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- Printing the Art of Orpheus: Vihuela Tablatures in Sixteenth-Century Spain

- Bembo to Barbetta: Lutes, Lutenists and Luthiers in Cinquecento Padua

- An Attractive and Varied Repertoire. The Guitar Revival of 1860–1900 and Victorian Song

- Luigi Legnani’s Missing Opus 9

- The Guitar Music Collection of Justin Holland

- Of Self & Circumstance Music and Representation in the Works of Rodrigo

- Fine-Tuning Ferdinand Rebay’s Second Sonata in E major for Guitar

- How to play allegro BWV 1003 for classical guitar according to baroque standards

- The Guitar at the Opera: An Investigation into Guitar Repertoire Inspired by the Operas of Vincenzo Bellini

- Sacred Geometry: An analysis of Pat Martino’s guitar improvisations on Welcome To A Prayer

- Fretboard Navigation Strategies in Jazz Guitar Improvisation Theory and Practice

- The 19th Century Song Cycle and the European Classical Guitar

- Women and the guitar in Spain’s upper classes

- Robert de Visée and the French tuning

- An Investigative Analysis of Fernando Sor’s Introduction and Variations on “O Cara Armonia” From Mozart’s The Magic Flute

- Appalachian Dreams: Traditional Folk Songs in Concert Literature for Classical Guitar

- Incorporating Classical Persian Performance Practice into the Delivery of Modern Compositions for Classical Guitar .

- Sound engineers and Guitarists Perception of the Timbre of the Electric Guitar Amplifier as Dependent on Microphone Distance

- Transcription for guitar trio of Joaquín Rodrigo’s Cuatro piezas para piano

- Adoption of Phīn tuning on Classical Guitar

- Angel Ferrera Iglesias. A Great Spanish Guitar Virtuoso and the Danish Odeon Recordings

- Albeniz’s Leyenda (Preludio-Asturias)

- Albeniz and the Guitar

- Content Analysis of Guitar Repertoire for Young People: The Michelson and Suzuki Collection

- Otra cosa es con guitarra: Representation and Significance of the Guitar in Tango Literature

- Music Performance Anxiety on the Classical Guitar: Expert Strategies in Psychology and Pedagogy

- Manuel Y. Ferrer and Miguel S. Arévalo: Premier Guitarist-Composers in Nineteenth-Century California

- From Commission to Publication: a Study of Mario Castelnuovo-Tedesco’s Guitar Repertoire Informed by his Correspondence with Andrés Segovia

- Effective arranging practices for solo classical guitar

- Scordatura on the Classical Guitar: Implications for Practice and Performance

- Sor’s Allegro in the Spanish style, Natalie Houzé, and key dates in European cultural and political history

- Formal Aspects of Mauro Giuliani’s Gran Sonata Eroica in A Major

- The Reception of Lute Pieces by the Silesian Lutenist Esaias Reusner Junior in the Levoča Manuscripts. The scribe case of Jacques Bittner

- Exploring a Modified Fifths Tuning as a Vehicle for Composition for Jazz Guitar

- Colombia’s Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms

- Are replicas of Nicolás del Valle’s pear-shaped guitar from 1850 acoustically matching the original?

- Studying Torres guitars

- The Significant Role of the Fingernails in the Production of Tone on the Classical Guitar

- Revisiting the Music-Printing Market in Seventeenth-Century Italy and the Peculiar Case of Pietro Millioni’s Guitar Books

- Oral transmission and the production of guitar tablature books in seventeenth-century Italy

- Transcription, performance and recording of Johann Sebastian Bach’s works for lute on a ten-string guitar

- Barrios’s encyclopedic approach to the guitar

- 19th century Performance Practice Miguel Llobet’s Interpretation of J.S. Bach

- Violeta Parra: Life and Work