Eric F. Clarke
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195151947
- eISBN:
- 9780199870400
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151947.003.0003
- Subject:
- Music, Psychology of Music
This chapter is focused on an analysis and discussion of the soundtrack of Jimi Hendrix's performance at Woodstock of the “Star Spangled Banner”. This sound recording is used as a more extended ...
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This chapter is focused on an analysis and discussion of the soundtrack of Jimi Hendrix's performance at Woodstock of the “Star Spangled Banner”. This sound recording is used as a more extended demonstration of the ways in which the ideas introduced in the previous chapter can be applied to music. It is argued that the approach can be used to identify a general character of “instability” functioning in the recording in three domains: the domain of sound events; the domain of musical materials; and the domain of cultural practices. All three of these are specified in sound relative to suitably enculturated listeners.Less
This chapter is focused on an analysis and discussion of the soundtrack of Jimi Hendrix's performance at Woodstock of the “Star Spangled Banner”. This sound recording is used as a more extended demonstration of the ways in which the ideas introduced in the previous chapter can be applied to music. It is argued that the approach can be used to identify a general character of “instability” functioning in the recording in three domains: the domain of sound events; the domain of musical materials; and the domain of cultural practices. All three of these are specified in sound relative to suitably enculturated listeners.
John W. Troutman
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781469627922
- eISBN:
- 9781469627946
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469627922.001.0001
- Subject:
- Music, History, American
Since the nineteenth century, the distinct tones of kika kila, the Hawaiian steel guitar, have defined the island sound. Here historian and steel guitarist John W. Troutman offers the instrument's ...
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Since the nineteenth century, the distinct tones of kika kila, the Hawaiian steel guitar, have defined the island sound. Here historian and steel guitarist John W. Troutman offers the instrument's definitive history, from its discovery by a young Hawaiian royalist named Joseph Kekuku to its revolutionary influence on American and world music. During the early twentieth century, Hawaiian musicians traveled the globe, from tent shows in the Mississippi Delta, where they shaped the new sounds of country and the blues, to regal theaters and vaudeville stages in New York, Berlin, Kolkata, and beyond. In the process, Hawaiian guitarists recast the role of the guitar in modern life. But as Troutman explains, by the 1970s the instrument's embrace and adoption overseas also worked to challenge its cultural legitimacy in the eyes of a new generation of Hawaiian musicians. As a consequence, the indigenous instrument nearly disappeared in its homeland. Using rich musical and historical sources, including interviews with musicians and their descendants, Troutman provides the complete story of how this Native Hawaiian instrument transformed not only American music but the sounds of modern music throughout the world.Less
Since the nineteenth century, the distinct tones of kika kila, the Hawaiian steel guitar, have defined the island sound. Here historian and steel guitarist John W. Troutman offers the instrument's definitive history, from its discovery by a young Hawaiian royalist named Joseph Kekuku to its revolutionary influence on American and world music. During the early twentieth century, Hawaiian musicians traveled the globe, from tent shows in the Mississippi Delta, where they shaped the new sounds of country and the blues, to regal theaters and vaudeville stages in New York, Berlin, Kolkata, and beyond. In the process, Hawaiian guitarists recast the role of the guitar in modern life. But as Troutman explains, by the 1970s the instrument's embrace and adoption overseas also worked to challenge its cultural legitimacy in the eyes of a new generation of Hawaiian musicians. As a consequence, the indigenous instrument nearly disappeared in its homeland. Using rich musical and historical sources, including interviews with musicians and their descendants, Troutman provides the complete story of how this Native Hawaiian instrument transformed not only American music but the sounds of modern music throughout the world.
Christopher Berg
- Published in print:
- 2020
- Published Online:
- December 2019
- ISBN:
- 9780190051105
- eISBN:
- 9780190051143
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190051105.001.0001
- Subject:
- Music, Performing Practice/Studies
The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, ...
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The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.Less
The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.
Murray Campbell, Clive Greated, and Arnold Myers
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780198165040
- eISBN:
- 9780191713675
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198165040.003.0009
- Subject:
- Music, History, Western
This chapter discusses the acoustical principles underlying the behaviour of plucked and hammered stringed instruments, including the effects of the point of attack and the nature of the plectrum or ...
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This chapter discusses the acoustical principles underlying the behaviour of plucked and hammered stringed instruments, including the effects of the point of attack and the nature of the plectrum or hammer on the frequency spectrum and timbre of the sound. The significance of the feel of a string and the technique of pitch bending are explained. A survey of the historical development of plucked and hammered stringed instruments includes descriptions of lyre, psaltery, cittern, dulcimer, and cimbalom; and discussions of the evolution of harps, lute, and guitars. The construction and functioning of the modern lute and guitar are described, and current methods of performance on harp, lute, and classical guitar are outlined.Less
This chapter discusses the acoustical principles underlying the behaviour of plucked and hammered stringed instruments, including the effects of the point of attack and the nature of the plectrum or hammer on the frequency spectrum and timbre of the sound. The significance of the feel of a string and the technique of pitch bending are explained. A survey of the historical development of plucked and hammered stringed instruments includes descriptions of lyre, psaltery, cittern, dulcimer, and cimbalom; and discussions of the evolution of harps, lute, and guitars. The construction and functioning of the modern lute and guitar are described, and current methods of performance on harp, lute, and classical guitar are outlined.
Walter Aaron Clark
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780252041907
- eISBN:
- 9780252050596
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041907.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Spanish émigré guitarist Celedonio Romero gave his American debut performance on a June evening in 1958. In the sixty years since, the Romero family—Celedonio, his wife Angelita, sons Celín, Pepe, ...
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Spanish émigré guitarist Celedonio Romero gave his American debut performance on a June evening in 1958. In the sixty years since, the Romero family—Celedonio, his wife Angelita, sons Celín, Pepe, and Angel, as well as grandsons Celino and Lito—has become preeminent in the world of Spanish flamenco and classical guitar in the United States. Walter Aaron Clark’s in-depth research and unprecedented access to his subjects have produced the consummate biography of the Romero family. Clark examines the full story of their genius for making music, from their outsider's struggle to gain respect for the Spanish guitar to the ins and outs of making a living as musicians. As he shows, their concerts and recordings, behind-the-scenes musical careers, and teaching have reshaped their instrument’s very history. At the same time, the Romeros have organized festivals and encouraged leading composers to write works for guitar as part of a tireless, lifelong effort to promote the guitar and expand its repertoire. Entertaining and intimate, Los Romeros opens up the personal world and unfettered artistry of one family and its tremendous influence on American musical culture. It features a gallery of forty photographs as well as appendices providing a chronology, genealogy, list of albums, and a summary of Romero publications, editions, and educational materials.Less
Spanish émigré guitarist Celedonio Romero gave his American debut performance on a June evening in 1958. In the sixty years since, the Romero family—Celedonio, his wife Angelita, sons Celín, Pepe, and Angel, as well as grandsons Celino and Lito—has become preeminent in the world of Spanish flamenco and classical guitar in the United States. Walter Aaron Clark’s in-depth research and unprecedented access to his subjects have produced the consummate biography of the Romero family. Clark examines the full story of their genius for making music, from their outsider's struggle to gain respect for the Spanish guitar to the ins and outs of making a living as musicians. As he shows, their concerts and recordings, behind-the-scenes musical careers, and teaching have reshaped their instrument’s very history. At the same time, the Romeros have organized festivals and encouraged leading composers to write works for guitar as part of a tireless, lifelong effort to promote the guitar and expand its repertoire. Entertaining and intimate, Los Romeros opens up the personal world and unfettered artistry of one family and its tremendous influence on American musical culture. It features a gallery of forty photographs as well as appendices providing a chronology, genealogy, list of albums, and a summary of Romero publications, editions, and educational materials.
Maurice Peress
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195098228
- eISBN:
- 9780199869817
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098228.003.0012
- Subject:
- Music, History, Western
This chapter presents the detailed story of another historic recreation, this time on the stage of Carnegie Hall where in 1912 the Clef Club concert took place. New challenges were met: an unusual ...
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This chapter presents the detailed story of another historic recreation, this time on the stage of Carnegie Hall where in 1912 the Clef Club concert took place. New challenges were met: an unusual mix, the forming of a new Clef Club orchestra that included thirty strummers — ten each of mandolins, guitars and a rare harp guitar, and banjos — all of whom read complicated music very well; a boys' and men's choir; and a concert orchestra including eight pianists and various soloists. Will Marion Cook's dialect song, “Swing Along” for chorus and orchestra stopped the show as it did sixty seven years earlier.Less
This chapter presents the detailed story of another historic recreation, this time on the stage of Carnegie Hall where in 1912 the Clef Club concert took place. New challenges were met: an unusual mix, the forming of a new Clef Club orchestra that included thirty strummers — ten each of mandolins, guitars and a rare harp guitar, and banjos — all of whom read complicated music very well; a boys' and men's choir; and a concert orchestra including eight pianists and various soloists. Will Marion Cook's dialect song, “Swing Along” for chorus and orchestra stopped the show as it did sixty seven years earlier.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0028
- Subject:
- Music, Popular
As Lonnie Johnson and Eddie Lang emerged during the 1920s, and Charlie Christian emerged in 1939, Django Reinhardt was the “jazz” guitar soloist. He learned jazz music initially from phonograph ...
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As Lonnie Johnson and Eddie Lang emerged during the 1920s, and Charlie Christian emerged in 1939, Django Reinhardt was the “jazz” guitar soloist. He learned jazz music initially from phonograph records from the United States. Yet by the mid-1930s, he had performed with the best American jazz artists such as Louis Armstrong, Coleman Hawkins, and Benny Carter. And his own records manifested not only how well he had learned from his jazz lessons, but also how magnificent were his guitar solos. Django Reinhardt was a Belgian-born, French-raised musician whose passion was in American jazz.Less
As Lonnie Johnson and Eddie Lang emerged during the 1920s, and Charlie Christian emerged in 1939, Django Reinhardt was the “jazz” guitar soloist. He learned jazz music initially from phonograph records from the United States. Yet by the mid-1930s, he had performed with the best American jazz artists such as Louis Armstrong, Coleman Hawkins, and Benny Carter. And his own records manifested not only how well he had learned from his jazz lessons, but also how magnificent were his guitar solos. Django Reinhardt was a Belgian-born, French-raised musician whose passion was in American jazz.
Martin Clayton
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195331370
- eISBN:
- 9780199868087
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331370.003.0004
- Subject:
- Music, Ethnomusicology, World Music
This chapter discusses the ways the guitar—particularly as employed for “Western” genres such as rock and jazz—is theorized at a local level in India. The text includes extensive quotation from ...
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This chapter discusses the ways the guitar—particularly as employed for “Western” genres such as rock and jazz—is theorized at a local level in India. The text includes extensive quotation from interviews with Indian guitarists carried out between 1998 and 2001, discussed under the following headings: “Origins and Identities” is concerned with the ways in which musicians theorize the origins of the instrument and its associations with regional, religious and other identities; “Networks” outlines the implication of the guitar in national and international systems allowing the mobility of musicians, repertory, and equipment; and finally “Music” discusses ways in which the guitar's repertory is theorized that cut across the Indian/Western division. The chapter argues that more studies of local theory are necessary even—perhaps especially—where mass-mediated global styles such as rock and jazz are involved.Less
This chapter discusses the ways the guitar—particularly as employed for “Western” genres such as rock and jazz—is theorized at a local level in India. The text includes extensive quotation from interviews with Indian guitarists carried out between 1998 and 2001, discussed under the following headings: “Origins and Identities” is concerned with the ways in which musicians theorize the origins of the instrument and its associations with regional, religious and other identities; “Networks” outlines the implication of the guitar in national and international systems allowing the mobility of musicians, repertory, and equipment; and finally “Music” discusses ways in which the guitar's repertory is theorized that cut across the Indian/Western division. The chapter argues that more studies of local theory are necessary even—perhaps especially—where mass-mediated global styles such as rock and jazz are involved.
Kiri Miller
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199753451
- eISBN:
- 9780199932979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199753451.003.0005
- Subject:
- Music, History, American, Ethnomusicology, World Music
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate ...
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This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate Brown’s OnlineDrummer.com have each attracted thousands of students from around the world. The chapter shows how Taub, Brown, and their students have strategically adapted traditional pedagogical strategies and reshaped teacher-student (and student-student) relationships in a virtual transmission context. This chapter also addresses online teachers’ encounters with copyright law. Aspiring guitarists and drummers often seek out lessons because they want to learn to play songs by their favorite artists. Musicians routinely teach copyrighted material in private lessons, but publishing song lessons online can leave them vulnerable to account deletion or legal action. While bringing lessons into the digital public sphere makes them accessible to many more students, this new context also imposes new constraints on repertoire and teaching style.Less
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate Brown’s OnlineDrummer.com have each attracted thousands of students from around the world. The chapter shows how Taub, Brown, and their students have strategically adapted traditional pedagogical strategies and reshaped teacher-student (and student-student) relationships in a virtual transmission context. This chapter also addresses online teachers’ encounters with copyright law. Aspiring guitarists and drummers often seek out lessons because they want to learn to play songs by their favorite artists. Musicians routinely teach copyrighted material in private lessons, but publishing song lessons online can leave them vulnerable to account deletion or legal action. While bringing lessons into the digital public sphere makes them accessible to many more students, this new context also imposes new constraints on repertoire and teaching style.
Christopher Berg
- Published in print:
- 2020
- Published Online:
- December 2019
- ISBN:
- 9780190051105
- eISBN:
- 9780190051143
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190051105.003.0001
- Subject:
- Music, Performing Practice/Studies
This chapter lays out the scope and intended use of The Classical Guitar Companion. It explores how guitarists and teachers can create unique and distinctive curricula of study for themselves or ...
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This chapter lays out the scope and intended use of The Classical Guitar Companion. It explores how guitarists and teachers can create unique and distinctive curricula of study for themselves or their students to help them acquire and develop fundamental techniques and foundational knowledge. Included are practice guidelines applicable to each chapter of the book. Because all new learning requires a finely honed foundation of prior knowledge and skill, the introduction presents advice that will help guitarists transform their foundational work into advanced technique and a deeper understanding of the instrument. This work will help guitarists meet the artistic and technical demands of advanced guitar literature. The introduction also explores those best served by the book: those studying the classical guitar (whether novice or advanced); guitarists wishing to fill gaps in their background; new guitar teachers looking for guidance with curricula; and guitarists interested in the rich pedagogical heritage of the instrument.Less
This chapter lays out the scope and intended use of The Classical Guitar Companion. It explores how guitarists and teachers can create unique and distinctive curricula of study for themselves or their students to help them acquire and develop fundamental techniques and foundational knowledge. Included are practice guidelines applicable to each chapter of the book. Because all new learning requires a finely honed foundation of prior knowledge and skill, the introduction presents advice that will help guitarists transform their foundational work into advanced technique and a deeper understanding of the instrument. This work will help guitarists meet the artistic and technical demands of advanced guitar literature. The introduction also explores those best served by the book: those studying the classical guitar (whether novice or advanced); guitarists wishing to fill gaps in their background; new guitar teachers looking for guidance with curricula; and guitarists interested in the rich pedagogical heritage of the instrument.
Edward L. Ayers
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195086898
- eISBN:
- 9780199854226
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195086898.003.0011
- Subject:
- History, American History: 19th Century
This chapter discusses the Southerners passion for singing, playing, and dancing. The instruments of choice were guitars, banjos, and pianos. The songs range from bouncy pop songs to sentimental ...
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This chapter discusses the Southerners passion for singing, playing, and dancing. The instruments of choice were guitars, banjos, and pianos. The songs range from bouncy pop songs to sentimental songs and “coon” songs which were parodies of black language, styles, and aspirations. The birth of a distinct Southern music and its development is also discussed in this chapter. A form of black music called “patting juba” emerged among the black Southerners developing into “ragged” music which became a national sensation. This chapter also describes the birth of jazz music and blues. Music has long been a part of the Southern lifestyle and its effects can be seen in all aspects of life in the New South.Less
This chapter discusses the Southerners passion for singing, playing, and dancing. The instruments of choice were guitars, banjos, and pianos. The songs range from bouncy pop songs to sentimental songs and “coon” songs which were parodies of black language, styles, and aspirations. The birth of a distinct Southern music and its development is also discussed in this chapter. A form of black music called “patting juba” emerged among the black Southerners developing into “ragged” music which became a national sensation. This chapter also describes the birth of jazz music and blues. Music has long been a part of the Southern lifestyle and its effects can be seen in all aspects of life in the New South.
Peter Manuel
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780195177893
- eISBN:
- 9780199864843
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195177893.003.0004
- Subject:
- Music, Theory, Analysis, Composition
This chapter provides an analysis of flamenco guitar and song: The Musical Elements of Flamenco; Flamenco Guitar; Soleares; A quién le contaré yo, sung by Juan Talega; and Is There an Indigenous ...
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This chapter provides an analysis of flamenco guitar and song: The Musical Elements of Flamenco; Flamenco Guitar; Soleares; A quién le contaré yo, sung by Juan Talega; and Is There an Indigenous Flamenco “Theory”?Less
This chapter provides an analysis of flamenco guitar and song: The Musical Elements of Flamenco; Flamenco Guitar; Soleares; A quién le contaré yo, sung by Juan Talega; and Is There an Indigenous Flamenco “Theory”?
Kiri Miller
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199753451
- eISBN:
- 9780199932979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199753451.003.0003
- Subject:
- Music, History, American, Ethnomusicology, World Music
This chapter argues that the Guitar Hero and Rock Band video games have inspired new modes of engagement with popular music. It addresses gameplay as a developing genre of collaborative, ...
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This chapter argues that the Guitar Hero and Rock Band video games have inspired new modes of engagement with popular music. It addresses gameplay as a developing genre of collaborative, participatory rock music performance that is generating debate about the nature of musical and performative authenticity. The chapter analyzes the games’ implicit models of rock ideology, their sometimes-sincere/sometimes-ironic constructions of rock heroism, and heated reception debates about whether the games foster genuine musicianship. It explores players’ ideas about musicality and creativity, focusing on players who have significant experience playing traditional instruments. Playing Guitar Hero and Rock Band isn’t just like playing a real instrument, but it’s nothing at all like just listening to music. The affective experience of making music is bound up with embodied performance, and these games compel bodily engagement.Less
This chapter argues that the Guitar Hero and Rock Band video games have inspired new modes of engagement with popular music. It addresses gameplay as a developing genre of collaborative, participatory rock music performance that is generating debate about the nature of musical and performative authenticity. The chapter analyzes the games’ implicit models of rock ideology, their sometimes-sincere/sometimes-ironic constructions of rock heroism, and heated reception debates about whether the games foster genuine musicianship. It explores players’ ideas about musicality and creativity, focusing on players who have significant experience playing traditional instruments. Playing Guitar Hero and Rock Band isn’t just like playing a real instrument, but it’s nothing at all like just listening to music. The affective experience of making music is bound up with embodied performance, and these games compel bodily engagement.
Kiri Miller
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199753451
- eISBN:
- 9780199932979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199753451.003.0004
- Subject:
- Music, History, American, Ethnomusicology, World Music
This chapter addresses public gameplay performance contexts for Guitar Hero and Rock Band. What does it mean to be a live performer of a pre-recorded song? These games inspire physically virtuosic, ...
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This chapter addresses public gameplay performance contexts for Guitar Hero and Rock Band. What does it mean to be a live performer of a pre-recorded song? These games inspire physically virtuosic, visually engaging performances, staged in a variety of social contexts: players compete in game tournaments, post performances on YouTube, and form instant bands with friends at Rock Band bar nights. They also engage with the gender and sexuality norms of rock performance, sometimes turning their gameplay into over-the-top rock drag. As players and their audiences create these performances, they collaborate with game designers and recorded musicians in stitching recorded musical sound and performing bodies back together.Less
This chapter addresses public gameplay performance contexts for Guitar Hero and Rock Band. What does it mean to be a live performer of a pre-recorded song? These games inspire physically virtuosic, visually engaging performances, staged in a variety of social contexts: players compete in game tournaments, post performances on YouTube, and form instant bands with friends at Rock Band bar nights. They also engage with the gender and sexuality norms of rock performance, sometimes turning their gameplay into over-the-top rock drag. As players and their audiences create these performances, they collaborate with game designers and recorded musicians in stitching recorded musical sound and performing bodies back together.
John W. Troutman
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781469627922
- eISBN:
- 9781469627946
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469627922.003.0006
- Subject:
- Music, History, American
This chapter focuses upon the interwar years, when musicians and dancers formed a strong Pacific Islander community in Southern California, one that fostered a sense of camaraderie and belonging, and ...
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This chapter focuses upon the interwar years, when musicians and dancers formed a strong Pacific Islander community in Southern California, one that fostered a sense of camaraderie and belonging, and enabled them to work in the motion picture studios and nightclubs that increasingly sought their labor. It also traces this community’s role in influencing guitar design innovations exhibited by Weissenborn, National, and Rickenbacker guitars, which led to the first mass produced electric guitar. Hawaiian musicians such as Sol Ho‘opi‘i, Eddie Bush, and Dick, Al, and Lani McIntire thrived in Hollywood and later in New York City at the Hotel Lexington during this period, although they continued to face significant challenges. While they expanded the American public’s interest in the steel guitar, particularly through the new mediums of radio, “Polynesian” clubs, and motion pictures, they continued to face an industry unwilling to acknowledge their talent and strong work ethic and uninterested in distinguishing their music from the offensive, pseudo-Hawaiian songs peddled by non-Hawaiian songwriters.Less
This chapter focuses upon the interwar years, when musicians and dancers formed a strong Pacific Islander community in Southern California, one that fostered a sense of camaraderie and belonging, and enabled them to work in the motion picture studios and nightclubs that increasingly sought their labor. It also traces this community’s role in influencing guitar design innovations exhibited by Weissenborn, National, and Rickenbacker guitars, which led to the first mass produced electric guitar. Hawaiian musicians such as Sol Ho‘opi‘i, Eddie Bush, and Dick, Al, and Lani McIntire thrived in Hollywood and later in New York City at the Hotel Lexington during this period, although they continued to face significant challenges. While they expanded the American public’s interest in the steel guitar, particularly through the new mediums of radio, “Polynesian” clubs, and motion pictures, they continued to face an industry unwilling to acknowledge their talent and strong work ethic and uninterested in distinguishing their music from the offensive, pseudo-Hawaiian songs peddled by non-Hawaiian songwriters.
Jeffrey J. Noonan
- Published in print:
- 2007
- Published Online:
- March 2014
- ISBN:
- 9781934110188
- eISBN:
- 9781604733020
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110188.003.0004
- Subject:
- Music, History, American
This chapter examines the role of the guitar in the banjo, mandolin, and guitar (BMG) movement in America during the period from 1880 to 1900, and explains that the BMG movement, instigated by S. S. ...
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This chapter examines the role of the guitar in the banjo, mandolin, and guitar (BMG) movement in America during the period from 1880 to 1900, and explains that the BMG movement, instigated by S. S. Stewart’s Banjo and Guitar Journal, only served the magazine’s unstinting devotion to the banjo and an unrelenting desire to make money. It also discusses the evolution of BMG clubs into mandolin orchestras, the distrust of the traditional guitar, and the emergence of American guitar soloists.Less
This chapter examines the role of the guitar in the banjo, mandolin, and guitar (BMG) movement in America during the period from 1880 to 1900, and explains that the BMG movement, instigated by S. S. Stewart’s Banjo and Guitar Journal, only served the magazine’s unstinting devotion to the banjo and an unrelenting desire to make money. It also discusses the evolution of BMG clubs into mandolin orchestras, the distrust of the traditional guitar, and the emergence of American guitar soloists.
Robert Fink, Melinda Latour, and Zachary Wallmark (eds)
- Published in print:
- 2018
- Published Online:
- October 2018
- ISBN:
- 9780199985227
- eISBN:
- 9780190908027
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199985227.001.0001
- Subject:
- Music, Popular
The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging ...
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The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.Less
The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.
Kevin Dawe
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780197266564
- eISBN:
- 9780191889394
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266564.003.0010
- Subject:
- Music, Ethnomusicology, World Music
This chapter present a preliminary study of the emergence of the guitar in the music, culture and society of Turkey, a transcontinental Republic founded in 1923, noting also the instrument’s presence ...
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This chapter present a preliminary study of the emergence of the guitar in the music, culture and society of Turkey, a transcontinental Republic founded in 1923, noting also the instrument’s presence within Ottoman music culture. It argues that the rise of the guitar in Turkey constitutes a transformative moment in the history of the instrument, if not Turkish music, with the emergence and development of local playing styles and physical modifications made to suit local musical practices, aspirations and sensibilities. Crucially, in reaching back to the near past, the study employs both ethnographic and oral historical techniques of research, including in-depth interviews with key musicians, whilst also drawing attention to the importance of the past—its interpretation, negotiation, contestation and fabrication—in the present.Less
This chapter present a preliminary study of the emergence of the guitar in the music, culture and society of Turkey, a transcontinental Republic founded in 1923, noting also the instrument’s presence within Ottoman music culture. It argues that the rise of the guitar in Turkey constitutes a transformative moment in the history of the instrument, if not Turkish music, with the emergence and development of local playing styles and physical modifications made to suit local musical practices, aspirations and sensibilities. Crucially, in reaching back to the near past, the study employs both ethnographic and oral historical techniques of research, including in-depth interviews with key musicians, whilst also drawing attention to the importance of the past—its interpretation, negotiation, contestation and fabrication—in the present.
Jane Manning
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780199390960
- eISBN:
- 9780199391011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199390960.003.0020
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter studies Jonathan Dove’s Cut My Shadow (2011). This set of three songs (‘Surprise’, ‘The Guitar, and ‘Song of the Dry Orange Tree’) amply demonstrates Dove’s musical acumen and special ...
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This chapter studies Jonathan Dove’s Cut My Shadow (2011). This set of three songs (‘Surprise’, ‘The Guitar, and ‘Song of the Dry Orange Tree’) amply demonstrates Dove’s musical acumen and special understanding of vocal writing. The musical style, with its frequent use of repetitive figures, could certainly be described as ‘minimalist’, especially with regard to the characterful piano writing. It goes without saying that Dove is also an excellent pianist. The music brims with rhythmic vitality, and an exotic, passionate ‘Spanishness’ is established from the outset, achieved by deceptively simple means. A light mezzo can even relish the deepest notes, which are set so well that they come off every time, as long as the singer does not push too hard. Significantly, there are no dynamics written over the vocal line, so it is up to the singer to develop a close awareness of balance with the piano, and to adjust the volume without feeling strained or overwhelmed.Less
This chapter studies Jonathan Dove’s Cut My Shadow (2011). This set of three songs (‘Surprise’, ‘The Guitar, and ‘Song of the Dry Orange Tree’) amply demonstrates Dove’s musical acumen and special understanding of vocal writing. The musical style, with its frequent use of repetitive figures, could certainly be described as ‘minimalist’, especially with regard to the characterful piano writing. It goes without saying that Dove is also an excellent pianist. The music brims with rhythmic vitality, and an exotic, passionate ‘Spanishness’ is established from the outset, achieved by deceptively simple means. A light mezzo can even relish the deepest notes, which are set so well that they come off every time, as long as the singer does not push too hard. Significantly, there are no dynamics written over the vocal line, so it is up to the singer to develop a close awareness of balance with the piano, and to adjust the volume without feeling strained or overwhelmed.
Christopher Berg
- Published in print:
- 2020
- Published Online:
- December 2019
- ISBN:
- 9780190051105
- eISBN:
- 9780190051143
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190051105.003.0010
- Subject:
- Music, Performing Practice/Studies
Most of the music in The Classical Guitar Companion makes use of the same technique or musical texture throughout. High-level virtuoso playing requires that guitarists become adept at navigating ...
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Most of the music in The Classical Guitar Companion makes use of the same technique or musical texture throughout. High-level virtuoso playing requires that guitarists become adept at navigating ever-changing musical textures and the techniques required to produce them. Florid or virtuoso études present the challenges of combining and switching between various technical elements, such as arpeggios, scales, slurs, and shifts, at rapid tempi. Of special interest is the brief discussion of “latency” at high speeds, which is applicable to these studies, and how virtuoso players transcend the limits of the central nervous system when initiating a movement or series of movements that must occur in less time than it takes for the signal to move to get from the brain to the hands (100 milliseconds).Less
Most of the music in The Classical Guitar Companion makes use of the same technique or musical texture throughout. High-level virtuoso playing requires that guitarists become adept at navigating ever-changing musical textures and the techniques required to produce them. Florid or virtuoso études present the challenges of combining and switching between various technical elements, such as arpeggios, scales, slurs, and shifts, at rapid tempi. Of special interest is the brief discussion of “latency” at high speeds, which is applicable to these studies, and how virtuoso players transcend the limits of the central nervous system when initiating a movement or series of movements that must occur in less time than it takes for the signal to move to get from the brain to the hands (100 milliseconds).