James Tyler (Professor of Music and Director of Early Music Perfo, Paul Sparks (mandolin player )

The Guitar and Its Music: From the Renaissance to the Classical Era

• Broschiertes Buch

Produktbeschreibung

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.

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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.

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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Oxford Early Music
• Verlag: Oxford University Press
• Seitenzahl: 322
• Erscheinungstermin: Januar 2008
• Englisch
• Abmessung: 244mm x 190mm x 23mm
• Gewicht: 654g
• ISBN-13: 9780199214778
• ISBN-10: 0199214778
• Artikelnr.: 22539950

Inhaltsangabe

* 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