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    Volume 30
    Volume 30 - December 2020
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    December 01 2020

    The Presence of a Mysterious Black Silhouette: From a Print to a New Form of Usage of Guitar Multiphonics

    Rita Torres
    ORCID logo 0000-0001-6369-6250
    Rita Torres
    Rita Torres (researcher and composer), Centre for the Study of the Sociology and Aesthetics of Music (CESEM), Faculty of Social Sciences and Humanities, Universidade Nova de Lisboa, Av. de Berna, 26 C, 1069-061, Lisbon, Portugal. Email: rtorres@fcsh.unl.pt. Website: www.ritatorres.eu.
    RITA TORRES is a research fellow of CESEM/NOVA FCSH (Lisbon, Portugal). She holds a PhD in Science and Technology of the Arts from the Portuguese Catholic University, as well as degrees in Chemical Engineering, Guitar, Musicology/Music Informatics and Composition.
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    Author and Article Information
    Rita Torres
    ORCID logo https://orcid.org/0000-0001-6369-6250
    Rita Torres (researcher and composer), Centre for the Study of the Sociology and Aesthetics of Music (CESEM), Faculty of Social Sciences and Humanities, Universidade Nova de Lisboa, Av. de Berna, 26 C, 1069-061, Lisbon, Portugal. Email: rtorres@fcsh.unl.pt. Website: www.ritatorres.eu.
    RITA TORRES is a research fellow of CESEM/NOVA FCSH (Lisbon, Portugal). She holds a PhD in Science and Technology of the Arts from the Portuguese Catholic University, as well as degrees in Chemical Engineering, Guitar, Musicology/Music Informatics and Composition.
    Received: July 10 2019
    Online Issn: 1531-4812
    Print Issn: 0961-1215
    ©2020 ISAST
    2020
    ISAST
    Leonardo Music Journal (2020) 30: 73–78.
    https://doi.org/10.1162/lmj_a_01083
    Article history
    Received:
    July 10 2019
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    Citation

    Rita Torres; The Presence of a Mysterious Black Silhouette: From a Print to a New Form of Usage of Guitar Multiphonics. Leonardo Music Journal 2020; 30 73–78. doi: https://doi.org/10.1162/lmj_a_01083

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      Abstract

      The author recounts how she came to carry out artistic research on guitar multiphonics when composing a piece for solo guitar. She explains how the investigation gave rise to a new form of usage of that unconventional technique.

      This content is only available as a PDF.
      ©2020 ISAST
      2020
      ISAST

      Supplementary data

      Harmonics versus Multiphonics

      00:00: Harmonics on string 6 at fret XII; 00:18: Multiphonics on string 6 at fret XII; 00:35: Multiphonics on string 6 halfway between frets IX and X. All sounds were recorded close to the guitar: the first two with a portable device; the third with a high-sensitivity microphone. (© Rita Torres)

      - mp3 file

      Multiphonics in tremolato: Searching for balanced sounds

      00:00: Pedal tone on open string 6; 00:10: Multiphonics on string 6 at fret VII; 00:38: Multiphonics on string 6 slightly below fret VIII. Each sound's production conditions are detailed in the captions of Figures 3 (00:00-00:38) and 2 (00:38-01:08) of the article. Recorded with a portable device close to the guitar. (© Rita Torres)

      - mp3 file

      New form of guitar multiphonics usage

      Close up on the lightly touching of string 6 halfway between frets IX and X followed by (00:21) a close up on the excitation of the string (different take). Figure 5 of the article shows how the gesture was notated. (© Rita Torres)

      - mp4 file
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