An Annotated Bibliography of Guitar Methods, 1760-1860

By Boye, Gary R. | Notes, December 2011 | Go to article overview

An Annotated Bibliography of Guitar Methods, 1760-1860


Boye, Gary R., Notes


An Annotated Bibliography of Guitar Methods, 1760-1860. By Erik Stenstad - vold. (Organologia: Musical Instru - ments and Performance Practice, no. 4.) Hillsdale, NY: Pendragon Press, 2010. [xix, 210 p. ISBN 9781576471852. $65.] Bibliography, index, chronological tables.

This is the fourth volume in the Orga - nologia: Musical Instruments and Perfor - mance Practice series from Pendragon Press. While all three previous volumes have dealt with the flute and specific aspects of flute playing, this fourth volume concentrates on guitar method books from roughly 1760 to 1860. The middle range of this period, from around 1800 to 1840, comprises the core of the classical guitar repertoire, with composers found frequently on any modern guitar recital such as Dionisio Aguado (1784-1849), Matteo Carcassi (1792-1853), Ferdinando Carulli (1770-1841), Mauro Giuliani (1781-1829), and Fernando Sor (1778-1839). That all of these virtuosi produced method books- often several editions of method books-is surprising. In fact, the sheer quantity of pedagogical works for guitar during this period will surprise many: Stenstadvold counts over 300 tutors by some 200 authors; reissues and later editions bring the total to over 400 from the period. A large number (over 250) of these sources are French, and the author postulates that this number indicates not only the popularity of the guitar in Paris during the period in question, but also the fact that it was never accepted into the Conservatoire and thus lacked an authorized manual. So the guitar was at once enormously popular and, even at this early date, somewhat neglected by the musical mainstream.

While many readers may be primarily interested in the tutors of the major guitar composers mentioned above, the bibliography contains information on sources going back into the late eighteenth century, a period that has only recently come under scrutiny in the guitar world. Music for fourand five-course guitar has been studied in some depth from its origins in the sixteenth century to its gradual fall from favor in the late baroque. But the key transitional period where the five-course guitar becomes the six-course and the six-string or modern classical guitar has been relatively little-studied. In addition, the period from the 1830s to the 1850s, when the guitar's popularity as a salon instrument was on the wane, has also been neglected. So the bibliography serves to frame the core of the classical guitar repertoire from the early nineteenth century with preceding and succeeding eras rarely visited by modern scholars and performers.

Stenstadvold had some important decisions to make at the outset here and anyone approaching this text needs to know his parameters. By "guitar" he means primarily the six-string instrument usually tuned in fourths with a third (E-A-d-g-b-e#) or its direct predecessors, the five- and sixcourse guitars. All were often called in the period under question the "Spanish guitar." Instruments with similar names but dissimilar origins, most notably the wirestrung cittern common in England and North America called the "English guitar," are not included here. Nor are other instruments often confused with the modern guitar such as the Russian seven-string guitar, various Portuguese guitars, or the "guitare allemande," all of which stem from different organological backgrounds. He does include variants of the modern instrument that have music in an identical style and were often played by the same performers, such as the ten-string guitar, the harpolyre guitar with three necks, the guitar-harp, harp-lute, and the lyre (basically a lyreshaped guitar), all of which were popular for brief periods in the early nineteenth century. None of these instruments, even the six-string one, is exactly like a modern classical guitar, being smaller and softer than modern concert models. But the similarities in tuning and technique mean that they are as interchangeable as, for example, a modern concert grand piano and an early nineteenth-century salon piano. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

An Annotated Bibliography of Guitar Methods, 1760-1860
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.