Categoría: THE SPANISH GUITAR

- The baroque guitar as an accompaniment instrument for song, dance and theatre – Natasha Frances Miles

- 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

- El estilo castellano y el estilo catalan. An introduction to spanish guitar chord notation

- 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

- Transcribing English Virginal Music for Two Guitars: Historical Perspective, Methodology, and Practical Applications

- Vincenzo Galilei’s “26 Ricercari” from Fronimo, Transcribed for Guitar: Challenges and Solutions for Transcribing and Playing Italian Renaissance Lute Tablature on the Modern Guitar

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

- A String of Confusion Some Thoughts on A. Strummer’s Book Review of Italian Guitar Music of the Seventeenth Century

- 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

- ‘Caprice de chaconne’ (1671): Symmetry and proportions in Francesco Corbetta’s work for Baroque guitar

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

- Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum

- Cognitive and metacognitive learning strategies for skill acquisition among conservatory guitarists

- Finite Element Design and Manufacturing of a Nylon-String Guitar Soundboard from Sandwich-Structured Composites

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

- The Development of a Method for Teaching Fundamentals of Guitar to College Students in Music Education and Music Terapy Curricula

- A critical and performance edition of Agustin Barrios´s Cueca

- 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

- Left-Hand Injuries in Guitarists: Literature Review and Some Solutions

- Basic Left Hand Position and Technique

- Becoming a healthier guitarist: Understanding and addressing injuries

- 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

- Guitar Passacagli and Vocal Arie

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

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

- Phrase Structure and Linear Progression in Villa-Lobos Preludes 1, ,2 and 5 for Guitar

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

- William Walton’s Five Bagateles for Guitar

- A comparison of the piano and guitar version of Isaac Albeniz´s Spanish Suite Op.47

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

- Modern Guitar Techniques; a view of History, Convergence of Musical Traditions and Contemporary Works (A guide for composers and guitarists)

- The Just Intonation Guitar Works of Lou Harrison, James Tenney, and Larry Polansky

- Expressing Ourselves: Carcassi Op. 60

- Warlock, Dowland and Segovia