This study seeks to integrate informal and formal music learning in a university guitar class with a secondary focus on evaluating the effectiveness of this approach in meeting student's stated goals for learning the guitar. Salient features in formal music learning were discovered from an examination of guitar method books. Informal features were examined from a reading of extant research on popular music pedagogy and expounded upon through research devoted to specific areas of informal music learning and popular music pedagogy. These features were used in the creation of a guitar curriculum to aid in the integration of both formal and informal music learning in a university guitar class. Data were gathered through pre- and post-study questionnaires, interviews, and video analysis. Analysis of data shows that integrating formal and informal music learning in a beginner's guitar class is effective in meeting student stated goals for the course. Note reading was an area that was not effective in meeting student goals for the course. Data revealed that note reading should be taught slowly, in key based relationships and with fewer notes taught over the 16 week course. Integrating informal music learning procedures in a formal environment proved to be challenging for the students. A difficulty existed in the student's ability to task switch between formal and informal learning in the University setting. Implications from the study are listening should be considered a primary means for learning music and haphazard learning is beneficial, though difficult to include in a systematized curriculum.

Este trabalho propõe uma análise sistemática das demandas mecânicas instrumentais básicas do violão, visando, assim, uma aquisição consciente de determinadas movimentações. A base teórica foi composta por autores que abordam questões essencialmente práticas do fazer instrumental do violão, destacando-se Abel Carlevaro e Eduardo Fernandez; este último diferencia claramente os termos mecânica e técnica, aspecto fundamental neste trabalho. As movimentações de cada mão são divididas entre horizontais (no sentido das cordas) e verticais (entre as cordas) e entre os aspectos mecânicos relacionados à localização das mãos no instrumento (chamados por nós de parâmetros e suas expansões) e os relacionados às referências ou movimentações auxiliares na mudança entre duas localizações (chamados de recursos). A partir da ordenação proposta e das notações desenvolvidas, concebemos uma sistemática de estudo, visando à aquisição de tais movimentos, aplicada nos 25 Etudes Mélodiques et Progressives Op.60, de Matteo Carcassi. Foram realizadas propostas de caráter vocabular e elementos pouco ou não debatidos foram tratados, fornecendo material para discussões futuras dentro do amplo campo temático da mecânica instrumental. A organização sistemática dos elementos mecânicos proposta, aplicados na obra de Carcassi, procurou uma maior eficiência no processo de aprendizagem, buscando melhorias em relação à efetividade técnica e à maior consciência das demandas instrumentais. / This project proposes a systematic analysis of the basic mechanical demands of the guitar to assist a conscious development of certain gestures. The theoretical basis in this work is compound mainly by the ideas of authors that dealt with practical issues of the instrumental making of the guitar, such as Abel Carlevaro and Eduardo Fernandez; the last one clearly differentiates the terms mechanical and technical, fundamental aspects in this work. The gestures of each hand are divided between horizontal (in the direction of the strings) and vertical (between the strings) and between the mechanical aspects related to the location of the hands in the instrument (called by us of parameters and their expansions) and those related to the reference or auxiliary gestures in the change between two locations (called resources). From the proposed ordering and the developed notations, we designed a systematic study aimed at the developing of such gestures, applied in the 25 Etudes Mélodiques et Progressives Op.60, by Matteo Carcassi. The proposal of a vocabulary was made and often ignored elements were approached, providing content for future discussions within the wide topic of instrumental mechanics. The systematic organization of the mechanical elements proposed, applied in Carcassi\'s music, sought greater efficiency in the learning process, seeking improvements in relation to the technical effectiveness and awareness of the instrumental demands.

Este trabalho propõe uma análise sistemática das demandas mecânicas instrumentais básicas do violão, visando, assim, uma aquisição consciente de determinadas movimentações. A base teórica foi composta por autores que abordam questões essencialmente práticas do fazer instrumental do violão, destacando-se Abel Carlevaro e Eduardo Fernandez; este último diferencia claramente os termos mecânica e técnica, aspecto fundamental neste trabalho. As movimentações de cada mão são divididas entre horizontais (no sentido das cordas) e verticais (entre as cordas) e entre os aspectos mecânicos relacionados à localização das mãos no instrumento (chamados por nós de parâmetros e suas expansões) e os relacionados às referências ou movimentações auxiliares na mudança entre duas localizações (chamados de recursos). A partir da ordenação proposta e das notações desenvolvidas, concebemos uma sistemática de estudo, visando à aquisição de tais movimentos, aplicada nos 25 Etudes Mélodiques et Progressives Op.60, de Matteo Carcassi. Foram realizadas propostas de caráter vocabular e elementos pouco ou não debatidos foram tratados, fornecendo material para discussões futuras dentro do amplo campo temático da mecânica instrumental. A organização sistemática dos elementos mecânicos proposta, aplicados na obra de Carcassi, procurou uma maior eficiência no processo de aprendizagem, buscando melhorias em relação à efetividade técnica e à maior consciência das demandas instrumentais. / This project proposes a systematic analysis of the basic mechanical demands of the guitar to assist a conscious development of certain gestures. The theoretical basis in this work is compound mainly by the ideas of authors that dealt with practical issues of the instrumental making of the guitar, such as Abel Carlevaro and Eduardo Fernandez; the last one clearly differentiates the terms mechanical and technical, fundamental aspects in this work. The gestures of each hand are divided between horizontal (in the direction of the strings) and vertical (between the strings) and between the mechanical aspects related to the location of the hands in the instrument (called by us of parameters and their expansions) and those related to the reference or auxiliary gestures in the change between two locations (called resources). From the proposed ordering and the developed notations, we designed a systematic study aimed at the developing of such gestures, applied in the 25 Etudes Mélodiques et Progressives Op.60, by Matteo Carcassi. The proposal of a vocabulary was made and often ignored elements were approached, providing content for future discussions within the wide topic of instrumental mechanics. The systematic organization of the mechanical elements proposed, applied in Carcassi\'s music, sought greater efficiency in the learning process, seeking improvements in relation to the technical effectiveness and awareness of the instrumental demands.

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.