Categoría: Analisys of musical works

- Effective arranging practices fors solo classical guitar

- 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

- Transcription, performance and recording of Johann Sebastian Bach’s works for lute on a ten-string guitar

- 19th century Performance Practice Miguel Llobet’s Interpretation of J.S. Bach

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

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

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

- 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

- 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

- 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

- Leo Brouwer’s Elogio de la danza (1964): Im prints of Dance, Stravinsky, & the Unison of Contraries

- The Afro-Cuban and the Avant-Garde unification os the style and gesture in the guitar music of Leo Brouwer

- Some rhythmic theories compared and applied in an analysis of El decameron negro by Leo Brouwer

- Aguacero: A Semiotic Analysis of Paisaje Cubano con Lluvia by Leo Brouwer

- 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 approach to tango, by classical guitarist

- 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

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

- Stefano Landi’ s Arie a una voce and Early Seventeenth-century Italian Guitar Music with Alfabeto Notation

- Historically informed interpretation: a process in relation to the Deuxi ` eme Grande Sonate op.25 for solo guitar by Fernando Sor

- Mario Castelnuovo-Tedesco´s The Divan of Moses-Ibn-Ezra A cycle of Songs for Voice and Guitar op. 207 (1966)

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

- Pride, Pedagogy, and Performance: Getaran Jiwa, Variations on a Malaysian Song, Op. 125 by John Duarte

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

- Esteban Daza, “El Parnasso”

- The early guitar in Paris: A comparative study of the music of Adrian Le Roy and Guillaume Morlaye

- Flute partita a-minor BWV 1013: arrangement for guitar

- Theme and Variations for guitar Op. 77: an analysis and background of Lennox Berkeley’s brilliant composition for the guitar

- Agustín Barrios and musical identity: Tangos in early twentieth-century guitar repertory

- An Expert System for Guitar Sheet Music to Guitar Tablature

- Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar

- Joaquín Rodrigo´s “Cuatro piezas para piano” transcribed for guitar trio

- Participating in the musical tradition of prejjem: Transmitting the guitar culture of għana within and between insular musical communities of islanders in Malta and the Maltese-Australian diaspora

- A Practical Guide for Composing and Performing Guitar-Piano Chamber Music