The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can prepare the guitarist for challenges found in playing music that is not written for the guitar or even by guitarists which consists of a substantial portion of the modern concert guitarist's repertoire. His music pushes what is possible on the guitar and borderlines what many would call idiomatic. This paper establishes a small number of techniques that will allow players to solve any challenge presented in the etudes from multiple technical viewpoints.

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.

A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the <i>Académie de Poésie et de Musique</i>), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the <i>ballet de cour</i>, to dance forms, and to solo instrumental styles such as <i>stile brisé</i> are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the <i>air de cour</i> commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the <i>voix de ville</i> to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)

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Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)

Leo Brouwer's Sonata Mitología de las Aguas No. I for flute and guitar, first published in 2017, has taken its place as an important twenty-first-century addition to the flute and guitar duo repertory. I provide a brief historical context for the work, followed by preparation guides for guitar alone and duo passages. My preparation guides include exercises and rehearsal strategies, focusing on those passages of the work that include controlled indeterminacy. The study of indeterminacy in music is unusual in the pedagogy of the classical guitarist; this leaves guitarists unprepared for dealing with pieces, especially chamber works, that use improvisation or aleatoric music as a primary element. I take a multifaceted approach to facilitate the realization of the indeterminate sections of the work; this includes demonstrations of my traditional music notation transcriptions and other rehearsal strategies and the application of music performance study systems by James Thurmond and Marcel Tabuteau. This document aims to provide guidance to creating an organic, natural aesthetic in the actualization of Brouwer's groundbreaking work.

American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.