This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams.
This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams.
Introduction The 'Segovian' narrative John Williams and diversity Aims 1 Andrés Segovia and John Williams Segovia: career, tributes and reception Other contributions to classical guitar culture in the early twentieth century Attitudes to other musical styles Teaching Interpretation of the Segovia legacy The king and the prince Williams as a child prodigy Contrasting approaches to popular and folk music styles Williams and politics Shifting attitudes about classical guitar Conclusion 2 John Williams' approach to the classical guitar Following the pulse Performance anxiety Approach to J.S. Bach's Chaconne in D minor Contrasting approaches to Mauro Giuliani's Guitar Concerto No. 1 in A major, Op. 30 (1808) Ensemble playing and sight-reading Amplification and other manipulations of the natural sound 'Squeaks' Guitar design Williams and guitar teaching Summary 3 'Putting the guitar out of classical music' Cavatina and other film projects 1 Sky Africa Venezuela - El Diablo Suelto John Williams and jazz Summary 4 New directions in classical guitar Sculthorpe Takemitsu Dodgson Performing with Julian Bream Richard Harvey Williams' own compositions Programme choices Leo Brouwer Agustin Barrios Mangoré Summary Conclusion Broadening the repertoire and appeal of the classical guitar Critical perception Summary Bibliography Index
Introduction The 'Segovian' narrative John Williams and diversity Aims 1 Andrés Segovia and John Williams Segovia: career, tributes and reception Other contributions to classical guitar culture in the early twentieth century Attitudes to other musical styles Teaching Interpretation of the Segovia legacy The king and the prince Williams as a child prodigy Contrasting approaches to popular and folk music styles Williams and politics Shifting attitudes about classical guitar Conclusion 2 John Williams' approach to the classical guitar Following the pulse Performance anxiety Approach to J.S. Bach's Chaconne in D minor Contrasting approaches to Mauro Giuliani's Guitar Concerto No. 1 in A major, Op. 30 (1808) Ensemble playing and sight-reading Amplification and other manipulations of the natural sound 'Squeaks' Guitar design Williams and guitar teaching Summary 3 'Putting the guitar out of classical music' Cavatina and other film projects 1 Sky Africa Venezuela - El Diablo Suelto John Williams and jazz Summary 4 New directions in classical guitar Sculthorpe Takemitsu Dodgson Performing with Julian Bream Richard Harvey Williams' own compositions Programme choices Leo Brouwer Agustin Barrios Mangoré Summary Conclusion Broadening the repertoire and appeal of the classical guitar Critical perception Summary Bibliography Index
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