Guitar History

This article aims to explore a little-known aspect of the instruments
played in public by the greatest classical guitaristof the 20th  century. Few people know, in fact, that before the 1937 Hauser, Andrés Segovia had already permanently adopted a guitar built by the great Bavarian luthier in 1929. This instrument, which did not completely replace the Ramírez, was used by the concert performer for seven years in performances and recordings, until it was forced to be abandoned during the dramatic escape from Barcelona in the summer of 1936.
For the first time, some documents are published here — and others have been reinterpreted from a different perspective — that testify to Segovia's intense relationship with this guitar.

Based on an investigation of newspaper articles, this article presents a first look at the activities of Antonio Jiménez Manjón, Miguel Llobet, and Agustín Barrios in Chile between 1893 and 1918. Manjón’s concerts were well received, clashing with some of the discourse in the local media, which considered the guitar vulgar and expressionless. Llobet introduced the Tárrega school in Chile in 1912, which is in itself a milestone in the study of Tárrega’s pedagogical philosophy in that country. Furthermore, his technique was praised and, like Manjón’s, led to the challenging of prejudices against the guitar. The case of Agustín Barrios, however, is noteworthy, since he seemingly did not achieve the same recognition and success as his predecessors, even though he was an outstanding guitarist and composer.

A look at these artists’ activities shows that the guitar was surrounded by a plethora of narratives, which gave rise to a specific understanding of the development of the instrument in Chile.

One of the modern classical guitar’s biggest strengths is also one of its biggest weaknesses. The instrument depends on an equal temperament fretboard system that has lent itself to brilliant repertoire and ease of production, yet this same fretboard system does not lend itself to perfectly tuned notes and tuning systems not found in Eurocentric classical music. Many guitarists and luthiers have sought a fretboard system that marries the benefits of equal temperament with the rich possibilities of just intonation and other tuning systems. This paper presents two new fretboard designs and discuss their role in the history of guitar fretboard construction. Our first design is a fully functional fretboard made from the popular toy ‘Legos’ and solves many of the problems that previous designs had, including ease of use and production, affordability, and versatility. Our second design is a one-string prototype for an automatic (automated) fretboard that would allow performers to switch t...

In the universe of Western music and its ramifications at a global level, it is perhaps difficult to imagine today any instrumental group in the most diverse musical genres, without the presence of a plucked string bass. In most cases, the body of this instrument is shaped like a guitar, that is, two bowls and a waist, a figure 8. Over the years, different models have been built all around the world, both acoustic and electric.
In this study I decided to use the term “viola-baixo" (bass guitar) as it is perhaps the most common in the contexts in which it is still practiced in Portugal, and I will only deal with the acoustic type as it is the oldest.

This article presents a detailed analysis of Niterói, a piece composed for two guitars by Roland Dyens, one of the prominent composers in the modern classical guitar repertoire. While Dyens's overall compositional career was prolific and diverse, his works for guitar duo are relatively few and concentrated in two distinct periods: the early 1990s and after 2010, the years leading up to his death. In his early duo works, such as ConcertOmaggio (Dyens, 1999) which is a concerto, and Côte Nord (Dyens, 1994), Dyens began exploring the possibilities of intertwining two guitars to function as one cohesive instrument. In his later years, he returned to this exploration, culminating in Comme des Grands (2010) and Niterói (Dyens, 2012), which represents a mature synthesis of his compositional ideas for guitar duo. This study delves into the form, rhythmic and melodic structures, and techniques employed within Niterói, placing particular emphasis on the concept of merging two guitars to create a unified timbre. By expanding his musical language, originally conceived for solo guitar, into a duo context, Dyens explores the interplay and fluidity between the instruments. It is concluded that the work represents an advanced pedagogical approach intended for professional guitarists, requiring an ideal performance where both guitarists achieve perfect synchronization and a unified musical understanding. Niterói can be seen as a significant contribution to the guitar duo repertoire, and this analysis aims to highlight its importance in the context of guitar pedagogy and performance practice.

According to the folklorist and writer Thanos Murray-Velloudios, the first component of the word Zey-bekos 1 is derived from the Phrygian word "Zeu", from "Zeus" which symbolizes spirit. The second component is derived from the word "bekos" or "vekos" 2 which means bread and symbolizes the body. So, as "...a complete and religious dance serves and relieves the Spirit, the Soul and the Body of man" (Velloudios, 1991).

This chapter offers a general overview of the guitar in the Viceroyalty of Perú, seeking to give visibility to the important social, economic and cultural role that the guitar had, and providing first-hand information about musicians, builders, and merchants, in a little-studied region.

This paper analyses the pedagogical process of self-instruction for vihuela players in sixteenth-century Spain based on the instructions given by Juan Bermudo in his Declaración de Instrumentos Musicales of 1555. It progresses through learning about two-part counterpoint, harmonic progressions, imitative counterpoint through intabulation prior to attempting to compose one's own fantasias. Importantly, teaching instrumental technique is completely absent from the process.

The guittar, now commonly known as the 'English guittar', is a small plucked instrument which was widely used in the British Isles from the middle of the 18 th to the beginning of the 19 th centuries. Appearing in a variety of shapes and sizes, and having essentially wire strings and an open major tuning, it was more related to the cittern, and quite different from the Spanish guitar. Being cheap, elegant, and relatively easy to play, the guittar quickly became popular among amateur musicians, especially upper-class ladies. In addition, the guittar was at the forefront of mechanical and technical invention, and especially the later types of the instrument were often fitted with several innovative devices that found use on other contemporary or successor instruments. This thesis refines the results of past research concerning the guittar by undertaking a critical review of the relevant literature, and by introducing new data collected during the detailed examination and comparison of numerous surviving guittars in museums and private collections. The results are supported by the investigation of a wide variety of primary sources, including literary references, newspaper advertisements, patent records, legal documents, music scores, and iconographical evidence. The research has led to the establishment of a methodology for the documentation and classification of extant guittars using a prototype template, and to the creation of various reference databases for the future study of the instrument. This thesis is the first complete study of the guittar in the British Isles during the second half of the 18 th century. It presents the most important facts and figures related to the origins and development of the instrument, while documenting and highlighting its main historical, musical and technical features, with emphasis on aspects of design, construction and decoration. Additionally, this thesis examines the guittar's social and cultural role as a predominantly domestic female instrument, and also brings to light new interesting details about the establishment of a guittar trade within and outside the British Isles. Finally, it accounts the main reasons for the decline of the guittar and also identifies its significance in the wider fields of musicology and organology, indicating possible relations and influences with other contemporary musical instruments across Europe.

Investigating the spaces in which music was performed in Spain during the sixteenth century sometimes requires an even deeper investigation into the nature of musical performance itself. Unlike, for example, music performed as part of religious ritual in buildings that have survived to the present day, the times and places where solo instruments were used are much more difficult to define and trace. Research becomes more than a study of music and architecture, because it also requires consideration of a range of other factors, including social settings (courtly, ecclesiastical, urban, civic, domestic), different physical environments (including indoor and outdoor performances), the socio-economic situations of performers and listeners, the social activities into which musical participation was integrated, the number of listeners, or the time of day. All too often, these questions are not asked, and our knowledge is almost non-existent. Moreover, whether unconsciously or not, modern scholars, commentators and performers tend with a presumed nature to evaluate the music of other eras on the basis of their contemporary notions of what constitutes a performance, especially the modern concert or recital, a social phenomenon of nineteenth-century invention. This paper, which brings together the combined themes of this conference-architectural spaces and new technologies-investigates some of these issues through a computerised exploration of documentary and iconographic sources.

The musical instrument known as the Qin or Chinese seven-string zither, for hundreds of years has been part of a tradition of solitary amateur music-making aimed at personal aesthetic experience and cultivation of social and cognitive well-being. Until recently the sociology of music
avoided dealing directly with aesthetics, the ways in which music penetrates and influences social reality at the private level, focusing instead on the power relations that shape the distribution and reception of music in society at the public level. For instance, the sociological approach of Bourdieu’s Distinction (1984) treats musical events such as listening, concert-going or even music creation as strategic positionings in social space in relation to class or group norms. Tia DeNora has brought
aesthetics back into the sociology of music and shown that the “affordances” of a musical event, what is made possible by the musical event, are as important as the power relations conditioning the musical
event before it occurs. Whereas power relations behind music range from valorizing and prioritizing elite tastes in music to the cultural hegemony of certain professional musical practices such as the concert or virtuoso performance, possible affordances of music range from putting a baby to sleep with a lullaby, to marching music guiding an army to war, to background music in a store, to creating a private personal space in everyday life. The Qin’s long history of music philosophy integrated with
practice makes it a model instrument for the neglected category of “solitary amateur music-making” and the accompanying affordance of “subjective well-being” under a new aesthetics-driven sociology of music.

In the 21st century, the guitar, as both a material object and tool for artistic expression, continues to be reimagined and reinvented. From simple adaptations or modifications made by performers themselves to custom-made instruments commissioned to fulfil very specific creative needs, to the mass production of new lines of commercially available instruments, the extant and emergent forms of this much-loved musical instrument vary perhaps more than ever before. As guitars sporting multiple necks, a greater number of strings and/or additional frets become increasingly common, so too do those with reduced registers, fewer strings and fretless fingerboards. Furthermore, as we approach the mark of the first quarter-century, the role of technology in relation to the guitar’s ever-changing identity is proving key. On-board processing units, external synergies with computers and the use of ultra-modern peripheral musical devices – ranging from EBow and effects processing, to engagement with laptops, robots and AR headsets – are allowing players to augment their performance setup and, in doing so, exponentially expand the guitar’s corporeal and timbral functionality. Such wide-ranging evolutions and augmentations of the guitar reflect the advancing performative and expressive needs of the modern guitarist and simultaneously afford them new creative potentialities; ultimately creating a feedback loop between artist and device, which further propels the guitar in fresh directions.
This collection comprises an assortment of contributions from academics, performers and dual-practitioners which examines the diverse physical manifestations of the guitar across the modern performative landscape and explores the creative possibilities these new forms afford. Musicological insights spanning performance practice, contemporary organology and technological augmentation are interwoven with interviews featuring leading practitioners from an array of performance cultures from around the world, with each chapter exploring a different model of – or approach to performing with – the guitar from the emic perspective of the performing musician.

Published in Bloomsbury’s Music & Sound Studies Series, this volume provides significant insights into the rich array of guitar-based performance practices emerging and thriving in the 21st century, and in doing so, invites the reader to reassess the guitar in terms of its identity, physicality and sound-creating potentialities.

«Затесь на сердце, которую оставил Астафьев» – это зарубочки в читательских сердцах. Выстроена книга из ярких, как вспышка, воспоминаний по знаменитым тетрадкам астафьевских затесей «Падение листа», «Видение», «Вздох», «Игра», «Древнее, вечное»... Но это уже читательский вздох, читательское видение. Под обложкой этой книги объединились скромные сельские библиотекари, учителя и знаменитые писатели, артисты, музыканты; государственные мужи и астафьевские односельчане, жившие рядом с писателем на соседних улицах Овсянки. Так родился этот многомерный астафьевский портрет,который хочется вглядываться и глядываться,  открывая для себя заново не только знаменитого писателя, но и героев его произведений и читателей. Примите эту книгу как душевный и тёплый подарок к 85-летию русского писателя, обретшего мировую славу и навсегда оставшегося своим, родным...

The following sub-questions are derived from the main question and will be answered accordingly: Chapter 2: Methods of the Renaissance and the Baroque periods  What type of sound is produced by different hand positions and why were they used in the Renaissance period?  What is the role of right hand fingering in the interpretation of five-course guitar music? Chapter 3: The first six-string masters  When were the rest (apoyando) and free stroke (tirando) first mentioned?  Why does the sound differ with these two techniques? Chapter 4: Right hand technique from 1850-1900  Who were the first Romantic composers for the guitar?  What are the definitive characteristics of Romantic guitar music?  Which right hand techniques were used during this time? Chapter 5: Guitar technique and sound production in the early 20 th Century  What was Andrés Segovia's technique and why was it so popular?  What are the main differences between Pujol and Segovia's techniques?  Did people follow Pujol's theories about sound production? Chapter 6: Revolutionary theories about guitar technique and sound production from 1970-1900  Which part of the right hand finger should be used-flesh only, the nail only, or both?  What advancements were made on Segovia's technique by Quine, Duarte, Taylor and Carlevaro? CHAPTER 1-INTRODUCTION Faculty of Humanities-Department of Music 4 University of Pretoria Chapter 7: A modern approach to right hand guitar technique and sound production  What are the differences between the Open and Closed Hand Schools of Anthony Glise and what sound does each produce?  What are the latest theories about guitar technique and sound production? Chapter 8: Conclusion: a summary of the development of right hand guitar technique and sound production 1.5. Research design A chronological literature study will determine how right hand guitar technique developed. The study will avoid repetition of techniques and focus only on new developments and changes in right hand guitar technique. The researcher will explain the main ideas that pedagogues of each era had about right hand technique. The writer will guide the reader through the different periods with a short summary of the novel ideas from each period at the end of each chapter. The research conclusion will summarise the changes that right hand guitar technique has undergone. These tendencies will explain why performers of the guitar use certain right hand positions, and why one player might sound different to another (even on the same instrument). 1.6. Research methodology Raw data will be collected through various searches of guitar methods, history books, journal articles, autobiographies and music scores to find old and new tendencies in the development of right hand guitar technique.

The following sub-questions are derived from the main question and will be answered accordingly: Chapter 2: Methods of the Renaissance and the Baroque periods  What type of sound is produced by different hand positions and why were they used in the Renaissance period?  What is the role of right hand fingering in the interpretation of five-course guitar music? Chapter 3: The first six-string masters  When were the rest (apoyando) and free stroke (tirando) first mentioned?  Why does the sound differ with these two techniques? Chapter 4: Right hand technique from 1850-1900  Who were the first Romantic composers for the guitar?  What are the definitive characteristics of Romantic guitar music?  Which right hand techniques were used during this time? Chapter 5: Guitar technique and sound production in the early 20 th Century  What was Andrés Segovia's technique and why was it so popular?  What are the main differences between Pujol and Segovia's techniques?  Did people follow Pujol's theories about sound production? Chapter 6: Revolutionary theories about guitar technique and sound production from 1970-1900  Which part of the right hand finger should be used-flesh only, the nail only, or both?  What advancements were made on Segovia's technique by Quine, Duarte, Taylor and Carlevaro? CHAPTER 1-INTRODUCTION Faculty of Humanities-Department of Music 4 University of Pretoria Chapter 7: A modern approach to right hand guitar technique and sound production  What are the differences between the Open and Closed Hand Schools of Anthony Glise and what sound does each produce?  What are the latest theories about guitar technique and sound production? Chapter 8: Conclusion: a summary of the development of right hand guitar technique and sound production 1.5. Research design A chronological literature study will determine how right hand guitar technique developed. The study will avoid repetition of techniques and focus only on new developments and changes in right hand guitar technique. The researcher will explain the main ideas that pedagogues of each era had about right hand technique. The writer will guide the reader through the different periods with a short summary of the novel ideas from each period at the end of each chapter. The research conclusion will summarise the changes that right hand guitar technique has undergone. These tendencies will explain why performers of the guitar use certain right hand positions, and why one player might sound different to another (even on the same instrument). 1.6. Research methodology Raw data will be collected through various searches of guitar methods, history books, journal articles, autobiographies and music scores to find old and new tendencies in the development of right hand guitar technique.

Flamenco music can be considered as a music belonging to the east as well as the west, due to the location of the geography in which it emerged. Due to the physical structure of the guitar instrument used in flamenco music, the fret system and the tampere system, the chords used in the classical music repertoire have naturally entered Flamenco and adapted to their own playing styles. Flamenco guitarists' interest in Jazz, Blues and Latin American music made Flamenco world music and distanced it from its essence, Eastern synthesis. Turkish Folk Music differs in many regions. Playing, singing and even instrument holding vary from region to region. This research aims to compare the right hand playing techniques of guitar and baglama instruments, which are the most used instruments in Flamenco Music and Turkish Folk Music, in terms of similarity. In this research, in which the comparative analysis method, one of the qualitative research methods, was used; collected by observation and note analysis. Videos were shot and presented to better observe the similarities and differences between flamenco guitar and baglama. Techniques by which comparisons are made In flamenco guitar; in back and forth strokes, Rasgueado, Golpe, Alzapua, Thumb, Tremolo, Arpeggio, Apagado, Apoyando, Picado and Tirando with the bağlama techniques; hitting all the strings, hitting the body, Takma Tezne, string pulling, finger tapping and Mute techniques. As a result of the research, similarities were determined in the right hand playing techniques of two instruments belonging to different cultures in terms of hand holding position, playing technique and sensation characteristics.

The article examines the characteristics of the bandura as a plucked chordophone. A comparative analysis of the researches undertaken by outstanding musicologists, performers, ethno-organologists S. Lyudkevych, E. Hornbostel, C. Sachs, H. Khotkevych, Z. Shtokalko, and others is carried out. The morphology of the instrument and the main stages in its evolution are discussed. The stable and mobile elements of the bandura’s structure and tuning are described. The technical characteristics of the instrument in different periods of its evolution and the achievements of the bandura makers and bandurists of Ukraine and the Ukrainian diaspora are analyzed. The common and distinguishing features of the bandura and some kindred instruments are pointed out

Six Degrees eventually disbanded, leaving Dotson free to concentrate on the classical guitar exclusively. In 2001, he began studying at Kennesaw State University under the instruction of Mary Akerman, who had so profoundly inspired him three years earlier. Since his arrival at KSU, Dotson has appeared in two KSU honors recitals, two SOTA fundraisers, at a Music Educator's conference sponsored by KSU, one theatrical production, and as a guest artist for the KSU Wind Ensemble and the Women's Ensemble, as well as providing background music for the Board of Regents luncheons and dinner affairs on many occasions. He has kept busy with 'extracurricular' performances as well, appearing as a featured performer for the Atlanta Classical Guitar Club, as a selected performer at the 2002 Stetson University International Guitar Workshop's participant's concert, and twice as a semi-finalist in the Appalachian State University Guitar Competition. He has also performed in 11 master classes over the last two years, for guitarists such as Adam Holzman, Denis Azabagic, Arnaud Dumond, Julian Gray, Judicael Perroy, Robert Guthrie, and Patrick Kearney. He has twice been selected to appear in classes given by legendary guitarist David Russell, and in fall of 2002, he was invited by the Guitar Foundation of America to appear in Maestro Jorge Morel's master class, where he performed Morel's Sonatina (to David Russell). This performance was described as "beautiful" by Guitart International, a publication which also featured an article written by Dotson in the Summer of 2003. Dotson will be attending the University of Texas in the Fall of 2003, pursuing graduate work with Adam Holzman. He currently resides with his wife, Brandy, and their 3 'children'-Rasta (the cat), Irie (the other cat), and Marley (the dog). Department of Music Musical Arts Series presents Jonathan Dotson, guitar Senior Recital Sunday, July 27, 2003 4:00 p.m. Music Building Recital Hall This recital and these program notes are presented in partial fulfillment of the requirements for the degree Bachelor of Music in Performance Jonathan Dotson (b.1976) Jonathan Dotson was born in the nation's oldest city, St. Augustine, FL. He was raised around guitars, as both his parents were folk singers and guitarists who rehearsed nearly every night. He began private guitar lessons at the age of 8 and performed in his first public recital at age 9. Jonathan continued his musical endeavors in high school, where he played trumpet in the marching band and bass guitar in the jazz ensemble. Dotson began his collegiate career in 1994 at Florida State University, under the supervision of Professor Bruce Holzman. Here he played trumpet in the marching and concert band, electric guitar in several main-stage theater productions, and electric and classical guitar in several short films. In 1998, Dotson put his college studies on hold to tour with his band, Six Degrees, which had become high in demand on the college circuit. The band sold thousands of CDs regionally, made the cover of a statewide music publication, and, after relocating to Atlanta, performed a live concert on Atlanta's Z-93, for The Dunhams radio show. At the very beginning of this venture, however, he was deeply moved by an event, which would foreshadow the course of his future, when the guitarist Mary Akerman performed a concert at FSU in 1998.

classical guitar exclusively. In 2001, he began studying at Kennesaw State University under the instruction of Mary Akerman, who had so profoundly inspired him three years earlier. Since his arrival at KSU, Dotson has appeared in two KSU honors recitals, two SOTA fundraisers, at a Music Educator’s conference sponsored by KSU, one theatrical production, and as a guest artist for the KSU Wind Ensemble and the Women’s Ensemble, as well as providing background music for the Board of Regents luncheons and dinner affairs on many occasions. He has kept busy with ‘extracurricular’ performances as well, appearing as a featured performer for the Atlanta Classical Guitar Club, as a selected performer at the 2002 Stetson University International Guitar Workshop’s participant’s concert, and twice as a semi-finalist in the Appalachian State University Guitar Competition. He has also performed in 11 master classes over the last two years, for guitarists such as Adam Holzman, Denis Azabagic, Arnaud...

The use of microtones in guitar music is not an innovative phenomenon as it is thought. It has been used for different tuning systems and by composers working on non-12edo music throughout history. Although this concept is not as widespread as conventional guitar music, many experimental studies have been conducted to tune microtones more accurately. This article aims to present practical tools for the reader on methods to produce microtones on the guitar, especially Tolgahan Çoğulu's adjustable microtonal guitar project, and the developments in microtonal guitar music in Türkiye since the project began in 2008 to 2021. The findings on this topic are shared from a guitar music specialist's perspective. It aims to be helpful, especially for guitarists who are unfamiliar with microtonal music approaches in guitar music. The study consists of two parts. In the first part, the microtonal strategies in guitar music were compiled. Practical ways to achieve microtones on conventional guitars, non-12edo fixed fret layouts, fretlets concept, and movable fret guitars are examined individually, and their advantages and disadvantages are listed in terms of their usability. In the second part, the attainments of the Adjustable Microtonal Guitar Project were examined. By using the principles determined by Andres Segovia in the formation of modern guitar music in the 1920s as a model, the composers who composed for this instrument, the performers who used the instrument, the success in the presentation of the project in social media, the awards it won in international competitions, microtonal guitar competitions and festivals, academic and pedagogical studies were researched. The findings show that the adjustable microtonal guitar gives precise results in tuning compared to the other strategies mentioned. Even though it causes difficulties in changing the frets between different pieces in terms of time, it is the most suitable result for using microtones on the guitar, as it makes it possible to perform all kinds of work. In the project's short history, the Adjustable Microtonal Guitar project crossed national borders and created its ecosystem with the innovative efforts of the inventor.

Após uma rápida série de mudanças na passagem do século XVIII ao XIX, a guitarra barroca sofreu uma grande metamorfose que a transformou na guitarra clássico-romântica, sob a forte influência do estilo de construção do violino. Por finais do século XIX a guitarra deu um novo salto evolutivo, cujo paradigma foi o modelo de guitarra construído por Antonio de Torres, em Espanha. Assim nasceu a guitarra moderna. Depois de cerca de meio século de relativa estabilidade organológica após a adoção das ideias de Torres, quer os guitarristas, quer os construtores de guitarras, promoveram novamente a experimentação para conseguir maior volume sonoro do instrumento e obter um timbre mais adequado aos gostos da época, introduzindo apenas algumas alterações, relativamente simples, sobre o modelo considerado standard. Só nos últimos trinta anos é que vemos aparecer novas propostas de alguns luthiers que se afastam notoriamente dos cânones impostos pela tradição e que entretanto ganharam numerosos ...

This thesis examines two Chinese musical instruments, the gnqiti, a seven-string zither, and the guzheng, a larger zither of up to twenty-one or more strings. Both of the instruments appear to have been in existence since early times, but the gi/qifi has traditionally been much more heavily documented due to its associations with Confucianism and the Uterary upper classes. Consequently references to the instrument may be found in the early classical writings and, in later times, preserved in handbooks for the instrument. The guzheng did not enjoy these same associations and was viewed much more as an instrument of the people. However, since it was a versatile instrument it gradually became used for music of all classes. This thesis begins by examining some of early musical history behind the two instruments including some of the development of writing, classical texts, and the philosophies of Confucianism, Taoism and Buddhism. In examining the organological development of the guqin and guzheng similarities are drawn with the zithers found in neighbouring countries. In some cases such instruments have been more greatly preserved in these countries than in China itself The development of the guzheng is often difiBcult to trace due to similarities with the se, another Chinese zither of up to fifty strings. The literary history of the guqin is further shown by the systems of notation used for notating the musical scores of the instrument. The earliest known guqin tablature is wenzipu, a system of writing down playing instructions in full script, unlike the later systems which adopted shorthand simplified methods. It is difficult to separate the system of notation and performance directions as understood in Western music and so these two systems are discussed together. It is difficult to make generalisations about the music of the guqin and guzheng due to vast area of China throughout which both instruments are diflftised. In examining some of the regional styles of playing, further influences upon the music such as dialect and folk-singing may be seen. The final chapter moves into the twentieth century and examines how political developments have encouraged the development of the guzheng whilst stifling the guqin. The thesis concludes that the guqin has been preserved by its philosophical associations, while the versatility of the guzheng has allowed it to develop according to the musical requirements of society. In the twentieth century however, the instruments have begun to share their social contexts bringing them closer together. List of Contents Acknowledgements Conventions used Chronology of China Map-The Provinces of China List of Figures Guain and Guzhene: the Historical and Contemporary Development of Two Chinese Musical Instruments-Introduction

This article aims to reveal some developments in the guitar world and its music that were taking place within the period from the middle of the 19th century until the middle of the 20th century. This is done by way of analysis of musical works, research in sociol-cultural history and interpretation of music in the context of art and time. Modern Times in guitar music.

Biographical note Angelo Gilardino was born in Vercelli, in northern Italy, in 1941. A chance encounter with Ida Presti at an early age (he mistakenly wandered into a concert hall where she was to perform, and stayed) sealed his fate. Studies in guitar, cello and composition followed, and from 1958 to 1981 he pursued a career as a performer, with modern music forming a significant part of his repertoire. During this period, he was invited by the Italian publisher Edizioni Musicali Bèrben to supervise a new series devoted to modern guitar music.

This community service is carried out by providing training to educators, especially elementary school teachers in West Java and surrounding areas. The training was carried out on the basis of input and information from several educators in West Java and its surroundings, that they had difficulties when they had to teach Cultural Arts or Thematic subjects in which there were Cultural Arts. This happens because educators at the elementary school education unit level are classroom teachers who must master and teach not only one field of study. Meanwhile, arts and culture subjects or thematic (cultural arts) require teachers to have skills in the arts. Therefore, this training program was held to equip the accompaniment guitar playing skills and manage practicum for educators, especially elementary school teachers in West Java and its surroundings. The training carried out during this pandemic was carried out online due to the Government's appeal for social distancing and physical distancing. The training was carried out by utilizing the YouTube and WhatsApp group media platforms. The training participants referred to as partners are educators in the West Java region and its surroundings, especially elementary school teachers who on average do not have competence in the arts (music). The training participants referred to as partners are educators in the West Java region and its surroundings, especially elementary school teachers who on average do not have competence in the arts (music).

Bu güne kadar öğrencisi olma onuruna eriştiğim saygıdeğer öğretmenlerime; birlikte çalışma ve müzik yapma fırsatı yakaladığım değerli iş arkadaşlarıma; bana çok şey katan sevgili öğrencilerime; yurt içinde ve dışında emekleri ile sanatı yücelten ve ülkemizin yüzünü ağartan, bizlere ilham kaynağı olan Türk gitar camiasının birbirinden değerli eğitimcileri, akademisyenleri, yorumcuları ve öğrencilerine; çok değerli arkadaşım, meslektaşım ve editörüm İzzet Yücetoker'e; destek ve sevgilerini daima hissettiğim sevgili eşim Z. Deniz Uyan'a ve sevgili oğlum Kuzey Uyan'a sonsuz teşekkürlerimi sunarım.

One of the most exquisite musical instruments is the five-string lute known as the Raden Shitan no Gogen Biwa 螺鈿紫檀五絃琵琶 (“mother-of-pearl inlay red sandalwood five-string lute”; hereafter the Gogen Biwa), today in the Shōsōin collection in Nara, Japan (Figure 1). The instrument, the only extant example of its type from premodern Eurasia, was apparently received by Emperor Shōmu before his death in 756, upon which it was placed in the collection at Shōsōin, a specially constructed storehouse in the Tōdai-ji temple complex in the then-capital Nara. The 9,000 or so items in the collection, including several other musical instruments, are not accessible except by the personal permission of the emperor, though certain items are put on display every year to great historical interest. Given its status as regalia within the world’s longest continuous imperial line, one might expect that these sacred objects were of ancient Japanese provenance. Indeed, during the apogee of Imperial Japan, the...

The main objective of this article is to analyze the development and the contemporary artistic milieu of microtonal guitar culture in Turkey. With a particular focus on the adjustable microtonal guitar developed by Tolgahan Çoğulu, we examined musicians experiences and the ways that they relate to this musical instrument. We used qualitative research methods and conducted in-depth interviews with our key informant and adviser Tolgahan Çoğulu as well as eight musicians who specialize in microtonal guitar. We utilized Bennett and Peterson s definition of scene to discuss microtonal guitar culture in Turkey. After briefly presenting the development of guitar music and questioning the nature of its representation in Istanbul, we analyzed the themes that emerged in conversation with the guitar players. We determined that our interviewees, who are educated, enthusiastic and committed musicians, are all influenced by Tolgahan Çoğulu s efforts to shape the microtonal guitar world and are driven by their own artistic motivations. We found that musicians shared views on the innovative and promising qualities as well as certain live performance-related difficulties of this instrument including the need to hammer new frets for different tuning systems on stage and the necessity of sharing microtonal guitar music recordings or videos using new media technologies. Although musical pieces in the microtonal guitar repertoire are mainly rooted in Turkish music, many consider this instrument to be an attempt towards overcoming the generally accepted distinctions between Western and Eastern music. We aim to contribute to further analysis of this flourishing music culture through our discussions on future implications of the current situation and our projections for the growing interest in microtonal music in Turkey.

The main objective of this article is to analyze the development and the contemporary artistic milieu of microtonal guitar culture in Turkey. With a particular focus on the adjustable microtonal guitar developed by Tolgahan Çoğulu, we examined musicians’ experiences and the ways that they relate to this musical instrument. We used qualitative research methods and conducted in-depth interviews with our key informant and adviser Tolgahan Çoğulu as well as eight musicians who specialize in microtonal guitar. We utilized Bennett and Peterson’s definition of ‘scene’ to discuss microtonal guitar culture in Turkey. After briefly presenting the development of guitar music and questioning the nature of its representation in Istanbul, we analyzed the themes that emerged in conversation with the guitar players. We determined that our interviewees, who are educated, enthusiastic and committed musicians, are all influenced by Tolgahan Çoğulu’s efforts to shape the microtonal guitar world and are driven by their own artistic motivations. We found that musicians shared views on the innovative and promising qualities as well as certain live performance-related difficulties of this instrument –including the need to hammer new frets for different tuning systems on stage and the necessity of sharing microtonal guitar music recordings or videos using new media technologies. Although musical pieces in the microtonal guitar repertoire are mainly rooted in Turkish music, many consider this instrument to be an attempt towards overcoming the generally accepted distinctions between Western and Eastern music. We aim to contribute to further analysis of this flourishing music culture through our discussions on future implications of the current situation and our projections for the growing interest in microtonal music in Turkey.

The relationship between Africa and China remains one of the most important geopolitical and economic partnerships of the 20th and 21st centuries. The Africa-China relation, although relatively recent, has its foundation in previous relations dating back over 500 years ago. It is against this backdrop of longstanding relations that this research is situated as it aims to trace and examine Africa-China musical exchange between 700-1500AD. The main goal of this research is to answer the following questions: (1) Are there any musical exchange between Africa and China between 700 -1500AD? (2) If there are, what are these musical exchanges and how did they manifest? (3) Are these musical exchanges mutual? (4) If there are no musical exchanges during this period, why? (5) Are there any musical exchanges at any other time pre-700AD or post 1500AD? (6) What are some of the impacts of such a musical exchange? This research uses a historical framework in understanding and presenting Africa-Ch...

This paper presents a method for a self-tuning procedure for musical robots capable of continuous pitch-shifting. Such a technique is useful for robots consisting of many strings: the ability to self-tune allows for long-term installation without human intervention as well as on-the-fly tuning scheme changes. The presented method consists of comparing a detuned string’s pitch at runtime to a pre-compiled table of string responses at varying tensions. The behavior of the current detuned string is interpolated from the two nearest pre-characterized neighbors, and the desired virtual fret positions are added to the interpolated model. This method allows for rapid tuning at runtime, requiring only a single string actuation to determine the pitch.

The article aims at presenting the guitar output of the composers who were members of Les Six group. It may trigger further, detailed research into the guitar works of composers for whom this instrument became a mere sound episode in their oeuvre. Four of the six French composers included in this group: Georges Auric, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre dedicated a part of their oeuvre to the guitar literature renascent in the first half of the 20th century. Their interest in the instrument was the result of the activity of the great masters of the time, Andrés Segovia and Ida Presti. It also resulted from their specific approach to creation among other things, a desire to oppose the previous aesthetics or to write simple and humorous music, in which the guitar proved to be an excellent medium. The article contains an analysis of selected compositions and the genesis of their creation. The analysis also focuses on the role of the guitar in French music througho...

The book contains all the memories of K. M. Saltykov about his fa-ther - the famous satirist Mikhail Evgrafovich Saltykov-Shchedrin, which are only now becoming available to the general reader and present him at home and without political bias. Written vividly and with passion, these memoirs vividly represent the original image of the writer.

Por finais do século XVIII, depois da revolução francesa, foram abertas em Paris algumas escolas internas laicas para meninas e raparigas. Entre elas, em Saint-Germain, encontrava-se a pensão de Madame Campan, que chegou a ser muito famosa; mas houve uma outra que más tarde rivalizou com esta: a casa de Madame Migneron-Remy. Mencionamos estas duas escolas porque na primeira, provavelmente, deu aulas de guitarra e harpa Guillaume Gatayes, e porque na segunda, tal como tem revelado a nossa investigação, foi docente o famoso guitarrista Fernando Sor. Este artigo foi publicado originalmente em italiano na revista Il Fronimo nº 184, outubro de 2018.

O presente estudo aborda duas obras paradigmáticas do repertório guitarrístico
com estas características publicadas em Paris nos séculos XIX e XX, respetivamente.
A primeira, Fantaisie Villageoise pour guitare seule Composée et dédiée à Mr. Denis
Aguado par son amì Ferdinand Sor, op. 52 (Paris: Pacini), é uma obra a solo escrita para o instrumento designado atualmente guitarra clássico-romântica, pelo período do
seu auge, conhecido na sua época como “viola francesa” em Portugal. Ambos
compositores mostram alguns pontos em comum, apesar dos seus diferentes estilos
e épocas, porque ambos recorrem à metáfora musical e ao uso das chamadas técnicas
estendidas na guitarra, para produzir efeitos que entendemos designar de onomatopeias
músico-instrumentais. As obras referidas contêm elementos que evocam, em Sor,
a vida aldeana, provavelmente algures em Espanha no início do séc. XIX, e na obra
de Kleynjans, a atmosfera de uma prisão de Paris durante a Revolução Francesa.

An updated examination of literary sources and image data offers important revisions to the publication in 1977 of Lawrence Wright on the names of medieval plucked instruments, in particular what is referred to today in English as the gittern.