Categoría: THE SPANISH GUITAR

- 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

- 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

- 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

- Minimalism and the guitar

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

- Creating an improviser ‘s system for jazz standards on the classical guitar

- Resource-Sensitive Global Production Networks: Reconfigured Geographies of Timber and Acoustic Guitar Manufacturing

- 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

- Creating Tablature and Arranging Music for Guitar with Genetic Algorithms and Artificial Neural Networks

- The acoustics and psychoacoustics of the guitar

- Legato and glissando identification in classical guitar

- The approach to tango, by classical guitarist

- The Guitar as an Accompaniment Instrument

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

- Stringshift. Solo Guitar Improvisation: Process, Methodology and Practice

- Principles of Idiomatic Guitar Writing

- 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

- The portuguese guitar: History and transformation of an instrument associates with fado

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

- The development and validation of an instrument for measuring the music sight-reading skills of classical guitarists at the college entry level

- An Analysis of Villa Lobos’s’ Twelve Etudes for Guitar

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

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

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

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

- Bringing new works to life : collaboration and interpretation in the performance, recording and editing of new works for guitar