Doctoral Final Projects--Guitar (DM)
Permanent link for this collectionhttps://hdl.handle.net/2022/14085
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Item SEVEN TRADITIONAL FOLK PIECES FROM THE BALKAN REGION ARRANGED FOR GUITAR(Indiana University, 2023-12-14) Begovic, NikolaCurrently, the classical guitar repertoire includes very few pieces from the Balkan region. The authentic melodic and harmonic structures combined with complex rhythmic components found in certain Balkan folk music are very rarely found in classical music repertoire. Therefore, the primary purpose of this project was to analyze the selected Balkan folk music and provide a guitar transcription for each piece in order to expand the classical guitar repertoire. As a guitarist who grew up in the Balkan area, exploring and applying different musical styles from the Balkan region to the classical guitar was something that I have always felt would contribute uniquely to the repertoire for this instrument. In this document, I first introduced the historical background of Balkan folk music. Following this, I analyzed the musical styles/characteristics and performance practices of eight Balkan folk music selections and transcribed them for classical guitar. Through detailed analyses of Balkan music literature and scores, I aim to provide guitarists and guitar teachers with valid materials they can use in their performance and teaching.Item E Pluribus Unum: A Comprehensive Ensemble-Based Guitar Method(Indiana University, 2023-05-05) Barney, ConnorThe purpose of this document is to serve as a prose for E Pluribus Unum: A Comprehensive Ensemble-Based Guitar Method, which I have developed. The method is a new ensemble-based approach to guitar pedagogy that attempts to mitigate some of the challenges of learning solo guitar. After providing a historical analysis of approaches to guitar pedagogy, recounting my own experiences with guitar instruction, and reviewing some current music education readings related to music learning, I have created a user-friendly method to teach guitar for beginners. My vision is to share and promote a new ensemble model that will attract students and provide a resource which may impact future guitar pedagogy.Item Harmony and impulse in the music of Agustin Barrios(Indiana University, 2022-09-12) Stein, CassiusItem Works modeled on the improvisational styles of two jazz guitarists(Indiana University, 2021-09-03) Aquino, Thomas G.Item Ten Balkan songs arranged for guitar(Indiana University, 2021-07-23) Ostojić, NemanjaItem Two contemporary classical guitar composer-performers, Carlo Domeniconi and Dušan Bogdanović́, and their work of synthesis(Indiana University, 2020-05-19) Radovanlija, Maja, 1975-Item A lecture recital with a comprehensive study on the contributions to contemporary classical guitar repertoire by foreign classical guitar arranger-composers who lived in Turkey and were influenced by Turkish music(Indiana University, 2020-05-11) Alakavuklar, Ahmet OnurItem Transcribing for classical guitar: history and examples from literature, with three essays from different styles and instruments(Indiana University, 2019-05-02) Fierens, Carlo GuillermoItem Jazz standards arranged for classical guitar in the style of Art Tatum(Indiana University, 2018-04-03) Brew, Stephen S.Item The Colombian suite of Gentil Montaña: contribution to the guitar music repertoire(Indiana University, 2017-12-14) Hoyos-Escobar, EfrainItem Musicianship through applied music theory : an undergraduate course with guitar integrating ear training, improvisation, and theory(Indiana University, 2017-11-17) Nebelung, RussellThe purpose of this semester course is to guide students in developing musicianship, an amalgam of aural skills and basic theoretical fluency that create a musician capable of sight-singing, transcribing, playing by ear, and improvising. In essence this is a course designed to teach rudimentary guitar, theory, and aural skills with the belief that directly training students in the nuts and bolts of how to fluently auralize and visualize musical patterns will create musicians with higher ability and love for the art. In order to accomplish these goals this course will provide students with straightforward written work, guided classroom work, little demand on technique or the learning of pieces, and loads of playing, singing, listening, and repetition. Guitar instruction consists of technique and fretboard knowledge necessary for performing intervals, scales, chords, arpeggios, and progressions, with the ultimate goal being the practice of melodic fragments with the guitar and voice in order to combine ears, mind, and instrument into a cohesive unit. Nearly all written materials necessary to teach this course are included. These materials are comprised of written listening drills, teaching handouts, guitar charts, melodic patterns, modal song examples, assignment worksheets, and two written exams. Nine pieces from The Real Easy Book: Tunes for Beginning Improvisers by the Stanford Jazz Workshop have been chosen as the main source of song material for their simple, repetitive, and riff –based natures, which lend themselves readily to the goals of this course. Singing and listening drills are based largely on and are used in conjunction with the David Burge Relative Pitch Ear Training Supercourse. Numerous additions have been made to work with and expand upon Burge’s materials. Ear training software such as Auralia or EarMaster is required for students to test their ear training progress in mastering basic intervals throughout the semester. Students will also be required to record and upload videos of themselves singin g and performing on the guitar for exams.Item A study of multiculturalism in 20th century guitar music and the Brazilian elements in the music of Roland Dyens(2016-12-09) Duarte, Daniel, 1984-Item Cognitive and metacognitive learning strategies for skill acquisition among conservatory guitarists(2014-05-14) Ozsever, ErolItem Principles of Idiomatic Guitar Writing(2014-05-02) Godfrey, JonathanA survey of idiomatic classical guitar composition techniques written towards composers who do not play the instrument. Topics covered include notation, fundamental mechanics, advanced and extended techniques, basic textures, harmonics, etc. Audio examples included.Item A four year curriculum for high school guitar class with a review of the literature on motivation in music education(2013-09-20) Hoeflicker, CaleItem Concerto for Guitar(2012-05-09) Sanchez, Guido, 1974-Item Bridging two worlds: baroque violin performance practices as a model for the transcription of selected movements of J.S. Bach's sonatas and partitas for solo violin on the modern guitar(2012-04-24) Ribeiro Alves, JúlioThis document explores the role of the baroque violin practices of bowing, chord playing, and slurring in arrangements for the modern guitar, of selected movements of J. S. Bach’s Sonatas and Partitas (BWV 1001-1006) for solo violin. This document aims to expand the range of possible solutions for all guitarists interested in playing Bach’s unaccompanied solo music by making a “bridge” between these essential performance practices of the baroque violin and the capabilities of the modern guitar. Some practices associated with other baroque instruments such as the lute and the harpsichord are also considered. The guitar arrangements included at the end of the document were conceived taking into account techniques that were intrinsic to Bach’s conception of these violin pieces as violin music. As a consequence, the musical content has a primary position in the final product. The methodology is primarily based on the study of the bowing practices, and the slurring practices of the baroque violin (both of them essential aspects of the technique of the instrument) and their realization in terms of modern classical guitar technique. These elements of violin technique are the structural pillars of the proposed bridge. Secondary to them, the way chords are played on the baroque violin and how it can promote ease of playing and good voice leading in the guitar arrangements is also part of the methodology. The rationale that represents the “bridge” is first presented and then compared to other approaches found in various published editions of Bach’s violin music arranged for the modern guitar.