Advanced search options

Advanced Search Options 🞨

Browse by author name (“Author name starts with…”).

Find ETDs with:

in
/  
in
/  
in
/  
in

Written in Published in Earliest date Latest date

Sorted by

Results per page:

Sorted by: relevance · author · university · dateNew search

You searched for +publisher:"Victoria University of Wellington" +contributor:("Curry, Jane"). Showing records 1 – 2 of 2 total matches.

Search Limiters

Last 2 Years | English Only

No search limiters apply to these results.

▼ Search Limiters


Victoria University of Wellington

1. Garrick, Jamie. The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi.

Degree: 2014, Victoria University of Wellington

Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments. Advisors/Committee Members: Curry, Jane, van Rij, Inge, Helyard, Erin.

Subjects/Keywords: Guitar; Virtuosity; Nineteenth-century

Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Garrick, J. (2014). The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/3436

Chicago Manual of Style (16th Edition):

Garrick, Jamie. “The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi.” 2014. Masters Thesis, Victoria University of Wellington. Accessed January 21, 2020. http://hdl.handle.net/10063/3436.

MLA Handbook (7th Edition):

Garrick, Jamie. “The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi.” 2014. Web. 21 Jan 2020.

Vancouver:

Garrick J. The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi. [Internet] [Masters thesis]. Victoria University of Wellington; 2014. [cited 2020 Jan 21]. Available from: http://hdl.handle.net/10063/3436.

Council of Science Editors:

Garrick J. The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi. [Masters Thesis]. Victoria University of Wellington; 2014. Available from: http://hdl.handle.net/10063/3436


Victoria University of Wellington

2. Church, Jake. Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar.

Degree: 2017, Victoria University of Wellington

Cross-disciplinary in its approach, through the internal frameworks of collaboration, this exegesis explores a series of case studies with non-guitarist composers, documenting the why and how aspects of collaboration in the context of creating new music. The primary focus is on how to translate non-guitarist composers’ ideas effectively onto the guitar: to create music for the guitar which is idiomatic while maintaining compositional integrity. Advisors/Committee Members: Curry, Jane, Cannady, Kimberly, Riseley, Martin.

Subjects/Keywords: Guitar; Collaboration; Compositition; New Zealand music; Non-guitarist composers; Guitarist performer; Performance

Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Church, J. (2017). Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/6970

Chicago Manual of Style (16th Edition):

Church, Jake. “Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar.” 2017. Masters Thesis, Victoria University of Wellington. Accessed January 21, 2020. http://hdl.handle.net/10063/6970.

MLA Handbook (7th Edition):

Church, Jake. “Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar.” 2017. Web. 21 Jan 2020.

Vancouver:

Church J. Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar. [Internet] [Masters thesis]. Victoria University of Wellington; 2017. [cited 2020 Jan 21]. Available from: http://hdl.handle.net/10063/6970.

Council of Science Editors:

Church J. Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar. [Masters Thesis]. Victoria University of Wellington; 2017. Available from: http://hdl.handle.net/10063/6970

.