The Guitar and its Music
From the Renaissance to the Classical Era
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Product details:
- Edition number New ed
- Publisher OUP Oxford
- Date of Publication 25 January 2007
- ISBN 9780199214778
- Binding Paperback
- No. of pages348 pages
- Size 246x189x18 mm
- Weight 664 g
- Language English
- Illustrations 48 integrated illustrations; 18 music examples and 12 tables 0
Categories
Short description:
Following James Tyler's earlier introduction to the four-and five-course guitar, this collaboration with Paul Sparks is an authoritative guide to the history and repertory of the guitar from the Renaissance to the dawn of the Classical era.
MoreLong description:
Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era.
Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike.
Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.
Review from previous edition Not only does [The Guitar and Its Music] offer a detailed guide to the sources, it integrates recent work from the fields of organology and iconography, archival and patronage studies, performance practice, and the analogous area of lute music, resulting in a coverage that is impressively inclusive in the best sense of the word. . . . with its detailed discussions of the sources, clear explanations of performance issues, and the extension of the coverage into the eighteenth century, all formed upon a solid musicological base, this book will surely be a cornerstone of future research and performance of early guitar repertories. . . . an important and essential study.
Table of Contents:
Dedication
Preface
List of Illustrations
List of Tables
List of Musical Examples
List of Abbreviations
Acknowledgements
Part I: The Guitar in the Sixteenth Century
Spain: La Guitarra de quatro ordenes
France: The Creation of the Repertory
England: '... yused of gentilmen, and of the best sort ...'
Italy: La Chitarra da sette corde
Italy: The Role of the Guitar in the Rise of Monody
Part II: The Spanish Guitar (c.1600-c.1750)
Italy: The Creation of the Repertory
France: Les Guitarristes Royals
1. England
2. The Low Countries
3. Scandinavia
4. Germany and the Austrian Empire
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
1750-69: The Emergence of the Six-Course Guitar
1. Spain, Portugal, and South America
2. France
3. Britain
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
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
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)
Paris - Instrumental Music (Published)
Paris - Songs with Guitar Accompaniment (Published)
Guitar Methods (Published and Manuscript)
Non-Parisian Guitar Music (Published and Manuscript)
Appendix V: Pieces for Guitar (c.1750-c.!800)
Bibliography of Secondary Sources
Index
