流行音乐演奏中吉他的感觉

Nicholas Shea
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引用次数: 2

摘要

流行音乐吉他手在讨论歌曲创作和演奏时经常提到指板的物质性。例如,布列塔尼·霍华德(Brittany Howard)主张,对她的技艺来说,吉他的感觉和肢体动作——和弦的形状、舔舐和重复——比音高和和声方面的理论知识更重要。然而,深入的音乐组织的手势观点在流行音乐的学术代表性不足。这篇视频文章通过在两种情况下调查指板手势和流行音乐特征之间的关系来回应。首先是对《短而甜》的仔细分析,重点是霍华德如何协调和弦的声音和更大的左手移位,以及歌词中反映的重要修辞时刻。接下来的动作捕捉研究调查了类似的手势趋势如何推广到其他吉他手的表演中。来自14位当地练习吉他手的表演数据表明,音乐家们通常更喜欢用最大的肢体动作来表达正式过渡的时刻。这些发现表明了吉他手在一定程度上的手势意向性和策略,并阐明了吉他手可能选择保留或放弃指板提示的背景。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Feel of the Guitar in Popular Music Performance
Popular-music guitarists frequently reference the physicality of the fretboard when discussing songwriting and performance. Brittany Howard, for example, advocates that the feel of her guitar and physical gestures — chord shapes, licks, and riffs — are more critical to her craft than theoretical knowledge regarding pitch and harmony. However, in-depth gestural perspectives on musical organization are underrepresented in popular-music scholarship. This video article responds by investigating the relationship between fretboard gestures and popular music’s features in two contexts. First is a close analysis of “Short and Sweet” that focuses on how Howard coordinates chord voicings and larger left-hand shifts with important rhetorical moments reflected in the song’s lyrics. A following motion-capture study then surveys how similar gestural trends might generalize to performances by other guitarists. Data from performances by 14 local practicing guitarists demonstrate that the musicians typically prefer to articulate moments of formal transition with the largest physical gestures. Such findings suggest a degree of gestural intentionality and strategy amongst guitarists and clarify the contexts in which a guitarist might choose to maintain or abandon fretboard affordances.
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