The Cambridge Companion to the Electric Guitar ed. by Jan-Peter Herbst and Steve Waksman (review)

Abstract Cross-modal interactions constantly occur when a musical instrument is played: Its perceived sound quality can be affected by its vibrotactile behavior, and its visual appearance may induce expectations that drive the musician’s way of playing. This article presents an exploratory setup in which the auditory, visual, and vibrotactile feedback of an electric guitar can be independently controlled by the player. The aim is to explore how these feedback modalities interact with each other in perceptual judgments. Verbal data and actions on the control interface were gathered during in situ interviews with five players. This pilot study suggests that the addition of sensory feedback (other than that resulting from the instrument’s usual sound production) can cause an increased feeling of immersion, an impression of sensory compensation, and an influence on the performer’s gestures and choice of repertoire.

The purpose of the article is to examine little-known facts regarding the creative collaboration of composer K. Khachaturian with the ballet troupe of the Kyiv State Academic Theatre of Opera and Ballet named after Taras Shevchenko and its artistic director H. Maiorov. The research methodology of the study employs general scientific approaches, including systemic, art-historical, cultural, and historical methods of analysis. The scientific novelty of the work lies in the fact that, for the first time, previously little-known theatre sources have been analysed, significantly broadening the scholarly perspective on the historical and art-historical materials related to the creation of the ballet «Cipollino». Conclusions. The music of K. Khachaturian, which formed the basis of the ballet «Cipollino», was initially composed for the animated film of the same name, but subsequently assumed a theatrical form, acquiring the structure of a traditional ballet. It encompassed completed choreographic divertissements with a leading role of action-driven dance, while preserving techniques of cinematic montage and narrative-emotional expressiveness. The score of the production was distinguished by simple, song-like melodies, transparent harmonic texture, and a high degree of intonational expressiveness. In mass episodes, the composer transformed intonations of urban folklore and popular variety tunes, while the inclusion of the electric guitar in the symphony orchestra enhanced the rhythmic vitality and color of the music. Special attention was devoted by the composer to the musical unity of the performance and its through-composed symphonic development. The integrity of the dramaturgy was achieved through the transformation of key musical themes, the introduction of reprise-scenes into the structure of the performance, and the use of a multi-sectional rondo form, which ensured an organic interplay of music and stage action. Thanks to his work with K. Khachaturian’s music, choreographer H. Maiorov succeeded in realizing, within the sphere of children’s choreographic theatre, the traditional forms of academic dance (variations, duets, trios, extended ensembles involving the corps de ballet, etc.), aptly conveying the sharpness of imagination with a subtle sense of humour by employing means of free plastigue, acrobatics, buffoonery, and grotesque. Thus, the production of «Cipollino» on the stage of the Kyiv State Academic Theatre of Opera and Ballet named after Taras Shevchenko became an important milestone in the development of Ukrainian children’s ballet art, contributing to the formation of new artistic standards and practices.

Students often face challenges in mastering complex electric guitar techniques, such as alternate picking and tapping, as well as utilizing music technology such as loop stations and effects pedals. This situation limits their creativity in creating original and innovative contemporary music works. This study aims to analyze and develop electric guitar-based composition teaching materials that can enhance students' mastery of playing techniques and compositional creativity through the integration of music theory, guitar techniques, and music technology. The research design is qualitative descriptive with a Research and Development approach based on Design Thinking. The study subjects include 40 students as trial participants. Data was collected through questionnaires, structured interviews, direct observation, literature review, and documentation of composition works, using instruments validated through expert judgment. Data analysis was conducted qualitatively using data reduction, data presentation, and conclusion drawing, as well as descriptive statistical analysis for quantitative data. The research results indicate that teaching materials designed systematically, contextually, and based on Design Thinking can significantly enhance students' guitar technique skills and compositional creativity. The conclusions of this study emphasize that the integration of music theory, playing techniques, and music technology in instructional materials has the potential to overcome barriers to electric guitar learning in the realm of contemporary music. The implications of this research provide new directions for curriculum development and music learning strategies focused on mastering advanced skills and artistic innovation.

The electric guitar is a musical instrument based on string vibration, that is well known by physics. This work presents the development of an experimental setup capable of verifying the vibrating string equation for electric guitar strings, by building an electric guitar prototype as well as a digital dynamometer prototype to measure guitar string tension. With the developed apparatus, it was possible to verify the relationship between vibrating string frequency and physical quantities such as length, tension, linear density and number of the harmonic associated with the string. Beyond the verification of the vibrating string equation, it was possible to characterize the guitar strings, as well as measure the differences between brands and types of strings. The methods were shown to be useful for academic study and can be applied in educational scenarios, or even in the musical instruments industry.

This study presents a comparative performance analysis of three sensor technologies—microphone, magnetic pickup, and laser Doppler vibrometer—for capturing string vibration under varied excitation conditions: striking, plectrum plucking, and wire plucking. Two different magnetic pickups are included in the comparison. Measurements were taken at multiple excitation levels on a simplified electric guitar mounted on a stable platform with repeatable excitation mechanisms. The analysis focuses on each sensor’s capacity to resolve fine-scale waveform features during the initial attack while also taking into account its capability to measure general changes in instrument dynamics and timbre. We evaluate their ability to distinguish vibro-acoustic phenomena resulting from changes in excitation method and strength as well as measurement location. Our findings highlight the significant influence of sensor choice on observable string vibration. While the microphone captures the overall radiated sound, it lacks the required spatial selectivity and offers poor SNR performance 34 dB lower then other methods. Magnetic pickups enable precise string-specific measurements, offering a compelling balance of accuracy and cost-effectiveness. Results show that their low-pass frequency characteristic limits temporal fidelity and must be accounted for when analysing general sound timbre. Laser Doppler vibrometers provide superior micro-temporal fidelity, which can have critical implications for physical modeling, instrument design, and advanced audio signal processing, but have severe practical limitations. Critically, we demonstrate that the required optical target, even when weighing as little as 0.1% of the string’s mass, alters the string’s vibratory characteristics by influencing RMS energy and spectral content.

In 1979, with the broadcast of the televised scenic documentary The Legend of the Three Gorges, the featured song Homesickness emerged as a representative work of the period. Its innovative artistic expression sparked widespread discussion. While existing research has largely focused on the cultural implications of the piece, systematic analyses of its musical structure remain rare. This paper explores Homesickness from three dimensions—musical form, vocal techniques, and cultural connotations—to examine how it integrates contemporary elements into traditional compositional frameworks. The aim is to provide insights for future scholarly inquiry and creative practice. The study reveals that the song employs a parallel tripartite structure, fusing Western functional modal harmony with narrative melodies rooted in Chinese folk traditions. Rhythmic displacement, accent shifts, and modern instrumentation such as the electric guitar disrupt conventional rhythmic patterns, enhancing dramatic expression. The vocalist, Li Guyi, pioneered the “semi-voiced singing technique,” blending ornamental elements from Hunan flower-drum opera with bel canto breath control, thereby achieving a personalized mode of emotional delivery. The cultural significance of Homesickness lies not only in its pioneering role as the first popular song after China’s Reform and Opening-Up but also in its innovative combination of musical form and ideological transformation. It serves as both a technical model and an aesthetic reference for the development of contemporary Chinese popular music.

This research examines the phenomenon of dangdut music adaptation within the traditional art form of Kubro Siswo in Gunung Lemah Hamlet, Magelang Regency, now known as "BRODUT" or Kubro Dangdut. The study's objective is to identify the forms of dangdut music adaptation implemented in Kubro Siswo art, driven by the challenge traditional arts face in maintaining relevance amidst modernization and changing public tastes. Employing a qualitative musicological approach to allow for in-depth analysis of the music within a community's folk songs, data was collected through observation, structured and unstructured interviews with the chairman and music arranger of New Argo Mudo, and documentation. The findings reveal that the New Argo Mudo Art Group successfully adapted dangdut music by incorporating modern instruments like electric guitar, bass, keyboard/organ, drums, dangdut flute, and ketipung, without abandoning Kubro Siswo's original principles. This adaptation led to changes in the patterns, rhythms, and melodies of the performance, creating a distinctive dangdut groove with richer melodic and harmonic variations, thus making the performances more dynamic and engaging. Ultimately, this research concludes that with creativity and appropriate adaptation, traditional arts can continue to thrive and remain relevant through evolving times.

This article explores deep learning in collaborative music-making contexts, examining the experiences of nine electric guitar and bass students (aged 17–18) in Norwegian upper secondary schools. Deep learning is conceptualized as meaningful learning and transfer of learning, analysed through cognitive, social, affective, embodied and performative dimensions. Using the metaphor of mycorrhizal networks – underground systems of plant roots and fungi – knowledge is framed as interconnected and constantly evolving. Based on participatory observations and semi-structured interviews, the study highlights diverse learning approaches across genres, tensions between formal and informal situations, and the role of collaboration in fostering deep learning. Insights emphasize the need for inclusive and flexible music education frameworks that accommodate diverse genres and pedagogical approaches to support deep learning and creative growth.

The aim of our work was to investigate how electric guitar strings wear out. There are many myths about string wear. We decided to investigate what the wear process looks like in real life. In our work, sound processing methods such as DTFT and spectrogram were used. However, the most important research method is the use of time-frequency analysis to study the sound of the string and its wear process. Another key method used in our work is the application of a phenomenon known from psychoacoustics, pitch. In our work, we have been able to show that the use of pitch in combination with time-frequency analysis makes it possible to demonstrate string wear. This was not achievable for previously known methods. We have also shown that the string yield limit is exceeded immediately when the strings are placed on the guitar neck. This affects the sound equation of the string. In this work, we have proposed a transformation of the classical string equation so that it correctly describes the sound of the string as it is worn. The research method we have developed, combining pitch and time-frequency analysis, could presumably be used in the future to study the wear and tear of other vibrating systems, such as bridges and viaducts.

This study identifies several key factors that contribute to the declination of interest: (1) the limitations of learning materials that are less innovative and adaptive, resulting in saturation and demotivation of learning; (2) the lack of platforms and competition opportunities, which reduces the incentive for students to showcase and develop their capabilities; and (3) the prevalence of other more popular musical instrument choices, such as acoustic and electric guitars, which distract from the unique characteristics of classical guitars. To revitalize the younger generation's interest in classical guitars, innovative strategies in teaching methodologies, the provision of more opportunities for practice and competition, as well as the prominence of the uniqueness and intrinsic excellence of classical guitars are considered essential. This research contributes to a more comprehensive understanding of the dynamics of musical interest in the modern era and provides practical recommendations for the preservation and development of classical guitar art among the younger generation.

Music, a universal language and cultural cornerstone, continues to shape and enhance human expression and connection across diverse societies. This study introduces SpectroFusionNet, a comprehensive deep learning framework for the automated recognition of electric guitar playing techniques. The proposed approach first extracts various spectrograms, including Mel-Frequency Cepstral Coefficients (MFCC), Continuous Wavelet Transform (CWT), and Gammatone spectrograms, to capture the intricate audio features. These spectrograms are then individually processed using lightweight models (MobileNetV2, InceptionV3, ResNet50) to extract discriminative features of different guitar sounds, with ResNet50 yielding better performance. To further enhance the classification performance across nine distinct guitar sound classes, two types of fusion strategies are adopted to provide rich feature representation: One is early fusion where the spectrograms are combined before the feature extraction and the other one is late fusion approach where the independent features from spectrograms are concatenated via three approaches: weighted averaging, max-voting and simple concatenation. Then, the fused features are subsequently fed into nine machine learning classifiers, including Support Vector Machine (SVM), Multilayer Perceptron (MLP), Logistic Regression, Random Forest etc., for final classification. Experimental results demonstrate that MFCC-Gammatone late fusion provided the best classification performance, achieving 99.12% accuracy, 100% precision, and 100% recall across 9 distinct guitar sound classes. To further assess the SpectroFusionNet’s generalization ability, real-time audio dataset is evaluated, demonstrating an accuracy of 70.9%, indicating its applicability in real world scenarios.

This article investigates the state of the research on women and the electric guitar and argues that there is a strong need for further research in this area. Existing scholarship primarily focuses on factors that inhibit women from playing the electric guitar, is mostly centered on offline/pre-Internet women and guitar relations and tends to link the electric guitar with masculinity and male sexuality and characterize it as a male-dominated practice. This means that the reasons why women do play the electric guitar are not given much attention, the Internet’s impact on women’s guitar practice is largely omitted, and other ways of approaching the relationship between gender and the electric guitar are given minimal consideration. I argue that all of these aspects are vital for better understanding women and the electric guitar, and for advancing the cause of gender equality in music and are therefore in urgent need of further research.

The book proposes to solve the absence of a continental and comparative narrative of rock in Latin America that also incorporates the gender perspective. At the same time, it proposes to pay attention to the ways of processing and incorporating music that is in principle foreign, listened to and observed, generally, with distaste for the left and also for the conservative universe, sometimes with arguments converging with the previous ones. This project, naturally, requires thinking about the Brazilian scene, which reproduces several of the characteristics of the two Spanishspeaking founding scenes – the Mexican and the Argentine – and introduces crucial novelties, such as its internal dispute around, simply, the use of the electric guitar. In this sense, then, our book is proposed as a good history, complete, documented and critical. This work is the general introduction to the book, in which the general hypotheses that organized the research are presented.

Previous research has found that instrument-like timbres (hereafter, timbres) can affect the Goodness-of-Fit (GoF) evaluations of cadences (Vuvan & Hughes, 2019). Here, we expand these findings by testing more timbres and chord sequences and analyzing a wide array of chordal and timbral variables. One hundred and thirty-five participants with varying levels of music training provided GoF ratings for 15 C-C-X chord sequences constructed with piano, clean electric guitar, and choir timbres. The third chord was a major, minor, major-minor seventh, or minor seventh chord. The ratings of choir stimuli were higher and their range narrower than the ratings for the other two timbres, regardless of music training. Additionally, the profile formed by the GoF ratings of the 15 choir stimuli was different from the profiles of the other two timbres. Further analyses provided detailed information about the effect of timbre as well as harmonic and melodic factors on the ratings. Attack was identified as a likely contributor to GoF ratings of choir stimuli being higher than the ratings of the other stimuli. Tonal contextuality (Leman, 2000), affected by diffuse partials, and the importance given to the soprano are discussed as two plausible explanations for the narrow range and other idiosyncrasies of the GoF ratings of the choir stimuli.

Abstract This article explores the representation of women electric guitarists on Instagram. It examines the ways in which their practices as electric guitarists are represented and surveys the spectrum of gender expressions represented on Instagram. It also considers the interconnectedness between these representations and their significance. The research findings are based on textual analysis of the Instagram content of sixteen electric guitarists of varying ages, success levels, and career stages. The findings show that Instagram is a platform through which a multiplicity of representations of women electric guitarists can be observed that can contribute to a deeper, more nuanced understanding and narrative. This article demonstrates that Instagram is an important site of analysis in its ability to contribute to shaping the discourses around gender and the electric guitar and the normalisation of diverse individuals occupying this role.

Merdeka Belajar Kampus Merdeka (MBKM) is a form of implementation of the dharma of devotion that provides work and learning experiences for students in community empowerment. One form of activity in the MBKM program is an activity to improve musical abilities for students of Giovanni Kupang Catholic Middle School through extracurricular school band activities. This activity aims for students to be able to improve their musical abilities through extracurricular band activities. The stages of implementing the devotion start from observation, core activities of providing material in theory and practice and documentation. Based on the results of observations and interviews, one of the factors that causes the lack of students' musical skills is the lack of musical activities carried out at school and the lack of musical practice in the classroom. The results of this training show an increase in students' abilities in playing musical instruments like electric guitar, keyboard, bass guitar as well drums and improving singing abilities.

This work explores the intersection of music and physics through the use of signal and audio processors on the electric guitar, focusing on wave physics and timbre manipulation. It posits that physics is crucial in designing and operating electric guitar signal processors by understanding wave phenomena. The research emphasizes the need for a thorough understanding of the physical processes behind sound effects to inspire innovative music creation besides demonstrating how the relationship between frequencies, amplitudes, and phases of sound waves can be creatively and consciously explored, promoting a deeper understanding of electric guitar effect processors. This physical approach advances knowledge in acoustics, sound engineering, and wave physics, expanding creative possibilities in music. The methodology involved assessing sound effects, such as distortion, chorus, flanger, wah-wah, and delay, applied to the original signal, captured from an electric guitar and analyzed in MATLAB to study its waveform. The results demonstrated how these effects alter the signal’s shape and frequency spectrum, underscoring the importance of wave fundamentals in sound effects creation and enhancing understanding of sound wave transformations.

This article presents a comprehensive study of bass guitar performance techniques from the late 1960s and early 1970s. A particular focus is placed on the practical use of the electric bass guitar as an instrument with a more convenient construction compared to the double bass. This allowed musicians to perform bass parts at faster tempos, with minimal physical effort and fewer playing movements. An important aspect of bass guitar performance was the instrument's easier portability and its small size, which greatly facilitated its functional use. The author separately examines the characteristics of the division of bassists into accompanists, who mainly perform the function of rhythmic and harmonic accompaniment, and musicians who perform solo parts. The work of leading bassists - Larry Graham, Steve Swallow, and Chris Squire, who had the greatest influence on the improvement of bass guitar performance, is analyzed. Increased attention is paid to the formation of techniques such as slap, harmonics, pick technique, palm muting, and others, used both in jazz and rock music. It is worth mentioning the use by instrumentalists of sound production techniques characteristic of slap, such as hammer-on, pull-off, dead note technique, and others. In addition, the performance style of these musicians is studied, which is distinguished both by a bright palette of strokes and by the virtuoso quality of the performance of bass parts. At the same time, the features of electric amplification, as well as the use of various sound processing devices on the bass guitar, which allow experimenting with sound effects and timbre colors, are considered.

Research on the Application Techniques of Electric Guitar Playing Techniques in Contemporary Pop Music