In this thesis, we analyze the audio signal of a guitar to extract musical data in real-time. Specifically, the pitch and octave of notes and chords are displayed over time. Previous work has shown that non-negative matrix factorization is an effective method for classifying the pitches of simultaneous notes. We explore the effect of window size, hop length, and other parameters to maximize the resolution and accuracy of the output.Other groups have required prerecorded note samples to build a library of note templates to search for. We automate this step and compute the library at run-time, tuning it specifically for the input guitar. The program we present generates a musical visualization of the results in addition to suggestions for fingerings of chords in the form of a fretboard display and tablature notation. This program is built as an applet and is accessible from the web browser.

Interplay has always been a key characteristic of jazz and improvised music. The ability to communicate in real-time and to build on each other's ideas is essential in this genre, where the very essence of the music lies in the musical conversation between musicians. The purpose of this essay is to investigate different methods for developing a beneficial foundation for collective creativity, and to discern how the various qualities of the guitar affect the resulting interplay within the group - in this case a guitar trio with bass and drums. In addition to this, I have also worked with a specific method for composing, with the aim to write new music for the specific musicians in this group. Through the usage of ensemble exercises we investigated parameters such as dynamics, contrasts, and motifs. We noticed that it wasn’t mainly the exercises that led to progress, but rather the conversations about the music we had just played. The composing method was a highly tangible and creative way of capturing the trio’s musical nature. Since the ideas for the compositions came straight from the musicians themselves, the music I wrote came to properly reflect the group and our particular sound. / <p>Medverkande musiker: Agnes Persson; elgitarr, Jakob Ulmestrand; kontrabas, Ludwig Aronsson; trumset, Maja Svantesson; sång. Repertoar:"Låt 1", "Låt 4/Kvarnen", "Låt 5", "Låt 3", "Jordens Hjärta" (Dikt av Peter Curman). Samtliga kompositioner skrivna av Agnes Persson med band.</p>

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Troubadours often embody the spirit of the traveling musician tradition, evoking a sense of a journey and sharing their music with different audiences, emphasizing storytelling and simple, heartfelt songs. Can an artist be a troubadour performing jazz music? This thesis investigates the challenges a jazz singer faces when creating guitar arrangements to perform in a solo setting. It explores technical and coordinative obstacles, seeking practical solutions and arranging strategies for optimal performance. The study involves research, analysis, practice, and arrangement of two jazz standards, resulting in a range of adaptable solutions to synchronize guitar and vocals effectively while giving a good performance outcome. While primarily focused on guitar technique, the thesis recognizes the complexities of singing and provides valuable insight for solo jazz performers. Specific research questions address arrangement structure, performance difficulties, and fluent guitar accompaniment. The practice-led research methodology includes arranging, practice routines, external feedback, and performance recordings for analysis. This research emphasizes the importance of technical mastery, rhythmic clarity, and listener perception in a successful solo jazz performance.

Syftet med studien att undersöka hur gitarrlärare arbetar med synskadade elever i klassisk gitarrundervisning, målet är att underlätta lärares arbete när det gäller att undervisa just synskadade elever i klassisk gitarr. Studiens forskningsfrågor är: Vad arbetar gitarrlärare med i sin undervisning med synskadade gitarrelever? På vilka sätt arbetar gitarrlärare med synskadade elever? Varför väljer lärare att arbeta som de gör? Studiens metod utgörs av intervjuer med lärare och elever samt och observationer av övningar och andra hjälpmedel lärare använder i sitt arbete med synskadade elever och hur de arbetar med dessa hjälpmedel. I bakgrundskapitlet beskrivs hur blinda och synsvaga elever i allmänhet, har en stor potential för att utbilda sig i musik och att lära sig spela gitarr. I resultatet presenteras en rad arbetssätt såsom: att tejpa baksidan av greppbrädan, att visa genom att låta eleven känna på lärarens händer, vänsterhandens orientering på greppbrädan, att stå vid ljus, att öva på att ta fram olika spännande ljud från gitarren, att begränsa stor vänsterhandsrörelse, att utgå från inspelade lektioner och Braille-partitur, att det skall vara tyst och lugn i rummet när man övar och saker att betänka när man övar. En slutsats som dras är att klassisk gitarr kan bidra till blinda barns fascination av ljud. Diskussionen utgörs av en vidare reflektion över studien, där uppsatsens resultat kopplas samman med bakgrundslitteraturen. / The purpose of the study is to investigate how guitar teacher works with visually impaired students in classical guitar teaching, the goal is to facilitate the work of teachers when it comes to teaching visually impaired students in classical guitar. The study's research questions are: What kind of work do guitar teachers do teaching classic guitar with visually impaired students? How do they work with visually impaired students? Why do they work as they do? The study's methodology consists of interviews with teachers and students and observations of guitar lessons with visually impaired students. The background chapter describes how blind and visually impaired students in general, have a great potential to educate themselves in music and learning playing the guitar. The result presents a series of techniques such as: taping the back of the fingerboard, showing how to play by letting students feel the teacher's hands, left hand orientation, positioning in light, practice on the development of exciting sounds of the guitar, limiting left hand motions, using recorded lessons and Braille scores, serenity in the room and overall things to consider when practicing. One conclusion is that the classical guitar can stimulate blind children's fascination of sound. The discussion consists of a reflection of the study, with the results linked to background literature.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-15T11:36:51Z No. of bitstreams: 3 documento parte 1.compressed.pdf: 9530124 bytes, checksum: d45465ecaa61a39d9d70047e03782f17 (MD5) documento parte2.compressed.pdf: 18310636 bytes, checksum: ba2b424e4c10eb4f8353864b30969d1e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Alterar a citação. Exemplo: ARAUJO, U. A. M. Máscaras inteiriças Tukúna: possibilidades de estudo de artefatos de museu para o conhecimento do universo indígena. 1985. 102 f. Dissertação (Mestrado em Ciências Sociais)–Fundação Escola de Sociologia e Política de São Paulo, São Paulo, 1986. on 2014-09-15T13:30:14Z (GMT) / Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-18T18:16:52Z No. of bitstreams: 3 documento parte 1.compressed.pdf: 9530124 bytes, checksum: d45465ecaa61a39d9d70047e03782f17 (MD5) documento parte2.compressed.pdf: 18310636 bytes, checksum: ba2b424e4c10eb4f8353864b30969d1e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-19T11:19:52Z (GMT) No. of bitstreams: 3 documento parte 1.compressed.pdf: 9530124 bytes, checksum: d45465ecaa61a39d9d70047e03782f17 (MD5) documento parte2.compressed.pdf: 18310636 bytes, checksum: ba2b424e4c10eb4f8353864b30969d1e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-19T11:19:52Z (GMT). No. of bitstreams: 3 documento parte 1.compressed.pdf: 9530124 bytes, checksum: d45465ecaa61a39d9d70047e03782f17 (MD5) documento parte2.compressed.pdf: 18310636 bytes, checksum: ba2b424e4c10eb4f8353864b30969d1e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This thesis is about the five solo-guitar works composed by brazilian composer Edino Krieger: Prelúdio, Ritmata, Romanceiro, Passacalha para Fred Schneiter and Alternâncias. As these works present notorious functionality and effect on the instrument, we seek to understand how the composer uses the idiossyncratic caracteristics of the guitar in writing for this instrument. Thus, we discuss the relationship involving the composer, the refered works and the instrument. The work itself is divided in three parts. In the first we present biographical data, compositional caracteristics, works and the relationship between the composer and the classical guitar. In the second the compositional process used in the works is discussed, as well as their recurrence in the presented compositions. For this analysis the used methods were the analytical precepts proposed by John White (1976). In the third part we discuss the use and application of “idiomatism” as and applicable term in the field of music studies. To evidentiate the use of idiomatic elements of the guitar in the works of Edino Krieger, the method used was that proposed by Fábio Scarduelli (2007) – two distinct aspects of idiomatism: “implicit” and “explicit”. / Este trabalho aborda as cinco obras escritas para violão solo pelo compositor brasileiro Edino Krieger: Prelúdio, Ritmata, Romanceiro, Passacalha para Fred Schneiter e Alternâncias. Uma vez que estas apresentam notória funcionalidade e efeito no instrumento, buscamos compreender como o compositor se apropria das características do violão em sua escrita particular. Assim, abordamos a relação entre compositor, obras e instrumento. O trabalho está divido em três partes. Na primeira apresentamos dados biográficos e características composicionais de Edino Krieger, além de estabelecermos a relação entre o compositor e o instrumento. No segundo buscamos evidenciar processos composicionais utilizados nas obras, bem como recorrências entre estes. Para tal fim, utilizamos como fundamento teórico, os preceitos analíticos propostos por John White (1976). Na terceira parte realizamos uma discussão a respeito da utilização e aplicação do termo idiomatismo no campo da música. Para evidenciar a utilização dos procedimentos idiomáticos do violão na obra de Edino Krieger, utilizamos a divisão em idiomatismo implícito e explícito proposta por Fábio Scarduelli (2007).

Darbe nagrinėjami muzikavimo bosine gitara specifiniai bruožai. Bosinė gitara pastaruoju metu yra populiarus muzikos instrumentas, kuriuo gali būti atliekama įvairių stilių ir žanrų muzika. Šis instrumentas padeda palaikyti visą ansamblio ritmą, gyvybingumą, pulsą. Visgi pažymėtina tai, kad bosinės gitaros mokytojams Lietuvoje nepakanka metodinės informacijos šaltinių lietuvių kalba. Tai yra didelė neformaliojo ugdymo įstaigų problema, kurią bandant spręsti buvo rengiamas šis darbas. Tyrimo tikslas: išanalizuoti esminius grojimo bosine gitara bruožus. Tyrimo uždaviniai: apžvelgti bosinės gitaros istorinę raidą; aptarti svarbiausias šio instrumento rūšis; panagrinėti žymiausių bosinės gitaros atlikėjų nuopelnus bei jų indėlį į bosinės gitaros raidą; išanalizuoti grojimo bosine gitara stilius bei mokymo metodikas. Bakalauro darbe apžvelgta istorinė bosinės gitaros vystymosi raida, aptartos bosinių gitarų rūšys, supažindinama su žymiausiais pasaulio bosinės gitaros atlikėjais. Antrojoje darbo dalyje analizuojami muzikavimo bosine gitara specifikos bruožai. Darbe didelis dėmesys skiriamas muzikos stilių, kuriuose dominuoja bosinė gitara, apžvalgai. Taip pat siekiama panagrinėti grojimo bosine gitara technikas bei kiekvienos jų ypatumus, specifinius bruožus. / Paper analyzes the specifics of playing bass guitar. The bass guitar is a very popular musical instrument nowadays. It is the core of music groups of different styles. The given instrument helps to keep the overall rhythm, pulse and vitality of the company. It was hence really interesting and useful for me to get insight into the path “taken” by this musical instrument. Aim: To analyse the essential characteristics of playing the bass guitar. Goals: to review the historical development of the bass guitar; to discuss the most important types of the instrument; to explore the merits of the most famous bass guitar players and their contribution to the evolution of the bass guitar; to investigate the styles and teaching methodologies of playing the bass guitar. The bachelor thesis presents a review of the historical development of the bass guitar, discusses the types of the bass guitar, and introduces the world famous bass guitarists. Section Two analyses the specifics of playing the bass guitar. Much attention is paid to the overview of music styles dominated by the bass guitar. The thesis also aims to explore the techniques of playing the bass guitar, and their individual specific characteristics and features.