Electric Guitar Research Articles

Marlon V. del Rosario, MD (1956 – 2021)

Marlon graduated from the University of Santo Tomas (UST) Faculty of Medicine and Surgery in 1982. He completed his internship at the Ospital ng Maynila Medical Center (OMMC) the following year. He then proceeded to complete the OMMC residency training program in Otolaryngology-Head and Neck Surgery (then chaired by the venerable Dr. Angel Enriquez). In 1988, he attained the title of Diplomate in Otolaryngology-Head and Neck Surgery.
 Marlon established his private practice in his hometown of Tanza, Cavite. It is also here where he co-founded the Divine Grace Medical Center, the first tertiary medical facility in this part of Cavite. In 1989, with the encouragement of Dr. Joselito “Che” Jamir, a respected fellow Caviteño otolaryngologist, he joined the faculty of De La Salle Medical and Health Sciences Institute in Dasmariñas, Cavite, serving for 30 years as Assistant Professor. He also served as an Associate Board Examiner for the Philippine Board of Otolaryngology-Head and Neck Surgery until 2016.
 With this short statement alone, one can already see the exemplary medical career Marlon had. But to properly pay tribute to him, one must see and know the man behind the endoscope, the man beneath the white tailored medical overcoat.
 Marlon’s character was a bit of a paradox. He was a humble and modest person despite his substantial resources. He was unassuming yet self-assured. He was reserved but gregarious at the same time. For instance, in our conventions or other gatherings of fellows, he would most likely be seated at the farthest portion of the meeting quietly and attentively listening to the proceedings. But once outside the session hall when he gets to meet up with his buddies, he transforms and takes center stage in what will eventually be a boisterous exchange of banter. The usual suspects in these animated gatherings were Drs. Arsenio “Boy” Pascual, Howard Enriquez, Tomas “Tom” Antonio and Diosdado “Dado” Uy. Indeed, he was the epitome of someone who worked hard and played hard.
 He was a man with foresight. Instead of investing in clinic spaces in large and established medical centers in Metro Manila and Cavite, he staked his money on building the Divine Grace Medical Center, a tertiary medical center in what was then a sleepy town of Tanza, Cavite. This sleepy town is now a commercial and financial hub in the northwestern part of Cavite, with his hospital located right in the middle of all the commercial and infrastructure developments. And as his practice started to thrive, he tempered his success with kindness and compassion, earning him more prominence in his hometown.
 He was also a music aficionado. While many of us are only recently going back to the turntable and vinyl records, he never let go of his turntable set up. He was a bit of a snob when it came to music. He found tapes and digitized sound inferior to vinyl records, and his vinyl record collection is still an envy of many. He appreciated all forms of music, but the genre he truly loved (like a true Caviteño) was Rock and Roll. His love for music did not stop there. He was a musician as well and played a mean guitar. This is illustrated by the manner in which his family arranged the altar where his urn was placed. Amidst the flowers on the altar was a picture of a grinning Marlon with a guitar slung over his shoulder. His treasured guitars were right beside him: his acoustic guitar placed on one side of the altar and his electric guitar on the other.
 His true crowning glory however, was his family. He became a family man at the tender age of 21. His family was his foundation and inspiration. His lovely and ever supportive wife Ellie held the fort while he was away in Manila to study medicine and undergo residency training. They were blessed with 3 boys whom he was extremely proud of. His eldest son Marc (43 years old) is a US - trained interventional cardiologist who practices in several large medical institutions around Metro Manila and Cavite. Michael (40 years old) is an associate professor of entrepreneurship and marketing at De La Salle University – Dasmariñas and currently completing his requirements for his doctorate degree in business administration and management. The youngest son Mikko (32 years old) seems to have a special interest in local Cavite politics.
 Indeed, Marlon’s life was colorful and complete. Nonetheless, it was still too soon for him to embark on this final journey. But such is life and we just have to accept it.
 My dear friend and compadre Marlon, I raise my glass of your favorite Japanese single malt whiskey and congratulate you for a life well-lived.
 Godspeed and rest easy

A Comparative Look at Instrumental Cables: With a Focus on Six Electric Guitar Cables

A Comparative Look at Instrumental Cables: With a Focus on Six Electric Guitar Cables

Towards the attainment of mindful bodily relations in music education

Recent studies of female guitar students in upper secondary school ensemble education suggestthat girls behave, and are encouraged to behave, in more immanent ways than boys. They seem toreceive less encouragement to stretch their bodies and become full musical human beings. Insteadthey become the second musical sex. During the course of my work with the problem of how to createspace for girls playing the electric guitar in educational settings, I have continually found myselfwondering how to create educational spaces and relations in ways that let all pupils, independent ofsex, realize ideas, transcend as musical bodies, and become what they already are. If teachers andpupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes tocreating space for all pupils to develop and stretch out their bodies. The actions of the music teacher,as a musical body, must be balanced in relation to the other musical bodies in the room, as well as tophysical preconditions, goals, visions, and expectations of the students. In this article, I want to delveinto the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educationalbodily relations. The aim is to share my close reading of Young’s philosophical thinking regardinggender structures and especially female comportment, motility, and spatiality, and develop a set ofprerequisites for intentional bodily (music) educational relations. With a starting point in researchbasedinspiration and motivation for conducting the current philosophical investigation, I share myclose reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts fromtwo interviews with female guitar students, exemplifying musical body-relational experiences. Finally Ishare and reflect upon a developed thinking about mindful bodily (music) educational relations.

The Race of Sound: Listening, Timbre, and Vocality in African American Music, by Nina Sun Eidsheim

Book Review| April 01 2021 The Race of Sound: Listening, Timbre, and Vocality in African American Music, by Nina Sun Eidsheim The Race of Sound: Listening, Timbre, and Vocality in African American Music, by Nina Sun Eidsheim. Refiguring American Music. Durham, NC: Duke University Press, 2019. xiv, 268 pp. Loren Kajikawa Loren Kajikawa LOREN KAJIKAWA is Associate Professor of Music at the George Washington University’s Corcoran School of the Arts and Design. His research focuses on the intersection of music, race, and politics in the United States in the twentieth and twenty-first centuries. He has served as editor-in-chief of the Journal of the Society for American Music and is currently series coeditor for Tracking Pop, the University of Michigan Press’s popular music book series. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (1): 157–161. https://doi.org/10.1525/jams.2021.74.1.157 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Loren Kajikawa; The Race of Sound: Listening, Timbre, and Vocality in African American Music, by Nina Sun Eidsheim. Journal of the American Musicological Society 1 April 2021; 74 (1): 157–161. doi: https://doi.org/10.1525/jams.2021.74.1.157 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search One of my favorite ways of jump-starting classroom discussions about race and music is to show students “White People Can’t Dance,” a skit from the second season of Chappelle’s Show. In this seven-minute comedic sketch, Black comedian Dave Chappelle and his guest, white guitarist and pop star John Mayer, visit different New York City locations in order to test a hypothesis: white people can dance if you play electric guitar music. Beginning with white people in a corporate boardroom spontaneously moving their bodies in ecstasy when Mayer interrupts their meeting with a psychedelic rock performance and ending with Black people in a Harlem barbershop ignoring Mayer’s guitar solo but immediately breaking into dance when drumming begins, the skit satirizes common stereotypes that link particular sounds with different racial groups.1 The absurdity of these scenarios allows Chappelle to explode racist tropes about Black people and rhythm, offering a great... You do not currently have access to this content.

Experimental investigation on variability in properties of Amazonian wood species Muiracatiara (Astronium lecointei) and Maçaranduba (Manilkara huberi) focusing guitar fingerboards manufacturing

In face of scarcity in the supply of non-traditional Brazilian woods properly treated for use in high quality musical instruments, pieces of Amazonian wood species muiracatiara (Astronium lecointei) and maçaranduba (Manilkara huberi) purchased in the common internal Brazilian timber market were examined. These species were pre-selected for use in fingerboards of acoustic and electric guitars due to similar properties with ebony (Diospyros crassiflora). Variabilities of elastic modulus parallel to grain and density were investigated inside wooden pieces. In addition, referred parameters were used in calculation of speed of sound. Statistical tests were performed in order to compare both species and revealed inequality for variances of dynamic elastic modulus (Ed) and speed of sound, but equality for density. Equality of means was also examined via unequal variance t-test. Despite color differences, lower variability of M. huberi led to the indication of this species as likely capable to substitute satisfactorily ebony in fingerboards manufacturing.

Amplified: A Design History of the Electric Guitar by Paul Atkinson

Reviewed by: Amplified: A Design History of the Electric Guitar by Paul Atkinson John Hajduk (bio) Amplified: A Design History of the Electric Guitar By Paul Atkinson. London: Reaktion Books, 2021. Pp. 272. Amplified: A Design History of the Electric Guitar By Paul Atkinson. London: Reaktion Books, 2021. Pp. 272. One would be hard-pressed to name a more culturally iconic piece of technology produced over the past seventy years than the electric guitar. Perhaps only sports cars, like the Corvette or Camaro, resonate as strongly in relation to youth-centered culture in the late twentieth century. Paul Atkinson's fine overview of how the electric guitar evolved from its humble origins (discovered in an 1890 patent application) to the present certainly bolsters that impression. The book is full of photographs, drawings, and advertisements with richly detailed descriptions of virtually every significant model developed over that span. Atkinson traces how new design elements emerged, whether motivated by efforts to achieve better engineering, better sound, or better visual aesthetics. The broader cultural import of the instrument is mostly incidental to his main focus, but Atkinson's efforts still convey how technological innovations combined with artisanal craft and musical purpose made the electric guitar such a powerful symbol, especially in relation to rock and roll culture. The author covers everything from proto-electric guitars (acoustic instruments fitted with some form of electronic amplification) to fully computerized guitar-shaped synthesizers whose relationship to traditional guitars is mostly visual. Looking beyond the myth surrounding the instrument, Atkinson asserts that the story of its evolution owes as much to inspired tinkerers as to professional designers or engineers, all of whose various efforts made for a mostly haphazard pathway to innovation. Musicians such as Les Paul were just as likely as electronics professionals like Leo Fender to contribute lasting ideas. They are among the names that became part of the myth. Atkinson's account underlines the influence of two companies, Fender and Gibson, that were largely responsible for placing the electric guitar at the center of the emerging youth culture represented by rock and roll. Leo Fender's early designs developed from his interest in country music, while earlier experiments in electrification were more closely associated with Hawaiian and jazz styles. However, mass demand for his fabled Telecaster and Stratocaster models exploded when young people saw early rock guitar heroes such as Buddy Holly and James Burton wielding them in television appearances. Chuck Berry and later Eric Clapton had a similar impact with Gibson models. Atkinson does not develop his reference to the influence of television in shaping the reception of these instruments. For example, he does not follow up with a discussion on the influence of MTV in the 1980s, but his account is provocative enough to suggest a line of further research clearly beyond his stated scope. [End Page 968] Once Fender and Gibson demonstrated the electric guitar's growing popularity, other companies developed their own variations, with rock musicians as a primary target market. While many competitors deviated only slightly from the templates pioneered by the two industry leaders, other designers sought to make their mark, and even customized their designs to incorporate visual motifs of particular sub-genres of rock, like heavy metal or glam. Certain models also became closely identified with star performers, and as with Les Paul before them, some artists took a stab at designing their ideal instrument (for the author, Eddie Van Halen was a prime example). Atkinson draws on a variety of published sources and interviews to augment his commentary, and he tells the story in a clear, accessible fashion. His book nicely complements two other recent works on the same subject: Brad Tulinski and Alan di Perna's Play It Loud (Knopf Doubleday, 2017), which takes a more nuanced look at the cultural impact of the electric guitar, and Ian S. Port's Birth of Loud (Simon and Schuster, 2019), highlighting the rivalry between Leo Fender and Les Paul. Despite the narrow focus on the evolution of technological and design elements, Atkinson's book is a useful and visually striking addition to the literature on the electric guitar. John Hajduk John Hajduk is professor of history...

Neck dive of electric bass guitar as an explanation of the force balance junior high school students in Japan study

Neck dive of electric bass guitar as an explanation of the force balance junior high school students in Japan study

Monophonic Guitar Synthesizer via Mobile App

In the guild of guitarists, it is common to work with guitar synthesizers because the emulation of a great variety of sounds that are produced by different musical instruments, starting from just playing the guitar, which means, a piece of music is played with a guitar, but other musical instruments are actually heard such as, a saxophone, a violin, a piano or percussions, depending on the instrument that has been selected. The problem that arises in this article is that synthesizers are expensive and due to their size, the transportation of the equipment is often impractical. As mentioned, the development of a mobile application that has the function of a monophonic synthesizer is proposed as a solution. In this way, the cost is greatly reduced, and additionally, the user is able to install the application on a mobile device with Android operating system and connect it to an electric or electro-acoustic guitar through an audio interface; obtaining as a result, a functional technological instrument by offering guitarists an alternative with respect to conventional synthesizers. The construction of this application used the Fast Fourier Transform Radix-2 as a signal recognition algorithm, which allowed obtaining the fundamental frequencies generated by the guitar, which were transformed into MIDI notation and later used in sound emulation.

St. Vincent: Postmodern Guitar Hero

ABSTRACT In a February 2017 article, Guitar World dubbed Annie Clark, known by her moniker St. Vincent, a “postmodern guitar hero.” Over the course of her career Clark has made a name for herself as a modern virtuoso guitarist. This is notable, given the electric guitar has traditionally been a masculine-gendered instrument. This article explores how Clark subverts gendered stereotypes and expectations of guitarists, as well as presenting a postmodern and posthuman mode of conceptualizing the electric guitar as technodildo, thereby outlining the cultural and political significance of St. Vincent’s work.

Low-Latency f0 Estimation for the Finger Plucked Electric Bass Guitar Using the Absolute Difference Function

Audio-to-MIDI conversion can be used to allow digital musical control through an analog instrument. Audio-to-MIDI converters rely on fundamental frequency estimators that are usually restricted to a minimum delay of two fundamental periods. This delay is perceptible for the case of bass notes. In this dissertation, we propose a low-latency fundamental frequency estimation method that relies on specific characteristics of the electric bass guitar. By means of physical modeling and signal acquisition, we show that the assumptions of this method are based on the generalization of all electric basses. We evaluated our method in a dataset with musical notes played by diverse bassists. Results show that our method outperforms the Yin method in low-latency settings, which indicates its suitability for low-latency audio-to-MIDI conversion of the electric bass sound.

Exploring relationships between effort, motion, and sound in new musical instruments

We investigated how the action–sound relationships found in electric guitar performance can be used in the design of new instruments. Thirty-one trained guitarists performed a set of basic sound-producing actions (impulsive, sustained, and iterative) and free improvisations on an electric guitar. We performed a statistical analysis of the muscle activation data (EMG) and audio recordings from the experiment. Then we trained a long short-term memory network with nine different configurations to map EMG signal to sound. We found that the preliminary models were able to predict audio energy features of free improvisations on the guitar, based on the dataset of raw EMG from the basic sound-producing actions. The results provide evidence of similarities between body motion and sound in music performance, compatible with embodied music cognition theories. They also show the potential of using machine learning on recorded performance data in the design of new musical instruments.

Room for a Breast or Two

This article uses textual and discourse analysis to examine how Annie Clark, who records and performs under the alias St. Vincent, problematized the electric guitar’s gendered address by designing a Signature Collection for Music Man, a subsidiary of equipment manufacturer Ernie Ball. It first contextualizes the industrial efforts to make the electric guitar more accessible to girls during Clark’s adolescence and their limitations. It then analyzes Clark’s promotional strategies for the collection. Most branding opportunities available to female music industry professionals interested in extending their commercial shelf life often affirm conventionally feminine modes of creative self-expression, such as fashion and cosmetics. Clark’s guitar challenges such gender essentialism by highlighting her own virtuosity as a queer musician, songwriter, and producer while giving players a different set of tools with which to create new sounds.

The influence of musical song and package labeling on the acceptance and purchase intention of craft and industrial beers: A case study

Among non-sensory characteristics, package labeling and music may influence beer consumers’ attitudes and behaviors. The present study sought to evaluate the influence of these characteristics on sensory acceptance and intent to purchase craft beer (Summer Ale) and industrial beer (American Lager), both produced in Brazil. Song 1 was from the acoustic pop rock genre and song 2 from the sertanejo universitário11Sertanejo universitário is a recent (2000′s) and very appreciated subgenre of Sertanejo music, which appeared in Brazil in the 1920′s. It is considered the third derivation of Sertanejo music. Simple love songs predominate and musical instruments such as synths and electric guitars are used frequently instead of accordions and guitars. genre. Sessions were conducted with 74 consumers under the following conditions: blind test, test in the presence of the songs, test in the presence of the package and test in the presence of both non-sensory characteristics together. Under many studied conditions, industrial beer showed better evaluation scores than craft beer. Music positively influenced the beer ratings. The label positively influenced acceptance scores and intent to purchase craft beer, while for industrial beer it tended to cause a negative impact. The presence of either song, along with the label, positively influenced the acceptance and intent to purchase craft beer. This study demonstrates to the R&D sector of craft and industrial breweries that they can use the influence of these non-sensory characteristics in the elaboration of new labels, and to use the influence of songs on consumer acceptance so they can offer products with more added value to the market.

Object-Oriented Diaspora Sensibilities, Disidentification, and Ghostly Performance

Object-Oriented Diaspora Sensibilities, Disidentification, and Ghostly Performance

String instrument acoustic transfer processing

A real-time method of string instrument acoustic transfer which includes damping is proposed. Acoustic transfer of string instruments is relevant when trying to make a non-resonant instrument, such as an electric guitar, sound more similar to an acoustic guitar. Unlike previous acoustic transfer methods which only perform equalization, this method includes damping changes by using a time-varying filter which adds frequency-dependent exponential damping. Efficient digital filters are fit to bridge admittance measurements of an acoustic guitar and used to create equalization filters as well as damping correction filters. The damping correction filters work in real-time as they are triggered by onset and pitch detection of the signal measured through an under saddle pickup to determine the intensity of the damping.

Retronyms in uzbek language

The term retronym was first used by the American journalist Frank Mankievich. William Sapphire made the term popular through an article he wrote for the New York Times. The term was included in the interactive edition of the American Heritage Dictionary, an interactive edition, with the following comment: For example, an acoustic guitar against an electric guitar or an analog clock against an electronic clock. ”A retronym is a name derived from the first form of a concept or object. In other words, it represents a new word or phrase that has been devised to distinguish it from its related species. Major changes in the political, economic, scientific and cultural life of the country allow to increase the number of terms in the Uzbek language. This process is widely observed in all styles of literary language, especially in the scientific style and the journalistic style. Collecting them and defining their place in the lexicon is one of the current problems facing our linguistics. The article discusses retronyms and their differences from other phenomena and their place in lexicography.

Music for One World: Moroccan Musical Experience of Diversity, Fusion, Happiness, Healing, and Peace

Although steeped in Islamic religion and culture, Morocco is a land of varying influences and histories, including those of the native Berbers, the Moors and Jews driven out of Spain, those who follow the pious Sufi culture of Islamic spiritualism, and the Gnawa slaves who were brought into southern Morocco by Arabs. The music, customs, values, and everyday lives of these disparate peoples continue to not only blend with each other’s but also to fuse Moroccan music and culture with those of Europe, Africa, and America. The influence of Moroccan music continues to play a vital role in shaping contemporary music, especially in the study of rhythm. Music that was once heard by voices, flutes, oboes, strings, bagpipes, auxiliary percussion, and drums—symbolic of Moroccan cultural identity--may now be heard on electric guitars, keyboards, and amplified voices in popular and modern music styles that reflect Morocco’s continuing efforts to be active players in the international community.

Ultrastructural X-ray scattering studies of tropical and temperate hardwoods used as tonewoods

Abstract The structure of hardwoods representing eight tropical and five temperate species was characterized from the atomistic level up to the cellular level using X-ray scattering, X-ray microtomography and light microscopy. The species were chosen for this study based on their popularity as tonewoods. The ultrastructure of wood cell walls, including crystallite size, orientation and close-range order of cellulose microfibrils were determined by small- and wide-angle X-ray scattering (SAXS, WAXS). The SAXS patterns were interpreted by using an analytical model of cylinders packed in a hexagonal close-range order with paracrystalline distortion. The values for the cylinder diameters given by this model were compared to the average crystallite widths obtained by WAXS using the Scherrer equation. In six out of 26 samples, all of these representing tropical species used especially in fretboard parts of electric guitars, large differences between these two sizes were obtained. The WAXS and microscopy results of these samples corresponded to tension wood structures. These comparisons and interpretations of SAXS results have not been previously presented for any tropical hardwoods, especially related to those containing tension wood tissue. The importance of the ultrastructural characterization was highlighted in this study in the case of tropical hardwood samples.

A Study on the Electric Guitar -focusing on Fender Stratocaster-

A Study on the Electric Guitar -focusing on Fender Stratocaster-

PERKEMBANGAN MUSIK TALEMPONG DUDUAKDISANGGAR SENI PUTI TUNGGA KABUPATEN DHARMASRAYA

Abstract The tradition of talempong music has been hereditary into a part of the Minangkabau social life. In its journey, traditional art has been in contact with the sharing of symptoms that develop in the life of a dynamic society, based on it, there also emerged the genre of talempong creation in the Minangkabau region. Puti Tunggastudioplays talempong with the type of talempong duduak (diatonic). The form of the talempong duduak performance is usually combined with several modern instruments such as electric guitar, sexophone, drums and also other traditional Minangkabau musical instruments. The purpose of this study is to analyze the development of talempong duduak music at Puti Tungga Studio in Dharmasraya Regency. Type of this research was qualitative with using a descriptive analysis approach. The object of this research was Talempong in the Pulau Punjung sub-district, Dharmasraya Regency. Techniques of data collection were done by using library studies, observations, interviews and documentation. Efforts that are done by Puti Tungga Studio for the development of the Talempong Duduak are such as gathering members, training in a week and being active in the appearance of the Talempong Duduak in Dharmasraya. There are several obstacles found by Puti Tungga Studio in developing the Talempong Duduak , such as the players who often change because of their busy activities, the higher flow of modern music and the high interest of the society towards modern music. The development and preservation of the Talempong Duduak musical instrument currently needs to be done by socializing to the wider society, especially the younger generation through the Department of Education by incorporating traditional art knowledge both in theory and practice into the curriculum through elementary school to senior high school level. Keywords: music development, talempong duduak, puti tungga art gallery