Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).

<p>When a design feature (such as material choice, internal bracing pattern, guitar body depth, and sound hole diameter) of an acoustic guitar changes, the effect of the change on the guitar’s sound is not well understood. As a result, luthiers approximate how to make guitars that have resonant frequencies of around 95-105 Hertz (Hz), the frequency range which sounds “good.” The researcher designed a reconfigurable fixture that simulated an acoustic guitar body with a variable body depth and sound hole diameter. The researcher used this testing fixture to examine the relationship between sound hole diameter, body depth, and resonant frequency. She conducted an experimental parameter sweep, measuring frequency response functions (FRFs) to collect data on the first, Helmholtz, and second resonant frequencies of the simulated acoustic guitar. The researcher pinpointed the general trends in the correlation between resonant frequency, body depth, and sound hole diameter using the frequency data from the FRF measurements. She determined that as sound hole diameter increased, the first, Helmholtz, and second resonant frequencies increased; and as body depth and body volume increased, the first and Helmholtz resonant frequencies decreased, while the second resonant frequency increased up until a body depth of approximately 4.50” inches. Exploring alternative design features and material choices contributes to improving urban infrastructure by encouraging luthiers to make instruments with sustainable materials (National Academy of Engineering, Grand Challenges – Restore and Improve Urban Infrastructure, 2023).</p>

The ETSU Guitar Project’s Open Education Resource (OER) site is a repository of shareable files developed and used in the design & fabrication of electric and acoustic guitars. Begun in 2010, the ETSU Guitar Building Program is affiliated with the NSF-sponsored, national STEM Guitar Project to increase student engagement in the STEM disciplines from K-12 to Higher Ed. Guitar design, prototyping & build activities in the ENTC 3600 Manufacturing Technologies course use a hands-on mix of 2D CADD, 3D modeling, traditional woodworking, CNC routing and laser etching operations in a custom shop-type environment to create unique electric solid body and semi-hollow body electric guitars. Beginning in 2019, the Engineering Technology program faculty began partnering with faculty in ETSU’s groundbreaking Department of Bluegrass, Old Time, and Roots Music Studies program in building acoustic instruments. Designs of common and specialty acoustic instrument building including luthiers’ tooling, molds, templates, jigs and fixtures as well as alternative bracing are available from this repository. / https://dc.etsu.edu/etsu-oer/1009/thumbnail.jpg

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-27T14:27:54Z No. of bitstreams: 4 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (1).pdf: 18748213 bytes, checksum: 0ec6968228794598f5856e4303624fa9 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (2).pdf: 18823898 bytes, checksum: 9d5dbcc6d89d10d50e2fad8f78130178 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (3).pdf: 7540917 bytes, checksum: 4a3d2e88bba8c9064dd80e5905ae13fb (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-28T12:33:56Z (GMT) No. of bitstreams: 4 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (1).pdf: 18748213 bytes, checksum: 0ec6968228794598f5856e4303624fa9 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (2).pdf: 18823898 bytes, checksum: 9d5dbcc6d89d10d50e2fad8f78130178 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (3).pdf: 7540917 bytes, checksum: 4a3d2e88bba8c9064dd80e5905ae13fb (MD5) / Made available in DSpace on 2015-01-28T12:33:56Z (GMT). No. of bitstreams: 4 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (1).pdf: 18748213 bytes, checksum: 0ec6968228794598f5856e4303624fa9 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (2).pdf: 18823898 bytes, checksum: 9d5dbcc6d89d10d50e2fad8f78130178 (MD5) Dissertação - Cosme Luis de Almeida - 2014 (3).pdf: 7540917 bytes, checksum: 4a3d2e88bba8c9064dd80e5905ae13fb (MD5) Previous issue date: 2014-03-27 / This work is the result of the process of transcribing the Passacaglia and Fugue BWV 582 by Johann S. Bach for the formation of two guitars from the procedures found in the transcript of his Concerto in G Major BWV 592 and transcription for harpsichord (BWV 592a). In addition to the procedures presented by Bach, we use data from transcriptions for piano of the Passacaglia and Fugue BWV 582. For these analyzes other works were chosen of Fritz Malata (1882-1949), Eugen d' Albert (1864-1932), Josef Weiss (1864-1945) and Georgy Catoire (1861-1926). The choice of these works analyzed is justified by using restriction characteristics of instrumental possibilities. The work consists of a presentation of our philosophical about the poetics of musical transcription precepts, plus some historical aspects that explain the use of the act of musical transcription over time, a view of transcriptional procedures used by Bach in the transcription of his work, a presentation of procedures employed by other transcribers and ultimately the exposure of the procedures used in transcription for two guitars of the Passacaglia and Fugue BWV 582. / Este trabalho é resultado do processo de transcrição da Passacaglia e Fuga BWV 582 de Johann S. Bach para a formação de dois violões a partir dos procedimentos encontrados na transcrição do seu Concerto em Sol Maior BWV 592 e a sua transcrição para cravo (BWV 592a). Além dos procedimentos apresentados por Bach, utilizaremos dados obtidos em transcrições para piano da Passacaglia e Fuga BWV 582. Para essas outras análises foram escolhidas obras de Fritz Malata (1882-1949), Eugen d’Albert (1864–1932), Josef Weiss (1864–1945) e Georgy Catoire (1861–1926). A escolha dessas obras analisadas se justifica por utilizarem características de restrição de possibilidades instrumentais. O trabalho consta de uma apresentação de nossos preceitos filosóficos a respeito da poética da transcrição musical, além de alguns aspectos históricos que expõem a utilização do ato da transcrição musical ao longo do tempo; uma exibição de procedimentos transcricionais utilizados por Bach na transcrição de sua obra; uma apresentação de procedimentos empregados por outros transcritores e, por fim, a exposição dos procedimentos utilizados na transcrição para dois violões da Passacaglia e Fuga BWV 582.

Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer.

Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.

There is a need of substitution woods for the use in musical instruments because of the limited availabil-ity of some commonly used tropical tonewoods. Before substitutions can be found, it is necessary to knowabout the required properties. Hence, in this paper acoustical, mechanical and physical properties of fourcommon tropical hardwoods (Indian rosewood, ziricote, African blackwood and ebony) were determinedbecause there are less literature values for some properties available, e.g. internal friction, hardness orswelling behaviour. The acoustic properties were determined by means of experimental modal analysis,the mechanical properties by means of static bending tests and tests of the Brinell hardness. For the swel-ling behaviour the volume swelling and also the differential swelling coefficients were determined. Withthe results it is possible to look for new ‘tonewoods’ or to specifically modified woods, e.g. thermally trea-ted wood, to substitute tropical wood species.

There is a need of substitution woods for the use in musical instruments because of the limited availabil-ity of some commonly used tropical tonewoods. Before substitutions can be found, it is necessary to knowabout the required properties. Hence, in this paper acoustical, mechanical and physical properties of fourcommon tropical hardwoods (Indian rosewood, ziricote, African blackwood and ebony) were determinedbecause there are less literature values for some properties available, e.g. internal friction, hardness orswelling behaviour. The acoustic properties were determined by means of experimental modal analysis,the mechanical properties by means of static bending tests and tests of the Brinell hardness. For the swel-ling behaviour the volume swelling and also the differential swelling coefficients were determined. Withthe results it is possible to look for new ‘tonewoods’ or to specifically modified woods, e.g. thermally trea-ted wood, to substitute tropical wood species.