Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.

Metode Pembelajaran Jarak Jauh Pada Mata Kuliah Gitar Klasik Lampung Pepadun di Prodi Pendidikan Musik, Fakultas Keguruan Ilmu Pendidikan, Universitas Lampung

The difficulties in learning the Lampung Pepadun Classical Guitar practice are caused by several factors, including; 1) the learning process is not guided directly by trainers who are experts in their fields; 2) many students of the Music Education study program are not yet able to read block notation in the form of songs; 3) some students do not have the skills to play guitar with the correct technique. The long-term goal in learning Lampung Pepadun Classical Guitar is that students are able to become agents of change in preserving the art of Lampung Pepadun Classical Guitar and become pioneers in developing and creating music, both contemporary music and creative music. The specific target to be achieved in this research is the creation of a new teaching pattern in the field of Lampung traditional music, namely learning by using several applications and distance learning methods in accordance with the concept of learning. Several online learning methods have been applied using various applications such as Youtube, MP3, and Sibelius. Online learning is learning that is carried out without face to face directly, using smartphone/gadget/laptop devices, and video conferencing platforms as a space for the learning process to take place. However, the seven learning components which include teachers/lecturers, students, objectives, materials, methods, media, and evaluation must remain an integral component of online learning, which will be integrated in achieving learning objectives

Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar

<p>Cross-disciplinary in its approach, through the internal frameworks of collaboration, this exegesis explores a series of case studies with non-guitarist composers, documenting the why and how aspects of collaboration in the context of creating new music. The primary focus is on how to translate non-guitarist composers’ ideas effectively onto the guitar: to create music for the guitar which is idiomatic while maintaining compositional integrity.</p>

Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar

<p>Cross-disciplinary in its approach, through the internal frameworks of collaboration, this exegesis explores a series of case studies with non-guitarist composers, documenting the why and how aspects of collaboration in the context of creating new music. The primary focus is on how to translate non-guitarist composers’ ideas effectively onto the guitar: to create music for the guitar which is idiomatic while maintaining compositional integrity.</p>

Effectual Entrepreneurship in the Arts: The Story of Austin Classical Guitar

This article tells the incredible story of Austin Classical Guitar, provides empirical evidence supporting the efficacy of Sarasvathy’s Effectual Entrepreneurship principles within an arts context, and contributes to theory development for the field of entrepreneurship and the subfield arts entrepreneurship. Individuals and organizations can utilize the concepts, principles, and method illustrated in the organizational history of Austin Classical Guitar to launch and sustain successful arts ventures. Arts entrepreneurship educators and scholars are encouraged to consider effectuation a foundational building block for the subfield and incorporate it into their work.

Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features

Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.

Proses pembelajaran gitar klasik sebagai nilai-nilai pendidikan di Prodi Pendidikan Seni Pertunjukan FKIP Untirta

Learning guitar in the Performing Arts Education Study Program (PSP) FKIP Untirta is an effort made by students to play an existing repertoire created by a composer. The repertory is studied gradually and continuously. From the beginning to the end of the repertory, students play with the techniques, dynamics, and tempo written from a repertory. This is a process that is carried out continuously by the students of PSP FKIP Untirta. The guitar learning process is certainly interesting to be used as a study. Given that there is no guitar learning in PSP FKIP Untirta that has made a scientific study material. This study used a qualitative method described descriptively to obtain data about educational values in classical guitar learning at PSP FKIP Untirta. This study will discuss the educational values that exist in classical guitar learning in PSP FKIP Untirta. The results of this study are as follows. Educational values in classical guitar learning at PSP FKIP Untirta (1) Discipline values; (2) the value of hard work; (3) the value of being used to reading; and (4) aesthetic value / taste.

Concise Review of Classical Guitar Modelling Technologies

Analytical modeling and numerical simulation of multiphysics coupled systems is an exciting research area, even when it comes to intrinsically linear or linearized formulations, as is usually the case with coupled vibroacoustic problems. The combined effect of many localized geometrical miss-modeling with significant uncertainty in mechanical characterization of some organic materials yields large discrepancies in the natural frequencies and mode shapes obtained. The main goal of this work is to compare two basic approaches for the modeling of stringed musical instruments in the frequency domain: simplified lumped-parameter analytic modeling, considering only the most influential degrees of freedom, and discretized finite element modal analysis. Thus, the emphasis is on a review of some key references in this field, including previous work by the authors, which may shed light on some of the most relevant issues surrounding this problem.

‘Yet another guitar recital filled the Wigmore Hall’: The Popularization of the Classical Guitar in Britain, c.1950–c.1970

The popularity of the classical guitar in Britain surged between 1950 and 1970. The virtuosity of elite professionals led by the pioneering Andrés Segovia and the new stars Julian Bream and John Williams earned the classical instrument considerable purchase within the wider culture. Above all, it inspired thousands of largely middle-class, male, relatively young and urban amateur players, attracted not simply by the instrument’s intrinsic appeal but also by the opportunity offered to display a fashionable modernity and sophisticated connoisseurship. However, although securing for the classical guitar a much-enhanced musical role, these enthusiasts also created an often inward-looking specialist culture.

CLASSICAL GUITAR INTRODUCTORY EDUCATION FOR CHILDREN: EXAMINING THE METHOD OF THIERRY TISSERAND’S “JE DEVIENS GUITARISTE VOL.1”

For children, musical education is considered as an essential need since it supports psychomotor development and provides children with an environment, where they can freely express themselves. Classical guitar is a polyphonic instrument that is widely used in musical education and, as with other instruments, it necessitates a certain level of learning discipline. The objective of the present study is to examine the « Je deviens guitariste Vol.1 » guitar method developed by Thierry Tisserand, being a composer and guitarist and affected by jazz, bossa nova, and other music genres, for children, who have no solfeggio knowledge and are having the first guitar education from scratch, and to reveal on which aspects of early-age guitar education this method has effects. The present research is a descriptive study providing a situation assessment and is based on general survey model. This qualitative study uses various document and content analysis methods. The data were obtained by analyzing this method’s contributions to the educational process and by reviewing the literature. Based on the findings obtained as a result of this research, how contributions that this method could offer for resolving the possible problems that might be observed in early-age guitar education are discussed and suggestions are provided for educator and method. Keywords: Music, music education, classical guitar, guitar education