Author Archives: admin

- The new school of Russian Eastern and European classical guitar: The Post-Soviet rise of a global contributor

- The solo guitar works of Emilia de Zubeldia: Towards a performing edition

- An Analysis of Manuel Ponce’s Sonata III

- The Operatic Guitar: A Study of Selected Pieces From Opern-Revue, Op. 8 by Josef Kaspar Mertz

- The Orchestration of the Guitar Concerto: A Comparison of the Concerto in A Major,Op.30, by Mauro Giuliani and the Concierto del Sur by Manuel Ponce

- Transcription and performance of Franz Schubert’s music for guitar

- The Adaptation of Saxophone-Like Phrasing into the Improvisatory and Compositional Vocabulary of Jazz Guitar

- Beyond Nothingness: A Broader Nihilism in Cinema Paradiso by Stephen Goss

- Corelli on the Guitar: Arranging “Tocata de Coreli” for Classical Guitar through the Lens of Spanish Baroque Guitarist Santiago de Murcia (1673-1739)

- Lost in Translation? A Comparison of the Anna Magdalena Bach Manuscript and John W. Duarte Arrangement of Cello Suite No. 3, BWV 1009 by Johann Sebastian Bach

- Extremities: the Vihuela in Development and Decline

- The Classical Guitar in Spain, Portugal, Italy & Germany. A General Approach to Its History

- A Trip to Venice in 1530 by Francesco da Milano

- 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