Categoría: Historical research

- 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

- 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