Categoría: Historical research

- 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?

- 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

- The Guitarist behind La Guitaromanie : Charles de Marescot

- Giuliani’s Naples: A Walking Tour

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

- Spanish Guitarists in Nineteenth-Century São Paulo

- 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

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

- 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

- 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

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

- Minimalism and the guitar

- The process of transcription for guitar of J.S.Bach Chaconne from partita II for violin without accompaniment BWV 1004

- Christian Gotthilf Four sonatas transcribed for guitar duo

- The Use of Guitar in Anton Webern’s Op. 18 and its Influence on His Late Works

- The Spanish guitar influence on the piano music of Isaac Albéniz and Enrique Granados: a detailed study of Granada and Asturias of Suite española by Albéniz and Andaluza and Danza triste of Doce danzas españolas by Granados

- Towards an Ethnomusicology of Contemporary Flamenco Guitar

- Fernando Sor’s Theory of Harmony Applied to the Guitar: History, Bibliography and Context 

- The Guittar in the British Isles, 1750-1810

- Guitar style, open tunings and stringband music in Papua New Guinea

- Tracing the Segovia style: Collaboration and composition in the guitar Sonatinas of Mario Ponce

- Franco Margola ‘ s Chamber Works with Guitar: A Guide and Annotated Catalog

- Guitar music by japanese composers

- Flamenco : A Musical Journey into the Heart of Andalusia

- El Murciano´s “Rondeña” and early flamenco guitar music: New findings and perspectives

- Julian Bream, the great dissident of Segovia’s era