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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

An integrated approach to beginning music-making on the classical guitar

Steadman, Klondike Steamboat. January 2002 (has links) (PDF)
Thesis (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.
2

Classic guitar technique and its evolution as reflected in the method books, ca. 1770-1850

Cox, Paul Wathen. January 1978 (has links)
Thesis (Ph. D.)--Indiana University, 1978. / Vita. "Bibliography of guitar methods": leaves 184-208. Includes bibliographical references (leaves 231-234).
3

The classical guitar : a study in structural, technical and musical evolution

Nock, Howard James January 1974 (has links)
Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
4

A historic-hermeneutic critique of luthiery with specific reference to selected South African guiter builders

Bower, Rudi January 2008 (has links)
This study uses a general historical overview of luthiery that provides the reader with a basic understanding of construction techniques and terminology as a point of departure. From the outset the lack of consensus over an ideal or desired construction technique is highlighted. However, Torres is credited with the establishing of a perceived Spanish tradition of guitar construction and acknowledged as the “father” of the modern guitar. This will serve as a basic framework in which a discussion of six prominent past and present international luthiers can occur. These luthiers, namely Antonio de Torres, Hermann Hauser, Robert Bouchet, Daniel Friederich, Jose Romanillos and Greg Smallman are included in this study by virtue of their influence on the South African luthiers that are featured here. It is noted that these six luthiers, with the exception of Greg Smallman, all adhere to the “Spanish tradition” of guitar construction. Smallman can be considered a foremost proponent of a more recent “modern” school of guitar construction characterized by various innovative construction techniques. These are a result of new demands placed on the guitar as performance instrument because of larger concert venues and more collaboration with different instruments, resulting in a need for a stronger tone and more projection and penetration in sound. These two “poles” of luthiery are then manifested in the discussion on the seven featured South African luthiers. Alistair Thompson, Colin Cleveland, Mervyn Davis, Garth Pickard, Marc Maingard, Rodney Stedall and Hans van den Berg are discussed with special mention made of the features of their instruments, woods used and thoughts on luthiery, against the backdrop of their biographies. The four South African luthiers who build within the “Spanish tradition” (Pickard, Maingard, Stedall and Van den Berg) are distinguished from the three who build outside this so-called tradition (Thompson, Cleveland, Davis). South African luthiery is therefore shown to be an accurate microcosm of luthiery in global terms with styles of construction ranging from very “traditional” to very “modern”. The critical reflection on the information contained in this study appears in the form of a hermeneutic critique on luthiery that occurs within the parameters of the thought of two prominent hermeneutic thinkers, Martin Heidegger and his student, Hans-Georg Gadamer. It is shown that the collaboration that often occurs between guitar makers and performers can be related back to Gadamer and his analysis of Heidegger’s notion of the the hermeneutic circle. It is also argued that luthiery as practiced by the international and South African luthiers featured in this study can be seen both as art and technology in ancient Greek terms in that they are both a mode of revealing. Finally, it is shown how luthiery in its entirety can be viewed as a tradition and that different luthiers respond and add to this tradition in various ways.
5

A GUIDE TO THE FINGERING OF MUSIC FOR THE GUITAR

Sherrod, Ronald Jerone January 1981 (has links)
An important area of guitar education, whether in a private studio or a public school classroom, is that of guitar "fingering"--the exact, well-planned, and deliberate designation of fingers to a musical passage. Knowledge, understanding, and application of basic fingering principles will aid students in such parameters as technical proficiency, expression, phrasing, memorization, and performance security. This dissertation supplies the teacher with a theoretical basis from which to present this important topic. The basis is built on two sets of principles: (1) the physical properties of the guitar and its tone production (guitar size, distance between the frets, sustaining quality of the strings, and varying timbre of the strings), and (2) the physiological structure of the human hand and arm (length of the fingers, alignment of hands with the strings, strong and weak finger combinations, changing positions, fatigue, and string crossing). This study is divided into seven chapters. The first serves as an overview of the current status of guitar education and provides an introduction to the topic of fingering. Chapter 2 describes the notation used throughout the document and defines such fundamental concepts as basic position for the left and right hand, the names of positions, stretch and squeeze positions, the bar and hinge-bar, and rest and free strokes. Chapters 3, 4, 5, and 6 present information that constitutes the main conclusions of this study. They deal with the left hand fingering of melodies played on a single string, left hand fingering of melodies played on two or more strings, left hand fingering of homophonic and contrapuntal music, and right hand fingering. Included in these areas of discussion are basic left and right hand positions, minimum movement, pivot and guide fingers, position playing, changing positions, strong and weak finger combinations, and fingerings which complement musical phrasing and expression. Chapter 7 summarized the major concepts presented in the dissertation, gives guidelines to teaching the topic of guitar fingering, and supplies suggestions for future research in this subject area.
6

Doctoral thesis recital (guitar)

Grohovac, Janet 12 June 2012 (has links)
Segoviana / D. Milhaud -- Suite no. 3 in A minor, BWV 995 / J. S. Bach -- Sonatina Meridional / M. M. Ponce -- Tres Piezas / A. B. Mangore. / text
7

Doctoral thesis recital (guitar)

Kacherski, Jay 12 June 2012 (has links)
Ponciana / Julio Cesar Oliva -- Prelude; Sonata / Manuel Maria Ponce -- L'histoire du tango / Astor Piazzolla -- Theme and variations / Jorge Cordoba. / text
8

Master's thesis recital (guitar)

Komjornkijborworn, Yutthasak 03 July 2012 (has links)
An Malvina op. 13 / Johann Kaspar Mertz -- Violin sonata in A minor, BWV 1003 / Johann Sebastian Bach -- Due canzoni lidie / Nuccio D'angelo -- Fantasia no. 7, op. 30 / Fernando Sor -- Invocation y danza / Joaquin Rodrigo -- My favorite things / Richard Rodgers -- Cafe 3, improvisation and dance / Vojislav Ivanovic. / text
9

Master's thesis recital (guitar)

Mera, Giovanni 10 July 2012 (has links)
Fantasia no. 7 / John Dowland -- Cello suite no. 2, BWV 1008 / J. S. Bach -- The grand solo / Fernando Sor -- Sonatina / Federico Torroba -- Elogio de la danza / Leo Brouwer -- Canta cuando me ausente / Homero Hidrobo. / text
10

Master's thesis recital (guitar)

Palmer, Joseph W. 10 July 2012 (has links)
Etude no. 1 in C major; Etude no. 10 in A major / G. Regondi -- Suite for lute in A minor BWV 997 / J. S. Bach -- Suite for guitar op. 41 / J. Hetu -- Tarantella op. 87b / M. C. Tedesco. / text

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