CATALOGO DE INSTRUMENTOS DE CUERDA [ STRINGED INSTRUMENT CATALOG ] HILARIO "LAYO" JIMENEZ Master Luthier 1
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Classical Guitar at Sundin Hall in St. Paul!
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 NOVEMBER/DECEMBER 2008 VOL. 24 NO. 6 Classical Guitar at Sundin Hall in St. Paul! Saturday, Nov 15th, 8 pm Classical guitarist Pable Sainz Villegas from Spain Saturday, Dec 6th, 8 pm The acclaimed Minneapolis Guitar Quartet Local Artists Series concert at Banfill-Locke Center for the Arts Sunday, Nov 9th, 2 pm Classical guitarist Steve Newbrough Also In This Issue Jay Fillmore on Guitar Harmonics review of Sharon Isbin masterclass more News and Notes Minnesota Guitar Society Board of Directors Newsletter EDITOR OFFICERS: BOARD MEMBERS: Paul Hintz PRESIDENT Joe Haus Christopher Becknell PRODUCTION Mark Bussey VICE-PRESIDENT Joanne Backer i draw the line, inc. Steve Kakos ARTISTIC DIRECTOR Joe Hagedorn David’s Print Shop Steven Newbrough DISTRIBUTION TREASURER Jim Campbell Christopher Olson Todd Tipton Mark Bussey MANAGING DIRECTOR Paul Hintz Todd Tipton Web Site Production SECRETARY Alan Norton Brent Weaver Amy Lytton <http://www.mnguitar.org> Minnesota Guitar Society The Minnesota Guitar Society concert season is co-sponsored by Mission Statement Sundin Hall. This activity is made To promote the guitar, in all its stylistic and cultural diversity, possible in part by a grant from the through our newsletter and through our sponsorship of Minnesota State Arts Board, through an appropriation by the Minnesota public forums, concerts, and workshops. State Legislature and a grant from To commission new music and to aid in its the National Endowment for the promotion, publication, and recording. Arts. Matching funds have been To serve as an educational and social link between amateur provided by General Mills, AT&T, and Ameriprise Financial. -
El Torbellino En La Iniciación Musical De Ensambles De Cuerdas (Frotadas-Pulsadas)
EL TORBELLINO EN LA INICIACIÓN MUSICAL DE ENSAMBLES DE CUERDAS (FROTADAS-PULSADAS) LIEDER ESTEBAN CÁRDENAS RIAÑO ASESORA MARIA LUISA OTERO DÍAZ TRABAJO MONOGRÁFICO PRESENTADO COMO REQUISITO PARA OPTAR POR EL TÍTULO DE LICENCIADO EN MÚSICA UNIVERSIDAD PEDAGÓGICA NACIONAL FACULTAD DE BELLAS ARTES DEPARTAMENTO DE EDUCACIÓN MUSICAL LICENCIATURA EN MÚSICA BOGOTÁ OCTUBRE 2018 Dedicatoria Esta monografía va dedicada, a mi padre Victor Hugo Cárdenas, mi madre Ingrid Janette Riaño, mis hermanas Kamala y Karla, mi adorado sobrino Neythan, a mi amada Karen Campos, también a todos los estudiantes que hicieron parte de este proceso, en la escuela de formación de cuerdas frotadas y pulsadas del municipio de Sesquilé, a mi amada familia Cárdenas Melo y mi amada familia Riaño Contreras, mis abuelos Rafa y Memo, mi abuelita Aurita que me acompañan en mi corazón, a mi abuelita Julia quien siempre ha estado muy pendiente de todo mi proceso académico y a todos los que siempre me acompañaron en este largo pero enriquecedor proceso universitario. Agradecimientos Agradezco principalmente a Dios, quien ha permitido que las cosas se den a su debido tiempo, a mi padre y madre, quienes siempre me apoyaron y guiaron para cumplir con todos los objetivos, agradezco también a mi amada Karen, quien en los momentos difíciles me dio su mano, para no desfallecer y siempre luchar por seguir adelante, a mi maestro Oscar Orlando Santafé quien me acompañó en todo mi proceso académico, aportando en lo musical, en lo personal y lo profesional, también, a mi maestra Maria Luisa Otero, quien en las dificultades me guio para salir de estas, también agradezco al alcalde de Sesquilé Nelson Uriel Robayo y al secretario de desarrollo social Alexander Bermúdez, quienes por su confianza y apoyo en la escuela de formación ayudaron a que este proyecto se lograra. -
Ficha Técnica
FICHA TÉCNICA INSTRUMENTOS MUSICALES INSTRUMENTO DESCRIPCIÓN MARCA CÓDIGO UNSPSC CANT. ACORDEÓN DIATONICO ADG. DIMENSIONES - TAMAÑO: 31A X 32L. PESO: 7.5, COLOR: AZUL, TONALIDADES: ADG, NÚMERO 60131200 ACORDEON ADG 1 DE BOTONES: 31, NÚMERO DE FILAS: 3 FILAS, NÚMERO DE NOTAS: 8 NOTAS, ACCESORIOS: ESTUCHE + CORREA. ACORDEÓN ROJO BESAS. DIMENSIONES - TAMAÑO: 31A X 32L. PESO: 7,5. TONALIDAD: BESAS. NÚMERO DE BOTONES: ACORDEON BESAS 2 31. NÚMERO DE FILAS: 3 FILAS. 60131200 NÚMERO DE NOTAS: 8 NOTAS. ACCESORIOS: ESTUCHE + CORREA. ARPA LLANERA CON ESTUCHE. DE 32 CUERDAS EN CEDRO O 60131300 ARPA LLANERA 15 PINO, LLAVE AFINADORA Y FORRO INCLUIDOS. ATRILES DE BANDEJA TIPO DIRECTOR. 25" A 49" (65 CM A 124 CM), DESDE EL BORDE DE LA MESA HASTA EL PISO. BASE SOLDADA DE ACERO DE CALIBRE 12 QUE BRINDA DURABILIDAD. EL ACOPLAMIENTO DE LA BASE NO SE TAMBALEA. EL DELGADO POSTE DE 1" (2,5 60131500 ATRIL 111 CM) HACE QUE RESULTE SENCILLO TRANSPORTAR DOS ATRILES CON UNA SOLA MANO. LA MESA DE ALUMINIO DE 13½" X 20" (34 CM X 51 CM) POSEE UN SOPORTE DE ALUMINIO DE UNA SOLA PIEZA. EL AJUSTE DE ALTURA POR FRICCIÓN SENCILLA SOPORTA 9 LB (4 KG). BAJO ELECTRICO. CUERPO DE ALISO. MÁSTIL DE ARCE ATORNILLADO. DIAPASÓN DE SONOKELIN. LONGITUD DE LA ESCALA: 864CM (ESCALA BAJO ELECTRICO 8 LARGA). 24 TRASTES. ANCHO 60131300 DE LA CEJILLA: 40MM. 1 PASTILLA DE BOBINA DIVIDIDA. 1 PASTILLA DE BOBINA SIMPLE. HERRAJES DE CROMO. BANDOLA ANDINA ELECTRO ACUSTICA. TAPA ARMÓNICA EN PINO ABETO ALEMÁN O CEDRO ROJO CANADÁ MIL HILOS; ARO Y FONDO EN CEDRO PUERTO ASÍS MACIZO; MÁSTIL EN CEDRO PUERTO ASÍS REFORZADO CON BANDOLA ANDINA 15 NAZARENO; CLAVIJERO DE 60131300 PRECISIÓN; DIAPASÓN EN PALO DE ROSA CON ENTRASTADO ALTACA ( PLATEADO) DEBIDAMENTE ENCORDADO Y CON ESTUCHE DURO EN LONA. -
CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio Musical Urbano? Su Permanencia En Tijuana Y Sus Transformaciones Durante La Guerra Contra Las Drogas: 2006-2016
CORRIDO NORTEÑO Y METAL PUNK. ¿Patrimonio musical urbano? Su permanencia en Tijuana y sus transformaciones durante la guerra contra las drogas: 2006-2016. Tesis presentada por Pedro Gilberto Pacheco López. Para obtener el grado de MAESTRO EN ESTUDIOS CULTURALES Tijuana, B. C., México 2016 CONSTANCIA DE APROBACIÓN Director de Tesis: Dr. Miguel Olmos Aguilera. Aprobada por el Jurado Examinador: 1. 2. 3. Obviamente a Gilberto y a Roselia: Mi agradecimiento eterno y mayor cariño. A Tania: Porque tú sacrificio lo llevo en mi corazón. Agradecimientos: Al apoyo económico recibido por CONACYT y a El Colef por la preparación recibida. A Adán y Janet por su amistad y por al apoyo desde el inicio y hasta este último momento que cortaron la luz de mi casa. Los vamos a extrañar. A los músicos que me regalaron su tiempo, que me abrieron sus hogares, y confiaron sus recuerdos: Fernando, Rosy, Ángel, Ramón, Beto, Gerardo, Alejandro, Jorge, Alejandro, Taco y Eduardo. Eta tesis no existiría sin ustedes, los recordaré con gran afecto. Resumen. La presente tesis de investigación se inserta dentro de los debates contemporáneos sobre cultura urbana en la frontera norte de México y se resume en tres grandes premisas: la primera es que el corrido y el metal forman parte de dos estructuras musicales de larga duración y cambio lento cuya permanencia es una forma de patrimonio cultural. Para desarrollar esta premisa se elabora una reconstrucción historiográfica desde la irrupción de los géneros musicales en el siglo XIX, pasando a la apropiación por compositores tijuanenses a mediados del siglo XX, hasta llegar al testimonio de primera mano de los músicos contemporáneos. -
“Apoyando” and “Tirando” Related to Its Harmonic Components and Autocorrelation Function
Buenos Aires – 5 to 9 September, 2016 Acoustics for the 21st Century… PROCEEDINGS of the 22nd International Congress on Acoustics Music Perception: Paper ICA2016-227 Subjective preference of classical guitar strokes “apoyando” and “tirando” related to its harmonic components and autocorrelation function Joaquin Garcia(a), Shin-ichi Sato(b), Florent Masson(c) (a)Universidad Nacional de Tres de Febrero, Argentina, [email protected] (b)Universidad Nacional de Tres de Febrero, Argentina, [email protected] (c)Universidad Nacional de Tres de Febrero, Argentina, [email protected] Abstract Tone production of classical guitar performance is an essential part for musicians to transmit their sentimental and interpretative intentions. This work investigates subjective preferences of two common plucking techniques used by guitar players, apoyando (rest) and tirando (free) strokes. Six excerpts of classical guitar music with different tempos and range of frequency were performed using the two techniques and were recorded for the subjective tests. Two groups of subjects, guitar players and people who do not play guitar, were investigated to see if both groups evaluate the guitar timbre in different way or not. AB test was conducted with 50 persons for each group asking which technique is preferred and have more sound quality. Then the harmonic components and autocorrelation function (ACF) of each stroke were analysed to relate with the characteristics of the music program (tempo and frequency range) and subjective preferences. The effective duration of ACF is defined with the taue (τe) parameter. Results of the subjective test showed that harmonic content did not define preferences, but higher taue values of the ACF were correlated with a higher sound guitar quality. -
8631 Hon. Colleen W. Hanabusa Hon. Adam B. Schiff Hon. Howard Coble
June 2, 2011 EXTENSIONS OF REMARKS, Vol. 157, Pt. 6 8631 descent who are making a difference in their known as the Tournament of Rose Parade— the 13th for the Greensboro College men’s communities and throughout our country. with a procession of flower-bedecked horses golf team. For this particular Friday the 13th, f and carriages, which became a tradition that the citizens of the Sixth District of North Caro- in 1898 was formally sponsored by the Tour- lina congratulate the Pride’s golf team for RECOGNIZING THE ACCOMPLISH- nament of Roses Association. In 1891, Throop being crowned the NCAA Division III National MENTS OF FREDDIE AND ER- University was founded, later to become the Champions. NEST TAVARES California Institute of Technology (Caltech), and in the early 1900s many grand hotels On Friday, May 13, 2011, the Greensboro HON. COLLEEN W. HANABUSA were built. Some of the most accomplished ar- College men’s golf team took the course for OF HAWAII chitects settled in Pasadena, which became the final round of the NCAA championships, not on the grounds of Augusta, but those of IN THE HOUSE OF REPRESENTATIVES known for its fine architecture, particularly the the East Course at Grandover Resort, located Thursday, June 2, 2011 Craftsman style, perfected by Greene and Greene—a significant example of which is the in Greensboro, North Carolina, also in our dis- Ms. HANABUSA. Mr. Speaker, I rise today 1908 Gamble House. Continuing to enjoy a trict. The day began with Greensboro College to recognize the tremendous accomplishments reputation as a tourist center and winter resort ahead of the second-place team by three of Hawaiian music legends Frederick until the end of the 1920s, many significant in- strokes. -
Guitar Cross Reference Updated 02/22/08 Includes: Acoustic, Bass, Classical, and Electric Guitars
Gator Cases Guitar Cross Reference Updated 02/22/08 Includes: Acoustic, Bass, Classical, and Electric Guitars Use Ctrl-F to search by Manufacturer or Model Number Manufacturer Model Type Fits (1) Fits (2) Fits (3) Fits (4) Fits (5) Alvarez AC60S Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez Artist Series AD60K Dao Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez Artist Series AD60S Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez Artist Series AD70S Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez Artist Series AD80SSB Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez CYM95 Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez MC90 Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez RC10 Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Alvarez RD20S Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez RD8 Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Alvarez RD9 Acoustic Guitar GL-Dread-12 GC-Dread-12 GPE-Dread G-Tour Dread-12 GW-Dread Aria PE-STD Series Electric Guitar GL-LPS GC-LPS GPE-LPS G-Tour LPS GW-LPS Cordoba 32E Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Cordoba 32EF Classical Guitar GL-Classic GC-Classic GPE-Classic GWE-Class GW-Classic Cordoba 45FM Classical Guitar GL-Classic GC-Classic GPE-Classic -
Palmer-All.Pdf
PLAY LOUDER Electric Guitars This is our Mission The mission of Palmer Guitar Company is to provide affordable instruments that are the best value in quality and features and to support these products in a manner which will establish the utmost confidence in the brand. Palmer Guitars USA. Palmer instruments are developed with input and guidance from professional musicians, music educators and most importantly, Palmer Customers. Palmer is committed to providing an instrument that will encourage the artistic skills of its owner and to help make music a part of more lives. Take a closer look at Palmer instruments. We promise you will see the tradition, quality and innovation that goes into each and every one of our instruments. PLAY LOUDER Electric Guitars This is our Mission The mission of Palmer Guitar Company is to provide affordable instruments that are the best value in quality and features and to support these products in a manner which will establish the utmost confidence in the brand. Palmer Guitars USA. Palmer instruments are developed with input and guidance from professional musicians, music educators and most importantly, Palmer Customers. Palmer is committed to providing an instrument that will encourage the artistic skills of its owner and to help make music a part of more lives. Take a closer look at Palmer instruments. We promise you will see the tradition, quality and innovation that goes into each and every one of our instruments. ELECTRIC GUITAR Palmer PE-Core Palmer PE-Core-PK Electric Guitar I Standard Series Electric Guitar -
Tres Danzas Cubanas by Alejandro García Caturla: a Transcription for Wind Orchestra with Accompanying Biographical Sketch and Transcription Method
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2017 Tres Danzas Cubanas by Alejandro García Caturla: A Transcription for Wind Orchestra with Accompanying Biographical Sketch and Transcription Method Darrell Brown University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Latin American Studies Commons, and the Music Commons Repository Citation Brown, Darrell, "Tres Danzas Cubanas by Alejandro García Caturla: A Transcription for Wind Orchestra with Accompanying Biographical Sketch and Transcription Method" (2017). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2951. http://dx.doi.org/10.34917/10985788 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. TRES DANZAS CUBANAS BY ALEJANDRO GARCÍA CATURLA: A TRANSCRIPTION FOR WIND ORCHESTRA WITH ACCOMPANYING -
Performing Tango on the Double Bass
Performing Tango on the Double Bass: A Performance guide to Andrés Martín’s Tres Tangos para Duo de Contrabajos by Darren Cueva A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2018 by the Graduate Supervisory Committee: Catalin Rotaru, Chair Frank Koonce Rodney Rogers ARIZONA STATE UNIVERSITY May 2018 ! ABSTRACT Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three- movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín. To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York. Tres Tangos was modeled after the style of Piazzolla. -
Alberto Ginastera's Sonata for Guitar Op. 47: an Analysis
Alberto Ginastera's Sonata for Guitar Op. 47: an analysis Item Type text; Dissertation-Reproduction (electronic) Authors King, Charles, 1956- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 09:55:28 Link to Item http://hdl.handle.net/10150/565537 ALBERTO GINASTERA'S SONATA FOR GUITAR OP. 47: AN ANALYSIS by Charles King Copyright © Charles King 1992 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Charles Kina______________ ______ entitled ALBERTO GINASTERA1S SONATA FOR GUITAR______________ OPUS 47: AN ANALYSIS_________________________________ and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts____________________ 12/3/91 Date 12/ 3/91 Date 12/3/91 Grayson Hirst Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. * I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 12/3/91 * Director Thomas Patterson Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. -
Educadi Enseñar Música: Un Debate Abierto
Educadi Enseñar música: un debate abierto LUS Medicina y música 3 IN I Publicaciones, discos, actualidad, agenda, 771136 627003 cursos y concursos El piano digital con sonido Clavirtova y _pulsación real amo" Claulnh) Cova Generación de sonido AWM Teclado con efecto martillo 'con muestras múltiples estéreo 111 - gracias a la utilización de contrapesos auténticos DYNAMIC m STEREO ni SAMPLING Pruebe la gama completa YAMAHA Clavinova en: r.bEA L AMPLIA EXPOSICIÓN K musicAL OFERTAS ESPECIALES MADRID (CENTRAL) C/ CARLOS III, TEL.: 91 541 30 09 Clavinova meie;rffn. N2 13, 1 de octubre- 30 de noviembre 1998 Miguel Zavala Editorial ducación n curso más da comienzo, el tercero que vemos nacer desde que dio inicio la aventura de Doce notas, y 5-8 Enseñanza de idiomas y de la música: un modelo con él se cumple una de nuestras mayores ilusiones: en común. Alicia Labrada Pérez poder extender la tirada a toda España. 9-10 Análisis de un fracaso. Juan Krakenberger Esto era, para nosotros, una necesidad ya que el mapa educa- 11-12 Música, sociedad, pedagogía. Fidel García Álvarez tivo musical del país se transforma. Dejando aparte el hecho de 13-15 Miedo escénico e insuficiencias educativas. que las Comunidades con plenas competencias educativas lle- Wen-Yu Ku de Valthaire van tiempo desarrollando sus propios ritmos y planes de estu- dio, es posible encontrar numerosas analogías. Para empezar, la edicina y música demanda. Cada vez es mayor el número de los que desean estu- 16-17 Música, medicina y tiempo. Patxi del Campo diar música. En segundo lugar, la rigidez de la oferta.