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

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

- The Guitar and Banal nationalism during the Restoration in Spain

- The guitar as a teaching tool in the elementary general music classroom

- Guitars with Many Strings: The Meanings of Music in Picassoʼs Early Work 1900-1914

- Production and evaluation of a self-instructional method for teaching jazz guitar

- Esteban Daza, “El Parnasso”

- Guitar fingerboard theory for high school students : an annotated instruction book

- Classic guitar : methods for the evaluation of technique and the gradation of repertoire

- Altered states of performance: scordatura in the classical guitar repertoire

- The Dowland lute-songs : studies in hermetic form

- Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary

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

- Ergonomic fingerings for guitar chordsequences

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

- Perceived differences in electric guitar amplification applications

- Sound engineers and Guitarists Perception of the Timbre of the Electric Guitar Amplifier as Dependent on Microphone Distance

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

- Optimization and evaluation of crucial properties for stainless steel wire used as guitar strings

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

- The creative and technical differences in composing an electric guitar concerto and classical guitar concerto

- Ida Presti as a Solo Performer and Composer of Works for Solo Guitar

- Professional Profiles, Pedagogic Practices, and the Future of Guitar Education –

- An Expert System for Guitar Sheet Music to Guitar Tablature

- The Chromatic Guitar Method

- 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

- Body, mimesis and image : a gesture based approach to interpretation in contemporary guitar performing practice

- Analysis and synthesis of expressive guitar performance

- The electric guitar in contemporary arts music

- Charlatans, Saltimbanques, and Lumpen Songs: The Emergence of the Guitar from the Ghetto of Western Art Music

- Real-time software electric guitar audio transcription

- The russian seven-string guitar

- The five-course guitar, alfabeto song and the villanella spagnola in Italy, ca. 1590 to 1630

- Electric guitar performance techniques : meaning and identity in written discourse

- Numerical Simulation of guitar radiation fields using the boundary element method

- The Viennese guitar and its influence in North America : form, use, stringing, and social associations

- The acoustics of the guitary

- The vihuela music of Diego Pisador

- The Reputation of Francesco da Milano (1497-1543) and the Ricercars in the Cavalcanti Lute Book

- Sixteenth centuary accidentals and ornamentation in selected motets of Josquin. Desprez: a comparative study of the printed intabulations with the vocal sources

- The Renaissance thumb-under lute technique