Guitar

A study conducted by researchers at the University of Tasmania observed a gender disparity among guitar students in Australian tertiary popular music programs. The study's data suggests approximately ninety percent of Australian tertiary popular music guitar students identify as male. Further research was conducted to investigate how this phenomena compares to communities located in Florida and if such disparities are anomalous or consistent with global trends in guitar Communities of Practice (CoPs). This paper presents both quantitative and qualitative data from the study conducted at the University of Tasmania. It also contains as further netnographic quantitative data collected from educators and online CoPs located in Florida, and global communities, to gain estimates of gender dispersion in these communities. The further data found a similar gender imbalance is present in online communities. However, the gender imbalance was found to be less pronounced in the private guitar tuition sector. Data collected from educators in the U.S.A, the U.K., and Australia revealed a 36.5% quota of female guitar students among the global sample. Data

(if you go to the Amazon link, https://www.amazon.com/Musical-Prodigies-Interpretations-Psychology-Ethnomusicology/dp/0199685851/ref=sr_1_1?s=books&ie=UTF8&qid=1471990787&sr=1-1&keywords=Musical+Prodigies click "Look Inside this Book," then type "jason" in the search box, then click page 733, you'll get to a fair chunk of my chapter)...The final section of the book— Individual examples— offers 13 differing perspectives of musical prodigies drawn from Western art music, jazz, popular and rock music, and traditional folk music… Heffley describes his nephew Jason Becker, a legendary heavy metal rock lead guitarist whose early life was immersed in folk, rock, and classical guitar styles and a family environment that helped him focus on developing an advanced technical virtuosity which led to commercial success while still in his teens. Diagnosed with Lou Gehrig's disease (amyotrophic lateral sclerosis (ALS) or motor neuron disease) at the age of 20, Jason Becker's life is an adventure of amazing achievements where music has served as the saving grace in the grip of ALS.

If language does not merely communicate information, but defines reality, then how does musical discourse construct and mediate reality? Here, we work toward the development of a missiological framework for theological creativity to explore the creative processes of Indigenous Cosmopolitan Musicians (ICMs) as they participate in the creativity of God for mission.

Parallel Wiring: Brazil and the invention of the solid body electric guitar The sound of the Trio Elétrico is the sound of carnaval in the northeastern Brazilian state of Bahia. In 1950 two local musicians, Dodô Nascimento and Osmar Macêdo, paraded during Salvador's Carnival performing in a 1929 Ford equipped with two speakers. These speakers were amplifying their unique electric instruments; a solid body electric guitar trio of cavaquinho (the Brazilian soprano guitar), violão (the six-string guitar) and triolim (tenor guitar). This was the very first Trio Elétrico to perform in Bahia and from that moment Trio Elétricos and the guitarra baiana became synonymous with carnaval in Salvador and Brazil. During the 1930s and 40s when the electric guitar was being developed in North America, the electric guitarra baiana appeared independently in Salvador, Bahia. This curious coincidence has inspired claims that the solid-body electric guitar may have been invented in Brazil. The invention of the electric guitar in the 20 th Century had an enormous impact on the practise, popularity and commercialisation of music. The relationship between the guitar and the listening public was forever altered with the introduction of electromagnetic pickups, amplification and the solid body electric guitar. The creation and development of the electric guitar and its related electronics reflected the changing times, both artistically and culturally (Brosnac 1975).The evolution of the guitar into an electronic instrument was inevitable, increased volume becoming a musical necessity with the expansion in the size of bands in the 1930's. Without going into advanced electronics and engineering, it is fair to say that the pickup is the essential element in any electric guitar. The magnetic field created by the pickup transforms the vibration of the string into an electronic signal that can then be amplified (Tolinski and Di Perna, 2016). Traditional acoustic guitar building focuses on the soundboard as the source of tone production, and the early electric guitar experiments focused on attempts to amplify the vibrations of the guitar's soundboard. However, it was George Beauchamp that realised the string is the best source of vibration (Tolinski and Di Perna, 2016). In 1930-31 Beauchamp had mounted his early pickup experiments on a piece of two-by-four inch timbre using just a single string as the source of vibration, with his design proving to be successful he went about building a full-sized guitar prototype. Tolinski and Di Perna (2016) suggest that while others had tried this kind of thing, it appears only Beauchamp followed through his experiment to its logical conclusion. Beauchamp enlisted the help of his friends, Aldoph Rickenbaker, Harry Watson and Paul Berth to design and build a full-size electric guitar. Together the four men created the Ro-Pat-In company. The initial design they came up with was the 'Frying pan' also called the 'Panhandle' and 'Pancake'. These descriptive names appear apt as the instrument's long neck and small circular body shape resembled a frying pan. The original prototype was made from wood; however, the production models were made from aluminium, a result of the Ro-Pat-In legacy of having worked in The National String Instrument Corporation making cast-iron Dobro instruments. (Tolinski and Di Perna, 2016). The instrument was primarily designed for playing Hawaiian-style, that is horizontally on the lap, although it could be also played using a traditional posture, at the time referred to as Spanish Style. In 1932 the A-25 production model, 25 referring to the scale length in inches, was launched followed by the A-22 which went on to outsell the 25-inch model. The guitar was branded Ro-Pat-In, then Rickenbahcer and ultimately Rickenbacker Electro. The market in the early 1930's was essentially professional players. (Tolinski and Di Perna, 2016).

The widespread popularity of video-centered social media like YouTube, Vimeo, and DailyMotion is fostering new ways of teaching and learning music online. These media allow producers of educational content to reach, interact with, and respond to a global audience of interested viewers. Through a multimodal analysis approach, this study examined guitar-related lessons, tutorials, and reviews created and shared by artists and enthusiasts who reached a "celebrity" status on YouTube. Findings show that these teachers-celebrities construct their online presence and communicate with their audience through authenticity, approachability, and humor, in short-format and high-quality videos. The seamless integration of instructional content, branding, and references to the authors' personal lives and worldviews generates a unique teaching and learning environment that challenges traditional understandings of music education.

This paper presents a corpus study that identifies the number of statistically distinct modes used in sacred and secular genres from 1400–1750. Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish School, works by Palestrina, secular Italian songs with alfabeto guitar tablature from the early seventeenth century, and works by J.S. Bach. A k-means cluster analyses of key profiles determine the number of distinguishable modes in each corpus. The results of this study show that the number of modes present in a corpus depend not only on date of publication but also on the genre of a composition.. . .

This article offers a bird's-eye view of the evolution of guitar learning and pedagogy in the XX and XXI centuries, supported, and often propelled by emerging popular musical styles and new technologies. Specifically, the article discusses how learning to play guitar has evolved from formal teacher-student lessons in private and academic settings, to informal and self-guided forms of learning through books, magazines, and DVDs. Starting in the late 1990s, technological advancements and the diffusion of high-speed internet brought about technologies and social spaces that contributed to innovating guitar pedagogies and disrupting traditional approaches to teaching and learning the guitar. These technologies include, but are not limited to online archives and communities, social media, apps and software, subscription-based services, augmented reality, virtual worlds, and digital games. Several of these technologies are still in their infancy and their potential for impacting guita...

Guitare Actuelle per una didattica della chitarra a 360 gradi, attenta al mondo giovanile ed alla società multietnica in cui viviamo: una visione più allargata degli stili musicali e delle tecniche d'esecuzione, per giovani musicisti che non amano le barriere tra diversi generi musicali.

This paper discusses the findings of a qualitative study, conducted in Australia, which embarked on the task of detecting and defining aspects of Australian guitar culture. This was undertaken by identifying and locating musically notate-able, quintessentially Australian guitar performance styles through an analytical look at the music of historically significant Australian artists. With a focus on popular music styles and historical developments, idiosyncratic features were identified and investigated regarding their foundation influences, their development, and recurring further influence on the following generations of Australian guitarists. The educational value and relevance of each feature within a contemporary guitar curriculum is discussed alongside the historical narrative and aesthetic evaluation. The study was conducted as part of a PhD research project using Inductive Thematic Analysis as the methodology and collected data from online surveys, interviews, industry documents and artefacts. Findings of the study include the blending of American and British styles with Australian culture to create a vibrant local sub-genre and historical referencing of subsequent generations of musicians.

This paper reports on data collected for an ongoing project examining activities of online guitar communities. It is being shared here as this project has become quite popular among the broader online guitar community and there are many community members interested in following data updates.

Jean-Baptiste dit « Toots » Thielemans (1922 – 2016) semble être considéré par beaucoup comme étant l’un des harmonicistes les plus talentueux du monde du jazz. Néanmoins, d’aucuns ignorent parfois que ce musicien bruxellois maîtrisait d’autres instruments que l’harmonica. Parmi ces derniers, nous pouvons notamment citer la guitare, instrument qu’il découvrit à l’âge de 19 ans et qu’il dût doucement abandonner dès ses 59 ans à la suite d’une attaque cérébrale.
Quelle place la guitare a-t-elle occupée dans la vie de Toots Thielemans ? Dans ce travail, nous considérerons quarante années de la vie d’un des « meilleurs musiciens sur terre »  à l’aune de cette question.

The aim of this study is, in its first part, the description of the dynamic behavior of metal
plates, with the computation of natural frequencies and mode shapes; the problem has
been approached with different methods, each of them highlighting a particular
perspective.
The main points of part I are:
• The presentation of the theoretical background of the vibrating plate, to
understand the phenomenon, the main physical quantities involved, and the
mathematical equations ruling vibrations.
• An analytical computation, through equations previously demonstrated, of
natural frequencies and mode shapes for a set of different cases.
• A Finite Elements study, both for confirming the previous point, and to
provide results for cases that are too complex for the closed-form solution.
• The detailed description of the design, building and set up procedure of the
laboratory test rig to verify the model, and the discussion of the obtained
results.
• The definition of a didactic experience, to be conducted by students in the
DEXPILAB laboratories, with the relative operative procedure and safety
norms.
A practical application of this first study has been carried out in the second part of the
thesis, where it has been used to design, and build, the top soundboard of a string
instrument, a guitar, providing it with the desired acoustic properties.
In particular, this second part consists of:
• A description of the physics of the instrument, highlighting the link between the
way it is designed and built, and the dynamic properties that one should achieve.
• The modelling, through FEM, of the instrument soundboard to understand the
importance of the reinforcement ribs pattern in the dynamic behavior.
• The practical construction of a braced soundboard, tuned step by step with a
specific technique, and simultaneously analyzed with laboratory measurements.

A Distonia Focal do Músico é uma desordem de movimento que provoca a perda da capacidade de controle voluntário de determinado(s) músculo(s) utilizado(s) na execução instrumental. Ela é de ordem ocupacional e classificada como tarefa-específica, pois os sintomas são desencadeados mediante a atividade profissional em mecanismos que já estão extensivamente treinados, proficientes e frequentemente apenas quando o músico toca seu instrumento. Os violonistas geralmente são acometidos com a Distonia Focal em algum dedo da mão direita e/ou da esquerda. Esta dissertação apresenta: um relato autobiográfico contando um pouco da minha história e do meu processo de acometimento e enfrentamento dessa condição; uma revisão bibliográfica com as principais investigações de autores que produzem conhecimento interseccionando conceitos da área médica e musical, como Dr. Farias, Dra. Buttler, Dr. Altenmüller e Dra. White; a narrativa de seis violonistas colaboradores contando seus enfrentamentos, suas estratégias de estudos e suas novas perspectivas de performance após o advento da Distonia Focal, por meio da metodologia da historia oral, fundamentada por Meihy e Holanda (2010); e um diálogo com reflexões e possibilidades de aplicações práticas no violão a partir dos escritos de Farias (2005, 2010, 2012, 2017), dos relatos dos seis violonistas e das minhas experiências pessoais. Observou-se que, aliado ou independente dos tratamentos médicos, psicológicos ou alternativos que os músicos se submetem na esperança de uma recuperação, há um desejo incessante de se manter na carreira artística; o desenvolvimento de inúmeros truques e estratégias criativas; e a adoção de novas perspectivas e formas de continuar tocando o instrumento.

Canto del Cavallero. Música para vihuela (Glossa CD 920101. 1992) - José Miguel Moreno, vihuela
Luys Venegas de Henestrosa: 1. Cinco Diferencias sobre Vacas (Antonio de Cabezón?) / 2. Pues no me queréis hablar (Anon.) /
3. Cinco Diferencias sobre Conde Claros (Antonio de Cabezón?) / 4. Pavana con su Glosa (Antonio de Cabezón)
Miguel de Fuenllana: 5. Glosa sobre Tan que vivray (Sermisy - Fuenllana) / 6. Una fantasía de redobles (Fuenllana) / 7. Con qué la lavaré (Vásquez - Fuenllana) / 8. De Antequera sale el Moro (Morales - Fuenllana) / 9. Morenica dame un beso (Vásquez - Fuenllana)
Diego Pisador: 10. Dezilde al cavallero que / 11. Madona mala vostra / 12. La cortesía / 13. Pavana muy llana para tañer
Antonio de Cabezón: 14. Diferencias sobre el canto de La Dama le demanda / 15. Diferencias sobre el Canto del Cavallero
Enríquez de Valderrábano: 16. Soneto XXII (Lo que queda es lo seguro) / 17. Soneto XXVII / 18. Soneto VIII / 19. Canción VII (A mi sufle)
Luys Milán: 20. Fantasía VIII / 21. Fantasía XII / 22. Fantasía I / 23. Quie Amores Ten (villancico) / 24. Falai Miña Amor (villancico) / 25. Fantasía XI / 26. Pavana IV / 27. Pavana V
Manuscrito de Simancas: 28. Diferencias sobre Vacas (Anon.)

Canción del Emperador. Música para vihuela (Glossa CD 920108. 1998) - José Miguel Moreno, vihuela
1. Esteban Daça: Fantasía 22 de passos largos / 2. Diego Ortiz: Recercada terçera sobre la Bergamasca / 3. Diego Ortiz: Recercada segunda sobre el passamezzo moderno / 4. Luys Maymón: Diferencias de bacas / 5. Esteban Daça: Fantasía 21 de passos largos / 6. Alonso Mudarra: Diferencias de Conde Claros / 7. Anonymous: Al alva venid / 8. Luys de Narváez: Diferencias de Conde Claros / 9. Luys de Narváez: Con qué la lavaré / 10. Vásquez - Fuenllana: Vos me matastes / 11. Diego Pisador: Si la noche haze escura / 12. Sermisy - Fuenllana: Glosa sobre Tant que vivray / 13. Diego Ortiz: Recercada quinta sobre el passamezzo antiguo / 14. Diego Ortiz: Recercada settima sobre la Romanesca / 15. Francisco Páez: Diferencias de bacas / 16-17 Josquin - Narváez: Mille regretz - Canción del Emperador

During recent years instruments used in performing popular music have emerged in new and perhaps
somewhat surprising contexts. Especially second hand electric guitars and the rising value of vintage
instruments have received media coverage not only in magazines targeted to guitar players, but also in
printed media and Internet sites aimed at wider audiences. Furthermore, the celebrity-owned instruments are changing hands in auctions held at fine art and collectibles brokers such as Sotheby’s. There is also a special magazine for wealthy guitar collectors and enthusiasts, Guitar Aficionado, which is presenting collectible and vintage guitars as part of luxury lifestyle.

The paper seeks to answer why during recent decades originally serial produced musician’s tools such as electric guitars are being transformed into luxury items and highly collectible artifacts. Special attention is paid to individual instruments, which have been previously owned by celebrities and/or rock
musicians and to instruments that have been modeled after them.

The research is being contextualized to cultural history of the electric guitar. The paper also elaborates how the high market value of the vintage guitars and their increasing demand are being utilized in contemporary instrument making by
manufacturing replicas of the celebrity-owned instruments.

Theoretically the work draws from anthropological and sociological concepts of fetishism, magic
and distinction to interpret the immaterial values attached to specific vintage electric guitars. Empirically
the paper draws from the contents of Guitar Aficionado magazine and the discussion this publication has
raised on Internet sites used by guitar players.

Thematic catalogue of works by the Croatian guitar player, who was active in Vienna during the 1830s. The catalogue is organized in seven sections: (1) published works with opus number; (2) instrumental compositions without opus number; (3) unpublished vocal works with German lyrics, without opus number; (4) unpublished works with Croatian lyrics, without opus number; (5) unpublished arrangements for guitar; (6) pedagogical works; and (7) compositions with uncertain or spurious acquisitions. For each edition are listed all editions and manuscripts.

Desde hace tiempo en Aragón resulta muy difícil hallar testimonios sobre la jota como baile "popular" aprendido por tradición y al margen del ámbito escénico. Al sudeste de Teruel ha pervivido, en activo o en el recuerdo, integrada en los bailes de mayorales o en los de las fiestas ordinarias y bureos. El estilo y ámbito interpretativos son comunes con la zona limítrofe de Castellón.
Los enlaces de audio y vídeo del artículo original han desaparecido, pero pueden visualizarse los vídeos en mi canal de Youtube:
1. https://www.youtube.com/watch?v=glbJ92wZucE&t=7s ;   
2. https://www.youtube.com/watch?v=pEKU8Aa7u_k ;   
3. https://www.youtube.com/watch?v=fkGeMDT_EO8 ;   
4. https://www.youtube.com/watch?v=jJxzcQTp_EA ;   
5. https://www.youtube.com/watch?v=GtSv6j9R0mc ;

Described in 1926 as a “melodically rather insignificant worklet” , barely three minutes long, Manuel de Falla’s Homenaje remains one of the masterpieces of the guitar repertoire. Originally written for the 1920 issue of La Revue Musicale, this little piece was a Tombeau dedicated to the memory of Claude Debussy, one of Falla’s dear friends and supporters during his stay in Paris (1907-1914), before the outbreak of the World War I.

In a series of interviews with Rossana Dalmonte in 1980-81, Luciano Berio explained that the Sequenzas are unified by three traits: virtuosity, idiomatic writing, and above all a “polyphonic mode of listening” that challenges the way a listener hears a composition. In the Sequenza XI for Guitar, Berio does this by establishing four simultaneous layers, which are defined by the type of material used. Each of these layers pursues a different developmental path by generating tension through a technique that can be described as in- and out-of-focus. As the level of tension or focus heightens in a layer, the structure is clouded or out of focus. When Berio creates static or low-tension structures, the work becomes more in focus. In this study, I examine the roll of levels of focus in each layer and the interaction of each layer to the whole of the composition.