The guitar and its music : from the Renaissance to the classical era

Abstract

DEDICATION PREFACE LIST OF ILLUSTRATIONS LIST OF TABLES LIST OF MUSICAL EXAMPLES LIST OF ABBREVIATIONS ACKNOWLEDGEMENTS PART I: THE GUITAR IN THE SIXTEENTH CENTURY 1. Spain: La Guitarra de quatro ordenes 2. France: The Creation of the Repertory 3. England: '... yused of gentilmen, and of the best sort ...' 4. Italy: La Chitarra da sette corde 5. Italy: The Role of the Guitar in the Rise of Monody PART II: THE SPANISH GUITAR (C.1600-C.1750) 6. Italy: The Creation of the Repertory 7. France: Les Guitarristes Royals 8. 1. England 2. The Low Countries 3. Scandinavia 4. Germany and the Austrian Empire 9. Spain, Portugal, and the New World APPENDIX I. A BRIEF GUIDE TO READING AND INTERPRETING BAROQUE GUITAR TABLATURES APPENDIX II. SOURCES OF SPECIFIC INFORMATION ON THE TUNING AND STRINGING OF THE FIVE-COURSE GUITAR APPENDIX III. THE MANDORA PART III: THE ORIGINS OF THE CLASSICAL GUITAR 10. 1750-69: The Emergence of the Six-Course Guitar 1. Spain, Portugal, and South America 2. France 3. Britain 11. 1770-89: The First Six-String Guitars 1. A Short History of String Making 2. Spain, South America, and Portugal 3. Italy 4. France 5. England. Germany, and Austria 12. 1790 to the Early 1800s: The Triumph of the Six-String Guitar 1. Spain and Portugal 2. Britain 3. Italy 4. France 5. Germany, Austria, and Elsewhere 13. The Guitar 1750-c.1800: Practical Information 1. The Instrument 2. Strings 3. Playing Positions 4. Specialist Techniques and Ornamentation APPENDIX IV: PRIMARY SOURCES (1750-C. 1800) 1. Paris - Instrumental Music (Published) 2. Paris - Songs with Guitar Accompaniment (Published) 3. Guitar Methods (Published and Manuscript) 4. Non-Parisian Guitar Music (Published and Manuscript) APPENDIX V: PIECES FOR GUITAR (C.1750-C.!800) BIBLIOGRAPHY OF SECONDARY SOURCES INDEX

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