Categoría: GENERAL

- 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

- The Guitar in Arnold Schoenberg´s Serenade, Opus 24: Antecedents and Legacy

- Aspects of Villa-Lobos’s Tonal Style in Some of His Studies for Guitar

- Alternatives in Guitar Notation: Towards a Practical Implementation of Clef and Score Reading on the Guitar

- A look at form and pitch content in Toru Takemitsu’s “Equinox”

- A Survey of the Solo Guitar Works Written for Julian Bream

- Guide to the Interpretation of John Dowland’s “Queen Elizabeth’s Galliard P.41,” “Lachrimae Pavan P.15,” “Farewell Fantasy P.3,” and “Forlorn Hope Fancy P.2″ Transcribed for Guitar

- The Art of Transcription: Original Transcriptions of Erik Satie’s Five Nocturnes for Two Guitars Camille Saint-Saëns’ Danse Macabre, Op. 40 for Four Guitars

- Primary Sources and Editions of Suite Popular Brasileira, Choros No. 1, and Five Preludes, by Heitor Villa-Lobos: A Comparative Survey of Differences