Categoría: Historical research

- The Guitar in Tudor London

- Buying, selling and owning guitars in Elisabethan England – Christopher Page

- The Guitar in the Age of Charles I

- An Englishman (wich a guitar) abroad

- The Guitar at the Restoration Court

- Comparison of the “Méthode Pour La Guitare” by Fernando Sor with the “Méthode Complète Pour La Guitare Par Ferdinand Sor, Rédigée Et Augmentée De Nombreux Exemples Et Leçons Suivis D’une Notice Sur La 7e Corde” by Napoléon Coste

- Revising the Origins of the Brazilian Seven-string Guitar Through Musical Analysis

- The Impact of Print Technology on the Early Guitar Repertoire – Gideon Brettler

- Early Seventeenth-Century Harmonic Practice: A Corpus Study of Tonality, Modality, and Harmonic Function in Italian Secular Song with Baroque Guitar Accompaniment in Alfabeto Tablature

- Villa-Lobos 12 Études: how the manuscripts affect the performance

- Evolution of a “National Linguagen” in the Guitar Music of H. Villa-Lobos

- Santiago de Murcia: a survey of his Baroque guitar books

- Gaspar Sanz and the Stringing of the Italian Baroque Guitar Masters – Samuel Zachary Vierra

- Expressing Ourselves: Carcassi Op. 60

- Warlock, Dowland and Segovia

- Cyril Scott, Segovia and the Sonatina for Guitar

- Segovia and the Russians

- Italian Guitar Music in the second half of the eighteenth century

- New Light on the Provenance of the Guitar Quintets by Luigi Boccherini

- Some observations on the origins and authorship of Aguado’s Escuela

- Two Madeiran Manuscripts from the 19th Century for Classical Guitar” in Música para Viola

- Towards a classificatory organology of the viola and the violão in nineteenth-century Rio de Janeiro

- Records, radios and guitars in Brazil (1902-2013)

- The Seven-String Guitar in 19th-Century Russian Culture

- The Toccatas of Johannes Hieronymus Kapsberger’s Libro Primo D’Intavolatura Di Lauto: Analysis, Performance Practice, and Transcription for Modern Classical Guitar

- A Brief History of the Russian Seven-String Guitar

- Alla [vera] spagnola: Hearing Spain and Playing Guitar in Early Modern Italy

- In search of François de Fossa

- Henri Sauguet’s unpublished guitar music

- Divergence and convergence in Spanish classical and flamenco guitar traditions (1850-2016) -

- The Impressionistic Guitar: Is there a mutual influence between the Spanish guitar and the Impressionist masters?

- The classical guitar in Australia: Foundations

- The Guitar in England 1800-1924

- Six Keyboard Sonatas of Manuel Blasco de Nebra: Transcriptions for Guitar and Analysis of Spanish Folk Music Influences, and Use of Keyboard Techniques that Imitate the Guitar, as Inspired by Domenico Scarlatti

- J.S. Bach’s Suite in G Minor, BWV 995: A Comparison of Manuscripts for Violoncello, Lute and Lute Intabulation as a Model for a Guitar Arrangement of the Suite in D Major BWV 1012

- John Williams: An Evaluation of his Impact Upon the Culture of the Classical Guitar

- Nationalism in the Guitar Music of Early Twentieth-Century Spanish Composers: De Falla, Turina, and Torroba.

- Regino Sainz de la Maza

- From Spain to the United States: Joaquín Rodrigo’s Transatlantic Legacy

- Francisco Tarrega the Story of Capricho Arabe

- The Guitar in the Middle Ages and Renaissance

- Anton Webernʼs Guitar as a Model for the Orchestration of His Late Works

- The Emergence of Leo Brouwer’s Compositional Periods: The Guitar, Experimental Leanings, and New Simplicity

- The Influence of Miguel Llobet on the Pedagogy Repertoire and Stature of the Guitar in the Twentieth Century