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. Following James Tyler's earlier introduction to the four-and…mehr
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.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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
* 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
* 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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