Made available in DSpace on 2016-01-26T12:51:44Z (GMT). No. of bitstreams: 1 renatosomerajunior_dissert.pdf: 2067969 bytes, checksum: d5bd1e5c55418b34fe82f25b37f99179 (MD5) Previous issue date: 2012-11-27 / Introduction: Acoustic Guitar players represent the most part of the instrumentalists and their activities involve repetitive efforts or static posture, which makes them likely candidates to develop labor disease, most times due to absolute lack of information. The objective of this study was to prepare an illustrative manual of the locomotor system, specifically directed to guitarists, for injury prevention. Method: 61 guitarists (students, professors, semi-professionals and professionals) in the city of São José do Rio Preto SP were taken into consideration, with the application of a questionnaire in order to estimate knowledge on bones, muscles and joints intrinsically associated with the praxis of guitar musical performances. As results, 83.5 % of the respondents had no specific anatomical knowledge, 62.3 % received no orientation on the best physical postures to perform the guitar; 63.93 % do not effect prior stretching for upper limbs or other body regions; 50.82 % do not practice muscle warming before the practice, and 52.46 % do not make pauses during the activity. Body areas that were constantly used during practice with the guitar encompassed right wrist (70.49%), left wrist (59.01%), right hand (63.93%) and left hand (50.81%). Spearman's correlation was used to estimate the relation between discomfort and hours of daily practice with guitar and it indicated positive correlation of low degree on right (r=0.3536) and left wrists (r=0.3226) and on the left hand (r=0.3431). Production of Illustrated Manual of Human Anatomy specific to the Locomotor System promotes teaching strategy to prevent injuries, traumas or musculoskeletal origin pathologies of guitarists, from complete beginners to instrumentalists. / Introdução: Violonistas representam a maioria dos instrumentistas e suas atividades envolvem esforços repetitivos ou postura estática, o que assim os torna prováveis candidatos a desenvolver doença laboral, a maioria das vezes por absoluta falta de informação. O objetivo do presente estudo foi elaborar manual ilustrativo do aparelho locomotor, especificamente direcionado a violonistas, para prevenção de lesões. Método: Foram considerados 61 violonistas (estudantes, docentes, semi-profissionais e profissionais) da cidade de São José do Rio Preto SP, com aplicação de questionário a fim de estimar conhecimento referente a ossos, músculos e articulações intrinsecamente associados à práxis de execuções musicais de violão. Como resultados, 83,5% dos respondentes não tinham conhecimento anatômico específico; 62,3% não receberam orientação sobre as melhores posturas físicas para executar o violão; 63,93% mencionam não efetuar alongamento prévio dos membros superiores ou de outras regiões corporais; 50,82% não praticam aquecimento muscular antes da prática, e 52,46% não efetuam pausas durante a atividade. Áreas corporais constantemente utilizadas durante a prática com o violão englobaram pulso direito (70,49%), pulso esquerdo (59,01%), mão direita (63,93%) e mão esquerda (50,81%). Correlação de Spearman foi usada para estimar relação entre desconforto e horas de prática diária com violão indicou correlação positiva de grau baixo nos pulsos direito (r=0,3536) e esquerdo (r=0,3226) e na mão esquerda (r=0,3431). Confecção de Manual Ilustrado de Anatomia Humana específica ao Aparelho Locomotor promove estratégia de ensino para prevenir lesões, traumas ou patologias de origem musculoesquelética a violonistas, desde iniciantes até instrumentistas.

Syftet med detta arbete är att undersöka på vilket sätt det är möjligt att designa en övningsprocess för att uppnå spelteknisk utveckling på instrumentet piano och om denna process kan gynna en utveckling inom området improvisation. För att undersöka detta har jag under en tioveckorsperiod övat på två specifika övningar, ca. fem övningspass i veckan á 20-30 minuter per tillfälle. Dokumentation av övandet har skett via videofilmning och loggboksskrivande. Jag har i analysen utgått från ett designteoretiskt perspektiv. I resultatdelen av arbetet beskrivs vilka resurser jag använt för att öva, hur övningen designats samt hur mitt pianospel, med inriktning på improvisation, påverkats av detta övande. Det har i resultatet framgått att många olika typer av resurser använts och att mycket av det jag valt att fokusera på har gett positiva resultat. I diskussionsdelen diskuteras resultatet utifrån det designteoretiska perspektivet samt den litteratur och tidigare forskning som jag presenterat. / The purpose of this study is to observe and examine my own learning process when practicing technique on the piano. The purpose is also to observe how this affects my piano playing. In order to examine this I have, during a ten week period, practiced two specific exercises, five times a week 20-30 minutes per session. I documented the sessions via video and a logbook. I have chosen a design theoretical perspective as my theoretical basis. In the result section, I describe which resources I have used in my practice, how I choose to design my practice as well as how it has affected my piano playing. It turns out that I have used many different resources and that many of them has produced positive results. Lastly, I discuss the results in relation to relevant literature and research.

This study investigates how different guitarists introduced saxophone-like phrasing into the improvisatory and compositional vocabulary of jazz guitar through their collaborations with saxophonists. This research presents a comparative analysis of phrasing, articulation, and melodic design in solo improvisations. The mixed approach to this study includes analysis of motives, voice leading, articulation, length of phrases, melodic contour, and the execution of bebop vocabulary on the guitar. The findings are based on original transcriptions from significant recordings by guitar-saxophone pairs. These highlight the similarities between and adaptations of musical devices from saxophonists Stan Getz, Jimmy Giuffre, and Joe Lovano into the jazz guitar styles of Jimmy Raney, Jim Hall, and John Scofield. This study supports the argument that the evolution of modern jazz guitar playing is directly connected to the adaptation of saxophone-like phrasing at an improvisatory and compositional level. It also shows that the concept of style in jazz flows between different instruments' lineages. Understanding these findings provides a more complex and accurate concept of the development of style in jazz.