Notes
1
In Arjun Appadurai (1990). See Slobin (1993) for a useful demonstration of how one might apply Appadurai's model to the cultural study of music.
2
Anthropologist David George's The Flamenco Guitar (1969) is the notable exception. The book includes a revealing interview with Manuel Reyes, a guitar maker based in Cordoba (see pp. 35–58). See also Romanillos (1987).
3
During the summers of 1995 and 1998 we travelled between the region of Andalusia and the capital Madrid in an attempt to discover more about the Spanish guitar – an acoustic instrument that exists in both ‘classical’ and flamenco forms. In general, classical guitars are larger, heavier and have thicker wood and bracing than flamenco guitars. They have mechanical tuning keys as opposed to the traditional wooden pegs of the flamenco guitar (although these pegs are now rare), have much higher bridges and no tapping plates on their soundboard (the right hand fingers of the flamenco guitarist constantly make contact with the top of the soundboard whilst strumming). Many of these factors naturally effect the sound of each instrument. Much has been written about the defining characteristics of each of these forms of the guitar but Pohren (1990)
4
Lorca's poetry provided the inspiration for British composer Reginald Smith Brindle's El Polifemo de Oro (The Golden Polyphemus), the title taken from Gongora's poem. Smith Brindle comments: ‘Lorca attributes to the guitar occult powers, and returns again and again in his poems to the image of the strings spread out like the arms of Polyphemus, or the “great star” of a tarantula's web, waiting to trap our sighing souls within its “black wooden cistern” (Smith Brindle 1982). The composer also wrote a suite for classical guitar called Four Poems of Garcia Lorca (Smith Brindle 1977).
5
27 April 1927, Paris. Oil and charcoal on canvas, 81x81 cm. Picasso used the form of the guitar in many of his works and in different media (including paintings, collage and sculpture). I recommend the following books as starting points for studying the role of the guitar in Picasso's artworks: Robson (1991) and Harrison, Frascina and Perry (1993). I have also found Richard Leppert's work extremely helpful when studying music iconography (see Leppert 1989 and 1993). Grunfeld's history of the guitar contains a wealth of visual illustration (Grunfeld 1969). For an interesting discussion of the influence of Picasso's painting The Old Guitarist upon the poem The Man with the Blue Guitar by American Wallace Stevens and, consequently, upon the music of British composer Michael Tippett, see Tippett (1984).
6
Karl Neuenfeldt's skilful study of the didjeridu shows its importance in the iconography, symbolism and political economy of Australian Aboriginality (Neuenfeldt: 1997a; 1997b). Neuenfeldt cleverly uses Arjun Appadurai's work

-82-

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Guitar Cultures
Table of contents

Table of contents

  • Contents v
  • Acknowledgements vii
  • Notes on Contributors ix
  • 1 - Introduction: Guitars, Cultures, People and Places 1
  • Notes *
  • References *
  • 2 - The Guitar in the Blues Music of the Deep South 11
  • Notes 25
  • References *
  • 3 - Unplugged: Blues Guitarists and the Myth of Acousticity 27
  • Notes *
  • References *
  • 4 - ‘plug in and Play!’ Uk‘indie-Guitar’ Culture 45
  • Notes *
  • References *
  • 5 - Handmade in Spain: the Culture of Guitar Making 63
  • Notes 82
  • References *
  • 6 - The Guitar as Artifact and Icon: Identity Formation in the Babyboom Generation 89
  • Notes 113
  • References *
  • 7 - Into the Arena: Edward Van Halen and the Cultural Contradictions of the Guitar Hero 117
  • Notes *
  • References *
  • 7 - The Guitar Cultures of Papua New Guinea: Regional, Social and Stylistic Diversity 135
  • Notes 154
  • References *
  • 9 - Hybridity and Segragation in the Guitar Cultures of Brazil 157
  • Notes 174
  • References *
  • 10 - Rock to Raga: the Many Lives of the Indian Guitar 179
  • Notes *
  • References *
  • Index 209
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