Book contents
- The Cambridge Companion to the Electric Guitar
- Cambridge Companions to Music
- The Cambridge Companion to the Electric Guitar
- Copyright page
- Contents
- Figures
- Tables
- Contributors
- 1 Introduction
- Part I History
- Part II Technology and Timbre
- Part III Musical Style and Technique
- Part IV The Electric Guitar in Society
- Part V The Global Instrument
- Index
- References
Part III - Musical Style and Technique
Published online by Cambridge University Press: 08 November 2024
Book contents
- The Cambridge Companion to the Electric Guitar
- Cambridge Companions to Music
- The Cambridge Companion to the Electric Guitar
- Copyright page
- Contents
- Figures
- Tables
- Contributors
- 1 Introduction
- Part I History
- Part II Technology and Timbre
- Part III Musical Style and Technique
- Part IV The Electric Guitar in Society
- Part V The Global Instrument
- Index
- References
- Type
- Chapter
- Information
- The Cambridge Companion to the Electric Guitar , pp. 129 - 206Publisher: Cambridge University PressPrint publication year: 2024
References
Selected Bibliography
Coelho, Victor Anand (ed.), The Cambridge Companion to the Guitar (Cambridge University Press, 2003).CrossRefGoogle Scholar
Di Perna, Alan, “Burning Ambition (Hendrix at Monterey),” Guitar World 28/12 (2007): 56–64 and 106–110.Google Scholar
Hill, Matthew W., “The Hidden History of the Electric Guitar,” in Quand la guitare [s’]électrise, edited by Navarret, Benoît, Battier, Marc, Bruguière, Philippe, and Gonin, Philippe (Sorbonne Université Presses, 2022), pp. 33–61.CrossRefGoogle Scholar
Walser, Robert, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music (Wesleyan University Press, 1993).Google Scholar
Waksman, Steve, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999).Google Scholar
Waksman, Steve “Contesting Virtuosity: Rock Guitar since 1976,” in The Cambridge Companion to the Guitar, edited by Coelho, Victor Anand (Cambridge University Press, 2003), pp. 122–132.CrossRefGoogle Scholar
Selected Bibliography
Bacon, Tony and Moorhouse, Barry, The Bass Book: A Complete Illustrated History of Bass Guitars, second edition (Backbeat Books, 2008).Google Scholar
Brewer, Roy C., “The Appearance of the Electric Bass Guitar: A Rockabilly Perspective,” Popular Music and Society 26/3 (2003): 351–366.CrossRefGoogle Scholar
Clawson, Mary Ann, “When Women Play the Bass: Instrument Specialization and Gender Interpretation in Alternative Rock Music,” Gender & Society 13/2 (1999): 193–210.CrossRefGoogle Scholar
Dowdall, Peter, Technology and the Stylistic Evolution of the Jazz Bass (Routledge, 2018).Google Scholar
Drabløs, Per Elias, The Quest for the Melodic Electric Bass: From Jamerson to Spenner (Ashgate, 2016).CrossRefGoogle Scholar
Everett, Walter, The Foundations of Rock: From “Blue Suede Shoes” to “Suite Judy Blue Eyes” (Oxford University Press, 2009), pp. 29–42.Google Scholar
Gay, Leslie C. Jr., “Acting Up, Talking Tech: New York Rock Musicians and Their Metaphors of Technology,” Ethnomusicology 42/1 (1998): 81–98.CrossRefGoogle Scholar
Wright, Brian F., “Jaco Pastorius, the Electric Bass, and the Struggle for Jazz Credibility,” Journal of Popular Music Studies 32/3 (2020): 121–138.CrossRefGoogle Scholar
The Bastard Instrument: A Cultural History of the Electric Bass (University of Michigan Press, 2024).Google Scholar
Selected Bibliography
Herbst, Jan-Peter, “Shredding, Tapping and Sweeping: Effects of Guitar Distortion on Playability and Expressiveness in Rock and Metal Solos,” Metal Music Studies 3/2 (2017): 231–250.CrossRefGoogle Scholar
Herbst, Jan-Peter “‘It Just Is My Inner Refusal’: Innovation and Conservatism in Guitar Amplification Technology,” in Distortion in Music Production, edited by Moore, Austin and Bromham, Gary (Routledge, 2023), pp. 174–184.CrossRefGoogle Scholar
Herbst, Jan-Peter “Empirical Explorations of Guitar Players’ Attitudes Towards their Equipment and the Role of Distortion in Rock Music,” Current Musicology 105 (2019): 75–106.Google Scholar
Herbst, Jan-Peter and Vallejo, Alexander, Rock Guitar Virtuosos: Advances in Electric Guitar Playing, Technology and Culture (Cambridge University Press, 2023).Google Scholar
Heritage, Gareth, “‘It’s Like a Mach Piece, Really’: Critiquing the Neo-Classical Aesthetic of ’80s Heavy Metal Music,” in Global Metal Music and Culture, edited by Brown, Andy R. et al. (Routledge, 2016), pp. 50–67.CrossRefGoogle Scholar
Shelvock, Matt, “The Progressive Heavy Metal Guitarist’s Signal Chain: Contemporary Analogue and Digital Strategies,” KES Transactions on Innovation in Music 1/1 (2014): 126–138.Google Scholar
Slaven, James E. and Krout, Jodie L., “Musicological Analysis of Guitar Solos from the Roots of Rock Through Modern Heavy Metal,” Metal Music Studies 2/2 (2016): 245–251.CrossRefGoogle Scholar
Vallejo, Alexander, “Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques,” unpublished master’s thesis, University of Huddersfield (2020).Google Scholar
Waksman, Steve, “Contesting Virtuosity: Rock Guitar Since 1976,” in The Cambridge Companion to the Guitar, edited by Coelho, Victor Anand (Cambridge University Press, 2003), pp. 122–132.CrossRefGoogle Scholar
Walser, Robert, “Eruptions: Heavy Metal Appropriations of Classical Virtuosity,” Popular Music 11/3 (1992): 263–308.CrossRefGoogle Scholar
Weinstein, Deena, “Rock’s Guitar Gods: Avatars of the Sixties,” Archiv Für Musikwissenschaft 70/2 (2013): 139–154.CrossRefGoogle Scholar
Selected Bibliography
Adelt, Ulrich, “Electrifying the Beat: Rhythm Guitar Performances of Keith Richards, Joan Jett, and Nile Rodgers,” Rock Music Studies 7/2 (2020): 132–146.CrossRefGoogle Scholar
Adelt, Ulrich “Let There Be Guitar: Rhythm Techniques in the Music of Malcolm Young, Maybelle Carter, and Bob Marley,” Rock Music Studies 10/1 (2023): 1–15.CrossRefGoogle Scholar
Coelho, Victor Anand (ed.), The Cambridge Companion to the Guitar (Cambridge University Press, 2003).CrossRefGoogle Scholar
Dickert, Louis Jr., “An Analysis of Freddie Green’s Style and His Importance in the History of Jazz Guitar,” unpublished PhD thesis, University of Memphis (1994).Google Scholar
Moore, Allan F., Song Means: Analysing and Interpreting Recorded Popular Song (Ashgate, 2012).Google Scholar
Palmer, Robert, “The Church of the Sonic Guitar,” in Present Tense: Rock & Roll and Culture, edited by DeCurtis, Anthony (Duke University Press, 1992), pp. 13–37.CrossRefGoogle Scholar
Waksman, Steve, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 2001).CrossRefGoogle Scholar
Weinstein, Deena, “Rock’s Guitar Gods – Avatars of the Sixties,” Archiv Für Musikwissenschaft 70/2 (2013): 139–154.CrossRefGoogle Scholar