Scribd Logo
Upload

Welcome to Scribd!

  • Methadology

    Uploaded by

    anon_589671721
    7 views2 pages
    This document outlines a research methodology involving the analysis of musical repertoire commissioned by guitarist Julian Bream that was not originally composed for guitar. The methodology includes literature and video research on the pieces and their editions, as well as analysis of manuscripts when available. It also involves performing the pieces and receiving feedback. The goal is to understand how the collaboration between Bream and composers may have influenced the music, and to explore how studying this non-idiomatic repertoire can advance one's playing, particularly in areas like tone, portamento, noise reduction, and polyphonic texture.

    Original Description:

    Metthadology for masters

    Copyright

    © © All Rights Reserved

    Available Formats

    DOCX, PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    This document outlines a research methodology involving the analysis of musical repertoire commissioned by guitarist Julian Bream that was not originally composed for guitar. The methodology includes literature and video research on the pieces and their editions, as well as analysis of manuscripts when available. It also involves performing the pieces and receiving feedback. The goal is to understand how the collaboration between Bream and composers may have influenced the music, and to explore how studying this non-idiomatic repertoire can advance one's playing, particularly in areas like tone, portamento, noise reduction, and polyphonic texture.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    7 views2 pages

    Methadology

    Uploaded by

    anon_589671721
    This document outlines a research methodology involving the analysis of musical repertoire commissioned by guitarist Julian Bream that was not originally composed for guitar. The methodology includes literature and video research on the pieces and their editions, as well as analysis of manuscripts when available. It also involves performing the pieces and receiving feedback. The goal is to understand how the collaboration between Bream and composers may have influenced the music, and to explore how studying this non-idiomatic repertoire can advance one's playing, particularly in areas like tone, portamento, noise reduction, and polyphonic texture.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 2

    Nocturnal Britten

    Comparitive Performances
    Practise Based Research
    (Playing the piece)
    Reflective Study
    Performance and Feedback

    Bagatelles Walton
    Edtion problem, How did the pieces Witch repertoire I find relevant
    get affected by the edition from Manuscpript/Edition
    to explore Outcome
    Julian Bream Literature + Video research
    Research repertoire comissioned by Practice Based research Relevant findings in the complete
    bream to non guitarist guitarists study of this reperoire
    (playing the piece)
    Performance (feedback)
    Methedology

    Frank Martin Quatro piezas breves


    Comperative performances
    Literature Research
    Editionn Research
    performance and feedback
    Video research

    Hans Werner Drei tentos


    Practice Based research
    Literature + Video Research
    Manuscript?
    Interpretative comparison
    The methodology chosen in order to do this research will be a complementary process combining literature video and audio research of the
    Repertoire commissioned by the English guitar player Julian Bream with the analysis of the same pieces regarding their editions and in some cases the
    manuscripts and the performance of the same. Also an attempt to perceive what type of collaboration there was between the performer and the
    composer and if did affect the pieces in a significant way.

    Through an exploration of this non idiomatic repertoire and performances that will try to avoid the traditional way of playing I wish to register what
    type of significant advancements it had on my playing as well what type of advancement a guitar player that studies this repertoire should expect.

    After completing this stages I also want to explore in what way did the exploration of this repertoire for the period of this masters had when playing
    traditional repertoire mainly exploring tone, portamento noise reduction, separation of voices and the concept of the guitar as a “mini orchestra”.

    You might also like