Author Archives: admin

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

- Effective arranging practices fors 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

- François de Fossa, Louis Picquot and the transmission of Luigi Boccherini’s guitar quintets

- Tracking the Banjo: From Across the Water to the Stage and Up the Mountains

- The Guitarist behind La Guitaromanie : Charles de Marescot

- Giuliani’s Naples: A Walking Tour

- Reginald Smith Brindle’s Concept of Tonal-Atonal Equilibrium in Theory and Practice

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

- Monitored Freedom: Swing Rhythm in the Jazz Arrangements of Roland Dyens

- Spanish Guitarists in Nineteenth-Century São Paulo

- “For Andrés Segovia”: Francisco de Lacerda’s Suite goivos (1924)

- 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

- Villa-Lobos Etudes for the Guitar: The 1928 Manuscript

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

- Style, Structure, and Performance in Three Portraits for Solo Guitar (2004–2020) by Sérgio Assad

- 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

- Recording the Classical Guitar: A Documentation and Sound Analysis of Great Classical Guitar Recordings with a Guide for Sonic Emulation

- Aspects of Social and Stylistic Associations in Four Works of Mauro Giuliani

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