This treatise focuses on four classical guitarist-composers who found their “American voices” and played key roles in the creation of a distinctive sound in contemporary American classical guitar music: Andrew York (b. 1958), Benjamin Verdery (b. 1955), Bryan Johanson (b. 1951), and David Leisner (b. 1953). Their work illuminates the quintessentially “American” guitar vocabulary that has become a common vernacular in American classical musical culture. These American guitarist-composers stand out in their generation for several reasons. First, each has found an instantly recognizable voice in performance and composition by forging meaningful bonds between the popular musical idioms of his American cultural background and the classical tradition. Second, each is recognized as a prolific composer in what this treatise dubs the “American classical guitar vernacular.” Third, their music represents the broad spectrum of stylistic approaches to this vernacular. Leisner and Johanson are closer to the art music (classical) end, while York and Verdery provide a more direct link to popular styles. Fourth, their personal success stories have legitimized the American classical guitar vernacular in classical composition and encouraged the development of similar styles within the broader international classical guitar community. The purpose of this study is two-fold. First, it examines the process by which American guitarists “find an American voice” within a chosen stylistic dialect. Second, it defines the specific musical vocabulary -- technical, interpretive, and aesthetic -- of the American guitar vernacular and studies the way it is integrated within the parameters of the classical style. To do so, it examines the lives and works of players who were among the first to embark on such a process within their professional community, setting their artistic perspectives within the broader context of American guitar culture. In a broader sense, this study explores how our relationships, collaborations, and perspectives as players both reflect the American experience and shape our national sound on the guitar. / text

The manuscript entitled "Pieces de Guitarre de differende Autheure recuellis par Henry Francois de Gallot" (GB:Ob Ms. Mus. Sch. C94) is one of the largest single collections of music for the Baroque guitar. The source contains over 600 pieces by various composers, including Gallot and Corbetta. An overview of the physical characteristics, organization, and stylistic features of this important source is intended to provide a basis for further study and concordance search.

Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with the mastery and understanding of notation. After an introduction, the second chapter discusses three main tablatures for the lute and vihuela. It is important to confine oneself to the tablatures, in order that they be throughly understood. Thusthe third chapter deals with ornamentations, the fourth chapter with four-course, five course, six-course and six-string guitar notations, and the fifth chapter encompasses progressive notationfor the modern guitar. Systems for folk and commercial music are not addressed in this paper.The author hopes that with the use of this dissertation, tablatures can be handled with less difficulty and put into proper perspective. Careful thought has been given in selecting representative examples and notational literature excerpts as illustrations for the reader and/or performer. These examples need not only be studied but can be used as preparation for any other related composition. The purpose of this study is to supply teachers, students, and guitarists with a ready-reference guide to the notational practices for the lute, vihuela and guitar, a subject previously shrouded in confusion. / School of Music

Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004. / Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.

Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM and contains sound files of recordings of the pieces. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 21:00-25:00 ; ca. 10:00 ; ca. 9:00. Performance instructions precede each score The 2nd work reproduced from holograph.

No abstract available. Accompanies the compositions of Thunderbird : twee bedrywe, Arabia : konsert vir klavier en orkes; Vyf miniature vir klarinet (b-mol) en kitaar; Vyf toonsettings van Afrikaanse liefdesgedigte vir sopraan en strykkwartet, DMus thesis, kept in the music Library, as well as the Special Collection Section of the Merensky Library (level 5). / Thesis (D Mus (Komposisie))--University of Pretoria, 2007. / Music / unrestricted

This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.

Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.

此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.

Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques-including sound design and spatialization-are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering.