Sanza and Guitar: Music of the Bena Luluwa of Angola and Zaire

1978 ◽  
Vol 22 (3) ◽  
pp. 564
Author(s):  
Alan P. Merriam
Keyword(s):  
Guitar Music

Memory improvement with wide-awake listeners and with nonclassical guitar music.

2016 ◽  
Vol 26 (1) ◽  
pp. 26-34 ◽  
Author(s):  
W. Jay Dowling ◽  
Heidi Magner ◽  
Barbara Tillmann
Keyword(s):  
Guitar Music ◽  
Memory Improvement ◽  
Wide Awake

scholarly journals A New Guitar Teaching Philosophy

2008 ◽  
Vol 18 (1) ◽  
pp. 33-49
Author(s):  
Ice B. Risteski
Keyword(s):  
Teaching Philosophy ◽  
Classical Guitar ◽  
New Approach ◽  
Guitar Music ◽  
Shed Light

In this present work it is given an opinion for a new approach to guitar teaching philosophy in a sufficiently sophisticated way, which surpasses up to now all known looks. With a goal to shed light on this important topic, this work will introduce a new guitar teaching philosophy on the virtue of musical-aesthetical knowledge of classical guitar music. With the intention to better understand this approach, emphasis is made throughout the prismof the guitar experience and from the viewpoint of new needs of classical guitar study.

Guitar Music Composed for Segovia (review)

Notes ◽  
2006 ◽  
Vol 63 (1) ◽  
pp. 201-207
Author(s):  
Silvio Jose dos Santos
Keyword(s):  
Guitar Music

Guitar Music

1891 ◽  
Vol s7-XII (289) ◽  
pp. 27-27
Author(s):  
H. H. Sparling
Keyword(s):  
Guitar Music

Guitar Music

1986 ◽  
Vol 127 (1720) ◽  
pp. 443
Author(s):  
Mary Criswick ◽  
Wolf Moser
Keyword(s):  
Guitar Music

Guitar Music

1968 ◽  
Vol 109 (1499) ◽  
pp. 46
Author(s):  
Wilfrid Mellers ◽  
Britten ◽  
Henze ◽  
Martin ◽  
Brindle ◽  
...  
Keyword(s):  
Guitar Music

Ghanaian Christianity and Popular Entertainment: Full Circle

2004 ◽  
Vol 31 ◽  
pp. 407-423 ◽  
Author(s):  
John Collins
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Dance Music ◽  
Baptist Church ◽  
Popular Entertainment ◽  
Guitar Music ◽  
Brass Band ◽  
Trading Posts ◽  
African Churches ◽  
Late Nineteenth

In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.

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