Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-30T20:13:24.522Z Has data issue: false hasContentIssue false

Rock Guitar Virtuosos

Advances in Electric Guitar Playing, Technology, and Culture

Published online by Cambridge University Press:  29 November 2023

Jan-Peter Herbst
Affiliation:
University of Huddersfield

Summary

The guitar has been an integral part of popular music and mainstream culture for many decades and in many places of the world. This Element examines the development and current state of virtuosic rock guitar in terms of playing, technology, and culture. Supported by technological advances such as extended-range guitars, virtuosos in the twenty-first century are exploring ways to expand standard playing techniques in a climate where ever-higher levels of perfection are expected. As musician-entrepreneurs, contemporary rock guitar virtuosos record, produce, and market their music themselves; operate equipment companies; and sell merchandise, tablature, and lessons online. For their social media channels, they regularly create videos and interact with their followers while having to balance building their tribe and finding the time to develop their craft to stay competitive. For a virtuoso, working situations have changed considerably since the last century; the aloof rock star has been replaced by the approachable virtuoso-guitarist-composerinnovator-producer-promoter-YouTuber-teacher-entrepreneur.
Get access
Type
Element
Information
Online ISBN: 9781009052962
Publisher: Cambridge University Press
Print publication: 21 December 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Guitar manuals and greatest lists used for canonical analysis (Section 2) are listed in the Appendix to avoid duplication.

Abasi Concepts (2020). Modern Solutions for the Modern Guitarist. https://abasiconcepts.com.Google Scholar
Abasi, T. (2020). Thump! Guitar Messenger. https://store.guitarmessenger.com/thump.Google Scholar
Academy Music Group (2019). An Interview With: Polyphia. Academy Music Group. https://academymusicgroup.com/blogs/interview-polyphia (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Altheide, D. & Schneider, C. (2013). Qualitative Media Analysis. Sage.Google Scholar
Anderson, E. R. & Zanetti, G. (2000). Comparative Semantic Approaches to the Idea of a Literary Canon. The Journal of Aesthetics and Art Criticism, 58(4), 341–60.CrossRefGoogle Scholar
Animals as Leaders (2011). An Infinite Regression. On Weightless. Prosthetic Records.Google Scholar
Animals as Leaders (2014a). Mind-Spun. On The Joy of Motion. Prosthetic Records.Google Scholar
Animals as Leaders (2014b). The Woven Web. On The Joy of Motion. Prosthetic Records.Google Scholar
Animals as Leaders (2016). Private Visions of The World. On The Madness of Many. Sumerian Records.Google Scholar
Appen, R. von & Doehring, A. (2006). Nevermind The Beatles, here’s Exile 61 and Nico: ‘The Top 100 Records of All Time’. Popular Music, 25(1), 2139.CrossRefGoogle Scholar
Asato, M. (2019). Rec and Play. Instagram. www.instagram.com/tv/CAi4mS7j4RX.Google Scholar
Asato, M. (2020a). Dear Jimi. YouTube. www.youtube.com/watch?v=dZwiB6ao2w4.Google Scholar
Asato, M. (2020b). It’s a Process. Instagram. www.instagram.com/tv/CDbsreAH11Q.Google Scholar
Asato, M. (2020c). Nostalgic Childhood. YouTube. www.youtube.com/watch?v=1f2yl3-KV2Q.Google Scholar
Astley-Brown, M. (2019a). Are Your Favorite Instagram Guitarists Faking their Incredible Technique? Guitar World. www.guitarworld.com/news/are-your-favorite-instagram-guitarists-actually-faking-it.Google Scholar
Astley-Brown, M. (2019b). Manuel Gardner Fernandes Responds to Instagram Fakery Accusations: ‘There Was Never a Video that Was Sped Up’. Guitar World. www.guitarworld.com/news/manuel-gardner-fernandes-responds-to-instagram-fakery-accusations-there-was-never-a-video-that-was-sped-up.Google Scholar
Astley-Brown, M. (2019c). Polyphia vs Covet Round Table: ‘I Hope that Guitar Music Dies. I Want it to Die a Painful Death’. Music Radar. www.musicradar.com/news/polyphia-vs-covet-round-table-i-hope-that-guitar-music-dies-i-want-it-to-die-a-painful-death.Google Scholar
Astley-Brown, M. (2020a). The Biggest Threat to the Guitar? It Could Well Be Guitarists: How Online Hate Endangers the Instrument We Love. Guitar World. www.guitarworld.com/features/the-biggest-threat-to-the-guitar-it-could-well-be-guitarists-how-online-hate-endangers-the-instrument-we-love.Google Scholar
Astley-Brown, M. (2020b). Polyphia’s Tim Henson Demonstrates Jaw-Dropping ‘God Hand’ 8-String Slapping Riff. Guitar World. www.guitarworld.com/news/polyphias-tim-henson-demonstrates-jaw-dropping-god-hand-8-string-slapping-riff-and-teaches-you-how-to-play-it.Google Scholar
Bandcamp (2021). Getting Paid. https://bandcamp.com/pricing.Google Scholar
Batio, M. A. (1994). No Boundaries. M.A.C.E. Music.Google Scholar
Batio, M. A. (2003). Speed Kills. Vol. 1. Metal Method.Google Scholar
Batio, M. A. (2004). Speed Kills. Vol. 2. Metal Method.Google Scholar
Baym, N. (2012). Fans of Friends? Seeing Social Media Audiences as Musicians Do. Participations: Journal of Audience and Reception Studies, 9(2), 286316.Google Scholar
Beato, R. (2020). Tosin Abasi Talks Difference Between Prog & Progressive, Shares Opinion on Allan Holdsworth & Eddie Van Halen. www.ultimate guitar.com/news/general_music_news/tosin_abasi_talks_difference_between_prog__progressive_shares_opinion_on_allan_holdsworth__eddie_van_halen.html.Google Scholar
Becker, J. (1988a). Altitudes. On Perpetual Burn. Shrapnel.Google Scholar
Becker, J. (1988b). Perpetual Burn: Shrapnel.Google Scholar
Belladonna (2013). Van Halen Did Not Invent Tapping! This Italian Guy Did in 1965! YouTube. www.youtube.com/watch?v=d09pnxTSnT4.Google Scholar
Bennett, A. & Dawe, K. (eds.) (2001). Guitar Cultures. Berg.Google Scholar
Bennett, L. (2016). Singer-Songwriters in the Digital Age: New Trajectories in Connectivity and Participation Between Musicians and Fans on Social Media. In Williams, K. A. and Williams, J. A. (eds.), The Cambridge Companion to the Singer-Songwriter. Cambridge University Press, 329–40.Google Scholar
Bestguitarvids (2011). Scott Mishoe Slapping on the Guitar and Demonstrating some Nice Arpeggios. YouTube. www.youtube.com/watch?v=Tw2cQ94XcgI&ab_channel=bestguitarvids.Google Scholar
Bienstock, R. (2019a). Jason Richardson: ‘I Was a High-School Kid Watching John Petrucci Play his Music Man … Now I Have my own Signature Model’. Guitar World. www.guitarworld.com/artists/jason-richardson-i-was-a-high-school-kid-watching-john-petrucci-play-his-music-man-now-i-have-my-own-signature-model.Google Scholar
Bienstock, R. (2019b). Rings of Saturn’s Lucas Mann Responds to Allegations he ‘Mimed’ Guitar Parts Onstage. Guitar World. www.guitarworld.com/news/rings-of-saturns-lucas-mann-responds-to-allegations-he-mimed-guitar-parts-onstage.Google Scholar
Bienstock, R. (2020). Al Joseph: ‘It’s Easy to Learn Techniques – It’s Harder to Make the Guitar Sing’. Guitar World. www.guitarworld.com/features/al-joseph-its-easy-to-learn-techniques-its-harder-to-make-the-guitar-sing?fbclid=IwAR1WTi4MS-Ma5OKWXrImiJC7-NSksg3tcPUNRfJCwZQJURp7A78tEo1KvAE.Google Scholar
Bliss, K. (2017). Eric Clapton on Declining Guitar Sales: ‘Maybe the Guitar is Over’. Billboard. www.billboard.com/articles/columns/rock/7957989/eric-clapton-guitar-sales-declining-tiff.Google Scholar
Born of Osiris (2011). Behold. On The Discovery. Sumerian Records.Google Scholar
Bourdieu, P. (1985). The Market of Symbolic Goods. Poetics, 14(1–2), 1344.Google Scholar
Bowen, G. (2009). Document Analysis as a Qualitative Research Method. Qualitative Research Journal, 9(2), 2740.Google Scholar
Brave (2020). How Much Do Twitch Streamers Make. Brave. https://brave.com/learn/how-much-money-do-twitch-streamers-earn.Google Scholar
Brooks, C. A. (2012). Chris Brooks Guitar: From Legato to Staccato. YouTube. www.youtube.com/watch?v=MswlgtzAH5Q.Google Scholar
Browne, J. (2017). Monuments ‘I, The Creator’. Nail the Mix. https://members.urm.academy/ntm-sessions/john-browne-monuments.Google Scholar
Buckethead (1996). Robot Transmission. On Giant Robot. NTT.Google Scholar
Buckethead (1998). Sanctum. On Colma. CyberOctave.Google Scholar
Burns, J. (2016). The History and Future of Amp Modelling. Philoking. www.philoking.com/2016/01/28/the-history-and-future-of-amp-modeling (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Burrell, S. (2020). Jump – Van Halen | Guitar Cover by Sophie Burrell. YouTube. www.youtube.com/watch?v=LyZjnXy-ZxQ.Google Scholar
Butterweck, K. (2012). Review of Dragonforce: The Power Within. Laut.De. www.laut.de/DragonForce/Alben/The-Power-Within-78262.Google Scholar
Cacophony (1987). Speed Metal Symphony. Roadrunner Records.Google Scholar
Campell, R. (2021). Bulletproof Guitar Player. https://bulletproofguitarplayer.com (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Cheng, W. (2018). So You’ve Been Musically Shamed. Journal of Popular Music Studies, 30(3), 6398.Google Scholar
Chopik, I. (2012). Misha Mansoor Interview – Periphery (2012). Guitar Messenger. www.guitarmessenger.com/misha-mansoor-interview-periphery-2012.Google Scholar
Citron, M. J. (1993). Gender and the Musical Canon. Cambridge University Press.Google Scholar
Click, M. A., Lee, H., & Holladay, H. W. (2013). Making Monsters: Lady Gaga, Fan Identification, and Social Media. Popular Music and Society, 36(3), 360–79.Google Scholar
Cooley, R. (2000). Shred Guitar Manifesto. Rusty Cooley.Google Scholar
Cooley, R. (2001). Extreme Pentatonics. Rusty Cooley.Google Scholar
Cooley, R. (2002a). Rusty Rooley. Lion Music.Google Scholar
Cooley, R. (2002b). Under the Influence. On Rusty Rooley. Lion Music.Google Scholar
Copsey, R. (2019). Guitar Music is Thriving, so Why do We Think it’s Dying? Official Charts. www.officialcharts.com/chart-news/guitar-music-is-thriving-so-why-do-we-think-it-s-dying__25558/.Google Scholar
Corse, S. M. & Griffin, M. D. (1997). Cultural Valorization and African American Literary History: Reconstructing the Canon. Sociological Forum, 12(2), 173203.Google Scholar
Covet (2016). Nautilus. On Currents. Friend of Mine Records.Google Scholar
Covet (2020). Nero. On Technicolor. Triple Crown Records.Google Scholar
Custodis, M. (2017). Dream Theater: Komponieren im Virtuosenkollektiv. In Phleps, T. (ed.), Schneller, höher, lauter. transcript-Verlag, 4150.CrossRefGoogle Scholar
D’Addario (2019). Aaron Marshall (Intervals) – Guitar Power. YouTube. www.youtube.com/watch?v=gDXyVeGNrq8.Google Scholar
Dale, P. (2016). Popular Music and the Politics of Novelty. Bloomsbury Academic.Google Scholar
Davis, F. (2003). The History of the Blues. Da Capo Press.Google Scholar
Dawe, K. (2010). The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Ashgate.Google Scholar
Purple, Deep (1971). Demon’s Eye. On Fireball. Harvest.Google Scholar
Purple, Deep (1972). Highway Star. On Machine Head. Purple Records.Google Scholar
Dines, J. (2018a). The Biggest Shred Collab Song in the World II (2018). YouTube. www.youtube.com/watch?v=oj0CjV1QxtQ.Google Scholar
Dines, J. (2018b). Shred Wars: Jared Dines VS Jason Richardson. YouTube. www.youtube.com/watch?v=-L54r7SXM-8.Google Scholar
Dines, J. (2019). 10 Musicians Play Over the Same Backing Track. YouTube. www.youtube.com/watch?v=uzU8xIkaULM.Google Scholar
Doja Cat. (2020). Say So. YouTube. www.youtube.com/watch?v=k3Yk6FrjMkQ.Google Scholar
Dragonforce (2002). Valley of the Damned. Noise.Google Scholar
Dragonforce (2012). The Power Within. Electric Generation Recordings.Google Scholar
Dream Theater (1994a). Awake. EastWest.Google Scholar
Dream Theater (1994b). Erotomania. On Awake. EastWest.Google Scholar
Dream Theater (1994c). Voices. On Awake. EastWest.Google Scholar
Dunn, S. (2010). Yngwie Malmsteen Interview on his Freakish Obsessions with Guitar. YouTube. www.youtube.com/watch?v=2bz6Pk5EsVM.Google Scholar
Ear to The Ground Music (2020). 10 Best Guitarists of this Decade. Ear to the Ground Music. www.eartothegroundmusic.co/2020/07/27/10-best-guitarists-of-this-decade.Google Scholar
Edgers, G. (2017). Why My Guitar Gently Weeps: The Slow, Secret Death of the Six-String Electric. Washington Post. www.washingtonpost.com/graphics/2017/lifestyle/the-slow-secret-death-of-the-electric-guitarGoogle Scholar
Electric Sun (1985). Beyond the Astral Skies. EMI.Google Scholar
Ellcessor, E. (2012). Tweeting @feliciaday: Online Social Media, Convergence, and Subcultural Stardom. Cinema Journal, 51(2), 4666.CrossRefGoogle Scholar
Espina, E. & Sorenson, T. (2015). The Milli Vanilli Condition. Arte Público Press.Google Scholar
Extreme (1990). Get the Funk Out. On Pornograffitti. A&M Records.Google Scholar
Factory, Fear (1995). Demanufacture. Roadrunner Records.Google Scholar
Fellezs, K. (2018). Edge of Insanity: Tony MacAlpine and Black Virtuosity. Journal of Popular Music Studies, 39(1–2), 109–26.Google Scholar
Fernandes, M. G. (2019). Hello Friends. Instagram. www.instagram.com/p/B5a3Qd5o7aP (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Fitterman Radbill, C. (2017). Introduction to the Music Industry. Routledge.Google Scholar
Fowler, A. (1979). Genre and the Literary Canon. New Literary History, 11, 97119.CrossRefGoogle Scholar
Friedman, M. (1988). Dragon’s Kiss. Shrapnel.Google Scholar
Friedman, M. (1992). Tibet. On Scenes. Shrapnel.Google Scholar
Friedman, M. (2009). Tokyo Jukebox. Mascot.Google Scholar
Frith, S. (2007). What is Bad Music? In Frith, S. (Ed.), Ashgate Contemporary Thinkers on Critical Musicology. Taylor and Francis, 313–33.Google Scholar
Gambale, F. (1990). New Boots. On Truth in Shredding. Tone Center.Google Scholar
Gambale, F. (1992). Monster Licks & Speed Picking. Alfred.Google Scholar
Gardiner, J. (2019a). Fake Guitar Playing – It Needs to Stop! YouTube. www.youtube.com/watch?v=kc722VQB1EU.Google Scholar
Gardiner, J. (2019b). Jack Gardiner Interview & Mental Health Revisited. The Guitar Hour Podcast, 89. https://theguitarhour.libsyn.com/89-jack-gardiner-interview-mental-health-revisited.Google Scholar
Gardiner, J. (2020b). Escapades. Self-released.Google Scholar
Gardiner, J. (2021). Mateus Asato Taking a Break is an Important Message for Us All. YouTube. www.youtube.com/watch?v=qkJEXWEqJas.Google Scholar
Gatton, D. (1991). Muthaship. On 88 Elmira St. Elektra.Google Scholar
Genesis (1971). The Musical Box. On Nursery Cryme. Charisma.Google Scholar
Geyser, W. (2020). How Much do YouTubers Make? Influencer MarketingHub. https://influencermarketinghub.com/how-much-do-youtubers-make.Google Scholar
Gil, V. (2014). Extended Range Guitars (MA thesis). California State University, Los Angeles.Google Scholar
Gilbert, P. (Director) (1995). Terrifying Guitar Trip. REH.Google Scholar
Gilbert, P. & Kid, J. (2002). Raw Blues Power. Provoge.Google Scholar
Ginsborg, J. (2018). ‘The Brilliance of Perfection’ or ‘Pointless Finish’?: What Virtuosity Means to Musicians. Musicae Scientiae, 22(4), 454–75.CrossRefGoogle Scholar
Godin, S. (2008). Tribes: We Need You to Lead Us. New York: Portfolio. www.loc.gov/catdir/enhancements/fy0906/2008024978-d.htmlGoogle Scholar
Govan, G. (2006a). Hangover. On Erotic Cakes. Cornford Records.Google Scholar
Govan, G. (2006b). Sevens. On Erotic Cakes. Cornford Records.Google Scholar
Govan, G. (2006c). Wonderful Slippery Thing. On Erotic Cakes. Cornford Records.Google Scholar
Griffin, D. J. (2017). Mindful Madness. On Sentimentality. Self-released.Google Scholar
Griffin, D. J. (2020). Dan James Griffin. Patreon. www.patreon.com/danjamesgriffin/posts.Google Scholar
Griffin, D. J. (2021). Snowdrift (Single). Self-released.Google Scholar
Grossberg, L. (1992). We Gotta Get Out of this Place. Routledge.Google Scholar
Grunwald, A. (2011). Lee McKinney & Jason Richardson Interview. Guitar Messenger. https://guitarmessenger.com/lee-mckinney-jason-richardson-interview-born-of-osiris.Google Scholar
Guillory, J. (2010). Cultural Capital. University of Chicago Press.Google Scholar
Guitar World (2019). Jason Richardson – Picking Perfection. YouTube. www.youtube.com/watch?v=eGnnHvdHwO4.Google Scholar
Halloran, M. & Hearn, E. (2017). YouTube Music. In Halloran, M., ed., The Musician’s Business and Legal Guide. Taylor and Francis, 7890.Google Scholar
Hatch, D. & Millward, S. (1987). From Blues to Rock. Manchester University Press.Google Scholar
Hearn, E. (2017). Digital Downloads and Streaming: Copyright and Distribution Issues. In Halloran, M., ed., The Musician’s Business and Legal Guide. Taylor and Francis, 6476.Google Scholar
Heister, H.‑W. (2004). Zur Theorie der Virtuosität. Eine Skizze. In von Loesch, H., Mahlert, U., and Rummenhöller, P., eds., Klang und Begriff. Schott, 1738.Google Scholar
Helfrich, N. (2016). Welcome to The Wasteland. On Dead Bodies in Motion. Self-released.Google Scholar
Henabery, J. (1933). That Goes Double. Vitaphone Corporation.Google Scholar
Hennion, A. (2012). ‘As Fast as one Possibly Can … ’: Virtuosity, a Truth of Musical Performance. In Hawkins, S. and Scott, D. B., eds., Critical Musicological Reflections. Ashgate, 125–38.Google Scholar
Henson, T. (2020a). The Making of O.D. YouTube. www.youtube.com/watch?v=MZ4QN2uFif8.Google Scholar
Henson, T. (2020b). Tim Henson VS Ichika Nito. YouTube. www.youtube.com/watch?v=2wLy9HneuDc.Google Scholar
Herbst, J.-P. (2016). Die Gitarrenverzerrung in der Rockmusik. LIT.Google Scholar
Herbst, J.-P. (2017a). Historical Development, Sound Aesthetics and Production Techniques of the Distorted Electric Guitar in Metal Music. Metal Music Studies, 3(1), 2446.CrossRefGoogle Scholar
Herbst, J.-P. (2017b). Shredding, Tapping and Sweeping: Effects of Guitar Distortion on Playability and Expressiveness in Rock and Metal Solos. Metal Music Studies, 3(2), 231–50.Google Scholar
Herbst, J.-P. (2017c). Virtuoses Gitarrenspiel im Rock und Metal. Zum Einfluss von Verzerrung auf das ‘Shredding’. In Phleps, T., ed., Schneller, höher, lauter. transcript-Verlag, 113–52.Google Scholar
Herbst, J.-P. (2019a). Empirical Explorations of Guitar Players’ Attitudes Towards their Equipment and the Role of Distortion in Rock Music. Current Musicology, 105, 75106.Google Scholar
Herbst, J.-P. (2019b). Old Sounds with New Technologies? Examining the Creative Potential of Guitar ‘Profiling’ Technology and the Future of Metal Music from Producers’ Perspectives. Metal Music Studies, 5(1), 5369.Google Scholar
Herbst, J.-P. (2023). ‘It Just Is My Inner Refusal’: Innovation and Conservatism in Guitar Amplification Technology. In Moore, A. and Bromham, G., eds., Distortion in Music Production. Routledge (174–84).Google Scholar
Herbst, J.‑P., Czedik-Eysenberg, I., & Reuter, C. (2018). Guitar Profiling Technology in Metal Music Production: Public Reception, Capability, Consequences and Perspectives. Metal Music Studies, 4(3), 481506.Google Scholar
Heritage, G. (2016). ‘It’s Like a Mach Piece, Really’: Critiquing the Neo-Classical Aesthetic of ’80s Heavy Metal Music’. In Brown, A. R., Spracklen, K., Kahn-Harris, K., and Scott, N., eds., Global Metal Music and Culture: Current Directions in Metal Studies. Routledge, 5067.CrossRefGoogle Scholar
Holdsworth, A. (2000). The Sixteen Men of Tain. On The Sixteen Men of Tain. Cream Records.Google Scholar
Howe, G. (1988). Greg Howe. Shrapnel.Google Scholar
Huron, D. (2007). Sweet Anticipation. MIT Press.Google Scholar
Hyatt, A. (2016). Social Media. In Macy, A., Rolston, C., Allen, P., and Hutchison, T. W., eds., Record Label Marketing. Focal Press, 215–46.Google Scholar
Guitar, Ibanez (2014). James ‘Munky’ Shaffer from Korn on his Ibanez APEX200 and APEX20 Signature Models. YouTube. www.youtube.com/watch?v=zC4_9ojvhNU.Google Scholar
Intervals (2020). 5-HTP. Circadian. Sheet Happens.Google Scholar
Jackson, E. A. (2007). Focus – Hocus Pocus Live ’73. YouTube. www.youtube.com/watch?v=g4ouPGGLI6Q&ab_channel=ElvisAmadeusJackson.Google Scholar
James, R. M. (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of ‘Faking It’ in Music. The New Centennial Review, 7(1), 4580.Google Scholar
Jewlampijs95 (2007). Deep Purple – Wring that Neck. YouTube. www.youtube.com/watch?v=Pf7izXdJKrc&ab_channel=Jewlampijs95Google Scholar
Jin, L. (2020). 1,000 True Fans? Try 100. Andreessen Horowitz. https://a16z.com/2020/02/06/1000-true-fans-try-100/Google Scholar
John 5 (2005). Fiddlers. On Songs for Sanity. Shrapnel.Google Scholar
Johnson, E. (1990). Cliffs of Dover. On Ah Via Musicom. Capitol Records.Google Scholar
Jomatami (2020). Tosin Abasi Explains Why He Left Ibanez Guitars & What ‘Frustrated Him’, Talks ‘Hard Lessons’. Ultimate Guitar. www.ultimate-guitar.com/news/general_music_news/tosin_abasi_explains_why_he_left_ibanez_guitars__what_frustrated_him_talks_hard_lessons.html.Google Scholar
Jones, C. W. (2017). The Rock Canon. Routledge.Google Scholar
Jordan, S. (1988). Stairway to Heaven. On Flying Home. EMI.Google Scholar
Keightley, K. (2001). Reconsidering Rock. In Frith, S., Straw, W., and Street, J., eds., The Cambridge Companion to Pop and Rock. Cambridge University Press, 109–42.Google Scholar
Kelly, K. (2008). 1,000 True Fans. The Technium. https://kk.org/thetechnium/1000-true-fans.Google Scholar
Kennelty, G. (2018). Periphery’s Misha Mansoor Says He Can’t Make A Living from Just the Band. Metal Injection. https://metalinjection.net/its-just-business/peripherys-misha-mansoor-says-he-cant-making-living-from-just-the-band.Google Scholar
Kenner, H. (1984). The Making of the Modernist Canon. In von Hallberg, R., ed., Canons. University of Chicago Press, 363–75.Google Scholar
Kermode, F. (1985). Forms of Attention. University of Chicago Press.Google Scholar
Korn (1996). Live Is Peachy. Epic.Google Scholar
Kotzen, R. (1989). Riche Kotzen. Shrapnel.Google Scholar
Kotzen, R., & Howe, G. (1997). Project. Shrapnel.Google Scholar
Kraft, J. P. (2004). Manufacturing: Expansion, Consolidation, and Decline. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 6387.Google Scholar
Lalaina, J. (2008). Dawn of the Shred. Guitar World, 29(11), 70–4.Google Scholar
Lalaina, J. (2011). Bassist Billy Sheehan Breaks Down Eddie Van Halen’s Technique in 1985 Guitar World Interview. Guitar World. www.guitarworld.com/artists/bassist-billy-sheehan-breaks-down-eddie-van-halens-technique-1985-guitar-world-interview.Google Scholar
Lane, S. (2000). The Tri-Tone Fascination. Eye Reckon Records.Google Scholar
Larson, T. (2017). Jason Richardson ‘Fragments’. Nail the Mix. https://members.urm.academy/ntm-sessions/taylor-larson-jason-richardsonGoogle Scholar
Larson, T. (2018). Asking Alexandria ‘Into the Fire’. Nail the Mix. https://members.urm.academy/ntm-sessions/taylor-larson-asking-alexandriaGoogle Scholar
Leech-Wilkinson, D. (2018). The Danger of Virtuosity. Musicae Scientiae, 22(4), 558–61.Google Scholar
Leibundgut, Chris (2000). Michael Wagener. Von Wuppertal nach Tennessee, Rock Hard 5/2000, 106–9.Google Scholar
Charmaine, Li (2021). Piano, Guitar, and Healing with Yvette Young. Pianote. www.pianote.com/blog/yvette-young-piano.Google Scholar
Tybee, Little (2013a). Hearing Blue. On Distant Viewing. Paper Garden Records.Google Scholar
Tybee, Little (2013b). Left Right. On Distant Viewing. Paper Garden Records.Google Scholar
Little Tybee (2016). Languid. On Little Tybee. On The Grid Creative.Google Scholar
Lloyd, S. (2020a). Boston – More than a Feeling (Shred Version). YouTube. www.youtube.com/watch?v=rEr2JZOa27c.Google Scholar
Lloyd, S. (2020b). Evanescence – Bring Me to Life (Shred Version). YouTube. www.youtube.com/watch?v=s50ao6FdIxM.Google Scholar
Lloyd, S. (2020c). How to Play Faster | 3 Notes Per String Scale. YouTube. www.youtube.com/watch?v=KqPu-2UyJg4.Google Scholar
Longfield, S. (2017). Tydes. On Collapse // Expand. Season of Mist.Google Scholar
Longfield, S. (2020). Lesson Video. Instagram. www.instagram.com/p/CGOT-uDgiSJ.Google Scholar
MacAlpine, T. (1985a). Edge of Insanity. Shrapnel.Google Scholar
MacAlpine, T. (1987). Hundreds of Thousands. On Maximum Security. Shrapnel.Google Scholar
MacAlpine, T. (1985b). Wheel of Fortune. On Edge of Insanity. Shrapnel.Google Scholar
Malmsteen, Y. (1984a). Black Star. On Rising Force. Polydor.Google Scholar
Malmsteen, Y. (1984b). Far Beyond the Sun. On Rising Force. Polydor.Google Scholar
Malmsteen, Y. (1984c). Rising Force. Polydor.Google Scholar
Malmsteen, Y. (1990). Demon Driver. On Eclipse. Polydor.Google Scholar
Malmsteen, Y. (1996). Inspiration. Music for Nations.Google Scholar
Malmsteen, Y. (1999). Blitzkrieg. On Alchemy. Dream Dream Catcher.Google Scholar
Mann, L. (2019). Rings of Saturn Lucas Mann ‘Fake Guitar’ Debunked – Jared Dines Reaction & Response Video. YouTube. www.youtube.com/watch?v=5mqYqW7Cnlw.Google Scholar
Marrington, M. (2019). The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production: The Case of Heavy Metal Music. In Hepworth-Sawyer, R., Hodgson, J., and Marrington, M., eds., Producing Music. Routledge, 5274.Google Scholar
Marten, N. (2018). Guthrie Govan: ‘The Older, Wiser Player Knows in a Deep, Intuitive Way that it’s the Quality of the Playing that Counts’. Music Radar. www.musicradar.com/news/guthrie-govan-the-older-wiser-player-knows-in-a-deep-intuitive-way-that-its-the-quality-of-the-playing-that-counts.Google Scholar
Martin, J. (2015a). Little Tybee’s Josh Martin Explains New Guitar Technique. YouTube. www.youtube.com/watch?v=elOxW3wbz7A.Google Scholar
Martin, J. (2015b). Little Tybee’s Josh Martin ‘Glitch Tapping’ A Closer Look. YouTube. www.youtube.com/watch?v=atGeWypVLxE.Google Scholar
Martin, J. (2017). Josh Martin of Little Tybee – ‘Butterfly Tapping’. YouTube. www.youtube.com/watch?v=rnxZ%5F1tnCGg%26t=108s%26ab%5Fchannel=LittleTybee.Google Scholar
Martin, J. (2020). Thumping Triads in Harmonic Minor, Melodic Minor, and Harmonic Major! Patreon. www.patreon.com/posts/thumping-triads-37753539Google Scholar
Marwick, A. & Boyd, D. (2011). To See and Be Seen: Celebrity Practice on Twitter. Convergence: The International Journal of Research into New Media Technologies, 17(2), 139–58.Google Scholar
Mary (2014). Interview: Aaron Marshall. Plugin-Mag. www.plugin-mag.com/interview-aaron-marshall-intervals (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
McAllister, M. (2020). Who is Plini? ‘The Future of Exceptional Guitar Playing’. Produce Like a Pro. https://producelikeapro.com/blog/who-is-plini-the-future-of-exceptional-guitar-playing.Google Scholar
Metallica (1988). One. On … And Justice for All. Elektra.Google Scholar
Millard, A. J. (2004a). The Guitar Hero. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 143–62.CrossRefGoogle Scholar
Millard, A. J. (2004b). Heavy Metal: From Guitar Heroes to Guitar Gods. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 163–80.CrossRefGoogle Scholar
Millard, A. J. (2004c). Playing with Power: Technology, Modernity, and the Electric Guitar. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 123–41.CrossRefGoogle Scholar
Minogue, K. (2020). Disco. BMG.Google Scholar
Moore, A. F. (2002). Authenticity as Authentication. Popular Music, 21(2), 209–23.Google Scholar
Moore, V. (1986). Mind’s Eye. Shrapnel.Google Scholar
Moore, V. (1988). Race with Destiny. On Time Odyssey. Squawk.Google Scholar
Morris, J. W. (2014). Artists as Entrepreneurs, Fans as Workers. Popular Music and Society, 37(3), 273–90.Google Scholar
Music Ally (2020). Spotify CEO Talks Covid-19, Artist Incomes and Podcasting. Music Ally. https://musically.com/2020/07/30/spotify-ceo-talks-covid-19-artist-incomes-and-podcasting-interview.Google Scholar
MyGuitarLessons (2017). Nick Johnston Talks Technique. MyGuitarLessons. https://myguitarlessons.co.uk/2017/03/nick-johnston-talks-technique.Google Scholar
Mynett, M. (2017). Metal Music Manual. Routledge.Google Scholar
Neely, A. (2020). Can You Play the Mario Kart Lick on Bass? YouTube. www.youtube.com/watch?t=327&v=45FtC8OutgI.Google Scholar
Nevermore (2005). Psalm of Lydia. On This Godless Endevor. Century Media.Google Scholar
Nito, I. (2020a). ‘Sprout’ w/ Yvette Young. YouTube. www.youtube.com/watch?v=HBDH_YKuprsGoogle Scholar
Nito, I. (2020b). Runaway. YouTube. www.youtube.com/watch?v=BqTjqxLytec.Google Scholar
Nito, I. (2021). Ichika Instagram Lick Tab Series 20 ‘Melodic Funk’. Nito Music. https://nitomusic.bigcartel.com/product/ichika-instagram-lick-tab-series-20-feel-good.Google Scholar
Niu, W. & Sternberg, R. (2006). The Philosophical Roots of Western and Western Conceptions of Creativity. Journal of Theoretical and Philosophical Psychology, 26, 1838.CrossRefGoogle Scholar
Osbourne, O. (1980a). Blizzard of Ozz. Jet Records.Google Scholar
Osbourne, O. (1980b). Dee. On Blizzard of Ozz. Jet Records.Google Scholar
Osbourne, O. (1981a). Crazy Train. On Diary of a Madman. Jet Records.Google Scholar
Osbourne, O. (1981b). Diary of a Madman. Jet Records.Google Scholar
Osbourne, O. (1981c). Over the Mountain. On Diary of a Madman. Jet Records.Google Scholar
Osbourne, O. (1988). Devil’s Daughter. On No Rest for the Wicked. Epic.Google Scholar
Owsinski, B. (2016). A Survival Guide for Making Music in the Internet Age. Hal Leonard.Google Scholar
Pastukhov, D. (2019). What Music Streaming Services Pay Per Stream. Soundcharts. https://soundcharts.com/blog/music-streaming-rates-payouts.Google Scholar
Petrucci, J. (2016). Ernie Ball Music Man Presents: John Petrucci Master Class – Right Hand Warm Up and Picking. YouTube. www.youtube.com/watch?v=9UVPBtEFsz8&t=197s&ab_channel=SamAshMusic+5%3A30-5%3A51.Google Scholar
Petrucci, J. (2020). John Petrucci’s Guitar Universe 3.0 – July 2021. YouTube. www.youtube.com/watch?v=8tgzTu6V0wI.Google Scholar
Plini (2016). Handmade Cities. On Handmade Cities. Self-released.Google Scholar
Plini (2019). Plini Shows You How to Build a Complex Riff from a Simple Melody. Guitar World. www.guitarworld.com/lessons/building-a-complex-riff-from-a-simple-melody.Google Scholar
Plini (2020a). Impulse Voices. Self-released.Google Scholar
Polyphia (2017). 40oz. On The Most Hated. Self-released.Google Scholar
Polyphia (2018a). Nasty. On New Level New Devils. Equal Vision Records.Google Scholar
Polyphia (2018b). New Level New Devils. Equal Vision Records.Google Scholar
Polyphia (2018c). O.D. On New Level New Devils. Equal Vision Records.Google Scholar
Polyphia (2018d). Drown. On New Level New Devils. Equal Vision Records.Google Scholar
Provenzano, C. (2018). Auto-Tune, Labor, and the Pop-Music Voice. In Fink, R. W., Latour, M. and Wallmark, Z., eds., The Relentless Pursuit of Tone. Oxford University Press, 159–82.Google Scholar
Quayle, T. (2020a). Lazy First Finger Syndrome – This is Probably Holding Back your Legato Technique. YouTube. www.youtube.com/watch?v=2fcnpwZSXIA.Google Scholar
Quayle, T. (2020b). Lessons. Tom Quayle. www.tomquayle.co.uk/lessons.Google Scholar
Racer, X (1986). Street Lethal. Shrapnel.Google Scholar
Racer, X (1987a). Scarified. On Second Heat. Shrapnel.Google Scholar
Racer, X (1987b). Second Heat. Shrapnel.Google Scholar
Racer, X (2000). Viking Kong. On Superheroes. Universal.Google Scholar
Rage Against the Machine (1992a). Fistful of Steel. On Rage Against the Machine. Epic.Google Scholar
Rage Against the Machine (1992b). Killing in the Name. On Rage Against the Machine. Epic.Google Scholar
Rage Against the Machine (1996). Bulls on Parade. On Evil Empire. Epic.Google Scholar
Regev, M. (2006). Introduction. Popular Music, 25(1), 12.Google Scholar
Reinhardt, D. (1935 [2016]). Improvisation. On Monsieur Guitare. The Viper Label.Google Scholar
Richardson, J. (2016a). Hos Down. On I. Self-released.Google Scholar
Richardson, J. (2016b). Omni. On I. Self-released.Google Scholar
Rings of Saturn (2019). The Husk. On Gidim. Nuclear Blast.Google Scholar
Roche, S. (2021). Mateus Asato Shuts Down Instagram Account, Announces Break From Music. Guitar World. www.guitarworld.com/news/mateus-asato-shuts-down-instagram-account-announces-break-from-music.Google Scholar
Ronson, J. (2015). So You’ve Been Publicly Shamed. Picador.Google Scholar
Rotundi, J. (1997). Is Rock Guitar Dead … Or Does it Just Smell Funny? Guitar Player, 31(9).Google Scholar
Royce, A. P. (2004). Anthropology of the Performing Arts. AltaMira Press.Google Scholar
Sanderson, D. (2020). Kylie Minogue Songwriter Fiona Bevan Paid Only £100 in Streaming Royalties for Album Work. The Sunday Times. www.thetimes.co.uk/article/kylie-minogue-songwriter-fiona-bevan-paid-only-100-in-streaming-royalties-for-album-work-xbdl0cxcs.Google Scholar
Satriani, J. (1986a). Not of this Earth. Relativity.Google Scholar
Satriani, J. (1986b). The Snake. On Not of this Earth. Relativity.Google Scholar
Satriani, J. (1987a). Midnight. On Surfing with the Alien. Relativity.Google Scholar
Satriani, J. (1987b). Satch Boogie. On Surfing with the Alien. Relativity.Google Scholar
Satriani, J. (1987c). Surfing with the Alien. Relativity.Google Scholar
Satriani, J. (1989a). Flying in a Blue Dream. On Flying in a Blue Dream. Relativity.Google Scholar
Satriani, J. (1989b). The Mystical Potato Head Groove Thing. On Flying in a Blue Dream. Relativity.Google Scholar
Sawtooth World (2020). Michael Angelo Batio Sawtooth Double Guitar Performance at NAMM 2020 w ChromaCast String Dampener. YouTube. www.youtube.com/watch?v=8VzoTQveX-A.Google Scholar
Scallon, R. (2014). For That Second. On Anchor. Self-released.Google Scholar
Schmidt-Horning, S. (2004). Recording: The Search for the Sound. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 105–22.Google Scholar
Scorpions (1976). Virgin Killer. RCA Victor.Google Scholar
Scorpions (1977). The Sails of Charon. On Taken by Force. RCA Victor.Google Scholar
Seth, L. (2017). Dragonforce Guitarist Shoots Down Accusation Band Speeds Up Its Songs in The Studio. Blabbermouth. https://blabbermouth.net/news/dragonforce-guitarist-shoots-down-accusation-band-speeds-up-its-songs-in-the-studioGoogle Scholar
Happens, Sheet (2020). Sheet Happens Publishing. www.sheethappenspublishing.com.Google Scholar
Shelvock, M. (2014). The Progressive Heavy Metal Guitarist’s Signal Chain: Contemporary Analogue and Digital Strategies. KES Transactions on Innovation in Music, 1(1), 126–38.Google Scholar
Shred Guitar, TV (2019). Guitar Lesson: Rusty Cooley – Arpeggio Madness 1. YouTube. www.facebook.com/watch/?v=411973850004417Google Scholar
Slaven, J. E. & Krout, J. L. (2016). Musicological Analysis of Guitar Solos from the Roots of Rock Through Modern Heavy Metal. Metal Music Studies, 2(2), 245–51.Google Scholar
Stachó, L. (2018). Mental Virtuosity: A New Theory of Performers’ Attentional Processes and Strategies. Musicae Scientiae, 22(4), 539–57.Google Scholar
Standards (2020). Special Berry. On Fruit Island. Topshelf Records.Google Scholar
Steeler (1983). Steeler. Shrapnel.Google Scholar
Strachan, R. (2017). Sonic Technologies. Bloomsbury Academic.Google Scholar
Strohm, J. (2004). Women Guitarists: Gender Issues in Alternative rock. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 181200.Google Scholar
Swift, T. (2017). Look What You Made Me Do. On Reputation. Big Machine Records.Google Scholar
Symphony, X (1997). Of Sins and Shadows. On The Divine Wings Of Tragedy. Inside Out Music.Google Scholar
Talbot, M. (2000). Introduction. In Talbot, M., ed., The Musical Work. Liverpool University Press, 113.Google Scholar
Théberge, P. (1997). Any Sound You Can Imagine. Wesleyan University Press.Google Scholar
Todd, L. (2019). Fake Shredders – Hot Take. YouTube. www.youtube.com/watch?v=yucPd0n9hfg.Google Scholar
Tolinski, B. (2017). Play it Loud. Anchor Books.Google Scholar
Total Guitar (2012). Paul Gilbert Guest Lesson – String Muting. YouTube. www.youtube.com/watch?v=53yX_0XnZrc.Google Scholar
Turner, G. (2015). Electric Guitar Performance Techniques (PhD thesis). University of Sheffield, Sheffield.Google Scholar
Vai, S. (1984). Flex-Able. Food For Thought Records.Google Scholar
Vai, S. (1990a). Ballerina 12/24. On Passion and Warfare. Relativity.Google Scholar
Vai, S. (1990b). Passion and Warfare. Relativity.Google Scholar
Vai, S. (1995a). Bad Horsie. On Alien Love Secrets. Relativity.Google Scholar
Vai, S. (1995b). Tender Surrender. On Alien Love Secrets. Relativity.Google Scholar
Vai, S. (1998). Alien Love Secrets. Image Entertainment.Google Scholar
Vai, S. (2004). Steve Vai’s Guitar Workout. Hal Leonard.Google Scholar
Vai, S. (2010). Ibanez Universe 20th Anniversary Reissue. YouTube. www.youtube.com/watch?v=RsELKt_nquQ.Google Scholar
Vallejo, A. P. (2020). Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques (MA thesis). University of Huddersfield, Huddersfield. http://eprints.hud.ac.uk/id/eprint/35522.Google Scholar
Van Halen (1978a). Ain’t Talkin’ ‘Bout Love. On Van Halen. Warner Bros.Google Scholar
Van Halen (1978b). Eruption. On Van Halen. Warner Bros.Google Scholar
Van Halen (1978c). I’m the One. On Van Halen. Warner Bros.Google Scholar
Van Halen (1979). Spanish Fly. On Van Halen II. Warner Bros.Google Scholar
Halen, Van (1981). Mean Street. On Fair Warning. Warner Bros.Google Scholar
Halen, Van (1982). Cathedral. On Diver Down. Warner Bros.Google Scholar
Waksman, S. (1999). Instruments of Desire. Harvard University Press.Google Scholar
Waksman, S. (2003). Contesting Virtuosity: Rock Guitar Since 1976. In Coelho, V., ed., The Cambridge Companion to the Guitar. Cambridge University Press, 122–32.Google Scholar
Waksman, S. (2004). California Noise: Tinkering with Hardcore and Heavy Metal in Southern California. Social Studies of Science, 34(5), 675702.Google Scholar
Walser, R. (1992). Eruptions: Heavy Metal Appropriations of Classical Virtuosity. Popular Music, 11(3), 263308.Google Scholar
Webster, J. (1959a). Caravan. On Webster’s Unabridged. RCA Victor.Google Scholar
Webster, J. (1959b). Fountain Mist. On Webster’s Unabridged. RCA Victor.Google Scholar
Wiederhorn, J. (2015). Shrapnel Records: The House That Shred Built. Louder Sound. www.loudersound.com/features/shrapnel-records-the-house-that-shred-built.Google Scholar
Weinstein, D. (2013). Rock’s Guitar Gods: Avatars of the Sixties. Archiv Für Musikwissenschaft, 70(2), 139–54.CrossRefGoogle Scholar
Weissman, D. (2017). Understanding the Music Business. Taylor and Francis.Google Scholar
Wendell, H. V. (1991). Canonicity. Modern Language Association, 106(1), 110–21.Google Scholar
Wenger, E. (1998). Communities of Practice. Cambridge University Press.Google Scholar
Werner, A. (2017). YouTube and Music Video Streaming: Participation, Intermediation and Spreadability. In Johansson, S., Werner, A., Åker, P., and Goldenzwaig, G., eds., Streaming Music. Taylor and Francis, 138–56.Google Scholar
West, K. (2016). Champions. Def Jam Recordings.Google Scholar
Whiteley, S. (1990). Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix. Popular Music, 9(1), 3791.Google Scholar
Williamson, J., & Cloonan, M. (2013). Contextualising the Contemporary Recording Industry. In Marshall, L., ed., The International Recording Industries. Routledge, 1129.Google Scholar
Wood, G. D. (2010). Romanticism and Music Culture in Britain, 1770–1840. Cambridge University Press.Google Scholar
Wylde, Z. (1996). 1,000,000 Miles Away. On Book of Shadows. Geffen Records.Google Scholar
Yngwie J. Malmsteen’s Rising Force (1998). Blitzkrieg. On Alchemy. Dream Catcher.Google Scholar
Young, Y. (2020). Patience Riff. YouTube. www.youtube.com/watch?v=6Mt0lMW1fCw.Google Scholar
Zappa, F. (1976). Black Napkins. On Zoot Allures. Warner Bros.Google Scholar
Abasi Concepts (2020). Modern Solutions for the Modern Guitarist. https://abasiconcepts.com.Google Scholar
Abasi, T. (2020). Thump! Guitar Messenger. https://store.guitarmessenger.com/thump.Google Scholar
Academy Music Group (2019). An Interview With: Polyphia. Academy Music Group. https://academymusicgroup.com/blogs/interview-polyphia (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Altheide, D. & Schneider, C. (2013). Qualitative Media Analysis. Sage.Google Scholar
Anderson, E. R. & Zanetti, G. (2000). Comparative Semantic Approaches to the Idea of a Literary Canon. The Journal of Aesthetics and Art Criticism, 58(4), 341–60.CrossRefGoogle Scholar
Animals as Leaders (2011). An Infinite Regression. On Weightless. Prosthetic Records.Google Scholar
Animals as Leaders (2014a). Mind-Spun. On The Joy of Motion. Prosthetic Records.Google Scholar
Animals as Leaders (2014b). The Woven Web. On The Joy of Motion. Prosthetic Records.Google Scholar
Animals as Leaders (2016). Private Visions of The World. On The Madness of Many. Sumerian Records.Google Scholar
Appen, R. von & Doehring, A. (2006). Nevermind The Beatles, here’s Exile 61 and Nico: ‘The Top 100 Records of All Time’. Popular Music, 25(1), 2139.CrossRefGoogle Scholar
Asato, M. (2019). Rec and Play. Instagram. www.instagram.com/tv/CAi4mS7j4RX.Google Scholar
Asato, M. (2020a). Dear Jimi. YouTube. www.youtube.com/watch?v=dZwiB6ao2w4.Google Scholar
Asato, M. (2020b). It’s a Process. Instagram. www.instagram.com/tv/CDbsreAH11Q.Google Scholar
Asato, M. (2020c). Nostalgic Childhood. YouTube. www.youtube.com/watch?v=1f2yl3-KV2Q.Google Scholar
Astley-Brown, M. (2019a). Are Your Favorite Instagram Guitarists Faking their Incredible Technique? Guitar World. www.guitarworld.com/news/are-your-favorite-instagram-guitarists-actually-faking-it.Google Scholar
Astley-Brown, M. (2019b). Manuel Gardner Fernandes Responds to Instagram Fakery Accusations: ‘There Was Never a Video that Was Sped Up’. Guitar World. www.guitarworld.com/news/manuel-gardner-fernandes-responds-to-instagram-fakery-accusations-there-was-never-a-video-that-was-sped-up.Google Scholar
Astley-Brown, M. (2019c). Polyphia vs Covet Round Table: ‘I Hope that Guitar Music Dies. I Want it to Die a Painful Death’. Music Radar. www.musicradar.com/news/polyphia-vs-covet-round-table-i-hope-that-guitar-music-dies-i-want-it-to-die-a-painful-death.Google Scholar
Astley-Brown, M. (2020a). The Biggest Threat to the Guitar? It Could Well Be Guitarists: How Online Hate Endangers the Instrument We Love. Guitar World. www.guitarworld.com/features/the-biggest-threat-to-the-guitar-it-could-well-be-guitarists-how-online-hate-endangers-the-instrument-we-love.Google Scholar
Astley-Brown, M. (2020b). Polyphia’s Tim Henson Demonstrates Jaw-Dropping ‘God Hand’ 8-String Slapping Riff. Guitar World. www.guitarworld.com/news/polyphias-tim-henson-demonstrates-jaw-dropping-god-hand-8-string-slapping-riff-and-teaches-you-how-to-play-it.Google Scholar
Bandcamp (2021). Getting Paid. https://bandcamp.com/pricing.Google Scholar
Batio, M. A. (1994). No Boundaries. M.A.C.E. Music.Google Scholar
Batio, M. A. (2003). Speed Kills. Vol. 1. Metal Method.Google Scholar
Batio, M. A. (2004). Speed Kills. Vol. 2. Metal Method.Google Scholar
Baym, N. (2012). Fans of Friends? Seeing Social Media Audiences as Musicians Do. Participations: Journal of Audience and Reception Studies, 9(2), 286316.Google Scholar
Beato, R. (2020). Tosin Abasi Talks Difference Between Prog & Progressive, Shares Opinion on Allan Holdsworth & Eddie Van Halen. www.ultimate guitar.com/news/general_music_news/tosin_abasi_talks_difference_between_prog__progressive_shares_opinion_on_allan_holdsworth__eddie_van_halen.html.Google Scholar
Becker, J. (1988a). Altitudes. On Perpetual Burn. Shrapnel.Google Scholar
Becker, J. (1988b). Perpetual Burn: Shrapnel.Google Scholar
Belladonna (2013). Van Halen Did Not Invent Tapping! This Italian Guy Did in 1965! YouTube. www.youtube.com/watch?v=d09pnxTSnT4.Google Scholar
Bennett, A. & Dawe, K. (eds.) (2001). Guitar Cultures. Berg.Google Scholar
Bennett, L. (2016). Singer-Songwriters in the Digital Age: New Trajectories in Connectivity and Participation Between Musicians and Fans on Social Media. In Williams, K. A. and Williams, J. A. (eds.), The Cambridge Companion to the Singer-Songwriter. Cambridge University Press, 329–40.Google Scholar
Bestguitarvids (2011). Scott Mishoe Slapping on the Guitar and Demonstrating some Nice Arpeggios. YouTube. www.youtube.com/watch?v=Tw2cQ94XcgI&ab_channel=bestguitarvids.Google Scholar
Bienstock, R. (2019a). Jason Richardson: ‘I Was a High-School Kid Watching John Petrucci Play his Music Man … Now I Have my own Signature Model’. Guitar World. www.guitarworld.com/artists/jason-richardson-i-was-a-high-school-kid-watching-john-petrucci-play-his-music-man-now-i-have-my-own-signature-model.Google Scholar
Bienstock, R. (2019b). Rings of Saturn’s Lucas Mann Responds to Allegations he ‘Mimed’ Guitar Parts Onstage. Guitar World. www.guitarworld.com/news/rings-of-saturns-lucas-mann-responds-to-allegations-he-mimed-guitar-parts-onstage.Google Scholar
Bienstock, R. (2020). Al Joseph: ‘It’s Easy to Learn Techniques – It’s Harder to Make the Guitar Sing’. Guitar World. www.guitarworld.com/features/al-joseph-its-easy-to-learn-techniques-its-harder-to-make-the-guitar-sing?fbclid=IwAR1WTi4MS-Ma5OKWXrImiJC7-NSksg3tcPUNRfJCwZQJURp7A78tEo1KvAE.Google Scholar
Bliss, K. (2017). Eric Clapton on Declining Guitar Sales: ‘Maybe the Guitar is Over’. Billboard. www.billboard.com/articles/columns/rock/7957989/eric-clapton-guitar-sales-declining-tiff.Google Scholar
Born of Osiris (2011). Behold. On The Discovery. Sumerian Records.Google Scholar
Bourdieu, P. (1985). The Market of Symbolic Goods. Poetics, 14(1–2), 1344.Google Scholar
Bowen, G. (2009). Document Analysis as a Qualitative Research Method. Qualitative Research Journal, 9(2), 2740.Google Scholar
Brave (2020). How Much Do Twitch Streamers Make. Brave. https://brave.com/learn/how-much-money-do-twitch-streamers-earn.Google Scholar
Brooks, C. A. (2012). Chris Brooks Guitar: From Legato to Staccato. YouTube. www.youtube.com/watch?v=MswlgtzAH5Q.Google Scholar
Browne, J. (2017). Monuments ‘I, The Creator’. Nail the Mix. https://members.urm.academy/ntm-sessions/john-browne-monuments.Google Scholar
Buckethead (1996). Robot Transmission. On Giant Robot. NTT.Google Scholar
Buckethead (1998). Sanctum. On Colma. CyberOctave.Google Scholar
Burns, J. (2016). The History and Future of Amp Modelling. Philoking. www.philoking.com/2016/01/28/the-history-and-future-of-amp-modeling (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Burrell, S. (2020). Jump – Van Halen | Guitar Cover by Sophie Burrell. YouTube. www.youtube.com/watch?v=LyZjnXy-ZxQ.Google Scholar
Butterweck, K. (2012). Review of Dragonforce: The Power Within. Laut.De. www.laut.de/DragonForce/Alben/The-Power-Within-78262.Google Scholar
Cacophony (1987). Speed Metal Symphony. Roadrunner Records.Google Scholar
Campell, R. (2021). Bulletproof Guitar Player. https://bulletproofguitarplayer.com (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Cheng, W. (2018). So You’ve Been Musically Shamed. Journal of Popular Music Studies, 30(3), 6398.Google Scholar
Chopik, I. (2012). Misha Mansoor Interview – Periphery (2012). Guitar Messenger. www.guitarmessenger.com/misha-mansoor-interview-periphery-2012.Google Scholar
Citron, M. J. (1993). Gender and the Musical Canon. Cambridge University Press.Google Scholar
Click, M. A., Lee, H., & Holladay, H. W. (2013). Making Monsters: Lady Gaga, Fan Identification, and Social Media. Popular Music and Society, 36(3), 360–79.Google Scholar
Cooley, R. (2000). Shred Guitar Manifesto. Rusty Cooley.Google Scholar
Cooley, R. (2001). Extreme Pentatonics. Rusty Cooley.Google Scholar
Cooley, R. (2002a). Rusty Rooley. Lion Music.Google Scholar
Cooley, R. (2002b). Under the Influence. On Rusty Rooley. Lion Music.Google Scholar
Copsey, R. (2019). Guitar Music is Thriving, so Why do We Think it’s Dying? Official Charts. www.officialcharts.com/chart-news/guitar-music-is-thriving-so-why-do-we-think-it-s-dying__25558/.Google Scholar
Corse, S. M. & Griffin, M. D. (1997). Cultural Valorization and African American Literary History: Reconstructing the Canon. Sociological Forum, 12(2), 173203.Google Scholar
Covet (2016). Nautilus. On Currents. Friend of Mine Records.Google Scholar
Covet (2020). Nero. On Technicolor. Triple Crown Records.Google Scholar
Custodis, M. (2017). Dream Theater: Komponieren im Virtuosenkollektiv. In Phleps, T. (ed.), Schneller, höher, lauter. transcript-Verlag, 4150.CrossRefGoogle Scholar
D’Addario (2019). Aaron Marshall (Intervals) – Guitar Power. YouTube. www.youtube.com/watch?v=gDXyVeGNrq8.Google Scholar
Dale, P. (2016). Popular Music and the Politics of Novelty. Bloomsbury Academic.Google Scholar
Davis, F. (2003). The History of the Blues. Da Capo Press.Google Scholar
Dawe, K. (2010). The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Ashgate.Google Scholar
Purple, Deep (1971). Demon’s Eye. On Fireball. Harvest.Google Scholar
Purple, Deep (1972). Highway Star. On Machine Head. Purple Records.Google Scholar
Dines, J. (2018a). The Biggest Shred Collab Song in the World II (2018). YouTube. www.youtube.com/watch?v=oj0CjV1QxtQ.Google Scholar
Dines, J. (2018b). Shred Wars: Jared Dines VS Jason Richardson. YouTube. www.youtube.com/watch?v=-L54r7SXM-8.Google Scholar
Dines, J. (2019). 10 Musicians Play Over the Same Backing Track. YouTube. www.youtube.com/watch?v=uzU8xIkaULM.Google Scholar
Doja Cat. (2020). Say So. YouTube. www.youtube.com/watch?v=k3Yk6FrjMkQ.Google Scholar
Dragonforce (2002). Valley of the Damned. Noise.Google Scholar
Dragonforce (2012). The Power Within. Electric Generation Recordings.Google Scholar
Dream Theater (1994a). Awake. EastWest.Google Scholar
Dream Theater (1994b). Erotomania. On Awake. EastWest.Google Scholar
Dream Theater (1994c). Voices. On Awake. EastWest.Google Scholar
Dunn, S. (2010). Yngwie Malmsteen Interview on his Freakish Obsessions with Guitar. YouTube. www.youtube.com/watch?v=2bz6Pk5EsVM.Google Scholar
Ear to The Ground Music (2020). 10 Best Guitarists of this Decade. Ear to the Ground Music. www.eartothegroundmusic.co/2020/07/27/10-best-guitarists-of-this-decade.Google Scholar
Edgers, G. (2017). Why My Guitar Gently Weeps: The Slow, Secret Death of the Six-String Electric. Washington Post. www.washingtonpost.com/graphics/2017/lifestyle/the-slow-secret-death-of-the-electric-guitarGoogle Scholar
Electric Sun (1985). Beyond the Astral Skies. EMI.Google Scholar
Ellcessor, E. (2012). Tweeting @feliciaday: Online Social Media, Convergence, and Subcultural Stardom. Cinema Journal, 51(2), 4666.CrossRefGoogle Scholar
Espina, E. & Sorenson, T. (2015). The Milli Vanilli Condition. Arte Público Press.Google Scholar
Extreme (1990). Get the Funk Out. On Pornograffitti. A&M Records.Google Scholar
Factory, Fear (1995). Demanufacture. Roadrunner Records.Google Scholar
Fellezs, K. (2018). Edge of Insanity: Tony MacAlpine and Black Virtuosity. Journal of Popular Music Studies, 39(1–2), 109–26.Google Scholar
Fernandes, M. G. (2019). Hello Friends. Instagram. www.instagram.com/p/B5a3Qd5o7aP (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
Fitterman Radbill, C. (2017). Introduction to the Music Industry. Routledge.Google Scholar
Fowler, A. (1979). Genre and the Literary Canon. New Literary History, 11, 97119.CrossRefGoogle Scholar
Friedman, M. (1988). Dragon’s Kiss. Shrapnel.Google Scholar
Friedman, M. (1992). Tibet. On Scenes. Shrapnel.Google Scholar
Friedman, M. (2009). Tokyo Jukebox. Mascot.Google Scholar
Frith, S. (2007). What is Bad Music? In Frith, S. (Ed.), Ashgate Contemporary Thinkers on Critical Musicology. Taylor and Francis, 313–33.Google Scholar
Gambale, F. (1990). New Boots. On Truth in Shredding. Tone Center.Google Scholar
Gambale, F. (1992). Monster Licks & Speed Picking. Alfred.Google Scholar
Gardiner, J. (2019a). Fake Guitar Playing – It Needs to Stop! YouTube. www.youtube.com/watch?v=kc722VQB1EU.Google Scholar
Gardiner, J. (2019b). Jack Gardiner Interview & Mental Health Revisited. The Guitar Hour Podcast, 89. https://theguitarhour.libsyn.com/89-jack-gardiner-interview-mental-health-revisited.Google Scholar
Gardiner, J. (2020b). Escapades. Self-released.Google Scholar
Gardiner, J. (2021). Mateus Asato Taking a Break is an Important Message for Us All. YouTube. www.youtube.com/watch?v=qkJEXWEqJas.Google Scholar
Gatton, D. (1991). Muthaship. On 88 Elmira St. Elektra.Google Scholar
Genesis (1971). The Musical Box. On Nursery Cryme. Charisma.Google Scholar
Geyser, W. (2020). How Much do YouTubers Make? Influencer MarketingHub. https://influencermarketinghub.com/how-much-do-youtubers-make.Google Scholar
Gil, V. (2014). Extended Range Guitars (MA thesis). California State University, Los Angeles.Google Scholar
Gilbert, P. (Director) (1995). Terrifying Guitar Trip. REH.Google Scholar
Gilbert, P. & Kid, J. (2002). Raw Blues Power. Provoge.Google Scholar
Ginsborg, J. (2018). ‘The Brilliance of Perfection’ or ‘Pointless Finish’?: What Virtuosity Means to Musicians. Musicae Scientiae, 22(4), 454–75.CrossRefGoogle Scholar
Godin, S. (2008). Tribes: We Need You to Lead Us. New York: Portfolio. www.loc.gov/catdir/enhancements/fy0906/2008024978-d.htmlGoogle Scholar
Govan, G. (2006a). Hangover. On Erotic Cakes. Cornford Records.Google Scholar
Govan, G. (2006b). Sevens. On Erotic Cakes. Cornford Records.Google Scholar
Govan, G. (2006c). Wonderful Slippery Thing. On Erotic Cakes. Cornford Records.Google Scholar
Griffin, D. J. (2017). Mindful Madness. On Sentimentality. Self-released.Google Scholar
Griffin, D. J. (2020). Dan James Griffin. Patreon. www.patreon.com/danjamesgriffin/posts.Google Scholar
Griffin, D. J. (2021). Snowdrift (Single). Self-released.Google Scholar
Grossberg, L. (1992). We Gotta Get Out of this Place. Routledge.Google Scholar
Grunwald, A. (2011). Lee McKinney & Jason Richardson Interview. Guitar Messenger. https://guitarmessenger.com/lee-mckinney-jason-richardson-interview-born-of-osiris.Google Scholar
Guillory, J. (2010). Cultural Capital. University of Chicago Press.Google Scholar
Guitar World (2019). Jason Richardson – Picking Perfection. YouTube. www.youtube.com/watch?v=eGnnHvdHwO4.Google Scholar
Halloran, M. & Hearn, E. (2017). YouTube Music. In Halloran, M., ed., The Musician’s Business and Legal Guide. Taylor and Francis, 7890.Google Scholar
Hatch, D. & Millward, S. (1987). From Blues to Rock. Manchester University Press.Google Scholar
Hearn, E. (2017). Digital Downloads and Streaming: Copyright and Distribution Issues. In Halloran, M., ed., The Musician’s Business and Legal Guide. Taylor and Francis, 6476.Google Scholar
Heister, H.‑W. (2004). Zur Theorie der Virtuosität. Eine Skizze. In von Loesch, H., Mahlert, U., and Rummenhöller, P., eds., Klang und Begriff. Schott, 1738.Google Scholar
Helfrich, N. (2016). Welcome to The Wasteland. On Dead Bodies in Motion. Self-released.Google Scholar
Henabery, J. (1933). That Goes Double. Vitaphone Corporation.Google Scholar
Hennion, A. (2012). ‘As Fast as one Possibly Can … ’: Virtuosity, a Truth of Musical Performance. In Hawkins, S. and Scott, D. B., eds., Critical Musicological Reflections. Ashgate, 125–38.Google Scholar
Henson, T. (2020a). The Making of O.D. YouTube. www.youtube.com/watch?v=MZ4QN2uFif8.Google Scholar
Henson, T. (2020b). Tim Henson VS Ichika Nito. YouTube. www.youtube.com/watch?v=2wLy9HneuDc.Google Scholar
Herbst, J.-P. (2016). Die Gitarrenverzerrung in der Rockmusik. LIT.Google Scholar
Herbst, J.-P. (2017a). Historical Development, Sound Aesthetics and Production Techniques of the Distorted Electric Guitar in Metal Music. Metal Music Studies, 3(1), 2446.CrossRefGoogle Scholar
Herbst, J.-P. (2017b). Shredding, Tapping and Sweeping: Effects of Guitar Distortion on Playability and Expressiveness in Rock and Metal Solos. Metal Music Studies, 3(2), 231–50.Google Scholar
Herbst, J.-P. (2017c). Virtuoses Gitarrenspiel im Rock und Metal. Zum Einfluss von Verzerrung auf das ‘Shredding’. In Phleps, T., ed., Schneller, höher, lauter. transcript-Verlag, 113–52.Google Scholar
Herbst, J.-P. (2019a). Empirical Explorations of Guitar Players’ Attitudes Towards their Equipment and the Role of Distortion in Rock Music. Current Musicology, 105, 75106.Google Scholar
Herbst, J.-P. (2019b). Old Sounds with New Technologies? Examining the Creative Potential of Guitar ‘Profiling’ Technology and the Future of Metal Music from Producers’ Perspectives. Metal Music Studies, 5(1), 5369.Google Scholar
Herbst, J.-P. (2023). ‘It Just Is My Inner Refusal’: Innovation and Conservatism in Guitar Amplification Technology. In Moore, A. and Bromham, G., eds., Distortion in Music Production. Routledge (174–84).Google Scholar
Herbst, J.‑P., Czedik-Eysenberg, I., & Reuter, C. (2018). Guitar Profiling Technology in Metal Music Production: Public Reception, Capability, Consequences and Perspectives. Metal Music Studies, 4(3), 481506.Google Scholar
Heritage, G. (2016). ‘It’s Like a Mach Piece, Really’: Critiquing the Neo-Classical Aesthetic of ’80s Heavy Metal Music’. In Brown, A. R., Spracklen, K., Kahn-Harris, K., and Scott, N., eds., Global Metal Music and Culture: Current Directions in Metal Studies. Routledge, 5067.CrossRefGoogle Scholar
Holdsworth, A. (2000). The Sixteen Men of Tain. On The Sixteen Men of Tain. Cream Records.Google Scholar
Howe, G. (1988). Greg Howe. Shrapnel.Google Scholar
Huron, D. (2007). Sweet Anticipation. MIT Press.Google Scholar
Hyatt, A. (2016). Social Media. In Macy, A., Rolston, C., Allen, P., and Hutchison, T. W., eds., Record Label Marketing. Focal Press, 215–46.Google Scholar
Guitar, Ibanez (2014). James ‘Munky’ Shaffer from Korn on his Ibanez APEX200 and APEX20 Signature Models. YouTube. www.youtube.com/watch?v=zC4_9ojvhNU.Google Scholar
Intervals (2020). 5-HTP. Circadian. Sheet Happens.Google Scholar
Jackson, E. A. (2007). Focus – Hocus Pocus Live ’73. YouTube. www.youtube.com/watch?v=g4ouPGGLI6Q&ab_channel=ElvisAmadeusJackson.Google Scholar
James, R. M. (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of ‘Faking It’ in Music. The New Centennial Review, 7(1), 4580.Google Scholar
Jewlampijs95 (2007). Deep Purple – Wring that Neck. YouTube. www.youtube.com/watch?v=Pf7izXdJKrc&ab_channel=Jewlampijs95Google Scholar
Jin, L. (2020). 1,000 True Fans? Try 100. Andreessen Horowitz. https://a16z.com/2020/02/06/1000-true-fans-try-100/Google Scholar
John 5 (2005). Fiddlers. On Songs for Sanity. Shrapnel.Google Scholar
Johnson, E. (1990). Cliffs of Dover. On Ah Via Musicom. Capitol Records.Google Scholar
Jomatami (2020). Tosin Abasi Explains Why He Left Ibanez Guitars & What ‘Frustrated Him’, Talks ‘Hard Lessons’. Ultimate Guitar. www.ultimate-guitar.com/news/general_music_news/tosin_abasi_explains_why_he_left_ibanez_guitars__what_frustrated_him_talks_hard_lessons.html.Google Scholar
Jones, C. W. (2017). The Rock Canon. Routledge.Google Scholar
Jordan, S. (1988). Stairway to Heaven. On Flying Home. EMI.Google Scholar
Keightley, K. (2001). Reconsidering Rock. In Frith, S., Straw, W., and Street, J., eds., The Cambridge Companion to Pop and Rock. Cambridge University Press, 109–42.Google Scholar
Kelly, K. (2008). 1,000 True Fans. The Technium. https://kk.org/thetechnium/1000-true-fans.Google Scholar
Kennelty, G. (2018). Periphery’s Misha Mansoor Says He Can’t Make A Living from Just the Band. Metal Injection. https://metalinjection.net/its-just-business/peripherys-misha-mansoor-says-he-cant-making-living-from-just-the-band.Google Scholar
Kenner, H. (1984). The Making of the Modernist Canon. In von Hallberg, R., ed., Canons. University of Chicago Press, 363–75.Google Scholar
Kermode, F. (1985). Forms of Attention. University of Chicago Press.Google Scholar
Korn (1996). Live Is Peachy. Epic.Google Scholar
Kotzen, R. (1989). Riche Kotzen. Shrapnel.Google Scholar
Kotzen, R., & Howe, G. (1997). Project. Shrapnel.Google Scholar
Kraft, J. P. (2004). Manufacturing: Expansion, Consolidation, and Decline. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 6387.Google Scholar
Lalaina, J. (2008). Dawn of the Shred. Guitar World, 29(11), 70–4.Google Scholar
Lalaina, J. (2011). Bassist Billy Sheehan Breaks Down Eddie Van Halen’s Technique in 1985 Guitar World Interview. Guitar World. www.guitarworld.com/artists/bassist-billy-sheehan-breaks-down-eddie-van-halens-technique-1985-guitar-world-interview.Google Scholar
Lane, S. (2000). The Tri-Tone Fascination. Eye Reckon Records.Google Scholar
Larson, T. (2017). Jason Richardson ‘Fragments’. Nail the Mix. https://members.urm.academy/ntm-sessions/taylor-larson-jason-richardsonGoogle Scholar
Larson, T. (2018). Asking Alexandria ‘Into the Fire’. Nail the Mix. https://members.urm.academy/ntm-sessions/taylor-larson-asking-alexandriaGoogle Scholar
Leech-Wilkinson, D. (2018). The Danger of Virtuosity. Musicae Scientiae, 22(4), 558–61.Google Scholar
Leibundgut, Chris (2000). Michael Wagener. Von Wuppertal nach Tennessee, Rock Hard 5/2000, 106–9.Google Scholar
Charmaine, Li (2021). Piano, Guitar, and Healing with Yvette Young. Pianote. www.pianote.com/blog/yvette-young-piano.Google Scholar
Tybee, Little (2013a). Hearing Blue. On Distant Viewing. Paper Garden Records.Google Scholar
Tybee, Little (2013b). Left Right. On Distant Viewing. Paper Garden Records.Google Scholar
Little Tybee (2016). Languid. On Little Tybee. On The Grid Creative.Google Scholar
Lloyd, S. (2020a). Boston – More than a Feeling (Shred Version). YouTube. www.youtube.com/watch?v=rEr2JZOa27c.Google Scholar
Lloyd, S. (2020b). Evanescence – Bring Me to Life (Shred Version). YouTube. www.youtube.com/watch?v=s50ao6FdIxM.Google Scholar
Lloyd, S. (2020c). How to Play Faster | 3 Notes Per String Scale. YouTube. www.youtube.com/watch?v=KqPu-2UyJg4.Google Scholar
Longfield, S. (2017). Tydes. On Collapse // Expand. Season of Mist.Google Scholar
Longfield, S. (2020). Lesson Video. Instagram. www.instagram.com/p/CGOT-uDgiSJ.Google Scholar
MacAlpine, T. (1985a). Edge of Insanity. Shrapnel.Google Scholar
MacAlpine, T. (1987). Hundreds of Thousands. On Maximum Security. Shrapnel.Google Scholar
MacAlpine, T. (1985b). Wheel of Fortune. On Edge of Insanity. Shrapnel.Google Scholar
Malmsteen, Y. (1984a). Black Star. On Rising Force. Polydor.Google Scholar
Malmsteen, Y. (1984b). Far Beyond the Sun. On Rising Force. Polydor.Google Scholar
Malmsteen, Y. (1984c). Rising Force. Polydor.Google Scholar
Malmsteen, Y. (1990). Demon Driver. On Eclipse. Polydor.Google Scholar
Malmsteen, Y. (1996). Inspiration. Music for Nations.Google Scholar
Malmsteen, Y. (1999). Blitzkrieg. On Alchemy. Dream Dream Catcher.Google Scholar
Mann, L. (2019). Rings of Saturn Lucas Mann ‘Fake Guitar’ Debunked – Jared Dines Reaction & Response Video. YouTube. www.youtube.com/watch?v=5mqYqW7Cnlw.Google Scholar
Marrington, M. (2019). The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production: The Case of Heavy Metal Music. In Hepworth-Sawyer, R., Hodgson, J., and Marrington, M., eds., Producing Music. Routledge, 5274.Google Scholar
Marten, N. (2018). Guthrie Govan: ‘The Older, Wiser Player Knows in a Deep, Intuitive Way that it’s the Quality of the Playing that Counts’. Music Radar. www.musicradar.com/news/guthrie-govan-the-older-wiser-player-knows-in-a-deep-intuitive-way-that-its-the-quality-of-the-playing-that-counts.Google Scholar
Martin, J. (2015a). Little Tybee’s Josh Martin Explains New Guitar Technique. YouTube. www.youtube.com/watch?v=elOxW3wbz7A.Google Scholar
Martin, J. (2015b). Little Tybee’s Josh Martin ‘Glitch Tapping’ A Closer Look. YouTube. www.youtube.com/watch?v=atGeWypVLxE.Google Scholar
Martin, J. (2017). Josh Martin of Little Tybee – ‘Butterfly Tapping’. YouTube. www.youtube.com/watch?v=rnxZ%5F1tnCGg%26t=108s%26ab%5Fchannel=LittleTybee.Google Scholar
Martin, J. (2020). Thumping Triads in Harmonic Minor, Melodic Minor, and Harmonic Major! Patreon. www.patreon.com/posts/thumping-triads-37753539Google Scholar
Marwick, A. & Boyd, D. (2011). To See and Be Seen: Celebrity Practice on Twitter. Convergence: The International Journal of Research into New Media Technologies, 17(2), 139–58.Google Scholar
Mary (2014). Interview: Aaron Marshall. Plugin-Mag. www.plugin-mag.com/interview-aaron-marshall-intervals (originally accessed 18 Feb. 2021; no longer accessible at time of publication).Google Scholar
McAllister, M. (2020). Who is Plini? ‘The Future of Exceptional Guitar Playing’. Produce Like a Pro. https://producelikeapro.com/blog/who-is-plini-the-future-of-exceptional-guitar-playing.Google Scholar
Metallica (1988). One. On … And Justice for All. Elektra.Google Scholar
Millard, A. J. (2004a). The Guitar Hero. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 143–62.CrossRefGoogle Scholar
Millard, A. J. (2004b). Heavy Metal: From Guitar Heroes to Guitar Gods. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 163–80.CrossRefGoogle Scholar
Millard, A. J. (2004c). Playing with Power: Technology, Modernity, and the Electric Guitar. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 123–41.CrossRefGoogle Scholar
Minogue, K. (2020). Disco. BMG.Google Scholar
Moore, A. F. (2002). Authenticity as Authentication. Popular Music, 21(2), 209–23.Google Scholar
Moore, V. (1986). Mind’s Eye. Shrapnel.Google Scholar
Moore, V. (1988). Race with Destiny. On Time Odyssey. Squawk.Google Scholar
Morris, J. W. (2014). Artists as Entrepreneurs, Fans as Workers. Popular Music and Society, 37(3), 273–90.Google Scholar
Music Ally (2020). Spotify CEO Talks Covid-19, Artist Incomes and Podcasting. Music Ally. https://musically.com/2020/07/30/spotify-ceo-talks-covid-19-artist-incomes-and-podcasting-interview.Google Scholar
MyGuitarLessons (2017). Nick Johnston Talks Technique. MyGuitarLessons. https://myguitarlessons.co.uk/2017/03/nick-johnston-talks-technique.Google Scholar
Mynett, M. (2017). Metal Music Manual. Routledge.Google Scholar
Neely, A. (2020). Can You Play the Mario Kart Lick on Bass? YouTube. www.youtube.com/watch?t=327&v=45FtC8OutgI.Google Scholar
Nevermore (2005). Psalm of Lydia. On This Godless Endevor. Century Media.Google Scholar
Nito, I. (2020a). ‘Sprout’ w/ Yvette Young. YouTube. www.youtube.com/watch?v=HBDH_YKuprsGoogle Scholar
Nito, I. (2020b). Runaway. YouTube. www.youtube.com/watch?v=BqTjqxLytec.Google Scholar
Nito, I. (2021). Ichika Instagram Lick Tab Series 20 ‘Melodic Funk’. Nito Music. https://nitomusic.bigcartel.com/product/ichika-instagram-lick-tab-series-20-feel-good.Google Scholar
Niu, W. & Sternberg, R. (2006). The Philosophical Roots of Western and Western Conceptions of Creativity. Journal of Theoretical and Philosophical Psychology, 26, 1838.CrossRefGoogle Scholar
Osbourne, O. (1980a). Blizzard of Ozz. Jet Records.Google Scholar
Osbourne, O. (1980b). Dee. On Blizzard of Ozz. Jet Records.Google Scholar
Osbourne, O. (1981a). Crazy Train. On Diary of a Madman. Jet Records.Google Scholar
Osbourne, O. (1981b). Diary of a Madman. Jet Records.Google Scholar
Osbourne, O. (1981c). Over the Mountain. On Diary of a Madman. Jet Records.Google Scholar
Osbourne, O. (1988). Devil’s Daughter. On No Rest for the Wicked. Epic.Google Scholar
Owsinski, B. (2016). A Survival Guide for Making Music in the Internet Age. Hal Leonard.Google Scholar
Pastukhov, D. (2019). What Music Streaming Services Pay Per Stream. Soundcharts. https://soundcharts.com/blog/music-streaming-rates-payouts.Google Scholar
Petrucci, J. (2016). Ernie Ball Music Man Presents: John Petrucci Master Class – Right Hand Warm Up and Picking. YouTube. www.youtube.com/watch?v=9UVPBtEFsz8&t=197s&ab_channel=SamAshMusic+5%3A30-5%3A51.Google Scholar
Petrucci, J. (2020). John Petrucci’s Guitar Universe 3.0 – July 2021. YouTube. www.youtube.com/watch?v=8tgzTu6V0wI.Google Scholar
Plini (2016). Handmade Cities. On Handmade Cities. Self-released.Google Scholar
Plini (2019). Plini Shows You How to Build a Complex Riff from a Simple Melody. Guitar World. www.guitarworld.com/lessons/building-a-complex-riff-from-a-simple-melody.Google Scholar
Plini (2020a). Impulse Voices. Self-released.Google Scholar
Polyphia (2017). 40oz. On The Most Hated. Self-released.Google Scholar
Polyphia (2018a). Nasty. On New Level New Devils. Equal Vision Records.Google Scholar
Polyphia (2018b). New Level New Devils. Equal Vision Records.Google Scholar
Polyphia (2018c). O.D. On New Level New Devils. Equal Vision Records.Google Scholar
Polyphia (2018d). Drown. On New Level New Devils. Equal Vision Records.Google Scholar
Provenzano, C. (2018). Auto-Tune, Labor, and the Pop-Music Voice. In Fink, R. W., Latour, M. and Wallmark, Z., eds., The Relentless Pursuit of Tone. Oxford University Press, 159–82.Google Scholar
Quayle, T. (2020a). Lazy First Finger Syndrome – This is Probably Holding Back your Legato Technique. YouTube. www.youtube.com/watch?v=2fcnpwZSXIA.Google Scholar
Quayle, T. (2020b). Lessons. Tom Quayle. www.tomquayle.co.uk/lessons.Google Scholar
Racer, X (1986). Street Lethal. Shrapnel.Google Scholar
Racer, X (1987a). Scarified. On Second Heat. Shrapnel.Google Scholar
Racer, X (1987b). Second Heat. Shrapnel.Google Scholar
Racer, X (2000). Viking Kong. On Superheroes. Universal.Google Scholar
Rage Against the Machine (1992a). Fistful of Steel. On Rage Against the Machine. Epic.Google Scholar
Rage Against the Machine (1992b). Killing in the Name. On Rage Against the Machine. Epic.Google Scholar
Rage Against the Machine (1996). Bulls on Parade. On Evil Empire. Epic.Google Scholar
Regev, M. (2006). Introduction. Popular Music, 25(1), 12.Google Scholar
Reinhardt, D. (1935 [2016]). Improvisation. On Monsieur Guitare. The Viper Label.Google Scholar
Richardson, J. (2016a). Hos Down. On I. Self-released.Google Scholar
Richardson, J. (2016b). Omni. On I. Self-released.Google Scholar
Rings of Saturn (2019). The Husk. On Gidim. Nuclear Blast.Google Scholar
Roche, S. (2021). Mateus Asato Shuts Down Instagram Account, Announces Break From Music. Guitar World. www.guitarworld.com/news/mateus-asato-shuts-down-instagram-account-announces-break-from-music.Google Scholar
Ronson, J. (2015). So You’ve Been Publicly Shamed. Picador.Google Scholar
Rotundi, J. (1997). Is Rock Guitar Dead … Or Does it Just Smell Funny? Guitar Player, 31(9).Google Scholar
Royce, A. P. (2004). Anthropology of the Performing Arts. AltaMira Press.Google Scholar
Sanderson, D. (2020). Kylie Minogue Songwriter Fiona Bevan Paid Only £100 in Streaming Royalties for Album Work. The Sunday Times. www.thetimes.co.uk/article/kylie-minogue-songwriter-fiona-bevan-paid-only-100-in-streaming-royalties-for-album-work-xbdl0cxcs.Google Scholar
Satriani, J. (1986a). Not of this Earth. Relativity.Google Scholar
Satriani, J. (1986b). The Snake. On Not of this Earth. Relativity.Google Scholar
Satriani, J. (1987a). Midnight. On Surfing with the Alien. Relativity.Google Scholar
Satriani, J. (1987b). Satch Boogie. On Surfing with the Alien. Relativity.Google Scholar
Satriani, J. (1987c). Surfing with the Alien. Relativity.Google Scholar
Satriani, J. (1989a). Flying in a Blue Dream. On Flying in a Blue Dream. Relativity.Google Scholar
Satriani, J. (1989b). The Mystical Potato Head Groove Thing. On Flying in a Blue Dream. Relativity.Google Scholar
Sawtooth World (2020). Michael Angelo Batio Sawtooth Double Guitar Performance at NAMM 2020 w ChromaCast String Dampener. YouTube. www.youtube.com/watch?v=8VzoTQveX-A.Google Scholar
Scallon, R. (2014). For That Second. On Anchor. Self-released.Google Scholar
Schmidt-Horning, S. (2004). Recording: The Search for the Sound. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 105–22.Google Scholar
Scorpions (1976). Virgin Killer. RCA Victor.Google Scholar
Scorpions (1977). The Sails of Charon. On Taken by Force. RCA Victor.Google Scholar
Seth, L. (2017). Dragonforce Guitarist Shoots Down Accusation Band Speeds Up Its Songs in The Studio. Blabbermouth. https://blabbermouth.net/news/dragonforce-guitarist-shoots-down-accusation-band-speeds-up-its-songs-in-the-studioGoogle Scholar
Happens, Sheet (2020). Sheet Happens Publishing. www.sheethappenspublishing.com.Google Scholar
Shelvock, M. (2014). The Progressive Heavy Metal Guitarist’s Signal Chain: Contemporary Analogue and Digital Strategies. KES Transactions on Innovation in Music, 1(1), 126–38.Google Scholar
Shred Guitar, TV (2019). Guitar Lesson: Rusty Cooley – Arpeggio Madness 1. YouTube. www.facebook.com/watch/?v=411973850004417Google Scholar
Slaven, J. E. & Krout, J. L. (2016). Musicological Analysis of Guitar Solos from the Roots of Rock Through Modern Heavy Metal. Metal Music Studies, 2(2), 245–51.Google Scholar
Stachó, L. (2018). Mental Virtuosity: A New Theory of Performers’ Attentional Processes and Strategies. Musicae Scientiae, 22(4), 539–57.Google Scholar
Standards (2020). Special Berry. On Fruit Island. Topshelf Records.Google Scholar
Steeler (1983). Steeler. Shrapnel.Google Scholar
Strachan, R. (2017). Sonic Technologies. Bloomsbury Academic.Google Scholar
Strohm, J. (2004). Women Guitarists: Gender Issues in Alternative rock. In Millard, A. J., ed., The Electric Guitar. Johns Hopkins University Press, 181200.Google Scholar
Swift, T. (2017). Look What You Made Me Do. On Reputation. Big Machine Records.Google Scholar
Symphony, X (1997). Of Sins and Shadows. On The Divine Wings Of Tragedy. Inside Out Music.Google Scholar
Talbot, M. (2000). Introduction. In Talbot, M., ed., The Musical Work. Liverpool University Press, 113.Google Scholar
Théberge, P. (1997). Any Sound You Can Imagine. Wesleyan University Press.Google Scholar
Todd, L. (2019). Fake Shredders – Hot Take. YouTube. www.youtube.com/watch?v=yucPd0n9hfg.Google Scholar
Tolinski, B. (2017). Play it Loud. Anchor Books.Google Scholar
Total Guitar (2012). Paul Gilbert Guest Lesson – String Muting. YouTube. www.youtube.com/watch?v=53yX_0XnZrc.Google Scholar
Turner, G. (2015). Electric Guitar Performance Techniques (PhD thesis). University of Sheffield, Sheffield.Google Scholar
Vai, S. (1984). Flex-Able. Food For Thought Records.Google Scholar
Vai, S. (1990a). Ballerina 12/24. On Passion and Warfare. Relativity.Google Scholar
Vai, S. (1990b). Passion and Warfare. Relativity.Google Scholar
Vai, S. (1995a). Bad Horsie. On Alien Love Secrets. Relativity.Google Scholar
Vai, S. (1995b). Tender Surrender. On Alien Love Secrets. Relativity.Google Scholar
Vai, S. (1998). Alien Love Secrets. Image Entertainment.Google Scholar
Vai, S. (2004). Steve Vai’s Guitar Workout. Hal Leonard.Google Scholar
Vai, S. (2010). Ibanez Universe 20th Anniversary Reissue. YouTube. www.youtube.com/watch?v=RsELKt_nquQ.Google Scholar
Vallejo, A. P. (2020). Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques (MA thesis). University of Huddersfield, Huddersfield. http://eprints.hud.ac.uk/id/eprint/35522.Google Scholar
Van Halen (1978a). Ain’t Talkin’ ‘Bout Love. On Van Halen. Warner Bros.Google Scholar
Van Halen (1978b). Eruption. On Van Halen. Warner Bros.Google Scholar
Van Halen (1978c). I’m the One. On Van Halen. Warner Bros.Google Scholar
Van Halen (1979). Spanish Fly. On Van Halen II. Warner Bros.Google Scholar
Halen, Van (1981). Mean Street. On Fair Warning. Warner Bros.Google Scholar
Halen, Van (1982). Cathedral. On Diver Down. Warner Bros.Google Scholar
Waksman, S. (1999). Instruments of Desire. Harvard University Press.Google Scholar
Waksman, S. (2003). Contesting Virtuosity: Rock Guitar Since 1976. In Coelho, V., ed., The Cambridge Companion to the Guitar. Cambridge University Press, 122–32.Google Scholar
Waksman, S. (2004). California Noise: Tinkering with Hardcore and Heavy Metal in Southern California. Social Studies of Science, 34(5), 675702.Google Scholar
Walser, R. (1992). Eruptions: Heavy Metal Appropriations of Classical Virtuosity. Popular Music, 11(3), 263308.Google Scholar
Webster, J. (1959a). Caravan. On Webster’s Unabridged. RCA Victor.Google Scholar
Webster, J. (1959b). Fountain Mist. On Webster’s Unabridged. RCA Victor.Google Scholar
Wiederhorn, J. (2015). Shrapnel Records: The House That Shred Built. Louder Sound. www.loudersound.com/features/shrapnel-records-the-house-that-shred-built.Google Scholar
Weinstein, D. (2013). Rock’s Guitar Gods: Avatars of the Sixties. Archiv Für Musikwissenschaft, 70(2), 139–54.CrossRefGoogle Scholar
Weissman, D. (2017). Understanding the Music Business. Taylor and Francis.Google Scholar
Wendell, H. V. (1991). Canonicity. Modern Language Association, 106(1), 110–21.Google Scholar
Wenger, E. (1998). Communities of Practice. Cambridge University Press.Google Scholar
Werner, A. (2017). YouTube and Music Video Streaming: Participation, Intermediation and Spreadability. In Johansson, S., Werner, A., Åker, P., and Goldenzwaig, G., eds., Streaming Music. Taylor and Francis, 138–56.Google Scholar
West, K. (2016). Champions. Def Jam Recordings.Google Scholar
Whiteley, S. (1990). Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix. Popular Music, 9(1), 3791.Google Scholar
Williamson, J., & Cloonan, M. (2013). Contextualising the Contemporary Recording Industry. In Marshall, L., ed., The International Recording Industries. Routledge, 1129.Google Scholar
Wood, G. D. (2010). Romanticism and Music Culture in Britain, 1770–1840. Cambridge University Press.Google Scholar
Wylde, Z. (1996). 1,000,000 Miles Away. On Book of Shadows. Geffen Records.Google Scholar
Yngwie J. Malmsteen’s Rising Force (1998). Blitzkrieg. On Alchemy. Dream Catcher.Google Scholar
Young, Y. (2020). Patience Riff. YouTube. www.youtube.com/watch?v=6Mt0lMW1fCw.Google Scholar
Zappa, F. (1976). Black Napkins. On Zoot Allures. Warner Bros.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Rock Guitar Virtuosos
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Rock Guitar Virtuosos
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Rock Guitar Virtuosos
Available formats
×