Categoría: Historical research

- The unligigated case: A study of the legality of guitar tablatures

- The Guitar and Hausmusik in the Late 18th and Early 19th Centuries

- Giulio Regondi in Ireland

- The Flamenco Guitar Dissertation

- Barthélemy Trille Labarre, ‘Professeur de Guitare et Compositeur, Élève d’Haydn’, biography and catalogue of works

- Folkloric and popular elements in classical guitar performance: Spain, Argentina, Chile and Ecuador

- The baroque guitar as an accompaniment instrument for song, dance and theatre

- Harmonic Patterns and Melodic Paraphrases in Eighteenth-Century Portuguese Music for the Five-Course Guitar

- Black guitar-players and early African-Iberian music in Portugal and Brazil

- Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar

- The Violin Sonatas of Johann Georg Pisendel (1687-1755): A History, Analysis, and Arrangement for Solo Guitar

- The Guitar in Italy in the Nineteenth Century, sixty biographies of Italian composers and guitarists

- Collaborating with the Guitar: The exploration of collaborative practices between three non-guitarist composers and a guitarist performer in the creation of new works for the classical guitar

- Journal des Troubadours Avec Accompagnement de Guitare ou Lyre with its Unusual Dating Code and Ferdinando Carulli as Composer and Arranger

- Campanelle in Seventeenth-Century Guitar Music, Bells and Riddles

- Extra fine Guitars after the newest Fashion’: guitar- and cittern-making in the northern Netherlands, 1750–1800

- The Guitar in Tudor London

- Buying, selling and owning guitars in Elisabethan England – Christopher Page

- The Guitar in the Age of Charles I

- An Englishman (wich a guitar) abroad

- The Guitar at the Restoration Court

- Comparison of the “Méthode Pour La Guitare” by Fernando Sor with the “Méthode Complète Pour La Guitare Par Ferdinand Sor, Rédigée Et Augmentée De Nombreux Exemples Et Leçons Suivis D’une Notice Sur La 7e Corde” by Napoléon Coste

- Revising the Origins of the Brazilian Seven-string Guitar Through Musical Analysis

- The Impact of Print Technology on the Early Guitar Repertoire – Gideon Brettler

- Early Seventeenth-Century Harmonic Practice: A Corpus Study of Tonality, Modality, and Harmonic Function in Italian Secular Song with Baroque Guitar Accompaniment in Alfabeto Tablature

- Villa-Lobos 12 Études: how the manuscripts affect the performance

- Evolution of a “National Linguagen” in the Guitar Music of H. Villa-Lobos

- Santiago de Murcia: a survey of his Baroque guitar books

- Gaspar Sanz and the Stringing of the Italian Baroque Guitar Masters – Samuel Zachary Vierra

- Expressing Ourselves: Carcassi Op. 60

- Warlock, Dowland and Segovia

- Cyril Scott, Segovia and the Sonatina for Guitar

- Segovia and the Russians

- Italian Guitar Music in the second half of the eighteenth century

- New Light on the Provenance of the Guitar Quintets by Luigi Boccherini

- Some observations on the origins and authorship of Aguado’s Escuela

- Two Madeiran Manuscripts from the 19th Century for Classical Guitar” in Música para Viola

- Towards a classificatory organology of the viola and the violão in nineteenth-century Rio de Janeiro

- Records, radios and guitars in Brazil (1902-2013)

- The Seven-String Guitar in 19th-Century Russian Culture

- The Toccatas of Johannes Hieronymus Kapsberger’s Libro Primo D’Intavolatura Di Lauto: Analysis, Performance Practice, and Transcription for Modern Classical Guitar

- A Brief History of the Russian Seven-String Guitar

- Alla [vera] spagnola: Hearing Spain and Playing Guitar in Early Modern Italy

- In search of François de Fossa