Rita Torres

contact(at)ritatorres.eu


vita | composing | research | agenda

communications | publications

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Torres, R., & Ferreira-Lopes P. (in press). The sound world of guitar multiphonics.

In M. Doğantan-Dack &, J. Dack (Eds.), Music and Sonic Art: Theories and Practices.

Cambridge: Cambridge Scholars Publishing. To be available from this webpage.


Torres, R. (2015). A new chemistry of sound: The technique of multiphonics as a compositional

element for guitar and amplified guitar. (Doctoral thesis). Universidade Católica Portuguesa.

Retrievable from http://repositorio.ucp.pt/bitstream/10400.14/21230/1/Rita Torres - A New Chemistry of Sound.pdf

[Addenda et corrigenda]


Torres, R., & Ferreira-Lopes P. (2014). Guitar multiphonics: Influence of amplification.

In T. Klouche, E. R. Miranda (Eds.), 9th Conference on Interdisciplinary Musicology – CIM14: Proceedings, pp. 276-279.

Berlin: Staatliches Institut für Musikforschung. [scanned paper]


Torres, R., & Ferreira-Lopes, P. (2014). Towards overcoming the guitar's color research gap.

Revista Vórtex, 2(1), 16-36. Retrievable from http://vortex.unespar.edu.br/torres_v2_n1.pdf


Torres, R., & Ferreira-Lopes, P. (2013). Guitar multiphonics: Notations for a formalized approach.

In F. Scarduelli, & F. Aguera (Eds.), VII Simpósio Académico de Violão: Anais do evento, pp. 263-281. Curitiba: EMBAP.

Retrievable from http://www.embap.pr.gov.br/arquivos/File/simposio/violao2014/Anais_do_VII_Simposio_EMBAP.pdf


Torres, R., & Ferreira-Lopes, P. (2012). Multiphonics as a Compositional Element in Writing for Amplified Guitar (1).

Korean Electro-Acoustic Music Society’s 2012 Annual Conference: Proceedings, pp. 73-83.


Torres, R., & Ferreira-Lopes, P. (2012). Multiphonics as a Compositional Element in Writing for Amplified Guitar (1) [Rev.].

Emille, 10, 55-65. Retrievable from http://keams.org/emille/emille/emille_10/1-6_torres&ferreira-lopes.pdf

[needs Acrobat Reader XI; in case of problem: scanned paper]


Torres, R., & Ferreira-Lopes, P. (2012). Multiphonics as a Compositional Element in Writing for Amplified Guitar (2).

Journal of Science and Technology of the Arts, 4(1), 61-69. DOI: 10.7559/citarj.v4i1.67

Retrievable from http://artes.ucp.pt/citarj/article/view/67/37 [Corrigenda]


Torres, R. (2008). Von der punktuellen zur statistischen Zeitwahrnehmung: Stockhausens

"...wie die Zeit vergeht..." und seine Rezeption. (B.A. dissertation). Hochschule für Musik Karlsruhe.




One or more of the above-listed publications are cited by other authors in the following publications:


Josel, S. F., & Tsao, M. (2014). The techniques of guitar playing. Kassel: Bärenreiter.


Haukka, A. (2016). Fernando Sorin (1778–1839) kitarafantasiat yhdelle soittajalle: Semioottisia analyysejä.

(Master's dissertation). University of Helsinki. Available from HELDA – Digital Repository of the University of Helsinki.


Kubilay, I. A., Vesilkkala, J. T., Pàmies-Vilà, M., Kuusi, T., & Välimäki, V. (2015).

High-speed line-scan camera measurements of piano string multiphonics.

Proceedings of the 22nd International Congress on Sound and Vibration. Retrieved from

http://iiav.org/archives_icsv_last/2015_icsv22/content/papers/papers/full_paper_316_20150504163353501.pdf


Pazieczny, M. (2016). The duality of the composer-performer. (Doctoral thesis). University of Surrey. Available from Surrey Research Insight.


Schneider, J. (2015). The Contemporary Guitar (Rev. and enlarged ed.). Lanham, MD: Rowman & Littlefield


Vesikkala, J. T. (2016). Multiphonics of the Grand Piano: Timbral Composition and Performance with Flageolets. (Master's dissertation). Sibelius Academy. Available from Sibelius Academy Theses Database.


Vishnick, M. L. (2014). A Survey of extended techniques on the classical six-string guitar with

appended studies in new morphological notation, Vol. 2. (Doctoral thesis). City University of London. Available from City Research Online.


Vishnick, M. L. (2015). Sculpting sound on the classical six-string guitar, Vol. 2. CreateSpace Independent Publishing Platform.



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