FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / A presente dissertaÃÃo teve como objetivo geral compreender as prÃticas pedagÃgicas e metodolÃgicas no ensino e aprendizagem de guitarra elÃtrica no triÃngulo CRAJUBAR e fomentar aquelas consideradas fundamentais para um ensino de mÃsica democrÃtico. Para tanto, foi necessÃrio, alÃm de investigar alguns espaÃos de ensino e aprendizagem de guitarra no curso de Licenciatura em MÃsica da UFCA, apresentar um breve histÃrico da guitarra no CRAJUBAR sob a perspectiva da histÃria de vida de alguns agentes. A fim de iluminar as reflexÃes esta pesquisa utilizou como referencial teÃrico a Ecologia dos Saberes de Maria CÃndida Moraes, a praxiologia do Pierre Bourdieu e algumas ideias e propostas de Maura Penna sobre a democratizaÃÃo do acesso à arte e à cultura. Trata-se de uma pesquisa de cunho qualitativo e os procedimentos metodolÃgicos adotados sÃo a histÃria de vida em formaÃÃo e estudos do tipo etnogrÃfico. O trabalho apresentou uma interessante organizaÃÃo dos estudos da guitarra a partir de seis tÃpicos: conhecimento do braÃo, tÃcnica, leitura, harmonia, improvisaÃÃo e repertÃrio; sendo que, a partir dessa organizaÃÃo, podem ser utilizadas as seguintes prÃticas pedagÃgicas e recursos metodolÃgicos: Sistema 5 (CAGED), apreciaÃÃo musical, âpegar mÃsicas de ouvidoâ, transcriÃÃo em partitura, composiÃÃo â em sentido amplo â, estudo e performance de repertÃrio que contemple uma ampla variedade de gÃneros e estilos musicais, desde a mÃsica popular atà a erudita, utilizaÃÃo de metrÃnomo, playbacks, Ãudios, vÃdeos, videoaulas e gravaÃÃo musical. Ressaltamos ainda a Aprendizagem Musical Compartilhada como excelente proposta metodolÃgica para o ensino e aprendizagem de guitarra em contextos coletivos. / The aim of this dissertation was to understand pedagogical and methodological practices in the teaching and learning of electric guitar in the CRAJUBAR triangle and to foster those considered fundamental for a teaching of democratic music. For that, it was necessary, besides investigating some spaces of teaching and learning of electric guitar in the course of Graduation in Music of the UFCA, to present a brief history of the electric guitar in the CRAJUBAR under the perspective of the life history of some agents. In order to illuminate the reflections, this research used as a theoretical reference the Ecology of Knowledge of Maria CÃndida Moraes, the praxiology of Pierre Bourdieu and some ideas and proposals of Maura Penna on the democratization of access to art and culture. It is a qualitative research and the methodological procedures adopted are the life history in formation and studies of the ethnographic type. The work presented an interesting organization of the studies of the guitar from six topics: knowledge of the arm, technique, music reading, harmony, improvisation and repertoire; From this organization, the following pedagogical practices and methodological resources can be used: System 5 (CAGED), musical appreciation, âpick up songs from the earâ, transcription in score, composition - in a broad sense -, study and repertoire performance that contemplate a wide variety of genres and musical styles, from popular music to the erudite, use of metronome, playbacks, audios, videos, video lessons and music recording. We also emphasize Shared Musical Learning as an excellent methodological proposal for the teaching and learning of electric guitar in collective contexts.

abstract: This work explores the blurring and eradication of boundaries – whether the boundaries are musical, social, cultural, linguistical, or political. I wanted to create a work that would explore the boundaries of my own dual identities, such as Mexican or American, or masculine or feminine, and that of my varied interests, such as popular, jazz, and European art music. After half a year of work, Sueño-Vibrant is the dazzling, whirlwind of a result (“vibrant” is pronounced just as it is in English). I worked with poet Marco Piña because we share many similarities in our artistic philosophies, owing to our mutual identities as bilingual Chicanxs. Considering the poems themselves, for me, “Bastardized Spanglish Translations” reveals an individual recovering from the end of a romantic relationship, whereas “Night Song” is about the self-discovery of one’s identity. By pairing these two poems, I create a polarity between the texts themselves, to highlight that the shaping of identity is both an internal and external process. In the cantata, we travel from the mourning and mysterious “Do My Eyes Lie” to the Mexican folk-styled “Ya me voy;” the arduous and painful “Ban Me From Balancing;” the indie- and jazz-inspired “Soon I’ll Be Home;” the introspective choral work “Night Song;” and the dissonant and disoriented “This Song Keeps Skipping.” I complete the work with “Adiós, Amor,” where these seemingly disparate feelings, genres, ideas, and identities are tied together and explored to fruition through a variety of styles and genres, from the salsa, to the opera chorus. With this work, I invite audiences to consider their own identities and those of others, and to embrace the social dissonances that happen both within us and around us. / Dissertation/Thesis / Masters Thesis Composition 2019

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.

Thesis (M.M.)--University of North Texas, 2003. / Score of Tele (p. 50-54); in part graphic notation. Includes bibliographical references (p. 45-46).

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008. / First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

Made available in DSpace on 2015-05-14T12:52:25Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 5880968 bytes, checksum: 683b86422ab5c2b4db84b95151e3c8b5 (MD5) Previous issue date: 2012-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The teaching and learning of the electric guitar have been consolidated from a conjuncture of factors related to the historical, cultural and interpretative development of the instrument. Thus, the formation of the guitar player was developed in different spaces and from individual strategies related to the practice and the social insertion of the electric guitar. Currently, the instrument has achieved new demands and new spaces, also reaching institutionalized dimensions with regard to its teaching. Therefore, we can say that nowadays the educational spaces for teaching and learning the electric guitar are constituted by formalized contexts and several other universes of practice and, consequently, of musical formation. Taking this scenario into consideration, I conducted a multicase study in the city of Joao Pessoa considering three important contexts of teaching and learning the electric guitar today. The investigated spaces were: graduation courses of music at the Federal University of Paraiba, the school of music Studio Musical, a private school that offer free courses of the instrument, and private lessons with a teacher who gives classes in his own residence. Taking this research as a basis, this study presents, discusses and analyzes key aspects that characterize electric guitar lessons in the three investigated spaces of musical formation, especially in relation to infrastructure, content, methodologies and different strategies used for teaching and learning. The methodological approach of the research was based mainly on qualitative procedures of data collection and analysis, but also contemplated quantitative instruments to enrich the understanding of the universe studied. Thus, throughout the investigative work, bibliographic studies, semi-structured interviews, questionnaires and participant observation of classes were carried out. From the results obtained, it was evident that, in all of the three contexts investigated, it is common the use of scales and the formation and use of chords and arpeggios as the basis for the practice of the instrument. However, each context presents singularities regarding the use of repertoire as a guiding element of learning, the availability of equipment to carry out the lessons and the systematic structuring of the contents applied. / O ensino e aprendizagem da guitarra se consolidaram a partir de uma conjuntura de fatores relacionados ao desenvolvimento histórico, interpretativo e cultural do instrumento. Assim, a formação do guitarrista se desenvolveu em espaços diversos e a partir de estratégias singulares relacionadas à prática e à inserção social da guitarra. Na atualidade, o instrumento tem conquistado novas demandas e novos espaços, ganhando inclusive dimensões institucionalizadas no que se refere ao seu ensino. Dessa forma, é possível afirmar que os espaços educacionais de ensino e aprendizagem da guitarra hoje se constituem tanto em contextos formalizados quanto em diversos outros universos de prática e, conseqüentemente, de formação musical. Considerando essa realidade, realizei um estudo multicaso na cidade de João Pessoa contemplando três importantes contextos de ensino e aprendizagem da guitarra na atualidade. Os espaços investigados foram: cursos de graduação em música da Universidade Federal da Paraíba; a escola de música Studio Musical, de caráter particular e que oferta cursos livres do instrumento; e aulas particulares de um professor que ministra aulas em sua própria residência. Tendo essa pesquisa como base, este trabalho apresenta, discute e analisa aspectos fundamentais que caracterizam aulas de guitarra nos três espaços de formação musical investigados, sobretudo no que tange à infra-estrutura, conteúdos, metodologias e estratégias diversas de ensino e aprendizagem utilizadas. A abordagem metodológica da pesquisa teve como base principal procedimentos qualitativos de coleta e análise dos dados, mas também contemplou instrumentos quantitativos a fim de enriquecer a compreensão do universo estudado. Assim, ao longo do trabalho investigativo, foram realizados estudos bibliográficos, entrevistas semi-estruturadas, aplicação de questionários e observação participante das aulas ministradas. A partir dos resultados obtidos, ficou evidente que, nos três contextos investigados, é comum o uso de escalas e a formação e utilização de acordes e arpejos como base para a prática do instrumento. Todavia, cada contexto apresenta singularidades no que concerne ao uso do repertório como elemento norteador da aprendizagem, à disponibilidade de equipamentos para a realização das aulas e à estruturação sistemática dos conteúdos aplicados.

Made available in DSpace on 2015-05-14T12:52:25Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4782954 bytes, checksum: 0e9b1c26253c1035c620d5c9470c1f33 (MD5) Previous issue date: 2011-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This researsh analyses the participation of the electric guitar in the work Gruppen für drei orchester of the German composer Karlheinz Stockhausen. The work is subdivided in three chapters. The first deals history aspects of the instrument and its use in the avantgarde concert music of the twentieth century, featuring a selection of works of the most important composers of this aesthetics, in which the electric guitar participates. In the second chapter, the focus are the general aspects related to the work and the composer, in addiction to a deepening in the pre compositional plan of Gruppen and in the group composition technique used in the work; on this the first three groups of the work are analyzed. In the third chapter, we have selected the groups in which the electric guitar is present, examining the serial context of the work, based on the main parameters instrumentation, pitchs, rhythm, articulations an dynamics, them including an explanation about the idiomatic use of the instrument in fostering of the groups sounds, and the exposure of a typing model of the electric guitar score for entire the work. / Esta pesquisa analisa a participação da guitarra elétrica na obra Gruppen für drei orchester do compositor alemão Karlheinz Stockhausen. O trabalho está subdividido em três capítulos. O primeiro aborda aspectos históricos do instrumento e seu uso na música vanguardista de concerto do século XX, apresentando uma seleção de obras dos compositores mais importantes desta corrente estética, nas quais a guitarra elétrica participa. No segundo capítulo, o foco são os aspectos gerais relacionados à obra e ao compositor, além de um aprofundamento no plano pré-composicional de Gruppen e na técnica de composição por grupos utilizada na obra; neste, os três primeiros grupos da peça são analisados. No terceiro capítulo, são selecionados os grupos onde a guitarra elétrica está presente, examinando-a dentro do contexto serial integral da obra, baseado nos principais parâmetros - instrumentação, alturas, ritmos, articulação e dinâmica , além de uma explanação sobre o uso do idiomatismo do instrumento em favorecimento da sonoridade dos grupos, e da exposição de um modelo de digitação da partitura da guitarra elétrica de toda a peça.

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-25T17:06:02Z No. of bitstreams: 1 arquivototal.pdf: 59847296 bytes, checksum: c986a87278ba6919e1c3ca6066356966 (MD5) / Made available in DSpace on 2016-07-25T17:06:02Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 59847296 bytes, checksum: c986a87278ba6919e1c3ca6066356966 (MD5) Previous issue date: 2015-04-16 / Nowadays musical education has taken part of a diversity of themes and points related to multiple contexts of music formation that constitute the contemporaneous society. In this universe the studies about popular music has gotten place and projections which shows singularities that is a part of the musician’s formation who will deal with this phenomenon. Inside of these studies has appeared a diversity of researches about teaching and learning the electric guitar, an instrument which has a strong insertion in the scene of the popular music since the middle of the 20th century. So, the purpose of this work is to comprehend the mainly demands of the learners from the UFPB Music Course and also in which ways they are engaged with the proposals and the musical pedagogical practice of these courses. The study was realized in the basis of an approaching qualitative research that observed collected data like bibliographical and documental researches, interviews, observations. Furthermore, it was used a questionnaire which is more suitable in quantitative researches, a fundamental tool to achieve the purposes of this work. From the results it is possible to affirm that the UFPB Guitar Courses give to the students new perspectives to perform and new discovering to continue and develop their practice like a musician. However it is clear that there is a big difference between the proposals of the pedagogical projects of the courses and the expectations and demands of the learners, not just this, the directed formation for the singularities of popular music and the electric guitar. / A área de educação musical na atualidade tem contemplado uma diversidade de temas e de questões relacionadas aos múltiplos contextos de formação em música que constituem a sociedade contemporânea. Nesse universo, os estudos acerca da música popular têm ganhado espaço e projeção, apontando para singularidades que permeiam a formação do músico para lidar com tal fenômeno. No âmbito desses estudos, têm emergido uma diversidade de pesquisas sobre o ensino e aprendizagem da guitarra elétrica, instrumento que tem forte inserção na cena da música popular desde, pelo menos, a segunda década do século XX. Considerando esse contexto, este trabalho tem como objetivo discutir e analisar as interrelações entre as principais demandas do corpo discente e a proposta pedagógico-musical dos cursos de guitarra da UFPB. O estudo foi realizado como base em uma abordagem qualitativa de pesquisa, contemplando instrumentos de coleta de dados como: pesquisa bibliográfica, pesquisa documental, realização de entrevistas e observação participante. Além disso, foi utilizado também o questionário, instrumento mais característico da pesquisa quantitativa, mas fundamental para alcançar os objetivos propostos para a pesquisa realizada. A partir dos resultados obtidos é possível afirmar que os cursos de guitarra da UFPB têm propiciado ao estudantes novas perspectivas de atuação e novas descobertas para a continuidade e aperfeiçoamento de sua prática como instrumentista. Todavia, fica evidente que há, ainda, certo descompasso entre a proposta dos projetos políticos pedagógicos dos cursos e as expectativas e demandas dos discentes, sobretudo no que tange a uma formação mais direcionada para as singularidades da música popular e do instrumento guitarra.

Orientador: José Eduardo Ribeiro de Paiva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T07:57:29Z (GMT). No. of bitstreams: 1 Rocha_MarcelEduardoLeal_D.pdf: 1511252 bytes, checksum: 31cce2dc1a1f22d0663cd62cde894493 (MD5) Previous issue date: 2011 / Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos / Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software / Doutorado / Doutor em Música