<p>I detta arbete har jag undersökt om det finns några skillnader på gitarrövning inom olika genrer. Jag har försökt hitta en bild av inställningen till övning och tagit reda på om, och i så fall varför det uppstått skillnader mellan klassisk och afroamerikansk tradition. För att få svar på mina frågor har jag intervjuat sex gitarrlärare, tre inom varje genre, som undervisar på olika nivåer. Svaren har varierat en del men jag har fått fram en generaliserad bild med en del skillnader, men också med stora likheter. Attitydskillnader hos de olika genrerna finns inte enligt mina informanter, utan har istället uppstått mycket på grund av media. De typer av skillnader som ändå finns beror istället på olika traditioner hos genrerna som notläsning, tonbildning och improvisation.</p> / <p>This study examines if there are any differences in practicing guitar in different genres. I have attempted to discover if there are any different views on practi-cing between the classical and Afro-american traditions, and if so, why.I have interviewed six guitar teachers who teach at different levels, three in each genre, to obtain answers to my questions. The answers have varied somewhat, as I have acquired a generalized picture with certain differences, yet also with many similarities. The persons interviewed have insisted that differences in the view of practicing between genres don’t really exist, and is actually something the media has made up. Instead, those differences in practicing that do exist, are a result of the various traditions in fields such as sight-reading, tonal structure and improvisation.</p>

I detta arbete har jag undersökt om det finns några skillnader på gitarrövning inom olika genrer. Jag har försökt hitta en bild av inställningen till övning och tagit reda på om, och i så fall varför det uppstått skillnader mellan klassisk och afroamerikansk tradition. För att få svar på mina frågor har jag intervjuat sex gitarrlärare, tre inom varje genre, som undervisar på olika nivåer. Svaren har varierat en del men jag har fått fram en generaliserad bild med en del skillnader, men också med stora likheter. Attitydskillnader hos de olika genrerna finns inte enligt mina informanter, utan har istället uppstått mycket på grund av media. De typer av skillnader som ändå finns beror istället på olika traditioner hos genrerna som notläsning, tonbildning och improvisation. / This study examines if there are any differences in practicing guitar in different genres. I have attempted to discover if there are any different views on practi-cing between the classical and Afro-american traditions, and if so, why.I have interviewed six guitar teachers who teach at different levels, three in each genre, to obtain answers to my questions. The answers have varied somewhat, as I have acquired a generalized picture with certain differences, yet also with many similarities. The persons interviewed have insisted that differences in the view of practicing between genres don’t really exist, and is actually something the media has made up. Instead, those differences in practicing that do exist, are a result of the various traditions in fields such as sight-reading, tonal structure and improvisation.

What amount of knowledge of guitar playing can be expected after completing upper compulsory school? A qualitative research involving three different music teachers provides their view of knowledge. Their expectations have been compared to a quantitative research involving 58 upper secondary students from the social sciences programme. The idea is to compare their pedagogic intentions to the pedagogic realities of music teachings. The study shows a clear advantage for students who has attended some form of external music tuition as well as for those students who have someone in their families who play an instrument If the knowledge primarily is due to extracurricular activities perhaps there is time for a reformation of the music subject so that all may enjoy the education, not merely those who already possesses a curtain amount of knowledge... The experience must not be allowed to submit to the vast forests of chords, by doing so one misses the purpose entirely

Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The solo transcriptions are limited to Montgomery’s early recordings between 1957 and ending with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. The dissertation examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study focuses on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. A strong emphasis is given to the significance of these differences and how these differences are connected to Montgomery’s originality and innovation. This dissertation confirms that Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. It also suggests that devotion to the imitation of past artists is needed in developing an original voice in jazz. / Biographical history and musical development of Charlie Christian -- Biographical history and musical development of Wes Montgomery -- Stylistic traits of Charlie Christian over dominant-seventh harmonies -- Stylistic traits of Wes Montgomery influenced by Charlie Christian -- Conclusion. / School of Music

Studien syftar till att öka musiklärarens förståelse för elevernas uppfattning om fördelar och nackdelar med dagens gängse undervisningsmetoder. Jag har i min undersökning utgått från faktorer som jag funnit i tidigare undersökningar som visat sig vara viktiga för musikundervisningens kvalité. Genom en intervjuundersökning har ett antal elever fått beskriva vad de uppfattat av specifika moment, som att lära sig sitt första ackord på gitarr. Samt skillnaden mellan att lära sig spela nya ackord på gitarr nu och i början. Svaren har sedan jämförts med vad som tidigare framhållits som viktiga faktorer för att uppnå god kvalitet på undervisningen. Resultaten av denna jämförelse visar en överensstämmelse med tidigare forskningsresultat. Fler av de faktorer som angivits i tidigare forskning var genomförda på den undersökta skolan, vilket avspeglade sig i elevernas resultat. Slutsats av detta är, att med en genomtänkt plan för musikundervisningen ges eleverna bra förutsättningar för att lyckas. Vilket kan göra att skillnader mellan resursstarka och resurssvaga elever minskar. Ett didaktiskt dilemma som lyfts fram i min undersökning är hur läraren ska hjälpa eleverna med att hantera ett instrument, inom ramen för klassundervisningen. / This study aims to enhance the music teacher’s understanding of student's perception of the advantages of today's conventional teaching methods. In my study I have assumed elements that I have found in previous studies that have shown to be important for music education quality. Through interviews, a number of students had described their understanding of specific tasks, like learning his/her first chord on the guitar. The difference between learning to play new chords on the guitar now and in the beginning. The results of the interviews were then compared with what was previously highlighted as important elements in achieving good quality music teaching. The results of this comparison show a consistent with previous research. A lot of elements mentioned in previous research were already implemented in the school studied, which was reflected in the results of the interviews. The conclusion of this is that with a well prepared plan for music education students are given good opportunities to succeed, which can make the difference between high achieving and low achieving students decreases. A didactic dilemma highlighted in my research is how the  music teacher should deal with individual help.

This study examines the similarities and differences between four guitar teachers in Sweden and the U.S. The aim of the study is to examine how teachers motivate their pedagogical standpoints and to analyze how they experience the frame factors that limit their teaching. Data were collected through interviews with two Swedish teachers and two American teachers. The result shows that the teachers, despite their seemingly different contexts, actually have a lot of common strategies and approaches. Most significant is the tendency to let the students decide some of the content of the lessons. The study also shows that the diverse historical backgrounds that have influenced the teachers differently still have a great significance of how the teachers act in their own teaching.

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Föreliggande uppsats har som syfte att ta reda på vilken syn elgitarrlärare på estetiska gymnasieprogram har kring förmedling av sound och utrustning och vilka metoder de tillämpar för att lyfta fram dessa moment i sin undervisning. Sound kan definieras på många sätt, men i detta arbete har det en innebörd av vilka klanger som olika instrument, förstärkare och diverse hjälpmedel kan producera. Målet är att ge nuvarande och blivande instrumentpedagoger en inblick i hur elgitarrlärare arbetar med dessa moment i undervisningen idag. Förhoppningen är även att studien ska kunna ge inspiration till att utveckla metoder och finna redskap som hjälper elever att skapa ett eget sound. Datamaterialet består av intervjuer med fem elgitarrlärare samt observationer av tre av dessa lärares gitarrlektioner. Studien har som sin teoretiska utgångspunkt ett didaktiskt perspektiv.   Tidigare forskning indikerar att detta område fortfarande är relativt outforskat. Inom litteraturen belyses dock lyssning, komposition och exponering av diverse utrustning som viktiga metoder. Ämnessyner och interaktion har varit viktiga beståndsdelar vid analysen och tolkningen av intervjuerna och observationerna med lärarna där genre, undervisningsupplägg och tolkning av läroplanen har varit centrala teman. I resultatet framgår det att det finns ett intresse hos eleverna att lära sig mycket om sound och utrustning och att ämnet är mest förekommande inom gemensam undervisning, men att det också har en plats inom enskilda lektioner. I diskussionen redogörs elevernas intresse kontra lärarnas ämnessyn samt vilka semiotiska resurser lärarna tillämpar i undervisningen. / This essay deals with the issue of what vision electric guitar teachers within the esthetic high school programme have in matters of teaching about sound and equipment, and what methods they apply to emphasize the topic in their teaching. Sound can be defined in many ways, but in this paper it has a meaning of what timbre that can be produced through instruments and amplifiers. The purpose is to give present and future instrument teachers an insight of how this topic is presented in the teaching. The hope is also that this study may provide inspiration on how to develop methods and find tools so that pupils can be able to search for their own sound. The data material consists of five interviews with electric guitar teachers and three observations of three guitar lessons. The study is structured from a didactic perspective.   Earlier research has shown that this topic is relatively unexplored. In literature, however, concentrated listening, composition and exposure of equipment are emphasized as important methods.  Visions of the topic and interaction have been important components in the analysis and interpretation of the interviews and observations with the teachers, and genre approach, education, and methods are a couple of the main subjects within the discussion. The result gives an impression that the students are highly interested in learning about sound and equipment, and that the topic is most common when educating in groups, but still appears to be modestly presented within guitar lessons.

The objective of this thesis was to model the Fuzz Face , a transistor-based guitar distortion effect, digitally at the circuit level, and explore how changes in the discrete analog components change the digital model. The circuit was first simulated using SPICE simulation software. Typically outputs and how they changed based on transistor gains were documented. A test circuit was then constructed in lab to determine true transistor gains. An analog Fuzz Face circuit was then constructed, and physical parameters were recorded. A digital model was then created using MATLAB. Capacitive filtering effects were found to be negligible in terms of the guitar signal and were not modeled. The transistors were modeled using the Ebers-Moll equations. A MATLAB algorithm was written to produce Fuzz Face type distortion given an input guitar signal. The algorithm used numerical techniques to solve the nonlinear equations and stored them in a look-up table. This table was used to process the input clips. The sound of the Fuzz Face was not perfectly modeled, but the equations were found to provide a reasonable approximation of the circuit. Further study is needed to determine a more complete modeling equation for the circuit.

In der vorliegenden Arbeit wird der instrumentale Unterricht für Erwachsene im Fach Gitarre beschrieben und stellt dieses Thema zum ersten Mal in einer geschlossenen Form dar, von psychologischen Grundlagen bis hin zur praktischen Umsetzung. Im ersten Abschnitt wird ein Überblick über den aktuellen Stand der instrumentalen Erwachsenenbildung im Allgemeinen gegeben. In Kapitel 2 wird der Stand im Bereich Gitarre analysiert und einer kritischen Betrachtung unterzogen. Auf Möglichkeiten, als Erwachsener mit dem Gitarrespiel zu beginnen wird ebenso eingegangen wie auf vorhandene Einrichtungen, Schriften und Unterrichtsansätze, die sich dem Thema widmen. Kapitel 3 umreißt ein grundlegendes Konzept zum Aufbau von Unterrichtsformaten und enthält Notenbeispiele und Abbildungen, die der praktischen Anwendung entgegenkommen. Zusätzlich werden Unterrichtsformen diskutiert, vom Einzelunterricht bis zu größeren Gruppen.