of the guitar which have emerged in response to the needs of the modern performer and explores the creative possibilities these new forms afford\"-- Provided by publisher.
Book
A guide to playing the baroque guitar
James Tyler offers a practical manual to aid guitar players and lutenists
in transitioning from modern stringed instruments to the baroque guitar. He begins
with the physical aspects of the instrument, addressing tuning and stringing
arrangements and technique before considering the fundamentals of baroque guitar
tablature. In the second part of the book Tyler provides an anthology of
representative works from the repertoire. Each piece is introduced with an
explanation of the idiosyncrasies of the particular manuscript or source and
information regarding any performance practice issues related to the piece itself --
represented in both tablature and staff notation. Tyler's thorough yet practical
approach facilitates access to this complex body of work.
eBook
Play with ease : a healthy approach to guitar technique
\"Playing with Ease is a book about ergonomic technique for the guitar, as well as other instruments. Renowned classical guitarist David Leisner offers an introduction to the basic anatomy of movement, advice on relieving unnecessary tension, pioneering ideas about engaging large muscles, and tips for practicing and concert preparation.\"
Book
An Investigation into Hemodynamic Activity in the Brain During Guitar Performance Using the fNIRS Method
The goal of this study is to reveal the relationships between brain activation and the quality of guitarists' solo performances by using Functional Near-Infrared Spectroscopy (fNIRS). Students' brain hemodynamics were measured with fNIRS while playing the guitar, and there was an attempt to determine hemodynamic activity occurring in four different regions of the brain during the best and worst performances. Video recordings were taken during the students' performances, and their performance levels were evaluated using the Guitar Performance Rating Scale [GPRS]. The fNIRS data obtained during guitar performances was analyzed by comparing the hemodynamic (OxyHb) activity in different regions of the cerebral cortex. Also, following this, the t-values of the data were calculated through the MATLAB software, and were visualized in the form of a cerebral cortex heat map.As a result of the fNIRS measurements, it was observed that significant activations occurred in all regions of the participants' brains, and activity was recorded in the regions expected to be activated in tasks associated with music. Especially in the parietal region, it was determined that there was more OxyHb activity during the worst performances than during the best performances. The same situation was observed in the occipital region during the best performances. While intense OxyHb activity was seen in the right hemisphere in the prefrontal cortex region during the best performance, it was determined that the intensity of activity changed towards the left hemisphere during the worst performances. In the temporal cortex region, high OxyHb activity was detected in both hemispheres, although it was more intense and spread over a wider area in the right hemisphere during the best performances. During the worst performances, it was determined that while the activity area in both hemispheres remained the same, the intensity of OxyHb activity decreased.
Journal Article
Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos
In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience’s sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, “the best of all” as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes” considers this would have an ironic character. “Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six”.
Journal Article
Sound-producing actions in guitar performance of groove-based microrhythm
This paper reports on an experiment that investigated how guitarists signal the intended timing of a rhythmic event in a groove-based context via three different features related to sound-producing motions of impulsive chord strokes (striking velocity, movement duration and fretboard position). 21 expert electric guitarists were instructed to perform a simple rhythmic pattern in three different timing styles—\"laidback,\" \"on-the-beat,\" and \"pushed\"—in tandem with a metronome. Results revealed systematic differences across participants in the striking velocity and movement duration of chords in the different timing styles. In general, laid-back strokes were played with lower striking velocity and longer movement duration relative to on-the-beat and pushed strokes. No differences in the fretboard striking position were found (either closer to the \"bridge\" [bottom] or to the \"neck\" [head]). Correlations with previously-reported audio features of the guitar strokes were also investigated, where lower velocity and longer movement duration generally corresponded with longer acoustic attack duration (signal onset to offset).
Journal Article
15. Aspects of Musical Language of Heitor Villa-Lobos’ Concert Studies
Careful research has shown that the Brazilian composer’s works are inaccurate in terms of indications yet respecting every parameter of music. Regarding the technical aspects, which represent the quintessence in the interpretation of string instruments, and in our case, a dark realm due to the lack of their representation on the score, the performer must make balanced decisions based on imagination and education acquired during years of study.
Journal Article
Ecological Models of Musical Structure in Pop-Rock, 1950-2019
This dissertation explores the relationship between guitar performance and the functional components of musical organization in popular-music songs from 1954 to 2019. Under an ecological theory of affordances, three distinct interdisciplinary approaches are employed: empirical analyses of two stylistically contrasting databases of popular-music song transcriptions, a motion-capture study of performances by practicing musicians local to Columbus, Ohio, and close readings of works performed and/or composed by popular-music guitarists. Each offers gestural analyses that provide an alternative to the object-oriented approach of standard popular-music analysis, as well as clarification on issues related to style, such as the socially determined differences between “pop” and “rock” music.
Dissertation
Nationalists, cosmopolitans, and popular music in Zimbabwe
No detailed description available for \"Nationalists, Cosmopolitans, and Popular Music in Zimbabwe\".
eBook