Abstract
The Mauro Giuliani’s “Grand Overture, Op. 61” poses a diverse and intricate task for classical guitar musicians, as it involves a complex interweaving of technical elements, profound emotional expression, and intricate structural components. The significant of this study is to acquire a more profound comprehension of the dynamic correlation between composition and artistic interpretation within the framework of this renowned classical guitar composition. There are two research objectives in this study. The first is to interpret the various elements of “Grand Overture, Op. 61” in terms of its composition, encompassing its challenging technical aspects, profound emotional depth, and intricate structural intricacies. The second is to interpret how these facets impose specific artistic expectations on the performer. This study was conducted within the paradigm of artistic research. The data collection technique employed in this study will involve a combination of library research, personal experience, direct observation, and self-reflection. The artistic processes and revelations in this study emphasize the resolution of technical challenges, the development of an approach to achieve a high level of technical proficiency, the analytical examination of compositional elements, and the crafting of sound profiles. These aspects were thoroughly explored through theoretical and practical investigations of “The Grand Overture” by Mauro Giuliani. This ultimately results in the development of distinctive and captivating interpretive decisions that successfully encapsulate the fundamental nature of Giuliani’s composition. The beneficial features of the basic interpretive concepts in this study are highly recommended for future studies to be applied in the form of various classical repertoires and other fields of musical instrumentation.
References
- Abbott, L. A. (2001). Arranging music for the classical guitar/piano duo, including three arrangements by the author. Doctor of Musical Arts Dissertation, University of Miami.
- Balkema, A. W., & Slager, H. (2004). Artistic research. Rodopi. Berlioz, H. (1882). A treatise on modern instrumentation and orchestration: to which is appended the Chef d’orchestre. Novello, Ewer.
- Borgdorff, H. (2010). The Production of Knowledge in Artistic Research. In M. Biggs & H. Karlsson (Eds.), The Routledge Companion to Research in the Arts (pp. 44–63). Routledge. https://doi.org/10.4324/9780203841327
- Butt, D. (2020). The Promise of Artistic Research in the Asia Pacific. Manusya: Journal of Humanities, 23(3), 328–334. https://doi. org/10.1163/26659077-02303002
- Cook, N. (2014). Beyond the Score: Music as Performance. Oxford University Press.
- Davies, S. (2001). Musical Works and Performances: A Philosophical Exploration. Oxford University Press.
- Djahwasi, H. R., & Saidon, Z. L. (2020). Artistic research: artistic as research vs artistic as method. International Journal of Academic Research in Business and Social Sciences, 10(11), 292–309. https://doi. org/10.6007/ijarbss/v10-i11/8091
- Dogantan-Dack, P. D. M. (2015). Artistic practice as research in music: theory, criticism, practice. Ashgate. https://books. google.com.my/books?id=-ZMsnwEACAAJ
- Heck, T. F. (1970). The birth of the classic guitar and its cultivation in Vienna, reflected in the career and compositions of Mauro Giuliani (d. 1829). Yale University. https://books.google.com.my/ books?id=ALywAAAAIAAJ
- Heijink, H., & Meulenbroek, R. G. J. (2002). On the complexity of classical guitar playing: Functional adaptations to task constraints. Journal of Motor Behavior, 34(4), 339–351. https://doi. org/10.1080/00222890209601952
- Johnston, A., Amitani, S., & Edmonds, E. (2005). Amplifying reflective thinking in musical performance. Proceedings of the 5th Conference on Creativity & Cognition, 166–175. https://doi. org/10.1145/1056224.1056248
- Kachian, C. (2010). Composer’s desk reference for the classic guitar. Mel Bay Publications.
- McCormick, L. (2006). Music as Social Performance. In Myth, Meaning and Performance (1st Edition). Routledge.
- Moolman, J. L. (2010). Key factors that contributed to the guitar developing into a solo instrument in the early 19 th century. Doctoral dissertation University of Pretoria.
- Moore, R. (2008). The Decline of Improvisation in Western Art Music: An Interpretation of Change. International Review of the Aesthetics and Sociology of Music, 23(1), 61–84.
- Muscarella, V. (n.d.). Classical Guitar in the Classical Era: Performance Practice, Style, and Form in Mauro Giuliani’s Sonata in C Major, Op. 15. Recital Research Paper Towson University
- Özaslan, T.H., Guaus, E., Palacios, E., Arcos, J.L. (2011). Identifying attack articulations in classical guitar. In: Ystad, S., Aramaki, M., Kronland-Martinet, R., Jensen, K. (eds) Exploring music contents. CMMR 2010. Lecture Notes in Computer Science, vol 6684. Springer, Berlin, Heidelberg. https:// doi.org/10.1007/978-3-642-23126-1_15
- Reymen,I.M.M.J.,&Hammers,D.K.(2000). Design Method supporting regular reflection on design situations. InHorváth,I.(2000). Third international symposium on tools and methods of competitive engineering: April 18-21, 2000, Delft, the Netherlands. Delft University Press.
- Rink, J. (Ed.). (2002). Musical performance: a guide to understanding. Cambridge University Press. https://doi.org/10.1017/ CBO9780511811739
- Rink, J. (2003). Musical performance: a guide to understanding. Cambridge University Press.
- Šali, S., & Kopač, J. (2000). Measuring the quality of guitar tone. Experimental Mechanics, 40(3), 242–247. https://doi. org/10.1007/BF02327495
- Schunk, D. H., & Zimmerman, B. J. (Eds.). (1998). Self-regulated learning: From teaching to self-reflective practice. Guilford Publications.
- Shove, P., & Repp, B. H. (2009). Musical motion and performance: theoretical and empirical perspectives. The practice of performance studies in musical interpretation. Cambridge University Press. https://doi.org/10.1017/ cbo9780511552366.004
- Taruskin, R. (1995). Text and act: essays on music and performance. Oxford University Press.
- Tisdale, T. (1998). Selbstreflexion, Bewußtsein und Handlungsregulation. In Fortschritte der psychologischen Forschung (Self-reflection, awareness and action regulation. In Advances in Psychological Research). Beltz.
- Urdan, T., & Pajares, F. (2002). Academic motivation of adolescents. Information Age Publishing.
- Wallmeier, S. (2001). Potenziale in der Produktentwicklung Möglichkeiten und Grenzen von Tätigkeitsanalyse und Reflexion (Als Ms. ge) (Potentials in product development Possibilities and limits of activity analysis and reflection). VDI-Verl. http://slubdd.de/katalog?TN_libero_mab2
- Web Sites web 1. https://www.youtube.com/ watch?v=jkqB0aaXVB0
- web 2. https://www.youtube.com/ watch?v=zNEngz3Epl8
- web 3. https://www.youtube.com/ watch?v=83YpjtdCif8
- web 4. https://youtu.be/MqNTR7aDGB4
- web 5. https://youtu.be/aiSC_1mrl1A
- web 6. https://youtu.be/8gMW2v2owWQ
- web 7. https://youtu.be/_LzUz1l5xeI
- web 8. https://youtu.be/p5grGG_8UME
- web 9. https://youtu.be/89UeoJtfY70
- web 10. https://youtu.be/eB6TiNg6bzM
- web 11. https://youtu.be/fz98I7YFR7Q
- web 12. https://youtu.be/MdDbmbYguzE
- web 13. https://youtu.be/gtxGGCfACtg
- web 14. https://youtu.be/jZI0VD6ivFE
- web 15. https://youtu.be/Mc-H12Wqt3E
- web 16. https://www.youtube.com/ watch?v=RYFMJlQXjrU
- web 17. https://youtu.be/DrV9x-G-ebE
Abstract
The Mauro Giuliani’s “Grand Overture, Op. 61” poses a diverse and intricate task for classical guitar musicians, as it involves a complex interweaving of technical elements, profound emotional expression, and intricate structural components. The significant of this study is to acquire a more profound comprehension of the dynamic correlation between composition and artistic interpretation within the framework of this renowned classical guitar composition. There are two research objectives in this study. The first is to interpret the various elements of “Grand Overture, Op. 61” in terms of its composition, encompassing its challenging technical aspects, profound emotional depth, and intricate structural intricacies. The second is to interpret how these facets impose specific artistic expectations on the performer. This study was conducted within the paradigm of artistic research. The data collection technique employed in this study will involve a combination of library research, personal experience, direct observation, and self-reflection. The artistic processes and revelations in this study emphasize the resolution of technical challenges, the development of an approach to achieve a high level of technical proficiency, the analytical examination of compositional elements, and the crafting of sound profiles. These aspects were thoroughly explored through theoretical and practical investigations of “The Grand Overture” by Mauro Giuliani. This ultimately results in the development of distinctive and captivating interpretive decisions that successfully encapsulate the fundamental nature of Giuliani’s composition. The beneficial features of the basic interpretive concepts in this study are highly recommended for future studies to be applied in the form of various classical repertoires and other fields of musical instrumentation.
References
- Abbott, L. A. (2001). Arranging music for the classical guitar/piano duo, including three arrangements by the author. Doctor of Musical Arts Dissertation, University of Miami.
- Balkema, A. W., & Slager, H. (2004). Artistic research. Rodopi. Berlioz, H. (1882). A treatise on modern instrumentation and orchestration: to which is appended the Chef d’orchestre. Novello, Ewer.
- Borgdorff, H. (2010). The Production of Knowledge in Artistic Research. In M. Biggs & H. Karlsson (Eds.), The Routledge Companion to Research in the Arts (pp. 44–63). Routledge. https://doi.org/10.4324/9780203841327
- Butt, D. (2020). The Promise of Artistic Research in the Asia Pacific. Manusya: Journal of Humanities, 23(3), 328–334. https://doi. org/10.1163/26659077-02303002
- Cook, N. (2014). Beyond the Score: Music as Performance. Oxford University Press.
- Davies, S. (2001). Musical Works and Performances: A Philosophical Exploration. Oxford University Press.
- Djahwasi, H. R., & Saidon, Z. L. (2020). Artistic research: artistic as research vs artistic as method. International Journal of Academic Research in Business and Social Sciences, 10(11), 292–309. https://doi. org/10.6007/ijarbss/v10-i11/8091
- Dogantan-Dack, P. D. M. (2015). Artistic practice as research in music: theory, criticism, practice. Ashgate. https://books. google.com.my/books?id=-ZMsnwEACAAJ
- Heck, T. F. (1970). The birth of the classic guitar and its cultivation in Vienna, reflected in the career and compositions of Mauro Giuliani (d. 1829). Yale University. https://books.google.com.my/ books?id=ALywAAAAIAAJ
- Heijink, H., & Meulenbroek, R. G. J. (2002). On the complexity of classical guitar playing: Functional adaptations to task constraints. Journal of Motor Behavior, 34(4), 339–351. https://doi. org/10.1080/00222890209601952
- Johnston, A., Amitani, S., & Edmonds, E. (2005). Amplifying reflective thinking in musical performance. Proceedings of the 5th Conference on Creativity & Cognition, 166–175. https://doi. org/10.1145/1056224.1056248
- Kachian, C. (2010). Composer’s desk reference for the classic guitar. Mel Bay Publications.
- McCormick, L. (2006). Music as Social Performance. In Myth, Meaning and Performance (1st Edition). Routledge.
- Moolman, J. L. (2010). Key factors that contributed to the guitar developing into a solo instrument in the early 19 th century. Doctoral dissertation University of Pretoria.
- Moore, R. (2008). The Decline of Improvisation in Western Art Music: An Interpretation of Change. International Review of the Aesthetics and Sociology of Music, 23(1), 61–84.
- Muscarella, V. (n.d.). Classical Guitar in the Classical Era: Performance Practice, Style, and Form in Mauro Giuliani’s Sonata in C Major, Op. 15. Recital Research Paper Towson University
- Özaslan, T.H., Guaus, E., Palacios, E., Arcos, J.L. (2011). Identifying attack articulations in classical guitar. In: Ystad, S., Aramaki, M., Kronland-Martinet, R., Jensen, K. (eds) Exploring music contents. CMMR 2010. Lecture Notes in Computer Science, vol 6684. Springer, Berlin, Heidelberg. https:// doi.org/10.1007/978-3-642-23126-1_15
- Reymen,I.M.M.J.,&Hammers,D.K.(2000). Design Method supporting regular reflection on design situations. InHorváth,I.(2000). Third international symposium on tools and methods of competitive engineering: April 18-21, 2000, Delft, the Netherlands. Delft University Press.
- Rink, J. (Ed.). (2002). Musical performance: a guide to understanding. Cambridge University Press. https://doi.org/10.1017/ CBO9780511811739
- Rink, J. (2003). Musical performance: a guide to understanding. Cambridge University Press.
- Šali, S., & Kopač, J. (2000). Measuring the quality of guitar tone. Experimental Mechanics, 40(3), 242–247. https://doi. org/10.1007/BF02327495
- Schunk, D. H., & Zimmerman, B. J. (Eds.). (1998). Self-regulated learning: From teaching to self-reflective practice. Guilford Publications.
- Shove, P., & Repp, B. H. (2009). Musical motion and performance: theoretical and empirical perspectives. The practice of performance studies in musical interpretation. Cambridge University Press. https://doi.org/10.1017/ cbo9780511552366.004
- Taruskin, R. (1995). Text and act: essays on music and performance. Oxford University Press.
- Tisdale, T. (1998). Selbstreflexion, Bewußtsein und Handlungsregulation. In Fortschritte der psychologischen Forschung (Self-reflection, awareness and action regulation. In Advances in Psychological Research). Beltz.
- Urdan, T., & Pajares, F. (2002). Academic motivation of adolescents. Information Age Publishing.
- Wallmeier, S. (2001). Potenziale in der Produktentwicklung Möglichkeiten und Grenzen von Tätigkeitsanalyse und Reflexion (Als Ms. ge) (Potentials in product development Possibilities and limits of activity analysis and reflection). VDI-Verl. http://slubdd.de/katalog?TN_libero_mab2
- Web Sites web 1. https://www.youtube.com/ watch?v=jkqB0aaXVB0
- web 2. https://www.youtube.com/ watch?v=zNEngz3Epl8
- web 3. https://www.youtube.com/ watch?v=83YpjtdCif8
- web 4. https://youtu.be/MqNTR7aDGB4
- web 5. https://youtu.be/aiSC_1mrl1A
- web 6. https://youtu.be/8gMW2v2owWQ
- web 7. https://youtu.be/_LzUz1l5xeI
- web 8. https://youtu.be/p5grGG_8UME
- web 9. https://youtu.be/89UeoJtfY70
- web 10. https://youtu.be/eB6TiNg6bzM
- web 11. https://youtu.be/fz98I7YFR7Q
- web 12. https://youtu.be/MdDbmbYguzE
- web 13. https://youtu.be/gtxGGCfACtg
- web 14. https://youtu.be/jZI0VD6ivFE
- web 15. https://youtu.be/Mc-H12Wqt3E
- web 16. https://www.youtube.com/ watch?v=RYFMJlQXjrU
- web 17. https://youtu.be/DrV9x-G-ebE
Details
| Primary Language | English |
|---|---|
| Subjects | Composition in Western Classical Music, Interpretation in Western Classical Music, Music Performance |
| Journal Section | Original research |
| Authors | |
| Publication Date | December 30, 2023 |
| Submission Date | October 13, 2023 |
| Acceptance Date | December 25, 2023 |
| Published in Issue | Year 2023 Volume: 11 Issue: 4 |
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