Categoría: Historical research

- The Guitarist behind La Guitaromanie : Charles de Marescot

- Giuliani’s Naples: A Walking Tour

- Breaking the Matrix: Transcribing Bartók and Ligeti for the Guitar Using a New Capo System

- Spanish Guitarists in Nineteenth-Century São Paulo

- The Guitar as an “Open-Air” Instrument in the Early Romantic Era

- An Uncatalogued Piece by Fernando Sor?

- Henry Worrall (1825–1902): Anglo-American Guitarist

- Concepción Gómez de Jacoby: Tárrega’s Enigmatic Patron and Recuerdos de la Alhambra

- New Light on Mauro Giuliani’s Vienna Years

- The Life and Times of Josef Kaspar Mertz: New Biographical Insights

- Andrés Segovia’s Unfinished Guitar Method: Placing His “Scales” in Historical Context

- Guitar Music Manuscripts in the Senate Library of Madrid: The Canción patriótica de la Alianza and Its Experimental Notation

- Dating Trille Labarre’s Nouvelle méthode: Caught Between Printing and Publishing?

- “The Lutenist!”: Anxieties, Ambiguities, and Deviations in Julian Bream’s Discography

- Recent Sonata Theory and the Performance of Early Nineteenth-Century Guitar Sonatas

- Exploration of Late Twentieth Century American Flute and Guitar Works with Emphasis on Robert Beaser’s Mountain Songs and Lowell Liebermann’s Sonata for Flute and Guitar

- So that the soul would dance in you. The guitar in Finland before the twentieth century

- The Guitar’s Apostle: Imaginaries and Narratives Surrounding Andrés Segovia’s Religious Redemption of the Classical Guitar

- The Guitar in Arnold Schoenberg´s Serenade, Opus 24: Antecedents and Legacy

- A Survey of the Solo Guitar Works Written for Julian Bream

- Minimalism and the guitar

- The process of transcription for guitar of J.S.Bach Chaconne from partita II for violin without accompaniment BWV 1004

- Christian Gotthilf Four sonatas transcribed for guitar duo

- The Use of Guitar in Anton Webern’s Op. 18 and its Influence on His Late Works

- The Spanish guitar influence on the piano music of Isaac Albéniz and Enrique Granados: a detailed study of Granada and Asturias of Suite española by Albéniz and Andaluza and Danza triste of Doce danzas españolas by Granados

- Towards an Ethnomusicology of Contemporary Flamenco Guitar

- Fernando Sor’s Theory of Harmony Applied to the Guitar: History, Bibliography and Context 

- The Guittar in the British Isles, 1750-1810

- Guitar style, open tunings and stringband music in Papua New Guinea

- Tracing the Segovia style: Collaboration and composition in the guitar Sonatinas of Mario Ponce

- Franco Margola ‘ s Chamber Works with Guitar: A Guide and Annotated Catalog

- Guitar music by japanese composers

- Flamenco : A Musical Journey into the Heart of Andalusia

- El Murciano´s “Rondeña” and early flamenco guitar music: New findings and perspectives

- Julian Bream, the great dissident of Segovia’s era

- The Guitar and Banal nationalism during the Restoration in Spain

- Guitars with Many Strings: The Meanings of Music in Picassoʼs Early Work 1900-1914

- Ida Presti as a Solo Performer and Composer of Works for Solo Guitar

- Participating in the musical tradition of prejjem: Transmitting the guitar culture of għana within and between insular musical communities of islanders in Malta and the Maltese-Australian diaspora

- Analysis and synthesis of expressive guitar performance

- Charlatans, Saltimbanques, and Lumpen Songs: The Emergence of the Guitar from the Ghetto of Western Art Music

- The five-course guitar, alfabeto song and the villanella spagnola in Italy, ca. 1590 to 1630

- The Viennese guitar and its influence in North America : form, use, stringing, and social associations

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