Classical Guitar Research Articles

O violão na imprensa carioca dos oitocentos

This article aims to reveal how newspaper archives can support musical history research by providing an important tool for developing and covering themes focused by Brazilian musicology. The presence of the classical guitar in Rio de Janeiro is highlighted beginning in the 1840s in the hands of foreign artists, who fostered the development of the city’s nineteenth-century musical life, a busy agenda of musical performances that allows us to become acquainted with the guitar’s repertoire, which was composed of original works and especially transcriptions of opera arias.

A Qualitative Examination of Instructor Experiences Regarding Pedagogical Challenges in Classical Guitar Education

This study investigates the pedagogical challenges faced by classical guitar instructors at Linyi University’s Music Department, with a focus on the integration of traditional Chinese musical elements into Western classical guitar education. Employing a qualitative research design, the study explores the lived experiences of 20 instructors through interviews, observations, and document analysis. Key findings reveal significant technical challenges, issues in repertoire selection, and difficulties in maintaining student engagement. The study also examines the strategies adopted by instructors, the influence of institutional support, and the impact of cultural factors on teaching practices. The results contribute to the broader discourse on cross-cultural music education and offer practical recommendations for instructors and institutions aiming to enhance classical guitar pedagogy in diverse cultural settings.

RUSSIAN FOLK MUSIC IN THE GUITARIST’S REPERTOIRE

The article examines the relationship between Russian folk music culture and the formation of Russian guitar performance. The author determines the role of Russian folk motifs, songs, and tunes in the professional performing and composing activities of modern guitarists. In accordance with the time periods, the author of the article brie y describes the activities of Russian composers of music for seven-and six-stringed guitars, who turned to the Russian folk repertoire, as well as folk song. The “folk” repertoire heritage of famous guitarists contributes to the disclosure of the national avour of classical guitar in modern conditions; it makes it possible to synthesise strict classical musical forms with jazz and modern music.

Improved a posteriori error bounds for reduced port-Hamiltonian systems

Projection-based model order reduction of dynamical systems usually introduces an error between the high-fidelity model and its counterpart of lower dimension. This unknown error can be bounded by residual-based methods, which are typically known to be highly pessimistic in the sense of largely overestimating the true error. This work applies two improved error bounding techniques, namely (a) a hierarchical error bound and (b) an error bound based on an auxiliary linear problem, to the case of port-Hamiltonian systems. The approaches rely on a secondary approximation of (a) the dynamical system and (b) the error system. In this paper, these methods are adapted to port-Hamiltonian systems. The mathematical relationship between the two methods is discussed both theoretically and numerically. The effectiveness of the described methods is demonstrated using a challenging three-dimensional port-Hamiltonian model of a classical guitar with fluid–structure interaction.

A Three-Dimensional Method for Analysis of the Body Mode of Classical Guitars Using a Laser Displacement Sensor.

In classical guitar acoustic spectra, the lowest frequency body mode's amplitude often significantly surpasses that of the string overtones. However, the characteristics of the body mode have not been systematically utilized to quantitatively represent the timbre of classical guitars. In this study, we propose a quantitative method for describing the body mode, which can effectively differentiate the timbre of classical guitars. Our approach involves three key parameters presented in a three-dimensional space, as follows: the frequency and quality factors of the body mode, along with the amplitude ratio of the plucked string note to the body mode in the soundboard's vibration spectrum. This representation allows for the visualization, quantitative comparison, and classification of the body mode note and damping properties across classical guitars. The differences in body mode among guitars can be analyzed quantitatively using Euclidean distance.

Authenticity in Transcribing

This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.

Classical guitar intonation and compensation: The well-tempered guitar.

An intuitive model of classical guitar intonation is presented that includes the effects of the resonant length of the fretted string, linear mass density, tension, and bending stiffness. An expression is derived for the vibration frequencies of a stiff string using asymmetric boundary conditions at the saddle and the fret. Based on logarithmic frequency differences ("cents") that decouple these physical effects, Taylor series expansions are introduced that exhibit clearly the origins of frequency deviations of fretted notes from the corresponding 12-tone equal temperament (12-TET) values. A simple in situ technique is demonstrated for measurement of the changes in frequency of open strings arising from small adjustments in length, and a simple procedure is proposed that any interested guitarist can use to estimate the corresponding frequency shifts due to tension and bending stiffness for their own guitars and string sets. Based on these results, a least-squares fit method is employed to select values of saddle and nut setbacks that map fretted frequencies-for a particular string set and guitar-almost perfectly onto their 12-TET targets. A general approach to tempering an "off-the-shelf" guitar is shown to further reduce the tonal errors inherent in any fretted musical instrument.

An Investigation into Guitar Methods Used in Amateur Guitar Education

The study examined the content of methods used in amateur guitar education, namely “Guitar Method for Children” (Bülent İşbilen & Özhan Gölebatmaz), “Classical Guitar Method” (Ahmet Kanneci), “Easy Training Method for Classical Guitar” (Bülent İşbilen & Güray Demir), “Classical Guitar Method” (Murat İşbilen), “Arenas I” (Rodriguez Arenas), “Guitar Method I” (Ziya Aydıntan), and “Introductory Method for Classical Guitar” (Bekir Küçükay). The research employed a scanning model. In the data collection phase, methods were obtained, and their contents were examined for topics such as the Historical Development of Classical Guitar, Basic Information, Tuning of the Guitar, Nails, Starting Positions, Visuals, Study and Piece Descriptions, Speed Terminology, and Table of Contents. The results, presented in tables, revealed that two of the methods lacked a table of contents, speed terminology was only presented in one method for all pieces and studies, and topics such as nails and tuning of the guitar were not covered in most methods.

Phasic Dissonance, Timbral Contrast: Analysing 20th‐Century Guitar Harmonies with Discrete Fourier Transform

ABSTRACTOne of the six‐string classical guitar's most distinctive features is its unbalanced timbre. That is to say, only four pitches of the chromatic aggregate are overtonally supported by the resonances of the guitar's three bass strings. A common pitch‐ and structure‐generating strategy, exploited by twentieth‐century composers who wrote for the guitar, is bound up with this affordance. Local and global harmonic contrasts are often built around an antagonism between open‐string sets and fretted harmonies that largely avoid duplicating notes associated with the open strings. Open‐string/fretted binaries derive their sonic antagonism not just from timbral distinction, however, but from the fact that their pitch materials often lie at diametrically opposed positions on the circle of fifths. In many instances, this colouristic conflict replaces harmonic‐functional tension as a structure‐generating agent; the latter is reduced to a surface‐level topic. Representative works by Frank Martin and Leo Brouwer are taken as exemplifications of this trend.In demonstrating the subtle interactions between instrumental affordance and abstract pitch relationships and hierarchies, an invaluable theoretical approach developed by Ian Quinn and finessed by Jason Yust entails the study of harmonic quality through the discrete Fourier transform. This mathematical formula has been processed into an easy‐to‐use but powerful web application by Jennifer Harding – the Pitch Class DFT Vector Calculator – making its explanatory power available to music analysts without mathematical expertise. Part of the raison d’être of this article is to show how this application might be used and, more important, how the information that it yields might be interpreted.

Sound designing classical guitars through metamaterials

An approach is presented to alter the sound of a classical guitar using a metamaterial structure. By adding additional masses using magnets in a row between the bridge and the soundhole, a bandgap of around 300 Hz appears. Alternation of magnet masses and placement determine the location and strength of the bandgap. A similar approach was presented with a frame drum [R. Bader, J. L. Fischer, M. Münster, and P. Kontopidis, “Metamaterials in musical acoustics: A modified frame drum,” JASA 145(5), 3086–3094 (2019)]. There, the lower and upper limits of the bandgap are caused by the relations between the frequency wavelength and the magnet distances. With the guitar, the bandgap is caused by a shifting and attenuation of modes. Interestingly, the added masses cause a decrease in the guitar top plate mode frequencies, which is similar to membrane behavior and contrary to the expectancy of a plate. Such a guitar sound is unique due to the strong bandgap and cannot be achieved with typical alternations of changed fan bracing or top plate thickness. Magnets can easily be applied by guitarists within minutes and, therefore, qualify as a guitar sound design chosen by players.

Interpretation of technical and expression aspects on Mauro Giuliani’s “Grand Overture, Op.61”

The Mauro Giuliani’s “Grand Overture, Op. 61” poses a diverse and intricate task for classical guitar musicians, as it involves a complex interweaving of technical elements, profound emotional expression, and intricate structural components. The significant of this study is to acquire a more profound comprehension of the dynamic correlation between composition and artistic interpretation within the framework of this renowned classical guitar composition. There are two research objectives in this study. The first is to interpret the various elements of “Grand Overture, Op. 61” in terms of its composition, encompassing its challenging technical aspects, profound emotional depth, and intricate structural intricacies. The second is to interpret how these facets impose specific artistic expectations on the performer. This study was conducted within the paradigm of artistic research. The data collection technique employed in this study will involve a combination of library research, personal experience, direct observation, and self-reflection. The artistic processes and revelations in this study emphasize the resolution of technical challenges, the development of an approach to achieve a high level of technical proficiency, the analytical examination of compositional elements, and the crafting of sound profiles. These aspects were thoroughly explored through theoretical and practical investigations of “The Grand Overture” by Mauro Giuliani. This ultimately results in the development of distinctive and captivating interpretive decisions that successfully encapsulate the fundamental nature of Giuliani’s composition. The beneficial features of the basic interpretive concepts in this study are highly recommended for future studies to be applied in the form of various classical repertoires and other fields of musical instrumentation.

Guitar duets by Jaime Zenamon: the sound-image resources of the instrument

The relevance of the article is to consider guitar music of Bolivian guitarist and composer Jaime Zenamon in the context of the development of the modern academic repertoire of classical guitar. The connections of his music with South American folklore traditions, the poetics of the Andean sound, and its timbre specificity were revealed in comparison with the works of famous Bolivian composers and performers Alfredo Domínguez, Fernando Arduz, and Jilberto Rojas.
 Main objective of the study is to reveal the specific sound-image resources of the guitar in the duets of Jaime Zenamon in the context of searching tendencies of sound production and genrestyle appeals to a different ethno-cultural musical environment. The scientific novelty of the article lies in the introduction of materials about Bolivian musical culture and guitar work in particular into the domestic musicological circulation.
 The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis to study: historical facts of the composer's creative activity, his contribution to the modern Bolivian and Brazilian guitar repertoire; specifics of the content of selected musical phenomena in the interaction of genre-stylistic elements and sound-image resources of the instrument.
 Results and conclusions. The classification of the guitar special techniques of sound production according to the technical parameters of the game, zones and means of sound extraction (percussion, plucking, glissanding, prepared) is represented: by phonic and sound-imaging parameters (imitation of timbres of other instruments, voices of nature and noises of various origins); by genre-communicative features, sources and environment of origin and living. In the analyzed Jaime Zenamon's duets "Casablanca", "Andean Sonata", the technical means of the game to reflect the sounds of the surrounding world are highlighted; processes of mixing its ethnocultural origins and genre traditions: Bolivian, Brazilian, Argentine, Middle Eastern, Moroccan, African American. Genre features of the Maghreb noobs of the Arabic oral tradition, the American foxtrot, the Brazilian samba, the Argentinean chacarera and malambo were revealed. A similar experience of using the latest playing techniques in the works of South American and European composers is given. On the basis of the systematization of specific methods of guitar sound production the new means of musical expressiveness in the field of timbre effects under the influence of the achievements of the composer's contemporaries and compatriots, as well as representatives of the European generation of artists were studied. The use of sound imaging innovations to reproduce the authentic sonosphere of culture, imitating the voices of nature, imitating the timbres of Bolivian aerophones, chordophones, Middle Eastern string-plucked instruments, as well as African percussion instruments were fixed. The correlation of associative-figurative series with timbral connotations, genres and intonationscale models were revealed.

B - 73 The Neuropsychology of Resiliency in Elite Solo Classical Guitar Players.

Performing world-class solo classical guitar concerts live involves the mastery of complex neuropsychological operations, including a high degree of sequencing, multi-tasking, executive planning, synchronization, motor speed, as well as managing neuro-emotional regulatory processes. The potential for disruptive performance anxiety is often associated with the detection of threat-related stimuli controlled by the anterior cingulate cortex, ventromedial prefrontal cortex, and amygdala-visual circuitry. The current study hypothesized that professional solo musicians would be able to successfully navigate these neuro-emotional regulatory processes as assessed by scale N of the NEO Five-Factor Model. The NEO-FFI-3 was administered to 22 internationally acclaimed and award-wining classical guitar soloists who are actively engaged in successful recital careers and have graduated from prestigious conservatories including Curtis, Peabody, and Juilliard. NEO scores indicated low average levels of Scale N (Neuroticism) for this sample. Sex specific differences (36% of the sample was female) were statistically significant. Specifically, women scored higher than men on this dimension of emotional control and stability. Professional solo musicians must be able to balance the expression of musical emotions with their ability to execute the highly demanding cognitive task of performing live. The difference among women performers on this dimension is surprising and may be related to a different set of perceived entry requirements to perform in this traditionally male dominant profession but may also be related to managing stress differently. Limitations of the study include a relatively small sample size as well as potential cultural influences given that the pool of subjects represented six different nationalities.

Sound board's Frequency Response Analysis of Classical Guitars

The instrument's sound quality assessment is an arduous task to be performed computationally. This work aims to compare high-quality sound characteristics among instruments. The impulse response of the guitar is recording in the time domain and, by means of the Fourier and Continuous Wavelet Transforms the characteristics among high-quality guitars, in the frequency domain, are shown. To discriminate high quality, through experimentation, the criteria are: 1) tuning of notes, sound projection and definition of notes; 2) sound balance at all frequencies and timbre. Comparison of the frequency response (intensity, density, shape, range) gives a good intuition regarding sound quality of the instruments that shares similar characteristics, according to the criteria defined. Note that, among the high-quality classical guitars, it is not possible to define what is better sound-wise due to the fact that high-quality instruments are hearing-perceptual defined, therefore, depends on the criteria of the musician.

Transforming Art Environments: Online Classical Guitar Meetings

Transforming Art Environments: Online Classical Guitar Meetings

Revisiting Old Curriculum as The Evaluation Basis of Current Classical Guitar Studies at Indonesian Undergraduate Studies in Music

The learning process of classical guitar at Yogyakarta Indonesian Institute of the Arts used to be a national reference. Since split into four independent programs and the last curriculum revision, classical guitar teaching across study programs requires hard work amid ambiguous and overlapping curricula. The research aims to uncover the excellence of the old curriculum as a historical foundation in evaluating current models of classical guitar learning. Using qualitative methods with a document analysis and archival approach, this seeks to overview the old curriculum. The research stages include separating primary data from secondary data. The results are then formulated based on primary data. Finally, supporting data was used to corroborate the findings. This study results in an overview of the early structure of seven guitar skill levels and their position in the learning system that prevailed to be complete in the first six semesters. The use of the level structure depended on the course package on different programs and concentrations in the Department of Music. Contributing to the findings of this research is the concept of problem-solving in the current classical guitar curriculum in the music study program as a prototype model of the ideal learning process in the future.

THE FORMATION OF THE CHINESE CLASSICAL GUITAR SCHOOL

The article examines the history of the classical guitar performing school in China, closely related to the name of the leading guitar teacher Chen Zhi. In addition, the author makes an attempt to reveal the national identity of the Chinese performing tradition; it is associated, fi rst of all, with a special attitude to sound and sound production coming from the national culture of performing on the pipa and liuqin. In the Chinese guitar school, a special place belongs to the extremely popular guitarist Xuefei Yang today. In addition to her actual performance merits, she holds a prominent place among the popularisers of Chinese music in the international audience.

Model-predicted geometry variations to compensate material variability in the design of classical guitars

Musical instrument making is often considered a mysterious form of art, its secrets still escaping scientific quantification. There is not yet a formula to make a good instrument, so historical examples are regarded as the pinnacle of the craft. This is the case of Stradivari’s violins or Torres guitars that serve as both models and examples to follow. Geometric copies of these instruments are still the preferred way of building new ones, yet reliably making acoustic copies of them remains elusive. One reason for this is that the variability of the wood used for instruments makes for a significant source of uncertainty—no two pieces of wood are the same. In this article, using state-of-the-art methodologies, we show a method for matching the vibrational response of two guitar top plates made with slightly different materials. To validate our method, we build two guitar soundboards: one serving as a reference and the second acting as a copy to which we apply model-predicted geometry variations. The results are twofold. Firstly, we can experimentally validate the predictive capabilities of our numerical model regarding geometry changes. Secondly, we can significantly reduce the deviation between the two plates by these precisely predicted geometry variations. Although applied to guitars here, the methodology can be extended to other instruments, e.g. violins, in a similar fashion. The implications of such a methodology for the craft could be far-reaching by turning instrument-making more into a science than artistic craftsmanship and paving the way to accurately copy historical instruments of a high value.

Waltzifiability hypothesis

We present a composition for solo classical guitar. This work comprises four pieces in 3/4 that share the same harmony, but the composition restrictions differ for each. The results are four distinct "waltz" movements. The main contribution of this work is showing composition not as rooted in inspiration, emotions, or innate talent but as a process of learning, critics, and performance. Also is an example of the paradox of choice, i.e., one may be more creative with less freedom of choice. Of course, in this learning environment, the artistic work becomes the musical discourse based on the interaction between the student/composer, the teacher, and the performer.

Analysis of Structure and Techniques of Pancula Ndeme By Justinus Hokey on Classic Guitar Composition

This study aims to describe the structure and techniques of playing Pancula Ndeme by Justinus Hokey on classical guitar composition. This study uses a qualitative approach. The data analyzed is the sheet music of Pancula Ndeme. The results of this study indicate that the structure of this composition consists of several parts, namely Introduction – A – B – C – A – B – Coda. There are four motifs in section A (m1, m2, m3, m4), two sentences (sentences a and a'), and two themes in each sentence. Section B consists of three motifs (n1, n2, n3), two phrases (phrase b and b'), and two themes in each sentence. Section C consists of 2 motifs (o1 and o2). The guitar playing techniques contained in this composition are the right-hand technique and the left-hand technique. The right-hand techniques found in this composition include; apoyando, tirando, and strumming techniques. The left-hand techniques contained in this composition include; slur, barre, and harmonic.