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- Guitar (5)
- Fernando Sor (4)
- Henry Worrall (4)
- Mauro Giuliani (4)
- Andrés Segovia (3)
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- Baroque guitar (3)
- Classical guitar (3)
- Early music (3)
- Facsimile (3)
- Josef Kaspar Mertz (3)
- Spanish guitar music (3)
- Barthélemy Trille Labarre (2)
- Charles De Marescot (2)
- Charles de Marescot (2)
- Giuliani's Naples: A Walking Tour (2)
- Giuliani’s Zwölf neue Wald-Ländler (2)
- Guitar Music in Collections (2)
- Guitar historiography (2)
- Harry Partch (2)
- John Schneiderman (2)
- La Guitaromanie (2)
- New Chamber Music with Guitar (2)
- Social history of the guitar (2)
- The Early Guitar in The New World (2)
- Transcription (2)
- 1650-1950 (1)
- 1800-1850 (1)
- 1820 (1)
- 1827 (1)
- 19th-century guitar (1)
Articles 31 - 60 of 70
Full-Text Articles in Music Theory
Cover
Soundboard Scholar
The scene of angel musicians on our cover is a detail shot of the topmost portion of the famous “Paradiso” fresco in the Cathedral of Orvieto, Italy. It was painted by Luca Signorelli in 1499, at the very time of Columbus’s third voyage, when (as Richard Pinnell explains in this issue) Spanish guitarras and vihuelas were first being introduced to the New World. The Signorelli fresco’s music-historical interest for us lies in the guitar-like instrument depicted in the hands of the highest angel in the heavenly ensemble—a position of no small honor for her or her instrument. It is approximately …
Editor's Letter, Thomas Heck
Editor's Letter, Thomas Heck
Soundboard Scholar
An introduction to the contents of this issue.
The Early Guitar In The New World: Its Route From Seville To Santo Domingo, Puerto Rico, And Cubagua (1497–1550), Richard T. Pinnell
The Early Guitar In The New World: Its Route From Seville To Santo Domingo, Puerto Rico, And Cubagua (1497–1550), Richard T. Pinnell
Soundboard Scholar
Pinnell discusses the history of guitar in the New World. The third voyage of Christopher Columbus was not only the first of the Columbian voyages to reach South America along the Venezuelan coastline; it was also the first that explicitly included musical instruments and trained musicians. "Their Catholic Majesties" (Los Reyes Católicos), so designated by Pope Alexander VI upon their defeat of the Moors, had already been quite disappointed with the lack of stability and growth in the grim encampments established by Columbus, so this time they proposed a unique list of professions and skills among the passengers to ensure …
Mauro Giuliani And Austrian Folk Music, Stefan Hackl
Mauro Giuliani And Austrian Folk Music, Stefan Hackl
Soundboard Scholar
Mauro Giuliani, one of the most important figures in the growth and development of the guitar in the earlier nineteenth century, spent his most productive years in Vienna from 1806 to 1819. He was well connected with the cultural and social life of the imperial city, at the time a melting pot which welcomed talented artists with diverse backgrounds from throughout the provinces and neighboring states. Here, Hackl discusses Giuliani's folk songs.
Featured Facsimile: Mauro Giuliani’S ZwöLf Neue Wald-LäNdler (Twelve New Forest-LäNdler), Op. 23, Mauro Giuliani
Featured Facsimile: Mauro Giuliani’S ZwöLf Neue Wald-LäNdler (Twelve New Forest-LäNdler), Op. 23, Mauro Giuliani
Soundboard Scholar
Giuliani's Zwölf neue Wald-Ländler (Twelve New Forest-Ländler), Op. 23, in score. It was first published by the prestigious firm of Artaria & Co., with plate no. 2710, advertised for sale on 27 January 1810. Characteristic of these waltzes were the chordal (triadic) melodies, inspired stylistically by yodelers and yodeling. The intervallic tuning of the guitar favors the performance of such melodies as these, which evoke a style of folk music that runs deep in Austrian musical consciousness. Usually performed in sets of twelve, all in the same key, a Ländler-reihe (set, or row) usually began slowly, accelerated gradually toward the …
Los Romeros: Royal Family Of The Spanish Guitar By Walter Aaron Clark, Richard Long
Los Romeros: Royal Family Of The Spanish Guitar By Walter Aaron Clark, Richard Long
Soundboard Scholar
A review of Los Romeros: Royal Family of the Spanish Guitar by Walter Aaron Clark.
Nineteenth-Century Guitar Songs: An Idiosyncratic Survey, By Ian Gammie, Richard Long
Nineteenth-Century Guitar Songs: An Idiosyncratic Survey, By Ian Gammie, Richard Long
Soundboard Scholar
A review of Nineteenth-Century Guitar Songs: An Idiosyncratic Survey, by Ian Gammie.
21st-Century Spanish Guitar (Levin), Nathan Cornelius
21st-Century Spanish Guitar (Levin), Nathan Cornelius
Soundboard Scholar
A review of 21st-Century Spanish Guitar, album by Levin, Adam.
Corbetta: La Guitarre Royalle (Elias), Ellwood Colahan
Corbetta: La Guitarre Royalle (Elias), Ellwood Colahan
Soundboard Scholar
A review of Corbetta: La Guitarre Royalle, album by Elias, Izhar.
Francesco Corbetta: La Guitarre Royalle (Carter), Ellwood Colahan
Francesco Corbetta: La Guitarre Royalle (Carter), Ellwood Colahan
Soundboard Scholar
A review of Francesco Corbetta: La Guitarre Royalle, album by Carter, William.
Works From La Guitarre Royalle (1671) And Italian Guitar Music Of The Seventeenth Century, Battuto And Pizzicato (Eisenhardt), Ellwood Colahan
Works From La Guitarre Royalle (1671) And Italian Guitar Music Of The Seventeenth Century, Battuto And Pizzicato (Eisenhardt), Ellwood Colahan
Soundboard Scholar
A review of Works from La guitarre royalle (1671) and Italian Guitar Music of the Seventeenth Century, Battuto and Pizzicato.
Dating Trille Labarre’S Nouvelle Méthode: Caught Between Printing And Publishing?, Kenneth Sparr
Dating Trille Labarre’S Nouvelle Méthode: Caught Between Printing And Publishing?, Kenneth Sparr
Soundboard Scholar
When was Trille Labarre’s noteworthy five-course guitar method engraved and printed? And when was it actually published—sold to the public? Could years have elapsed between the two activities? This essay reviews the various methods used to date undated printed music of that era in the hopes of achieving some clarity. The first technique involves looking for personal names, like dedicatees, engravers, and publishers. The latter approaches are more analytical.
Un Angelo Senza Paradiso, By Nicoletta Confalone, Richard M. Long
Un Angelo Senza Paradiso, By Nicoletta Confalone, Richard M. Long
Soundboard Scholar
A review of Nicoletta Confalone, Un angelo senza paradiso: La chitarra alla ricerca di Schubert (Bologna: Ut Orpheus, 2017).
Soundboard Scholar No. 4: Editor's Letter, Thomas Heck
Soundboard Scholar No. 4: Editor's Letter, Thomas Heck
Soundboard Scholar
An introduction to the contents of this issue.
Soundboard Scholar No. 4: Cover
Soundboard Scholar No. 4: Cover
Soundboard Scholar
It was in about 1828–29 that Parisian guitarist and publisher Charles de Marescot brought before the public a short collection of his easier solo guitar pieces entitled La Guitaromanie. It was enhanced with six unpaginated satirical lithographs, of which the most memorable one (“Discussion entre les Carulistes et les Molinistes”) appears on this issue’s cover. Readers are welcome to review the publication details, found in the accompanying article by Damián Martín. See his text between footnotes 16 and 17. A complete digital copy of the Guitaromanie collection, represented as being in the public domain, was posted during the preparation …
Soundboard Scholar No. 4 (Complete)
A Checklist Of Works Attributed To Charles De Marescot, Damián Martín-Gil
A Checklist Of Works Attributed To Charles De Marescot, Damián Martín-Gil
Soundboard Scholar
The musical output of Charles de Marescot (1790–1842) has never been subjected to close examination. Only a few of his compositions are featured in guitar scholarship, notably his Méthode de guitare, op. 15, and the collection of pieces entitled La Guitaromanie, op. 46. And yet Marescot was rather prolific in his time. This checklist offers, for the first time, a catalogue—albeit incomplete—of all his guitar music published in France and England, offering, if possible, locations and dates for each work.
The Guitarist Behind La Guitaromanie : Charles De Marescot, Damián Martín-Gil
The Guitarist Behind La Guitaromanie : Charles De Marescot, Damián Martín-Gil
Soundboard Scholar
The guitarist Charles de Marescot is a figure often cited when referring to the guitar mania that arose in France during the first decades of the nineteenth century. Yet very little is known about his life and musical production, which was dedicated almost entirely to the guitar. Drawing on several newly discovered documents, this article aims to understand the role of this polemical figure in the vogue for the guitar by reconstructing his whereabouts. Particular attention is given to his relationship with Hector Berlioz, with whom he conducted some minor business.
Soundboard Scholar No. 3: Editor's Letter, Thomas Heck
Soundboard Scholar No. 3: Editor's Letter, Thomas Heck
Soundboard Scholar
An introduction to the contents of this issue.
Soundboard Scholar No. 3: Cover
Soundboard Scholar No. 3: Cover
Soundboard Scholar
The color portrait of Fernando Sor which appears on the cover of this issue, not previously published as far as we know, is a hand-colored version of a printed (b&w) copy of a painting—an original portrait (now lost) of Sor—by one Innocent Louis Goubeau. Before it disappeared it was copied, in the mid-1820s, by both a lithographer and an engraver, probably in response to public demand. The lithograph, according to the British Museum exemplar now online and well documented (No. 1893,0123.45), bears the attribution “Goubeau pinxit / Lith de Engelmann / Lithod par Bordes,” which means that the original painter …
Soundboard Scholar No. 3 (Complete)
A Newly Discovered Letter Of 1827 By Fernando Sor, Erik Stenstadvold
A Newly Discovered Letter Of 1827 By Fernando Sor, Erik Stenstadvold
Soundboard Scholar
This article discusses a hitherto unknown letter, written by Sor in Saint Petersburg in April 1827. It provides new insight into the publishing and personal relationship between Sor and his Paris publisher, Antoine Meissonnier, to whom the letter was addressed. We learn about three airs with variations Sor was busy composing at the time; he was particularly pleased with the variations Meissonnier later published as op. 30. The letter also mentions some unknown Sor works, including a book of drafts at Málaga, and it reveals that Meissonnier had published, without Sor’s knowledge, music that he had received from sources other …
AndréS Segovia’S Unfinished Guitar Method: Placing His “Scales” In Historical Context, Andreas Stevens
AndréS Segovia’S Unfinished Guitar Method: Placing His “Scales” In Historical Context, Andreas Stevens
Soundboard Scholar
For over sixty years, guitarists of my generation have been familiar with the so-called Segovia Scales—the systematic scale fingerings advocated by the Andalusian maestro. They have been an influential—some might say a definitive—bestseller since their first USA publication in 1953. Countless guitar students have incorporated them into their daily practice routines. For the publisher, Columbia Music, they seem to be the goose that laid the golden egg. Are they everything that Segovia wanted them to be? Two books of recent date on guitar technique attest to their enduring value and relevance. Thomas Offermann wrote in 2015: “The fingerings of the …
NapoléOn Coste: Composer And Guitarist In The Musical Life Of 19th-Century Paris By Ari Van Vliet, Richard Long
NapoléOn Coste: Composer And Guitarist In The Musical Life Of 19th-Century Paris By Ari Van Vliet, Richard Long
Soundboard Scholar
Napoleon Coste: Composer and Guitarist in the Musical Life of 19th-Century Paris, by Van Vliet, Ari is reviewed.
New Voices In Old Bodies: A Study Of “Recycled” Musical Instruments With A Focus On The Hahn Collection In The Deutsches Museum, By Panagiotis Poulopoulos, Richard Long
Soundboard Scholar
New Voices in Old Bodies: A Study of "Recycled" Musical Instruments with a Focus on the Hahn Collection in the Deutsches Museum, album by Poulopoulos, Panagiotis is reviewed.
The Russian Guitar 1800-1850 (Timofeyev And Schneiderman), Stanley Yates
The Russian Guitar 1800-1850 (Timofeyev And Schneiderman), Stanley Yates
Soundboard Scholar
The Russian Guitar 1800-1850, album by Oleg Timofeyev and John Schneiderman is reviewed.
Guitar Music In Collections: A New Web-Based Index Is Launched, Ellwood Colahan
Guitar Music In Collections: A New Web-Based Index Is Launched, Ellwood Colahan
Soundboard Scholar
Is there any really good way to locate specific pieces of guitar music within published collections and anthologies? Might there be already a best way? Anyone who has taught or studied classical guitar is familiar with collections like Das Gitarrespiel or the Noad anthologies. But it is hard to remember with accuracy which pieces are in which of these editions or in dozens of others like them. Library and trade catalogs are not of much help. What is needed for this problem is in-depth indexing rather than traditional cataloging. These print indexes of song anthologies and collections have more recently …
Sinfonia Concertante By Luigi Boccherini, Edited By Matanya Ophee, Richard Long
Sinfonia Concertante By Luigi Boccherini, Edited By Matanya Ophee, Richard Long
Soundboard Scholar
Sinfonia concertante (G. 523), by Boccherini, Luigi is reviewed.
La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, By Daniel Sinier And FrançOise De Ridder, Richard Long
La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, By Daniel Sinier And FrançOise De Ridder, Richard Long
Soundboard Scholar
La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, by Sinier, Daniel and Francoise de Ridder is reviewed.
Soundboard Scholar No. 2: Editor's Letter, Thomas Heck
Soundboard Scholar No. 2: Editor's Letter, Thomas Heck
Soundboard Scholar
An introduction to the contents of this issue.