The guitar and its music : from the Renaissance to the Classical era
著者
書誌事項
The guitar and its music : from the Renaissance to the Classical era
(Early music series)
Oxford University Press, 2002
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [297]-309) and index
内容説明・目次
内容説明
More than twenty years ago James Tyler wrote a modest introduction to the history, repertory, and playing techniques of the four- and five-course guitar. Entitled The Early Guitar: A History and Handbook (OUP 1980), this work proved valuable and enlightening not only to performers and scholars of Renaissance and Baroque guitar and lute music but also to classical guitarists. This new book, written in 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.
目次
- 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
「Nielsen BookData」 より