O presente trabalho trata da digitação ao violão como um processo com diferentes instâncias, as quais contribuem para a tomada de decisões interpretativas e sua fundamentação. A digitação grafada existe desde os primórdios da história do violão, mas, comparada com a técnica instrumental, sua abordagem analítica resulta escassa. A partir da revisão de literatura sobre o tema, construí um referencial teórico e prático que serviu para digitar a obra “Caleta el Membrillo” do compositor chileno Guillermo Rifo (2012) de forma sistemática, a qual se apresentava sem digitações grafadas. Após analisar diversos trechos musicais e propor diferentes soluções digitais para cada um, dentro dos marcos preestabelecidos, grafei a partitura final com as minhas escolhas. / This work deals with guitar fingerings as a process with different phases which help prepare for and establish interpretative decisions. Printed fingerings exist since the beginning of the history of the guitar. However, when compared to instrumental technique, this analytical approach remains scarce. After presenting a review of current literature on the subject, I built a theoretical and practical framework that served to provide fingering choices for the work “Caleta el Membrillo” by Guillermo Rifo (2012) in a systematic way. This piece had no printed fingerings. After analyzing several musical passages and offering different fingering solutions for them, within preestablished limits, I propose and present a final version with my fingering choices.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-10-26T11:10:22Z No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-26T13:20:58Z (GMT) No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-26T13:20:58Z (GMT). No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Study of classical guitar technique aims at providing enabling tools to musical expression. This research investigated the different techniques in the traditional guitar methods. Our main objective was to identify the diverging and converging characteristics among such methods, as well as to elucidate elements and concepts that directly influenced the current approaches towards the instrument. For this purpose, the paper encompasses three chapters: the first one is about the structural changes in the guitar which interfered in the dawn of new technical approaches. It also presents a historical and bibliographical survey on classical guitar techniques from the 17th, 18th and 19th centuries. The second chapter identifies and discusses the main distinguishing elements of each method’s suggestions. In the last chapter, we analyse the results by using the theoretical background previously discussed, the considerations concerning to the performance possibilities and the differences learnt throughout the study of the methods. By comparing all those elements, we were able to observe that the convergences or divergences emphasizing factors among the methods are wide, being specially influenced by the didactic philosophy in each one. Eventually, we verified that the divergences are highlighted as we compare the Spanish to the Italian method. / O estudo da técnica violonística tem a finalidade de fornecer ferramentas capazes de possibilitar a expressão musical. A presente pesquisa investigou as distintas linhas de condutas técnicas contidas nos métodos para violão que consideramos tradicionais. O intuito principal foi identificar os pontos divergentes e convergentes entre os métodos, bem como elucidar elementos e conceitos que influenciaram diretamente as atitudes atuais frente ao instrumento. Para tanto, este trabalho compreende três capítulos: o primeiro consiste na exposição das alterações estruturais no violão que intervieram no surgimento de novas abordagens técnicas, bem como em um levantamento histórico-bibliográfico acerca dos métodos para guitarra do século XVII, XVIII e XIX. O segundo capítulo identifica e discute os principais elementos que caracterizam as propostas de cada método. No último capítulo, discutimos os resultados a partir dos embasamentos teóricos, das considerações concernentes às possibilidades de execução e distinções colhidas através do estudo dos métodos. O emprego de uma ótica comparativa nos possibilita observar que os fatores que acentuam as convergências ou divergências entre os métodos são amplos, influenciados principalmente pela filosofia didática que cada um adota. Verificamos, ainda, que as divergências acentuam-se na medida em que comparamos os métodos espanhóis com os italianos.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-05-18T20:12:26Z No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-19T10:47:51Z (GMT) No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-19T10:47:51Z (GMT). No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work aims to analyze and present a brief biographical account and the work of Brazilian women composers, with an analysis of the works made in the 1970s. As secondary objectives we search for the contribution to the national repertoire, in the sense of giving visibility to works not much known and played, and to highlight the participation of women in the scenario of Brazilian musical composition, turning the attention to the production of guitar music. To find the works, various search engines were used, such as: catalogs of works, books, as well as interviews conducted during the research. The composers found here are: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar and Maria Helena da Costa. Of the diverse works found, we selected only one piece of each composer, representing their languages and stylistic aspects. The main reference used for the analysis was the book by John White (1976), The Analysis of Music. We also include the precepts of Schoenberg (1996) and Kostka (1999). The results found were some stylistic similarity between some works analyzed here, as well as features that dialogue with the stylistic aspects of the analyzed period. / O presente trabalho tem como objetivo analisar e apresentar um breve relato biográfico e a obra de compositoras brasileiras compostas na década de 1970. Entre os objetivos secundários estão a contribuição para o repertório violonístico nacional, no sentido de dar visibilidade a obras pouco conhecidas e tocadas, e evidenciar a participação da mulher no cenário da composição musical brasileira, voltando o olhar para a produção violonística. Para encontrar as obras, foram utilizadas fontes de busca diversas, como: catálogos de obras, livros, bem como entrevistas realizadas durante a pesquisa. As compositoras encontradas e aqui abordadas são: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar e Maria Helena da Costa. Das diversas obras encontradas, selecionamos apenas uma peça de cada compositora, representando suas linguagens e vertentes estilísticas. O referencial principal utilizado para as análises foi o livro de John White (1976), The Analysis of Music. Incluímos ainda os preceitos de Schoenberg (1996) e Kostka (1999). Os resultados encontrados foram algumas congruências estilísticas entre algumas obras aqui analisadas, bem como aspectos que dialogam com as vertentes estilísticas do período analisado.

Desde a década de sessenta os guitarristas de rock são considerados ícones da cultura musical popular. Venerados por uma comunidade fiel de entusiastas, alguns deles são chamados de deuses, heróis e mitos. Suas histórias pessoais e artísticas são constantemente narradas e celebradas na mídia, tanto nos meios de comunicação tradicionais quanto nos ambientes digitais. E toda essa adoração pode ser visualizada concomitantemente no culto tecnológico à guitarra elétrica, um dos instrumentos musicais mais vendidos no mundo. Mesmo que tantos fãs, jornalistas e críticos musicais construam discursos fantásticos para se referir aos guitarristas heróis, uma investigação mais aprofundada sobre a estrutura dos arquétipos e símbolos presentes no compartilhamento de sentido entre os amantes do rock é uma tarefa ainda inacabada. Nossa hipótese parte do princípio de que diversos mitos e narrativas heroicas são atualizados continuamente nas práticas culturais contemporâneas cuja experiência transforma e orienta a visão de mundo dos atores sociais envolvidos na sua disseminação. Essa comunhão em torno da imagem sagrada dos guitar heroes extrapola a esfera artística e se constitui em um estilo de vida com significações múltiplas, sejam elas, comportamentais, estéticas e sexuais. O objetivo é compreender como essas representações sociais refletem e atualizam a própria visão idealizada de que como a sociedade se vê. Outro objetivo é enfatizar a importância desse fenômeno na prática de consumo associada à guitarra elétrica onde o mito desempenha uma função simbólica essencial. / Since the sixties, rock guitarists have been considered icons of popular music culture. Venerated by a faithful community of enthusiasts, some of them are called gods, heroes and myths. Their personal and artistic stories are constantly narrated and celebrated in the media, both in traditional media and in digital environments. And all this worship can be seen concomitantly in the technological cult of electric guitar, the one of the best-selling musical instruments in the world. Even though so many fans, journalists and music critics create fantastic speeches to refer to guitar heroes, further research into the structure of the archetypes and symbols present in the sharing of meaning among rock lovers is a task rarely addressed and still unfinished. Our hypothesis sustain that various heroic myths and narratives are continuously updated in contemporary cultural practices whose experience transforms and guides the world view of the actors-net involved in its dissemination. This communion around the sacred image of guitar heroes goes beyond the artistic sphere and constitutes a lifestyle with multiple meanings, that is, behavioral and aesthetic. The objective is to understand how these social representations reflect and actualize the idealized vision of how society sees itself. Another objective is to emphasize the importance of this phenomenon in the practice of consumption associated with electric guitar where the myth plays an essential symbolic function.

abstract: In 1568, Vincenzo Galilei published the first edition of Fronimo as a guide to the art of intabulating vocal music for the lute. A second edition was released in 1584 in which Galilei presents “26 Ricercari” to demonstrate the sound of each Glarean mode. These short works provide a methodical approach to experiencing the Renaissance modes through his beautiful writing for the lute. This research project focuses on the “26 Ricercari” and explores the challenges of transcribing and arranging Renaissance lute tablatures to be played on the guitar. Topics such as making decisions for voicings, fingerings, tactus reductions, and formatting are examined. Historically-informed playing suggestions such as articulations, lute techniques, and tempo are also included. Many lute and vihuela works, like the ricercari, have not yet been transcribed. The ricerari tablatures are idiomatic and instantly playable for guitarists who are familiar with different forms of tablature, but most classical guitarists today are familiar only with modern staff notation. Because of this, Galilei’s works have been wrongfully neglected. My project presents the first guitar edition of these works, along with the documentation of my methodology, and serves as an aid to others for transcribing lute tablatures. / Dissertation/Thesis / "26 Ricercari" by Vincenzo Galilei, arranged and performed by John Oeth / Doctoral Dissertation Music 2020

Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.

Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.

The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.

This bachelor thesis in Mechatronics account for the process of constructing an automatic guitar tuner by means of a piezo-electric sensor, a stepper motor and Arduinobased control. The E4 - string on an acoustic guitar was used as a proxy for tuning any other possible guitar string. The accuracy and tuning-speed of the construction was examined through physical experimentation. Accuracy was measured in terms of the average distance from a piezo calibrated frequency value. The tuning-speed was appraisedby counting the number of times a guitar string had to be plucked before the motor stopped within an acceptable tuning interval. The automatic guitar tuner were able to reliably get the E4 - string in tune by plucking it once within an interval of ±2 Hz and +3.8 cents and −5.1 cents from the theoretical value. The average error was −3.4 cents from the targeted value. / I följande kandidatexamensarbete kontrueras en automatisk gitarrstämmare med hjälp av en piezosensor, en stegmotor och en Arduino-mikrokontroller. E4-strängen på en akustisk gitarr användes som substitut för hur stämningsproceduren skulle kunna fungera för vilken annan gitarrsträng som helst. Noggrannheten samt stämningshastigheten undersöktes genom experiment. Genomsnittet av frekvensskillnaderna mellan de piezo-kalibrerade avläsningsvärdena och E4-strängens värden definierade måttet på noggrannhet. Hastigheten på strängstämningen beräknades i form av hur många gånger en sträng behövdes slås an innan strängen var inom ett godkänt intervall. Den automatiska gitarrstämmaren visade sig pålitiligt kunna stämma E4-strängen på ett försök inom ett noggrannhetsintervall på ±2Hz från det teoretiska värdet. Stämmaren kunde stämma inom +3.4 cents och−5.1 cents samt var var i genomsnitt −3.4 cents i från det teoretiska värdet.

In recent decades, guitar education has emerged as a discipline in PreK-12 institutions alongside “traditional” music education such as band, orchestra, and chorus. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. Additionally, this body of literature suggests a lack of congruency between curriculum, pedagogy, and teacher preparation among guitar educators. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles and pedagogic practices of guitar educators. A multi-phase investigation was conducted. In Phase One, a large sample (n = 1,269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low (7.9) percent of music educators who teach guitar class consider themselves to be “guitar specialists.” A substantial number of respondents (68.5 percent) indicated that they rarely or never participated in guitar related professional development, and 76.1 percent of respondents reported that their pre-service training provided little or no preparation for a career in guitar education. A purposeful sample of six “exemplary” guitar educators contributed pedagogy-focused interviews and video teaching samples in Phases Two and Three. Data from the three phases were analyzed according to principles of thematic analysis in order to identify potential pathways toward the continued growth and maturation of guitar education.