Categoría: THE SPANISH GUITAR

- The Chromatic Guitar Method

- Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar

- Joaquín Rodrigo´s “Cuatro piezas para piano” transcribed for guitar trio

- 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

- A Practical Guide for Composing and Performing Guitar-Piano Chamber Music

- Body, mimesis and image : a gesture based approach to interpretation in contemporary guitar performing practice

- 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 russian seven-string guitar

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

- Numerical Simulation of guitar radiation fields using the boundary element method

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

- The acoustics of the guitary

- Computer Vision Methods for Guitarist Left-Hand Fingering Recognition

- Classical Guitar and Playing-Related Musculoskeletal Problems – A Systematic Review

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

- A conductor’s guide to the poetical and musical style of the “cante jondo” based in the work of Mario Castelnuovo-Tedesco’s “Romancero Gitano”, op.152

- The Siguiriyas song form in flamenco guitar : a historical and comparative study

- On the structural and acoustic desing of soundboards

- Materials-inspired innovation for acoustic guitar design

- A study of multiculturalism in 20th century guitar music and the the Brazilian elements in the music of Roland Dyens

- The cadenzas of the first modern guitar concertos

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

- The Conscious Guitarist: Alexander Technique and Body Mapping for Guitarists

- Giulio Regondi in Ireland

- A Performance Guide to Latin-American Guitar Quartets: The Quartets of Ernesto Cordero, Leo Brouwer, and Sérgio Assad

- Alberto Ginastera’s Sonata for Guitar Op. 47: an analysis

- Antonio Jose Martinez Palacios’ “Sonata para Guitarra” (1933), an analysis, performer’s guide, and new edition – Whitehead, Corey E.

- A comparison of selected classical guitar theaching methods and a review of the implications for guitar education

- The prevalence of playing-related musculoskeletal disorders to the upper limb in student guitar players

- Replacing patterns : towards a revision of guitar fretboard pedagogy

- Bridging two worlds: baroque violin performance practices as a model for the transcription of selected movements of J.S. Bach’s sonatas and partitas for solo violin on the modern guitar

- Techniques for expressive nuance in classical guitar performance : portfolio of recordings and exegesis

- Rise and fall of iconic guitar tonewoods and evaluation of alternative species

- Historical analysis and remaking of two German keyed guitars from the Romantic period using traditional and digital technologies

- A study of selected works by Canadian guitarists-composers from the perspective of idiomatic composition for the classical guitar

- Expanding guitar production techniques: Building the Guitar Application Toolkit (GATK)

- The Flamenco Guitar Dissertation

- Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars

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

- Methodology of guitar instruction

- 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