Denna studie syftar till fördjupade kunskaper om hur gitarrlärare ser på vänsterhänthet i relation till instrumentets speltekniska svårigheter och hur de anser sig arbeta med vänsterhänta elever i sin undervisning. I uppsatsen ges en bakgrund om vad vänsterhänthet är, en historisk bakgrund om den klassiska gitarren och dess speltekniska svårigheter samt tidigare forskning om musikundervisning av vänsterhänta. Studien utgår från ett multimodalt designteoretiskt perspektiv och ett empiriskt material bestående av fyra kvalitativa intervjuer. Av studiens resultat framkommer att de deltagande lärarna inte ansåg sig anpassa sin undervisning efter elevernas vänsterhänthet, förutom vid starkare grader av vänsterhänthet då eleverna uppmanades att vända på gitarren. Valet av hur gitarren ska hållas beskrivs sällan överlåtas till den enskilda eleven, utan förefaller istället vanligen bestämmas av läraren. Lärarna menade också att alla elever behöver öva samma tekniker och att samma undervisning därför bör gälla för höger- såväl som vänsterhänta elever. Den högersträngade gitarren utgör norm i undervisningen, vilket lärarnas berättelser om hur de sällan rekommenderade elever att vända på gitarren visar. Utifrån detta resultat diskuteras sedan gitarrundervisning av vänsterhänta. Undervisningen beskrivs inte enbart vara en fråga om att anpassa ett instrument, då hela undervisningens design beskrivs spela roll för elevernas lärande med instrumentet. / The purpose of this study is to gain a deeper knowledge of how guitar teachers view left-handedness with regard to the technical difficulties of the instrument and how they work with left-handed students while teaching. This paper provides some background on what left-handedness is, some historical background on the classical guitar and the technical difficulties of playing it, and an overview of previous work on musical education and left-handed people. The study is based on a multimodal and design theoretical perspective, and an empirical material consisting of four qualitative interviews. The results show that the participating teachers did not, in their own view, adapt their teaching because of left-handed students. The exception was students with a strong degree of left-handedness, who were encouraged to turn the guitar around. However, how the guitar is held was not often described as something left up to the individual student, but rather as something decided by the teacher. The teachers also felt that all students need to practice the same techniques, and that the same instructions therefore should be used for both right-handed and left-handed students. Right-handed guitars are standard in teaching situations, and the fact that the teachers say that they rarely recommend that students turn the guitar around reflects that. The results of the study then form the basis for a discussion on teaching left-handed students. It is not just a question of adapting an instrument; the whole design of the lessons makes a difference when it comes to the student learning the instrument.

Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões. / This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

319 p. / Submitted by Santiago Fabio (fabio.ssantiago@hotmail.com) on 2013-01-03T17:36:11Z No. of bitstreams: 1 9999999.pdf: 29384806 bytes, checksum: 38058191d60ecbb6088fceb8a55d98c9 (MD5) / Made available in DSpace on 2013-01-03T17:36:11Z (GMT). No. of bitstreams: 1 9999999.pdf: 29384806 bytes, checksum: 38058191d60ecbb6088fceb8a55d98c9 (MD5) Previous issue date: 2012 / Tendo em mente que os caminhos para a atividade composicional podem permear uma abordagem específica, procura-se neste trabalho direcioná-la pelo viés intertextual para a composição de uma obra para violão e orquestra. A discussão é relevante, tendo em vista o crescente interesse pelo assunto e sua aplicabilidade no meio musical. O recorte bibliográfico na literatura — Bakhtin (2010), Kristeva (2005), Genette (2006), Bloom (2002) e Sant’Anna (2003) — relaciona-se com autores da área de música pelo olhar da teoria intertextual. Foram escolhidas as músicas do compositor brasileiro Guinga (1950), para voz e violão, como “texto de partida”, com o fim de utilizar a produção musical dele como suporte analítico e composicional. Encontrou-se no mundo cancioneiro de Guinga um diálogo com diversas tendências e um acurado senso de utilização idiomática no acompanhamento de violão das suas canções. Analisamos processos em que o idiomatismo pode ser empregado como uma ferramenta composicional viável, especialmente no universo violonístico. Isso possibilitou uma concepção composicional advinda de parâmetros intertextuais e idiomáticos (violonísticos), em que foram tratadas algumas atitudes compositivas. Esse direcionamento apontou para uma intertextualidade idiomática. Concomitantemente, foram desenvolvidos musicalmente alguns dos recursos específicos relacionados à literatura, como epígrafe, citação, paródia, entre outros. Verificou-se também uma aproximação da teoria intertextual com o pós-modernismo, averiguada em discussões sobre o assunto. O resultado do trabalho pode ser conferido na peça Aporia, na qual foram abordadas algumas das questões estéticas, idiomáticas e intertextuais propostas. / Salvador

Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões. / This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões. / This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

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 2017-02-23T18:55:12Z No. of bitstreams: 13 Dissertaçao - Leonardo Luigi Perotto - 2007(1).pdf: 7292799 bytes, checksum: 81e1a290a22f39f789eb2e1c6e1b4644 (MD5) Dissertaçao - Leonardo Luigi Perotto - 2007(2).pdf: 3799962 bytes, checksum: 9002df5238bb43bd14327a893b5138f5 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(3).pdf: 17049956 bytes, checksum: 3058215e026c9934a4fceeac22fd54e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(4).pdf: 17369630 bytes, checksum: 2e1af250ce5548ebac4ef5b29ac23566 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(5).pdf: 17961171 bytes, checksum: 1fe17e7de81b274aaa312bb82891d369 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(6).pdf: 14868730 bytes, checksum: e07094cd37154c50b2dace827f3bd3e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(7).pdf: 15784304 bytes, checksum: 454a1a3ced9219852825aa357e08c28a (MD5) Dissertação - Leonardo Luigi Perotto - 2007(8).pdf: 18855661 bytes, checksum: 8341ea954dbea47e6fe3cf4719369b39 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(9).pdf: 15124124 bytes, checksum: bd4f3cc99356ed118f7ee1ea81735d9e (MD5) Dissertação - Leonardo Luigi Perotto - 2007(10).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(11).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(12).pdf: 18521837 bytes, checksum: ae2b9709ceadbb9e32fb905c1aa65e64 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-24T10:50:26Z (GMT) No. of bitstreams: 13 Dissertaçao - Leonardo Luigi Perotto - 2007(1).pdf: 7292799 bytes, checksum: 81e1a290a22f39f789eb2e1c6e1b4644 (MD5) Dissertaçao - Leonardo Luigi Perotto - 2007(2).pdf: 3799962 bytes, checksum: 9002df5238bb43bd14327a893b5138f5 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(3).pdf: 17049956 bytes, checksum: 3058215e026c9934a4fceeac22fd54e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(4).pdf: 17369630 bytes, checksum: 2e1af250ce5548ebac4ef5b29ac23566 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(5).pdf: 17961171 bytes, checksum: 1fe17e7de81b274aaa312bb82891d369 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(6).pdf: 14868730 bytes, checksum: e07094cd37154c50b2dace827f3bd3e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(7).pdf: 15784304 bytes, checksum: 454a1a3ced9219852825aa357e08c28a (MD5) Dissertação - Leonardo Luigi Perotto - 2007(8).pdf: 18855661 bytes, checksum: 8341ea954dbea47e6fe3cf4719369b39 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(9).pdf: 15124124 bytes, checksum: bd4f3cc99356ed118f7ee1ea81735d9e (MD5) Dissertação - Leonardo Luigi Perotto - 2007(10).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(11).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(12).pdf: 18521837 bytes, checksum: ae2b9709ceadbb9e32fb905c1aa65e64 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-24T10:50:26Z (GMT). No. of bitstreams: 13 Dissertaçao - Leonardo Luigi Perotto - 2007(1).pdf: 7292799 bytes, checksum: 81e1a290a22f39f789eb2e1c6e1b4644 (MD5) Dissertaçao - Leonardo Luigi Perotto - 2007(2).pdf: 3799962 bytes, checksum: 9002df5238bb43bd14327a893b5138f5 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(3).pdf: 17049956 bytes, checksum: 3058215e026c9934a4fceeac22fd54e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(4).pdf: 17369630 bytes, checksum: 2e1af250ce5548ebac4ef5b29ac23566 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(5).pdf: 17961171 bytes, checksum: 1fe17e7de81b274aaa312bb82891d369 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(6).pdf: 14868730 bytes, checksum: e07094cd37154c50b2dace827f3bd3e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(7).pdf: 15784304 bytes, checksum: 454a1a3ced9219852825aa357e08c28a (MD5) Dissertação - Leonardo Luigi Perotto - 2007(8).pdf: 18855661 bytes, checksum: 8341ea954dbea47e6fe3cf4719369b39 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(9).pdf: 15124124 bytes, checksum: bd4f3cc99356ed118f7ee1ea81735d9e (MD5) Dissertação - Leonardo Luigi Perotto - 2007(10).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(11).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(12).pdf: 18521837 bytes, checksum: ae2b9709ceadbb9e32fb905c1aa65e64 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2007-04-30 / The proposal of this research is to investigate the process of creation of the Brazilian composer Pedro Cameron, mainly through the survey and analysis of his work, pointing out specific stylistic characteristics, his perception of the classical guitar idiomatism, and its influence on compositional solutions. In the beginning of the twentieth century, there was a significant growth in the number of works written for the classical guitar by composers of diverse musical backgrounds. These works consolidated a more reorganization both in the writing and the idiomatic absorption of the instrument. The musical works for classical guitar by Pedro Cameron is part of this context, creating an important investigative link for the Brazilian contemporary repertoire. The first part of this master thesis contextualizes this moment, presenting information about the classical guitar in Brazil and the world, and a brief biography of the composer. The second part presents an analytical inquiry of some Cameron's pieces, encompassing the period between the decade of 1970 and the present days. The theoretical framework is based on authors such as Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). The last part evaluates the procedures of the composer through what was observed in the analyses, presenting compositional solutions and techniques he creatively used to incorporate significant elements of the classical guitar idiomatism, influencing the process of writing and his compositional style. / A proposta desta pesquisa é investigar o processo de criação do compositor paulista Pedro Cameron, principalmente através do levantamento e análise de sua obra, apontando características estilísticas em relação ao idiomatismo do violão e da influência do instrumento nas soluções composicionais. No princípio do século XX, observamos um significativo crescimento no número de obras escritas para o violão por compositores de diversas vertentes musicais, obras que consolidaram a absorção idiomática do instrumento. A obra musical para violão de Pedro Cameron se insere neste contexto, criando um elo investigativo importante sobre o repertório contemporâneo brasileiro atual. A primeira parte do trabalho contextualiza tal momento, apresentando tópicos sobre o violão no Brasil e no Mundo, além de uma breve biografia do compositor. A segunda parte apresenta uma investigação a partir das análises de algumas obras do compositor que compreendem o período entre a década de 1970 aos dias atuais, tendo como referencial teórico autores como Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). A última parte visualiza os procedimentos do compositor através do que foi constatado nas análises, apresentando soluções composicionais e técnicas através das quais ele criativamente incorporou elementos do idiomatismo do violão à sua escrita.

In this essay, I want to achieve an accessible and applicable entrance to Alexander Technique as a method for learning to use the body in such a way as to allow emotional expression in music. It is necessary to see the real need of Alexander Technique for the active musician, and therefore important components of music-making will be presented. These components are presented from an Alexander-perspective in order to produce a clear picture of the method of application.The prerequisite for emotional expression in music is musicians and music listeners with the ability to generate, and respond after emotional impressions. Alexander Technique provides an approach to make it easier for musicians, especially guitarists, to express emotions in a performance situation.After years of practice and obtaining musical knowledge and practical skills at the instrument, it is common that muscle tension and ingrained patterns contribute to limited expression. Muscle tensions arising from pressured situations such as auditions, competitions and concerts. Repetitive movements contribute to this, and lays the foundation for an insufficient technique. It is clear that traditional learning methods need to be complemented with an approach that treats body awareness as an essential part of musical performances. The notion that the use of the body affects mental states is now a truism, and one can see an opening towards new approaches that facilitate learning as well as performance of musical works. The emotional expression is in focus here, and this study deals with musical production based on the philosophy that music should be driven by decisions involving emotional expression.

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

Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.