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GUITAR AND VIHUELA
An Annotated Bibliography
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(Madrid: Joaquin Ibarra, 1774), frontispiece.
 GUITAR AND VIHUELA
An Annotated Bibliography

by
Meredith Alice McCutcheon

RILM RETROSPECTIVES No. 3

PENDRAGON PRESS
NEW YORK
Other titles in the series RILM Retrospectives:

No. 1 Thematic Catalogues in Music: An annotated bibliography by Barry S.

Brook (1972) ISBN 0-918728-02-9
No. 2. French Language Dissertations in Music: An annotated bibliography
by Jean Gribenski (1979) ISBN 0-918728-09-6 Out-of-Stock

Library of Congress Cataloging in Publication Data

McCutcheon, Meredith.
Guitar and vihuela.

(RILM Retrospectives; no. 3)

Includes index.
1. Guitar—Bibliography. 2. Vihuela—Bibliography.
Deities il Series:
ML128.G8M45_ 1985 016.7876'1'09 85-17437

Copyright 1985 by Meredith Alice McCutcheon

4

Table of Contents

List of Illustrations Xili

Introduction
I. Guitar and Vihuela: A Historiography XV
Il. Identifying and Locating Music for Guitar and Vihuela YOSHI
Ill. The Bibliography: Its Purpose, Contents, and Organization XXV1

Acknowledgments XXVI1

How To Use The Bibliography YOXIDS

Abbreviations

General abbreviations
Ms
N\A
Abbreviations for periodicals and dictionaries indexed
Sigla for library locations (Appendix I, II, and the main text)
Abbreviations for publishers of modern editions (Appendix II)

The Bibliography

Chapter I: GENERAL HISTORIES AND DICTIONARIES

A. The Early Guitar: The Sixteenth through the
Eighteenth Century (Including Studies of
Tablature Notation in that Period) VS. 3
B. General Surveys: The Sixteenth through the
Twentieth Century
C: Dictionaries of Guitarists

Chapter Il: NATIONAL HISTORIES

A. Argentina
Brazil
Czechoslovakia
Denmark
France
Germany
Great Britain
HamMmMoOAw
Italy
TABLE OF CONTENTS

Latin America 77-78

Mexico 79-84
Paraguay 85
Peru 86
Poland 87-88
Portugal 89
Russia 90-108
Spain 109-111
(8)
rae
all
etal
et United States 112-151
General 112-123
The American Guild of Banjoists,
Mandolinists, and Guitarists 124-129
The American Guitar Society 130
The Society of the Classic Guitar 131-133
Blantchor, Francis 134
Blessner, E. 13S
Carr, Benjamin 136
Ferrer, Manuel Y. b37
Foden, William 138-147
Hayden, William 148
Krick, George C. 149
Pick, Richard 150
Weiland, Francis TS!
ie Uruguay

Chapter III: HISTORIES OF THE RENAISSANCE PERIOD

A. General Surveys 152-192
Guitar and Vihuela 152-159
Guitar 160-166
Vihuela 167-192
Musical Forms 193-202
Tablature Studies 203-207
Ga Individual Composers, Performers, Theorists,
Publishers, and Authors 208-251
Ballard, Robert See Le Roy, Adrian
Barberis, Melchior de 208
Bermudo, Juan 209-214
Cabezon, Antonio de 215-216
Cervantes, Miguel de 217-220
Daza [Daca], Esteban 221-222
Fuenllana, Miguel de 223-227
Gorlier, Simon
Guzman, Luis de 228
Henestrosa, Luys Venegas de See
Venegas de Henestrosa, Luys
Le Roy, Adrian; Ballard, Robert 229-230

Vi
 TABLE OF CONTENTS

Milan, Luis 231-240 oy

Morlaye, Guillaume 54
Mudarra, Alonso
Narvaez, Luis 241-242
Phalése, Pierre; Bellére, Jean
Pisador, Diego 243-247
Sancta Maria, Thomas de 248-249
Valderrdbano, Enriquez de 250
Venegas de Henestrosa, Luys 251

Chapter IV: HISTORIES OF THE BAROQUE ERA

General Surveys 252-266
The Chitarra Battente 267-268
Musical Forms 269-284
Performance Practice and Tuning 285-294
>mow Individual Authors and Theorists 295-329
Bonanni [Buonanni], Filippo 295-296
Brossard, Sébastien de 297-298
Cerreto, Scipione 299-300
Covarruvias Orozco [Horosco] , Sebastien de 301-302
Giustiniani, Vincenzo 303-307
Grassineau, James 308-309
Mersenne, Marin 310-314
Nassarre [Nasarre], Pablo 315-317
North, Roger 318
Pepys, Samuel 319
Praetorius, Michael 320-325
Talbot, James 326-327
Trichet, Pierre 328
Turner, William 329
F. Individual Composers and Performers 330-385
Abreu, Antonio; Prieto, P. F. Victor
Amat, Juan Carlos [Joan Carles ] 330-331
Aranies, Juan
Bailleux, Antoine
Bricefio, Luis de 332-334
Campion, Francois
Carré Sieur de la Grange, Anthoine
Clementi, Orazio S35
Colonna, Giovanni Ambrosio
Corbetta, Francesco 336-348
Diesel, Nathanael 349-351
Doizi de Velasco, Nicolao
Espinel, Vicente 352-353
Fasolo
Fiorillo, Tiberio (‘‘Scaramouche’’) 354
Foscarini, Giovanni Paolo 355-356

Vil
TABLE OF CONTENTS

Gallot, Henry Francois de 357-359

Gragnani, Filippo
Granata, Giovanni Battista 360
Grénerin, Henri
Guerau, Francisco 361
Kremberg, Jakob 362
Lemoine, A.
Matteis, Nicola 363-364
Médard, Remy
Milanuzzi, Carlo
Millioni, Pietro
Minguet Y Yrol, Pablo
Montesardo, Girolamo
Murcia, Santiago de 365-368
Pellegrini, Domenico 369
Pico, Foriano
Roncalli, Ludovico
Ruiz de Ribayaz, Lucas 370-371
San Severino, Benedetto
Santa Cruz, Antonio de
Sanz, Gaspar 372-376
Severi Perugino, Francesco
Sotos, Andrés de
Vargas Y Guzman, Juan Antonio 377-378
Visée, Robert de 379-385

Chapter V: HISTORIES OF THE EARLY SIX-STRING GUITAR

A. Early Nineteenth-Century Sources 386-391
General Studies 392-413
Individual Composers and Performers 414-628
Aguado, Dionisio 414-423
Arcas Lacal, Julian Gavino 424-426
Basilio, Padre [né Miguel Garcia] 427
Berlioz, Hector 428-439
Boccherini, Luigi 440-444
Cano, Antonio
Carcassi, Matteo 445-447
Carulli, Fernando 448-453
Call, Leonard von 454-456
Coste, Napoleon 457-462
Diabelli, Anton 463-465
Ferandiere, Fernando 466
Ferranti, Marco Aurelio Zani de 467
Giuliani, Mauro 468-484
Gragnani, Felipe
Horetzky, Felix 485-487
Huerta Y Katurla [Caturla] , Don Trinidad
Kreutzer, Joseph 488
viii
 TABLE OF CONTENTS

Legnani, Rinaldo Luigi 489-492 114

Matiegka, Wenzelslaus Thomas 493 Its
Mertz, Johann Kaspar 494-497 1h
Molitor, Simon 498-499 116
Moretti, Federico 500-502 116
Paganini, Niccolo 503-517 117
Pelzer, Ferdinand and daughters Catherine
Josepha (Madame Sidney Pratten) and Giulia 518-521 119
Regondi, Giulio 522-525 121
Scheidler, Christian Gottlieb 526-528 120
Schubert, Franz 529-540 928 |
Sor [Sors] , Joseph Fernando Macari 541-583 123
Stoll, Franz de Paula 128
Thompson, General T. Perronet 584-585 128
Weber, Carl Maria von 586-589 129)
Zani de Ferranti, Marc Aurelio See Ferranti,
Marc Aurelio Zani de
Miscellaneous Composers and Guitarists 590-628 129
Do The: lerz,Guitar 629-631 134

Chapter VI: FROM TARREGA TO THE PRESENT 137,

A. General Surveys 632-645 [59
B. Notation 646-648 141
C. Individual Composers, Performers, and
Publishers 649-851
Abreu, Sergio and Eduardo (Duo) 142
Almeida, Laurindo 649 142
Anido, Maria Luisa 650-653 142
Argento, Dominick 654-656 142
Athenian Guitar Duo (Liza Zoi and
Evangelos Assimakopoulos) 143
Barrios Mangoré, Agustin Pio 657-661 143
Bellow, Alexander 662 144
Berg, Alban 144
Biberian, Gilbert 144
Bickford, Vahdah Olcott [née Ethel
Lucretia Olcott] 663-664 144
Boulez, Pierre 665 144
Bream, Julian 666-670 144
Brindle, Reginald Smith 145
Britten, Benjamin 671-673 145
Cano, Antonio 146
Carrillo-Trujillo, Julian Antonio 674-677 146
Carlevaro, Abel 678 146
Castelnuovo-Tedesco, Mario 679-684 147
Chilesotti, Oscar 685 147
Company, Alvaro 148
Cuarteto, Dona-Dio 148
TABLE OF CONTENTS

Dodgson, Stephen 686-688 148

Dorigny, Henry; Ito, Ako (Duo) 148
Falla, Manuel de 689-694 148
Falu, Eduardo 695 150
Fortea, Daniel 150
Henze, Hans Werner 696-699 150
Hindemith, Paul 700 150
Jeffery, Brian 701 beg
Kagel, Mauricio Lt
Leckie, Walter J. 702 151
Llobet, Miguel Soles 703-710 151
Lorca, Federico Garcia 711-712 152
Martin, Frank a he 152
Mozzani, Luigi 714-715 [33
Pedrell, Carlos 3
Pedrell, Felipe 716 Pee,
Petrassi, Goffredo 717-719 153
Pomponio-Martinez Duo 154
Ponce, Manuel M. 720-737 154
Presti, Ida; Lagoya, Alexander (Duo) 738-746 156
Pujol, Emilio 747-759 P37
Quine, Hector 159
Rodrigo, Joaquin 760-767 159
Rosetta, Giuseppe 768 160
Schonberg, Arnold 769 160
Sainz de la Maza, Regino 160
Segovia, Andrés 770-801 160
Stockhausen, Karlheinz 165
Stravinsky, Igor 165
Takemitsu, Toru 802-803 165
Tansman, Alexander 804-805 165
Tdarrega, Francisco 806-829 166
Torroba, Federico Moreno 830-832 168
Turina, Joaquin 833 169
Villa-Lobos, Heitor 834-846 169
Webern, Anton 171
Williams, John 171
Yepes, Narciso 847-851 171
Zarate Duo ie!
D. Selected Interviews of Performers and
Composers 852-870
(Interviews are also included under the
more extensive individual listings in
Section C.)
Artzt, Alice 852-854 TAZ
Barrueco, Manuel 855 172
Boyd, Liona 856 via
 TABLE OF CONTENTS

Brouwer, Leo 857 bei

Chiesa, Ruggero 858 173
Diaz, Alirio 859-860 es:
Duarte, John 173
Fisk, Eliot 861-862 iS
Ghiglia, Oscar 863 174
Isbin, Sharon 864-865 174
Lauro, Antonio 866-867 174
The Romero Family (Celedonio [father] ,
Celin, Pepe, Angel [sons]) 868-869 Le
Sainz de la Maza, Regino 870

Chapter VII: ICONOGRAPHY ge

A. General Surveys 871-883 tio
B. The Seventeenth Century 884 183
C. Nineteenth-Century Lithography 885-887 183
D. Individual Artists 888-894
Goya Y Lucientes, Francisco José de 888-889 184
Picasso, Pablo 890-892 184
Watteau, Jean Antoine 893-894 185

Chapter VIII: DESIGN AND CONSTRUCTION 187

A. General Surveys 895-902 189
B. Dictionaries of Luthiers 903-905 190
C. The Sixteenth Century: Vihuela and Guitar 906-915
Source Readings 906 191
Secondary Works 907-912 192
Modern Lutistry 913-915 193
D. From 1600 to 1900
Source Readings, Including Construction
Manuals 916-922 HOS
Secondary Works: Luthiers and Historical
Instruments 923-931 195
Individual Luthiers 932-945
Banks, Benjamin 932 196
Garcia Castillo, Enrique 933 196
Lacote, René Francois 196
Martin, Christian Frederick 934 196
Otto, Jakob August 196
Panormo, Louis 93h 196
Staufer, Johann Georg 936 197
Stradivari, Antonio O37) 197
Tielke, Joachim 938-939 197
Torres Jurado, Antonio de 940-945 198
E. National Histories 946-957 198
Argentina 946 199
Austria 947 199
France 948-949 199
X1
TABLE OF CONTENTS

Germany 950
Mexico 951-952
Spain 953-957
F. Individual Luthiers of the Twentieth Century 958-998
Barbero, Marcello 958
Bernabé, Paulino o52
Bouchet, Robert 960
Caldersmith, Graham 961
Cone, Michael 962
Dickens, Fred T. 963
Esteso Lopez, Domingo 964-966
Fernandez, Francisco 967
Fleta, Ignacio 968
Fleta, Francisco Manuel 969
Garcia, Enrique
Haines, Daniel 970
Hauser, Hermann 971-973
Hernandez, Sobrinos de Santos 974-975
Ibanez, Salvador 976
Kasha, Michael O97
Lorca, Antonio 978
Oribe, José S79
Orozco, Juan 980
Pimentel, Lorenzo 981
Ramirez, José and family 982-986
Rodriguez, Manuel 987
Romanillos, José 988-989
Rubio, David 990-992
Schneider, Richard 993-994
Simplicio, Francisco
Tatay, Vicente 995-996
Velazquez, Manuel 997
Vogl, Hans 998
Construction Manuals 999-1015
mo) Studies of Acoustics and other Scientific
Aspects of the Guitar’s Construction 1016-1030
Guitar Strings 1031-1033
The Eight-String Guitar 1034
The Ten-String Guitar 1035-1036
Sinha The Microtonal Guitar 1037-1039
Appendix I: Periodicals Devoted to the Guitar and
Other Fretted Instruments
Appendix II: Music for Guitar and Vihuela Printed
before 1800 and Modern Editions
Chronological List

How To Use The Index

Index
Xii
 List of Illustrations
Pablo Minguet E Yrol, Academia Musical de los Instru-
mentos... (Madrid: Joaquin Ibarra, 1774), frontispiece.
(Courtesy of the Music Division of the New York Public
Library, Astor, Lenox and Tilden Foundations). frontispiece

II Etching. Street Singer by Edouard Manet. Reprinted,

with permission from Sydney Beck and Elizabeth Roth,
Music in prints (The New York Public Library, 1965).

II Etching. Musicians in a Bistro by Jacques Villon (pseud.

of Gaston Duchamp). Reprinted, with permission from
Sydney Beck and Elizabeth Roth, Music in prints
(The New York Public Library, 1965).

IV Federico Moretti, Principios para tocar la guitarra de seis

ordenes (Madrid: por Josef Rico, 1799), Tabla I, p. 9.
(Courtesy of the Music Division of the New York Public
Library, Astor, Lenox and Tilden Foundations). 58

Juan Carlos Amat, Guitarra Espanola, y Vandola (Gerona:

Joseph Bro, [ca. 1765]), Title page. (Courtesy of the
Music Division of the New York Public Library, Astor,
Lenox and Tilden Foundations). 44

Vb Juan Carlos Amat, Guitarra Espanola, y Vandola (Gerona:

Joseph Bro, [ca. 1765]), Chord chart. (Courtesy of the
Music Division of the New York Public Library, Astor,
Lenox and Tilden Foundations). 78

Via Andres de Sotos, Arte para aprendre con facilidad.. .

(Madrid: imprenta de Cruzada, 1764), “La Tabla
Laberinto’’, p. 36. (Courtesy of the Music Division of the
New York Public Library, Astor, Lenox and Tilden
Foundations). 89

Vib Lucas Ruiz de Ribayaz, Luz, y Norte Musical (Madrid:

Melchor Alvarez, 1677), Title page. (Courtesy of the
Music Division of the New York Public Library, Astor,
Lenox and Tilden Foundations). 90

Xili
LIST OF ILLUSTRATIONS

VII Lucas Ruiz de Ribayaz, Luz, y Norte Musical (Madrid:

Melchor Alvarez, 1677), Xacaras, Folias, and Pabanas in
Alfabeto Tablature, p. 66. (Courtesy of the Music Division
of the New York Public Library, Astor, Lenox and Tilden
Foundations). 94

Vil Engraving. Music Party with Guitar and Mandolins by

Vincent M. Langlois. Reprinted, with permission from
Sydney Beck and Elizabeth Roth, Music in prints
(The New York Public Library, 1965). {35

Etching. Blind Guitarist on the Horns of a Bull by

Francisco José de Goya Y Lucientes. Reprinted, with
permission from Sydney Beck and Elizabeth Roth, Music
in prints (The New York Public Library, 1965). 181

Lithograph. The Clown Andreff with Guitar by Hans

Fischer. Reprinted, with permission from Sydney Beck
and Elizabeth Roth, Music in prints (The New York
Public Library, 1965). 182

Ix Etching. Still Life by Henri Laurens. Reprinted, with

permission from Sydney Beck and Elizabeth Roth, Music
in prints (The New York Public Library, 1965). 186

XIV
 Introduction

I. Guitar and Vihuela: A Historiography

The guitar and vihuela each have their own distinctive characteristics,
repertoire, and history. The vihuela (or vihuela de mano) is an instru-
ment whose only extant repertoire dates from the sixteenth century
and whose popularity was confined to Spain and Portugal. The chang-
ing definition of the guitar, from the four-course (double-strung) and
five-course Renaissance guitars to the six-string classic guitar most com-
monly used today, includes many variant forms and various stringing
and tuning practices. Yet the actual physical shape and the correlations
made between the two instruments in early sources suggest that a study
of one without the other would be inappropriate. Their histories are
inseparable. The purpose of this essay is not to present a detailed survey
of the treatment of the guitar and vihuela by historians but rather to
expose some of the main problems, clarifying them with illustrative
examples.
The attempt of some authors to formulate theories on the origins
and the evolution of the guitar and vihuela before approximately 1500
without adequate documentation has resulted in the publication of
much inaccurate information. The earliest known sources of music,
literature, and instruments which clearly define the guitar and vihuela
date from the sixteenth century. Studies of etymology and of icono-
graphy preceding this period should be judged in view of the present
lacunae. Although many of the general and early histories listed in this
bibliography do include history which precedes the sixteenth century,
the first chapter devoted to a specific period, Chapter III: Histories of
the Renaissance Period, is confined to the sixteenth century.
The relationship of the guitar and vihuela to other plucked stringed
instruments whose histories can be traced back to as early as the thir-
teenth century has been confused. For this reason, I suggest some
recent articles on the gittern, citole, lute, and mandora which con-
tain research on literature and iconography before 1500. In addition
to Lawrence Wright’s detailed consideration of the gittern and citole
in ‘“The medieval gittern and citole: a case of mistaken identity,”
Galpin Society Journal XXX (May 1970) 8-42, which may be followed
up by Daniel Heartz’s ‘“‘An Elizabethan tutor for the guitar,” Galpin
Society Journal XVI (May 1963) 3-21 (entry 229), the following
articles are recommended:

XV
 INTRODUCTION

BAINES, Anthony, trans. ‘“Fifteenth-century instruments in Tinctoris’s

De inventione et usu musicae.”’ Galpin Society Journal Jil (March
1950) 19-26.
GILL, Donald. ‘“‘Mandores and colachons.” Galpin Society Journal
XXXIV (March 1981) 13-41.
LOCKWOOD, Lewis. ‘‘Pietrobono and the instrumental tradition at
Ferrara in the fifteenth century.” Rivista Italiana di Musicologia X (1975) 115-23.
PAGE, Christopher, “The fifteenth-century lute: new and neglected
sources.” Early Music IX (January 1981) 11-31.
PAGE, Christopher. “Fourteenth-century instruments and tunings: a
treatise by Jean Vaillant? (Berkeley MS 744).” Galpin Society Journal
XXX (March 1980) 17-35.

Only seven composers published works for the vihuela in sixteenth-

century Spain. Luis Milan’s Libro de musica de vihuela de mano, inti-
tulado El maestro, .. (Valencia, 1535 [colophon 1536] ) is the first
printed work for the instrument. This was followed by six other publi-
cations: Luis de Narvaez’s Los seys libros del Delphin de musica de
cifras para taner vihuela (Valladolid, 1538), Alonso Mudarra’s Tres
libros de musica en cifras para vihuela (Sevilla, 1546), Enriauez de
Valderrabano’s Libro de musica de vihuela, intitulado Silva de sirenas
(Valladolid, 1547), Diego Pisador’s Libro de musica de vihuela (Sala-
manca, 1552), Miguel de Fuenllana’s Libro de musica para vihuela, in-
titulado Orphenica lyra (Sevilla, 1554), and Esteban Daza’s Libro de
musica en cifras para vihuela, intitulado el Parnaso (Valladolid, 1576).
Four other composers of vihuela music are identified in a manuscript
entitled ‘“‘Ramillete de Flores, O Coleccion de Varias Cosas Curiosas,”’
which is located in the Biblioteca Nacional in Madrid. These are Fa-
bricio, Francisco Paez, Mendoza, and Lopez. This manuscript is de-
scribed in Cook 170 and Marcos 180. Only Lopez is known to be men-
tioned elsewhere in a source. In Juan Bermudo’s Declaracion de Instru-
mentos (Ossuna, 1555, entry 211), Libro segundo, capitulo XXX\V, f.
XXIX’, Lopez musician of sefior duque de arcos is included in a list of
masters of the vihuela active in Spain. Also cited are [Luis de] Narvaez,
Martin de jae[n], Hernando de jaen of Granada, [Miguel de] Fuenllana
musician of sefiora marquesa de taripha, Mudarra canon of the yglesia
major de Sevilla, and Anrrique [Enriquez de Valderrabano] musician of
Sefior conde de miranda.
Music for four-course guitar appears first in Mudarra’s publication for
vihuela. Fuenllana’s work contains music for both four-course and five-
course guitar. In this work, the five-course instrument is called ‘‘vihuela
de cinco ordenes”’ [vihuela of five-courses] whereas the four-course in-
strument is called “‘vihuela de quatro ordenes, que dizen guitarra’”’
[vihuela of four-courses, which is called guitar.] Between 1549 and
1578 only books for four-course guitar were printed in Venice by
Melchior de Barberis, in Paris by Gregoire Brayssing, Simon Gorlier,
Adrian Le Roy, and Guillaume Morlaye, and in Louvain and Antwerp
by Pierre Phalése and Jean Bellére.

XVi
 INTRODUCTION

Authors of the sixteenth through the eighteenth centuries dis-

tinguished the guitar from the vihuela by its size, stringing, and tuning.
In particular, texts by Juan Bermudo (entry 211), cited above, Se-
bastien de Covarrubias Orozco (entries 301-02), and Pablo Nassarre
(entries 315-16) give descriptions of the instruments.
Juan Bermudo’s Declaracion de Instrumentos (Ossuna, 1555) is the
most detailed source on the tuning and the stringing of sixteenth-cen-
tury vihuelas and guitars. Several instrument types are described in the
text. In Libro segundo, “‘De la distancia que tiene la guitarra y ban-
durria,’’ Capitulo XXXII, f. XXVIII’, Bermudo cites two common tun-
ings for the four-course guitar: a los viejos and a los nuevos. The old
tuning, most suitable for old romances and strummed music, is de-
scribed as the interval pattern 5-3-4. Bermudo’s description of the
guitarra a los nuevos (Libro quarto, “De las guitarras,”’ Capitulo LXV,
f. XCVI), quoted by John Ward (entry 191, p. 5) in English transla-
tion, clarifies one correlation made between the two instruments.

.. if you wish to make the vihuela into a guitarra a los nuevos [i.e., with
four courses of strings tuned a fourth, a third, and a fourth apart],remove
the first and sixth [strings], and the four strings that remain are those of the
guitar. And if you wish to make the guitar into a vihuela, put on the sixth
and the first [strings].

Bermudo also states that the five-course guitar was an instrument in use
in Spain (Capitulo XXXII, f. XXVIII’) and mentions [Luis de] Guzman
as a player of the seven-course vihuela (Capitulo XXVIII’, f. XXIX). It
is only in reference to the four-course tuning that Bermudo mentions
a variant in use in Italy (Capitulo XXX], f. XXVIII’).
Sebastien de Covarrubias Orozco’s Tesoro de la lengua castellana o
espanola (Madrid) is a dictionary first published in 1611; the 1674 edi-
tion is cited here. Covarrubias Orozco describes the guitar as a vihuela,
small in size and in number of strings. He indicates that the vihuela has
six or more courses. The courses of the guitarrilla (four-course guitar)
and of the five-course guitarra are tuned in octaves rather than in uni-
sons, which was the standard practice for tuning vihuela courses (f. 45).
In his definition of vihuela, Covarrubias Orozco indicates that “‘the
guitar is no more than a cowbell [cencerro], easier to play, especially in
strummed music [rasgado] ...’’ (f. 209). On the vihuela, however, all
forms of plucked music [punteado] can be played.
Published in Zaragoza in 1724, after the decline in popularity of the
vihuela, Pablo Nassarre’s Escuela musica also defines the guitar as a type
of vihuela. ‘““The vihuela being of seven, six, or five courses (the five-
course [instrument]being called guitarra espanola) are not distin-
guished by material, by form, or by proportions...” (p. 461). Later in
the text, Nassarre does distinguish the guitar from the vihuela in two
respects: in size and in tuning.
Rather than treat the vihuela as a distinctive instrument type in it-
self, many twentieth-century historians have sought definitions for the

XVil
INTRODUCTION

vihuela by associating it with more familiar instruments. Thus, the

vihuela has been called the Spanish lute, quite in contradiction to its
origins, history, repertoire, and construction. The fretted, stringed lute
with oval belly and curved, ribbed back maintained a quite separate
history and enjoyed popularity in European countries outside of Spain.
Only once, in regard to tuning, does Bermudo mention the lute [/azid]
which he also calls vihuela de Flandes (Declaracion de Instrumentos,
Capitulo LXV, f. XCVI). In this isolated reference, Bermudo uses the
term vihuela as a generic—but also a more familiar—term which may
have no further bearing on the relationship between the two instru-
ments beyond their similarities in tuning.
Further confusion over the distinctions between the vihuela and
lute results from the terminology used by Johannes Tinctoris in his
De inventione et usu musicae (ca. 1487, Naples).! The terms ghiterra
or ghiterna have been incorrectly translated as guitar, and Tinctoris’s
reference to the stringing and playing of the instrument as that of
the lute [/vra] has been applied to the discussion of the guitar of four-
courses. However, Tinctoris’s description of the instrument—tortoise-
shaped, though smaller than the lute—indicates that he is describing
the gittern.? Tinctoris’s term for vihuela is viola. He designates this
term as Spanish and Italian usage, whereas in France it is called dimi-
tum leutum [{demi-lute]. A clear distinction is made between the lute—
larger and tortoise-shaped—and the viola which is flat and usually has
incurved sides. A second type of viola differs from the lute in shape,
stringing, and its performance with a bow. In this early source, vihuela
is used in a generic sense and is classified as a type of lute.?
Luis Milan’s 1535 publication for vihuela specifies on the title page ~
the instrument vihuela de mano [vihuela played with the hand] which
distinguishes it from the vihuela de penola [vihuela played with a plec-
trum] and the vihuela de arco [vihuela played with a bow]. The publica-
tions which followed, however, have only the term vihuela in their titles,
indicating that the hand-plucked instrument is understood and that
there is no concern for confusion between the specific instrument and
the generic family of strings. As shown in the previously mentioned
sources by Sebastien de Covarrubias Orozco and Pablo Nassarre, in the
seventeenth and eighteenth centuries the prepositional phrase de mano
is no longer in use.

' Anthony Baines, trans., “Fifteenth-century instruments in Tinctoris’s De inven-

tione et usu musicae,” Galpin Society Journal III (March 1950) 19-26 gives the
original Latin text concerning the following instruments with an English trans-
lation.

2 See Lawrence Wright, ““The medieval gittern and citole: a case of mistaken iden-
tity,’ Galpin Society Journal XXX (May 1970) 8-42, especially p. 10 for alternate
spellings of the term gittern.
3 For further discussion of the term viola, see John Ward, “The vihuela de mano and
its music, 1536-1576,” (PhD diss., Music: New York University, 1953) 59-63.

XViil
 INTRODUCTION

Guillermo Morphy is responsible for the first transcription of works

of the seven vihuelists from the original tablature into modern notation.
This remarkable, although somewhat inaccurate, work, which exposed
the unfamiliar repertoire of the vihuela, was incorrectly titled. In 1902,
Breitkopf und Hartel published Morphy’s Les luthistes espanols du
XVIe siécle [Spanish lutenists of the sixteenth century]. Also among
those authors who classified the vihuela as a type of lute were Willi
Apel,* José Bal,* Adolf Koczirz,° Walter Starkie,? John B. Trend,’
and Josef Zuth.? Willi Apel’s statement in The notation of poly-
phonic music, 900-1600, p. 56, n. 1 serves as an example:

The Spanish lute, vihuela, actually is a guitar. However, the tuning as well
as the musical repertoire of this instrument connect it much more closely
with the sixteenth century lute than with the seventeenth or eighteenth
century guitar.

This misuse of terminology has resulted in distortions of the history

and the understanding of the repertoire of both instruments.
The perpetuation of misconceptions about the guitar’s history have
resulted from a knowledge of misleading source readings in an area in
which sufficient reliable information is lacking. Examples of this occur
in two major transitions in the guitar’s stringing: from four courses to
five courses and from five courses to six single strings.
Contradictions exist between sources concerning the origin of the
practice of stringing the guitar with five courses. The conflict results
from the myth which accredits Vicente Espinel (1551-1624) with the
addition of the fifth course to the guitar. His invention is mentioned in
three works by the author Lope de Vega Carpio (1562-1635), including
the play Dorotea, which dates the invention ca. 1587. The myth is later
supported in the guitar publications of Nicolas Doizi de Velasco (1640)
and Gaspar Sanz (1674). The publication of music for five-course guitar

4 Willi Apel, ‘Solo instrumental music,” The new Oxford history of music IV, ed.
by Gerald Abraham (London: Oxford University Press, 1968) and The notation of
polyphonic music, 900-1600, 5th ed. (Cambridge, Mass.: The Mediaeval Academy
of America, 1953).

5 José Bal, ‘‘Fuenllana and the transcription of Spanish lute-music,”

Acta Musicologica
XI (1939) 16-27.
6 Adolf Koczirz, ‘Die gitarren Kompositionen in Miguel de Fuenllanas Orphenica
Lyra (1554)” [The guitar compositions in Miguel de Fuenllana’s Orphenica Lyra
(1554)] Archiv fur Musikwissenschaft IV (1922) 241-61.
7 Walter Starkie, Spain. A musician’s journey through time and space, | (Edisli:
Editions Rene Kister Geneva, 1958).

8 John B. Trend, The music of Spanish history to 1600 (London: s.n., 1926).
° Josef Zuth, Handbuch der Laute und Gitarre {Handbook of the lute and the
guitar ](Vienna: Verlag der Zeitschrift fur die Gitarre, 1926). Reprint ed. (Hilde-
sheim: Georg Olms Verlag, 1972).

X1X
INTRODUCTION

by Miguel de Fuenllana (1554) and references to the five-course guitar

in Bermudo’s theoretical text confirm previous use of this stringing.®
Ricardo Aguirre,'! Bruno Henze,'? and Diego Vazquez Otero’* have
perpetuated the false claim into the twentieth century. This apparent
lack of knowledge of the works of Juan Bermudo and Miguel de Fuen-
llana is significant in two respects. It is an indication both of the decline
in the interest in the vihuela and, likewise, of the limited circulation of
the vihuelists’s music, a problem which may have contributed to the
perpetration of the decline. Juan Carlos Amat’s Guitarra espanola y
vandola, probably first published in 1586, was the first of numerous
five-course guitar books published in Europe. Although Espinel may
have been an influential figure in the rise of the popularity of the five-
course instrument, evidence is conclusive that the establishment of five-
course stringing as common practice in the late sixteenth century re-
sults not from its invention but rather from a shift in popularity away
from the vihuela and the four-course guitar.
The period of transition from the five-course instrument to that of
Six single strings in the late eighteenth century presents many questions
to the present-day historian. Surviving instruments and publications of
guitar music from that period indicate that guitars of five single strings,
six courses, and triple courses were in use. Source readings are scant.
The addition of the sixth string to the guitar has been attributed to the
Weimar instrument maker Jakob August Otto who presumably was the
first to add the bass E string at the request of Kapellmeister Johann
Gottlieb Naumann. This information is recorded in Otto’s treatise
(entry 920, pp. 23-24).
The late Duchess Amelia of Weimar having introduced the guitar into Wei-
mar, in 1788, I was immediately obliged to make copies of this instrument
for several of the nobility;...
I must here take the opportunity to observe that, originally, the guitar had
only five strings. The late Herr Naumann, chapel master at Dresden, ordered
the first guitar with the sixth or low E string, which I at once made for him.
Since that time the instrument has always been with six strings; for which
improvement its admirers have to thank Herr Naumann.
During the last ten years, a great number of instrument makers, as well as
joiners, have commenced making guitars; ... The use of covered strings for
the D and the G is a small improvement of my own. In the guitar, as brought
from Naples, a large violin third-string was used for the D, and only the A was
covered.

1° George Haley, Vicente Espinel and Marcos de Obregon. A life and its literary
representation (Providence, R.I.: Brown University Press, 1959) 45-46 gives
a summary of the publications concerning Espinel.
11 Ricardo Aguirre, ‘““Noticias para historia de la guitarra,’ Revista de Archivios,
Bibliotecas yMuseo XLI (1920) 83.
12 Bruno Henze, Die Gitarre und ihre Meister des 18. und 19. Jahrhunderts (Ber-
lin: Verlag ad. Késter, 1920) 8.
13 Diego Vazquez Otero, Vida de Vicente Martinez Espinel, Excma. Diputacién
Provincial de Malaga. Publicaciones del Instituto de Cultura, Serie B, v. 6 (Malaga,
1948) 220.

XX
 INTRODUCTION

Twentieth-century authors who have attributed this addition to

Otto are A. P. Sharpe (entry 37), Wilhelm Tappert (entry 42), and
Bruno Henze (entry 400). Otto, indeed, may have been important in
popularizing the guitar in Germany, and his statement evidences six
single string building activities in, or shortly after, 1788; however, ex-
tant guitars which pre-date 1788 disprove Otto’s claim. The contact
with Neapolitan guitars revealed in the text may be significant. Turn-
bull (entry 43, p. 64) claims that Naumann “‘had studied the guitar in
Italy, and it is more than probable that he met with the six-string in-
strument there.” A six-string guitar made by Antonius Vinaccia in
Naples is dated 1785. This guitar is described with illustrative plate in
Carl Claudius’s Samlung af Gamle Musikinstrumenter (Copenhagen:
Levin & Munksgaards Forlag, 1931), p. 153, plate 172. In this volume,
standard modern six-string guitar tuning is given, and the dimensions of
the guitar are listed. Heck (entry 397, pp. 10-12) emphasizes Naples’s
further significance in the transition from double stringing (courses) to
single stringing. An important transitional guitar with five single strings
was built by Ferdinando Gagliano in Naples in 1774. In addition to
Vinaccia, Turnbull mentions two other six-string guitars which pre-date
1788: by Moutron (France, 1785)!* and by Michael Ignatius Stadlman
(Vienna, 1787).'* The transition to the six single-string guitar is con-
sidered by authors Cox (entry 394), Evans (entry 15), Heck (entry 474)
and Turnbull (entry 43).
The history of the guitar and the vihuela is intricate and filled with
many unresolved questions. Historians of the early decades of the twen-
tieth century made pioneering efforts to investigate a large body of
music and early source material without the benefits of previous re-
search. Among the most recognized authors of the time were Philip J.
Bone, Oscar Chilesotti, Adolf Koczirz, Guillermo Morphy, Felipe
Pedrell, Erwin Schwarz-Reiflingen, and Josef Zuth. Recent scholarship
has contributed notably to the development of a more accurate and
well-documented representation of the history of the guitar and the
vihuela. Investigations of musical, theoretical, literary, and icono-
graphical sources offer new evidence which has eliminated lacunae and
corrected inaccuracies. Yet the problem of insufficient substantiation
of theories and of the exclusion of information which defines boun-
dries and properly limits the interpretation of theory and terminology
continues to persist even in many recent publications, thus creating the
need for a comparative evaluation of available secondary works.

14 Originally cited in Vladimir Bobri, Martha Nelson, Gregory d’ Alessio, *‘A gallery
of great guitars from the XVIth to the XXth century,” Part III, Guitar Review
XXXV (Summer 1971) 21.
= Originally cited in Thomas F, Heck, “The birth of the classic guitar and its culti-
vation in Vienna, reflected in the career and compositions of Mauro Giuliani (d.
1829),” (PhD diss., Music: Yale University, 1970) I, 44.

XXi
INTRODUCTION

Il. Identifying and Locating Music for Guitar and Vihuela

A number of reference works are available for the identification and

location of music for guitar and vihuela. These include bibliographies
of specific areas and genres, reference works listing the contents of
editions, library catalogs, trade manuals confined to a given year or
period, and catalogs based on current publishers’ outputs.
For bibliographies of guitar music presently in print, two publica-
tions devoted specifically to the guitar are available. Wolf Moser’s
Gitarre-Musik. Ein internationaler Katalog, v. 1, 3rd ed. (Hamburg:
Verlag Joachim Trekel, 1979) and v. 2, Ist ed. (Hamburg: Verlag
Joachim Trekel, 1977) far exceeds any other reference work of its kind
in thoroughness. The first volume contains a list of works available
through 105 publishers; the second volume contains a list of works
available through 137 publishers. Lists are arranged alphabetically by
composer. Guitar music index. A cross-indexed and graded listing of
music in print for classical guitar and lute (Honolulu, Hawaii: Galliard
Press, Ltd., 1976) by George Gilmore and Mark Pereira and volume 2,
published under the same title, by George Gilmore and Peter Kun Frary
(George Gilmore, 1981) are more selective lists of music for guitar. The
first volume contains a list of music available through 92 publishers; the
second volume contains a list of music available through 199 publishers.
In preparation is Classical guitar music in print, edited by Mijndert Jape,
which is expected to be published by Music Data Incorporated at some
time in 1985. It is organized by instrumentation and includes antholo-
gies. Chapters on Francisco Tarrega and J. S. Bach contain thematic
indexes of their works.
The National Union Catalogue is an extensive, multi-volume bibliog-
raphy of printed books on any subject with their library locations in the
United States. This includes a series on Pre-1956 imprints. Catalogs of
individual music library holdings are also useful for locating music and
books in specific collections. The Directory of music research libraries,
including contributors to the International Inventory
of Musical
Sources (RISM), edited by Rita Benton, is an international guide to
music research libraries published in four parts:

Part 1: Canada and the United States (lowa City: The University
of Iowa, 1967).
Part 2: Thirteen European Countries (lowa City: The University of
Iowa, 1970).
Part 3: Spain, France, Italy, Portugal (lowa City: The University
of Iowa, 1972).
Part 4: Australia, Israel, Japan, New Zealand (Kassel: Barenreiter-
Verlag, 1979):

These publications give details on library services, publications, and

holdings. Vincent Duckles’s Music reference and research materials. An
annotated bibliography, 3rd ed. (New York: Schirmer Books, 1974)

XX1l
 INTRODUCTION

contains a chapter entitled ‘Catalogs of music libraries and collections”

(pp. 271-386). This section is international in coverage and is organized
by city with a final listing of private collections.
Thomas F. Heck’s Guitar music in the archive of the Guitar Foun-
dation of America and at cooperating collections: a computerized
catalog (Columbus, Ohio: Guitar Foundation of America, 1981) in-
cludes information on obtaining copies of original editions and other
rare music and on borrowing microfilms. The catalog is organized
alphabetically by composer and by medium of performance. It contains
many nineteenth- and early twentieth-century works and some eight-
eenth-century works.
Guitar music published in collections and anthologies can be located
through available indexes. The most extensive general survey of publica-
tions with listings of complete contents is Anna Harriet Heyer’s Histori-
cal sets, collected editions, and monuments of music. A guide to their
contents, 3rd ed., v. | (text), v. 2 (index), (Chicago, Illinois: American
Library Association, 1980). Because the index only lists composers,
editors, and titles, locating music of a specific genre or for a specific
instrument is difficult. This music can be found only by searching
under pertinent composers, editors, and titles. Such a search would re-
veal a large body of literature for guitar. Sydney Robinson Charles’s
A handbook of music and music literature in sets and series (New York:
The Free Press, 1972) indexes some music for guitar and vihuela. This
is less extensive than Heyer’s publication.
Of particular interest in locating music for guitar in ensemble is
Margaret K. Farish’s String music in print, 2nd ed. (New York and
London: R. R. Bowker Company, 1973). The author’s sources are
publishers’ catalogs, and the work provides information on ob-
taining music through sales and rentals. Although it is primarily a guide
to literature for bowed instruments, listings of some unusual, lesser-
known guitar music are included. Chapters II-VI, music for two, three,
four, five, and six instruments, respectively, contain sections which are
specifically on music for guitar in ensemble. The chapters on septets,
octets, nonets and decets, and voice and instruments have no sub-cate-
gories for specific genres; a search through the composer lists exposes
several compositions with guitar:

Sep tets by Morton Feldman, Wlodzimierz Kotonski, Robert McBride,

Arnold Schoenberg, and Elias Tenenbaum.
Octets by Jurriaan Andriessen, Jacob Avshalomov, Roberto Gerhard,
Bruno Maderna, and Carlo Prosperi.
Nonets and decets by Gunther Becker, John Lewis, and Poul
Rovsing Olsen.
Voice and instruments by Pierre Boulez, Karl Heinz Fussl, Hans
Werner Henze, Riccardo Malipiero, Dieter SchoOnbach, Humphrey
Searle, Matyas Seiber, Thorkell SigurbjOrnsson, Elias Tenenbaum,
and Andrei Volkonsky.
XXill
INTRODUCTION

The most complete discography on the guitar, lute, and vihuela is

Ronald C. Purcell’s Classic guitar, lute, and vihuela discography (Mel-
ville, N. Y.: Belwin-Mills Publishing Corp., 1976). The main text is
organized alphabetically by performer. The complete contents of
records are listed. The discography contains an artist index, a composer
index, and a record number index. Soundboard, periodical of the
Guitar Foundation of America (GFA), regularly contains an annotated
discography entitled “Current discography,” compiled by John W.
Tanno. David Edwin Cooper’s /nternational Bibliography of Discogra-
phies (Littleton, Colorado: Libraries, unlimited, Inc., 1975) is a bibliog-
raphy of classical music, jazz, and blues (1962-72). This is especially
valuable for locating material for a particular composer. Vincent
Duckles’s Music reference and research materials, An annotated bibliog-
raphy, 3rd ed. (N. Y.: Schirmer Books, 1974) has a chapter on discog-
raphies which includes encyclopedias and collectors’ guides.
A large body of music for guitar and vihuela was printed between
1535 and 1800. Appendix II of this bibliography (pp. 223-304) gives a
bibliography of early music locators. The /nternational Inventory of
Musical Sources (RISM) has several series of publications which are the
most comprehensive of the works listed. Howard Mayer Brown’s /nstru-
mental music printed before 1600 is invaluable in the study of the six-
teenth-century repertoire for guitar and vihuela; entries include full
titles, complete listing of the contents of the publication, historical
commentary, library locations, and a bibliography of literature. Lost
works are included in this volume. Peter Danner’s three articles list
guitar tablatures, specifically. Tablature type is identified. Short titles
are given, and the list of library locations is selective. Paul Cox’s “‘The
evolution of playing techniques of the six-stringed classical guitar as
seen through teaching method books from ca. 1780-1850” contains a
bibliography of method books for guitar composed between the years
designated in the title. Warren Kirkendale’s L’aria di fiorenza id est il
Ballo del Gran Duca specifically treats the history of the musical form
by that title. A bibliography of printed books and manuscripts for
guitar which contain this musical form is included. The accuracy of
Johannes Wolf's Handbuch der Notationskunde and Robert Eitner’s
Biographisch-Bibliographisches Quellen-Lexikon is questionable because
of their early dates of publication in this century. Libraries since that
time have changed location or have been lost, and R/SM listings are
more accurate. An effort has been made to update Eitner’s work in
Stephen A. Willier’s ““The present state of libraries listed in Robert
Eitner’s Biographisch-Bibliographisches Quellen-Lexikon,” published in
Fontes Artis Musicae XXVIII/3 (July-Aug 1981) 220-29. James Tyler’s
The early guitar: a history and handbook (London: Oxford University
Press, 1980) contains a chronological list of guitar music printed before
1800. Short titles are cited, and tuning, tablature type, and library
locations are given. Lists of “Undated late eighteenth-century printed
sources” and ‘‘Manuscript sources” follow. Other appendixes are
“Appendix 2: Vocal music accompanied by guitar alfabeto,” “Ap-
XXIV
 INTRODUCTION

pendix 3: Eighteen-century vocal music accompanied by guitar,” and

“Appendix 4: Available facsimile editions of guitar tablatures.”
A comprehensive bibliography of sources of nineteenth-century
guitar music is not available at present. Bibliographies of music, how-
ever, are in print which contain listings of guitar music from this period.
C. F. Whistling’s and Friedrich Hofmeister’s Handbuch der musikalischen
Literatur (titles vary slightly) covers the period 1817 to 1943. It is a
publishers’ catalog, international in coverage and published yearly, and
contains an extensive list of nineteenth-century music. Its uses are lim-
ited because of its original purpose as a trade bibliography. To the
present-day performer and musicologist, it is primarily useful for con-
firming the existence of a work, for defining a terminus ante quem
[latest possible date of first edition] , and for pursuing statistical studies
of a composer’s output or a publisher’s activities. The first volume of
this work and its ten supplements have been reprinted by two publish-
ers, New York: Vienna House, 1972 and New York and London: Gar-
land Publishing, Inc., 1975. The introduction by Neil Ratliff in the
edition by Garland Publishing, Inc. gives information on the history and
the uses of the work. Universal Handbuch der Musikliteratur (Wien:
Pazdirek and Co., 1904-10), reprint edition by Frits Knuf (Hilversum,
1967), is a thirty-four volume work containing listings of music which
dates mainly from the nineteenth century. Organization is by com-
poser, and, although numerous works for guitar are cited, no genre
index for locating guitar music specifically is provided.
Two French-language publications of the decade of the 1820s con-
tain limited listings of music for guitar. These are the 1822 bibliography
of Cesar Gardeton (entry 387 of this bibliography) and Journal général
d’announces des oeuvres de musique, graveurs, lithographies, publié en
France et a l’étranger (1825-1827), ed. by Francois Lesure, Archive de
Pedition, tome III (Geneve: Minkoff Reprint, 1976).
Reference works are available which contain listings of American
guitar music. The most comprehensive bibliography of American music
in the eighteenth century is William Treat Upton’s revised and enlarged
edition of Oscar George Theodore Sonneck’s A bibliography ofearly
secular American music (18th century) (Washington, D.C.: Library of
Congress, 1945), reprint edition (New York: Da Capo Press, 1964).
Guitar music is listed in the general index; the main text contains a de-
scription of the contents of each work with library locations of copies
cited. Nineteenth-century music is listed in two publications. Richard J.
Wolfe’s Secular music in America, 1801-1825 contains an extensive list
of works with descriptions, a list of contents, and library locations. A
trade manual entitled Board of music trade of the United States of
America. Complete catalogue of sheet music and musical works, 1870
(New York: Board of music trade, [1871]) lists the publications of
twenty member firms. Music for solo guitar, guitar songs, guitar duetts
[sic], guitar and piano, and guitar and violin or flute is included. Entries
give only the title, publisher, and composer. Its uses are comparable to
those of the Whistling/Hofmeister catalog described above.
XXV
INTRODUCTION

III. The Bibliography: Its Purpose, Contents, and Organization

The following bibliography is intended to fill the need for an annotated

reference tool for the study of the guitar and vihuela. It contains litera-
ture on composers, performers, theorists, music and analysis, iconogra-
phy, and design and construction in both an historical context and in
a technical one. In addition to literature on the six-string classic guitar,
literature on the Renaissance four-course guitar, the Renaissance and
Baroque five-course guitar, the chitarra battente, the terz guitar, the
seven-string Russian guitar, and the modern eight-string, ten-string, and
microtonal guitars is included. Texts in the Catalan, Danish, English,
French, German, Italian, Latin, Polish, Portuguese, Russian, Spanish,
Swedish, and Ukranian languages are listed. Extant theoretical texts
and literary works dating from as early as 1549 are important sources
of information in the study of early music. These works and articles
contained in nineteenth- and early twentieth-century guitar-related
periodicals are listed in the present bibliography. The earliest periodi-
cal indexed is The Giulianiad III (London, 1833). A survey of available
issues of guitar periodicals brought to light many articles which have
not been indexed in any major bibliographic listing of literature. Litera-
ture published as recently as 1981 is indexed. A list of periodicals de-
voted to the guitar and other fretted instruments and their library lo-
cations in the United States and Canada is given in Appendix I.
Among the most comprehensive encyclopedias of music and musi-
cians are The New Grove Dictionary of Music and Musicians, ed. by
Stanley Sadie (London: Macmillan, 1980) and the German-language
encyclopedia Die Musik in Geschichte und Gegenwart, ed. by Friedrich
Blume (Kassel und Basel: Barenreiter-Verlag, 1956). Only those general
articles on ““Guitar’ (“‘Gitarre’’ in De) and ‘‘Vihuela”’ are indexed in
this bibliography. Biographical articles on composers and performers
in guitar history with bibliographies of music and literature are also
cited in these works. A detailed review of guitar-related material in
Grove is written by Peter Danner in Soundboard VIII/3 (August 1981)
207-10. Further evaluation of the inadequacies of Grove is given by
John Duarte in “‘Back to the Grove” Soundboard VUI/4 (November
1981) 330-32. Further information on the guitar-related material in
Grove is given in “The guitarist’s guide to the New Grove” by Peter
Danner, Soundboard |X/2 (Summer 1982) 110-18; this is a checklist of
articles On musicians and guitar-related subjects. In a chart, the dates of
the individual, the author of the article, and the number of works
written by the individual are given.
Newspaper articles, program notes, exhibition catalogs of instru-
ment collections, and museum catalogs are excluded from the text.
Introductions to editions of music and to method books, also excluded,
often give information and background on the music that they preface.
Appendix II of this bibliography, “‘Music for guitar and vihuela printed
before 1800 and modern editions,” includes method books and their
modern editions.
XXV1
 INTRODUCTION

Research was undertaken primarily at the libraries of the New York

Public Library System, the Library of Congress, the Philadelphia Free
Library, the University of Pennsylvania Van Pelt Library, Yale University
Music Library, Vassar College George Sherman Dickenson Music
Library, Queens College of the City University of New York Paul
Klapper Music Library, and private libraries which were made available.
The services of the Guitar Foundation of America (GFA), the services
of the interlibrary loan system of the New York Public Library, and the
resources of University Microfilms International were essential in
achieving thoroughness in research.
The bibliography is organized chronologically by historical period
with a separate chapter on general histories, national histories, iconogra-
phies, and design and construction. The order of the chapters and the
appendixes is as follows:
Chapter I: General Histories and Dictionaries
Chapter II: National Histories
Chapter III: Histories of the Renaissance Period
Chapter IV: Histories of the Baroque Era
Chapter V: Histories of the Early Six-String Guitar
Chapter VI: From Tarrega to the Present
Chapter VII: Iconographies
Chapter VIII: Design and Construction
Appendix I: Periodicals Devoted to the Guitar and Other Fretted
Instruments
Appendix II: Music for Guitar and Vihuela Printed before 1800
and Modern Editions

Appropriate entries list the volume and the entry number assigned to
the item in R/JLM Abstracts of music literature (International Inventory
of Music Literature) (1967- ). Book reviews are listed. The order
number of dissertations available through University Microfilms Inter-
national (UM]) is given. The language of the text is cited; unmarked
texts are in English.
Divisions and sub-divisions of subject matter vary in each chapter.
Chapters II through VIII contain sections which list studies devoted ex-
clusively to individuals. Criterion for selection is based exclusively on
the availability of literature. Although the presence of a name and the
number of works devoted to that individual may be indicative of his
importance in the guitar’s history, the absence of an individual is by no
means an inference of his insignificance; rather, this may reveal lacunae
and suggest the areas of the guitar’s history most in need of study. In
many cases, individual names have been included as sub-headings with
only cross-references given.

XXVii
INTRODUCTION

Acknowledgments

I am especially indebted to Dr. Barry S. Brook, Executive Officer of

the Ph.D. Program in Music, Graduate School and Center of the City
University of New York for his valuable advice and suggestions. I grate-
fully acknowledge Susan Hellauer of Columbia University for her gen-
erous help and scholarly contribution and Professor Dr. Helmut
Rosing of RJSM Zentralredaktion in Kassel for loaning me the un-
published proofs of volume IX of series A/I ‘“‘Einzeldrucke” of R/SM.
Mention should be made of Cynthia Allison for giving of her time.

XXVIil
 How to Use the Bibliography

Entries are numbered throughout the bibliography in bold face type.

Different types are used to differentiate the three headings used.

Examples:

E. Individual Authors and Theorists

MAIN HEADINGS: These are indented and are preceded by a letter
of the alphabet.

BONANNI [BUONANNI], Filippo (1638-1725)

SUB-HEADINGS: These appear in the left-hand margin, printed in

capital letters, and sub-divide the material under the main head-
ing. Alternate spellings of names appear in brackets.

Sources

DIVISIONS BEYOND THE SUB-HEADING: These are placed in the left-

hand margin and further sub-divide the material under the sub-
heading.

Italicized type is used to designate book tttles, abbreviations

for pertodtcals, and headings for Ltbrary locattons (listed under
the bibliographic citation), Reviews (listed under the annotation),
See and See also cross-references, and Comments (listed under the
entries in Appendix IT).

Itbrary locattons have two elements which are distinguished by two

different types. The country abbreviation is in bold face type.
The specific library in that country is in elite type and follows
the country abbreviation.

peamples= B-Be, Gu. E Be.

B and E designate the countries Belgium and Spain.

Bc, Gu designate libraries in B (Belgium).
Bc, listed after E, designates a library in E=@(Spainy).

XX1X
 Abbreviations
General Abbrevtattons

A AUSTRIA
append. appendix, appendixes
Apr April
Aug August
AUS AUSTRALIA
b basso
bs born
B BELGIUM
be basso continuo
B.C. BRITISH COLUMBIA
Bibi. Biblioteca [Library]
pi blie?. bibliography
bibliog. ref. bibliographic references in [foot ]Jnotes
in notes
bk. book
BRD WEST GERMANY
Cc. century
C CUBA
ca. circa
Ca Catalan
Calif. California
Ch. Chapter
CH CHILE
CND CANADA
Co. Company
comp. compiler
dis died
Da Danish
Dac. DISTRICT OF COLUMBIA
De German
Dec December
Discos. discography
diss. dissertation
DK DENMARK
i SPAIN
ed. editor, edition, edited
En English
ex. example
f£ folio
ca following [page]
F FRANCE
facs. facsicle
facsim. facsimile
Feb February
figs. figure
£45, fluent
Fr French

XXX
 ABBREVIATIONS

GB GREAT BRITAIN
GFA Guitar Foundation of America. 6538 Reefton
Avenue, Cypress, California 90630
H HUNGARY
il VAG
iconog. iconography
TEAL AUBESSE IOUS tealeom
ine. Incorporated
inc. incomplete
Int International
ite Italian
Kp. Komplett, complete
Jan January
Jie e Junior
ka Latin
{Se literature
tec Limited
MA Master of Arts degree
Mar March
Mass. Massachusetts
MEX MEXICO
MM Master of Music
MSe alo Manuscript, manuscripts
music music example, music examples
1. [foot ]Jnote, [foot ]notes
NaC Noiehs Casolaima
Ded. Sees. d.
NL NETHERLANDS
no. Number
Nov November
sys see s.l.
n. pag. no pagination
Nees New York
Oct October
op. opus
Dis page, pages
Pa. Pennsylvania
pf pianoforte
PhD Doctor of Philosophy
Balt Roneesia
Di: plate, plates
POL: POLAND
POUsis. POLEraLt
pseud. pseudonym
Pt Portuguese
ref. references
seule Rhode Island
RILM RILM Abstracts (Internattonal Inventory of Muste
Literature)
RISM Répertotre International des Sources Mustcales
(Internattonal Inventory of Mustcal Sources,
Internationales Quellenlexikon der Mustk)
XXX1
ABBREVIATIONS

Russian
SWEDEN
sans_date, no date
September
series
sans location, no piace
sans nomme, no name (of publisher)
Spanish
Senior
SOVLET UNION
Swedish
SWITZERLAND
tablature
Chem. cat. thematic catalogue
trans. translate (any form)
Beas Cie, transcribe (any form)
Uk Ukranian
University Microfilms International (Ann Arbor,
Michigan)
UNITED STATES OF AMERICA
volume, volumes
viola
violin

Abbrevtattons for Pertodtcals and Dicttonartes Indexed

AGRE ailetllS eae) I Arte Chitarristica, |

Acoustica Acoustica
ActaMusicol Acta Musicologica Int
AfMw Archive fiir Musikwissenschaft BRD
AmerMTeacher American Music Teacher USA
AmerRecorder American Recorder USA
AmerStrT American String Teacher USA
AMZ Allgemeine Musikalische Zeitung
AnM Anuario Musical E
AnnalesM Annales Musicologiques’ F
AustralianJMEducation The Australian Journal of Music Educa-
tion AUS
Blues Blues Unlimited GB
Bluegrass Bluegrass USA
BMG Banjo, Mandolin, and Guitar USA
BulAmerMusicolSoc Bulletin of the American Musicological
Society USA
BulSocHistArtFrancais Bulletin de la Société de 1'Histoire de
iVAre francais.
Cadenza The Cadenza USA

LOOT
 ABBREVIATIONS

CahCanadiensM Cahiers Canadiens de Musique/Canada Music

Book CND
CanadianM Canadian Musician CND
Canon The Canon. Australian Journal of Music AUS
CGuitarInt Creative Guitar International USA
Chesterian The Chesterian GB
Chelys Chelys (also titled Electric Chelys) USA
Chitarra Lay Ghteapcas 1
CollegeMusSym College Music Symposium USA
Conservatorio Conservatorio. .£
Consort The Consort GB
-CourrierMFrance Le Courriere Musical de France F
Crescendo The Crescendo USA
CurrentMusicol Current Musicology USA
DALMF Dansk Aarbog for Musik Forskning DK
DanskMt Dansk musiktidsskrift DK
DieGit Die Gitarre
EarlyM Early Music USA
EDance English Dance and Song GB
Electric Chelys see Chelys
Et ude Etude USA
FontesArtisMus Fontes Artis Musicae USA
Frets Frets USA
Fretts Evertse USA
FINews Fretted Instrument News USA
Fronimo id "Fronimo.s — Ravistas trimestrale de
Chutarra, er ligtes )
GalpinSocJ Galpin Society Journal GB
Gfreund Der Gitarrefreund BRD
Gitarre: (Graz) Die Gitarre. Zeitschrift des Gitarren
Collegiums Graz _ BRD
GitarreLaute Gitarre + Laute BRD
Cisuetanidead The Giulianiad, or Guitarist's Monthly Maga-
zine GB
GMusique Guitare et Musique Chansons Poesie F
Grove The New Grove Dictionary of Music and
Musicians. Ed. by Stanley Sadie.
(London: Macmillan, 1980).
Guitar Cuiter,. “Chermasazine tor all guitarists
GB
GuitarLute Guitar and Lute USA
GuitarN Guitar News GB
GuitarP Guitar Player USA
GuitarR Guitar Review USA
Guitarist Guitarist GB
Guitarra (Chicago) Guitarra Magazine USA
Guitarra (Havana) Guitarra <
Guitarra (Madrid) La Guitarra. Revista Mensual E
Harmonie Harmonie F

XXXlil
ABBREVIATIONS

Heterofonia Heterofonia MEX

HiFi/MAmer HiFi/Musical America USA
HinrichsenMYb Hinrichsen's Musical Yearbook GB
IB Instrumentenbau Musik International BRD
Instrument The Instrumentalist USA
ly Instrumentenbau-Zeitschrift BRD
JAmerMusicolSoc Journal of the American Musicological
Society USA
Javad) aie Jazz Journal International GB
JbOsterreichischen- Jahrbuch des Osterreichischen
Volksliedwerkes Volksliedwerkes A
JLuteSocAmer Journal of the Lute Society of America
USA
JMTheory Journal/oft Musie Theory
JVdGSocAmer Journal. of the Viola da Gamba Society
of America USA
Kontakte Kontakte BRD
LuteSocJ Lute Society Journal GB
MakingM Making Music GB
MBi ldung Musik und Bildung BRD
MCourier Musical Courier USA
MDisciplina Mastea Discipiane Sint
MDisques Musica Disques. F
MEducatorsJ Music Educators Journal USA
MensMe lodie Mens en Melodie WNL
Mf Die Musikforschung BRD
MfMe Monatshefte ftir Musikgeschichte
MGG Die Musik in Geschichte und Gegenwart. Ed.
by Friedrich Blume. (Kassel und Basel:
Badrenreiter-verlag, 1956).
MHaus Muistiike ame iatic. “Zedksehriit eric dates Gitearice A
Mhandel Musikhandel BRD
MinEd Music in Education GB
Musikinstrument Das Musikinstrument BRD
MJ Music Journal USA
MLetters Music and Letters GB
MMaker Melody Maker GB
MMusicians Music and Musicians GB
MOpinion Musical Opinion GB
MQ Musical Quarterly USA
MR Musikrevy S
MReview Music Review GB
MSD Musicological Studies and Documents USA
MTeacher Music Teacher and Piano Student GB
MTimes Musical Times. GB
Musart Musart USA
Musica Musica BRD

XXXIV
 ABBREVIATIONS
Musikerziehung Musikerziehung. Zeitschrift zur Erneuerung
der Musikpflege A
NeueMz Neue Musikzeitung. Musikalische Jugend
Jeunesses’ BRD
NeueZ£iM Nete Zeitschrift fur, Masi.k
Notes Notes. Music Library Association USA
NuestraM Nuestra Musica MEX
NuevaRevFilHisp Nueva Revista de Filologfa Hispdnica E
NuovaRMItaliana Nuova Rivista Musicale Italiana |
OesterreichGitarreZ Oesterreichische Gitarre-Zeitschrift A
OesterreichMz Oesterreichische Musikzeitschrift A
_OrganYb Organ Yearbook GB
' PanPipes Pan Pipes of Srema-Alpha Lota® USA
Plettro Tl Pileeccro™
ProcAmerStrTAssoc Proceedings of the American String Teacher
Association USA
RArt Revue de l'’Art F
RBelgeMusicol Belgisch Tijdschrift voor Muziek-—wetenschap/
Revue Belge de Musicologie B
Recherches Recherches sur la Musique Francaise
Classique iF
RecorderM Recorder and Music GB>
RitalianaMusicol. Rivista witaliana-di- Musieologia~ |
Ritmo Ritmo E
RM Revue Musicale F
RMCatalana Revista Musical Catalana. Butlleti de 1'Orfeo
Cealeaast
RMChilena Revista Musical Chilena CH
RMItaliana Rivista Musicale-Italiana ]
RMSuisseRomande Revue Musicale de Suisse Romande SWIT
RMusicol Revue de Musicologie F
Ruc hM Ruch Muzyezny POL
SaturdayR Saturday Review USA
SchweizerischeMz Schweizerische Musikzeitung
SIMg Sammelbande der Internationalen Musikgesell-
schaft
Soundb Soundboard. The Guitar Foundation of
America USA
Sout hFolkQ Southern Folk Quarterly USA
SovetskajaM Sovetskaja Muzyka SU
Stewart S. S. Stewart's Banjo, Guitar, and Mandolin
Journal USA
Strad Thesstrad, GB
StudMusicol Studia Musicologica H
SvenskIMf£ Svenskt tidskrift for Musikforskning S
TennFolkSoc Tennessee Folklore Society Bulletin USA
VViolinists Violins and Violinists USA
YbIAIMR Yearbook. Inter-American Institute for Musi-
cal Research USA
Z£dG Zeieschrift fir die Citarre. See MHaus
ZiMw Zeitschrift fir Musikwissenschaft
ZIMG Zeitschrift der Internationalen Musikgesell-
schafte
XXXV
FEBREVIATIONS

Stgla for Itbrary Locattons as Designated in RISM

*An asterisk before an abbreviation indicates that this library is

not iisted Gn ALSM.

A - AUSTRIA

lu Innsbruck, Universitdtsbibliothek
M Melk an der Donau, Benediktiner-Stift Melk
Sca Salzburg, Salzburger Museum Carolino Augusteum,
Bibliothek
Wem Wien, Gesellschaft der Musikfreunde in Wien
Wmi Wien, Musikwissenschaftliches Institut der Uni-
versitat
Wn Wien, Osterreichische Nationalbibliothek (K. K.
Hofbibliothek), Musiksammlung
Wst Wien, Stadtbibliothek, Musiksammlung

B - BELGIUM

Nel Antwerpen (Anvers), Stadsarchief

Be Bruxelles (Brussel), Conservatoire Royal de
Musique, Bibliothéque
Br Bruxelles (Brussel), Bibliotheque Royale Albert ler
Gu Gent (Gand), Rijksuniversiteit, Centrale Biblio-
theek
ice Liége (Luik), Conservatoire Royal de Musique,
Bibliotheque

C - CANADA

On Ottawa (Ontario), National Library of Canada

Tb Toronto (Ontario), Canadian Broadcasting Corpora-
tion (Canadian Radio Broadcasting Commission),
Music Library
Te Toronto (Ontario), Royal Conservatory of Music
Tm Toronto (Ontario), Royal Ontario Museum Library
Tolnick Toronte (Ontario), Harvey J. Olnick, private
collection
Tp Toronto, (Ontario), Toronto Public Library, Music
Branch
Tu Toronto (Ontario). Universicy of Toronto, Faculty
of Music (Royal Conservatory of Music) Library
Vme lean Vancouver (British Columbia), Hugh J. McLean,
private collection
Vu Vancouver (British Columbia), University of
British Columbia Libary, Fine Arts Division

XXXV1
 ABBREVIATIONS

CH - SWITZERLAND

Behristen Basel, Privatbibliothek Werner Christen

Bu Basel, Offenliche Bibliotheder
k Universitat
Basel, Musiksammlung
Bern, Konservatorium (Berner Musikschule), Biblio-
thek
Bern, Schweizerische Landesbibliothek (Biblio-
theque Nationale Suisse)
Einsiedeln, Kloster Einsiedeln, Musikbibliothek
Fribourg, Franziskaner-Kloster
Genéve, Bibliothéque publique et universitaire
Neuchatel (Neuenburg) Bibliothéque Publique de
la Villa de Neuchatel
St. Gallen, Stadtbibliothek (Vadiana)

CS - CZECHOSLOVAKIA

Bm Brno, Moravské mizeum-hud. hist. oddeleni

Bu Brno, Statni védeckda knihovna Universitni knihovna
Jur pri Bratislave, Okresny archiv, Bratislava-
vidiek
Ceska Lipa, Okresny archiv
Nieigas Stdtni archiv
Miele. AieClatwe Siceyeinae konservatore Varia Ze
Praha, Narodni mtzeum —- hud. oddeleni
Praha, Pamatnik narodniho pisemnictvi, Strahov
Rreahanms &aenieeknanounal CSR - Universitni knihovna
Riznd provenience

D-brd or D - WEST GERMANY

As Augsburg, Staats- und Stadtbucherei (ehem. Kreis-—

und Stadtbibliothek)
ASm Aschaffenburg, Stadtbiicherei (Stddtische Musik-
schulbibliothek)
Berlin, Staatsbibliothek (Stiftung Preussischer
Kulturbesitz)
Berlin, Deutsche Staatsbibliothek
Berlin, Staatliche Hochschule ftir Musik und
Darstellende Kunst (ehem. Kgl. Akademische
Hochschule fiir Musik)
Bonn, Wissenschaftliches Beethovenarchiv
Coburg, Landesbibliothek
DUk Dusseldorf, Goethe-Museum (Anton und Katharina
Kippenber g-Stiftung)
Frankfurt/Main, Stadt-, und Universitatsbibliothek,
Musik- und Theaterabteilung Manskopfisches Museum

XXXVii
ABBREVIATIONS

Hmb Hamburg, Musikbticherei der Hamburger 6ffentlichen

Biicherhallen
Hs Hamburg, Staats- und Universitdtsbibliothek,
Musikabteilung
HEms Heidelberg, Musikwissenschaftliches Seminar der
Universitat
HVL Hannover, Niedersdachsische Landesbibliothek
HVs Hannover, Stadtbibliothek, Musikabteilung (Sammlung
Kestner)
aie § Kiel, Schleswig-Holsteinische Landesbibliothek
LB Langenburg (Wurttemburg), Furstlich Hohenlohe-
Langenburg'sche Schlossbibliothek
LCH Lich, Kreis Giessen, Furstlich Solms-Lich' sche
Bibliothek
LUh Liibeck, Bibliothek der Hansestadt Lubeck (ehemals
Stadtbibliothek der Freien und Hansestadt Lubeck),
Musikabteilung
Mbn Munchen, Bibliothek des Bayerischen Nationalmuseums
Munchen, Bayerische Staatsbibliothek (ehemals
Konigliche Hof- und Staatsbibliothek (ehemals
Konigliche Hof- und Staatsbibliothek), Musik-
sammlung
Munchen, Stadtische Musikbibliothek
Marburg/Lahn, Universitatsbibliothek der Philipps-—
Universitat
Munster, Santini-Bibliothek im Bischdflichen
Priesterseminar
Munster, Universitatsbibliothek
Mainz, Musikverlagsarchiv B. Schott's Séhne
Nurnberg, Bibliothek des Germanischen National-
Museums
Ottobeuren (Allg&du), Bibliothek der Benediktiner-
Abtei
OF Offenbach am Main, Verlagsarchiv André
Rp Regensburg (Bayern), Proske - Musikbibliothek
SGiek one SlClallony Schwaibisch-Hall, Bibliothek des Historischen Vereins
fur Wirttembergisch-Franken
lei Tubingen, Universitatsbibliothek der Eberhard-Karls-
Universitat
W Wolfenbuttel (Niedersachsen), Herzog—August-
Bibliothek, Musikabteilung
WI or WIL Wiesbaden, Hessische Landesbibliothek (ehemals
Nassauische oder Kénigliche Landesbibliothek)

D-ddr or D - EAST GERMANY

Bds Berlin, Deutsche Staatsbibliothek (ehem. Kel.

Bibliothek; Preussische Staatsbibliothek; Of-
fentliche Wissenschaftliche Bibliothek), -
Musikabteilung

XXXVili
 ABBREVIATIONS

Dl or Dlb Dresden (Sachsen), Sichsische Landesbibliothek,

Musikabteilung (ehem. Kbl. Offentliche Biblio-
thek)
HER Herrnhut (Sachsen), Archiv der Bruder-Unitat
LEm Leipzig (Sachsen), Musikbibliothek der Stadt
Leipzig (Musikbibliothek der Stadt Leipzig
Peters und verschiedene Sammlungen in der
Leipziger Stadtbibliothek)
ROu Rostock, Universitdtsbibliothek
SW1 Schwerin, Wissenschaftliche Allgemeinbibliothek
Landesbibliothek
WRtl Weimar, Thuringische Landesbibliothek (ehem.
Grossherzogliche Bibliothek), Musiksammlung

DK - DENMARK

A Aarhus, Statsbiblioteket i Aarhus

Kk K¢gbenhavn, Det kongelige Bibliotek
Sa Sor¢g, Sorg Akademis Bibliotek

E - SPAIN

Be Barcelona, Biblioteca Central

Bd Barcelona, Biblioteca Central de Cataluna
Barcelona, Instituto Espanol de Musicologia
Baceelona. Bibilsiotecacde, la Unasversudad
Hseconitaie il. Real eMomastesiomder iia Haconrialk
Madnid, Hundacton=bazaco Calidiane
Madrid. BabikvotecasdenlamCacas DucallsdesMedimacela
Madrid, Biblioteca nacional
Valenera. Acehivorde lla Catedral:
Zaragoza, Seminario de San Carlos

EIRE - IRELAND

Dn Dublin, National Library and Museum of Ireland

F - FRANCE

Agen, Archives départementales

Bourdeaux, Bibliotheque municipale
Chantilly, Bibliothéque du Musée Condé
Grenoble, Bibliothéque municipale
Nantes, Bibliothéque municipale
Paris, Bibliothéque de 1'Arsenal
Paris, Bibliothéque du Conservatoire national de
musique (tbergegangen in Paris, Bibliotheque
nationale)
XXX1X
ABBREVIATIONS

Pm Paris, Bibliothéque Mazarine

Pn Paris, Bibliothéque nationale
Po Paris, Bibliotheque- Musée de 1'Opéra
Psg Paris, Bibliothéque Sainte-Genevieve
Pielmmoenuulie Paris, Bibliothéque G. Thibault
TLm Toulouse, Bibliothéque municipale

GB - GREAT BRITAIN

Cke Cambridge, Rowe Music Library, King's College

Cpl Cambridge, Pendlebury Library of Music
Cu Cambridge, University Library
CDp Cardiff, Public Libraries, Central Library
DRe Durham, Cathedral Library
DU Dundee, Public Libraries
En Edinburgh, National Library of Scotland
Ep Edinburgh, “Publie iaibracy,.Central Public Library
Er Edinburgh, Reid Music Library of the University of
Edinburgh
Ge Glasgow, Euing Music Library
Gm Glasgow, Mitchell Library
Gu Glasgow, Glasgow University Library
oa! London, The British Library
Lbm London, British Museum
Lbmh London, British Museum, Pawl~“Hiesch Collection
Lem London, Royal College of Music
nie Leeds, Leeds Public Libraries, Music Department,
Central Library
Le Lincoln, Cathedral Library
Ob Oxford, Bodleian Library
Och Oxford; Ghrist® Church Library
Out Oxford, Oxford University, Faculty of Music
Library
I Tenbury (Worcestershire), St. Michael's College
Library

H - HUNGARY

S Fm Székesfehérvar (Stuhlweissenburg), Istvan Kirdly

Mazeum Kényvtara (Kénig-Stephan-Museum)

I - ITALY

BDG Bassano del Grappa, Biblioteca civica

Be Bologna, Civico Museo Bibliografico-Musicale
(Liceo Musdicale "GoB. Martini”)

xl
 ABBREVIATIONS

Bergamo, Biblioteca Civica

Codoeno, Biblioteca civica popolare "L. Ricca"
Firenze, Biblioteca del Conservatorio di Musica
The CherubAna
Firenze, Biblioteca Nazionale Centrale
Ferrara, Biblioteca comunale Ariostea
Milano, Biblioteca Ambrosiana
Milano, Biblioteca Nazionale di Brera
Milano, Biblioteca del Conservatorio "Guiseppe
Verdi"
Modena, Biblioteca Estense
Napoli; Biblioteca del Conservatorio de Musica S.
Pietro a Maiella
Nn Napoli, Biblioteca Nazionale "Vittorio Emanuele
LiL swith: Bibi. lbucehesi—Palii)
Ppapafava Padova, Biblioteca privata Novello Papafava dei
Carreresi
PAc Parma, Sezione Musicale della Biblioteca Palatina
presso il Conservatorio "Arrigo Boito"
PEsp PeLueia qALChaVO.wscCOLTCOnds, oan Pietro
Re Roma, Biblioteca Casanatense
Rdp Roma, Archivio Doria Pamphili
Rsec Roma, Biblioteca Musicale governativa del Con-
SSiaweieouen©) Cla Sehuee) Ceweat iste
Rv Roma, Biblioteca Valiiaiecelliiana
Rvat Roma, Biblioteca Apostolica Vaticana
REm Reggio-Emilia, Biblioteca municipale
Tn Torino, Biblioteca Nazionale Universitaria
sla Termini-Imerese, Biblioteca Comunale Liciniana
Ve Venezia, Biblioteca del Conservatorio ‘Benedetto
Marcello" (fondo primitivo, fondo Correr, fondo
Giustiniani, fondo dell' Ospedaletto, fondo
Carminati, fondo Torrefranca)
Vnm Venezia, Biblioteca Nazionale Marciana
VEaft Verona, Biblioteca dell'Accademia filarmonica
VEas Weromel, AMeelhyale Gli, SieAce
Vib Vicenza, Biblioteca civica Bertoliana

J - JAPAN

Tma Tokyo, Bibliotheca Masashino Academia Musicae

NL - NETHERLANDS

At Amsterdam, Toonkunst-Bibliotheek
DHgm Den Haag, Gemeente Museum
Uim Utrecht, Instituut voor Muziekwetenschap der
Rijksuniversiteit

xli
 ABBREVIATIONS

P - PORTUGAL

Pm Porto, Biblieteca Ptblica Municipal

PL - POLAND

GD Gdansk (Danzig), Biblioteka Polskiej Akademii Nauk

Kj Krakow (Krakau), Biblioteka Jagielldnska
Wu Warszawa, Biblioteka Uniwersytecka
WRu Wroclaw (Breslau), Biblioteka Uniwersytecka

S - SWEDEN

iL Lund, Universitetsbiblioteket
Skma Stockholm, Kungliga Musikaliska Akademiens
Bibliotek
Uu Uppsala, Universitetsbiblioteket

US - UNITED STATES OF AMERICA

A Albany (New York), New York State Library

AA Ann Arbor (Michigan), University of Michigan,
Music Library
AUS Austin (Texas), University of Texas
BApi Baltimore (Maryland), Peabody Institute of the
City of Baltimore Library
BE Berkeley (Calzt.); University’ of California,
Music Library
BLu Bloomington (Indiana), Indiana University
BO Boulder (Colorado), University of Colorado,
Music Library
Bp Boston (Mass.), Boston Public Library, Music
Department
BRp Brooklyn (New York), Brooklyn Public Library
BU Buffalo (New York), Buffalo and Erie County
Pubic: Library
CA Cambridge (Mass.), Harvard University, Music
Libraries (Eda Kuhn-Loeb, Houghton, Harvard
College, Theatre Collection)
CAh Cambridge (Mass.), Harvard University, Houghton
Library
*CARu Carbondale (Illinois), Southern Illinois Univer-
sity
Cer Chicago (Illinois), Center for Research Libraries
CHH Chapel Hill (North Carolina), University of North
Carolina, Music Library
Cp Cincinnati (Ohio), Cincinnati Pubbie Library
CLp Cleveland (Ohio), Cleveland Public Library

xlii
 ABBREVIATIONS

Chicago (Illinois), Newberry Library

COu Columbus (Ohio), Ohio State University, Music
Library
Chicago (illinois), Chicago’ Public Library
Chicago (Illinois), University of Chicago, Music
Library
Denver (Colorado), Denver Public Library, Art and
Music Division
Durham (North Carolina), Duke University Libraries
Detroie: Michigan), Detroit Public. Library, Music
and Performing Arts Library
Durham (New Hampshire), University of New Hampshire
Eugene (Oregon), University of Oregon
Ithaca (New York), Cornell.University Music Library
IO lowa City (lowa), University of Iowa, Music Library
LObenton Iowa City (lowa), Rita Benton Library
LA or LAuc Los Angeles (Calif.), University of California,
William Andrews Clark Memorial Library
LAusc Los Angeles (Calif.), The University of Southern
Cairo, SCliool. Ot Miuisae
LEX Lexington (Kentucky), University of Kentucky,
Margaret I. King Library
Milwaukee (Wisconsin), Milwaukee Public Library,
Art and Music Department
Moscow (Idaho), University of Idaho
New Haven (Conn.), Yale University, The Library of
thewsechool of Music
Normal (Illinois), Iltinois State University,
Milner Library
NYcu New York (New York), Columbia University, Music
Library
NYhs New York (New York), New York Historical Society
Library
NYhsa New York (New York), Hispanic Society of America,
Library
NYp New York (New York), New York Public Library at
Lincoln Center
OB Oberlin (Ohio), Oberlin College Conservatory of
Music
Pe Pittsburgh (Pa.), Carnegie Library of Pittsburgh
PHE Philadetphia |¢Pas)s Philadelphia Free Library,
Music Library
PHu Philadelphia (Pa.), University of Pennsylvania
(Otto E. Albrecht Music Library, Van Pelt
Library, Furness Shakespeare Library, Yarnall
Library of Theology)
PROhs Providence (R.I.), Rhode Island Historical Society
PROu Providence (R.I.), Brown University Libraries
PRV Provo (Utah), Brigham Young University
Pu Mreesburene (raw), University of Pittspurceh, Music
Library (with: Theodore M. Finney private
library) a
xliti
ABBREVIATIONS

Rochester (New York), Sibley Music Library, East-

man School of Music, University of Rochester
Riverside (Galit.), University of California-at
Riverside
San’ Francisco (Calif), Sueravlaibrary
Saint Louis (Missouri), Concordia Seminary Library
Saint Louis (Missouri), Fontbonne College Library
Saint Lowis: (Missouri), Exnet Cc. Krohn private
library collection
Saint Lowie: (Missouri). Satimewouts Public Libragy
Saint Louis (Missouri), Olin Library, Washington
University
Saint Louis (Missouri), Washington University,
Gaylord Music Library
San Marino (Calif.), Henry E. Huntington Library
and Art Gallery
Seattle (Washington), Seattle Public Library
Stanford (Calif.). Stanford University, Music
Library
Seattle (Washington), University of Washington,
Music Library
Tallahassee (Florida), Florida State University
Tempe (Arizona), Arizona State University Library
Toledo (Ohio), Toledo Public Library
Urbana (Illinois), University of Illinois, Music
Library
Washington (D.C.), Library of Congress, Music
Division
Washington (D.C.), General Collections, Library
of Congress
Wellesley (Mass.), Wellesley College Library
Washington (D.C.), Folger Shakespeare Library
Washington (D.C.), Scottish Rite Masons, Supreme
Council, Library
Washington (D.C.), Smithsonian Institution, Music
Library

YU - YUGOSLAVIA

Zha Zagreb, Hrvatski glazbeni zavod, zbirka Don Nikole

Udine Algarotti

Abbreviations for Publishers of Modern Edittons

BARENREITER, Barenreiter-Antiquariat (Kassel-Wilhelshthe, Germany )

EdBerben, Edizioni Berben (Ancona, Italy)
BreitkopfHartel, Breitkopf und Hartel (Wiesbaden, West Germany)

Xliv
 ABBREVIATIONS

CEstHist, Centro de Estudio Histéricos (Madrid, Spain)

EdChanterelle, Editions Chanterelle, distributed by Brian Jordan
(London, England)
EdCultCiv, Editions Culture et Civilisation (Brussels, Belgium)
FORNI, Arnaldo Forni Editore S.p.a. (sala Bolognese, Italy)
HEUGEL, Heugel et Cie (Paris, France)
HOFMEISTER, Friedrich Hofmeister (Hofheim, West Germany)
InstEspMusic, Consejo superior de investigaciones cientificas,
Instituto espanol de musicologfia (Barcelona, Spain)
InstFernCat, Instituci6én “Fernando el Catolico" de la Exema.
Consejo Superior de Investigaciones cientificas (Saragossa,
Spain)
MINKOFF, Minkoff Reprint (Chene-Bourg/Geneve, Switzerland)
OLMS, Georg Olms Verlag (Hildesheim, West Germany)
OXFORD, Oxford University Press (London, England)
PennaStUniv, Pennsylvania State University Press (University
Park, Pa?)
SCHOTT, B. Schott's Sdhne, Schott and Co. (Mainz, West Germany)
Sabo otudToMperikdizieni.Seelte «Florence, )Ltaly)
TECLA, Tecla Editions (London, England; Boston, Mass.)
UMusicEsp, Unid6n Musical Espatfiola (Madrid, Spain)
ZERBONI, Presso Le Edizioni Suvini Zerboni (Milan, Italy)

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 CHAPTER ONE

General Histories and Dictionaries

Of the general histories of the guitar listed in this chapter, many are
histories of plucked instruments and so include the lute, the mandolin,
and others. English-, German-, French-, Italian-, and Spanish-language
texts are indexed. The chapter is divided into three sections: Section A.
The Early Guitar: The Sixteenth through the Eighteenth Centuries
(Including Studies of Tablature Notation in that Period), Section B.
General Surveys: The Sixteenth through the Twentieth Centuries, and
Section C. Dictionaries of Guitarists.
Section A. gives a short list of items which treat the history of the
guitar before 1800. All are extensively researched contributions to the
study of early music. Other literature on tablature which is restricted
specifically to the Renaissance period or to the Baroque period is cited
in Chapter III and Chapter IV.
In Section B., the amount of detail and the degree of accuracy of the
entries vary. Among the most thoroughly researched studies recently
published are Evans (entries 15, 16), Radole (entry 34), Ragossnig
(entry 35), and Turnbull (entry 43). A discussion of the research
methods, problems, and final opinions of authors Evans and Turnbull
is found in an article by Jas Obrecht entitled “Guitar books and their
authors’, GuitarP XIII/10 (Oct 1979) 78-80, 82, 85, 86, 88, 94-96, 98.
Several surveys treat specific aspects of the guitar and its repertoire.
These are Clark (entry 13) on elementary harmonic analysis, Pujol
(entry 32) on timbre and flesh versus nail right-hand technique, Sicca
(entries 38-41) on music for guitar and keyboard instruments, Wade
(entry 46) on the guitar duo, Wade (entry 47) on trends in the develop-
ment of the guitar as a solo instrument, and Zvengrowski’s dissertation
(entry 50) for a specialized treatment of education and Schenkerian
analysis.
 Wi/ /

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Etching. Street Singer by Edouard Manet.

 (1-3)
A. The Sixteenth through the Eighteenth Century
(Including Studies of Tablature Notation in that Period)

1 HUFFMAN-BLAIN STEARNS, Roland. "A manual of lute, vihuela, and

guitar tablatures, with surveys of transcription practice, in-
strumental technique, and beginning pedagogy". MM diss., Music:
University of Idaho, 1978.
A valuable study of tablature notation before 1800. Musical Style,
instrument types, early technique, pedagogy, tablature interpretation,
and transcription methodology are considered. Source material is con-
sulted; modern scholarship is evaluated and compared. Illus., charts,
music (tabl. and transcr.), append., bibliog. (music and lit.), 118p.

2 TONAZZI, Bruno. Ltuto, vithuela, chttarra e strumentt stmtlart

nelle loro tntavolature, con cennt sulle loro lttterature
[Lute, vihuela, guitar and similar instruments for which tabla-
ture is used, with comments on their literature]. (Ancona:
Edizioni Berben, 1971). In It.
A study of tablature notation with emphasis on that for lute, vihuela,
four-course guitar, and five-course guitar. Information on tablature
for the archlute, theorbo, chitarrone, pandora, orpharion, mandola,
and angelica is included. Instruments are discussed individually with
comments on tablature interpretation, transcription methodology, per-
formance practices, and ornamentation. Important composers and their
works are surveyed (l6th c.-20th c.); some references to modern edi-
tions in footnotes. Sources of music for the individual instruments
are listed in the main text with some library locations cited. 17 pl.
(tabl. in facsim., 1507-1692, includes music for vihuela, four-course
guitar, and five-course guitar), illus., tables, music (tabl. and
transcr.), bibliog. ref. in» notes,—bibliog. (secondary works).

3 TYLER, James. The early guitar. A htstory and handbook. (Lon-

don: Oxford University Press, 1980).
A study of the four-course guitar and the five-course guitar in the
period from the sixteenth century to the eighteenth century. In 2
partoeubact) ly History offers a detailed: historyrotmthe: guitar in-
cluding discussions of tuning and stringing, repertoire, theoretical
texts, and extant musical instruments. A preliminary study of origins
includes information on the vihuela and on early terminology. The
study of the five-course guitar includes a consideration of extant
sources of music of the Italian school, the French school, and the
Spanish school with principal composers and publication dates listed.
Part 2 "Handbook" is a practical guide, addressed to the modern
reader, for the understanding of tuning and stringing practices and
for the interpretation of notation systems. Main text divisions are
"Tuning and stringing", "Tablature", "Technique", and "Ornaments". A
brief discussion of continuo performance on guitar includes a quota-
tion of an excerpt from the text of Nicola Matteis's The false con-
sonances of mustck (ca. 1680). Glossary, 4 append. (''Primary sources",
"Vocal music accompanied by guitar alfabeto", "Eighteenth-century
3
(3-7) General Histories

vocal music accompanied by guitar", and "Available facsimile edi-

tions of guitar tablatures". 29 pl. (iconog., music, instruments),
music “(tabl? and*transcr.), bibliog... no index, 1276p.
Revtews: MMusitctan XXVIII (May 1980) 35-36; Ephraim Segerman, EFarlyM
VIII/3 (July 1980) 387-88; Jozéf Powrézniak, Notes XXXVII/3 (Mar
1981) 588.

4 WOLF, Johannes. "Uber Gitarren-Tabulaturen" [On guitar tabla-

tures]. Report of the fourth Congress of the International
Musical Society (London, 29 May-3 June 1911) 354. (London:
Novello, 1912). English abstract in ZIMG XIII/3 (ec 1911)
105-06.-In De.
Italian and Spanish guitar tablature is discussed. Coverage extends
from the late sixteenth century to the eighteenth century. Some in-
accuracies.

5 WOLF, Johannes. Handbuch der Notattonskunde. II. Tetl. Ton-

schroften der Neuzett. Tabulaturen, Partitur, Generalbass und
Reformversuche [Handbook of notation. Part II. Musical writ-
ings of recent times, tablatures, score, generalbass, and
reform attempts]. (Leipzig: Breitkopf und Hartel, 1913-1919)
2v. Reprint ed. (Hildesheim: Georg Olms Verlagsbuchhandlung,
L9G3 ein: Dex
Ch. LILI ."Guitarrentabulaturen" [Guitar tablatures]: A survey ,of
guitar tablatures, published and in manuscript. Includes music for
solo guitar, guitar and voice, and guitar in ensemble with other in-
struments. Emphasis on transcription methodology. Illustrated exten-
sively with musical examples of tablature and with transcriptions in
two-staff systems (treble and bass clef). Includes some music in
facsim. Extensive bibliog. of tablatures, published material and
manuscripts, p. 209-18. Organization of the bibliography is by
country and by tablature type. Library locations cited.

B. General Surveys: The Sixteenth through the

Twentieth Century
6 AZPIAZU, Jose de. The guitar and guitartsts from the beginning
to the. present day: (London: G. Ricordi ‘and Co., Ltd.> 1960).
French ed. (Basle, Switzerland: Editions Symphonia-Verlag A.
(O7,5)'.
A short historical survey of the guitar's history to the present day.
Theories on ancestry given. Contains many listings of important in-
dividuals with little detail. Some inaccuracies. No notes or bibliog.
4) illus S9p:.
Reviews: GuttarN LV (Sept-Oct 1960) 21; MakingM XLIV (Autumn 1960)
17; MTimes CII (Jan 1961) 32; GalpinSocd XIV (Mar 1961) 86.

7 BAKUS, Gerald J. The Spanish guttar. A comprehensive reference

to the classtcal and flamenco guitar. (Los Angeles, Calif.:
Gothic) Press.) 1L977)%
General Histories (7-10)

A general reference work in which several subjects are treated

briefly; history, playing, care, construction, techniques, music,
supplies, literature, recordings, and biographies are the topics
covered. Ch. I "History" gives a short general historical survey in
which the reader is frequently referred to other secondary works for
further information. "This book is best suited for the person who
needs a thorough general reference or who has limited experience
with the guitar" (Preface). Append. (music theory, music symbols,
new developments), illus., port., tables, iconog., glossary, music,
bibliog... 204p.
Revtew: GuttarP XII (Apr 1978) 22.

8 BELLOW, Alexander. The tllustrated htstory of the guitar.

(New York: Belwin Mills Publishing Corp., 1970).
A study of the history and ancestry of the guitar from 2500 B.C. to
the present day. Includes brief discussions of important makers,
performers, and composers. Many theories on the evolution of the
guitar are not well-documented. Some inaccuracies. 100 pl., music,
DLPTOo, . inaex, 2L5p.
See also: RILM IV/2 (1970) 2484bm44.
Reviews: Carl Miller, GuttarR XXXIII (Summer 1970) 33; Peter Danner,
JLuteSocAmer III (1970) 64-68; Joan Rimmer, Notes XXVII/2 (1970)
275-76; Thomas Heck, JAmerMustcolSoc XXIV/2 (1971) 310-13; PanPtpes
LXIV/3 (1972) 20-21; IB XXX/8 (1976) 556-57; James Tyler, FarlyM
AUSTyOeon SI ES a bo Na Ta

9 BRONDI, Maria Rita. IZ ltuto e la chitarra. Richerche

stortche sulla loro ortgine e sul loro svtluppo [The lute and
the guitar. Historical research on their origin and on their
develiopment.|..<1- lomino:. Fratelli. Bocca Editori.,-1926). In It.
The origins and history of the lute and of the guitar are treated
individually with attention also given to related instrument types.
in threesparts: 1. "Origini orientali del lJiuto e délla chitarra”™
[Ortencalsori cins of -theslute and of: the guitar], .2.) ~ll-diutoret
la chitarra in Europa" [The lute and the guitar in Europe]. 3. "La
chitarra nella construzione, nei musei, nella musica vocale, sin-
fonia, ecc."' [The guitar in construction, in museums, in vocal
music, symphony, etc.]. Some inaccuracies. Illus., music, bibliog.
ref. in notes, list of works consulted not cited in notes. No
dinaex.,) L70pi.

10 BUEK, Fritz. Die Gitarre und thre Metster [The guitar and its
masters]. (Berlin: Schlesinger'sche buch-U. Musikhandlung Rob.
Lienau. 1926). De,
A survey of the life and works of representative guitarists and
composers with emphasis on the period from the late eighteenth
century to the early twentieth century. Organization is by country
(Germany, Spain, Italy, Russia, France, Scandinavian countries, and
America) with an additional chapter on the history of guitar making.
sidex5 9 SD
Review: OesterretchGitarreZ 1/2 (Nov 1926) 28-30, 32.

5
 (11-15) General Histories

11 CARFAGNA, C.; CAPRANI, A. Profilo storico della ehitarra [A

profile history of the’ guitar]. Preface by Mario, Castelaueve—
Tedesco. (Ancona: Edizioni, Béerben’, 1966) «im, De.
in, 4eparts 1. “Lecstrumento” (The. dmstrumentid, Miideseriptionjand
early histery of the guitars 2. “La Letteratura ehitarristica,eg4
ohitarrista’ [The guitar’ Literature and guitarists|,—A surveys or ,ine
repertoire for vihuela and for guitar from the sixteenth to the
twentieth century. Important composers and performers are considered.
3. “"Didaretca” |Didectics).oAn, histerical seurvey of instructionad
materials. Specific techniques and studies are considered individu-
ally. 4, "“Appendice” [Appendixes] (3: List of concertos for guitar
and orchestra, mores on flaménco, notes on jazz). Port., 1eenoeg.,
music. bibliioe:,» index, lh06p.

12 CHARNASSE, Héléne; VERNILLAT, France. Les instruments a cordes

pincées, harpe, lute et guitare [The plucked stringed instru-
ments, harp,-dute, and guitar]. (Paris: Presses_Universitaires
de France, 1970). In Fr.
Individual consideration of the history of the rollowing instru-
ments: harp, lute, euiftar, vihuela,-and cist re wn. Dit? ia paitare
[The guitar] presents a survey of the history of the guitar mention-
ing important composers, repertoire, and makers. Organized chrono-
logically with a section on ancestry and. building. Ch. IV2 “La
vihuela" [The.vihuela] gives a description of the instrument with a
survey of its. published repertoire. Illus., music, bibliog. , 128p.
See also: RILM IV/3 (Sept-Dec 1970) 3945bm44.
Review: Mf XXVI/1 (1973) 145-46.
13 CLARK, Matthew. "Harmonic analysis with examples from the
elassical guitar’ repertoire.” Guitare Sie/ 12 Mee 979 ) 32-38.
Analysis of examples of music for guitar and for vihuela addressed
to the student of harmony. Includes works by Milan, Ponce, Carcassi,
sor, Giuliani, wud ‘Carulla among Obhers. Music.

14 CONTRERAS, Segundo N. La guttarra. Sus antecedentes histértcos

y btograftas de ejecutantes célebres [The guitar. Its histor-
ical antecedents and biographies of famous performers]. (Buenos
Aires: Libreria’ "Ua+cotizadora’ econémica"” de EB. Pérrot,:-1927)t
ime eS1pr.
A brief history of the ‘guitar from its ancestry to: Taéarrega. Discus-—
sion of the general characteristics of the guitar. Biographies of
important composers and guitarists. Some inaccuracies. Illus., port.,
pipes -QAlbsHpi,

15 EVANS, Tom and Mary. Guttars. Music, history, construction,

and players, from the Renaissance to rock. (New York and
Londop:.. Paddington. Press. Ltd..,.197.7/).«
A detailed general history of the guitar. Thoroughly researched,
based largely on a study of source materials. Individual treatment
of guitar types with text divided into the following sections: 1.
The classical guitar,» 2.. The Elamenco guitar, 3. The eultear mo hoe
America. 4. The steel-string acoustic: guitar. 5. The eléttric guitar
guitar. The section on the classical guitar gives a detailed study

6
General Histories (15-20)

of the history of the vihuela, the four-course guitar, and the five-
course guitar. Musical and theoretical sources are examined. Design
and construction, repertoire, and social history are considered in-
dividually in chronological surveys.) ulus 2 Gol historical, 2ui tars,
performers, and iconography), charts of dimensions of historical
instruments, glossary, bibliog., index, 479p.
See also: Evans 16 for a French translation.
Reviews: Carl Miller, GuitarR XLIII (Spring 1978) 32; JagzdInt XXXI
(Apr 1978) 24; MinEd XLII/392 (1948) 169; MMusictans XXVI (May 1978)
36-37; Guitarlute VI (May 1978) 6; GuitarP XII (June 1978) 10;
MMaker LIII (Aug 1978) 363; GuitarLute VII (Sept 1978) 40-41; MTimes
CxIX (Oct) 1978) 8633" Ivor Mairants, Guitar’ V1/5i (Dee 1977): 32-33.

16 EVANS, Tom and Mary. Le grand livre de la guitare, de la

Renatssance au rock: mustque, htstotre, facture, artistes [The
great book of the guitar, from the Renaissance to rock: music,
pisrory, construction, artists|< *Trans. by Jean-Dominique
Briere et Claude Lefévre. (Paris: A. Michel [ca. 1979]). In
lores
A French edition of Evans 15.

Ly GARCIA DE BAIGORRI, Maria Antonia. "Musica de guitarra. Su

origen y evolucion" [Music for guitar. Its origin and evolu-
Glonik. Guitarra. (Havana)—1/1 (eéc 1940) 16=17, 23% “In Sp.
A survey of the history of the vihuela and the guitar from the six-
teenth to the nineteenth century. Some representative composers are
mentioned. Little detail is given.

18 GIERTZ, Martin. Den Klassitka Guttarren

- mustken ock maestarna
[The classic guitar- music and masters]. (Sweden: Norstedts,
£O7)) 2" Inc Sws
Revtews: MR XXXIV/3 (1979) 139; DanskMt LIV/2 (1979) 97-98; Karen
Dusen Dusgaard Nielsen, Guttar VIII/7 (Feb 1980) 36-37.

19 "“CGitarre’ (Guitar|]® MCG V;° 174-202... In De.

This entry consists of three articles. Boetticher's essay (C.) is
the most accurate of the three and contains the most detail.
A. "Vorgeschichte und aussereuropaische Formen" [Pre-history and
forms outside of Europe] by Hans Hickmann is a survey of a broad
range of early plucked instruments.
B. "Die Gitarre in Abendland" [The guitar in the Occident] by Kurt
Reinhard is a general survey of the guitar and similar instruments
from the thirteenth century.
Cc. "Gitarremusik" [Guitar music] by Wolfgang Boetticher is an exten-
sive survey of important composers, performers, and publications of
guitar music. Vihuela included. Some inaccuracies. Illus., music
(facsim.), extensive bibliog. (music and lit.).
See dileoctHecke4/4,° p.7 26=28. for criticism.

20 Grunfeld, Frederic V. The art and ttmes of the guttar. An

illustrated htstory of guitars and guitartsts. (New York:
Macmillan Co., 1969).
7
(20-23) General Histories

A general history of the guitar with questionable commentary on ancient

instrument types. Includes a chapter on the guitar in America. Import-
ant composers, guitarists, and publications are considered. Musical and
literary sources are quoted. Contains some inaccurate information. This
work is exceptionally valuable for its extensive iconographical survey.
227 illus. (eonog. and historical: oud tare). pert.) Debi oe. 2 ndes,
340p.

Reviews: Peter Danner, JluteSocAmer III (1970) 64-68; HiFt/MAmer XX

(May 1970) 30; Carl Miller, GuttarR XXXIII (Summer 1970) 33; Instru-
ment XXV (Oct 1970) 12; MEducatorsJ LVII (Dec 1970) 67-68; TennFolk-
Soe XXXVI/1 (1970) 20-21; Blues LXXXI (Apr 1971) 21; MensMelodte
XXVIL (May 1971) 158; Thomas F. Heck, JAmerMustcolSoc XXIV/2 (Summer
1971) 310-13; SouthFolkQ XXXV1I/4 (1972) 404-07; Dale Higbee, Amer-
Recorder XIII/2 (1972) 65; MLetters LIV/1 (1973) 86-87; AmerMTeacher
XXIV/6 (1975) 55-563; GuttarP IX (May 1975) 573; Instrument XXIX (June
1975) 34; SouthFolkd XL/3-4 (1976) 384-86; MIimes CXVII (Dec 1976)
1001; MinFd XL1/386 (1977) 183-84; MRevitew XXXVIII/2 (1977) 128-29;
MOpineorn Gri. (Dee 1978) 127.

21 “Guitarristas célébres; fichas biograficas™ |Famous, guitar—

ists;:sbiographical. notes|... Reinol Skpb/ 246) \(Sepn1952)/ 23tn rn
Spr
Biographical sketches of guitarists from the sixteenth to the twen-
tiethy century<,Nicolas: Alfonso (20th €.) ,Eranciseco Alfonson’ (20mm
Gy) se teldpesALonso::.(l7th ex )saMariano Alonso Castille (L9th e )¢
Jose Alsina (19th c.), Juan Carlos Amat (16th c.), Narciso de
Ametller -Gabrer (19th c.), and José de Azpiazu (20th c.).

22 HUBER, J. Ortgines et techniques de la guttare [Origins and

techniques of the guitar]. (Lausanne: Editions Morf S. A.,
1968)..: In.-Fe.
Many aspects of the guitar are covered briefly. Includes an histor-
ical survey with notes on ancestry. Some inaccuracies. Also has
sections on construction and makers, jazz, folklore and flamenco
idioms,) technique for jazz’ and e€lassical; styles: Titus. 37 pass
muste, “Z213p.

23 KASHA, Michael. "A new look at the history of the classic

guitar". GuitarR XXX (1968) 3-12.
An attempt to trace the historical origins of the guitar based on
archaeological findings and written evidence. The author states four
postulates which he applies to questions about the guitar’s origins.
These are accordatura, morphology, complextty, and geographical con-
tinutty. Also included is a section entitled "The guitar and the
vihuela in the Renaissance" in which etymology and theories on
stringing and tuning are discussed. This section gives a somewhat
inaccurate history because of its many unclear generalizations.
Tilts:;, 1¢0n0s.,' biblios.
See also: Heck 474, p. 2-5, for comments.
General Histories (24-30)
24 KOCZIRZ, Adolf; ZUTH, Adolf. Bettrdge zur Geschichte der
Gitarre und des Gitarrensptels [Contributions to the history
of the guitar and guitar performance]. (Vienna, £919). In De.

25 LIBBERT, Jurgen. "400 Jahre Gitarre und Gitarristen: Versuch

eines historischen Uberblicks" [400 years of the guitar and
guitarists: attempt at an historical survey]. Musica XXXIII/1
(Jan-Feb 1979) 17-22. In De.
A general survey of the history of the guitar with background on
pre-1600 plucked instruments. The significance of representative
composers, performers, and publications of music is considered.
_Early history includes notes on the vihuela. Bibliog.

26 MARCUSE, Sibyl. Mustcal instruments: a comprehensive

dtettonary. (Garden City, New York: Doubleday and Co., Inc.,
1964).
A short historical survey of developments in the guitar's design,
stringing, and tuning, p. 218-20.

at MUNOZ, Ricardo. Historia de la guttarra [History of the

guitar]. (Buenos Aires: Talleres graficos de la Penitenciaria
Nacional, 1930). In’Sp.
A general historical survey of the history of the guitar from
antiquity to the early twentieth century. Includes biographies of
important figures, history of the guitar in Latin America. Many
inaccuracies. Pre-dates some definitive historical findings. Illus.,
port.,_index, 424p.

28 MURPHY, Sylvia. 'The guitar". In 2 parts. AustraltanJM-

Educatton XIII (Oct 1973) 27-33; XIV (Apr 1974) 19-23.
A history of the guitar based on an investigation of available
musical and theoretical sources.
Part 1: "The guitar before 1750". A detailed survey of the history
of the guitar from the sixteenth century to 1750. Notes on vihuela
included. Notation, technique, and repertoire are discussed. Music
(tabi) and staff notation), »bibliog.' ref.’ in notes;
Part 2: "The guitar: from 1750 to the present day". A discussion of
the history of the guitar from 1750 based on a study of musical and
theoretical sources. Includes commentary on important composers,
performers, publications.

29 NELSON, Martha. "Notes on the tarantella (including a

collection of tarantellas for guitar)". GuitarR XXXIV
(Winter 1971) 7-17.
A history of the tarantella with emphasis on the relationship of
its style and form to its etymology. 5 music (tarantellas, 19th c.
and. ZOth res).

30 NICHOLS, George. "The guitar". Guitarra (Chicago) IV/21

(July-Aug 1966) 16-17.
Quotations by sixteen famous musicians, poets, and authors about
the guitar. Includes Berlioz, Chopin, Beethoven, Paganini, Debussy,
)
(30-35) General Histories

Bream, Madame Sidney Pratten, Robert Louis Stevenson, Edward Lear,

Padrecs. BeaMarwini, end: others:

3 NICOLA, Isaac. "Notas historicas de Me cuieergra. [eistorical

notes on the guitar]. Conservatorto V1I/2 (Apr-June 1948) 5-7.
Iial TSy Oe
A survey of the history of the vihuela and the guitar with notes on
ancestry included. Some central figures are mentioned. Little de-
tail isegiven:

aa PUJOL, Emilio. Hl dtlema del sontdo en la guitarra [The

dilemma of timbre on the guitar]. Revised and enlarged ed.
(Buenos Airés: Ricordi Americana, 1960)... In Sp, En, ‘and fr.
Pujol, an advocate of the no-nail right-hand technique, discusses
and compares the two different qualities of tone produced by pluck-
ing the Strings with the nail and with the flesh of the right-hand
fingers. The history of the controversy over the manner of plucking
the string includes the theories of Thomas Mace, Dionisio Aguado,
Fernando Sor, Julian Arcas, and Francisco Tarrega, among others.
Quotations of source material. Bibliog., 84p.
Revtew: GuttarN LVII (Jan-Feb 1961) 7.

33 PUJON," Emplio.) "Wal ewitare™ [The eurtar|sncyelopéedte! deste

mustque et dtettonnatre du conservatoire 11/3, p. 1997-2035.
(Parise: whibraieie DeLlacrave,ehe27j2 <im Pre
A general historical survey of the guitar ineludes theories on its
ancestry. Early tunings, notation, vihuelists, guitarists, and im-
portant publications of music are considered in an historical con-
text. Includes a discussion of makers and a study of the fundamentals
of harmony as they relate to the guitar and guitar techniques. Illus.,
music .~bibibos .e nef.» ia) notes*

34 RADOLE, Giuseppe. Liuto, chitarra e vihuela. Storta e

letteratura [Lute, guitar and vihuela.History and litera-—
ture|.) (Milan; Edizionia Suvini Zerbonix 19/7) . init.
The history and music of the lute, guitar, and vihuela are treated
individually. Biographies of composers and performers; description
of tuning and notation practices. Some representative compositions
are ligteds. Pius. yrmuste: (tabl.: enduetatil motand.on)sababiog |
index, 133p.
kheview: A.G., Fronimo VII/27 (Apr 19%9) 36-37.

35 RAGOSSNIG, Konrad. Handbuch der Gitarre und Laute [Handbook

of the guitar and the lute]. (Maing: B. Schott!si) Seinen ie7 2).
In, Dies.
A study of the history, literature, and repertoire of the guitar and
lute. The history of the two instruments is considered individually
in a study of early tunings, notation systems, performance prac-
tices, and ornamentation. The text is well-illustrated with musical
examples of the original notation and transcription. Also includes
chapters on the history of nail- and flesh-playing technique,

10
General Histories (35-39)
musical forms (l6th c.-18th c., listed alphabetically with defini-
tions), guitar instruction and study with an extensive list of
studies and repertoire. Illus. (facsim., iconog., historical
guitars), list of makers, bibliog., index, 256p.
Revtews: MR XXXIV/3 (1979) 139; Carl Miller, GuitarR XLV (Spring
1979) 4; Henry Adams, GuttarLute X (July 1979) 36; MBtldung XI
(July-Aug 1979) 485; Thomas F. Heck, Wotes XXXVI/1 (Sept 1979)
107-08; OesterretchMz XXXV (Apr-May 1980) 246.

36 SAINZ DE LA MAZA, Regino. La guttarra y su htstoria [The

guitar and its history]. (Madrid: Ateneo, 1955). In Sp.
‘A history of the guitar and its ancestry in which a survey of
representative composers and performers is given. Includes notes
on music for vihuela. Covers the period from the seventeenth-cen-
tury five-course guitar to Tarrega and the early twentieth century.

37 SHARPE, A.P. The story of the Spanish guitar. A history of

the tnstrument wtth btographies of its famous composers,
personalittes and players. First ed., 1954. Second ed.
(London: Clifford Essex Music Co., 1959).
A short history of the guitar from ancient times to the twentieth
century. Significant composers and "personalities" are listed alpha-
betically with biographical sketches of each. Chronological list of
some methods (from 1551). Also includes an essay on the guitar as
an accompaniment instrument. Inaccuracies. Port. (contemporary
guitarists), illus. (historical guitars with description). No con-
tents or index, 64p.
Revtews: MMaker XXX (July 1954) 2; Strad LXV (Sept 1954) 148; MTimes
CLI (Mar 1960) 161; Appleby, Wilfrid M. "New books on the guitar"
GuttarN XX (Aug-Sept 1954) 14.

38 SICCA, Mario. "La chitarra e gli strumenti a tastiera" [The

guitar and keyboard instruments]. Frontmo I/1 (Oct 1972) 27-
S2e in hts
A discussion of performance practices and problems of the repertoire
for guitar and fortepiano, guitar and harpsichord, and modern compo-
sitions for guitar and piano, harpsichord, or fortepiano. Represen-
tative works mentioned. Modern compositions for guitar and keyboard
by Castelnuovo-Tedesco, Hans Haug, Manuel Ponce, Josef Dichler,
Stephen Dodgson, and Guido Santorsola are described. List of works
for guitar and keyboard from the Biedermeier period. Port., bibliog.
ref. in notes.
See also: Sicca 39, 41 for translations.

39 SICCA, Mario. "The guitar and the keyboard instruments".

Trans. from the Italian by Dr. Livio Manes. GuittarR XXXIX
(Summer 1974) 17-22.
An English translation of Sicca 38. Includes additional information,
"A few suggestions for those who do not have a fortepiano and must
use a modern piano". Iconog., illus., bibliog. ref. in notes.
See also: Sicca 40 for corrections.

1]
(40- 45) General Histories

40 "Erratum". GuttarR XL (Winter 1976) 33.

Corrections of two captions under the illustrations of Sicca 39.

4] SICCA, Mario. "Gitarre und Tasteninstrumente" [The guitar and

keyboard instruments]. GitarreLaute II/1 (1980) 16-23. In De.
A German translation of Sicca 38. The list of works for guitar and
keyboard is expanded. Iconog., illus., bibliog. ref. in notes.

42 TAPPERT, W. "Zur Geschichte der Gitarre'' [On the history of

the guitar]. MfMg XIV/5 (1882) 77-85. In De.
A survey of the guitar's history from the sixteenth century to the
nineteenth century with emphasis on the guitar in Germany. Includes
a description of Kremberg's Mustkaltsche Gemuthsergotzung. Quotation
of luthier Jakob August Otto's treatise (918-921) in which he claims
responsibility for the construction of the first six-string guitar.
Introductory notes on the presently active Leipzig guitar club.
Append. (music).

43 TURNBULL, Harvey. The guttar from the renaissance to the

present day. «(London B.T.: Batefordjebtd. , 1974)’.
A concise, well-documented general history of the guitar from the
sixteenth century. Research is based mainly on a study of source
material. 46 pl. (including historical guitars and iconography), 16
music, bibliog. , index, 168p.
Reviews: MinEd XXXVIII/370 (1974) 2753; MMustectan XXIV (Dec 1974) 37-
38; MTeacher LIII (Dec 1974) 31; JZuteSocAmer XVII (1975) 77-79;
Thomas Heck, JAmerMustcolSoe XXVIII/1 (1975) 142-43; NeueMg XXIV/3
(1975) 16; EDance XXXVII/2, 70; Notes XXXI/4 (1975) 786-87; Jerrold
Manns, Soundb II/1 (Feb 1975) 13-14; Thomas Heck, Soundb II/4 (Oct
1975) 82; MOptnton XCIX (Nov 1975) 69; MTtmes CXVI (Aug 1975) 709.

44 TURNBULL, Harvey (text); HECK, Thomas (bibliog.). Grove VII,

825-43.
A detailed historical survey of the guitar from the sixteenth to the
twentieth centuries. Includes discussions of important composers,
performers, repertoire, notation systems, and developments in design
and construction. Section on guitar variants included. Illus.,
iconog., music (tabl. and staff notation), bibliog.

45 VIGLIETTI, Cedar. Origen e historia de la guitarra [Origin

and history of the guitar]. (Buenos Aires: Editorial Albatros,
1973) 3, In- Sp.
A survey of the history of the guitar with many biographies of
important guitarists and composers. Background on composers and
performers of the lute and the vihuela. Includes an extensive con-
sideration of guitarists and composers of Argentina and of Uruguay
with biographies and historical background. Illus., port., bibliog.
ref. ininotes, 289p.
See also: RILM IX/1-2 (Jan-Aug 1975) 449bm2!,
Revtew: Henry Adams, GuttarLute VII (Sept 1978) 41.

IZ
 General Histories (46-50)
46 WADE, Graham. "An historical perspective on the guitar duo".
GuttarR XXXI (May 1969) 7-8.
A survey of the literature for the duo for fretted instruments dating
from the vihuela music of the sixteenth century to twentieth-century
works for*cultar’ Tilus.4> music: .
Reviews: MMusictan XXVIII (Aug 1980) 40; MTeacher LIX (Nov 1980) 253
MTimes CXXI (Nov 1980) 706-07.

47 WADE, Graham. Traditions for the classical guitar. (London:

John Calder, 1980).
A study of significant trends in the development of the guitar as a
- solo instrument. Solo repertoire for vihuela and for guitar are sur-
veyed in an historical context with remarks on the twentieth-century
performer's and scholar's interest in and treatment of the music.
Emphasis is on Segovia's influence and contributions. Information on
construction and on sources of literature and music. Lacks footnotes
and thorough bibliographic citations for the identification of
sources. Append. (recital programs, 1888-1978), illus., iconog.,
music, discog. (includes music for lute, vihuela, early guitars,
and transcriptions), bibliog., index, 270p.

48 WHALEN, Margaret. "Spanish classical guitar". Fretts V (1962)

17-19.
A short sketch of the history of the guitar with comments on the
present status of the guitar in the United States. Port. (author).

49 WITOSZYNSKYI, Leo. '"Vihuela and guitar: some historical

developments". Trans. from the German by J.D. Roberts.
Guttar IV/2 (Sept 1975) 19-21.
An historical survey of the guitar and the vihuela, tracing develop-
ments based on a study of sources. Includes etymology and design.
Vihuela, lute, and guitar are distinguished. Illus., ports.

50 ZVENGROWSKI, Steven Theodore. "The treatment of idiomatic

sonority in selected compositions for the guitar as a cur-
riculum source for comprehensive musicianship". PhD diss.,
Music: Northwestern University, 1978. UMI 7907957.
A detailed study of sonority in representative works for solo guitar
and for guitar accompaniments for the development of four "Compre-
hensive musicianship curriculum strategies". Sonority is studied
from an historical and an analytical point of view. Tables, fig.,
charts, music, 6 append. (including music), bibliog., 480p.

C. Dictionaries of Guitarists
See also 73 and 76 for dictionaries of Italian guitarists and
luthiers

See also 903-05 for dictionaries of luthiers, exclusively

13
(51-55) General Histories

Sd BONE, Philip J. The guitar and mandolin. Btographtes of

celebrated players and composers. First ed., 1914. Second
enlarged ed., 1954. Reprint of the second ed. with new pre-
face.- (London: Schott: and «Cons: Ltd. ..19/2).
Concise biographies of composers and performers mentioning their
main works and contributions. Arranged alphabetically with no divi-
sion between guitarists and mandolinists. Sources of information are
not consistently well identified. Many inaccuracies. Illus., port.,
music, 388p.
Reviews: Richard Capell, MLetters XXxV (1954) 254; Wilfrid M.
Appleby, GuttarN XX (Aug-Sept 1954) 14; Strad LXV (Dec 1954) 284;
Charles Ford, EarlyM 1/4 (1973) 245; GuttarP VIII (May 1974) 55;
MTimes CXV (June 1974) 479-80; J.D. Roberts, Guitar III/12 (July
1975) =. CGuttarint: LLL/i. (Fall .1975): 15-17.

ay POWROZNIAK, Jozef. Leksykon gitary [Dictionary of the guitar].

(Cracow: Polskie Wydawnictwo Muzyczne, 1979). In Pl.
Reviews: Soundb VI/3 (1979) 133; Guttarlute XII (Jan 1980) 38; RuchM
XXIV/13,01980): 19.
See also: Powrézniak 53 for a German translation.

O93 POWROZNIAK, Jézef. Gitarren Lexikon [Dictionary of the

guitar]. Trans. from the Polish by Bernd Haag. Enlarged by
A. Quadt and W. Pauli. (Berlin: Verlag Neue Musik, 1979).
in De.«
A German translation of Powrdzniak 52. 165p.
Revtews: John W. Tanno, Soundb VII/3 (Aug 1980) 129; Thomas F. Heck,
Notes XXXVII/3 (Mar 1981) 588-89.

54 PRAT, Domingo. Dicetonario btografico, btbliograftico,

histérico, erttico de guitarras, guitarriatas, guitarreros
[Biographical, bibliographical, historical, and critical
dictionary of guitars, guitarists, and guitar makers].
(Buenos Aires: Casa Romero y Fernandez, sucesores: J.B.
Romero e hijos, 1934). In Sp.
A dictionary of guitars, guitarists, makers, and terminology. Some
inaccuracies. Bibliog., 468p.

30 ZUTH, Josef. Handbuch der Laute und Gitarre [Handbook of the

lute and the guitar]. (Vienna: Verlag der Zeitschrift ftir die
Gitarre, 1926). Reprint ed. (Hildesheim: Georg Olms Verlag,
1972)... 1m? De.
Alphabetical listing of composers, performers, and terminology
related to the lute and the guitar. Short biographies and defini-
tions. No division is made between items pertaining to the lute and
those pertaining to the guitar. Many bibliographic references to
early twentieth-century German-language periodicals are cited. Some
inaccuracies. 296p.
Revtew: R. Lach, ZfMw XI (1929/30) 185.

14
 CHAPTER TWO

National Histories

The following chapter contains literature on the history of the guitar in

specific countries. Organization is alphabetical by country. The main
headings are Argentina, Brazil, Czechoslovakia, Denmark, France,
Germany, Great Britain, Italy, Latin America, Mexico, Paraguay, Peru,
Poland, Portugal, Russia, Spain, United States, and Uruguay. Many
cross-references to chapters on periods in history and to Chapter VIII,
Design and Construction, are cited. These contain information on na-
tional histories within a more limited subject area.
In the field of Latin American music, Gilbert Chase’s A guide to the
music of Latin America, 2nd ed., revised and enlarged, (Washington,
D.C.: Pan American Union and the Libraries of Congress, 1962) gives an
extensive, annotated list of literature on the music of Latin American
countries.
Section Q. United States contains sub-sections in which literature on
guitar societies and on important individuals is listed. Many articles on
individual composers include facsimile reprints of music.

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 A. Argentina
See also 45; 946 (construction)

56 CONTRERAS, Segundo N. "Breve historia de la guitarra en la

Republica Argentina [Short history of the guitar in the
republic of Argentina]. GuttarR X (1949) 108-10. In Sp.
A history of the guitar in Argentina in which some important guitar-
ists and significant musical events are mentioned. In 2 sections:
1. "Periodo Colonial" [The Colonial period]. 2. "Periodo Indepen-
dente" [The Independent period]. Includes political history as it
affected Argentine culture. Bibliog.

SW CONTRERAS, Segundo N. "The guitar and the gaucho", GuttarR

VAECL94S) 150,
Historical notes on the importance of the guitar in the poetry and
music of the gaucho of Argentina. The role of the gaucho in society
is defined. Bibliog.

58 CONTRERAS, Segundo N. La guttarra argentina; apuntes para su

htstorta y otros arttculos [The Argentine guitar; notes on
its history and other articles]. (Buenos Aires: imprenta de
Casprombacneraudéa. Cia... 950)... Im ope
A history of the guitar in Argentina divided into two main sections:
the colonial period (pre-1810) and the independent period (post-
1810). Includes a discussion of the guitar of the gaucho, of the
tarantella, and of music in the Jesuit missions of Paraguay.
Bibizer...) 70D.

59 MUNOZ, Ricardo. "La guitarra en la Argentina" [The guitar in

Arcent ina). Gu, caver. (Havana). 1/ir a(Dec 1940) 4195 235° In Sp:
A survey of the history of the guitar in Argentina. Important
guitarists are mentioned.

60 ROBERTS, John. "Historical notes. Martin Fierro". Guttar

1X/8 (Mar 1981) 13-14.
The guitar was important in the music of the legendary gauchos
(payadores) of Argentina. The character and life of the gauchos,
including that of Martin Fierro, is central to the discussion.
References are made to nineteenth- and early twentieth-century
texts in which the guitar is mentioned.

61 VEGA, Carlos. "The classical guitar in early Buenos Aires".

Trans. by Eithne Golden. GuttarR X (1949) 103-06.
A history of the guitar in early Buenos Aires from its early form
as an accompaniment instrument of five strings. The new interest in
music in Argentina is attributed to the new contact with the world
following the achievement of national independence in 1810. Interest
in the guitar as it was developed by Miguel Garcia, Federico
Moretti, and other important European influences are discussed,

ied
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Etching. Musicians in a Bistro by Jacques Villon (pseud. of Gaston Duchamp).

18
National Histories (62-67)
62 VEGA, Carlos. "La guitarra artistica en el Buenos Aires
antiguo" [The artistic eultar in old Buenos Aires]. La
Prensa LXVI/23 (Apr 1935) 783. In Sp.

B. Brazil
63 BARBOSA-LIMA, Carlos; BOBRI, Vladimir; NELSON, Martha. "A
musical journey to many lands: Brazil". GuttarR XLVII
(Spring 1980) 16-17 (text), 18-22 (music).
An introduction to Brazilian music with information on musical in-
fluences from other countries. Discussion of three compositions by
Brazilian composers: "Brazilian Song (canc&o)" by Francisco
Mignone, "Caterete" by José de Oliveira Queiréz, and "Mestica" by
an anonymous composer. Illus., music.

64 COELHO, Olga. "The guitar in Brazil...and some reminiscences".

GuttarR XXI (1957) 16-18.
An autobiography of guitarist-singer Coelho. Emphasis is on the de-
velopment of her career with accounts of her experiences with
Andrés Segovia, Heitor Villa-Lobos, Patricio Teixeira, Jodo "Can-
hoto', Mozart Aranjo, and Oscar Lorenzo Fernandez.
See also: GuittarR XXI (1957) 30-32 for short biographies of Coelho,
Fernandez, and Villa-Lobos.

65 CORREA DE AZEVEDO, Luis-Heitor. "La guitare archaique en

Brésil" [The archaic guitar in Brazil]. Studia Memoriae Belae
Bartok Sacra, 123-24. (Budapest: Aedes Acadeniae Scientiarum
Hungaricae Budapestini, 1956). In Sp.
Discussion of the -two’~popular forms of Brazilian guitar: vtola@o and
vtola. Description and comments on history, tunings, and technique.
Music.

66 SIMOES, Ronoel. "The guitar in Brazil". Trans. and ed. by

Eithne Golden. GuitarR XXII (1958) 6-7 (text), 8-11 (music),
16-21 (music), 28-29 (music).
A history of the guitar of twentieth-century Brazil. Notes on
Brazilian composers who stimulated interest in the guitar as an
instrument for serious study. Survey of composers and performers
of the classical tradition includes Americo Jacomino 'Canhoto"
(d. 1928), Agustin Barrios, Josefina Robledo, Regino Sainz de la
Maza, Isaias Savio, Abel Carlevaro, and Maria Livia Sao Marcos.
Outstanding figures in the popular and folk tradition and prominent
makers are also mentioned. List of societies. Music.
See also: -GuittarR XXII (1958) 27 for biographies of M.C. Guarnieri,
Francisco Mignone, A.T. Nogueira, and Ronoel Simdes.

C. Czechoslovakia

67 BOSMAN, Lance. "Lubomir Brabec-on contemporary Czech music

fom suite Guerar 1x/8 {Mar 1981) 15-17.
ie,
(58-71) ational liistories

A survey of twentieth-century Czechoslovakian music. Modern compo-

sers of guitar music are considered with short descriptions of
their compositions. Important influences on their music are noted.
Composers include Jana Obrovska, Jan Truhlar, Kucera, Karel Reimer,
and Lubor Barta. Music education and performance opportunities in
Czechoslovakia are also topics of discusgion. Port., music.

D. Denmark
68 RISCHEL, Thorwald. "Zur Geschichte der Gitarre in Danemark"
[On the history of the guitar in Denmark]. DteGzt XII/9-10
(1931) 70-74. In De.
A survey of the history of the guitar in Denmark. Includes short
biographies of important performers and composers from the eight-
eenth to the early twentieth century. Comments on present day
guitar-related activities in Denmark. The problem of a lack of a
guitar tradition and a lack of guitar teachers is noted.
See atso: 69

69 RISCHEL, Thorwalids BECKER, Sv.-A.0 "Zur GésSchiehte der Citarre

in Danemark. (Nachtrag)" [On the history of the guitar in Den-
mark. (supplement)). DteGit XLL/ 4-12 Cr931) .90-91. im De.
As a supplement to Rischel 68, an additional Danish guitarist of the
early nineteenth century is discussed. Guitar clubs in the early
twentieth century are described.

E. France

See 10, 161, 162, 252, 255, 286, 407, 411, 556, 558; 884 (iconog-
raphy); 9085 -910,.948,,. 949 (comstruction)

F. Germany
See also 10, 42, 409; 950 (construction)

70 SCHWARZ-REIFLINGEN, Erwin. "La chitarra in Germania" [The

suLtar ine Germany| tCnirarrae I/d ©9034) Bi. ined te

G. Great Britain
S€e GLSO 556, 558,635

71 APPLEBY, Wilfrid M. “Sone and euitar in Britain”. Gurcarn <r

(1951) 193-94.
A consideration of composers and performers of music for voice and
guitar in nineteenth-century England. Several publications are men-
tioned. Recent activities of performers in England are also dis-
cussed. Illus.
20
National Histories
(72-76)
Fe BUTTON, Stuart W. "The guitar in England, 1600-1900". PhD
diss. in progress, Music (40 Lees Road, Willesborough, Ash-
nord, Kent. England);

H. Italy
See also 10, 472, 476, 636

us CARFAGNA, Carlo; GANGI, M. Digtonarto chttarrtstteo italtano

(chitarristt, ltuttstt, ttorbisti, composttori, liutat ed
edttort) [Dictionary of Italian guitarists (guitarists,
lutenists, theorboists, composers, luthiers, and publishers) ].
(Ancona: Edizioni musicali Bérben, 1968). In It.
Alphabetical listing of individuals. Short biographies and comments
on their main contributions. Compositions, publications listed. In
two parts: guitarists, lutenists, theorboists, and composers.
2. luthiers and publishers. 97p.
See also: RIIM II/3 (Sept-Dec 1968) 2912bm?°.
74 GIORDANO, M. "La chitarra in Sardegna" [The guitar of
Saedinta Mele trrouxnLx 1933/34) 7£.- In at.

75 HECK ewthemas Fs “Wheerole: of Italy an the’ earlyohistory of “the

classic guitar-a sidelight on the house of Ricordi". Part 1.
"The earliest music for the classic guitar”: -Guitarh XXXIV
(Winter 1971) 1-4 (text), 5-6 (music).
Text in five main divisions in which the following subjects are dis-
elicsed $i The popularity of the guitar ca. 1770-1790, primarily: as
an accompaniment instrument. 2. Possible reasons for the exodus of
guitarists from Italy. 3. The establishment of the House of Ricordi
ineMaan am L308 with a study of the:first publications for six=—
EUrainoweurear. 4. The notation of -cuitar musievin the? singele-start
notation oL-violin Music.” 5. An examination of the first’ publication
by Ricordi (plate no. 1), Antonio Nava's "The seasons of the year};
im four solo sonatas for chitarra francese’”. Illus. ,-music
Ceacsim.)), Dibliog, ref. in. notes.
See also: RILMV/2 (May-Aue 1971) 3345ap®?.
76 TERZI, Benvenuto. Ditztonarto det chitarristt e ltutat
ttaltant [Dictionary of Italian guitarists and luthiers].
(Bolornatkdttrice Rivista “La ichitarra’,..1937)*% “Un ley
Alphabetical listings of individuals. Short biographies with notes
on their main contributions. In two parts: 1. guitarists and
lutenists. 2. luthiers and publishers. Some inaccuracies. Illus.,
BOTT. DiDltOo Za0p:.

I. Latin America
See also 15, 16, 27, 45, 176
ea|
(77-82) National Histories

1%, SLONIMSKY, Nicholas. Music of Lattin Amertca. (New York: Thomas

Yu.Growelis Co... 91925),
A general history of Latin American music with some notes on the use
of the guitar in native music including Brazil, Colombia, Costa Kica,
Mexico, Panama, and Paraguay. (The reference to the guitar on p. 246
is omitted from the index.) Contains a dictionary of Latin American
musicians, songs, dances, and musical instruments. Music, pl.,
index, 374p.

78 STOVER, Richard D. "Guitar in Latin America”. GuttarP 1X/7

CULV RAS 7a) 216 in BU 2 gg DIODE EO
A short historical, survey.of the guitar.in Latin America Irom, the
sixteenth to the twentieth century. Comments on twentieth-century
composers for the guitar including Agustin Barrios Mangore, Heitor
Villa-Lobos, Antonio Lauro, and Leo Brouwer. Some information on
Creole guitar. Music, discog. (alphabetical listing by country
with performer, title, record company, record number cited).

J. Mexico
See aleo 1716: 9515. 952.4 construction)

79 GRIAL, Hugo de. Mustcos Mextcanos [Mexican musicians].

(Hexieo hoa ttordad, Diana, Ssh... 905). bi Sp.
Short biographical essays on Mexican musicians from the eighteenth
to the twentieth century. Organization is chronological by date of
birth. Important composers of guitar music are Julian Carrillo, p.
101-06, -and Manuel M. Ponce, p. 129-33. Index, 2/5p.

80 "Guitar in Mexico”. In two parts. CGuitarInt I/2 (Winter 1974)

3-6; I/3 (Spring 1974) 26-28.
Part 1: A brief cultural history of Mexico. Notes on present day
guitar-related activities in Mexico with emphasis on a discussion
of the educational system.
Part 2: Remarks on the works of the following twentieth-century
Mexican composers for guitar: Manuel Ponce, Rafael Adame, Julian
Carrillo, Luis Sandi, and Carlos Chavez. Includes a summary of
some basic stylistic characteristics of Mexican folk music.

81 OTERO, Corazon., "The guitar in, Mexico”. Guitar Ix/2 (Sept

1980) 16-17.
A survey of twentieth-century composers and performers in Mexico
from Manuel M. Ponce (1886-1948) to the present. Descriptions of
their activities, works; Port, (author).

82 SENSIER, Peter, "A gap in the story of the suitar™. Guitar

IV io: KOCEA1L975) 16=17¢
An examination of guitar types in Mexico and in Latin America.
Divine. vCoumtans)-

22
National Histories
(83-88)
83 STEVENSON, Robert. Muste in Mextco. A historical survey.
(New York: Apollo edition, 1971). First ed. by Thomas Y.
Crowell Co. (New York, 1952).
A detailed general history of music in Mexico from "early aboriginal
music" to the twentieth century. Includes a description of a manu-
Script of music for vihuela (ca. 1740) in the Biblioteca Nacional
(pe 162-63); Bibltoeg.;,.cindex, 300ps

84 TANNO, John C. "The guitar in Mexico". In 2 parts. Fretts

(Fall 1959) 20-21; (1960) 8-10.
Part 1: Comments on the formation and performance activities of the
Mexican guitar quartet "Cuarteto Dona-Dio". Port.
Part 2: A biographical sketch of Dona-Dio, guitarist, with notes on
his career as a performer. Includes comments on other Mexican
guitarists. Port.

K. Paraguay
SCCCALSOn 58

85 SENSTIER, .Peter., “Guitar topics". BMG LX/690. (Oct 1962) 22-23.

A survey of important classical guitarists in the nineteenth and
twentieth centuries with brief comments on their careers. The effect
of the oppressive political circumstances in nineteenth-century
Paraguay on music is discussed.

L. Peru
86 STEVENSON, Robert. The mustc of Peru. Abortginal and Viceroyal
Epochs. (Washington: Pan American Union, 1960).
A history of Peru which includes a brief discussion of literature
and manuscripts of music dating from the seventeenth through the
nineteenth century. Description of two manuscripts of guitar music
(tab. and staff notation). Music, music supplement, bibliog., 3311p.

M. Poland
See also 485, 486, 487 (on Felix Horetzsky)

87 POWROZNIAK, Jésef. "The guitar in Poland". Trans. by Czeslaw

Boniakowski. GuttarLute XIV (July 1980) 18-20.
A discussion of the achievements of outstanding Polish guitarists
from the seventeenth century to the present day including Felix
Horetzsky (1797-[1870]) , Jan Nepomucan Bobrowicz (1805-1881),
Stanslaw Prus Szczepanowski (1811-1877), and Marek Konrad Sokolow-
ski (1818-1883). Biographical information on the author.

88 WAGNER, Frank. "Guitar in Poland", CGuttarint Lib that

£97 5)29330,
23
(89-96) National Histories

A short survey of the activities of Polish guitarists in the mine—

teenth and twentieth centuries.

N. Portugal
89 PUJOL, Emilio. “The euitar “in Portucal’y Trane. by Eitine
Golden. Guitare V (1948) 114-15. Sp. trams., 128-29.
A history of the guitar in Portugal with emphasis on its early
history. Notes on the establishment of educational courses in the
study of the guitar, naming students and their achievements.
LEGS. “MUSTO.

O. Russia
See: avec10 = 556, 556 (Con Fernando Ser}

90 BARBOSA-LIMA, Carlos; BOBRI, Vladimir. "A musical journey to

many lands". Guttark LXV (Spring 1979) 5- (text), 28-31 (maeie).
An introduction to two. Russian folk songs, originally written for
seven-string guitar, arranged for classical guitar. Includes a his-
tory of the seven-string Russian guitar (late eighteenth century to
the twentieth century); tuning and repertoire are described. Music,
DbabiToe,

91 BERAN, Alois. "Ueber den Stand der Sechssaitigen Gitarre in

Russland" [On the position of the six-string guitar in
Russial|. In. 2 parts, ZfdG V/s? eiuly 1926) LO0-0Z5 V/¥ €1926)
150-53.) in De.

92 BERAN, Alois. “Zum Stand der Gitarristik anthwssiand™ On the

position. of the guitar “in Russia|. in 2 partsieZrdG £V7/10
(ce T5925) 1325 IV/11 (Dee L925) 2=54 In Des

oo FAMINTSIN, A.S. Domra t srodnye yet instrumenty russkago

naroda [The domra and similar instruments of the Russian
people]. (St, Petersbure.” 1899) In Uk.
On the seven-string Russian guitar.

94 IVANOV. Russkata semtstrunnata gttara [The Russian seven-

string guitar]. (Moscow: State musical \publishing Co., 1948).
Ajay IRVGN,

95 [MAKAROV, Nicolai Petrovich]. "Aus den Lebenserinnerungen des

russischen Gitarrevirtuosen N.P. Makarow'' [From the memoirs
of the Russian guitar virtuoso N.P.<Makarowl.. Trans. andedt
by Fritz Bueky In 2*parts.' Gfreumag XI GOO) 43=455 XT Goi
1=3, L1l=13, 23-25, 45-47% In De.

96 MAKAROV, Nicolai Petrovich.» /The memoirs: of Makaroff. Trans.

by Vladimir Bobri and Nura Ulreich. In 3 parts. @Gyccorm 1/1.
24
National Histories (97-100)
(1946) 10-12; 1/2 (1947) 32-34; I/5 (1948) 109-11.
The memoirs of Nicolai Petrovich Makaroff (1810-1890) , Russian
guitarist, taken from his Zadushevnaya Ispoved [Full hearted con-
fession].
Part 1: A biography of Makaroff with emphasis on his activities
as a guitarist.
Part 2: An account of Makaroff's travels and encounters with other
known guitarists including Zani de Ferranti and Schulz. Illus.
Part 3: Makaroff's experiences with two Viennese guitar makers,
Fischer and Schertzer. The rules and procedures of the guitar com-
position and guitar making contest organized by Makaroff are ex-
plained. Makaroff's further contacts with guitarists and his own
recital experiences are mentioned. Bibliog.

97 MASCHKEWITSCH, W.P. "Die Geschichte der sechssaitigen

Gitarre in Russland, 1900-1923" [The history of the six-
string guitar in Russia, 1900-1923]. DteGit XI/11-12 (1930)
93-94. In De.
Notes on the "Internationalen Gitarristenbund", the international
movement in Russia for the promotion of guitar playing. Important
members and publications are cited.

98 MASCHKEWITSCH, W.P. ''Russische Gitarristen" [Russian guitar-

ists]. DreGrt XI/9-10 (1930) 68-72. In De.
Biographies of important Russian six-string guitarist-composers
of the nineteenth and twentieth centuries: J.I. Djakow, P. Petto-
letti, J.M. Stockmann, J.A. Klinger, J.F. Decker-Schenk, W.P.
Lebedeff, M.W. Polupajenko, and A.K. Lolikoff.

99 MASCHKEWITZ, W. [sic]. ''Zur Geschichte der Gitarre in Russ-

land" (On. the history of the euitar in’ Russia]. In 3 parts,
DieGtt X/3-4 (1929) 25-27; X/5-6 (1929) 38-40; X/7-8 (1929)
54-55. In De.
Partlii eA briet dutroduction. to. the: Russian seven=string) guitar.
Biographical sketches of guitarist-composer A.O. Sichra (1772-
1850) and his students S.N. Aksenow (1773/84-1853) and M.T.
Wyssotzki (1791-1837).
Part 2: Biographies of guitarist-composers who were students of
A.O. Sichra: W.S. Sarenko (1814-1881), W.J. Markow (d. 1863), and
N.I. Alexandrow (d. 1890/1900).
Part 3: A biography of guitarist-composer F.M. Zimmermann (d. ca.
1880), student of A.O. Sichra. Other students of A.O. Sichra of
less importance are listed.

100 MASCHKEWITSCH, W.P. "Zur Geschichte der sechssaitigen

Gitarre in Russland" [On the history of the six-string
Cuibarein Russial. YLeGre-01/ 7-8 (1929)! 52-56 6 In, De-.
Biographical notes on six-string guitarists M.L. Sokolowski (1818-
1883) and N.P. Makarow (1810-1890). Includes a detailed discussion
of the Brussels guitar composition contest organized by Makarow in
1856. Quotation of Zani de Ferranti's opinion of Makarow's playing;
notes on Makarow's travels and associations. List of his literary
23
(101-107) National Histories
works and compositions.

101 PEROTT, Boris A. "Incontri con Makaroff" [Meeting Makaroff].

Trans. from the English by M. Abléniz. In 2 parts. AChttar-
ristied no. 54 pi '5=6;) m0 55 pe 6-7 2 Ge Le.
Perott's account of his meeting and conversation with Makaroff in
Kiev preceding Makaroff's death. Includes comments on guitarist
Snel aigzio, letoie'(c¢

102 POWROZNIAK, Jézef. "Die Gitarre in Russland" [The guitar in

Russia]. GitarreLaute 1/6 (1979) 18-20, 22-24. In De.
A history of the guitar in Russia from the eighteenth century to
the twentieth century. The early five-string, the six-string, and
the seven-string guitar are included. The life, works, and main
contributions of important guitarists and composers for the instru-
ment are discussed. Significant in the history of the seven-string
guitar are Andreas Sichra, Ignatz Held, and students of Sichra,
Siemion Aksjonow, Ladislaus Morkow, Fiordor Zimmerman, and Wasil
Sarenko; noted for re-establishing serious interest in the guitar
in the early twentieth century after its late nineteenth-century
decline is Alexander Solowiow. Historically important guitarist-
composers Nikolaus Makarov, Pietro Pettoletti, Johann Dekker-
Schenk, and Wasil Lebiediew are mentioned. Illus., 9 port.

103 POWROZNIAK, Jozef. "Die Gitarre in der Sowjetunion" [The

guitar in the Soviet Union]. GitarreLaute I1I/5 (Sept-Oct
1930) 28-3) Ine De:
A study of the guitar and guitarists in the Soviet Union from the
October Revolution (1917) to the present. The popularity of the
guitar, guitarists, and guitar-related activities are discussed;
includes notes on both the six-string guitar and the seven-string
guitar. Biographical information is given on seven-string guitar-
ists Vladimir MaSkewic (1888-1971) and Wasil Juriew (1881-1962)
and on six-string guitarists Peter AgafoSyn (1847-1950), Aleksandr
Iwanow-Kramskoj (1912-1973), Peter Isakow (1886-1958), and Arsenij
Popow (1892-1977).4 Port.

104 STAKHOVICH, M.A. Ocherk tstoriti semistrunnoy gitary [Essay

on the history of. the seven-string guitar]. (St. Petersburg,
1844). In Ru.

105 VOL'MAN, Boris L'vovich. Gttara [Guitar]. (Moscow: Muzyka,

OTL 02D. alt Ru.

106 VOL'MAN, Boris L'vovich. Gitara 7 gttaristy [Guitar and

guitarists]. (Leningrad: Muzyka, 1968). In Ru.
Review: SovetskajaM XXXV (Jan 1971) 100-01.

107. VOL'MAN, Boris L'vovich. Gttara v Rossit: ocherk tstorit

gttarnogo tskusstra [The guitar in Russia: an outline history
of guitar technique]. (Leningrad: Muzyka, 1961). T7vyp. In’ Ru,
Revtew: SovetskajaM XXVI (July 1962) 137-38.
26
National Histories (108-111)
108 WAGNER, Frank. "Guitar in Russia". CGuttarInt III/2 (Winter
LOTG)y Ssiea32 .
Remarks on the works of composer-guitarists Vladimir Slavski, Peter
Agafoschin (1874-1950), Peter Isekov (1885-1958), B. Asaflev, and
Peter Panin (b. 1940). Also includes a list of the names of some
contemporary guitarists.

P. Spain
See also 556, 558 (on Fernando Sor); 953-957 (on construction)

109 MARSH, William Sewall. "Some Spanish and Spanish-American

guitarists". In 2 parts. Crescendo XXIV/6 (Feb 1932) 3-4;
XXIV (Sept 1932) 3-4.
Part 1: Biographical sketches of some important lesser-known Span-
ish and Spanish-American guitarists of the nineteenth and twentieth
centuries: José Broca, José Vifias Dias, Sebastian Caldentey Sancho,
José Ferrer Esteve, Domingo Bonet Espasa, Miguel MAs Bargallé, and
Tomas Damas.
Part 2: More biographies of Spanish and Spanish-American guitarists
including makers and mandolinists: Baldomero Cateura, Joaquin Casa-
novas, Antonio Jiménez Manjén, Felix de Santos Sebastian, Benito
Sarabia, Enrique Garcia (maker), Francisco Simplicio (maker), Juan
Nogués Pon, and Miguel Llobet. Also included are descriptions of
recitals by Regino Sainz de la Maza and Daniel Fortea.

110 MOSER, Wolf. "Spanische Gitarristen zwischen Aguado und

Tarrega" [Spanish guitarists between Aguado and Tarrega].
GittarreLaute I/4 (1979) 26-30. In De.
The author indicates the importance of significant nineteenth-
century guitarist-composers active between Aguado and Tarrega and
objects to present-day guitarists’ ignorance of this period. Bio-
graphical notes with comments on important contributions of the
following composers: Dionisio Aguado (1784-1849), Trinidad Huerta
(1804-1875), José Broca (1805-1882), Antonio Cano (1811-1897),
José Vinas (1823-1888), Tomas Damas, Julian Arcas (1832-1882),
and José Ferrer (1835-1916). Some methods and compositions cited.
List of some works published by Unidn Musical Espanola. Music
Chacsim.) :

11] ROBERTS, John. "The guitar in Granada". Guitar V/7 (Feb

1977) 9-11.
A survey of guitarists and guitar makers in Granada in the nine-
teenth and the twentieth centuries. Emphasis is on important
makers. Illus. (makers and their guitars).

Q. United States
See.atéo 10, 48

ox |
 (112-118) National Histories

General
112 .. BICKFORD, Vahdah Olcott. "The guitar in Americal’. Gyuritork
XXIII (June 1959) 17-19.
An historical survey of the guitar
in America with information on
the first American publishers, methods, and periodicals. Short
biographies of some American guitarists: William Bateman, Justin
Holland (1819-1887), W. Buckley (late 19th c.), Charles de Janon
(1834-1911), Luis T. Romero (1853-1893), William Foden (1860-
1947), George Krick, Manuel Y. Ferrer (1828-1904), C.W.F. Jansen,
Charles James Dorn (1839-1910), Clarence L. Partee, Walter Jacobs,
Herbert F. Odell, C.F. Fiset, and Zarh M. Bickford. Notes on early
American periodieale,.. Port. kidus.

Li3 "Errata". GuttarR XXIV (Mar 1960) inside cover.

IN (SONS NOEILOIN Ce ipateleeenatal MEY =

114 DANNER, Peter. “American guitar music: Some notes on a for-

sottenrepertoire"”. CGuttariInt IV/1.(Fall 19/6) 3-5.
A survey of the history of the guitar in America from the eighteenth
century to the twentieth century. Biographical notes on outstanding
American guitarist-composers through William Foden. Port. (author).

115 DANNER, Peter. "Breve storia della musica per chitarra in

America" [A short history of guitar music in America].
Frontmo V/20 (July 1977) 18-25. In It.
Composers, performers, and publishers active in America in the
eighteenth to the twentieth century. Biographical information on sig-
nificant figures. Quotations of texts concerning the guitar and
programs with guitar performance, including a program (1824)
featuring. AF. Huerta (1804-1875). Music, bibliog.

116 DANNER, Peter. "Notes on some early American guitar concerts".

Soundb IV/1, (Feb 1977) 8-9, 21.
A study of guitar concerts in America from the 1770s to the mid-
nineteenth century. Information on several concerts is based on
concert announcements. Concert programs are quoted. Much of the
information is taken from Sonneck 121. Bibliog. ref. in notes.
See atso: Tanno 122 for. some conflict about turn of the century
publishing activities.

117 "Increasing popularity, of .the guitar". cadenza xxvVILI/3

(Mar 1921)" 45.
The author attributes>the rise in the popularity of the classical
guitar to the upsurge in the interest of the "popular" instrument
and the student's subsequent change to the serious instrument upon
discovering its limitations.

118 "The mandolin and guitar". Cadenza V/3 (Jan-Feb 1899) 9.

Reprinted from Musteal America.
Comments on the current popularity of the two instruments, listing
teachers active in New York City.
28
National Histories (119-124)

119 SHEARER, Aaron. "A review of early methods". GuitarR XXIII

(June 1959) 24-26.
A detailed investigation of method books for guitar published in
America between 1820-1906; research was conducted in the Archives
of the Library of Congress. The quality of the available instruc-
tion is evaluated. Text from selected methods is quoted. Illus.
(facsim. of title pages of methods), music (facsim.).

120 SIMPSON, Clinton. "Some early American guitarists". GuttarR

SRI CLO
5 9.)..-164
Summaries of the activities of some American guitarists, active
from 1760 to the nineteenth century, indicate some interest in the
guitar during that period. Source material is studied. Guitarists
include Benjamin Franklin, Francis Hopkinson, Robert Carter, Mr.
Vidal, and Henry Capron.

121 SONNECK, Oscar G. Early concert-life in America, 1731-1800.

(Leipzig: Breitkopf und Hartel, 1907).
A study of concert life based on an investigation of sources, 1731-
L300. Provides information on the role of the guitar.in concert
life and on the type of repertoire performed. Organization is by
city or area. Programs listed. Guitar recitals between 1773 and
1790 in Charleston, Philadelphia, and New York are mentioned.
Biplipge ret. in: notes, index, .338p.

722 TANNO, John C. "American guitar methods published from the

turn of the nineteenth century to the present". GuttarR
XXIII (June 1959) 28-31.
The author discusses his own philosophies on choosing a method and
gives a description and evaluation of methods published 1827-1957.
Includes a "Summary of American guitar methods", a chronological
best, 1827-1959. Illus.
See also Shearer 119 for some conflict about» turn of the century
publishing activities.

123° © VALDEZ-BLAIN, Albert Sr. "Then..<and now". GuzéarN. LVI

(Nov-Dec 1960) 4-5.
Reflections on the progress of the guitar movement in America
dating from 1928.

The American Guild of Banjoists, Mandolinists, and Guitarists

Many articles about the American Guild can be found in issues of

The Cadenza, The Crescendo, and §.S. Stewart's Banjo, Guttar and
Mandoltn Journal. A few articles have been selected for annotation.

124 "The American guild of banjoists, mandolinists, and guitar-

ists. Preamble". Stewart XVIII/9-10 (Sept 1901) 31.
Notes on the history and present-day popularity of the banjo, mando-
lin, and guitar in America preface a statement of the "need and ob-
ject of the Guild".
29
(125-133) National Histories

125 "Constitution and by-laws of the American Guild of Banjoists,

Mandolinists and Guitarists". Cadenza X/8 (Apr 1904) 13-17.
“Constitution”: Wine articles. List of members.

126 “Editorial. A brief history of the American Guild of Banjoists,

Mandolinists, and Guitarists ~ What the organization has done in
the interest of the stringed instruments and what it hopes to
accamplish in the future”. Cadenza X/9 (May 1904) 22-24, 40.
Detailed notes on the origin and activities of the Guild. Important
members are mentioned. Comments on the future concerts and meetings,
their location and funding.

127. "A memorable day for Boston. The launching of the Guild and
the hold@ing-of a festival". Stewart KIX/2 (Feb 1902)" 2-4;
An account of activities of the organizational meeting and the
launching of the Guild 22 January 1902 in Boston. Purposes, goals,
and procedures are discussed. Election results recorded.

128 §'The President's corner. The’ first ‘planwfor’a Gatld" >> Cadenza
COVELLIO (Oct 1921 )<6-7%
The history and origin of the Guild. Quotations of early issues of
The Cadenza; list of charter members.

129 "Some officers of the Guild". Cadengza VIII/7 (Mar 1902) 28-31.
Biographical sketches of the following officers of the Guild:
Charles Morris (Vice-president), W.J. Kitchener, Geo. L. Lansing,
H.F. Odell, Samuel Siegel. Port. (of each officer).

The American Guitar Society

130 BICKFORD, Zarh Myron. "A brief history of the American Guitar
Society”. GuttarRk XXIII (June 1959) 20.
A history of the Society since its first meeting in September, 1923.
Comments on the contribution of Vahdah Olcott Bickford. List of
publications by the Society. Port.

The Society of the Classic Guitar (New York)

veut ihe. chronicle”. Guitarh TL (b946) 13.

The program of the first recital (14 May 1946) and of the second
recital (17 June 1946) of the Society of the Classic Guitar.

132 D'ALESSIO, Gregory. "The Society, 1946-1959". GuitarR XXIV

(Mar 1960) 3-10.
A detailed chronology of the history and activities of the Society
with comments on each year, 1946-1959. Early members are listed.
RONEIES TUN Iuie

133. BROWNE, Rosalind. "The Society...éarly days": Guitar XXIV

(Mar 1960) 1-2.
30
National Histories
(134-137)
Recollections of experiences in the 1920s and 1930s of Vladimir
Bobri, George Brandon, Louis Gill, Luigi Moramarco, Arismendi
Polanco, and Fidel Zabal. The early meetings of the Society,
beginning in the spring of 1936, are recalled. <Port.

BLANTCHOR, Francis

134 DANNER, Peter. "Return with us now. Soundboard's featured

facsimile. Cotillions"”. Soundb VII/3 (Aug 1980) 121 (text),
i22=-128 (musichinefacsim:).
An introduction to Francis Blantchor's set of five Cotillions
including a description of the dance.

BLESSNER,E.

135 HECK, Thomas F. "Return with us now. The Soundboard's

featured facsimile". Soundb III/3 (Aug 1976) 52 (text),
DoF musi G aniifacsim.) .
Historical background on E. Blessner's "Annie Laurie" (1850 im-
print), for voice and guitar.

CARR, Benjamin (1769-1831)

136 FRANK, Mortimer. "Music for funeral services for George

Washington". GuttarR XXIII (June 1959) 14-15.
Historical notes on 'Dead march and monody" for the funeral of
George Washington, the only composition for guitars by Benjamin
Carr. The adaptation for two guitars was one of four duet arrange-
monmis ebyaCarr. Stylistic consideration of the»musicyineluded. Port:
(Cart, ainuscie (facsinm.).

FERRER, Manuel Y. (ca. 1828-1904)

See also 112

137. PURCELL, Ronald C. "Return with us now. The Soundboard's

featured facsimile". Soundb III/4 (Nov 1976) 76 (text),,77
(music. in facsim.).
Introductory notes to Manuel Y. Ferrer's "Spanish mazurka no. 2"
include biographical information on the composer and commentary
on the work.

FODEN, William (1860-1947)

ee se? WA AIAG

31
(138-148) National Histories

138 "William Foden". Cadenza IV/2 (Nov-Dec 1897) 12.

A biographical sketch of William Foden. Port.

139 "William Foden". Crescendo III/8 (Feb 1911) 19.

A biographical sketch of William Foden with notes on his present
ACEI ECG eweorate.

140 "William Foden". Crescendo XXV/8 (June 1933) 1.

A short biography of William Foden. Port.

141 HOSKINS, Arthur ¢€. "William Foden". iCuttar#) XX11E9 (June -1959)
21-22.
A biography of Foden. Includes quotations of reviews of Foden's
performances first published in The Crescendo and in The Cadenza.
Account. of: his activities in. association with Giuseppe Pettine,
Frederick J. Bacon, and William 0. Bateman. Port., music (excerpt
of a composition by Bateman).

142 ‘KRICK, George C. "Reminiscences of William Foden". GuttarkR

Mal Cane 1959) 927.
Krick's recollections of Foden as a teacher, a composer, and a
performer. Biographical information on Foden included. Port.
(ase).

143. KRICK, George C. "William Foden". FINews VII/5 (Sept-Oct

LOSS )imd sy, Ds
Biographical notes with emphasis on Foden's contribution to the
guitar as a composer and as a performer. Port. (Foden).

144 + KRICK, George C. "William Foden 1860-1947". FINews XV1I/3

(May-June 1947).
Biographical notes on Foden.

145 MURR, Emma. "William Foden". FIWNews XIV/5 (Sept-Oct 1945) 12.
Biographical notes on William Foden. Port.

146 PETTINE, Giuseppe. "Foden as I knew him". GuttarR XXIII

(June 1959) 23.
Pettine's account of his association with Foden. Frederick Bacon
TS dLSOMMentElOneds aSmanmaccocd are. lbs

147 ‘TANNO, John C. "The Soundboard's featured facsimile". Soundb

11/4 (Oct. 1975) 7T5iceext)s 76-79" (mtsiesdny fecsime)s
Biographical notes on Foden as an introduction to the facsimile of
Foden's "Preludes" for guitar.

HAYDEN, William

148 SPALDING, Walter. "William Hayden and the nineteenth century

American guitar". Chelys 1/4 (Oct 1976) 20-29.
Historical notes on nineteenth-century American guitarists and their
32
National Histories (149-151)
compositions including comments on the life and works of William
Hayden. Contemporaries of Hayden are listed. Illus. (facsim. of
advertisement), port., music (6 works in facsim.).

KRICK, George C.

wee GLeo ll?) Sl42-144

149 "George C. Krick". Crescendo I/10 (Apr 1909) 7.

Biographical notes on Krick with comments on his accomplishments,
‘activities as a guitarist. and tas. a mandolinist. Port.

PICK, Richard (b. 1918)

150 TANNO, John C. "Richard Pick, American guitarist". GuitarR

WIV March 1960) 12 (text). 13 (music).
A survey of Pick's methods and compositions. Pick's opinion of what
constitutes a valuable and didactic musical composition is con-
sidered. Music.

WEILAND, Francis

151 DANNER, Peter. ''Return with us now. Soundboard's featured

facsimile. A much admired air". Soundb VIII/2 (May 1981) 82
(fext)),.983 (faséim. Of title’ page) "64-85" (music an ‘facsimn.).
Introductory notes to the facsimile reprint of Francis Weiland's
variations on "Home sweet home'' (1814) for solo guitar. Historical
background on the original composition with a description of Wei-
land's version.

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 CHAPTER THREE

Histories of the Renaissance Period

The sixteenth century has been chosen as a starting point in the study
of the history of the guitar and vihuela. The earliest extant music, theo-
retical texts, and instruments date from this century. Information on
Renaissance iconography and on design and construction are found in
Chapters VII and VIII, respectively. Appendix II lists known sources of
music for guitar and vihuela published before 1800; the chronological
list (p. 000-000) may be particularly helpful in locating sources of music
in the sixteenth century. Modern editions of these musical sources are
also listed in Appendix II and often contain introductory material which
gives valuable information on the source and biographical data on its
composer.
The vihuela was an instrument endemic to Spain, and no music is
known to have been published outside of this country. Its shape was that
of the guitar, and its surviving music is for vihuela of six-courses (double
strings). In sixteenth-century Spain, seven tablature books of music for
vihuela were published. The first of these, published in 1535 (colophon
reads 1536), is by vihuelist-courtier Luis Milan and contains the earliest-
known music for the instrument. Subsequent works were published by
Luis de Narvaez (1538), Alonso Mudarra (1546), Enriquez de
Valderrdbano (1547), Diego Pisador (1552), Miguel de Fuenllana (1554),
and Esteban Daza (1576). Four additional composers of music for
vihuela are identified in a manuscript entitled ‘‘Ramillete de Flores, O
Coleccion de Varias Cosas Curiosas’’, located in the Biblioteca Nacional
in Madrid. These composers—Fabricio, Francisco Paez, Mendoza, and
Lopez—are not mentioned in any other musical source. Lopez is named
as a vihuelist in Juan Bermudo’s Declaracion de Instrumentos (Ossuna,
1555) and by the Duque of Arcos. This information is given in Ward’s
dissertation (entry 191, p. 369-70) and in Cook’s articles (entries
170-72).
The guitar of the Renaissance was strung with four-courses and five-
courses of strings and was probably smaller than the vihuela. Music for
four-course guitar was published in two of the works for vihuela.
Mudarra’s publication contains the earliest-known music for four-course
guitar; Fuenllana included music for both four-course and five-course
guitar in his 1554 book. Music for guitar appeared in publications of
oie)
HISTORIES OF THE RENAISSANCE

tablature in France, Italy, and Belgium. French publications include

works by composers Gregoire Brayssing, Guillaume Morlaye, Simon
Gorlier, and Adrian Le Roy. In Italy, books of tablature by editors
Pierre Phalése and Jean Bellére were published. Later in the century,
Juan Carlos Amat’s Guitarra espafiola y vandola (probably first issued
in 1586) initiated the age of the Baroque five-course guitar. Amat and
other composers for five-course guitar are treated in Chapter IV,
Histories of the Baroque Era.
Also cited in this chapter is literature concerning the keyboard works
of Antoine de Cabezon, Thomas de Sancta Maria, and Luys Venegas de
Henestrosa. Although these works contain music which is intended pri-
marily for performance on the keyboard, the title page of each indicates
that the music is also suitable for performance on the vihuela. Some of
this music, however, is not idiomatically feasible for performance on the
instrument and must be arranged.
The treatise of Juan Bermudo (entries 211-12) is the most detailed
source on the vihuela and the guitar. Literary works by Miguel de
Cervantes and Luis Milan contain references to the guitar and the
vihuela which provide insights into its role in society.
This chapter is divided into four main sections: Section A. General
Surveys, Section B. Musical Forms, Section C. Tablature Studies, and
Section D. Individual Composers, Performers, Theorists, Publishers, and
Authors.
Section A. is divided into three sub-sections according to the instru-
ments which are specifically treated in the texts. These are GUITAR
AND VIHUELA, GUITAR, and VIHUELA. This section includes litera-
ture which gives an explanation of the differences between the guitar,
the vihuela, and the lute. Entries by Chase (154), Kirsch (156), Zayas
(159), Denning (174), Poulton (183), Sensier (186), and Ward (191)
treat this issue. An examination of sixteenth-century Spanish texts by
John Ward, “‘The lute in sixteenth-century Spain”, GuitarR IX (1949)
87-88 gives information on sources in which the Spanish preference for
the guitar and the vihuela over the lute is indicated.
Section B. includes literature on the romance, villancico, romanesca,
folia, tiento, tarantella, pavan, fantasia, lamentation, frottola, French
chanson, Italian song, and diferencia in music for both vihuela and
guitar.
Section C, includes studies of musica ficta practices in tablature (Fox
204) and discussions of transcription practices (Pujol 206, Zayas 207).
Section A. of Chapter I gives a list of works which are of particular
value in the study of tablature interpretation and transcription
methodology.
In Section D. eighteen individuals are listed alphabetically as subsec-
tions. Theoretical sources and their library locations are quoted from
RISM series B VI (2 v.). The list of abbreviations found on p. xxxvi in-
cludes library sigla used in this chapter in addition to those used in
Appendixes [| and II.

36
 (152-157)
A. General Surveys
See also Ch. I, Section A. The sixteenth through the eighteenth
centuries, including studies of tablature notation in that period,
Pe2s. 49625), and Chea VILL. Desien,and Construction, Seetion C.
The sixteenth century: vihuela and guitar, 906-915.

GUITAR
AND VIHUELA

152. APPLEBY, Wilfrid.M. "Some origins of the guitar. Part II."

GuttarN XVII (Feb-Mar 1954).
A short survey of the, origins and early history of the guitar,
vihuela, and gittern which precedes definitive findings on the
histories of the instruments.

153 BARBOUR, James Murray. Tuning and Temperament. Second ed.

(East Lansing, Michigan: State College Press, 1953). Reprint
Cda vel 973).
A detailed study of tuning systems and temperament based on a study
of source materials. The systems of Thomas de Sancta Marfa and Juan
Bermudo are considered. Glossary, 180 tables, bibliog., index, 228p.

154 CHASE GiLpert, Guitar and vihtiela; a clarification”.

BultAmerMustcolSoe VI (1940) 13-14.
An abstract of a paper read 7 Dec 1940, Washington, D.C. A dis-
cussion of the incorrect analogies between the guitar and the
lute and between the vihuela and the lute made by many authors.
Some essential differences are described.

155 CHASE, Gilbert. The muste of Spatn. (New York: W.W. Norton
Co., Inc., 1941). Second revised ed. (New York: Dover Publi-
Pat TOs, nC. st Io)
An historical survey of Spanish music from the early Christian
Churchito ene present day. Ch. Lil: "'Early masters of the guitar"
is a survey of sixteenth-century music for vihuela and guitar. Con-
sideration is also given to the role of the guitar in Spanish lyric
drama and Iberian folk music. Some later history is included. Some
fraccuractes. illus. s music, bibliog. , discog., index. 3603p.

156> KIRSCH, Dieter. “Laute und Gitarre" [Lute and guitar].

Kontakte V (Oct 1968) 167-72. In De.
"The two instruments are historically differentiated through fea-
tures of construction, stringing, voicing, and methods of notation.
The lute used in 16th-c. polyphonic music requires methods of play-
due that difter from those of the chord-oriented concert guitar oe
the 19th c." Illus.-Quoted from RIZM I1/3 (Sept-Dec 1968) 399lap

157. MUNROW, David. Instruments of the Middle Ages and Renatssance.

(London: Oxford University Press, 1967).

BF,
(158-161) Renaissance Histories

In 2 parts: "The Middle Ages" and "The Renaissance". Organization

within i6*by type of “instrament: “Chiu [Xs Seriage. ether plucked in
struments. Vihuela and guitar" is a survey of the history of the
vihuela and the guitar in the sixteenth and seventeenth centuries.
lilus.4.musie Ctunines), biblidge. ter. uin motes, 197
p-

158 PUJOL, Emilio. "Les ressources instrumentales et leur réle

dans la musique pour vihuela et pour guitare au XVIe siécle
et au XVIIe" [Instrumental resources and their role in the
music for vihuela and for guitar in the XVIth and XVIIth
centuries]. La Mustque Instrumentale de la Renatssance,
205-15. Ed. by Jean Jacquet. (Paris: Editions du Centre
National de la Recherche Scientifique, 1955).
Journées Internationales d'études (Paris, 28 March-2 April 1954).
A description of the contents of Spanish publications of vihuela
music and guitar music (1536-1578) with an explanation of tablature
notation. Includes comments on the etymology of the word "vihuela"
and on the influence of vihuela technique on the early Baroque
guitar. Misic (Ctuning, transcr..,)..

159 ZAYAS, Rodrigo de. "The vihuela: Swoose, lute, or guitar?"

GuttarR XXXVIII (Summer 1973) 2-5.
An examination of the differences between the vihuela, the guitar,
and the lute. Argument is given for the theory that the vihuela was
a type of guitar. Quotations of sources. Notes on tuning, fretting,
and design. List of modern instrument makers. Illus. (from the pub-
lications of Milan and Bermudo).

GUITAR

160 DOBSON, Charles; SEGERMAN, Ephraim; TYLER, James. "The tunings

of the four-course French cittern and of the four-course
guitar.in the 16th .century”. JucgeSocd XVL_ (1974) 1L/-23.
A consideration of possible tunings for cittern and guitar based on
an interpretation of sixteenth-century texts. The tuning instruc-
tions for guitar by Phalése and Bellére (1570) are compared to those
given for the cittern by Vreedman (1568) and Le Roy and Ballard
(1564, 1565). Tuning interpretation given in Heartz 229 is refuted.
Music, bibliog.
See also: Heartz 229 for a translation of the text of Phalése and
Bellére and Tyler 165 for additional tunings.

161 HEARTZ, Daniel. "Parisian Music publishing under Henry II:

a propos of four recently discovered guitar books". MQ XLVI/4
(1960) 448-67.
Four books of guitar tablature, three attributed to Guillaume Mor-
laye, one attributed to Simon Gorlier are examined for their musical
contents and historical significance. Sixteenth-century European
publishing activities are discussed and the publications of Le Roy,
Mudarra, Barberis, and Fuenllana are compared. Music, pl., bibliog.
ret. in-notes, map (Partic Can ulOW.
Renaissance Histories (162-167)

162 LESURE, Francois. "La guitare en France au XVI& siécle" [The

guitar in France in the XVIth century]. MDisetplina IV (1950)
Casey 2.90. 4) 107-95.
A discussion of the popularity of the guitar -in sixteenth-century
France, including information on contemporary accounts and on the
first publications of guitar music in Paris. Quotations of title
pages, contents of publications listed. Tunings, builders, and
publications are cited.

163 NICKEL, Heinz. "Gitarrentabulaturen II. Die vierchdrige

Gitarre" [Guitar tablatures II. The four-course guitar].
GttarreLaute I/3 (1979) 42-44.
A survey of music for the four-course guitar, a description of the
instrument, and a discussion of tuning (according to Le Roy) and
of tablature interpretation. Advice to the performer on the perfor-
mance of the repertoire on the modern guitar. Illus., music,
bibliessfref san notes:

164 SUBIRA, José. ''Un fondo desconocido de musica para guitarra".

[An unknown source of guitar music]. Congrés de la Soctetat
International de Mustcologta a Barcelona. Programa de les
sesstons t festes que es celtbraran de 18 al 25 d'abrtl del
t75G. (barcelona: Gmpr,. Casa Caritat;. 1936) "in? Sp.

165 “TYLER, “James. “Further-remarks*on the four-course’ guitar”.

LuteSoed XVII (1975) 60-62.
A supplement to Dobson 160 in which three additional tunings are
described. The author consults three theoretical sources: Juan
Bermudo's Declaracton (1555), Scipione Cerreto's Della practtea
mustea (1601), and Michael Praetorius's Syntagma musteum (1619).
Mustceos bibliog. ref. in notes.
See also: RILM IX/3 (Sept-Dec 1975) 4393ap44.
166 TYLER, James. "The Renaissance guitar, 1500-1650". EarlyM
hy Set oet) 1975)> 341-47.
A general history of the early guitar including a description of the
instrument, an explanation of terminology, tablature, tuning, and
the definition of other members of the guitar family existing before
i50u(bandurria, chitarriglia, chitarrino, chitarra- battente, man-
dola, and vandola). Theoretical and musical sources are examined.
Iconog., bibliog. ref. in notes, bibliog. of music for four-course
guitar (printed books and MSS), music.

VIHUELA

16/ SAPEL, Willie “Early? Spanish music for’ lute’ and keyboard
instruments". MQ XX (July 1934) 289-301.
Music for vihuela, not for lute, is a topic of discussion in this
article. Historical background, tablature interpretation, and some
musical forms are discussed. Individual considerati on of the music
of Antonio de Cabez6n (keyboard), Luis Milan (vihuela), and Enriquez
39
(168-174) Renaissance Histories

de Valderrdbano (vihuela). Facsim. (title page and tabl. from

Cabezén's Obras de misica, 1578), list of works, musie:

168 BERNER, Alfred. '"Vihuela". MGG XIII, 1621-23.

A history of the vihuela includes early etymology and the identifi-
cation of pre-sixteenth century instruments. A few sources (Prae-
torius and Bermudo) are described. Bibliog.

169 COOK, Frederick. "The capotasto of the vihuela". Guttarlute

VITL, (gan. 19:79.) 12-13%
A description of the pewazuela used for shortening the strings on
the vihuela based on information in Bermudo 211. Biographical notes
on the author included. Diagrams, port.

170 COOK, Frederick. "An unknown vihuela manuscript". GuttarLute

XII (Jan 1980) 13-14.
Four unknown composers of vihuela music (Fabricio, Francisco Paez,
Mendoza, and Lépez) are represented in a 1593 manuscript (MS 6001,
Biblioteca Nacional, Madrid) entitled Ramillete de Flores, O Colec-
etén de Vartas Cosas Curtosas. Also contained in the manuscript is
a work by Luis de Narvaez. The manuscript is described. A list of
compositions is given. Music.
seesaiso: Cook 171. and, 172

17) "Composers of works for vihuela". GuitarLute XIII (Apr 1980)

9-10.
AM correction of yGook 1/0.

172 COOK, Frederick. "Ein wenig bekanntes Vihuelamanuskript"

[A little-known vihuela manuscript]. GrtarreLaute II/5
(Sept-Oct 1980) 18-19. In De.
A German translation of Cook 1/70.

17/3 DANNER, Peter. "A plain and simple introduction to lutes and
lute music: the vihuela". CGuttarInt V/3 (Spring 1978) 22-28.
General comments on the history of the vihuela with a discussion of
publications of vihuela music. Some notes on performance techniques.
Lilus.»(faesim:),. music. (facsim. of tabl by Mudarra),sbibliog. ref.
AN, TEESE «

174 DENNING, Darryl. "The vihuela ~ the royal guitar of sixteenth-

century Spain". MJ XXXV/10 (Dec 1977) 19-22. Reprinted in
Soundb VI/2 (May 1979) 38-41.
A brief general history of the vihuela with a description of the
instrument, a discussion of notation, and a survey of the seven
vihuelists' publications included. Comments on the present-day
interest in the vihuela repertoire and on modern builders. Includes
an investigation of the history and the ancestry of the guitar, the
vihuela, and the lute with distinctions made between the three in-
struments.».lllus.,' bibliog.. ref... in notes,,. bibliog.

40
Renaissance Histories (175-180)
175 FRAENKEL, Gottfried S. Decorative muste title pages. 201 exam-
ples from 1500 to 1800. (New York: Dover Publications, Inc a)
1968).
Annotations of 201 plates give the following information: author,
title, place, date, library location, author identification, book
description, additional comments. Plate 16: a reproduction of the
title page of Fuenllana's Orphenica Lyra (1554). Plate 17: a re-
production of the title page of Pisador's Ltbro de musica de vthuela
(1552). List of sources of illustrations, list of dimensions,
bibliog., indexes, 230p.

176 GREBE, Maria Ester. 'Modality in the Spanish vihuela music of

the sixteenth century and its incidence in Latin American
Milsteo.) ine? parts. AMM XXxXVI. (1971) 29-59%" SxviIl (1972)
109=29°.
A study of polyphonic modality in representative works for vihuela
and as explained in contemporaneous theoretical texts. Five main
aspects are examined individually for the identification of mode:
ranges, cadences, accidentals, modal preferences, and transpositions.
Practice and theory are compared and differentiated. An epilogue
offers written evidence that the vihuela was an instrument in use in
sixteenth-century Mexico and Latin America. Charts, tables, music,
Peoptoe. rer. in uotes, bibliog.
See also: RILM 1X/1-2 (Jan-Aug 1975) 568ap24,
1/7 GREENE, Thomas E. "The hexachord system as it applies to the
Spanish vihuelists". Chelys I/3 (1976) 23-28.
The Guidonian hexachord system is explained as it applies to vihuela
tuning and to the sizes of vihuelas in use in the sixteenth century.
Compositions cited. Illus., chart, bibliog.

icon shalt. Monica J.L.. “Performing early music’ on record 6. The

yinuela repertoire’, SariyM- V/1 (1977) 59, 613763, 65:
A brief introduction to vihuela technique, tuning, stringing, and
the contents of the seven vihuela books. Reviews of nine records
include the following information: record company, serial number,
performers, contents of the record, citations of other record re-
views, and an evaluation of the authenticity and the quality of
the performance. Illus.

179 JACOBS, Charles. Tempo notation tn Renatssance Spatn. Musico-

Topical studies, VIII. (Brooklyn, N.Y.: Institute’ of mediaeval
music, 1964).
A detailed study of tempo notation in the instrumental music of
Renaissance Spain. The source material consulted includes the works
of the vihuelists and of Juan Bermudo. Quotation of sources (Sp and
Poetcais.), music (transcr. only),-l21p.

180 MARCOS, Juan José Rey. "Ramillete de flores inediti per

vihuela" [Ramtllete de flores, unpublished works for vihuela].
Frontmo IV/15 (Apr 1976) 15-23. In It.
A detailed discussion of a 1593 manuscript containing ten works for
41
(181-187) Renaissance Histories

vihuela. Description of the manuscript and ite musical contents. The

historical importance of the work is considered. Some background on
sixteenth-century vihuela music is given. Music (transcr. only, ex.
of each composition. This includes a work by Narvaez), bibliog. ref.
in notes.

181 MYERS, Joan. "Vihuela technique". JZuteSocAmer I (1968) 15-18.

A discussion of vihuela technique, addressed to the modern performer,
which includes information on intonation, tempo, left-hand and right-
hand technique, and ornamentation. List of books on technique. Music
(tabi); biblitos. sei. in notes.

182 POPE, Isabel. "La vihuela y su musica en el ambiente humanis-

tico" [The vihuela and its music in the Humanistic environ-
ment]. MuevaRevFtldtsp XV (1961) 364-76. In Sp.
The influences of Renaissance Humanism on the Spanish vihuelists are
shown in a study of the music and the texts contained in the
vihuelists' publications. General historical notes on Humanistic
thought as it is reflected in music. and literature. Bibliog. ref. in
notes.

183 POULTON, Diane. "Notes on some differences between the lute

and the vihuela and their music”. Consort XVI (July 1959)
22-26.
Distinctions are made between the ancestry and history of the lute
and the vihuela. Descriptions of tuning, technique, and repertoire.

164 - POULTON, Diane. “Vihuela”. Grove XIX, /57-61.

Theoretical, literary, and musical sources are investigated in a
survey of vihuela tuning, performance practices, technique, and
repertoire. The article is divided into 3 parts: 1. Structure and
history 2. Technique and performing practice 3. Repertory. Illus.,
table (tempi), bibliog. (early theorists, other studies).

185 ROBERTS, John. "Some notes on the music of the vihuelistas".

IuteSoed VII (1965) 24-31.
A survey of the contents of the seven extant collections of six-
teenth-century vihuela music. Catalogue entries given for those
five located in the British Museum include the following infor-
mation: quotation of title page, number of books in each collection,
dedication, place and date of publication, British Museum number,
pagination, number of leaves or folios, missing or mutilated folios,
printers' marks. Contents (number and types of pieces) and composers
are listed for each book.

186 SENSIER, Peter. "When a vihuela is not a vihuela". Guitar IV/4

(Nov 1975) 25-26.
Notes on the differences between the vihuela and the lute. Includes
comments on the problems of vihuela construction. Illus. (vihuelas).

187. WADE, Graham. "The repertoire of the guitar". BMG LXV/750

(Oct 1967) 3-4.
42
Renaissance Histories (188-191)
A brief introduction to the sixteenth-century repertoire for vihuela.
Comments on the seven known vihuelists and the types of compositions
included in their publications.

188 WARD, John M. "Parody technique in sixteenth-century instru-

mental music". Commonwealth of Muste, 208-28. Ed. by Gustave
Reese and Rose Brandel in honor of Curt Sachs. (New York:
The Free Press of Glencoe, 1965).
Definition and analysis of parody technique. Types of parody are
examined in an analysis of the relationship of the compositions
using parody technique to the original music parodied. Works by
vihuelists Valderrabano and Narvaez are considered. Music (transcr.
only, treble- and bass-clef), bibliog. ref. in notes.

189 WARD, John M. "Le probléme des hauteurs dans la musique pour
luth et vihuela au XVIe siécle" [The problem of pitch in the
music for the lute and for the vihuela in the XVIth century].
Le luth et sa mustque. Colloques itnternationaux du Centre
Nattonal de la Recherche Setentiftque, 171-78. Ed. by Jean
Jaquot. Second revised ed. (Paris: Centre National de la
Recherche Scientifique, 1976). In Fr.
Lecture and discussion (Neuilly- sur- Seine, 10-14 September 1957).
An examination of source writings and of the publications of the
vihuelists. The author concludes that liberties with tuning were
taken by Renaissance musicians and investigates the problems of
modern transcription. Music.

190 WARD, John M. ''The use of borrowed material in sixteenth-

century instrumental music". JAmerMustcolSoe V/2 (1952)
88-98.
A study of vocal repertoire intabulated for lute, for vihuela, and
for keyboard. Examination of the type of repertoire chosen and of
the actual treatment of the borrowed material is illustrated with
references to representative works. Literal transcription and
"slosa', quotation parody and paraphrase parody are distinguished.
Sixteenth-century opinions on ornamentation are considered; refer-
ences to theoretical texts included. Music (treble- and bass-clef),
bibliog. ref: in’ netes.

191 WARD, John M. "The vihuela de mano and its music, 1536-1576".
Phipedics..) Musie: New York University, 1953. UMD 71-285 669.
The most detailed history of the vihuela, extensively researched,
with a well-documented investigation of source materials. In 7
chapters. Ch. I: "The instrument" gives description, etymology,
fretting, and tuning and includes information on the differences
between the vihuela and the lute and a definition of the viola.
Cis sais) The! pertormance’ practice’'s Ch.’ IIIs “The*musice™ (organized
byt musical forms). "Ch. 1V:="The*vihuelists”, a biographical—biblio—
graphical study of the vihuelists which includes research on Portu-
gese musicians active in Spain and Spanish lutenists; this section,
organized alphabetically by musician, is presented in catalogue
form. Ch. V: "Indices". In 10 sections, including "composers of
43
(192-197) Renaissance Histories

music intabulated by the vihuelists" and listings ob vocalymusi ce in-

tabulated by the vihuelists organized by genre. Ch. VI: "Bibliog-
raphy". Che VIlz “Music examples”. Illus oj misia babies, 2590p,
(text); 50p. (music, separate pagination).

192 ZAYAS, Rodrigo de. "The vihuelistas". GuttarR XXXVIII (Summer

1973) 7-9.
Short biographical sketches of the seven vihuelists: Milan, Narvaez,
Mudarra, Valderrabano, Pisador, Fuenllana, and Daza.

B. Musical Forms
Bee aleo 274 0275, ils 279, 281
193 BAL Y GAY, José. "Romances y villancicos espafioles del siglo
XVL"" [Spanish romances and villancicos of the sixteenth cen-
tury]. Primera seria. Mexico, Casa de Espafia (1939).: In Sp.

194°. BOSMAN, Lance. ‘Variations 2". Guitar LIV/b2- Guly 1976). 16-17.
An introduction to types of variation technique. Emphasis of the
discussion is on the treatment of the ostinato basses, romanesca and
folia, in representative works by Narvaez, Mudarra, and Sanz. Music.

195 DEVOTO;=Daniel. "Poésie et musiqué- dans l'oeuvre des

vihuelists" [Poetry and music in the work of the vihuelists].
AnnaclesM IV (1956) 85=1Ll1. In Fr.
A discussion of the poetry used in the songs of the vihuelists with
particular consideration given to the relationship of the poetry to
the music of the romances and villancicos. Emphasis is on the
analivyeis of the poetic structure... Ex. of. poetry,, music.

196 HUDSON, Richard. "Chordal aspects of the Italian dance style

1500-1650". JiuteSocAmer III (1970) 35-52.
An analysis of Italian dance compositions. Basic harmonic structure
based on chord schemes in two modes, per B molle and per B quadro,
and chordal and melodic variation techniques are considered. Works
for vihuela and for guitar are selected as representative examples.
Music, bibliog. ref. sin-notes:.
See also: RILM IV/2 (May-Aug 1970) 1607ap24.
197. JAMBOU, Louis. "Les origins du ttento" [The origins of the
ttento|. PhD» diss. Musica University of. Paris<. 1974. Im. Fre
The objective of this work is to understand the musical significance
of the term ttento at the time when the Spanish composers, vihuel-
ists and later organists, adopted the term and illustrated it in
several compositions (1535-1555). The procedure is defined "on a
double level: theoretically, through the principal works of six-
teenth-century Spain, and practically, in thercomposers' reali=-
zations,
Study of the ttento in the writings of D.P. Cerone (El Melo-
peo, 1613) and M. de Fuenllana (Orphénica lyra, 1554). Presentation
44
Renaissance Histories (198-202)
of Spanish modal theory in the sixteenth-century environment.
Appearing first in the vihuela works of Milan (1536), Mudarra
(1546), and Fuenllana (1554), the ttento is revived by the organists
(Bermudo, 1555). The final chapter establishes the relationships and
differences between ttento and fantaisie. AppendiisGtranser. 1
ttentos by Fuenllana, Mudarra, Milan, and Bermudo). - Translation of
the annotation in Jean Gribenski, French Language dissertations in
muste: an annotated btbltography. (New York: Pendragon Press, 1979),
entry -24.22.

198 NELSON, Martha. "Notes on the tarantella (including a collec-

tion of tarantellas for guitar)". GuttarR XXXIV (Winter 1971)
7 (text); 8-17 (music).
A short history of the tarantella dance. Includes comments on the
etymology of the word as related to the style of the dance. Music
(5 tarantellas for guitar, 19th and 20th centuries).

199 POULTON, Diane. "Notes on the Spanish pavan". LuteSoeJ III

(1961) 5-16.
A study of various arrangements and uses of the Spanish pavan in
English and continental European musical sources. Extensive list of
printed sources and manuscripts with bibliographical information
given. Emphasis is on lute music in French tablature; a few sources
Of Sustar Mmisic. are. cited,

200 SIMPSON, Glenda; MASON, Barry. "The sixteenth century Spanish

romance - a survey of the Spanish ballad as found in the music
Gieties VihuelListas”. HarlyM. V/1. «C1977).51 5535.55, O%e
A stylistic analysis of the Spanish romance with a consideration of
performance practices including improvisation. Includes comments on
the role of the romance in fifteenth- and sixteenth-century Spanish
socaalentscory. Llius., music (tabl.-and transcr., elaboration of a
vihuela accompaniment of a romance by Fuenllana), bibliog. (sources,
secondary works).

201 WADE, Graham. ''The repertoire of the guitar". BMG LXV/753

Clan 1968) 9123.
A simple analysis with remarks on the musical interpretation of a
sixteenth-century fantasia by Milan, by Mudarra, and by Fuenllana.

202 ZAYAS, Rodrigo de. "The music of the vihuelists and its in-
terpretation”. GuttarR XXXVLIII (Summer 1973) 10-12.
A study of the musical style and structure of representative musical
forms found in the publications of the vihuelists. Music for voice
and vihuela and for vihuela solo is considered. Musical forms de-
scribed are the villancico, the romance, the Italian song, the lamen-
tation, the frottola, the French chanson, the pavan, diferencias (or
variations on a theme), and the fantasy. Some notes on performance
practices.

45
(203-207) Renaissance Histories

C. Tablature Studies
203 "Eserdtura para cuitarras Stetema ‘antique | fitieiae Tor te
guitar. An early system]. Guitarra (Havana) II/3 (Dec 1941)
24-25. An excerpt from Emilio Pujol's Escuela razonada de la
guttarra. In Sp.
A discussion of sixteenth-century tablature notation for vihuela and
sixteenth- through eighteenth-century tablature notation for guitar.
Some representative composers are cited. Rhythm, tempo, and meter
symbols are shown with explanation.

204 FOX, Charlies’ Warren. “Accidentals in vihuela tablature”:

BulAmerMusteolSoe IV (Sept 1940) 22-24.
An abstract of a lecture (5 Nov 1938, Ithaca, N.Y... The use-oef
vihuela tablature in determining mustca fteta practices in vocal
music is considered. Research is limited to the study of transcrip-
tions of the tablatures of Pisador and Fuenllana that are based on
pre-existent vocal models. Comparisons are made between the trans-
criptions and the modern editions of the models that have mustca
fteta added.
See also: 244, 245 for further discussion of these problems in the
work of Pisador.

205 NELSON, Martha. "Notes on mustca en ctfra". GuttarR XXXVIII

(Summer 1973) 23-29.
Comments on the differences between the Spanish system of tablature
notation, mustca en (de) ctfra, and music in tablature notation
found in other European countries. Includes etymology and trans-
cription methodology. Music (tabl. and transcr.), bibliog. (original
editions: "Works of the seven vihuelistas" and "Additional primary
sources from the period of the vihuelistas" with library locations
exitedJe

206° “PUJOL, Emilio. “a transcription de La .tablature pour vihwela

d'aprés le technique d'instrument" [The transcription of vi-
huela tablature according to the technique of the instrument].
Congres de la Soctetat tnternattonal de Mustcologta a
Barcelona. Programa de les sesstons t festes que es cele-
braran de 18 al 26.d'abril del 1936. (Barcelona: impr. Casa
dee Caritat, 936) ona Fe.

207 ZAYAS, Rodrigo de. "The transcription of the vihuela tabla-

tures: how and why". Chelys I/2 (Aug 1976) 11-15.
Literal and polyphonic methods of transcription and other problems
and considerations in the interpretation of tablature notation are
discussed) Musie (tabl. and *transcr.s bx Luis: Milan).

46
Renaissance Histories (208-211)

D. Individual Composers, Performers, Theorists,

Publishers, and Authors
BALLARD, Robert

See LE ROY, Adrien

BARBERIS, Melchior de

see altso-161

208 KOCZIRZ, Adolf. "Die Fantasien des Melchior de Barberis fiir

Siebensaitige Gitarra (1549)" [The fantasias for seven-string
guitar of Melchior de Barberis]. ZfMwv IV (Oct 1921) 11-17.
In De.
A study of the four fantasias for four-course guitar found in the
back of Melchior de Barberis's 1549 publication of lute music en-
titled Opera tntttolata contina. Analysis of notation, tuning, in-
dications of playing technique, and musical style. Some biographical
information on Barberis included. Music (4 fantasias, transcr. only,
treblé-cilef).

BERMUDO, Juan (ca. 1510-ca. 1565)

Pecado.» One. hoe. 169, 1.795.197, 228, 875

Theoretteal Sources

209 BERMUDO, Juan. Comienga el ltbro primero de la declaracton de

tnstrumentos, dtrtgido al clementtssimo y muy poderoso don
Joan tercero deste nombre, rey de Portugal...(Ossuna: Juan de
Deon oAg).) G4 ot).. cin ssp.
Library locations: D B, Mbs. E Mn. NL DHgm. P Pm. US Cn, NYhs.

210 BERMUDO, Juan. Comtenga el arte trtpharta dirtgtda a la

ylustra y muy reverenda senora Dona Ysabel Pachedo, abadessa
en el monasterto de saneta Clara de Montilla, compuesta por el
reverendo padre fray Juan Bermudo, religtoso de la orden de
los frayles menores de Observancta...(Ossuna: Juan de Leon,
1550). (40£). In Sp.
Ltbrary location: E Mn (facsim.).

211 BERMUDO, Juan. Comtenca el libro llamado declaracton de in-

strumentos musteales dirigido al illustrisstmo senor el senor
don Franetsco de Cuniga, Conde de Mtranda, compuesto por el
muy reverendo padre fray Juan Bermudo de la orden de los
menores; en el qual hallaran todo lo que en mustea dessearen,
y conttene seys libros: segun en la pagina stgutente se vera:
examtinado y aprovado por los egregtos mustcos Bernardino de
Figueroa y Chrtstoval de Morales. (Ossuna: Juan de Leon,
47
(212-214) Renaissance Histories

1555). (142£). In Sp.

Library locations: A Wie DABS EnsBds5 Ma Voce. F CH, Pe, Pu.
GB ibm. US Cay NYhs, Wem.

Modern Edtttons

212 BERMUDO, Juan. Declaracién de instrumentos musicales 1556.

Documenta musicologia. Erste Reihe: Druckschriften-Faksimiles
XI. Ed. by Macario Santiago Kastner. (Kassel und Basel:
Barenreiter-Verlag, 1957). In Sp.
A detailed theoretical source writing on the vihuela and on the
guitar which includes information on types of vihuelas, stringing
and tuning, and information on contemporary musicians. "Libro
quarto. Comienca el arte de la vihuela" folio xci-cx includes a
discussion of "las guitarras', nine diagrams of fingerboards il-
lustrating various tunings, and musical examples of tablature de
etfras.

Secondary Works

213. MOSER, Wolf. "Uber die Unterschiede zwischen Gitarre und

Vihuela bei Bermudo" [On the differences between the guitar
and the vihuela according to Bermudo]. GitarreLaute II/5
(Sept-Oct 1980) 32-34, 36-40, 42-43. In De.
A history of the confusion between the guitar and the vihuela.
Definitions are clarified by Bermudo in his publication Declaractén
de tnstrumentos mustcales (1555). Types of vihuelas and guitars are
differentiated by their stringing and by their size. Tuning is dis-
eussed, ilius: Giconog. histericak instruments), biblfeg. refs in
notes.

214 STEVENSON, Robert M. Juan Bermudo. (The Hague: Martinus

Nijhoff, 1960).
Bermudo's three publications are examined in a detailed study
divided into the following sections:
"Biographical. summary.
1. "An annotated bibliography of Bermudo's works''. The three works
are compared; errors in previous research are discussed.
2. “Imeroductory, matter. in the editions of 1549, 12550, and 1555".
Description of contents includes quotations from the texts.
3. "Bermudo's sources". A study of Bermudo's use of sources.
4, "Synopsis of the 1555 Deelaractén"'. A detailed summary of the
contents of the five books contained in the 1555 edition. Music
included.
5. "Keyboard arrangements and original compositions". Music.
List of works cited, index, 9/p.
Revtews: MLetters LXII/4 (1961) 375-6; Notes XVIII/3 (1961) 417-18;
JIMTheory VI/1 (1962) 156-58; MRevtew XXIII/1 (1962) 71; NeueZfmM
CXXIII (Oct 1962) 481; JAmerMustcolSoe XVI/1 (1963) 86-88; Mf XVI/3
(1963) 297-99.

48
Renaissance Histories (215-218)
CABEZON, Antonio de (ca. 1500-1566)

See also 167, 245

215 HUGHES, John. "The tientos, fugas, and differencias in Antonio

de Cabezén's Obras de mustca para tecla, harpa y vthuela". PhD
diss., Music: The Florida State University, 1961. UMI 61-1284.
A stylistic consideration of the tientos, fugas, and differencias.
Includes biographical information on Cabezén, historical background
on the period, and extensive consideration of organs of sixteenth-
eentury Spain. The author approaches Cabezén's Obras (1551) as a
work for keyboard, although Cabezén does indicate the possibility of
the performance of the music on other instruments including the
vihuela. Analysis of Cabezén's style and compositional techniques
with particular consideration given to his treatment of musical sub-
jects. Comparisons of the three forms are included. Music, append.,
PED AOS eye A 2D.

216 SPALDING, Walter. "A dance for the king of Spain". Chelys 1/8
(Mar-Apr 1977) 23-28 (text), 29-34 (music).
Historical background on "Tres 'sobre el cantollano de la alta" by
Cabezén as found in Luys Venegas de Henestrosa's Ltbro de etfra
nueva para tecla, harpa y vithuela (1551). The contents of Venegas
de Henestrosa's publication is described, and the problem of the
attribution of this work to Cabez6n is examined. Description of the
basse dance tenor melody "La Spagna'' with an explanation of its
function within Cabezén's work. Some biographical information on
CApezoners sncluded.. Music (tabl.. and, transcr..,. -transcr. of Cabe-
ZOU oe aces Sobre 1 canto liane dela alta’ for recorder, viola,
Meine l ain Dabl Log. ref. in mokes.

CERVANTES, Miguel de (1547-1616)

See also..330

al GAVALDA, Miguel Querol. La mtistca en las obras de Cervantes

[Music in the works of Cervantes]. (Barcelona: Ediciones
Combed iti, £946 ).. in Sp.
A study of musical references in the literature of Cervantes.
Musical forms (romances, canciones, dances, and bailes) are men-
tioned in Cervantes's literature. In ch. V 'Los instrumentos men-
cionados por Cervantes" [Instruments mentioned in Cervantes], the
use and the significance of the guitar (p. 138-39) and the vihuela
(p. 140-41) are considered. Quotations from Cervantes..s text,
Mot Oe Nex, L/D.

218 HAYWOOD, Charles. Cervantes and music (n.p., 1948). Reprinted

from Hispanta (May 1948) 131-50.
A study of the use and the significance of musical forms, instru-
ments, and dances in the literature of Cervantes. The social fune=
Mucor aehe. vihuela and of the euitar as shown in .Cervantes's texts
49
(219-222) Renaissance Histories

is examined. Cervantes's musical sources are considered. Quotations

of literature included. Bibliog, -ref. in notes.

219 MANIFOLD, J.S. “Cervantes, the euitar, and History’. Coron VIL
(March 1954) 342-44.
Cervantes's tale from Novelas Ejemplares about a guitar master is
told. The author interprets the sienificance of the texts in regard
to sixteenth-century folk music traditions.

220 SALAZAR, Adolfo. La miistca en Cervantes y otros ensayos

[Music in Cervantes and other essays]. (Madrid: OGRAMA Oficina
Grafica Madrilena, 1961). Reprinted with additions from
NuevakevrtlHtsp I~L/1, 2 (1948). In Sp.
Ch. VII. "Mdsica, instrumentos y danzas en las obras de Cervantes",
127-275. A study of the use of music and musical instruments in the
literature of Cervantes. The musical environment contemporary with
his period of fluency is discussed. The importance of the vihuela
and the guitar is emphasized; background on the composers, the
repertoire, and theoretical sources is given. Section Il. "“Anota-
ciones" [Annotations] gives extensive annotations of the text.
Table of instruments mentioned in Cervantes, table of dances men-
bioned. in’ Cervantes, illus., bibliog. ret. an notes.

DAZA [DACA], Esteban

cet EVERS; Reinbert. "Die Fantasien aus’ Esteban Dazas@#) Parnaso

und ihre Stellung in der Entwicklungsgeschichte der Fantasie
fiir Vihuela’™ [The fantasias from Esteban Daza's #2 Parnaso
and their place in the development of the fantasia for vi-
huela]. PhD diss., Music: Ruhr-Universitdt-Bochum. In De.

22c “PURCELL, Ronald Charles. “Esteban Daza, FL Parnasso™. Mx

diss., Music: San Fernando Valley State College, 1972. 2v.
Ve 1. “Analysis and commentary". A study of the text and music of
Daza's Ltbro de musica en ctfras para vthuela, intttulado el Par-
nasso (1576), the last publication for vihuela in sixteenth-century
Spain. Sources are consulted for information on the composer and on
others mentioned in the preliminary text. Previous publications for
vihuela are compared. Analysis of stylistic aspects of the music
with concordances; comparison of entabulations by Daza to the ori-
ginal vocal models. Notes on transcription practices. Music (two-
staff systems, treble- and bass-clef), 110p.
V. 2:° "Transcriptions". Trans¢tription in two-staft notatien ttreble=
and bass-clef) of the three books of tablature contained in #£l Par-
nasso. Them. cat. (incipits from Libro primero only).

FUENLLANA, Miguel de (d. 1579)

See aeeo 1LOlS 175, 197, 200; “Zoi =204 245

50
Renaissance Histories (223-228)

223 ANGLES, Higini. "Dades desconegudes sobre Miguel de Fuenllana,

vihuelista" [Unknown facts about Miguel de Fuenllana, vi-
huelist]. RMCatalana XXXIII/388 (Apr 1936) 140-43. In Ca.
A study of the positions held by Fuenllana at the royal Spanish
court in the mid-sixteenth century with quotations of court docu-
ments concerning payments for his services.

224 BAL, J. 'Fuenllana and the transcription of Spanish lute-

music’. ActaMusicol XI (1939) 16-27.
The subject of the article is Fuenllana's music for vihuela. The
tablature notation used by Fuenllana is examined with emphasis on
a study of its interpretation in relationship to the vocal part.
Masic (tabi .) andi itranscr..)’, biblics.prek.. ine notes.

225 KOCZIRZ, Adolf. "Die Gitarren Kompositionen in Miguel de

Fuenllanas Orphénica Lyra (1554)"" [The guitar compositions in
Miguel de Fuenllana's Orphéntea Lyra (1554)]. AfMw IV (April
1922) 241-61. In De.
A discussion of the guitar music contained in Fuenllana's 1554 pub-
lication for vihuela. Includes discussion of Fuenllana's instruc-
tional text, notation, tuning, instrumental technique, and musical
forms (with emphasis on the romance). Analysis of music included.
The author incorrectly uses the term lute to specify vihuela.
Mist Cmticmscr vonhy. 09 workstor guitar, treble clef), bibliog.
ref. in notes.

226 RIEMANN, Hugo. 'Das Lautenwerk des Miguel de Fuenllana (1554)"

[The lute works of Miguel de Fuenllana (1554)]. MfMg XXVII1/6
(1895) 81-91. In De.
The author discusses the vihuela music of Miguel de Fuenllana. The
complete contents of Fuenllana's 1554 publication is listed by folio
number. Music (transcr. of a four-voice fantasia).

227 VILLALBA MUNOZ, Luis. "La Orphénica Lyra de Fuenllana". Musica

Saero-Htspana (1910). In Sp.

GORLIER, Simon

See 161

GUZMAN, Luis de (d. 1528)

No music by Luis de Guzman is extant; however, he is mentioned as a

performer in sixteenth-century texts.

228 ROBERTS, John. "The death of Guzman". JLuteSocAmer X (1968)

36-37.
An examination of sixteenth-century literature in which Guzman is
mentioned. Authors cited are Pero Mexia (1551), Bermudez de Pedraza
(1608), Juan Bermudo (1555), and Paulus Jovius (1562). The quotation
|
(229-230) Renaissance Histories

of Bermudo gives detail on "mistuning' the vihuela.

HENESTROSA, Luys Venegas de

See VENEGAS DE HENESTROSA, Luys

LE ROY, Adrian and BALLARD, Robert

fee aheo LOU, Tél? Les

229 HEARTZ, Daniel. "An Elizabethan tutor for the guitar”.

GalptnSoed XVI (May 1963) 3-21.
Introductory notes cite early texts which define 'guiterne', 'gui-
terre', and 'gitterne’ as a guitar. The author offers evidence for
the assumption that Adrian Le Roy was the composer of A brtefe and
platne tnstructton... published by James Rowbotham, now lost, and
evidence of its probable plagiarism, Selectitssima eleganttsstmaque
(1570, Louvain), published by Pierre Phalése. Phalése's eight
rules and "the manner of stringing the guitar” are printed in fac-
simile and in English translation. Tuning instructions are explained;
the popularity of the guitar in the sixteenth century is discussed
Whih references to sources. Illus. (facsim.jy music, pl., babitog:
ref. in notes.
See also: Dobson 160 for criticism.

230 LESURE, Francois; THIBAULT, G. Btbltographte des édittons

d'Adrten Le Roy et Robert Ballard 1551-1598 [Bibliography of
the editions of Adrien Le Roy and Robert Ballard 1551-1598].
Deuxiéme série. V. IX. (Paris: Société Francaise de Musico-
Logie, 1955) Ink,
A biographical-bibliographical study based on available sources.
Chapter headings are as follows: 1. "Les Familles" (The families)
2. "L'Association" (The association between Le Roy and Ballard)
3. "Le materiel typographique" (Printing materials) 4. "Repertoire"
(Repertoire). "Documents et Piéces Luminaire inédits" (Documents and
eminent unedited writings concerning their lives and business).
"Bibliographie Chronologique" (Chronological bibliography: List of
publications, 1551-1598). Entries are numbered throughout. Includes
quotation of title page, size, library holdings, contents, and
folios. Tablature books for 'guiterre' are listed as entries 2, 4,
10, 14, and 22; for 'guiterne’ as entry 2bis. Table of incipits (by
genre), lisc of volumes described, names cited, pl., table of con-
tents, 304p.

MILAN, Luis (ca. 1500-ca. 1561)

bee Gleo Io, 167, 097, 20) e707

D2
Renaissance Histories (231-237)
Literary Sources (modern editions)

231 MILAN, Luis. Libro intitulade El Cortesano. (Valencia 1561).

Reprinted in Coleeceton de libros espaiioles raros o curtosos
VII, 1-472. (Madrid: Imprenta y estereotipia de Aribau oak Ass
oe tT. OD.
Milan's literary work on the ideal courtier. Prose, dialogue, and
verse. References to the vihuela occur in the text.

232 MILAN, Luis. Libro de motes de damas y caballeros: Intitulado

el juego de mandar. (Valencia 1535). Reprinted in Coleecton de
itbros espanoles raros o curiosos VII, 473-502. (Madrid: Im-
PEetiaey estereotipia de Aribausy-C.4, 16/4). In Sp.
Milan's commentary on court life. Prologue and verse. References to
the vihuela occur in the text.

Secondary Works

233 "Masica en la antiguedad. Luis Milan" [Music in antiquity.

ture Milan|. Guitarra (Madrid) XXI (May 1965) 3-4, 11 (text),
Pevensie. et able eandstranser.)...-1n op.
A discussion of the text and music in Luis Milan's Libro de mustca
(1536) includes notes on musical contents, notation, and Milan's
instructions for tuning.
See also: Guttarra (Madrid) XXII (June-Aug 1965) 6-8 for music
CEantasia ai tabs ..)<

P34) =JKGOBS. Charles. "An introduction to Luis de Milan's £7

Maestro (Valencia 1536)". CahCanadtensM (Spring-Summer 1970)
99-104.
A description of the contents of Milan's Hl Maestro includes infor-
mation on the problems ot modern transcription of music for lute and
vihuela. Biographical information on Milan included. Music (facsim.
Seca Pilea DtbLiog.
See also: RILM IV/2 (May-Aug 1970) 1609ap24.
235 LINDLEY, Mark. "Luis Milan and meantone temperament".
JiuteSocAmer XI (1978) 45-62.
An explanation of meantune temperament, Pythagorean temperament, and
equal temperament. Milan's tablature notation is examined for evi-
dence of his use of meantone temperament. Music (tabl. and transcr.).

Poe MILAN. Luis. “VYihuela”. Guitariute 1/1 (Apr-June 1971) 19-22,

in op and En.
A facsimile of the prolc>ue and music (1 page) from Milan's publica-
tion, El Maestro. Trans. of the Prologue by Carol Beresiwsky.

237 MOSER, Wolf, ed. and trans. "Sammlung historischer Quellen.

Luys Milan: El Maestro" [Collection of historical sources.
Luis Milan: EZ Maestro]. In 2 parts. GitarreLaute I1/5 (Sept-
Oct’ 1980). 24-27; I1I/6 (Nov-Dec 1980) 28-30. In De.
A German translation of the preface to Luis Milan's El Maestro.
me)
(238-242) Renaissance Histories

Introductory remarks to the translation give history and description

of ‘Milan's publication. Tilus. (facsim.), music (tabi).

238 SCHRADE, Leo. "Luys Milan, the vihuelista". GuttarR IX (1949)

78-6); Sp tranus., 99.
A portrait of Luis Milan as a courtier and as a musician.” Includes
discussion of Milan's ideal of the "complete musician". Milan's
publication El Maestro 23 considered for its musical and educational
value and for its social significance. Illus. (title page of EZ
Maestro), music (facsim.).

239 TREND, J.B. Luts Milan and the vithueltstas. (England: Oxford
University Press, Humphrey Milford, 1925).
A survey of the life and works of Luis Milan with some mention of
the other vihuelists. The terms pthuela and lute are used inter-
changéably to indicate vinuela. Music™“(transcr. only), biblios.,
1283p

240° “WADE, Graham. “The euitarist and his repertoire”. BMG EXV/752
(Dec 1967) 84-85.
An analysis of Milan's Pavane no. 3 with some discussion of musical
interpretation. Remarks on Pavanes nos. 2, 4, 5, and 6 included.

MORLAYE, Guillaume

See 161

MUDARRA, Alonso (d. 1580)

Deo LO, tl 95, SOs. 20) 2 4o

NARVAEZ, Luis (d. ca. 1560)

peeralsao 170, 180, 168, 194, 2745

241 BOSMAN, Lance. “Variations 1". Guitar IV/11 Gune 1976) 2o-24-
A survey of early variation forms. Luis de Narvdaez's "Conde Claros"
is used as a representative example for analysis in a discussion of
the Spanish dtferencta.

242 ZAYAS, Rodrigo de. "Passeavase el Rey Moro, a brief introduc-

tion". Chelys I/2 (Aug 1976) 17-19.
The significance of the texts of Spanish ballads in relationship to
Spanish history is considered. Notes on the ballad Passeavase el Rey
Moro by Narvaez. Biographical information on Narvaez included. Music
(tabl. “and transcr.).

54
Renaissance Histories (243-245)
PHALESE, Pierre and BELLERE, Jean

wee 1607 229

PISADOR, Diego

See also 175, 204

243 CORTES, Narciso Alonso. "Diego Pisador, algunos datos bio-

graphicos" [Diego Pisador, some biographical facts]. Bolettn
de la Btbhlioteca mMenéndez y Pelayo III (1921) 331-35. In Sp.

244 HONEGGER, Marc. "Les messe de Josquin des Prés dans la tabla-
ture de Diego Pisador (Salamanque, 1552. Contribution a
l'étude des altérations au XVIe siécle" [The masses of Josquin
des Prés in the tablature of Diego Pisador (Salamanca, 1552).
Contribution to the study of alterations in the sixteenth cen-
Mipvyieve eidediss., Musicology: University of Paris, 1970.
Ia 1Bhes
"The intabulations - which have no added ornaments - include more
than 1,000 chromatic alterations which do not appear in the vocal
originals. Their use derives not from the more harmonic character
of vihuela performance but from the practice of the singers and from
the progress of each voice. In the present edition, the transcrip-
tions from tablature are placed parallel with the versions in the
Josquin complete works edition. The use of accidentals is summarized
ities tice. (eo “Lor the Sharp, 4 for the flat)» to’ which, however, there
are some exceptions. In most cases, alterations in one voice cannot
be applied - following tonal logic - to other voices, since this
logic did not exist at the time." Music, bibliog. - Quoted from
RILM IV/3 (Sept-Dec 197C) 3064dd24.
245 HONEGGER, Marc. "La tablature de D. [Diego] Pisador et le
probléme des altérations au XVIe siécle" [The tablature of
Diego Pisador and the problem of alterations in the XVIth
century). In-3: parts. BMusteol LIX/1°€1973) 38-59; LIx/2
tO yet 1-73.05) EX/1 (L974) 3-32. In Er
A detailed analysis of the use and implications of accidentals found
in Diego Pisador's intabulations of masses of Josquin des Prés. The
Albert Smijers edition of the complete works of Josquin des Prés is
used for reference to the original models.
Part 1: Introductory notes include a summary of the contents of the
seven books of tablatures contained in Pisador's Ltbro de mistca de
vthuela. Notes on preliminary text, biographical information on the
composer, source locations cited. Section 2. "Les messes de Josquin
des Prés dans la tablature de Pisador" [The masses of Josquin des
Prés in the tablature of Pisador]. The contents of books four and
five, devoted to intabulations of Josquin's works, are listed with
concordances of intabulations found in other publications for vi-
huela<A second list of intabulations found in publications for vi-
huela is organized chronologically by date of publication: Narvaez,

5
(246-247) Renaissance Histories

Mudarra, Valderrabano, Fuenllana, Venegas de Henestvrosa, Cabezon.

The peculiarithes of Pisador’s transcription jeeemmiques and) the
treatment of the original models are examined with extensive comments
on his use of aecidentals. Tables, music, (transcer.., ome ex.) oF
tabl.), dilus, Clacsim. wf Pisador's title page)s bibliog. reba im
notes.
Part 2: "Question du diése (prenant la forme du bécarre en mode
transposé) (The question of the sharp (taking the form of the nata-
ral. in transposed modés).].. An analysis of Pisadon's use of ratsed
tones. Includes a study of alterations in the embellished line and
in cadential formulas in relationship to the concept of mode and
the fundamental harmonic structure. Table, music (transcr.),
bibliog. ~cet. inemnotes:.
Part 3: "Question du bémol"” [The question of the flat]. Anjanakysis
OF Pleedor’s wseé.0f, the flat sign im. comparison-to. ite use anche
original models. The conclusion includes a summary of the rules for
the use of sharps and flats as accidentals in sixteenth-century
nodal. polyphony. Music. (transtr.,. one 6x, of tabi. bibliog rer.
in notes.
See also: 244 for Honegger's dissertation.

246. HULTBERG, Warren. Earle. "Diego, Pisadon’s. Libro de misread ae

vthuela (1552)". Festival essays for Pauline Alderman. A
mustecoLlogical tribute, 29-51. Ed. by Burton L. Karson.
(Proves, Utah: Brigham Young. University Press, 19/6)-
A study of Diego Pisador'’s.1552- publication-of music for’ wihuelar
Preliminary text includes a description of the contents, biographi-
eal information, on Pisador, and comments on Pisador's text. Section
on "theoretical considerations" includes a discussion of tuning,
clefs, the use of chromaticism, and "voice leading and rhythmic
aspects: Pasador's system of notation ig dnterpreted. The section
entitled “Transcription and comparative analysis of a Pater Woster
py Willaert” includes a transcription of Pisador"s intabelatioa an
two-staff notation with the original tablature shown below. The in-
tabulation is compared to Hermann Zenck's 1950 edition of the work
by Wallac. Analojsiis ane charity orm includes Ge tang sen ecendentzeslls.
mustea freta, and other commentary. Music, bibliog. ref. in notes.

C47 $HUTCHINSON,. Loving. “The vihuela music of Diego Pisader™. MM

diss., Music: Eastman School of Music, University of Rochester,
oS
A study of the contents of the seven books of music for vihuela con-
tained in Pisador's Itbro de miistca de vthuela with notes on musical
forms, rhythmic aspétts, and nweteafreta practices. Historical
background on the vihuela includes a consideration of theoretical
sources and sixteenth-century publications of music for vihuela.
Biographical information on the composer is based on a study of ex-
tant contemporary documents. Preface includes evaluation of scholar-
ship beiore L937... 4 append. j bibliog. ,~Slp. ACext) adi p.. (Gime acwep—
plement).

56
Renaissance Histories (248-251)
SANCTA MARIA, Thomas de (ca. 1515-1570)

Bee OLsco aio

248 HULTBERG, Warren. "Sancta Maria's Ltbro llamado arte de taner

fantasta: A critical evaluation". PhD diss., Music: University
o£ Southern California, 1964.

249 POULTON, Diane. "How to play with good style by Thomas. de

Sancta Maria". IuteSocy XII (1970) 23-30.
A translation of excerpts from Sancta Maria's Itbro (1565) that deal
with performance practices. In the introductory material, Poulton
indicates that certain theories can be applied to the performance of
instrumental music other than that of the keyboard. In particular,
Sancta Maria's interpretation of rhythm and ornamentation (redoubles
and sttabis) is considered in detail. Music.

VALDERRABANDO, Enriquez de

mee I Somlon, 2o6. (245

250 AZPIAZU, Lupe de. "Enriquez de Valderrdvano". Guttarra

(Modrrar x «Apr 1965 )o4) “Ctext.) ,- 13a (muse). Insp:
Biographical notes with a short description of Valderrdbano's 1547
publication of music for vihuela.

VENEGAS DE HENESTROSA, Luys

See also 216, 245

251 WARD, John M. "The editorial methods of Venegas de Henestrosa".

MDtsetplina VI (1952) 105-13.
A discussion of the earliest known collection of sixteenth-century
Spanish keyboard music, Ltbro de ctfra nueva para teela, harpa y
vthuela (1557), Luys de Venegas de Henestrosa, editor. Standards and
methods of printing are discussed in a study of Venegas de Henes-
trosa's publication. Comparison of music in other contemporary edi-
tions includes music for vihuela. A list of concordances of works
for vihuela found in Venegas de Henestrosa's publication includes
references to critical modern editions. Section on additional con-
cordances of vocal pieces with attributions cited.

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 CHAPTER FOUR

Histories of the Baroque Era

The guitar of the Baroque Era was most commonly strung with five
courses (double strings). It was used in the period from the late six-
teenth century to the end of the eighteenth century. A vast body of
music, published and in manuscript, was written in this period. Study
of this repertoire has been relatively neglected by modern guitarists and
scholars. In addition to the studies contained in this chapter, early and
modern editions of music make the repertoire more accessible. In many
modern editions, the introductory material gives accurate information
on performance practices, repertoire, and biography. Appendix II lists
sources and modern editions of music from this period.
Publications and instruments of the late eighteenth century indicate
that guitars with variant stringings were in use in this period of transi-
tion from the five-course instrument to that of six single strings. Music
for six-course, for triple-course, and for five single-string guitars survives
from this period. Studies which specifically treat the question of the
transition to the six single-string guitar are indexed in Chapter V, His-
tories of the Early Six-String Guitar. Of particular interest in this area
are Paul Cox (entries 393, 394) and Thomas Heck (entries 397, 398).
This chapter is divided into six sections: Section A. General Surveys,
Section B. The Chitarra Battente, Section C. Musical Forms, Section D.
Performance Practice and Tuning, Section E. Individual Authors and
Theorists, and Section F. Individual Composers and Performers.
In Section A., French, Italian, Spanish, and German music and its
notation are considered. Although some entries are devoted to the treat-
ment of individual national styles, no national divisions have been made
in this section. Specifically, these entries are 252 and 255 (France), 256
and 266 (Spain), and 257 (Italy).
The Chitarra battente is the subject of Section B. This was a type of
guitar used in the eighteenth century. A problem with the definition of
the Chitarra battente has arisen in modern literature because authors
have assumed that the instrument was distinguished from the standard
Baroque five-course guitar only by its arched back. Bellow (entry 8) de-
fines the instrument in this way. Essential to its definition is the use of

59
HISTORIES OF THE BAROQUE

wire strings which passed over the bridge and were secured at the heal
of the instrument. Frets were inlaid and of metal to withstand the pres-
sure of the wire strings. Guitars other than the Chitarra battente were
built with arched backs and should not be confused with the true-form
variant. Examples of this instrument are extant; no music, however,
survives. The instrument is well-defined in Evans (entries 15 and 16),
Turnbull (entry 43), Tyler (entry 3), and in the literature listed in
Section B. of this chapter.
In Section C., literature on the origins, the sources, and the analysis
of musical forms written for solo guitar and for the guitar as an accom-
paniment instrument is included. Specifically, literature on the follow-
ing forms is cited: Aria di fiorenza, also called il ballo del Gran Duca
(280), canarios (282), canzonette (269), falsobordone (275), fedele
(275), folia (270, 273-76), passacaglia and ciaccona (271, 276-78,
284), reprisa (278), ritornello (278), sarabande (276), zarabanda and
zarabande francese (279), and zarazuela in Spanish theatre music (283).
Discussions of the following Baroque dance forms are found in Chapter
Ill: folia (entry 194), Italian dance forms (entry 196), romanesca
(entry 194), and tarantella (entry 198).
In Section D., literature which gives an explanation of rasguado
[strummed style of playing] and of punteado [plucked style of playing],
the guitar as a continuo instrument, and ornamentation in guitar music
is annotated. The following subject areas are emphasized in the items
listed: Tuning (entries 285, 287, 288, 291), rasguado and punteado
(entries 287, 289, 290, 294), ornamentation (entries 287, 293), the
guitar in ensemble (entry 286), and the guitar as a continuo instrument
(entries 269,292);
Section E. gives an extensive list of individuals and is subdivided into
three categories: Sources, Modern Editions, and Secondary Works.
Sources are listed with short titles; library locations of the works are
quoted from R/JSM series B VI (2 v.). The list of abbreviations on p. Xxxvi
includes library sigla for this chapter in addition to those used in Appen-
dixes I and I. Because all of the sources are large, general works—a dic-
tionary, a study of musical instruments, a theoretical treatise, or a
literary essay—in most cases, only a relatively small portion of the text
deals with the guitar. For this reason, only studies of the sources in
which the guitar is discussed have been selected for annotation.
In Section F., forty-one individuals have been listed as sub-headings.
Many of these have been cross-referenced to literature found elsewhere
in the chapter. In Chapter I, Section A., literature is listed which is rec-
ommended for its detail in a general survey of the period.

60
 (252-256)

A. General Surveys
See also Ch. I, Section A. The sixteenth through the eighteenth
centuries, including studies of tablature notation in that period,
1-5.

252 CHILESOTTI, Oscar. "La chitarra francese. Appunti" [The cht-

torra jrancese. Notes]. AVitaliand X1V/4 (1907)' 791-802. Re-
printed in Oscar Chilesotti. Studt sulla chitarra e altri
sertttt, 191-202 (Bologna: Arnaldo Forni Editore, 1975).
inst:
Historical notes on the ehttarra francese with a description of
Systems of notation, tuning, and the music of Francesco Corbetta,
Robert de Visée, and Francois Campion. Music (tunings, transcr.).

253 CHimesOrei. Oscar. “xXVilecet XVile siecles: Notes sur’ les

tablatures de luth et de guitare'’ [XVIth and XVIIth centuries.
Notes on the tablatures of the lute and the guitar]. Eneyclo-
pédte de la mustque et dicttonnatre du conservatoire-premiére
partie: Htstotre de la mustque. Italte-Allemagne, V. Il,
OS0-04— (Paric: litprairie Delagrave, 1925). “In-Frs
An historical survey of the notation, tuning practices, and reper-
toire for lute and guitar in the sixteenth and seventeenth centuries.
Lute and guitar are treaced individually (guitar history, p. 676-84).
Commentary on the history of the vihuela, incorrectly defined as a
ppanish lute, is -eombined with that of the lute. Guitar history in-
cludes commentary on and examples of music by Fasolo, Francesco
Asioli, Lodovico Roncalli, Francois Corbetta, Robert de Visée, and
Praneots Campion. Music (facsim. and transcr.), illus.

254 DPLEeO RA. Mario. “La ehitarra nel 1700" |The guitar in the
eighteenth century]. Fronimo II1/12 (July 1975) 6-14. In It.
A study of the history of the guitar in the eighteenth century:
Spain and Portugal, France, Germany and Austria, and Italy. Repre-
sentative composers and their works are mentioned. General historical
background is given in the introductory material. Illus. (iconog.),
Oipliog. ret. in ‘notes.

255 DENIS, Francoise-Emmanuelle. "La guitare en France au XVIIe

siécle: son importance, son répertoire" [The guitar in France
in the seventeenth century: its importance, its repertoire].
RBelgeMustcol XXXII-XXXIII (1978-79) 143-50. In Fr.
The popularity and the use of the guitar in seventeenth-century
France is discussed. References to seventeenth-century texts are
given as evidence. Includes a survey of the works for guitar by
composers Francesco Corbetta, Henry de Gallot, Antoine Carré Sieur
de la Grange, Remy Médard, Henry Grenerin, and Robert de Visée.
bibliog. ref. in’ notes.

256 HOWELL, Almonte. "Symposium on seventeenth-century music

theory: Spain". JMTheory XVI/1-2 (1972) 62-71.
The works of Spanish theorists (1592-1724) are considered for their

6]
(257-262) Baroque Histories

limitations and their usefulness and for indications of Spanish

musical development. The author points out the strong influence of
past traditions and the significant lack of new thought. Works of
the following theorists are considered: Montanos, Cerone, Nassarre,
Torres, and Lorente. Works for guitar which include theoretical
texts are excluded. "A checklist of sources" is divided into two
sections: A. General theory works, 1592-1724 and B. Guitar, harp,
and dance manuals, 1597-1714.

257 HUDSON, Richard. "The music in Italian tablatures for the

five-course Spanish guitar". JluteSocAmer IV (1971) 21-42.
A survey of seventeenth-century Italian guitar music (1606-1692).
Discussion of the influences of Italian, Spanish, and French dance
styles on the Italian music for five-course guitar with a comparison
of national styles. The evolution of musical forms is explained.
Important publications are described. Fig. (3 charts), bibliog. ref.
in notes.

L00- KEITH. Richard... "The. guitar cult im .the courts of Louis 21)
and Charles II"... GuitarR XXVL. (June 1962)- 2-9. An abstract of
the paper read in Washington, D.C. (14 Jan 1959) at a meeting
of the Greater Washington Chapter of the American Musicologi-
cal Society is printed in JAmerMustcolSoce XII/1 (1959) 96.
A survey of seventeenth-century music for five-course guitar in-
cludes notes on performance practices, tuning, notation, and social
history. Biographical information on Francesco Corbetta is based on
a Study of source material, Tllus.,imushe, (feb1. ard) transer..

259 KENNARD, Deric. "The guitar tablatures". GuitarN XXX (Apr-May

GS Note PeeIAUs
A brief introduction to the music for four- and five-course guitar.
Description of the repertoire by Francisco Corbetta, Robert de Visée,
and Ludovico Roncalli. Pre-dates some essential bibliographical and
biographical research.

260 KOCZIRZ, Adolf. "Eine Gitarren- und Lautenhandschrift aus der

zweiten Halfte des 17. Jahrhunderts" [A manuscript for guitar
and lute of the seventeenth century]. AfMw VIII (1927) 433-40.
Lie ey
A detailed description of a manuscript containing music in tablature
for angelica and guitar dated ca. 1673. Notation is explained; reper-
toire, mainly dance movements, is described. Angelica, a type of lute
with seventeen strings, is described. Bibliog. ref. in notes, music.

261 MURPHY, M. "Guitar music in Spain and Italy in the seventeenth

century’. PhD dies.,. Musicology: Lendon.

262 PINNELL, Richard T. "Baroque guitar. An alternative for clas-

Sical guitarists". GuztarP X1I/9 (Sept 1978) 32, 115-77.
A general survey of the repertoire for the baroque guitar (ca. 1600-
1750) with major composers and their publications mentioned. Remarks
on the importance of the study of the repertoire for the modern per-
62
Baroque Histories (263-266)
former. Biographical information on the author. ii iis =, emusic
(tuning, tabl., transcr.).

263 PROVOST, Richard. "The baroque guitar: the forgotten instru-

Mente sGuttoriuce Sla(Oct. 1979). 15-16,
Renaissance lute, baroque lute, and baroque guitar techniques are
compared to those of the modern guitar. The problems of the trans-
cription of baroque guitar music for the modern guitar are discussed.
Biographical information is given on the author. IONESo, MUI
(tuning, tabl., transcr:), bibliog. ref. in notes.

264 SCHMITZ, Eugen. 'Guitarrentabulaturen" [Guitar tablatures].

MfMg XXXV/9 (1903) 133-47. In De.
Seventeenth-century guitar tablatures and their interpretation are
discussed. Italian tablature is distinguished from Spanish and
rreenehecabhature. (Music (tuning; tabl. > transcr.)%

265 STREIZICH, Robert. "The Baroque guitar: then and now". Soundb
VIII/3 (Aug 1981) 128-36.
In 3 main divisions: I. "The Baroque guitar in the seventeenth and
eighteenth centuries": a general survey of the Baroque guitar in
which composers, performers, builders, and repertoire are considered.
Includes a biographical sketch of Francesco Corbetta. The Italian,
French, and Spanish schools of composition are distinguished, as are
the German, Italian, French, and Spanish schools of guitar construc-
tion. II. "The Baroque guitar in the twentieth century": a discussion
of the interest in early music which has developed in recent decades:
reasons for the relative neglect of the Baroque guitar are suggested.
Recent contributions to and accomplishments in this area of guitar
performance, history, and construction are mentioned. Two possibili-
ties now present themselves to the classic guitarist: transcription
of the original music to accommodate the modern instrument and per-
formance from the original tablature in facsimile on reproductions
of early instruments. The advantages of the second possibility are
considered. III. “The Baroque guitar and its music in recent arti-
(les, books,’ recordings, and editions": a list of autbers’ works
with incomplete bibliographical information. List of recording per-
formers, their repertoire, and the record company. List of modern
editions includes transcribers, editors, and publishers of fac-
ami tes Port. (author); illus.

266 TELLO, Francisco José Leon. La teorta espatiola de la musteca en

los siglos XVII y XVIII [Spanish music theory in the seven-
teenth and eighteenth centuries]. (Madrid: Consejo superior de
investigaciones cientificas. Instituto espanol de musicologia,
{Oc eel IS ps
The works of theorists which contain information on the guitar and
the works of composers for guitar which contain theoretical texts
are discussed individually. Theorists considered are Tomas Vicente
Tosca (p. 59-62) and Pablo Nassare (p. 148). Composers for guitar
considered are Nicolas Loizi de Velasco, Gaspar Sanz, Lucas Ruiz de
Ribayaz, Santiago de Murcia, Andrés de Sotos, Fernando Ferandiére,
63
(267-271) Baroque Histories

and Antonio’ Abreu-Victor Prieto. 16 pli gémustie; bibl ioesie7 op.

B. The Chitarra Battente

See Gleov3-(elossary) 3.166, 8975 76963992550 9Z26

267 HECK, Thomas. “Historical research. Mysteries in the history

of theseuitar’. Che Tl. CGudtarrd (Chicago) KV ibin (May-June
1980) 8-10.
A definition of the Italian chitarra battente, also called guitare
en bateau (French terminology). The author suggests possible reasons
for the French terminology, translated "boat-shaped guitar", and for
the use of wire strings, and raises several questions concerning the
practice of double-stringing. The early origins of wire stringing
are considered. References to extant instruments are included. Illus.

200 “SORRISO) Marino. “La chitarra battente in Calapria™ [The

ehetarra battente in Calabria]. Fronimo VIII/31 (Apr.1980)
29-34 Se Les
A description of the ehttarra battente and a discussion of its
histery in Calabria. Performance practices are considered..iLius:;
(guitars); bibliog. refs in notes, musie (tuning used today)-

C. Musical Forms
269 CHILESOTTI, Oscar. "Canzonette del séicento con la ¢hitarre™
[The canzonette with guitar of the seventeenth century].
RMI taltana XVI (1909) 847-62. Reprinted in Oscar Chilesotti.
SpudL sulla Chitarr@e altri seritttt, 209-24. (Boloena:
Arnaldo! Forni Edi tore; 1975). In) Lt.
A study of the early seventeenth-century canzonette with guitar
accompaniment. Representative works for voice and guitar in alpha-
beto notation are found in the rare publications of Franceseo Severi
Perugino (1626) and [Giovanni Battista] Fasolo (1627). Music
(transecr. only: 10 works. by Severi; 2 works by Fasolo).

270 GOMBOSI, Otto. "Zur Friihgeschichte der Folia" [On the early
history of the folia]. ActaMustcol VIII/3-4 (July-Dec 1936)
119-29" Ini De,
A study of the historical development of the folia in the sixteenth
and seventeenth centuries including a consideration of its possible
origins. Music for vihuela and guitar based on the folia and folia
variants is studied. Folia basses in the music of representative
composers are compared. The author suggests that certain folia
variants are the result of technical peculiarities of guitar play-
ing. Music (staff notation), bibliog. ref. in notes.

271 HUDSON, Richard Albert. "The development of the Italian key-

board variations on the passacaglio and ciaccona from guitar
music in the seventeenth century". PhD diss., Historical
64
Baroque Histories (272-274)
musicology, University of California at Los Angeles, 1967. Now
published as Passaeaglto and etaecona from guitar music to
Italtan keyboard variations in the seventeenth century. Series
no. 37. (Ann Arbor, Michigan: UMI Research Press). The follow-
ing annotation is based-on the original dissertation.
A study of the origin and development of the passacaglio and ciac-
cona. The development of the Italian keyboard variation on the pas-
Sacaglio and ciaccona is shown through a study of the musical forms
found in Spanish and Italian guitar music dating from the early
seventeenth century and through early developments in Italian key-
board music. Works for guitar are studied in detail with comparative
analysis and comments on notation: Representative examples of guitar
music are taken from the works of the following composers: Amat
(1586), Montesardo (1606), Sanseverino (1620), Colonna (1620-1623),
Metanuazie (1625), Millioni (1627)., Pico (1627), Foscarini, (1627),
Briceno (1625), and two anonymous composers. Foscarini's variation
techniques are considered in three periods of development. Keyboard
variations discussed are selected from the works of the following
composers: Frescobaldi, Rossi, Storace, Poglietti, Kerll. Analysis
Dial Ucrure. harmony, form,.and style. 10) fis.., XIV tables,-43
iti Cn tablenmstammnotakion), append, biblior. (music, Jait.), adi,
“Ops
See also: RILM 1/2 (May-Aug 1967) 690dd2°.
2/2 HUDSON, Richard. "The concept of mode in Italian guitar music
during the first half of the seventeenth century". ActaMustcol
XLII/3-4 (July-Dec 1970) 163-83.
A study of modal harmony in early seventeenth-century music for
guitar as shown through chordal schemes and their treatment and
Variation in musical forms.,Indications of the evolution from a
modal system to a tonal system in baroque music is examined. Ex-
fensive consideration of source.material. Music (staff notation
OnLy) ,abebaios. rel. in notes.
See also: Kirkendale 280, Oe 321.33 tom critical, comments: hi. Ly
IV/2 (May-Aug 1970) 1700ap2?.
273 HUDSON, Richard. "The folta dance and the folta formula in
iMth-century eultar music’. M0isetplina-xXxV (1971) 199-221;
The history and development of the folia dance and the folia formula
are shown through a study of representative examples of seventeenth-
century Spanish and Italian guitar music. Analysis of chordal
schemes and their variants. Comparative analysis of the folia for-
mula in musical forms. Extensive study of source material. Music
Ci Coreenotation), Liga. Dibiiog.. ref. an notes.
See also: RILM V/1 (Jan-Apr 1971) 447ap2>.

274 HUDSON, Richard. "The folia melodies". ActaMustcol XLV/1

(Jan-June 1973) 98-119.
A detailed study of the historical development of the folia with
analysis and comparisons of its stages of development. Emphasis is
on the analysis of melodic structure. Musical sources from the late
fifteenth century through the mid-eighteenth century are consulted,
65
(275-280) Baroque Histories

including examples from the early guitar repertoire. Music (staff

notation), bibliog.-ref. “in notes

275°“ HUDSON, Richard. "The folia, fedele, and. falsobordone”.

MQ LVLLIY3) (Juby 1972) 398-411,
A comparative analysis of the folia, fedele, and falsobordone forms
with an examination of the relationship between their development in
the period from the late fifteenth century to the early seventeenth
century. Discussion of the early repertoire includes a consideration
of works for vihuela and for guitar. Music (staff notation), bibliog:
rei in notess

276 HUDSON, Richard. The folta, the sarabande, the passacaglia,

and the chaconne. The htstortcal evolution of four forms that
originated in muste for the five-course Spanish guttar. 4 v.
Musicological studies and documents, 35. (Texas: American
Institute of musicology, 1981).

277 HUDSON, Richard. "Further remarks on the passacaglia and

ciaccona". JAmerMustcolSoc XXIII/2 (Summer 1970) 302-14.
A valuable companion to Walker 284. Hudson offers additional in-
sights into the early history and musical sources of the passacaglia
and ciaccona. Detailed commentary on systems of notation. Stylistic
analysis. Music (staff notation), bibliog. ref. in notes.
See also: RILM IV/2 (May-Aug 1970) 170lap2?.
278 HUDSON, Richard. "The reprisa, the ritornello, and the passa-—
caglia". JAmerMustcolSoc XXIV/3 (Fall 1971) 364-94.
The structure and function of the reprisa, the ritornello, and the
passacaglia in musical forms of the sixteenth- and seventeenth-
century Italian dance style. Terminology is defined. Analysis of the
organization of chord-rows, variation techniques, and ostinato
forms. A study of musical sources. Tables, music (staff notation),
bibliog. ref.’ in “notes.

279 HUDSON, Richard. "The zgarabanda and the zarabande francese in

Italian guitar music of the early 17th century". MDisctplina
XXIV (1970) 125-49,
The development of the garabanda and of the zarabande francese in
guitar music is traced from Montesardo's publication of the proto-
type (1606). Analysis and comparison of forms. Charts, diagrams,
music (staff notation), bibliog. ref. in notes.
See also: RILM V/3 (Sept-Dec 1971) 3677ap25.

280 KIRKENDALE, Warren. L’aria dt fiorenza id est il Ballo del

Gran Duca. (Firenze: Leo S. Olschki, 1972).In En.
A detailed history and analysis of the harmonic-bass progression
“Aria di fiorenza", also called "Ballo del Gran? Deca". *which ing
cludes a study of early sources of guitar music. The following
subject areas are covered? 1s Définrtion and structural analysis.
2. A study of repertoire for guitar, for keyboard, and for ensemble.
Music for guitar is considered in regard to the notation system,
66
Baroque Histories (281-284)
Stylistic aspects of music (predominantly a rasgado or strummed
repertoire), and the use of compositional techniques such as passeg-
giata-practice, transposition, and proportz. 3. Origins. “From a
Study of the earliest examples, including an investigation of pos-
sible alternative titles, the author concludes that Cavalieri's
"Ballo" (1589) is the prototype. 4. Analysis of the treatment of the
text which was troped to the aria. Nine sources and their locations
are cited. One questionable text has no known source. 5. Spanish and
Italian literary sources are considered. 6. Bibliography of musical
sources. 7. 12 compositions (staff notation. Includes one work for
Buiter by Montesardo). 12°pi. , bibliog. refyY ain*netes, index, 161p.
Reviews: RItaltanaMusteol VII/1 (1972) 145-48; OesterretchMs XXVIII
(Jan 1973) 46-47: MTimes CXIV (Feb 1973) 173-74; JAmerMusicolSoc
XXVI/2 (1973) 344-50; Musikf XXVI/2 (1973) 272-73; MLetters LIV/1
98-99; MQ LIX/3 (1973) 474; Notes XXIX/3 (1973) 467-69; NuovaRM-
Meattana VIL/? (1973) 272-77; EFarlyM 11/3 (1974) 183; NeueZfM
CXXXIV/12 (1974) 778; StudMustcol XVI/1-4 (1974) 284-86; RMusteol
OX) B19 75) 1343 -MBildung VIL (June 1975) 319.

281 MACHABEY, Armand. "Les origines de la chaconne et de la

passacaille" [The origins of the chaconne and of the passa-
Canvrel oe Ainistecol SXVILIe(1946)- 1-22. In’ Fr.
A study of the origins of the chaconne and of the passacaille as
indicated in literary and musical sources of the sixteenth and
seventeenth centuries. Sources of guitar music are considered. In-
cludes a discussion of the function of the two forms in variations
and as ostinato basses. lusic, bibliog.

Zoe." NELSON, Martha. ‘\Canarios". Guttark xxv (Feb 1961) 12-17

tCmaste)., 18-22 €text).
A discussion of the dance canartos which includes notes on Joaquin
Rodrigo's "Fantasia para un gentilhombre" (1954), based on '"Cana-
rios" by Gaspar Sanz. Biographical information on Rodrigo with com-
ments on his perception of the work. Biographical information on
Gaspar Sanz includes a discussion of the past research on his life.
History and possible origins of the dance with comments on stylistic
aspects. Illus., music (several examples of canartos, ca. 1600-1954,
i@enudimic transcr. and facsim.),; bibliog: ref. in notes.

283 PEDRELL, Felipe. 'La musique indigéne dans la théadtre espagnol

du XVIIe siécle" [The music indigenous to the Spanish theater
of the seventeenth century]. Trans. by Mme. Marthe Chassang.
SIMg (1903-04) 46-72 (text), 73-90 (music). In Fr.
A definition of the zaraguela with a discussion of its stylistic
characteristics, the evolution of its form, and its function in
seventeenth-century Spanish theater. Music (17 works including one
for vihuela solo and two for voice and guitar).

284 WALKER, Thomas. "Ciaccona and passacaglia: remarks on their

origin and early history". JAmerMustcolSoe XXI/3 (Fall 1968)
300-20.
A study of the earliest literary references to and the earliest
67
(285-289 ) Baroque Histories

musical sources of the ciaccona and the passacaglia. Etymology

studied. Musical sources of Italian guitar music dating from as
early as Montesardo's Nuova Inventtone (1606) are studied. Analysis
and description of the music with information on systems of nota-
tion. Musie.(@lpiabeto.and stati notation), bibliog: iret; in notes.
See also: 277; RILM 11/3 (Sept-Dec 1968) 331llap2>.

D. Performance Practice and Tuning

285 CHARNASSE, Héléne. "Sur l'accord de la guitare’ [On the tuning
of the guitar]. Recherches VII (1967) 25-37. In Fr.
A study of the tunings of the four-course and five-course guitar as
indicated in a survey of publications of guitar music and theoreti-
cal treatises dating from the sixteenth through the eighteenth cen-
tury. Musume (stati notation) ; biblicog. ef. in notes.
See also: RILM 1/3 (Sept-Dec 1967) 2255ap‘4.
286 COHEN, Albert. "A study of instrumental ensemble practice in
seventeenth-century France". GalptnSoecd XV (Mar 1962) 3-17.
The function of the guitar in instrumental ensembles and as an
accompanying instrument in vocal choruses is examined. Includes
comments on the popularity of the guitar in seventeenth-century
France with references to opinions found in source writings.
Append. muste, bibliog.

287 DANNER, Peter. "L'adattamento della musica barocca per chi-

tarra all' esecuzione moderna" [Adapting baroque guitar music
for modern performance]. Frontmo II/7 (Apr 1974) 11-20. In It.
An examination of three areas of baroque performance practices based
on a study of sources of guitar music: tuning, rasgueado [strumming],
embellishments. Music (tabl. and transcr.), bibliog. ref. in netes.

288 GILL, Donald. "The stringing of the five-course baroque

guitar". HarlyM III/4 (Oct 1975) 370-71.
A consideration of various stringings and tunings of the five-course
guitar. References to sources on the subject include the instructions
el Stradivarius. Music, (tabl. and=-transct.)., biblice. ret. au nobese

289 MARCUS, Robert Samuel. ''The use of the five-course guitar as a

continuo instrument as described in Spanish treatises: 1596-
1764". MA diss., Music: Califernia State University, Fullerton,
O73. UME d=1is 529.
A detailed study of twelve Spanish sources of guitar music which con-
tain valuable information on continuo performance: Amat (1596),
Araties (1624), Brigefio (1626), Guerrero (n.d.), Minguet y Yrol
(17S2)., Mareia C1714)... Roig deoRibayageGLb6//)-. SantacGruz. (onda
Sanz (1674, 1697), Sotos (1764), and Doizi de Velasco (i640). Per—
formance practices, notation systems, and theoretical considerations
contained in the individual works are compared and examined. Rasgue-
ado (strumming) and punteado (plucked) performance techniques are
considered with greatest attention given to punteado continuo prac-
68
Baroque Histories (290-293)
tices described by Gaspar Sanz and Santiago de Murcia. Includes an
examination of the role of the guitar in Spanish music theater in
the seventeenth and eighteenth centuries with a study of available
musical and literary sources on the subject. Tables; figs, append
(an extensive set of appendixes which contain examples of music,
including realizations, and theoretical material selected from
masical sources), bibliog., 203p.

290 MURPHY, Sylvia. "Seventeenth-century guitar music: notes on

rasgueado performance". GalpinSoed XXI (Mar 1968) 24-32.
Seventeenth-century sources concerning the rasgueado (strumming)
Style of playing are considered. Rasgueado performance is distin-
guished from punteado performance. Survey of musical sources. Music
Weabiss and transcr.), bibliog. ref. in notes.
See also: RILM II/2 (May-Aug 1968) 2637ap?2.
291 MURPHY, Sylvia. "The tuning of the five-course guitar".
GalptnSocd XXIII (Aug 1970) 49-63.
peventeenth-—-century sources of @uitar music are consulted for evi-
dence of tuning practices. Quotations from the sources are included.
Contains an appendix of seventeenth-century tunings by Cellier,
Amat, Montesardo, Sanseverino, Briceno, Mersenne, Velasco, Trichet,
Carre, Corbetta, Sanz, Ribayaz, de Visée, de Rosier, Talbot, and
Diderot. Extensive study. Music.
See also: Gill 288 for a summary of some important points made in
the article.

292 STRIZICH, Robert. "L'accompagnamento di basso continuo sulla

chitarra barocca'" [Thorough-bass accompaniment on baroque
aban). Fronimo [X/34 (Jan 1981). 15—26. In It.
An examination of musical, literary, and iconographical sources for
evidence of basso continuo practices on the guitar in the late six-
teenth century through the eighteenth century. Section A. "Fonti
musicali" [musical sources]: Representative musical sources indicate
Steutivcane stylistic traits of music *for the guitar in the continuo
body. Includes notes on notation and performance practices. B. "Fonti
Wepteratie «| literary sources]: Includes quotations-~ot seventeenth—
century source material. C. "Fonti iconografiche" [iconographical
sources]: A description of representative works of art in which the
baroque guitar is depicted as a continuo instrument. Footnotes con-
tain citations of the locations of the original works and biblio-
graphical citations of publications in which they are reproduced.
prpitoe.. ret. jin notes.

293 STRIZICH, Robert. "Ornamentation in Spanish baroque guitar

music". JZuteSocAmer V (1972) 18-39.
A discussion of six ornaments found in seventeenth- and eighteenth-
century publications of guitar music: trill, mordent, slur, appogia—
tura, vibrato, and arpeggio. Sources of guitar music by Sanz (1674,
1697), Ruiz de Ribayaz (1677), Guerau (1694), and Murcia Chas
i732),.eMusic Ctabl. and transcr.); bibliog.; ref. in ‘notes.

69
(294-297) Baroque Histories

294 WEIDLICH, Joseph. 'Battuto performance. Practice in early

Italian guitar music (1606-1637)". JluteSocAmer XI (1978)
63-86.
A detailed study of early seventeenth-century guitar technique and
performance practices based on an examination of eleven publications
for guitar from the period 1606-1637. The publications of the fol-
lowing composers are studied: Montesardo, Colonna, Sanseverino,
Milanuzzi, Costanzo, Millioni, Millioni and Monte, PaicOnme OS Caaciene.
and Abbatessa. Music (tabl. and transcr.), bibliog. of sources
(including library locations), bibliog. ref. in notes.

E. Individual Authors and Theorists

BONANNI [BUONANNI], Filippo (1638-1725)
Sources

295 BONANNI, Filippo. Gabtnetto armontco... [The showcase of

musical instruments]. (Rome: Giorgio Placho, 1/22). 1/7/p.,
P4Sp6. i Labi.
tibrary Locations: A. Wem: B Bre. CH Fe..D. Bds (2 ex.),. DL, ERu,
aC. Hog. Lian (2 ex..)', Rp. Dic kk King FF De, Mn, Paw Pe Pa.
Poe. GE Cuy Ce, Lbm (3-ex,)s li8ee;, Fo, Fn, Me, Ne (ex),
PAG. Plu, U8ia, Rli, Rac (2..ex.), nm... Vids. J. Tmas- Ps Loa, Pa
US BA, Cn, NH, NYp, PHu, R, SFsc, U;-Wem, WOh. For library,
locations: of the 1/23 edition, consult <hiSM Ss vil.

Modern Edtttons

296 BONANNI, Filippo. Gabinetto armonico [The showcase of musical

instruments]. (New York: Dover Publications, Inc., 1964).
dae slat,
A reprint of 152 illustrations from the 1723 edition of Gabinetto
armontco with an introduction and captions by Frank L. Harrison and
Joan Rimmer. Pl. 51 "Chitarra Spagnola": a five-course Spanish gui-
tar. Description and commentary.

BROSSARD, Sébastien de (1655-1730)

Sources

297 BROSSARD, Sébastien de. Dicttonnatre de mustque... [Dictionary

Cf musie)... (Paris + Christophe Ballard, ol 03). 56% amare.
Itbrary locattons: A Wmi. B Bc. CH Zs. D Bds, HEs. DK Kk.
billitasch Dm, Nm Pa. Po, Pi, Pm, Pn (2, ex.)),, Ru GB iba. al Bc >

Me, Plu, NL Diem, Uim. P Mp. US AUS ,..Cn,. NYp, Puy Rs Wem.
For gull title and Library locations of the editions of L705.
ca. L70Ss randrca. J)/ 10, sconsLt SMB Ves
A very short definition of guttarra with a description of the string-
ing and of the national use of the five-course guitar.
70
Baroque Histories (298-302)
Modern Edtttons

298 BROSSARD, Sébastien de. Dictionnaire de mustque [Dictionary of

music]. Facsimile of the 1703 edition. (The Hague: Antiqua
Amsterdam, 1964). In Fr.

CERRETO, Scipione (ca. 1551-ca. 1633)

See also Tyler 3, p. 30 and Tyler 165 for a discussion of Cerreto's

text and musical examples of Cerreto's re-entrant tuning for four-
SOULSE Sultar.

Sources

299 Setptone Cerreto napolitano. Della prattica musica vocale et

strumentale, opera necessarta a colore, che dt mustea st di-
Lettano. Con le postille poste dall'autore a maggtor dichia-
rattone d'aleune cose oeccorrenti ne' discorsi. (Napoli: Gio.
dacono Carling, 1601). 3835p. Inult.
Ltbrary locattons: B Br. D B, HVI, LEm. F B, Pc, Pn. GB Lbm
een.) slepc. fmaeNc,. hse. USAAu.. Cn; -PESo, «Wem:

Modern Edittons

300 CERRETO, Scipione. Della practtca musteca [Of musical prac-

tice]. Ed. by G. Vecchi, Btbltotheca mustea bonontensis,
MeO. (bologna: Porni,- 119694) ..In. Lt:

COVARRUVIAS OROZCO [HOROSCO], Sebastien de (fl. 1611)

Sources

301 COVARRUVIAS OROZCO, Sebastien de. Tesoro de la lengua castel-

Lana o espanola [Thesaurus of the Castilian or Spanish lan-
guage]. (Madrid: Melchor Sanchez, 1674). Originally published
(Madrid: 1611). Reprint ed. Ed. by Martin de Riquer. (Barce-
Leneae Hott z.. 1.943) ,. In -Sp:
[tbrary locatton: US NYp (1674).
Guitarra, fol. 45-46: A description of the guitar with stringing
practices discussed. The guitar is defined as a small vihuela with
Eourecounses (guttarrilia) or five courses.
Pevvera, tol. 209: A description of the vihuela, its characteristics
and use. The guitar is criticized in favor of the vihuela.

Modern Edtttons

302 POULTON, Diana. "Notes and information. Notes on the guitarra,

laud and vihuela". LuteSocd XVIII (1976) 46-48.
Translations of the definitions of the terms guitarra, laud, and
vthuela found in Covarrubias Orosco's Tesoro de la lengua castellana
hl
(303-308) Baroque Histories

o espafiola (Madrid, 1611). The guitar 1s detined as = type er

vihuela.

GIUSTINIANI, Vincenzo (1564-1637)

Sources

303 GIUSTINIANI, Vincenzo. Disecorso sopra la mustea de’ suot tempt

[Discourse On the music of his time]. HS’ 1628. Im-Lt-
Library location: I Lbe.

Modern Edtttons

304 GIUSTINIANI, Vincenzo. Discorso sopra la mustea de' suot tempt

[Discourse on the music of his time]. Ed. by Salvatore Bongi.
(huccas Tipograria Giusti, -“13/o in Le.

305 GIUSTINIANI, Vincenzo. Discorso sopra la mustca de' suot tempt

[Discourse on the music of his time]. Trans. and ed. by Carol
MacClintock. Musicological studies and documents, IX. (Texas:
American Institute of Musicology, [ca. 1962]).

306 SOLERTI, Angelo. Le ortgint del melodramma [The origins of

melodrama]. (Turin: Fratelli Bocca, 1903). Reprint ed. (Hilde-
sheim and New York: Georg Olms Verlag, 1969). In It.
A reprint of excerpts from Giustiniani's Dtscorso sopra la musica
de' suot tempt is found on p. 98-128.

Secondary Works

307 FORTUNE, Nigel. "Giustiniani on instruments". GalpinSocd V

(Mar 1952) 48-54.
A translation of an excerpt from Giustiniani's Discorso includes
comments on ehttarra in which the popularity of the chttarra alla
spagnola and the ehttarra napolttana are discussed.

GRASSINEAU, James (d. 1767)

Sources

308 GRASSINEAU, James. A musical dictionary... (London: J. Wilcox,

LPO) SYop .
bibrary” Locations A’ Wa, Wa, B-Br, Le. © 6D Bds, Mbe, Imi.
Eoin Pes Gh Ce soko, (pine Gre. Cus nie. Ge, Lam, Lom @ ex.)
Lem, Mp, Ob, T. NL DHgm. S Skma, Sm. US A, AAu, Bpm, BA, BE,
en, Cu, Ch, CH=H) Dp, DN, Bu, F; 1, 10, La. hex, NBu, NH, N-OR,
Neu, Nip, FU, PHC. SPO, PRoc. ek ois; olm, Ul Wem. Wale wee
For complete title and library locations of the 1796-edition
consult RISM B VIl.
Guttarra, p. 90 A short description of the stringing of the five-
rip?
Baroque Histories (309-312)
course guitar with a comment on its Spanish origin and its use in
Italy. This definition is an English translation of Brossard's
derinitionecentrys2 97).

Modern Edtttons

309 GRASSINEAU, James. A musteal dtcttonary (London: 1740). Re-

printed. Monuments of muste and muste ltterature tn facsimile.
Second series. Muste literature XL. (New York: Broude Brothers,
1966).

MERSENNE, Marin (15 88-1648)

See also 291, 326

Sourees

310 MERSENNE, Marin. Harmonte untverselle contentant la théorte et

La pratique de la mustque... [Universal harmony containing the
Eneoryeand, practice of music]. (Paris: Sébastien Cramoisy,
1636) 5° In Er.
teorary =locas tons: A Wem Cine.). B Br, Le. CH GueD B (ine:).,
PimeeenereeMre Ff BS BO,°G, LG, LM, Pa, Pe, Pm, BPns GBacme,
Crete pum c ex.) 4 Ob. taBe, Pus PAc., Recs, -o He US: Cn, CA,
NYm, R, Wem.
For. library locations of the 1636 Pierre Ballard and the 1636
Richard Charlemagne editions, consult RISM Byti.
"Traité des instruments a chordes. Livre second des instruments"
[Treatise of stringed instruments. Second book of instruments].
EPOpOStL Lone x1V: 2Expliquer les figures; l'accord, la tablature, et
les bateries de la guiterre" [To explain the shape, tuning, tabla-
Eure ~cand.sthne playing. of the guitar). A discussion of the» tuning sof
the five-course guitar with a comparison of French, Spanish, and
Italian tablatures. Historical background on the four-course guitar
is included.
Proposttton XV: "Donner des examples de la tablature frangoise de la
guiterre, et expliquer celle des espagnols, et des italiens" [To give
examples of French tablature for the guitar and to explain that of
the Spaniards and of the Italians]. An explanation of tablature types
with references to contemporary publications. Illus., music (tabl.).

Modern Edtttons

BL MERSENNE, Marin. Harmonte universelle [Universal harmony].

The books on tnstruments. Trans. by Roger E. Chapman. (The
Hague: Martinus, Nijhotf, 1957). 5960p. In Fr.

312 MERSENNE, Marin. Harmonie untverselle [Universal harmony].

Edition facsimilé, de 1'exemplaire conservé a la Biblio-
théque des Arts et Métiers et annoté par jv auteur. Introduc-
tion par Francois Lesure. CDA: Edition de Centre National

Je}
(313-316) Baroque Histories

de la Recherche Scientifique, 1963). In Fr.

313. COOK, Frederick. "Die Battertes auf der Spanischen Barock-

gitarre nach Marin Mersenne" [The battertes on the Spanish
Baroque guitar according to Marin Mersenne]. GittarreLaute I/5
(1979) 34-38. In De.
Mersenne's discussion of battertes, the manner of striking the
strings, in his Harmonie Untverselle (1636) and in his Harmontcorum
Itbrt XII (1648) is reproduced in the original French in facsimile
and is printed in German translation. Rhythmic considerations and
the fingering and direction of the strumming are studied. Illus.
(facsim. picturing guitars and tablature from both volumes), 3
EAbDlec muse.

Secondary Works

314 EGAN, John Bernard. "Marin Mersenne. Traité de l’harmonte

untverselle: Critical translation of the second book". PhD
diss., Music! Indiana University, 19625 UML 6205029; in Fr.

NASSARRE [NASARRE], Pablo (d. 1730)

See GLso-256, 266

Sources

315 NASSARRE, Pablio. Hecuela miistca... [School of music]. °2° v.

(Zaragoza: Diego de Larumbe, 1724 [v. 1], Manuel Roman, 1/723
Peet). int sp:
Library toeasione:-B Bc; Br; Le. D Bds, HEs, Mbs. E’ Bd CA,
Mba’ (vie 27°F Pep Pn, SO. GB Cke, Ge, Bb (2- eee} por a pen:
Pein. US AAw, AUS,” BE; Cn, 10,” LEX, oN; NYhs; "NY, RIN 4dnewe
Wem.
V. 1: “Libro quarto. De proporciones. Capitulo XV. De las propor-
ciones que deven observar los artifices en las fabricas de los in-
strumentos arpa, vihuelas, guitarras, y todo instrumento de arco",
458-65 [Book four. Of proportions. Chapter XV. Of the proportions
that craftsmen observe in the construction of harps, vihuelas, gui-
tars, and all bowed instruments]. Included in the discussion is a
description of the vihuela of five, six, and seven courses. The
five-course instrument is called guttarra espafiola. Tuning prac-
tices are described. vs b Ch724) 50lp. vy 2) C1823) S605.

Modern Edtttons

316 NASSARRE, Fr(ay) Pablo, OSB. Escuela mistea. 2 v. (Zaragoza

1724/23). Facsimile ed. Preliminary study by Lothar Siemens.
(Kassel-WilhelmshGdhe: Bdrenreiter Antiquariat, 1980). In Sp.

74
Baroque Histories (317-320)
Secondary Works

317 HOWELL, Almonte C., Jr. "Pablo Nasarre's Escuela Mistea: A

reappraisal". Studies tn mustcology. Essays in the history,
style, and btbltography of music in memory of Glen Haydon,
80-108. Ed. by James W. Pruett. (Chapel Hill, N.C.: University
of North Carolina Press, 1969).
A discussion of the life and works of Pablo Nasarre. Nasarre's
Escuela miustea (1723-24) is evaluated for its historical signifi-
cance and theoretical content. Past evaluations and criticisms are
considered. Detailed synopsis of the texts.

NORTH, Roger (ca. 1651-1734)

318 WILSON, John, ed. Roger North on music being a selection from
his essays written during the years ca. 1695-1728. (London:
Novello and Go., Ltd... 1959).
For insights into the use and social position of the guitar. Infor-
mation on Nicola Matteis and his publications is included. Append.,
Dr... Music, 3/2p.

PEPYS,
Samuel (1633-1703)

319 BRIDGE, Sir Frederick. Samuel Pepys, lover of mustc. (London:

Satie childern: and.Co.,, L903).
An account of the musical activities and opinions of Samuel Pepys.
In Ch. V, p. 78-79, Pepys states his opinions on the gtttar and on
Bonctempoaeary English players.’ Port.«,.music, 126p.
pee dleoe Keith 339-for a quotation,of the text.

PRAETORIUS, Michael (1571-1621)

pee also 165

Sources

320 Syntagma musteum... (Wolfenbiittel: Elias Holwein; Wittenberg:

Johann Richter, 1614/15; Wolfenbiittel: Elias Holwein, 1618/20).
Ci TARey oa eMree
Igprary Locations: A Sst (v. 1), Woy Wem. B. Br. F Pe (3 ex.),
Preeincon ven) eerie. .GbiGu, Be, Ge, bm (2 ex.) , “Mp, Ob, 0.
febeutvs |). Moe. Rvat (ye 1). 2USeAAU BoseCn, GAh, NH, NYpm;
R, Wem. For a more extensive list of locations, consult AISM
B vit.
ioech. 2.Vl 'Ouinterna’ , Prastorius describes the tuning of the
four-course guitar and gives a short description of the four-course
and five-course guitar. He gives chtterna as an alternate term for
the gquinterna. Pl. XVI contains an illustration of the instrument.
Bop ed) ee bee) 42d (Vsn2)), 260p,-(v.. 3).
TS
(321-328) Baroque Histories

Modern Edittons

321 Syntagmatts mustci Michaelis Praetorit. C. Tomus secundus de

Organographia... Gedruckt zu Wolfenbiittel bey Elias Holwein
Fulstl. Braunsch, Buchtrucker und Formschneider, 1618. Facsim.
reproduction, Publikation aelterer praktischer und theoreti-
scher Musikwerke, v. XIII. (Leipzig: 1873-1905).

322 Syntagma mustceum, v. III. (Wolfenbiittel: 1619). Ed. by Eduard

Bernouwhia.. (Leipzie: 0: Pa Kahne nacht diver, 1916)?

323. Syntagmatis mustet Michaelis Praetorit. C. Tomus seeundus De

organographta... (Wolfenbiittel: 1619). Ed. by Elias Holwein.
(Kassel: Badrenreiter-verlag, 1929).

324 Syntagma musteum. V. 2: De organographia, first and second

parte. Trans. into En by Harold Blumenfeld’ {[n.p-, 1949):

325 ‘Syntagma musteum. Facsimile-edition, ed. by Wilibald Gurlitt.

Documenta musicologia. Reihe 1: Druckschriften-Faksimiles
14-15, 21. (Kassel and Bdrenreiter Verlag, 1958-59).

TALBOT,
James (1665-1708)

See also 291

326 “GIRL; Dénald. “James Talbot's manuscript?V.”° Plucked stranes=

the wire-strung fretted instruments and the guitar". GalpinSocd
XV (Mar 1962) 60-69.
A discussion of two sections of text from Talbot's MS (Oxford,
Christ ‘Church Gibrary Music MS 1187): a. “The wire—struns fretted
instruments”, p. 60-66. b. "The guitar", p. 67-69. Includes criticat
notes on Talbot's discussion of the guitar. Quotations of Talbot's
text include a chart of the dimensions of the five-course guitar,
tuning and stringing. Talbot's sources of information are Francesco
La Tour, Shore, Agutter, Mersenne, and Kircher. Talbot's discrepan-
cies in tuning are noted. Music (tuning).

32/ =GILL,- Donald. "Bandoray orpharion, and guitar"y Galprnsocs

XXXI (May 1978) 144.
A correction of Gill 326 concerning the use of bourdons on the four-
course and five-course guitar.

TRICHET, Pierre (1586/7-71644)

See also. 291

328 LESURE, Frangois. "Le traité des instruments de musique de

Pierre Trichet" [The treatise of the instruments of*music by
Pierre Trichet]. In-2 parts. AnnalesM Til (1955) 263-387.
76
 REIN Ra Ree Ke ¥ Pra Pap Ky Fo
in _GUITARRA i
4 ESPANOLA , Y VANDOLA |
en dos maneras de Guitarra, Caste- ,
llana » y Cathalana de cinco Ordenes, \*
la qual enfenade templar, y taiier ‘
rasgado , todos Jos puntos naturales,
y b, mollados >» Con estilo
maravilloso.
3% 7 PARA PONER EN ELLA QUAL-
a quier tono, fe poms una tabla, con la qual \
'G podra qualquier fm dificultad cifrar el
tono,y de/pues tarier,y cantarle por do-
ze modos. T fe baze mencion tambien
de la Guitarra de quatro ordenes:

9 Gzrona: Por JofeHeph" TBr é 5 imprefsr.

pATgetg HiT yr
BR gent RTT
Vandola
Juan Carlos Amat, Guitarra Espanola, y
page.
(Gerona: Joseph Bro, [ca. 1765]), Title
10)
‘yreyo ploy “([S9LT 8°] ‘org Ydasor :euorey) MJopuny A ‘njoundsy vAADJIND “Jewry so[ieD uenfs
Baroque Histories (329-331)
PVPCIO Ser t75-246. In Fr.
Lesure's edition of Trichet's manuscript which dates from ca. 1630.
Part II (in v. IV): "Des instruments de musique a chordes" [The
musical stringed instruments], section 9: "De la guiterre" [Of the
guitar], p. 216-19: Trichet's commentary on the popularity and use
of the guitar indicates his strong dislike for the instrument in
favor of the lute. Description of the instrument, tuning, and pub-
lications of music. Music (tuning), bibliog. ref. in notes.
See also: Lesure 162 for a quotation of the text.

TURNER, William

329 TILMOUTH, Michael. "Some improvements in music noted by

Wrlttam Turner in 1697": GalpinSoes X (May 1957) 57=59.
A brief discussion of William Turner's 1697 London publication
entitled A compleat htstory of the most remarkable providences...
Quotation of Turner's text on “improvements in musick" includes
comments on the ghtttar. The popularity of the guitar over "the
nobler dute" is indicated.

F. Individual Composers and Performers

ABREU, Antonio and PRIETO, P. F. Victor

See 266

AMAT, Juan Carlos [Joan Carles\(1572-1642)

DeetaILsot A 27k, (289, (291

330 HALL, Monica. "The guttarra espaviola of Joan Carles Amat".

Reavy vurey5 -(iuiv19/8) 362,363, 365, 367, 369, 371, 3/3.
A description of the contents of Amat's Guttarra espafiola (1626).
Music, theoretical considerations, performance practices, and
tunings are discussed. Information on early editions. Notes on the
instrument vandola. Synopsis of Cervantes's tale "The jealous
extremaduran" from the Exemplary Stortes. Iconog., charts, music,
bibliog. ref. in notes.

331 PUJOL, Emilio. "Significacién de Joan Carlos Amat (1572-1642)

en Wa ‘historia de lla guitarra’ [The significance of Joan Car-
los Amat (1572-1642) in the history of the guitar]. Amv V
(1950) 125-46. In Sp.
Biographical information on Amat. Discussion of the editions of
Guitarra espafiola from 1596. Includes historical background on the
vihuela, the four-course guitar, and the five-course guitar. Music,
bibliog.’ reL,-in notes.
thes
(332-334) Baroque Histories

ARANIES, Juan

See 289

BAILLEUX, Antoine

See 398

BRICENO. Luis de
Eee alee. 271, 269s, 291

332 CHARNASSE, Héléne. "A propos d'un récent article sur la

méthode pour la guitare de Luts Brtcemwo" [In regard to a
recent article on the guttar method of Luts Brtcefo].
RMusteol LII/2 (1966) 204-07. In Fr.
Commentary on Escudero 333 concerning Briceno's 1626 Metodo. The
author introduces theories on tuning and on tablature interpretation
that are contrary to those of Escudero. References to sources in-
eluded. dlusic, biblicg.-ref. in notes.

335 SESCUDERO, Jose Gastro. “la méthode pourla guitare deiuis

Briceno" [The guitar method of Luis Briceno] including
"Appendice. Sur le Séjour de Bricefio 4 Paris" [Appendix. On
the sojourn of Briceno in Paris] by Daniel Devoto. RMustcol
ily BCL 965) 131-46. Tay Fr:
A detailed description of Briceno's Método (1626). The~importance of
the repertoire is discussed and compared to other Baroque publica-
tions of guitar music. Tuning practices and notation are explained.
List of contents. In the Appendix, the author draws conclusions con-
cerning Bricefio's sojourn in Paris based on the discovery of a son-
net contributed by Briceno to a 1614 Parisian publication. Quotation
Of thes sonnet Anebudead) Music Gacsim,., tabl. ,.-eransctsi.
S2esalso: Charnassé 332 and Murphy 291, p. 62, note 15 for criticism,

334 LESURE, Francois. Trois instrumentalistes francais aa, xVile

siécle" [Three French instrumentalists of the seventeenth cen-
tury]. RMustcol XXXVII (Dec 1955) 186-87. In Fr.
Biographical notes on Luis de Bricefio (guitarist), Germain Pinel
(lutenist, theorbist), and Henri Grénerin (theorbist, guitarist).
Summary of their works.

CAMPION, Francois

SCE Zoe, 259

80
Baroque Histories (335-338)
CARRE SIEUR DE LA GRANGE, Anthoine

See 255, 291

CLEMENTI, Orazio (ca. 1637-1708)

335 KOCZIRZ, Adolf. "Eine Gitarrentabulatur des Kaiserlichen

Theorbisten Orazio Clementi" [A guitar tablature of the im-
perial theorbist Orazio Clementi]. Melanges de Mustcologte
offerts a M. Ltonel de la Laurencte, 107-15. (Paris: La
société francaise de Musicologie. Libraire E. Droz, 1933).
in De.
aetablaturerror Spanish guitan «by Orazio Glementi, MS 10,248 in the
Nationalbibliothek (Vienna) was previously mistaken as a work for
bass lute or theorbe. Description of the manuscript. Discussion of
Clementi's instructional text and musical works (3 ciacones, 4
passagaglios). Notes on tablature notation and performance prac-
tices. Some biographical information on Clementi. Also includes
biegraphieal information on Francisco Corbetta. Music (facsim.,
Eranser.) s*bibliog. srefy<innotes:

COLONNA, Giovanni Ambrosio

pee Zi.

CORBETTA, Francesco (1615-1681)

Seo Ove one, 2534725040 12095) 26054 201, 3353. 359

336 ["The obituary and epitaph of Francisque Corbet"]. Mercure

gare (Ape losi)s 127-33. In Fr.
Library locatton: US NH.
tac kintormation 1s cited in Pinnell 344 which includes.an English
Eeanslaticenvor the-obitnuary.

337 DANNER, Peter. "Prelude in G [by] F. Corbetta. A note on the

Eranscrist von. Soundp IVILL/3« (Aug: 1981). 150-51.
Introductory notes to Danner's transcription of Corbetta's Prelude
in G from La guttarre royalle (1671) give an explanation of his
treatment of the original tablature according to Corbetta's tuning
practices and ornamentation. Music Ctranser..,ifacsim.)).

338 HAMILTON, Anthony. Memoirs of Count Grammont. (London: 1905).

Grammont'’s account of life in the court of Charles II of England
includes references to Corbetta and his position in court.
Beotalsor-Crunteldu2l, ip. 115-16; Bone 51, p.« 81-825 .Keith 339,
p. 80-81 (in Fr) for a quotation of the text.

8]
(339-344) Baroque Histories

339 KEITH, Richard. "La guitare royale’="a study of thellcareer and

compositions of Francesco Corbetta". Recherches VI (1966) 73-
88 (text), 89-92 (music).
A study of the life and works of Corbetta. Contemporary source ma-—
terial is examined for biographical information. Comments on Cor-
betta's publications of music. General historical background on the
seventeenth-century guitar based on a survey of the works by other
representative composers. Music (tabl., transcr., works by Corbetta).

340 KENNARD, Deric. "A note on Francesco Corbetta and his tabla-
ture". Guttavrh XXXVI (June*l962) 9° Ctext).,. 20-12" (musie)., 21
(fex€).
A brief description of the music in Corbetta's three books of tabla-
ture and on the tuning of the guitar. Port.), music: (transer.);

341 LACONI. "Corbetta y Corbera. Dos nombres y un solo guitarrista"

[Corbetta and Corbera. Two names and a single guitarist].
Guttarra (Havana) LIIt/4 (July 1942) 6. In<Sp.:
Biographical information on Corbetta. Discussion and quotation of a
reference to the guitarist Corbera in Gaspar Sanz's Instrucctén
(1674). The author suggests that this is probably an alternate
spelling of the name Corbetta.

342 PINNELL, Richard T. "Alternate sources. for the printed guitar

music of Francesco Corbetta (1615-1681)". JZuteSocAmer IX
(1976) 62-85.
A survey of alternate sources of Corbetta's music found in manu-
scripts and publications. Discussion of mixed tablature and of
Corbetta's own publications. Includes remarks on Corbetta's in-
fluence on contemporary composers. List of concordances is organized
according to dance type with citation of key and date of publica-
Sion. Musici tab]... and? transer.)s bibliee. ref. au notes:

343 PINNELL, Richard T. "Francesco Corbetta the non-guitarist: a

new look at the racketeer of the Restoration". Soundb VIIT/3
(Aug 1981) 146-50.
Some general political history is given as background on Restoration
England under Charles II. Gambling rackets under royal protection
were run by Italian musicians Corbetta and Francesco Finochelli.
Corbetta, although unnamed, is identified as Squire Lottery in the
Arraignment, trtal, and condemnation of Squtre Lottery, altas Royal
Oak Lottery (London, 1699), a fictitious story which reveals certain
truths about a gambling concession in Restoration London and offers
sufficient evidence to incriminate Corbetta.
FOrt., ilkus«, facsim, of text, bibliog. ref. in notes.

344 PINNELL, Richard T. "The role of ‘Francesco Gorbetta (1615-

1681) in the history of music for the Baroque guitar, in-
cluding a transcription of his complete works". PhD diss.,
Musicology, University of California at Los Angeles, 1976.
Now published as Francesco Corbetta and the Baroque guitar:
with a transertptton of hts works. 2 v. (Ann Arbor, Michigan:
82
Baroque Histories (345-348)
UMI Research Press). The following annotation is based on the
original dissertation.
Corbetta's music in its contemporary environment is examined in
three periods: the early period (1596-1639), the middle period
(1640-1660), and the last period (1660-1681). His importance, his
influence, and past influences on his style are studied in detail.
V. 2: "A transcription of Corbetta's complete works" includes intro-
ductory notes on transcription methodology and ornamentation. Tran-
scription only, treble clef.
"The goal of the present study is to evaluate Corbetta's music
in the context of the other instrumental guitar music of the seven-
teenth century. In addition, a concentrated effort has been made to
identify the manuscript sources for this guitarist. Whatever influ-
ence he had on the music and life of his day demands explanation;
and if he was 'the best of them all' we need to know in what way,
wWiether composer, virtuoso, or teacher. A study of ‘Corbetta's musi¢
could add much to our knowledge of the baroque guitar. But in order
to compare his music to that of others, the first necessity is to
make his complete works available, and such a transcription consti-
euves Volume Li of the present study." Pinnell,. ps 7-8. V. 12 °2
Eopeige V0) unset ext S*racsim..; tabl.s, stransers, stabbe of ‘ornaments;
pibdiooe ref. din notes.
Reviews: Fronimo: Vi/23 (Apr 1978) 30-31; C.S. Smith, Notes XXXVIII/1
(Sept 1981) 67-68.

345 "Pinnell completes dissertation". Soundb III/4 (Nov 1976)

655 44.9.
Ai, Zl SiIeASlE Ico IPatahavelil sve

346 PROVOST, Richard. 'Francesco Corbetta: a historical perspec-

tive’. Soundb-VII1L/3 (Aug 1981) 137-39.
A discussion of Corbetta's innovations in notation, tuning, and
musical style. Some remarks on the history of the baroque guitar
before Corbetta including its composers, notation, and stylistic
Bepeces of the music. Port. (author), music (tabl., transcr.),
Pablioe. ©£eft. in notes.

347 ROBERTS, John. "Historical notes. Francisco Corbetta".

Guccor, sipbyae (Awe: 19973) 9419.
Biographical information on Corbetta during the time of Charles II
of England, as based on available sources. Quotations of documents
mueobitiuary notice. Port.

348 ZEIDEL, Scott. "The motivic and harmonic language of Corbetta's

La guttarre royalle (1671) as seen in three selected pieces
from Suite no. 12 in g minor". Soundb VIII/3 (Aug 1981) 140-44
(Cextja sh > Mamusi¢)’.
A stylistic analysis of the Prelude, Allemande, and Passacaille. In
the Prelude, Corbetta uses a '"quasi-imp rovisationa l style!” “ae! dindi-
cated in the formal, melodic, and harmonic structure of the piece.
In the Allemande, harmonic progressions and motivic relationships
are analysed. The Passacaille is a set of five variations based on
83
(349-353) Baroque Histories

a single chord progression; the treatment of the»progression 1s

studied. Bibliog. ref. dn motes, music (tratisers only):

DIESEL, Nathanael (d. 1744)

349 LYONS, David Bruce. "The guitar music of Nathanael Diesel,

butenist: to the royal Danish court, 1736-1744. “An analysis and
transcription of the duets". MA diss., Music: California State
University, Northridge, 1975.
A detailed study of the guitar music of Nathanael Diesel contained
in two manuscripts located in Det Kongelige Bibliothek, Copenhagen.
Emphasis is on the study of the duet music, including an analysis of
the individual instrumental parts. Stylistic.analysis of the solo
music. Biographical information on the composer. Historical back-
ground on the guitar. Transcription of the duet music with tablature
shownmsbelow. iCharts, music, biblicog«; 133p. (text) ~272ps Gausic) +

350.< LYONS ;. Davids Bhuce. -"Nathanael Diesel, guitar tutorto a royal

lady". JLuteSocémer VIII (1975) 80-94.
A discussion of the guitar music of Nathanael Diesel contained in
two manuscripts found in the Royal Library, Copenhagen. List of con-
tents of each manuscript. Remarks on ornamentation, tuning, musical
style, and form. Biographical information on the composer. Music,
append: (music), bibliog. ref. in notes.

ism RASMUSSEN, Knud. "Nathanael Diesels guitarkompositioner" [The

guitar compositions of Nathanael Diesel]. DAfMF (1963) 27-28.
In Da.

DOIZI DE VELASCO, Nicolao

See 289

ESPINEL, Vicente (1550-1624)

352 HALEY, George. Vicente Espinel and Marcos de Obregén. A life

and tts ltterary representatton. (Providence, R.I.: Brown
Univergity Press, 1959)..
A detailed study of the life and works of Vicente Espinel, author of
the novel entitled La Vtda del escudero Marcos de Obregén. For in-
formation. on the sources of the myth that credits Espinel with the
addition on). the-titith string. to the, cubtary see pi 44-477 7 aS,
append.) bubitiog.,. 254p..

353 POPE CONANT, Isabel. "Vicente Espinel as a musician". Studies

in the Renatssance V (1958).

84
Baroque Histories (354-358)
FASOLO

See 253, 269

FIORILLO, Tiberio (‘‘Scaramouche’’)

354 ROBERTS, John. "Historical notes. A fantastic guitarist".

Guttar V/4 (Nov 1976) 5.
Two accounts of Tiberio Fiorillo ("Scaramouche") which comment on
his activities as a guitarist in seventeenth-century Paris.

FOSCARINI, Giovanni Paolo

mee alee 271.

bp5 DANNER, Peter. "Giovanni Paolo Foscarini and his 'nuova

inventione'’. JLuteSocAmer VII (1974) 4-18.
Meseisiiticance of Foscarini's I quatro ltbrt (ca. 1630) as -con-
sidered. Foscarini's system of notation and his repertoire are com-
pared to those of other composers for the guitar. Source material is
consulted. Stylistic analysis included. Port.; music (tabl.,
LeEanSscrwy) bibliog. aef .\ in motes.

pobee) at. oGOMp., Pamedia: /'Baroque style". Com tart 11/2) (Spring
OF 213% Ss
A brief survey of baroque guitar music and performance techniques
based in part on Danner's research 28/7 and 355. Comments on Fosca-
mines ewutar method are included. Bibliog. ref. in notes.

GALLOT, Henry Francois de

See also 255

Boy DANNER, Peter (commentary); JENSEN, Richard d'A. (transcrip-

pon er ihe cuatar trios! of "CGakboteD’ l'’. Somdb MiE/4a Wey
1979) 128-31.
A brief discussion of the contents of the anthology of guitar music
collected by Gallot which is located in the Bodleian Library, Oxford.
The manuscript (ca. 1660-1684) contains trios for guitar. Music
CPaccim.),\.transcr.).

358 GILL, Donald. "The de Gallot guitar books". EarlyM VI/1 (Jan
VOI 8) 19-61, 9655. .0)—8)%
A detailed description of the contents of the manuscript anthology
of guitar music collected by Gallot which is located in the Bodleian
Library, Oxford (1660-1684). Examination of repertoire, tablature
notation, and tuning. Historical background on the seventeenth-
century guitar included. Illus., music (facsim., tuning).

85
(359-361) Baroque Histories

359 PINNELL, Richard T. "Return with us now. The Soundboard's

Featured Facsimile". Soundb IV/1 (Feb 1977) 14-15.
A short description of the contents of the manuscript "Piéces de
guitarre de differenda autheur a recueillis par Henry Francois de
Gallot" found@im “the Bodleian Library, Oxford. Introductory notes
to the facsimile and transcription of "Allemande Francisco" attri-
buted to Prancesco Corbettay Music (isesin., «<rranscr..)..

GRAGNANI, Filippo
See 4/1.

GRANATA, Giovanni Battista

300° DELL'’ARA, Mario. "Giovanni Battista Granata, chitarrista,

compositore e barbiere chirurgico" [Giovanni Battista Granata,
guitarist, composer, and barber surgeon]. Fronimo VI1I/26 (Jan
£979): 6215 wilnele.
A biographical study of Giovanni Battista Granata, a guitarist ac-
tive in seventeenth-century Bologna. Description of his publications
ek guitar music. Arsurvey of works for<guitar published in seven-—
teenth-century Bologna includes a chronological list (1607-1684).
Bibliog.

GRENERIN, Henri

pee 2355 334

GUERAU, Francisco (mid-17th c.-early 18th c.)

See also 293

361 STEVENSON, Janis M. "A transcription of Poema Harmontco by

Francisco Guerau for baroque guitar". MA diss., Music: San
José State University, 1974.
An edition of Guerau's Poema Harmontco (1694). In the preface,
repertoire, notation, ornamentation, and transcription methodology
are discussed. Guerau's text, which is presented in facsimile and
in English translation, gives information on notation, ornamenta-
tion, and guitar technique, dllus.,. append, music™(tabl., treneer.),
bibliog: ,.i2S2p:.

KREMBERG, Jakob (ca. 1650-ca. 17187?)

See also 47, 878-80

86
Baroque Histories (362-364)
362 KOCZIRZ, Adolf. "Alte Gitarrenmusik, Jakob Kremberg:
Mustealtsche Gemiiths - Ergékung oder Arten (1689)" [Old
guitar music. Jakob Kremberg: Mustealtsche Gemliths - Ergd-
kung oder Arten (1689)]. DteGit III/4 (Jan 1922) 35-36. In De.
A very short survey of the contents of Kremberg's 1689 publication
of forty arias for voice and continuo. Notes on notation, tuning,
and instrumentation. Description of vocal text and musical style of
the arias: characteristics of the accompaniment and the idiomatic
use of the guitar is considered. Biographical information on the
composer.

LEMOINE, A.

pee 398, 615

MATTEIS, Nicola (? late 1670s—? ca. 1749)

See also 3, 318

363 GARNSEY, Sylvia. ''The use of hand-plucked instruments in the

continuo body: Nicola Matteis". MLetters XLVII/2 (Apr 1966)
135-40.
A discussion of the instructions for realization of figured bass on
guitar as found in Nicola Matteis's The false consonances of mustck.
Tunings of the five-course guitar are discussed. Comparison of Mat-
teis's publication to the manuscript of lute music, Euine collection,
Glasgow University Library, which contains a plagiarism of Matteis's
work. Bibliog. ref. in notes.

364 TILMOUTH, Michael. "Nicola Matteis". MQ XLVI/1 (Jan 1960)

22-40.
A detailed description of the contents of Matteis's The false con-
sonances of mustek with quotations of text and information on early
editions. Biographical information on Matteis. Port., music*(no gui-
tar music), bibliog. ref. in notes.

MEDARD, Remy

See Bas

MILANUZZI, Carlo

SEB DMN

MILLIONI, Pietro

See 271
87
(365-367) Baroque Histories

MINGUET Y YROL, Pablo

wee 2389, 73736-30

MONTESARDO, Girolamo

pee 2iAn Voor Zoe

MURCIA, Santiago de (fl. 1700-1732)

bee aleo 266, 289, 293

365 LOWENFELD, Elena M. "Santiago de Murcia's thorough-bass

treatise for the baroque guitar (1714). Introduction, trans-
lation, and transcription’. MAsdiss., Music: City College of
the City University Of New York, 1975. UME 1307 9107
A study of Santiago de Murcia's Resumen de acompanar la parte con la
guttarra (1714), a treatise on thorough-bass accompaniment, includes
a discussion of notation, performance practices, and historical back-
ground on musical and theoretical sources. The original edition of
the Resumen is described. The text is presented in facsimile and in
English translation lconog., Liiust. tables, musta (ranlr
transcr.)',~ bibliog. (sources, secondary. works), music (selected
compositions of Muréia, transcr. with tap), 72p. (prelaminary
rexe), 4126p." (text translation, music).
See also: RIIM IX/1-2 (Jan-Aug 1975) 2571dm?2.
366 LOWENFELD, Elena M. "U.S.A. Abstracts'= Soundb IL/3 Aue
19/5) 49.
Ne AlnSEIezieie Or Ihowemcellel sos.

367 PENNINGTON, Neil Douglas. "The development of Baroque guitar

music in Spain, including a commentary on and transcription of
Santiago de Murcia's Passacalles y Obras (1732)". PhD diss.,
Music, University of Maryland, 1979. Now published as The
Spantsh Baroque guttar wtth a transertptton of de Murcta's
Passacalles y obras. 2 v. Series no. 46. (Ann Arbor, Michigan:
UMI Research Press). The following annotation is based on the
original dissertation.
V. 1: "Background and commentary". A general survey of Spanish poli-
tical, social, and economic history. General historical background
on the Spanish baroque guitar includes a study of notation systems,
tunings, technique, and ornamentation based on a study of sources of
Spanish guitar music. Detailed study of the contents of Murcia's
Passacalles y obras de guttarra por todos los tonos naturales y
aeetdentates (1732). Illus., tables, append: ,-music, bibliog:
(sources, secondary works, modern and facsim. editions, discog.),
IO 304
V.. 2= Lranseriptiom with premacea.

88
Andres de Sotos, Arte para aprendre con facilidad. . . (Madrid:
imprenta de Cruzada, 1764), “La Tabla Laberinto’, p. 36.

89
 GUAPPAASLIIOEOISSISSISRARSSSeo
+ LVZ Y NORTE a

MVSICAL
a PARA. CAMINAR PORLAS :
: Cifras de la Guitarra Efpaiola, y
| Arpa,taher, y cantar acompas por
.CantodeOrganusy breye explicacion yo
del Arte, coupreceptas
faciles ,indu-
—“bitables, y explicados conclaras ©. .
a reglas por teorica, y
pe We practica.
= COMPVESTO POR D. LVCAS RVIZ DE RIBAYAZ,
Preshitero, Prebendadode la Ighefa Cstspialde Villsfrance
del Bierjo,ynacnval de Sante MayiadeRiharredosdé,
a Merindad deBuyebs,M ontahasde Burgos.
CONSAGRALE ALA REYNA DELOS
Angeles MARIA Santifima de Curidego,

78 iw 84
Parona de dicha Colegial.
4

3 CON PRIVILEGIO. .. 0
5 “ ee
a Madrid : Por Melchor Alvarez, ‘Abo de 1675

FE FTE FECES ESEOE FEST.

Ae

Lucas Ruiz de Ribayaz, Luz, y Norte Musical

(Madrid: Melchor Alvarez, 1677), Title page.

90
Baroque Histories (368-371)
368 PINNELL, Richard T. "Return with us now. Soundboard's fea-
Turedsiaesimile.. Soundb.V1/4 (Nov 1979) 134 (text), 135-37
(facéim.., transer.).
Introductory notes to the facsimile reproduction and transcription
of Santiago de Murcia's Sarabande and Giga from his 1732 manuscript
in the British Museum. Brief description of the contents of his two
publications for guitar (1714, 1732). Music.

PELLEGRINI, Domenico

369 BELLOW, Alexander. "Domenico Pellegrini". GuttarR XXIX (June

i266 )5.29: iLtext),. 24. (music).
A description of Pellegrini's Armoniost concertt sopra la chitarra
spagnuola (1650). Music.

PICO, Foriano

See 271

RONCALLI, Ludovico

pee. 2oae0 299

RUIZ DE RIBAY AZ, Lucas

per als0, 266-289. 291..)293

370 "Lucas Ruiz de Ribayaz". Guitarra (Madrid) XXII (June-Aug

Mbp je Grex) j i(mus Le) .4.En, Sp.
A short biographical introduction to Lucas Ruiz de Ribayaz, composer
of the 1677 publication of guitar music Luz y norte mustcale. Music
(pranser., by Lupe de Azpiazu), bibliog. ref. in notes.

a) lo tieLCH wkobert.. UA-Spanish guitar, tutors Ruiz de Ribayaz's

luz y norte musteal (1677)". JLuteSocAmer VII (1974) 51-81.
A detailed examination of the contents of Ruiz de Ribayaz's guitar
tutor, including quotations from the text in translation and compari-
sons to the publications of Gaspar Sanz and others. Biographical in-
formation on the composer. Music (tabl., transcr.).

SAN SEVERINO, Benedetto

mee 2] die wo.

9]
(372-376) Baroque Histories

SANTA
CRUZ, Antonio de

See 289

SANZ, Gaspar (1640-1710)

oC2e Glee 198-2665 282, 289 291 . 20 5 eee) o/s] OD

372 ARTZT, Adice. "Gaspar Sanz. An overview of various editions”.

Gartark xe (Winter 1976) 33%
The problems of transcribing Sanz's music for modern guitar are dis-
cussed. Various alternatives and solutions are suggested for making
Sanz's music accessible to the modern performer. Tuning practices
are described.

$73 KOCZIRZ, Adolf. "Alte Gitarremusik. Gaspar Sanz Unterweisung

tn der Mustk der spantsehen Gitarre (1674) [Old guitar music.
Gaspar Sanz's Instruccton de mustca sobre la guttarra espanola
674). Wtecre D/8-(May 1920) 120-22, 10 De.
A short summary of the contents of Sanz's Instruccton (1674) in-
cluding notes on tuning, notation, technique, ornamentation, reper-
toire, and Sanz's instructional text. Biographical information on
Sanz and on Don Juan of Austria, to whom the work is dedicated.
Description of two representative works by Sanz: "Preludio o Capri-
cho arpeado" and 'Passacaglia".

374 MANNS, Jerrold Allen. "Gaspar Sanz' Instruceton de musica

sobre la guitarra espafola (1674). Translation, transcription,
commentary". MA diss., Music: Case Western Reserve, 1974.
Introductory notes include a general historical survey of Spanish
history and historical background on the seventeenth-century guitar
and its notation. Biographical information on Sanz and a description
of ‘the contents of his publication. Translation of the text with
some reproductions in facsimile. Discussion of transcription method-
ology and of musical forms contained in the publication. 5 append.
(appendix 2 is a collection of transcriptions and facsimiles of the
original tablature of 30 examples of dance forms), music, bibliog.,
LoSp..

3/5" ROBERTS, [John] Ds “Historicalsnotes.. Approbation er Ganzvs

Guitar V/8 Mar 1977). 7%
Quotation of the approbations by Licentiates Sebastian Alfonso and
Diego Xarava y Bruna found in Sanz's book of tablature (Saragossa
1697) concerning Sanz*s- publication of music for guitar. Iconoss

ov G ZAXAS, Rodrigo dé. “Gaspar ‘Sanzeand his’ music! Gartarn oD

(Winter 1976) 2-11 (text), 12=32 (music): XLE (Pali?)
2-5 (music).
A detailed consideration of the life amd compositions of Caspar
Sanz. Explanation of the tablature and transcription methodology
are included. History and performance, p. 2-9; music, p. 10; tran-
92
Baroque Histories (377-380)
scription of 'Libro primero' of Sanz's Instruccton (1674), Dy a2:
continuation of the transcription, GuttarR XLII (Fall 1977) 2-5.
Musie (Ctabl. land Eransern.y.

SEVERI PERUGINO, Francesco

See 269

SOTOS, Andrés de

See 289

VARGAS Y GUZMAN, Juan Antonio

Soi STEVENSON, Robert. "Un olvidado manual mexicano de guitarra de

Mier |e noreotten Mexicanveuitar manual of 1776)]4' in 2 parts.
Heterofonta VIII/44 (Sept-Oct 1975) 14-16; VIII/45 (Nov-Dec
1975) 5-9. In Sp. English summary VIII/45 (Nov-Dec 1975) 28.
A discussion of the contents of Juan Antonio Vargas y Guzman's manu-
Sceipt ~pxplteacion. pare tocar) la eultarra *despunteado’? (776) In—
formation on notation and tuning practices is included. Comments on
the sienificance of theiwork in An historical “context. Bibliog’ ref.
in notes.

378 UThe -orieinal selecsae euilLat . SOGUitarint lil/Se (Sept, £976)

5-8.
Apadeseriptiow of ‘the’ &/76- manuscript “Explicacion para itocar la
guitar de punteado" by Juan Antonio Vargas y Guzman. The author
indicates that the manuscript is the first work for the six-course
guitar and the first work in standard music notation. Quotations of
the manuscript text in En translation.

VISEE, Robert de (ca. 1660-ca. 1720)

BCG SON) 6 2034 ID a 209, 291.

3/9 CHILESOTTI, Oscar. “Notes sur le guitariste Robert de Visée"

[Notes on the guitarist Robert de Visée]. SIMg IX/1 (Oct-Dec
L907) "62-74. Siny EE.
A discussion of the contents of de Visée's publication entitled
Livre de guttarra. Information on ornamentation and on tuning prac—
tices included. Musie (12 ex. ,’ Ll table, 11 transcr.) -

380 PRUD'HOMME, Brian. "A passacaille by Robert de Visée".

Cuabor ure .iN (Mawl977) 1.0 (text),..11.Gausic).
Introductory notes to the transcription of the passacaille from
de Visée's Suite tn d minor in his Livre de Pieces pour la guttarre
CL686)-
23
(381-385) Baroque Histories

381 WADE, Graham. "The guitarist"s repertoire 1) 6MG ExV1) 762

(Oct 1968) 4.
A short evaluation of de Visée's Suite in d minor.

382 WADE, Graham. "The guitarist's repertoire”. BMG LXV1/763

(Nov 1968) 55.
A simple analysis and notes on the interpretation of the Prelude
and the Alftemande from de Visée's Suite in d minor.

383 WADE, Graham. "The guitarist's repertoire”. BMG LXVI/764

(Dec 1968) 71-72.
A simple analysis and notes on the interpretation of the Courante
and the Sarabande from de Visée's Sutte tn d minor.

304 “WADE, Graham. “The euitarist's repertoire’. BUG LxXVi/765

(Jan 1969) 129.
A simple analysis and notes on the interpretation of de Visée's
Sutte tn d minor.

385. WADE, Grahams "The eudtarist'’s repertoire’. BMG LxVI//66

(Feb 1969) 166.
A simple analysis and notes on the interpretation of the Bourree
and the ieee from de Pugs BULLE tn Gd minor.

Signenk,lea
sabi
idos défalgado paral
Hes carta;
ogSole
ar el felisBigg
abs . x

a ie
4
*

nail

«
ed

ee3e paigeDS

LP. a

Villene
Lucas Ruiz de Ribayaz, Luz, y Norte Musical (Madrid: Melchor Alvarez,
1677), Xacaras, Folias, and Pabanas in Alfabeto Tablature, p. 66.

94
 CHAPTER FIVE

Histories of the Early Six-String Guitar

This chapter contains literature on the six-string classic guitar of the late
eighteenth century and the early nineteenth century. It is divided into
four sections: Section A. Early Nineteenth-Century Sources, Section B.
General Studies, Section C. Individual Composers and Performers, and
Section D. The Terz Guitar. Studies which treat the transition from the
Baroque guitar, most commonly strung with five courses, to the six
single-string guitar are included in Section B. In particular, entries 393,
394, 397, and 398 are directed toward questions about this period and
its lacunae.
A selection of the first products of journalism in guitar history is
cited in Section A. Texts exist which confirm contemporary opinion on
the guitar and provide information on early concert activities and reper-
toire. Many reviews and descriptions of recitals are recorded in early
periodicals. The Giulianiad, or Guitarist’s Monthly Magazine (London,
1933/34?) is the first periodical devoted to the guitar. It gives informa-
tion on English concerts, exposes attitudes toward performers, and
contains a supplement of printed music. Entries 388-91, 468, 564, and
926 are articles found in Volume III of The Giulianiad; a copy of this
volume is located at the New York Public Library at Lincoln Center
(New York, N.Y.). A facsimile reprint of articles and music in this vol-
ume is listed as entry 386. Heck (entry 486) is based on an investigation
of material in The Giulianiad which specifically concerns guitarist Felix
Horetzky. Information on The Giulianiad is also given in entry 520 in an
article on Ferdinand Pelzer. French-language concert reviews appear in
Revue et Gazette Musicale de Paris (entry 411); German-language con-
cert reviews appear in Allgemeine Musikalische Zeitung (entry 413). The
prejudices of reviewers against the guitar are protested by Francois Fétis
in his 1834 article (entry 467) on guitarist Zani de Ferranti.
In Section B., works which treat a variety of aspects of the early
classic guitar are included. General surveys of the period are given in
entries 402 and 409. Studies of a biographical nature are given in entries
395, 396, 400, 401, 405, and 410. Repertoire, style, and performance
are emphasized in entries 393, 394, 400, 407, 408, and 412.

oD
HISTORIES OF THE EARLY SIX-STRING GUITAR

Section C. contains bibliographies of works for both guitarist and

non-guitarist composers of guitar music. Among the greatest contribu-
tors to the guitar’s repertoire are guitarist-composers Fernando Sor,
Dionisio Aguado, Mauro Giuliani, Matteo Carcassi, and Ferdinand
Carulli. Those composers most commonly associated with genres out-
side of the guitar are Hector Berlioz, Luigi Boccherini, Anton Diabelli,
Niccold Paganini, Franz Schubert, and Carl Maria von Weber. In addition
to these most familiar names, several lesser-known composers, to whom
present-day performers and musicologists have given relatively little
attention, are cited. The limited amount of available research which
acknowledges their contribution is indexed; this exposes an area of the
guitar’s history where additional repertoire is found. Neglect of this
period is primarily the result of the decline in the interest in the guitar
at that time and of the consequent struggle of guitarists for recognition
of their work. In entry 110, Wolf Moser points out the value of the neg-
lected repertoire of representative Spanish composers between the time
of Dionisio Aguado and Francisco Tdarrega. The extensive list of articles
by Philip J. Bone (entries 590-628) provide biographical information on
a number of lesser-known guitarists of the period. As regards his later
work (entry 51), the reader is cautioned about Bone’s lack of accurate
substantiation of his information.
Section D. provides information on the terz guitar, a small guitar in
use in the early nineteenth century, which was tuned a minor third
higher than the standard classic guitar. Mauro Giuliani and Johann
Nepomuk Hummel were among those composers who composed music
for the instrument.

96
 (386-391)

A. Early Nineteenth-Century Sources

386 BURTNIEKS, J.A. "The Giulianiad". GuitarR. XVIII (1955)
174-86.
Introductory notes to The Giuliantad, the first periodical "devoted
solely to the interests of the guitar", give historical background
and a list of twentieth-century European and American periodicals.
Articles and music are reprinted in facsim. from v. I (1833). In
addition to entries 468, 564, and 926, a poem entitled "Stanzas 'to
my guitar' by a lady" and "Musical intelligence, chit-chat, etc."
are also reprinted. Music (facsim., "Introduction and Thema by
Giuliani", "Exercises, or Solfeggi for the voice and guitar").

387 GARDETON, Cesar. Bibliographie mustcale de la France et de

L'étranger. Archives de 1'édition musicale frangaise [Musical
bibliography of France and abroad. Archives of French editions
on music] V, VI. (Genéve: Minkoff Reprint, 1978). In Fr.
A reprint of Gardeton's 1822 Paris edition. Extensive lists of
music, methods, and journals include those for guitar. Lists of
music are organized in broad general categories (Aires, Andantes,
Cantates, etc.) and must be searched for guitar-related materials.
A section listing musicians in France and foreign musicians includes
guitarists and builders. 600p.
Revtew: FontesArtisMus XXV1I/4 (1979) 313.

388 "I do not like the guitar! Being an examination of the

objections raised against that instrument". Gtultaniad III/1
(1833) 13-16.
For insights into attitudes towards the guitar in the early nine-
teenth century. An argument in favor of the guitar in opposition to
those who discredit it. Objections raised against the guitar are
considered and refuted. Giuliani's work with Hummel and Moschelles
is mentioned.

389 "On the capabilities of the guitar". Gtultantad III/1 (1833)

3-5.
For an early nineteenth century opinion of the value of the guitar.
A discussion of the guitar's potential and its advantages over other
instruments. Giuliani's contribution as a composer and as a performer
is mentioned.

390 "On the comparative merits of the piano-forte and guitar,

as an accompaniment to the voice". Giulitaniad III/1 (1833)
9-11. Reprinted in Soundb 1/4 (1974) 37-39.
A comparison of the guitar and of the pianoforte as accompaniment
instruments. The advantages of the use of each instrument in per-
formance are considered.

391 "Public concerts". Giuliantad III/1 (1833) 46-50.

Introductory remarks on the guitar as a concert instrument. Reviews
of seven concerts include an evaluation of the performers and a
97
(391-397) Early Six-String Histories

discussion of the repertoire. Mr. Pelzer and his eight year old
daughter are mentioned.
See also: 518-21 for readings on Ferdinand Pelzer and his daughters.

B. General Studies
392 ALVER, Alfred W. "The golden age of the guitar". Chestertan
II (Nov 1929) 37-41.
A brief discussion of the popularity of the guitar in the early
nineteenth century.

393 COX, Paul. "Considerazioni sui primi metodi per chitarra"

[A consideration of some early methods for guitar]. Fronimo
1X/34 Ganwsl98L) 5-15... Im Le.
Historical background on the evolution of the six-string guitar. The
stylistic developmentof musical repertoire and opinions on position
and technique are examined in a study of method books for guitar,
1770-1850. Source material is quoted. Bibliog. ref. in notes.

394 COX, Paul. "The evolution of playing techniques of the six-

stringed classic guitar as seen through teaching method books
from ca. 1780-1850". PhD diss., Musicology: Indiana Univer-
sity, 1978. UMI 7909683.
A detailed examination of the development of classic guitar technique
between ca. 1780 and 1850 based on an investigation of European and
American method books. The influencesof the literature and the de-
velopments in instrumental design before the six-string instrument
are considered. Instructional texts and musical repertoire are
discussed. 2 Append., bibliog., 234p.

395 GRUNFELD, FredericV. "Introduction to the music in this

issue". Guitark XLIV (Summer 1978) 21 (text), 22-33 (music).
Includes biographical information
on lesser-known early nineteenth-century
composers of guitar music: Antonio Maria Nava (1775-1828), Joseph Meisson-
nier "Le Jeune" (1790-ca. 1860), Guillaume Pierre Antonio Gatayes
(b. 1774). Music in facsim. for solo guitar and for guitar and voice
by Carulli, Carcassi, Nava, Meissonnier "Le Jeune", and Gatayes.

396 HASKINS, H. Wolcott. "The guitar

- facts not generally
known". Cadenza IV/1 (Sept-Oct 1897) 19.
Historical notes on some important European and American guitarists
of the nineteenth century. Includes a quotation of Berlioz's com-
ments on the guitar playing of Zani de Ferranti (1802-1878).

397 HECK, Thomas F. "Historical research. Mysteries in the

history of the guitar: chapter III". Guitarra (Chicago)
XL (Sept-Oct 1980) 10-12.
Theories on the transition from double stringing to single stringing
are suggested. Includes comments on the single-wire stringing of the
chttarra battente, a description of a five-string guitar by

98
Early Six-String Histories (397-402)
Ferdinando Gaglione (1774) as an important transitional instrument,
and the influence of the single-string lyre on guitar makers.

398 HECK, Thomas F. "Historical research. More about the transi-

tion from double strings (courses) to single strings".
Guitarra (Chicago) XLI (Nov-Dec 1980) 16-19.
Continued from Heck 397. Additional information on the transition
from double stringing to single stringing. An examination of two
French methods which provide important information on the transi-
tional period: Antoine Bailleux's Methdde (ca. 1773) for guitar of
four-courses and single chanterelle and A.M. Lemoine's Nouvelle
Methode (ca. 1808) for guitar of five single-strings. Tuning, tuning
heads, and notation are described. Illus. (facsim.), music (facsim.).

399 HECK, Thomas F. "Ricordi plate numbers in the earlier nine-

teenth century: A chronological survey". CurrentMustcol X
(1970) 117-24.
A survey of music published by Ricordi, 1808 to 1857, including
historical notes on the Ricordi publishing firm. A list of opera
arrangements includes arrangements for the guitar. Plate number,
date, composer, title, and instrumentation is given. ''Postscript"
is a survey of popular arrangements of Rossini's '"Zelmira" listing
plate numbers and catalogue citations of works including three
arrangements for guitar. Bibliog. ref. in notes.
See also: Heck 75.

400 HENZE, Bruno. Die Gitarre und thre Meister des 18. und 19.
Jahrhunderts [The guitar and its masters of the 18th and
19th centuries]. (Berlin: Verlag ad. Koster, 1920). In De.
Historical background includes a survey of tablatures from the
sixteenth through the eighteenth centuries. The Classical-Romantic
repertoire for guitar is described with a chapter devoted to the
biographies of Sor and Giuliani and to shorter biographies of other
significant composers. Port., music (tabl. and staff notation). No
bibliog. or index, 48p.

401 KITCHNER, W.J. "The history and development of the guitar".

Cadenza V/6 (July-Aug 1899) 5-7.
A survey of the activities and contributions of guitarists of the
early nineteenth century. Greatest attention is given to Ferdinand
Carulli. The careers of Dionisio Aguado, Fernando Sor, Matteo
Carcassi, and Giulio Regondi are also considered.

402 KOCZIRZ, Adolf. "Die Wiener Gitarristik vor Giuliani" [The

Viennese guitar school before Giuliani]. In 3 parts. DteGit
II/7 (Apr 1921) 71-73; II/8 (May 1921) 81-82; II/9 (June
1921) 93-95. In De.
Part survey of the guitar from the sixteenth
1: A general historical
century. Emphasis is on the history of the guitar in the eighteenth
and early nineteenth centuries. Notes on the lyra guitar and its
literature with a description of the instrument by Simon Molitor.

09
(402-407) Early Six-String Histories

Part 2: A discussion of the use and the popularity of the guitar in

Vienna in the late eighteenth and the early nineteenth centuries.
Quotations from source material include comments by Simon Molitor
from his publication (1804-06) concerning the popularity of the
guitar and the problem of dilettantism.
Part 3: A continuation of Molitor's discussion of the popularity of
the guitar and his opinion on the decline in musical taste in the
early nineteenth century. Comments on Molitor's contribution to the’
development of the guitar as a serious instrument. Important con-
temporaries of Molitor are mentioned.

403. MAHLING, Christoph-Hellmut. "Verwendung und Darstellung von

Volksmusikinstrumenten in Werken von Haydn bis Schubert" [The
utilization and depiction of folk-music instruments in the
works from Haydn to Schubert]. Volks- und Hockunst in Dichtung
und Mustk, 110-18. Tagungsbericht eines Colloquiums 19.-22.
10. 1966. Saarbricken. (Saarbrticken: Mw Inst. der U. des
Saarbriicken [1968]). Also in Jb. Osterretchischen Volks-
ltedwerks XVI (1968) 39-48. In De.
"Surveys those ways in which folk instruments were used, or their
sounds approximated by other instruments, in music from Haydn to
Schubert. Four instruments were prominent: the hurdy gurdy, bagpipe,
mandolin, and guitar. Viennese classical composers used these instru-
ments (or imitations of their sounds) to characterize peasants,
farmers, and foreigners, to depict musical genres (serenades, dance
music), or to illustrate the usual musical practice of the musicians
and their instruments." - Quoted from RIZM II/3 (Sept-Dec 1968)
3378as26,

404 OREL, Alfred. "Gitarrenmusik in Wien zur Zeit Beethovens"

[Guitar music in Vienna in the time of Beethoven].
OesterretchGitarreZ 1/3 (Feb 1927) 46-50. In De.

405 PEEL, Douglas. "Guitar composers". BMG LXIX/794 (June 1971)

2935 313.
Biographical sketches of Sor, Albeniz, and Granados.

406 PURCELL, Ronald C. "Guitar forum- the evolution of the

classic six-string guitar". In 2 parts. AmerStrT XXIII
(Summer 1973) 12; XXIV (Spring 1974) 58-59.
Part 1: "Introduction". A brief introduction to the history of guitar
composition with Fernando Sor mentioned as a composer of central im-
portance.
Part 2: "Fernando Sor". Quotations from Sor's introduction to his
method. Some general notes on the history of guitar notation. Port.
(author).

407 RIBOUILLAULT, Danielle. "La technique de guitare en France

dans la premiére moitié du siécle" [Guitar technique in France
in the first half of the century]. PhD diss., Music: Sorbonne,
1981. Available from the author, 20-C Avenue de la Republique,
94270 Le Kremlin Bicetre, France. In Fr.
Early Six-String Histories (407-413)

"It traces the evolution of both popular and 'learned' styles of

guitar playing through a study of early nineteenth-century documents
and methods." —- Quoted from Soundb VIII/3 (Aug 1981) 224.

408 SCHROTH, Andreas. "Dem Gesang verschwistert

- Die Gitarre in
der Romantik" [The sister of song-the guitar in the Romantic
period]. Mustca XXXIII/1 (Jan-Feb 1979) 23-26. In De.
The rise in the popularity of the guitar in the early nineteenth
century is attributed to its role as an accompaniment instrument and
to the free-voiced, simple style of the available music. The contem-
poraneous rise in the virtuoso movement of guitarists is considered
including a summary of Simon Molitor's contributions to the develop-
ment of the guitar as a serious instrument. Bibliog. ref. in notes.

409 SCHWARZ-REIFLINGEN, Erwin. "Beitrage zur Geschichte der

Gitarristik nach 1840" [Contributions to the history of the
guitar after 1840]. In 5 parts. DteGit IV/9 (June 1923) 65-
68; IV/10-11 (July-Aug 1923) 74-78; IV/12 (Sept 1923) 90-93;
V/1 (Oct-Nov 1923) 103-05; V/5-6 (Feb-Mar 1924) 35-39. In De.
A history of the guitar in the late nineteenth century with emphasis
on the history of the guitar in Germany. Includes a history of the
Leipzig Guitar Club and of the International Guitar Club. A survey
of performers and composers of the period 1788-1845 is given as
background (in part 1).

410 ANNO, John C. "The pentagonal foundation of classic guitar

culture". Fretts II (July-Aug 1959) 24-25.
A short survey of the contributions of the following important
guitarists of the nineteenth and twentieth centuries: Sor, Giuliani,
Aguado, Tarrega, and Segovia.

411 TEMPEL, Hans. "Pariser Gitarrenkonzerte 1829-1839, nach den

Berichten der Revue und Gazette mustcale de Parts" [Parisian
guitar concerts 1829-1839, according to the reports in the
Revue et Gazette musicale de Parts]. Gfreund XXVII (1926)
92-96, 108-11, 140-43. In De.

412 WADE, Graham. "The guitarist's repertoire". BMG LXVIII/792

CApTEo fl) 223.
A survey of selected compositions by early nineteenth-century
composers Sor, Giuliani, Carcassi, Aguado, Carnwilis wandaGosie.

413. ZUTH, Joseph. "Die Leipziger Allgemeine mustkalische Zettung

(1798-1848) als gitarristische Quelle" [The Allgemeine
mustkaltsche Zeitung (1798-1848) of Leipzig as a source for
the guitar]. In 12 parts. DteGit 1/4 (Jan 1920) 64-65; I/5
(Feb 1920) 83-85; I/6-7 (Mar-Apr 1920) 102-04; I/8 (May 1920)
123-24; 1/9 (June 1920) 140-41; G/i1.02 (Jud-yu 19206 156-57 s eho
(Aug 1920) 168, 170; 1/12 (Sept 1920) 183-84; II/1 (Oct 1920)
Dea eee 2a Novel 20)pdie 125,00) 11. (Aug 1921) 115-17; 11/12
(Sept 1921) 127-30. In De.

101
(413-415) Early Six-String Histories

Part. [526/532 Introductory remarks to a survey of the literature in

the Allgemeine Mustkalische Zeitung in which references to early
nineteenth-century guitarists are included.
Part 23°1/5*° Not avallable.
Part 3, I/6-7: Reviews of concerts by guitarist Luigi Legnani in
Germany and Switzerland in the years 1823, 1824, 1829, 1833, 1837-
1839. Repertoire performed is listed. Notes on an 1837 congert in-
cludes a reference to a performance by Paganini.
Part 4, 1/8: Reviews of concerts by the young Giulio Regondi
(1822-1872) in Paris, London, Germany, and Austria. Repertoire
performed is listed. Performance with Joseph Lidel, ‘cellist, is
mentioned.
Part 5, 1/9: Review of a concert in Germany in which Giulio Regondi
played guitar and melophone (a portable accordion with keyboard).
Joseph Lidel, ‘cellist, is also mentioned. Repertoire is listed.
Part 6, I/10: Review of a concert in which Giulio Regondi played
guitar and melophone. Joseph Lidel, ‘cellist, is mentioned.
Repertoire is listed.
Part 7, I/1l: Review of concerts in which Giulio Regondi played
guitar and melophone. Joseph Lidel, 'cellist, is mentioned.
Repertoire is listed.
Part 8, I/12: Review of concert in which Giulio Regondi played
guitar and concertina. Concertina is described.
Part 9, II/i: A description of the doppelgitarre, a type of melo-
phone. This instrument is not related to the guitar.
Part 10, II/2: Further comments on the doppelgitarre. Parisian
instrument makers, sellers, and players are mentioned.
Part 11, II/11: Biographical information on Luigi Legnani (1790-
1877). Information from Legnani's 1829 passport and from his record
of death and obituary notice are reprinted from the periodical IZ
Plettro (Milan) XIII/5. Biographical information on Franz de Paula
Stoll, Viennese guitar master and student of Giuliani. Reviews of
German concerts by Stoll in 1825. Repertoire is listed.
Part 12, II/12: Reviews of concerts in Germany in the 1830s and
1840s. Repertoire is listed.

C. Individual Composers and Performers

AGUADO, Dionisio (1784-1849)

See dled’ 32, 110, 401.9410; 4125) 568," 8105: 814

414 AGUADO, Dionisio. Hints to guttar players with a desertption

oyvune tripodion ete] (London? n.d)
Itbrary locations: GB CU (Mus. 25. 8. (4)).
The tripodion, an invention by Aguado, is a machine used for sup-
porting the guitar while playing.

415 BOHR, Heinrich. "Aus der Aguadoschule" [On the Aguado school].
ZfdG IV/11 (ec 1925) 12-14. In De.
102
Early Six-String Histories (416-423)
416 BONE, Philip J. "Dionisio Aguado". Cadenza IX/1 (Sept 1902)
10-11.
A short biographical sketch of Aguado. List of some works.

417 HUTTIG, H.E. IL. "The tripéddison of Dionisio Aguado". GuttarR

XXXIX (Summer 1974) 23-25.
A translation of material from Aguado's Nuevo Metodo de Guitarra
(n.d.). Aguado's arguments in favor of his invention, the trtpodison
and his detailed instructions for use are given. The dating of the
Nuevo Metodo is discussed. The name tripddison is changed to trtpode
or maquina in the 1843 edition of Aguado's Metodo. Illus.

418 JEFFERY, Brian. "I metodi per chitarra di Dionisio Aguado"

[The guitar methods of Dionisio Aguado]. Fronimo VIII/30
Cianel980)17=25.. “In Its
A study of the contents of the five editions of Aguado's guitar
method, 1825, 1834, ca. 1837, 1843, and 1849. Music, bibliog. ref.
in notes.

419 JEFFERY, Brian. "La tecnica di unghia e polpastrello secondo

Dionisio Aguado" [The nail-with-flesh technique according to
Dionisio Aguado]. Frontmo VIII/33 (Oct 1980) 14-20. In It.
A study of Aguado's theories on the nail-with-flesh right-hand tech-
nique as discussed in his methods (1825-1850). Comparison to
Segovia's technique. Conflicts in opinion between Sor and Aguado
and Sor's influence on Aguado are discussed. Quotations from the
sources.

420 LEDHUYE, Adolphe. "Aguado". DteGtt X/9-10 (1929) 79-80. In

De.
Biographical information on Aguado. Praise of his ability and of
his main contributions to technique and pedagogy. Sor's comments
on Aguado are noted. Includes introductory comments on past tradi-
tions in pedagogy.

421 ROBERTS, John. "Historical notes. The tripod". Guitar V1/6

(Jan 1978) 22-23.
Remarks on the tripod, invented by Aguado, which include quotations
by Aguado and by Sor. Illus., port.

422 STEWART, Jimmy. "The guitarist as a complete musician.

Dionisio Aguado: a tribute". GuztarP VII/5 (July-Aug 1973)
44,
Biographical sketch of Aguado mentioning his compositions and his
activities as a guitarist. Music (by Jimmy Stewart).

423 VELASCO, Venancio Garcfa. ''Consejos tecnicos de Dionisio

Aguado" [The technical advice of Dionisio Aguado]. Guitarra
(Madrid) IV/28 (Dec 1966) 2, 7-9. In It.
A list of 100 rules concerning guitar technique by Aguado.

103
(424-429) Early Six-String Histories

ARCAS LACAL, Julian Gavino (1832-1882)

Sé2 *aleoe32 wek0

424 "Julian de Arcas". Guttarra (Havana) II/2 (June 1941)

between pages 16 and 17. In Sp.
A survey of the life and works of Arcas. His date of death is given
here as 1888 in conflict with the date 1882 cited by other authors.

425 ROBERTS, [John] D. "Julian Arcas". Guitar IV/12 (July 1976)

5-7.

Biographical information on Arcas is based on the research of Prat

54. Reviews of Arcas's 1826 concerts in England are included.

426 ROMANILLOS, Jose. "Julian Arcas, 1832-1882". La Vos de Almeria

(21 April 1976).

BASILIO, Padre [né Miguel Garcia]

427 POSELLI, Franco. "L'enigmatica figura di padre Basilio"

[The enigmatic figure of Padre Basilio]. Fronimo 1/3 (Apr
1973) 27-29.
A discussion of the importance of Padre Basilio in the history of
the guitar. Padre Basilio has been accredited with the introduction
of the sixth string to the guitar and with re-establishing the
punteado technique. The research of authors Domingo Prat, Rafael
Mitjana, Emilio Pujol, José Subira, and Mariano Soriano Fuertes is
evaluated. Music, bibliog. ref. in notes.

BERLIOZ, Hector (1830-1869)

BeelaleO 30,5 390.0 51550 642

Modern Edtittons

428 BERLIOZ, Hector. "Berlioz' Treatise upon modern instru-

mentatton and orchestration" Chelys 1/1 (1976) 20-24.
A reprint of the section on the guitar from Berlioz's Treatise.
TMNT
Se MUS Cre

429 BERLIOZ, Hector. Traité d'instrumentation et d'orchestratton

[Treatise on instrumentation and orchestration]. Nouvelle
édition suivie de "l'art du Chef d'orchestre". Appendice par
Ch. M. Widor. (Paris and Brussels: Henry Lemoine et Cie,
[1856]). Facsim. reprint (Westmead, Farnborough, Hants.,
England: Gregg International Publishers Limited, 1970).
1h9Yl Ssob
Berlioz's treatise was originally published in 1844. The section on
"the guitar", p. 83-86, gives Berlioz's consideration of the guitar's

104
Early Six-String Histories (429-435)
tuning, technique, technical difficulties, and harmonics. Berlioz
offers opinions on and recommendations for composing for the guitar.
Music.

430 BERLIOZ, Hector. A treatise upon modern tnstrumentatton and

orchestration, opus 10. Trans. from the French by Mary Cowden
Clarke. Second ed. (London: Novello, Ewer and Co., 1858).
An English translation of Berlioz's Treatise. Section on "the
guitar", p. 66-70.

431 BERLIOZ, Hector. Instrumentationslehre [Treatise on instru-

mentation]. Erganzt und revidiert von Richard Strauss.
Revision und ubersetzung eigentum des verlegers. (Leipzig:
Cree Peters. 1905)4 (2-,ein Dex
A German edition of Berlioz's Treatise, revised and enlarged by
Richard Strauss. Section on "Die Gitarre", p. 156-60. An excerpt
from Verdi's Otello, Act II, score with guitar part, p. 160-62.

432 BERLIOZ, Hector. Treatise on instrumentation. Enlarged and

revised by Richard Strauss including Berlioz's essay on con-
ducting. Trans. by Theodore Front. (New York: Edwin F.
Kalmus, 1948).
An English translation of Strauss's 1905 German edition. Section on
"the guitar", p. 145-47. Music (an excerpt from Verdi's Otello with
guitar part, p. 148-50).

433 BERLIOZ, Hector. "Sammlung historischer Quellen. Hector

Berlioz" [Collection of historical sources. Hector Berlioz].
In 2 parts. GitarreLaute II/3 (May-June 1980) 22-24; I1/4
(July-Aug 1980) 24-25. In De.
A German translation of the section on the guitar from Berlioz's
Grand tratté d'instrumentatton et d'orchestratton modernes (Paris,
1843). Music.

Secondary Works

434 DELL'ARA, Mario. "Hector Berlioz. 'Il signore che suona la

chitarra francese'"' [Hector Berlioz. 'The man who plays the
French guitar']. Frontmo V/18 (Jan 1977) 6-14. In It.
A biographical survey of the life of Hector Berlioz with emphasis on
Berlioz's involvement with and attitudes toward the guitar. Extensive
quotations from his Memoirs and other sources. Includes a discussion
of his Treatise on tnstrumentation. Bibliog. ref. in notes.

435 HENKE, Matthias; STEGEMANN, Michael. "Hector Berlioz

-— frithe
Manuskripte mit Gitarrenmusik" [Hector Berlioz- early manu-
scripts with guitar music]. GitarreLaute I1/6 (Nov-Dec 1980)
46-52. In De.
Description and background of the works contained in two early manu-
scripts by Berlioz. The first, entitled "Recueil de Romances avec
accompagnement de guitarre", contains arrangements of twenty-five

105
(435-443) Early Six-String Histories
Romances to which Berlioz added guitar accompaniment. The second
contains a variety of dances and other pieces with added guitar
accompaniment. Includes a history of the guitar in early nineteenth-
century Paris and notes on Berlioz's interest in the guitar. Port.,
illus J¢ciconog.’,smusic (facsimy). bibliog... rel. inanotes.

436 LEGOUVE, Ernest. Sotxante ans de souvenirs [Sixty years of

recollections]. 2 v. (Paris: J. Hetzel et Ct©, Editeurs,
1886). In Pr.
V. 2, ch. XVI "Hector Berlioz" contains a reference to the guitar
playing of Hector Berlioz, p. 294-95. V. 1, 398p. V. 2, 384p.

437 LEGOUVE, Ernest. Sixty years of recollections. 2 v. Trans.

with notes by Albert D. Vandam. (London and Sydney: Eden,
Remington and Co., 1893).
An English translation of Legouvé 436 with a reference to Hector
Berlioz s.cuitar playdate dan vee 26 ch a, pl 222-23.) Wer » 3 25p.
Vor2, ooUp.

438 MOSER, Wolf. "Die Gitarre im Leben eines romantischen

Komponisten" [The guitar in the life of a romantic composer].
GitarreLaute II/4 (July-Aug 1980) 26-34. In De.
Berlioz's interest in and use of the guitar is considered; extensive
quotations of selections from his Memotrs contain references to the
guitar. His compositions for guitar include two books of songs with
guitar accompaniment of which only fragments are extant. Includes
discussions of Berlioz's use of the guitar in "Faust", "Les
Troyens", "Benvenuto Cellini", and "Beatrice et Bénédict". Port.,
music (facein.):.

439 ZUTH, Josef. "Die Gitarre des Hector Berlioz" [The guitar of
Hector Berlioz]. ZfdG 1/4 (Apr 1922) 8-11. In De.

BOCCHERINI, Luigi (1740-1805)

See also 508

440 BONE, Philip J. "Luigi Boccherini". Cadenza X1/10 (June 1905)

10-12.
A short survey of the life and works of Luigi Boccherini.

441 OPHEE, Matanya. Lutgt Boccherini's guitar quintets

- new
evtdence. (Boston, Mass: Editions Orphée, Inc., 1981). 88p.

442 PENNINGTON, Neil. "The guitar transcriptions of Luigi

Boccherini". ProcAmerStrTAssoc. Nattonal Guitar Symposium
(1977) 101-09.

443 ROTHSCHILD, Germaine de. Lutgt Boecherint. Hts life and work.
Trans. by Andreas Mayor. (London: Oxford University Press,
L9G)
106
Early Six-String Histories (443-448)

A biographical study of the career and compositions of Boccherini.

Of particular interest is Boccherini's reference to his quintets
with a guitar part in letters to Ignace Pleyel, p. 131, 136 (in-
correctly indexed). Illus., bibliog. (including MSS and printed
sources), index, 154p.

444 SCARLATTI, Vincenzo. "Clasicos Antiguo". Guttarra (Chicago)

V/25 (March-Apr 1967) 16-18.
A biographical survey of the life and works of Luigi Boccherini.
Port. (Boccherini).

CANO, Antonio (1811-1897)

See 110

CARCASSI, Matteo (1792-1853)

See also 135 4013412, 810

445 BONE, Philip J. "Matteo Carcassi". In 2 parts. Cadenza

XIII/5 (Jan 1907) 15-18; XIII/7 (Mar 1907) 10.
Part 1: A biographical survey of the life and works of Carcassi.
A description of his Method includes a quotation from the preface
of the first edition.
Part 2: Some important compositions and arrangements are mentioned.

446 NEWCOMB, A.H. "Guitar formerly in the possession of Matteo

Carcassi". Cadenza XIII/11 (July 1907) 11-12.
A detailed description of a guitar purchased from Carcassi in 1849.
Dimensions are given.

447 STEWART, Jimmy. "The guitarist as a complete musician. Matteo

Carcassi: a tribute". In 2 parts. GuitarP VII/6 (Sept 1973)
Zora 1/7) (OCts 1973) 244.
Part 1: A biography of Carcassi. Includes a description of
Carcassi's concert guitar.
Part 2: A description of Carcassi's Complete method for the guitar
with a quotation from the preface of the original edition. Music
(by Jimmy Stewart).

CARULLI, Fernando (1770-1841)

See dlseowlosnaOl 412, 64675 (567

448 APPLEBY, Wilfrid M. "Carulli". GuttarN VII (June-July 1956)

A Se 7 ee of the career of Fernando Carulli addressed to the

student.

107
(449-456) Early Six-String Histories

449 "Biography of a composer. Fernando Carulli". Guitarra

(Chicago) II/6 (Jan-Feb 1964) 16.
A brief survey of the life and works of Carulli.

450 BONE, Philip J. "Ferdinando Carulli". In 2 parts. Cadenza

X/4 (Dec 1903) 41; X/5 (Jan 1904) 10-13.
A biography of Carulli with a description of representative works
(publisher, place cited).

451 DANNER, Peter. "Return with us now. Soundboard's featured

facsimile. Carulli's ‘Spanish connection''. Soundb V/4
(Nov 1978) 118-19.
Introductory notes to the facsimile reprint of the bolero from
"Trois morceaux a l'Espagnole" of opus 22 by Carulli. Some bio-
graphical information on Carulli. Description of the bolero.

452 DELL'ARA, Mario. "Ferdinando Carulli (1770-1841). Indagine

preliminare sulla vita e sull' opera. Elenco delle opere di
Ferdinando Carulli" [Ferdinando Carulli (1770-1841). A pre-
liminary study of his life and works. List of works by
Ferdinando Carulli]. Fronimo VII/28 (July 1979) 5-23. In It.
A report of some important observations made by the author in his
research in libraries in Torin. Chronological list of valuable
biographical literature (1826-1971) on Carulli with annotations
and quotations. Chronological list of significant events in
Carulli's life. List of works (with and without opus number. MSS
and printed editions, commentary and library locations).

453. KOLON;* V.- "Gustav Carulli".' Mfa@us 1 (1927). 1: In De.

CALL, Leonard von (1779-1815)

See also 499

454 BONE, Philip J. "Leonard de Call". Cadenga XII/4 (Dec 1905)

10-11.
Biographical information on Call with a list of some important works
(publisher, place given).

455 MAUERHOFER, Alois. "Leonard von Call- Musik des Mittelstandes

zur Zeit du Wiener Klassik" [Leonard von Call
- Music of the
middle class in the time of the Viennese Classical Era]. PhD
diss., Music: University of Graz, 1974. In De.

456 LIBBERT, Jurgen. "Fachliteratur fiir Gitarristen. Disserta-

tionen" [Special literature for guitar. Dissertations].
GitarreLaute I/1 (1979) 47. In De.
An annotation of Mauerhofer 455.

108
Early Six-String Histories (457-463)
COSTE, Napoleon (1806-1883)

See also 412, 499

457 GELAS, [Lucien]. "Biographische Notiz tiber Napoleon Coste"

[Biographical notes on Napoleon Coste]. DteGit VIII/11-12
(Nov-Dec 1927) 82. In De.
A short biography of Coste.

458 GIORDANO, M. "Napoleon Coste e le sue opere" [Napoleon

Coste and his works]. Plettro XXX (1934-35) 68f£. In It.

459 RISCHEL, Thorvald. "Bibliographische Notizen zu den

Gitarrenwerken von Napoleon Coste" [Bibliographical notes
on the guitar works of Napoleon Coste]. DteGit VIII/7-8
(July-Aug 1927) 47-51. In De.
A survey of the career of Coste from 1840 with a consideration of
the problems of the decline in the guitar's popularity in the mid-
nineteenth century. Catalogue of Coste's works for guitar (pub-
lished and in MS, organization by opus number). Analytical remarks
on individual works. Bibliog. ref. in notes.

460 SCHWARZ-REIFLINGEN, Erwin. "Costes Bearbeitung der Sor-

Schule" [Coste's revision of the Sor Method]. DteGit VIII/
7-8 (July-Aug 1927) 51-52. In De.
Commentary on Sor's method and its editions. Description of Coste's
simplified edition of Sor's method.

461 SCHWARZ-REIFLINGEN, Erwin. "Napoleon Coste". DteGit VIII/7-8

(July-Aug 1927) 43-47. In De.
A survey of the life and works of Coste with remarks on the decline
of the popularity of the guitar in the mid-nineteenth century and
its effect on Coste's career.

462 STEWART, Jimmy. ''The guitarist as a complete musician.

Napoleon Coste: a tribute". GuttarP VII/4 (May-June 1973)
48.
A biography of Coste with notes on his activities as a guitarist
and as a composer. Music (by Jimmy Stewart).

DIABELLI,
Anton (1781-1858)

See also 499

463 BICKFORD, Vahdah Olcott. "Anton Diabelli and his music".

GuttarN VIII (Aug-Sept 1952) 7-8.
A general survey of the career of Diabelli. Little information on
his activities as a guitarist and as a composer for the instrument
is given.

109
(464-468) Early Six-String Histories

464 BONE, Philip J. "Anton Diabelli". Cadenza IX/3 (Nov 1902)

10-11.
A short biographical sketch of Diabelli with a list of some prin-
cipal works for guitar.

465 HAAS, Robert. "Ein Trauermarsch Anton Diabellis ftr Gitarre"

[A funeral march for guitar by Anton Diabelli]. ZfdG V/4
(June 1926) 77-80. In De.

FERANDIERE, Fernando

See also 266

466 KOCZIRZ, Adolf. "Alte Gitarrenmusik. Fernando Ferandiere:

Dte Kunst, die spantsche Gttarre musikaltsch gu sptelen
(1799)"" [Old guitar music. Fernando Ferandiere: The art of
playtng the Spanish guttar (1799)]. DteGit III/11 (Aug 1922)
95-98. In De.
A discussion of the contents of Ferandiere's 1799 publication en-
titled Arte de tocar la guttarra espanola. Ferandiere's theoretical,
pedagogical, and technical considerations are mentioned. Biograph-
ical information is given on Ferandiere. Works for solo guitar and
for guitar with other instruments are listed. Music (transcr.,
"Polaca", "Rondo", between p. 100-01).

FERRANTI, Marco Aurelio Zani de (1800-1878)

See also 96, 100, 396, 931

467 FETIS, [Frangois]. "La guitare et Zani de Ferranti". RM

VIII/4 (1834) 27-29. In Fr.
Ferranti is praised for his ability as a guitarist. The author
objects to the biases shown by many reviewers against the guitar
and argues in favor of the instrument. Also includes the author's
recollections of Carulli's performance on guitar and Dussek's per-
formance on piano.

GIULIANI, Mauro (1780-1829)

06@: ALBO13, 380.389, 1389, 400 2410. 412. 499 5 516. 540 a 564,
613.616, 631.

468 "Giuliani". Gtultaniad III/1 (1833) 7-8. Reprinted in GuitarR

XVIII (1955) 177-78.

A portrait of Giuliani as a performer includes a quotation of

remarks by Horetzky in praise of Giuliani.

110
Early Six-String Histories (468-474)

469 BONE, Philip J. "Mauro Giuliani. Biographical sketch". Guitark

XVIII (1955) 171-74. A reprint of Bone 51.
A detailed survey of Giuliani's career and compositions. Contains
inaccuracies. Several works are mentioned. Port. (Giuliani).
See also: Burtniek 472 for corrections.

470 BONE, Philip J. "Mauro Giuliani. Guitar Virtuoso and

Composer". Cadenza X/2 (Oct 1903) 10-15.
A biographical sketch of Giuliani. List of compositions.

471 BOTET, Maria Emma. "Notas sobre algunos compositores

italianos" [Notes on some Italian composers]. Guttarra
(Havana) II/3 (Dec 1941) 7. In Sp.
A short survey of the life and works of Mauro Giuliani and Felipe
Gragnani (b. 1767).

472 BURTNIEKS, J.A. "Editorial. Mauro Giuliani in England".

GuttarR XIX (1956) inside cover.
Corrections of Bone's article 469 based on the research of Prof.
Ro6mulo Ferrari. Dates of birth, death, and activities in London
are verified.

473 ELLIKER, Calvin. "Historical observations on the romance

La Senttnelle with a comparison of the variations of this
theme composed by Mauro Giuliani and Fernando Sor". Soundb
IV/4 (Nov 1977) 81-94.
A detailed study of the versions of the romance entitled La
Senttinelle by Giuliani, Johann Nepomuk Hummel (1778-1837), and
Fernando Sor. Historical background is based on a study of avail-
able sources which include references to performances. A comparison
of the works by Giuliani and Hummel and by Giuliani and Sor includ-
ing analysis. Music, ''Text and translation of La Sentinelle".
List of sources (title, instrumentation, composer, locations).
Bibliog. ref. in notes.
See also: Ophee 483 for a refutal of theories concerning authorship.

474 HECK, Thomas Fitzsimons. "The birth of the classic guitar

and its cultivation in Vienna, reflected in the career and
compositions of Mauro Giuliani (d. 1829)". PhD diss., Music:
Yate University, 1970. 2 vii UME°71-16249:.
V. 1: A detailed biography of Giuliani and a study of his composi-
tions. Extensively researched with a thorough examination of impor-
tant source material. Includes general historical background on the
classic six-string guitar, guitar construction, and systems of
notating guitar music. Musical analysis. Port., illus., music,
append., bibliog., 286p.
V. 2: Thematic Catalogue of the Complete Works of Mauro Giuliani.
Main categories are "Works with opus number", "Works without opus
number", "Posthumous works without opus number". Rubrics used by

Asta
(474-478) Early Six-String Histories
the author are "incipits", "autograph", "first edition", "authen-
tication", "copy" (library location), "date", "later editions",
"comments". Append., 218p.
See also: RILM IV/2 (May-Aug 1970) 1834dd2®; Heck 475 for a summary.
475 HECK, Thomas Fitzsimons. "A new dissertation on the guitar".
GuttarN CXII (Apr-June 1971) 3-5.
Heck's summary of his dissertation 474.

476 HECK, Thomas Fitzsimons. "Giuliani in Italia". In 3 parts.

Frontmo I1/8 (July 1974) 16-22; I1I/9 (Oct 1974) 19-28;
LIL/10«.63an01975),.13=17..
Part 1: A biographical investigation of the life of Giuliani.
Includes many quotations from sources. Main sections in the text are
"Primi anni (1781-1806)" [The first years (1781-1806)] and ''Perché
Giuliani lascio 1'Italia?" [Why did Giuliani leave Italy?]. The
author suggests reasons for Giuliani's departure from Italy based on
a study of musical, social, political, and publishing conditions in
Italy at the end of the eighteenth century. Port. (Giuliani), illus.
(facsim. of baptismal deed; frontispiece of op. 5), music (facsim.,
Gp.alon. pret), Dibidog., rel. in notes:
Part 2: A study of the life of Giuliani during the years 1819-1824.
Many quotations of source material. Main sections in the text are "Il
ritorno in patria (1819-1824)"" [Return to the country (1819-1824)],
"1819-1820: Giuliani in Italia Settentrionale" [1819-1820: Giuliani
in northern Italy], "1820-1823: 'Giuliani @ a Roma’, (dai ‘Quaderni
di conversazione di Beethoven')" [1820-1823: ‘Giuliani is in Rome',
(from the 'Booklet of the conversations of Beethoven')]. Port.
(Giuliani), illus. (facsim. of 1819 letter and frontispiece, op.
108), music (facsim.), bibliog. ref. in notes.
Part 3: A study of the life of Giuliani during the years 1824-1829.
Many quotations of source material. Main sections in the text are
"Perché Giuliani si recd a Napoli?" [Why did Giuliani go to Naples?],
"La situazione musicale a Napoli" [The musical situation in Naples],
"Giuliani a Napoli" [Giuliani in Naples], "L'eredita artistica di
Giuliani" [The artistic heredity of Giuliani]. Port., illus.,
bibliog. ref. in notes.

477 HECK, Thomas Fitzsimons. "Giuliani's works for guitar and

orchestra (or string quartet): A bibliography". Soundb II1/2
(May 1976) 23.
A list of seven works by Giuliani (3 concertos, 4 others in theme
and variation form). Includes information on sources, modern edi-
tions, dates of first performance, and first publication.

478 HECK, Thomas Fitzsimons. 'Mauro Giuliani, birth and death

dates confirmed". GuttarR XXXVII (Fall 1972) 14-15.
Giuliani's birth and death dates are confirmed from a study of
evidence in contemporary documents. Illus. (facsim. of baptismal
record).
 Early Six-String Histories (479-485 )
479 HECK, Thomas Fitzsimons. "Mauro Giuliani, birth and death
dates established". GuttarN CXIV (Oct-Dec 1971) 4-7.
Giuliani's birth and death dates are confirmed in a study of evi-
‘dence found in contemporary documents. Giuliani's baptismal record
and his death notice in the Gtornale del Regno delle Due Sicilte
are quoted in translation. 2 pl. (facsim.).

480 HECK, Thomas Fitzsimons. "Return with us now. The Soundboard's

featured facsimile". Soundb I/3 (Aug 1974) 22-23.
Brief introductory notes to Giuliani's guitar duet op. 69, "La lira
notturna". Description of the work, historical background included.
~ Music (facsim. of "Andante sostenuto no. 3" from op. 69).

481 KOCZIRZ, A. "Wiener hss. von Mauro Giuliani" [Viennese

manuscripts by Giuliani]. MHaus I/2 (1927). In De.

482 MAGULA, George. "The guitar concertos of Mauro Giuliani".

Soundb II1I/2 (May 1976) 22-23; reprinted in Guitar V/4 (Nov
297Oo ies
A discussion of the general characteristics of orchestration,
musical style, and the idiomatic writing for the guitar in
Giuliani's concertos_op. 30 (1810), 36. (1812), and 70 (18167).
Bibliog. ref. in notes.

483 OPHEE, Matanya. "Who wrote La Sentinelle?". Soundb VIII/2

(May 1981) 75-79.
A response to spurious assumptions concerning the authorship of La
Sentinelle in Elliker 473. Available sources indicate that the
French composer Alexander Etienne Choron is the original composer
of "La Sentinelle", not Giuliani, Hummel, or Diabelli. Bibliog. ref.
in notes, music.

484 SHULFER, Glen. "Mauro Giuliani: Grand concerto, op. 30. A

comparative analysis of various editions. Part I: orchestral
and string quartet versions". Soundb V/3 (Aug 1979) 77-81.
Six editions of the Grand Concerto, op. 30 are listed as available
in the Archives of the Guitar Foundation of America. The editions
are evaluated. The original version for guitar and quartet is com-
pared to the editions for guitar and orchestra. Music, bibliog. ref.
in notes.

GRAGNANTL, Felipe (b. 1767)

See 471

HORETZKY, Felix (1796-1870)

See also 87, 468

113
(485-490) Early Six-String Histories

485 BONE, Philip J. "Felix Horetzky". Cadenaza 1X/6 (Feb 1903)

10-11. doe
information on Horetzky. List of some compositions for
Biographical
guitar.

486 HECK, Thomas F. "Horetzky e la Giulianiad" [Horetzky and

The Gtultantad]. Frontmo III/12 (July 1975) 23-26. In It.
Accounts of Horetzky and his publications of music as recorded in
The Gtultantad. Includes reviews of his publications. Historical
background on the periodical The Giultantad, the first periodical
devoted to the guitar. Music, bibliog. ref. in notes.
See also: RILM IX/1-2 (Jan-Aug 1975) 1182ap2/.

487 POWROZNIAK, Jozef. "Felix Horetzky, un grande maestro della

chitarra" [Felix Horetzky, a great master of the guitar].
FPronimo U11/12 Cully 1975) 19-22. In It.
A detailed biography of Horetzky. List of works for guitar, for two
guitars, and for guitar and voice, with and without opus numbers.
Horetzky's transcriptions are included. Music ("Valzer" by
Horetzky).

HUERTA Y KATURLA [CATURLA], Don Trinidad (1804-1875)

Seer OR Was

KREUTZER, Joseph (1780-1849)

488 DANNER, Peter. "Return with us now. Soundboard's featured

facsimile. Kreutzer's variations on 'God save the king'".
Soundb VIII/1 (Feb 1981) 24 (text), 25-27 (music).
Introductory remarks to the facsimile of Kreutzer's variations on
"God save the king" from Madame Sidney Pratten's Guitar School.
Includes historical background and commentary on the composition.
Biographical information on Kreutzer and on Madame Pratten.

LEGNANI, Rinaldo Luigi (1790-1877)

See atso 413, 499; 515

489 FERRARI, Romolo. "A guitarist of yore". Chestertan X1/86

(Apr-May 1930) 169-74.
A biographical sketch of Rinaldo Luigi Legnani.

490 ROSSATO, Daniela. "Luigi Rinaldo Legnani". Frontmo VI1I/27

(Apr 1979) 5-15. In It.
A study of the life and works of Legnani. List of first editions of
works with their library locations cited. A catalogue of works with
and without opus number (publisher). Illus., music, bibliog. ref.
in notes.
114
Early Six-String Histories (491-495)

491 "Dalle antiche cronache" [Of old reports]. AChttarrtstica

1/4. (Aug 1947) 7. In It.
Quotation of the announcements of and the commentary published after
two concerts (1818) by Legnani. Program cited.

492 "Il terzo concerto Legnani a Modena nel 1819" [The third
concert of Legnani in Modena in 1819]. AChitarristica I/4
(Aug 1947) 8. In It.
Historical notes on Legnani's 1819 concert in Modena. Program is
listed. Quotation of the correspondence between Legnani and the
Societa Filarmonica Modenese preceding the concert.

MATIEGKA, Wenzelslaus Thomas (1773-1830)

See also 499, 535-37, 539

493 LIBBERT, Jtirgen. "Ein unbekanntes Werk des béhmischen

Gitarristen Wenzel Matiegka" [An unknown work of Bohemian
guitarist Wenzel Matiegka]. GitarreLaute I/5 (1979) 14-16,
18-20, 22-24. In De.
A study of the life and works of Matiegka including a summary of
past research, extensive biography, and an examination of selected
compositions with emphasis on a description of the little-known work
"XII Piéces Faciles", op. 3. Also discussed are the following topics:
"ZwOlf Kichte Landler™ op. 1 and "Sonate Nr. I", often confused, are
distinguished; background is given on the theme of "Caprice avec
variations" (Ich bin liederlich-Du bis liederlich)", op. 23 a
history of the trio "Noturno pour flute, viole, et guitarre", op.
21 with a comparison to Schubert's quartet version. Modern editions
are cited. List of works with and without opus numbers includes a
citation of the publisher (place) of the first edition of each work
according to Whistling, Bone (51), and Kramer, "Matiegka' (MGG VIII).
iildus.. (tacsims), music Clacsim., incipits), bibliog. ref. in notes,
append. (bibliog. of lit. and of modern editions of music).

MERTZ, Johann Kaspar (1806-1856)

See also 499

ROAMEEBONE Sebilio ds. J-K. Mertz’. Cadenza XI11/12)\(Aug 1907)

15-19, 40-41.
A detailed biographical sketch of Mertz. List of works (publisher,
place).

495 MERTZ, Josephine, née Plantin. "Life of the late J.K. Mertz".
Trans. by J.M. Miller. Cadenza 1/3 (Jan-Feb 1895) 4.
A translation by J.M. Miller of the biographical information on
Mertz supplied to Miller by Mertz's wife, Josephine, née Plantin.

ls)
(496-501) Early Six-String Histories

496 OPHEE, Matanya (contributor of music) and Soundboard's

editorial staff (annotation). "Return with us now. Sourd-
board's featured facsimile". Soundb VI/2 (May 1979) 50 (text),
51 (title page), 52-55 (music):

Introductory notes to Mertz's transcription for voice and guitar of

Schubert's "Stdndchen". Biographical information on Mertz is given.
Tllus. .(facsim. of title page), music.

497 TYLER, Thomas C.B. "Some compositions by Mertz". Crescendo

TEL/8°(Feb 19Lb)?:.
A survey of the compositions and arrangements of Mertz. Brief
descriptions of selected works included.

MOLITOR, Simon (1766-1848)

See also 402,-408

498 PRUSIK, Karl. "Eine kurze Betrachtung der Gitarrewerke von
Simon Molitor (1766-1848) und Ferdinand Sor (1780-1839)"
[A short consideration of the guitar works of Simon Molitor
(1766-1848) and Fernando Sor (1780-1839)]. ZfdG IV/4 (Jan
1925) 3-8. In De.

499 ZUTH, Josef. Simon Molitor und dte Wiener Gitarristtk (um
1800) [Simon Molitor and the Viennese guitar school (ca.
fS0Gy|. Wien: Anton Goll, 1932). In Be.
A detailed biographical-bibliographical study of the life and works
of Simon Molitor. Molitor's compositional style, instrumental tech-
nique, and importance in the history of the guitar are discussed,
Biographies of other guitarists active in Vienna are given in an
appendix: Wenzel Matiegka, Alois Wolf, Anton Diabelli, Leonhard von
Call, Wilhelm Klingenbrunner, Franz Tandler, Bartolomeo Bortolazzi,
Mauro Giuliani, Franziska Bolzmann, Franz Mendl, Karl Tépfer,
Leonhard Schulz, Joseph Bohm, Luigi Legnani, Franz Bathioli, Onorato
da Costa, Karl von Gartner, Franz Stoll, Johann Kaspar Mertz, Bduard
Pique, Emilia Giuliani-Giulielmi, and Giulio Regondi. Music, 8 pl.
(port.., illus., music in facsim.), bibliog. of works by Molatos
with library locations cited, bibliog. of source material, 85p.

MORETTI, Federico

See also 61

500 "Musi@ ‘and musi¢ians™. Chelys 1/6) (Dee4976)° 33 Xrexe) ,

34-37 (music).
A brief survey of the life and works of Moretti. Introductory
remarks to the music, "Tema con variationes (Les Folies d'Espagne)"'.
Port. (Moretti).

501 JEFFERY, Brian. "Return with us now. The Soundboard's featured

facsimile". Soundb IV/4 (Nov 1977) 96-97.

116
Early Six-String Histories (501-508)
Introductory remarks to the facsimile of Moretti's "El Consejo" from
the song cycle Doce Canetones (ca. 1812) for voice and guitar.
English translation of the song text included.
502 POSELLI, Franco. "Federico Moretti e il suo ruolo nella storia
della chitarra" [Federico Moretti and his role in the history
Ore ite Sultan). oni, 1/4 (July 1973) 11-19,
A detailed study of the contents of Moretti's works for guitar,
published and in manuscript. Biographical information on Moretti.
Evaluation of other authors' research. List of works by Moretti
with library locations cited. 5 fig. (including music in Stites) 5
Diblio2 ret... in. notes.
See also: RILIM VIII/2-3 (May-Dec 1974) eccrine

PAGANINI, Niccolo (1782-1840)

Dee atso: 30; 413

503 “Paganini-guitarist". BMG LVI/644 (Dec 1958) 53=54.

A brief discussion of Paganini's interest in the guitar with bio-
graphical information included.

504 Teaconina.eViolanisteand +cuitarist! Guitarra. (Chicago)

II/8 (May-June 1964) 20-21.
A brief survey of the education and early career of Paganini. (The
author credits Grove's dtettonary as his source.)

505 ALVER, Alfred W. "New light on Paganini". Strad XL (1929-1930)

408-09, 473-74, 535-37, 599-600, 663-65. Reprinted in 4 parts
in GuttarR II (1947) 29-30; III (1947) 51-52; V (1948) 115-17;
VI (1948) 143-44.
A study of Paganini's activities as a performer on and a composer
forestieseuicar. Idiomatie aspects ofsinic works for guitar are: con—
sidered. Music, bibliog. ref. in notes.

506 BONE, Philip J. "Paganini and the guitar". HinrichsenMYb VII

(1952) 475-85. Printed also with some changes in Strad LXV
(Aue, 1954) 404; 2065-1083 (Sept 1954). 13657 .Giov<1954);, 138,
LOR e224 22628)
A biographical survey of the life and works of Paganini with emphasis
on his experiences with the guitar as a performer and as a composer.
Includes a survey of his compositions for guitar, published and in
manuscript, Ll luc... music.

507 #£4BONE, Philip J. '"Paganini- his associations with the mandolin

andi ciuten pmcaderad) XlL/ 2.) (Oct wl905)- 1b=L9.
A survey of the life and works of Paganini with emphasis on his
involvement with and his knowledge of the mandolin and guitar.

508 BURTNIEKS, J.A. "Paganini and Boccherini". GuttarN XXXI

D=O6),
A survey of the compositions for guitar by Paganini and Boccherini.
Some important works are cited. No biographical information is
given. L17
(509-515) Early Six-String Histories

509 KMOCH, Vladimir. "The guitar quartets of Niccoldé Paganini".

(Typescript, Biblioteca del Conservatorio di Genova, LOT Aes
See also: Prefumo 513.

510 “KRICK, George C. "Niccolé Paganini, guitariet . Urge

LVIII/8 (Aug 1940) 567-71.
A short biography of Paganini with emphasis on his interest in
the guitar. Several compositions for guitar are listed.

oa PEEL, Douglas. "Paganini- Artist Supreme". BMG LX/694

(Feb 1963) 161-62.
A biographical survey of the life and works of Paganini. Illus.

512 PREFUMO, Danilo. “Paganini ¢ la chitarra’ [Paganini and fhe

guitar]. In 2 parts. Fronimo V1I/23 (Apr 1978) 6-14; VI/24
Maly) 1975s) 6-15. In -lt.
Part 13) Biograita chitarristica’ [Biography as a guttarisel: 4
biography of Paganini during the years 1795-1835 with emphasis on
his acivities as’a composer for the ‘guitar. Bibliog. rei: cin meres:
Part 2: "Catalogo delle opere per e con chitarra” [Catalogue of
works for guitar and for guitar with other instruments]. Organiza-
tion by genre. Title, key, movements, date, information on MSS and
first editions, dedication cited.

513. PREFUMG, Danilo. “I quartettic-comchitarra. di Paganini’ ©] the

suitar quartets of Paganini]. Fronimo—Vi/22 (Jan 1978) 7-12:
iGay Abies
A history of the research on and the publication of Paganini's
fifteen quartets with guitar. Includes comments on the-research of
Kmoch 509, Stratton, and de Courcy, among others. List of fifteen
works includes information on key, opus number, editor, date, and
dedication. Bibliog. ref. in notes:

O14 RADKE, H. "Paganini und die Gitarre' [Pavanini. and the

euitar|. Zag LV Cl926).4. win De:

515 SCHWARZ-REIFLINGEN, Erwin. "Zur Veréffentlichung der

gitarristischen Kompositionen Niccoldé Paganinis' [On the
publication of the guitar compositions of Niccolo Paganini|.
In 5 parts. DieGit VI/1-2 (Oct-Nov 1924) 7-9; VI/5-6 (n.d.)
27-303; VI/7-8 (n.d...) 45-46; VI/11-12 (m.d.) 71-72; VII/1-2
(aed. 10-11, In De.
A survey of Paganini's works for guitar and a study of contemporary
accounts of Paganini's activities as a guitarist-composer.
Part 1: A summary of available works for guitar by Paganini, in-
cluding unpublished manuscripts. Description of stylistic aspects of
the music; discussion of recent discoveries of music (early 20th
century). Some biographical notes included.
Part 2: Accounts of Paganini as a guitarist by his contemporaries.
Part 3: Includes remarks on Schotty's biography of Paganini and
comments about Paganini by Berlioz.
Part 4: Further references to contemporary accounts of Paganini as
a guitarist. Paganini's association with Legnani is mentioned.
118
Early Six-String Histories (515-521)
Part 5: A comparison of Paganini's guitar technique to his violin
technique based on information from sources.

916 TONAZZI, Bruno. "Gli interessi chitarristici di Paganini’

[The guitaristic interests of Paganini]. Frontmo III/13
(Oct 1975))5-10 "in ret
A discussion of Paganini's works for solo guitar and for guitar
quartet. Mauro Giuliani's influence on Paganini is considered.
Includes information on Paganini's original autographs. Music,
bibliog. ref. in notes.
See also: RILM 1X/3 (Sept-Dec 1975) S808apa:

S17 YAMPOL'SKY, Izrail Markovié. "Paganini-guitarist" [Paganini-

guitarist]. SovetskajaM XXIV (Sept 1960) 133-38. In Ru.

PELZER, Ferdinand (1801-1861) and daughters Catherine

Josepha (Madame Sidney PRATTEN) (1821-1895) and Giulia (1839-1938)

See also 30, 391, 488

518 “An entinent guitarist’. Cadenza VIII/12 (Aug 1902). 10-11.

A biographical sketch of Madame Sidney Pratten.

519 "Madame Giulia Pelzer, mandolin and guitar artiste, of

London, England". Cadenza VI/3 (Jan-Feb 1900) 19-20.
Reprinted from The Gentlewoman's court revtew.
A biographical sketch of Madame Giulia Pelzer.

SoU bEBY, Wilfrid M. "The story of a suitar’. Im°Sechapters.

GuttarN LXIV (March-Apr 1962) 6-11; LXV (May-June 1962)
8-12; LXVI (July-Aug 1962) 20-25.
Ch. 1: "Autobiographical". Appleby's account of his purchase of the
concert guitar owned by Catherine Josepha Pratten. Illus. (photo-
graph of the guitar, guitar case, and an engraving of Josepha with
ehesewitar).
Ch. 2: Kerdinand Pélzer™.'-A' biographical. study of thé life of
Ferdinand Pelzer. Commentary on his activities as a guitarist.
Compositions cited. Includes information on The Gtultantad.
Ch. 3: "Madame Sidney Pratten". A biographical study of Madame
Sidney Pratten, née Pelzer, with emphasis on her career as a per-
formers and as a teacher. ‘Biographical. sketch: of Giulia Pelzer in-
cluded.

521 HARRISON, Frank M. Remintscences of Madame Stdney Pratten,

guitartst and composer. (London, 1899).

PRATTEN, Catherine Josepha (Madame Sidney )

See Pelzer, Ferdinand

19
(522-528) Early Six-String Histories

REGONDI, Giulio (1822-1872)

Sée also S012 S413, 6499

522 BONE, Philip J. “Giulto Regondi". Cadenza 1x/2. (Oct 1902)

10-12.
A biographical sketch of Regondi. List of works for guitar (title,
opus, publisher).

523 BONE, Philip J. “Regondi's arrival in England, 1831".

Cadenza X/12 (Aug 1904) 17-18.
An account of Regondi's success as a performer in London. Reports
of contemporary critics are considered.

524 §., A.L. "Regondi e la sua musica” [Regondi and his music].
AChttarrtsttea V/25-26 (Jan-Apr 1951) 1-2. In It.
An evaluation and a stylistic description of Regondi's '"Réverie
Nocturae” op, 19; “ler Aix varié" op. 21, “Zeme Air varie™ op. 223
and "Introduction et Caprice” op. 23.

525 ZUTH, Josef. "Eine: Handschrift von Giulio Regondi" [A

manuscript of Giulio Regondi]|]. Maaqwe Vi (1927) 7$-80.- In
Der

SCHEIDLER, Christian Gottlieb (ca. 1752-1815)

526 "Christian Gottlieb Scheidler_(ca. 1752-1815)". Guitar

XXXII (Aug-Sept 1956) 29.
The emphasis of the article is on the importance of Scheidler in
the rise of the popularity of the guitar in the early nineteenth
century. Includes an English translation of a quotation of an
account concerning Scheidler in the AMZ of 1806.

Pa Sve he -Chvistiaw Gort lies Scheidler tea, 1/52al6io).

Ultimo liutista e primo chitarrista Tedesco" [Christian
Gottlieb Scheidler (ca. 1752-1815). The last lutenist and
the first guitarist of Germany]. AChitarrtstica V/28
(Sal —Anig 91.9515) 5 me Es
A survey of the life and works of Scheidler, an important transi-
tional figure im the shift in popularity from the lute to the
guitar. Quotations from the AMZ (1806) included.

528 ZUTH, Josef. "Christian Gottlieb Scheidler, der lerzre

Lautenist, der erste Gitarremeister Deutschlands" [Christian
Gottlieb Scheidler, the Last lhutenist, the first guitar master
in Germany]. DieGzt I/4 (Jan 1920) 65-66. In De.
scheidler, a virtuoso on both the Jute’ and the euitar,; ie neted as
an important transitional figure in the shift in popularity from

120
Early Six-String Histories (528-533)
the lute to the guitar in Germany. Reference to concerts performed
by Scheidler as reviewed in the AMZ. Repertoire discussed.
Scheidler's works in modern editions are cited.

SCHUBERT, Franz (1797-1828)

See also 403, 493, 496

529 DANNER, Peter. "Return with us now. Soundboard's featured

facsimile. An anonymous setting of Goethe's 'Erlkédnig'".
Soundb VIII/3 (Aug 1981) 172 (text), 173 (German song text
andeEnelish’trans.), 1/4 (facsim:’ of title page)i,, 175-78
(facsim. of music for voice and guitar).
Background on the song by Schubert and other arrangements of the
song as listed in the Whistling/Hofmeister Handbuch der Mustk-
altschen Literatur. Remarks on the anonymous setting reprinted in
facsimile. The musical arrangement in relationship to the meaning
of the text is evaluated.

530° *DEUTSCHS. Otto Erich. "Schubert ohne Gitarre!s[ Schubert

without guitar]. OesterretchGitarreZ (Schubert-Gabe, 1928)
15-2 6%0In Dex
Deutsch's refutal of incorrect theories about Schubert's association
with the guitar as a player of and as a composer for the instrument.
Criticism of Schmid 538. Study of the recently discovered quartet
with objections raised to its attribution exclusively to Schubert.
pee dree neck 533, ipart 3, p. 405 Heck 534 Gn- [ts vand*Hoorickx
535 for comments.

53] HECK, Thomas Fitzsimons. "Return with us now. The Soundboard's

featured facsimile. A first edition Schubert Lied with
Puitar''., coundb IV/2 (May 1977) 42-43.
Introductory notes to the facsimile reprint of Schubert's Lied
"Nacht und Trdume", version with accompaniment for guitar. Infor-
mation on the sources of the work. Translation of the song text.

B32 HECK, Thomas Fitzsimons. "Return with us now. The Soundboard's

featured facsimile. A first edition Schubert Lied with
puMeae . Souneo Vifile(Feb 1979) Ly7=19.
Introductory notes to the facsimile reprint of Schubert's Lied op.
20, no. 3 "Hanflings Liebeswerbung", version with accompaniment for
the guitar. Historical background and description of the work in-
eluded. Translation of song text.

533 HECK, Thomas Fitzsimons. "Schubert Lieder with guitar

permissible?" In 3 parts. Soundb I1I/4 (Nov 1976) 72; rViL
(Fenn loOgoui2—te.” 16s) 1V/2 (May 1977). 39-41.
A study of evidence of the publication of Schubert's Lieder arranged
with guitar accompaniment during and immediately after Schubert's
lifetime based primarily on listings in Hofmeister/Whistling Handbuch
der Musikalischen Litteratur (1822-1834). Extensive quotations of the
123
(533-539) Early Six-String Histories

Handbuch. Opinions on the research of Otto Erich Deutsch. Conclusions

drawn concerning the transcription of Schubert Lieder for voice and
guitar as an historically valid performance practice. ''Schubert
Lieder with guitar accompaniment published in Vienna during the com-
poser's lifetime: A preliminary catalog": Organized chronologically
by opus number. Deutsch number, title (poet), and text incipit
listed. Detail on first edition guitar version and first edition
piano version is given. Bibliog. ref. im notes.
See also: Heck 534 for an Italian translation.

534 HECK, Thomas Fitzsimons. "I Lieder di Schubert per chitarra”’

[Schubert Lieder with guitar]. In 2 parts. Frontmo V1/24
(July 1978)! doa21ssVi/25- (ct 1978) 24-29... Im is
An Italian translation of Heck 533.

535 HOORICKX, Fr. Reinhard van. “Schubert's guitar quartet”.

RBelgeMustcol XXXI (1977) 111-35.
Detailed historical background on Schubert's quartet arrangement
of the original trio by Wenzel Matiegka. Discussion of the 1918 dis-
covery of Schubert's manuscript with extensive references to contem-
porary opinions on authenticity and confusion over the findings.
Examination of the consequences of the subsequent discovery in 1931 of
the trio by Matiegka. Includes a comparison of the two works. Opinions
on the writings of Otto Erich Deutsch and of Georg Kinsky) are con-—
sidered; Disees., music, bibliog. ref. in notes,

536 KINSKY, Georg. "Zu Schuberts Gitarren-Quartett" [On Schubert's

guitar quartet]. ZfMw XIV (1932) 476-78. In De.
Notes on the discovery of the trio for flute, viola, and guitar by
Wenzeslaus Matiegka which Schubert arranged as a quartet. Schubert's
alterations of the original are described. Biographical information
on Matiegka included. Music, bibliog. ref. in notes.

537 KRICK, George C. "The Franz Schubert. quartet". FiWews. XxIv/3

(May-June 1955) 9.
Historical notes on the discoveryof Schubert's quartet and on the
subsequent finding of the original trio by Wenzel Matiegka.

538 SCHMID, Heinrich Kaspar. "Franz Schuberts neuendecktes

Quartett. Ein offener Brief" [Franz Schubert's newly dis-
covered quartet. An open letter]. ZfMo I (Dec 1918) 183-88.
In De.
The first announcement of the discovery of the Schubert quartet.
See also: Deutsch 530 for criticism.

539 SCHWARZ-REIFLINGEN, Erwin. "Das Ritsel des Schubert-

Quartetts gelést!" [The puzzle of the lost Schubert
quartet]. In 2 parts. DreGit XII/11=-12 (1931?) 80-82;
XITL/ 1-2-1933). 1-441 -Dez

122
 Early Six-String Histories (539-546)
Historical background on the Schubert quartet and on the subse-
quent finding of the original trio by Wenzel Matiegka. Discussion
of Schubert's treatment of the original trio with a comparison of
the two versions. Short discussion of each movement.

540 SCHWARZ-REIFLINGEN, Erwin. "Ein unbekanntes Schubert-

Quartett mit Gitarre" [An unknown quartet with guitar by
penuberti|. DCeEGLe IV/2 (Now 1922) 11-155 In: Dex
Speculations about the authenticity of the Schubert quartet and
about Schubert's contact with the guitar and guitarists. Descrip-
tion of the manuscript by Schubert with notes on stylistic aspects
' of the music of each movement. Pre-dates the discovery of the
original trio by Wenzel Matiegka.

SOR [SORS], Joseph Fernando Macari (1778-1839)

peeme onl). ,e400, 401, 405, 406, 410, 412% -419-21,°460,4473;

BIG, etl ol, 926, 935

54] "Sor". Encyclopédta ptttoresque de la mustque, p. 154-67. In

Baer.
A biography of Sor published during his lifetime.
see also: Jeffery 558, p._117-30, for a facsimile reproduction and
Moser 563 for a German translation.

542 [Sor s obituary|2 AMZ XLI/30 (24-dJuly 1839) 593-94. .In. De.
The obituary of Fernando Sor. Some biographical information is
included.

543 "Fernando Sor. Zwolf Regeln des Gitarrenspiels" [Twelve

rules of guitar playing]. DreGit V/3-4 (Dec-Jan 1923/24)
22-23; In°De.
Quotation of Sor's twelve rules of guitar playing.

544 ANDERSON, Peter. ''The guitarist and the naked lady". BMG
LXVII/764 (Dec 1968) 104-05.
A biography of Sor with information on his patroness, the Duchess
of Alba, and his patron, the Duke of Sussex.

545 APPLEBY, Wilfrid M. "Ferdinand Sor". GuttarN XXIII (Feb-Mar

1955) 2-4.
A short biography of Sor with emphasis on his career as a performer
and on the success of his publications for guitar. Some inaccuracies.

546 APPLEBY, Wilfrid M. "An Italian friend of Fernando Sor. Un

amico italiano de Ferdinando Sor". In 2 parts. AChttarrtsttica
II/9 (June 1948) 2-3; II/10-11 (Aug-Oct 1948) 4-5. In En
ama ins de’
Part 1: A description of four volumes of music in the author's
possession which originally belonged to Philippo Verini> (ca. 1782-

123
(546-554) Early Six-String Histories

ca. 1849), an acquaintance of Sor. The contents of the volumes in-

clude early editions of Sor's music, some with Sor's autograph, and
music by Verini dedicated to Sor.
Part 2: Biographical information on Verini. Compositions cited.

547 BOSMAN, Lance. "Variations 5". Guitar V/3 (Oct 1976) 32-33.
An analysis of Sor's treatment of the variation form as shown in his
"Variations on a theme from Mozart's Magic Flute". Information on
Giuliani's treatment of the variation form is also included. Music
(Sor and Giuliani). Little background in theory is required.

548 BURTNIEKS JtA. "Fernando Sor’. "Guitark XVELL (1955) 1975

A short biographical summary of Sor's career. Information is based
on Bone Si. Music.

549 CASANOVA, Maria Julia. "Fernando Sor". Guttarra (Havana)

PAS Dee 1940 )=i0, Vo. in Spe
A biographical’ sketch o£ Sor.

550° DELIA ARA, Mario. “La musica di Mozart nélle transcrizion:

ovvero variazioni per chitarra di Fernando Sor" [The music
of Mozart in the transcriptions or variations for guitar by
Fernando Sor]. Frontmo IV/17 (Oct 1976) 6-14. In It.
Sor's treatment of the music from Mozart's "The Magic Flute" in
his theme andsvariation forms is examined. Sor‘s "Six Airs”, op?
19, arranged for guitar are considered individually with comparisons
made to the original models by Mozart. Music (Sor and Mozart).

551 DELL'ARA, Mario. "Le tre sonate per chitarra di Fernando Sor"
[The three sonatas for guitar by Fernando Sor]. Frontmo VI/23
(Aprei976)719=27. einele.
A ‘survey of Sotls career: History and analysis of Sor's three
sonatas for guitar, op. 15b, 22 ("Grand Sonata"), and 25° Second
Grand Sonata’). Music.

552 -DOUGLAS, Anthony’¢. "Fi Sor and a survey lof ¢lassical Guitar
music". Musart XXVII/1 (1974) 39-41.
A survey of Sor's compositions with some commentary on technical and
structural features of representative works. Includes an annotated
survey of 44 publications of music for classical guitar. Collections,
arrangements, transcriptions, methods, and editions are cited.
Bibliog.

553 ‘BUSEBIO, Font y Moréso. “Una visita 4 Sorsien los altamos

dias de su vida" [A visit with Sor in the last days of his
life]. Notas mustcales y ltterartas XX (12 Nov 1882); XXI
CLO*Nov 1SSZ)., -inesSp <

954 GUITAR REVIEW EDITORS. "Fernando Sor". GuttarR I (1946) 7-8.

"A biographical sketch read at the second recital of the Society of
the Classic Guitar, New York, June 17, 1946". A short biography and
a list of works organized by opus number. Illus.
124
Early Six-String Histories (555-560)
955 HARRIS, John. "Fernando Sor in London". Guitar III/5 (Dec
1974) 23-24,
A study of Sor's activities in London based on contemporary records.
Information on the Philharmonic pocreby ainciuded. I Elus. port.

996 JEFFERY, Brian. "L'attivita' concertistica di Fernando Sor"

[Fernando Sor, concert performer]. Frontmo II/6 (Jan 1974)
G= fo .ein it.
A biographical survey of Sor's performing career. Organization is
chronological with a consideration of his activities in the follow-
ing countries: Spain, England, France, and Russia. Many contemporary
-accounts and reviews of Sor's performances are cited. Bibliog. ref.
in notes.
See also: Jeffery 557 for an English translation.

99/ JEFFERY, Brian. "Fernando Sor, concert performer". GuitarRk

XXXIX (Summer 1974) 6-10 (text), 11-16 (music).
pecbals tation of Jeffery 556 by the author. Bibljog.—ref. in notes.
P19

558 JEFFERY, Brian. Fernando Sor, composer and guitarist. (London:

fecta Editions, 1977).
A detailed account of the life and works of Sor. Extensively re-
searched study of source material. Organized chronologically with
Liemioulowinenehapter divisions: Ch. 1: Spain: 1//8-1813; Ch. 2:
PoeierLoholodom Chi. 3S: london 1815-1823% Ch. 4: Paris, -Berlin,
Warsaw, Moscow, and St. Petersburg 1823-26/7; Ch. 5: Paris 1826/7-
1839. Includes a facsimile reprint of the biography of Sor in
Eneyclopédte ptttoresque de la mustque, published during Sor's
lifetime and possibly written by him. An extensive catalogue of
Sor's works, organized by genre, with information on editions,
ipranyalocariors, printing format, plate numbers, 1ssues, pages;
date. opus number: Port., iLlus., music, index, L97p.
Revtews: Richard Pinnell, Soundb IV/2 (May 1977) 44; CGuttarInt
V/1 (Fall 1977) 12-13; MMustetans XXVI (Apr 1978) 38; GuttarP XI1/4
(Apr 1978) 22; Michael- Fink, Guttarlute VII (Sept. 1978) 39-40;
Guctar VII1/3 (Oct 1978).34: MTumes CXIX (Jan -1978)-42; MLetters
LIX/4 (1978) 490-92.

559° JEFFERY, Brian. ‘The original version true text of Sor's

'L'Encouragement'"'. Soundb VII/4 (Nov 1980) 159-60.
An examination of the only copy of the original edition of Sor's
duet for two guitars "L'Encouragement" op. 34 (Paris: Sor and
Pacini, [1828?]). The work is compared to other inauthentic ver-
sions; in particular, the arrangement of Napoleon Coste is con-
sidered.
See also: Jeffery 560 for an Italian translation.

560 JEFFERY, Brian. "Il vero testo de 'L'Encouragement' di

Fernando Sor" [The original version true text of Fernando
Sor's 'L'Encouragement']. Frontmo IX/34 (Jan 1981) 34-35.
Ijoy ALE.
An Italian translation of Jeffery 559.

125
(561-568) Early Six-String Histories

56] MACKEVITCH, M. V.-P. ''Fernando Sor en Russie" [Fernando Sor

in Russia]. GMustque XVI (Feb-March 1958) 12-13. In Fr.

562 MOSER, Wolf. 'Fernando Sor und seine 'Methode pour la

guitare'" [Fernando Sor and his 'Method for the guitar'].
GittarreLaute I/1 (1979) 26-32. In De.
The method of Sor is considered in an historical context and for its
instructional text. Biographical information on Sor included. Exten-
sive selections from Sor's text are translated with annotations.
liluss Cfacsin.). biblice. ref, an notes.

563 MOSER, Wolf. "Sammlung historischer Quellen. Sor" [Collec-

tion of historical sources. Sor]. In 7 parts. GitarreLaute
1/2 979) 26-27 (1-2): 173° 979) 18-20 (3-5)s £74 (1979)
14-15 (6-7); I/5 (1979) 26-27; I/6 (1979) 16-17 (10-11);
II/1 (1980) 24-25 (12-14); II/2 (1980) 23-25 (15-17). (Page
numbers in parentheses indicate original pagination.) In De.
A German translation of the biography of Sor published in the
Eneyelopédta ptttoresque de la mustque (Paris, 1835) by A. Ledhuy
and H. Bertini. Introductory notes include a discussion of the
possibility that the article may have been written by Sor.
gee atsoo 541 (original source) “and Jeffery 558 for a facsimile
TeSyNEILONE,

564 N.i"Sors Te the editor of the Giulianiad™. Giutianiad

iM? (1833). 27-26- Reprinted’ in °Cutctaek XVILLe (i955)
179-30.
A letter to the editor in praise of Sor as a composer and as a
performer. The author compares the abilities of Giuliani and Sor.
Editor's response to the letter.

565... PERRY, Francis. "Fernando Sor and the modern @uitarist”

MJ XXXV/6 (July 1977) 55-56.
Notes on Sor's guitar method. Particular attention is given to his
technical considerations as they apply to the concerns of the modern
guitaricc. Uiluss. music:

566 RIERRA, Juan. "Fernando Sor". GMustque XXII (June, July,

Aug 1959) 2-4. In Fr.

56/° ROBERTS, John. "Historical notes: A review of Sor's method,

LoS". Guecar Vil/& Wey lover Ls:
A reprint of a review of Sor's Method originally printed in Revue et
Gazette Mustcale (Paris, 1831). Introductory comments include
information on Carulli and other contemporary guitarists.
Description of the Method.

568 ROBERTS, John, trans. "Notes from Sor's tutor". Guitar IV/4
(Nov 1975) 23.
A translation of selections from the text of the 1845 French
edition of Sor's Method. Includes comments on guitar technique
and on “guitarist Aguado. Pert. @sen)i
126
Early Six-String Histories (569-576)

969 ROMEA, Alfredo. "Ferdinand Sor". In 3 parts. DieGtt IX/5-6

(May-June 1928) 33-36; IX/9-10 (1928) 65-67; IX/11-12 (1928)
78=81. InvDe.
m lecture preceding a concért in Barcelona for the "Friends of
music''. Portrait of Sor as an artist and as a man. Biographical
notes and anecdotes about his life include references to early
nineteenth-century sources. Summary of some stylistic aspects of
Sor’s music.

59/0 ROSSI, A. "Sor und seine Gitarrenschule" [Sor and his

guitar method]. In 2 parts. DteGit V/3-4 (Dec-Jan 1923/24)
16-19; V/5-6 (Feb-March 1924) 29-35. In De. A translation of
an article by Oswald Loreng in 1 Plettro. (Milan).
A description of the contents of Sor's publication of studies.
Quotations from Sor's text include his remarks on the art of
accompaniment.

571 SASSER, William Gray. ''The guitar works of Fernando Sor".

PHD dss. , Musite:\The University of North Garolinay 1960.
UMI 6006995.
A biographical-analytical study with historical background on the
guitar. Available sources of Sor's music (published and in MS) and
literature concerning Sor are investigated thoroughly. Detailed
analysis of performance practices and idiomatic writing. 7 pl., 6
fables... append., music, biblioe., list of Sor's works, 177p.

b/c" 7 SASSER] William Gray..lIn«searchiof Sor: GuivtarR XXvVI

(June 1962) 13-21.
A biography of Sor based on evidence drawn from sources. Catalogue
of So“r+s “compositions. Illus.,.%ports.

5/3 SCHUSSE, Erich. "Wegweiser durch Sors Gitarrewerke" [Guide

through Sor's guitar works]. DieGit V/3-4 (Dec-Feb 1924)
24-26. In De.
Aveeneral survey of Sor's works. Short descriptions of some repre-
sentative works are given.

574 [SCHWARZ-REIFLINGEN, Erwin]. "Zum Geleit. Ferdinand Sor"

[Introduction. Ferdinand Sor]. DieGit V/3-4 (Dec-Jan
1923/24) 15. In De.
A short biographical sketch of Sor.

575 SCHWARZ-REIFLINGEN, Erwin, ed. and trans. ''Ferd[inand]

Sor. Uber der Anschlag" [Ferdinand Sor. Concerning the
stroke]. DteGtt V/3-4 (Dec-Jan 1923/24) 19-22. In De.
A translation of the text from Sor's method concerning right-hand
technique.

576 TEMPEL, H. ''Bemerkungen und Gedanken iiber Sor" [Remarks and

thoughts about Sor]..Gfreund XXIV (1923) 5-7, 21-29; XXV
(1924 )=8=9-" XXV iE C1L925)—-3-6,°24. In De.

127.
(577-583) Early Six-String Histories

577 SCARLATTI, Vincenzo. "Clasicos antiguo". Guitarra (Chicago)

V/27 “CJuly—Aue’ 1967) 18-19." in En
Notes on the life and works of Sor. Port.

578 VOLMANY Boris. “Sor in Russia’? Trans) From erhée Russian’ by

A. Chesnakov. GuttarN LXIV (Mar-Apr 1962) 17.
An account of the activities of Sor and his wife, Madame Gulién-
Sor in Russia, 1823-1825. Emphasis is on their contribution to the
theatre.

579 WADE, Graham. "The guitarist's repertoire". BMG LX1X/794

(Sune-b971)> 305.
Some general comments on and an evaluation of Sor's 20 studies.

580 WADE, Graham. "The guitarist's repertoire". BMG LX1X/795

Miugiy 19071) 327%
A brief survey of selected studies by Son: no. 5° (b minor), no. 6
() major), 20. °o Ga ‘minor) , no. 12 (A mayer) «Consideration as “eiven
to technical aspects and to musical interpretation.

581 WADE, Graham. "The guitarist's repertoire”. BMG LXIX/796

(Aug L971) 359:
A discussion of Sor's contribution to the guitar repertoire.
Includés a brief description of stylistic aspécts of the "Grand
Sola shop. 14S

582 WAGNER, Frank. “Sor's daughter performed at 8": CGuctarinc

Inj all, 1976) 28=30%
A report of Sor'’s concert in Warsaw; Poland. Quotations of reviews
of the concert indicate that a vocal performance by Sor's daughter
was included in the program. Port.

583 ZURFLUH, Jean. "Fernando Sor". GMusique I (May 1955) 6.

ie rs:

STOLL, Franz de Paula

see 413, 499

THOMPSON, General T. Perronet (1783-1869)

See also 926

Note: The enharmonic guitar, invented by Thompson, had a fingerboard

divided into fifty-nine parts. Entry 584 and 585 refer to Thompson's
theoretical text supporting the use of the principles ef just) intona—
clon IV -fréeteinge the eurear:

128
Early Six-String Histories (584-589)
984 "Instructions to my daughter for playing on the enharmonic
guitar, by a member of the University of Cambridge. Goulding
and D'Almaine". Gtultanitad III/1 (1833) 51-53.
A review of Thompson's Instructions (1829).

985 JOHNSON, Leonard George. General T. Perronet Thompson 1783-

1869. Hts military, literary and political campatgns. (London:
George Allen “and Unwin Ltd. , 1957).
A biography of General Thompson. Discussion of the purpose and con-
tents of Thompson's Instructions (1829) is found on p. 157-58. Pl.,
PES Ponts, tacsim., bibliog. ref. in notes’, 294p.

WEBER, Carl Maria von (1786-1826)

586 "Zur Musikbeilage. Carl Maria von Weber. Gitarrelieder"

[For the music supplement. Carl Maria von Weber. Lieder
for guitar]. DreGrt XI/3-4 (1930) 27-29. In De.
A discussion of Weber's use of the guitar as an accompaniment
instrument. Remarks on representative compositions included.

587 HAAS, Robert. ''Karl Maria von Webers Theaterlieder zur

Gittarre. [Karl Maria von Weber's: theatre-lieder for suitar].
2fdG W/5 (July 1926) 97-99. In De.
588 ROEMER, Kammersanger. "Karl Maria von Webers Gitarrewerke"
[Karl Maria von Weber's works for guitar]. Gfreund XXII
(1921) 49-51. In De.

589 SCHWARZ-REIFLINGEN, Erwin. "Die Gitarre in [Carl Maria von]

Webers Musik zu ‘Donna Diana'" [The guitar in Carl Maria von
Weber's music for 'Donna Diana']. DieGit IX/3-4 (Mar-Apr
1928) 26-26. In De.
A consideration of Weber's use of the guitar in five of the six
pieces of incidental music for the play "Donna Diana". Background
on the play and the function of music in the play is included.

ZANI DE FERRANTI, Marc Aurelio

See FERRANTI, Marc Aurelio Zani de

MISCELLANEOUS COMPOSERS AND GUITARISTS

Entries 590 through 628, written by Philip J. Bone, are published in The
Cadenza (1901-1908). The reader is advised that Bone's information
is often inaccurate. Information in Grove and MGG on composers'
names and dates which conflict with Bone's information is noted.

129
0590=599)) Early Six-String Histories
590 BONE, Philip J. “Aimon". Cadenza X/10 (June 1904) 13-14.
A biography of Pamphile Leopold Frangois Aimon (1779-1866), guitarist,
violinist, and composer. Some compositions are mentioned.

59] BONE, Philip J. "Johann Andreas Amon". Cadenza X/11 (July 1904)
13-14.
A biography of Johann Andreas Amon (1763-1825), guitarist and composer.
List of compositions.

592 BONE, Philip J. "Guillaume Pierre Antoine". Cadenza IX/4 (Dec

1902) 10-11.
A biography of Guillaume Pierre Antoine ("Gatayes") (1774-1846), guitar-
ist and composer. List of some works for guitar.

593 BONE, Philip J. "Johann Gottfried Arnold". Cadenza XI/2 (Oct

1904) 13-14.
A biography of Johann Gottfried Arnold (1773-1806), guitarist, 'cellist,
and composer. List of compositions. Also includes biographical notes
on Friedrich Wilhelm Arnold (1810-1864), guitarist and composer. List
of compositions.

594 BONE, Philip J. "Friedrich August Baumbach". Cadenza XI/1

(Sept. 1904) 14.
A biography of Friedrich August Baumbach (1753-1813), guitarist, mando-
linist, and orchestra conductor. List of compositions.
Grove: Works for guitar, listed in MGG, are now lost.

595 BONE, Philip J. "Henry August Birnbach". Cadenza X/11 (July

1904) 10-11.
A biography of Henry August Birnbach (1782-1840), guitarist, ‘cellist,
and arpeggione player.

596 BONE, Philip J. "Carl Ludwig Blum . Cadenza XI/2 (Oct 1904) 27-29.
A biography of Carl Ludwig Blum (1786-1844), guitarist and composer.
List of compositions.

597 BONE, Philip J. "Jean Nepomucene de Bobrowicz". Cadenza IX/8

(Apr 1903) 10-11.
A biography of Jean Nepomucene de Bobrowicz (1805-1857), guitarist and
composer. List of compositions.
Grove: Jan Nepomucen Bobrowicz (1805-1881).

598 BONE; Philip J. “Jan van Boom. Cedenza XI1/5. (ian 1906), is
A biography of Jan van Boom (b.1773), flutist and composer.
List of compositions including some works for guitar.
Grove: Johannes van Boom (1783-1878).

599 BONE, Philip J. "Bartolomeo Bortolazzi". Cadenza VII/11 (July 1901)

14-15.
A biography of Bartolomeo Bortolazzi (b. 1773), mandolinist, guitarist,
and composer. List of compositions.

130
Early Six-String Histories (600-609)
600 BONE, Philip J. "Aubery du Boulley". Cadenza XI/9 (May 1905)
10-11.
A biography of Aubery du Boulley (b.1796), guitarist and composer.
List of compositions.

601 BONE, Philip J. “Luigi Castellacci". Cadenza XIII/12 (Aug 1907)

BOSWle,
A biography of Luigi Castellacci (b.1797), mandolinist, guitarist,
and composer. List of compositions.

602 BONE, Philip J. "Charles Doisy". Cadenza XIII/10 (June 1907)

10-11.
A biography of Charles Doisy «(d.1807), guitarist, List.of compositions.

603 BONE, Philip J. "Justus Johann F. Dotzauer". Cadengza XII/2

(Oct 1905) 10-11.
A biography of Justus Johann F. Dotzauer (1783-1860), guitarist,
"cellist, and composer. Description of his work for guitar and 'cello.

604 BONE, Philip J. "Carl Eulenstein, guitarist and composer".

Cadenza IX/9 (May 1903) 15-17.
A biography of Carl Eulenstein (b.1802). List of compositions.
Grove: Charles Eulenstein (1802-1890).

605 BONE this ip J. Josel, Fischor. . Cadensa. x1 L/7 «(Mar 1906). ho:
A biography of Josef Fischof (1804-1857), guitarist, pianist, and
composer. List of compositions.
Grove: Josef Fischhof.

606 BONE, Philip J. "Caspar Fiirstenau and Anton Bernhard Fiirstenau".

Cadenza XV¥/2 (Aug 1908) 29.
Biographies of guitarist-composers Caspar Fiirstenau (1772-1819) and son
Anton Bernhard Fitirstenau (1792-1852). List of compositions.

607 BONE, (Phi lips] .."John Gansbacher”.. Cadenza XV/1_ (June 1903)0 31.
A biography of John Gansbacher (1778-1844), guitarist, composer, and
capellmeister of the Cathedral at Vienna. List of compositions.

60See LONE rniiin a. Carl: Golimick! iCadenzaxxI Tips Gans 19007 tO:
A biography of Carl Gollmick (1796-1866), guitarist, pianist, and
composer. List of compositions.
MGGe Ertiedrich Karl €.774-1852), father of Carl, is credited with
works for guitar.

609 BONE, Philip J. "Antoine Graeffer". Cadenza XII/7 (Mar 1906)

11-12.
A biography of Antoine Graeffer (780-ea. 1830), guitarist and com-
poser. List of compositions.

131
(610-619) Early Six-String Histories

610 BONE, Philip J. "August - guitarist

Harder and composer". Cadenza
MEL/S: GiankelO06) aL 5—h6.
A biography of August Harder (1774-1813), guitarist, pianist, and com-
poser. List of compositions.
Grove: August Harder (1775-1813).

611 BONE, Philip J. "Friedrich Heinrich Himmel". Cadenza XIV/4

(Dec 1907) 12.
A biography of Friedrich Heinrich Himmel (1765-1814), guitarist and
composer. List of compositions.

612 BONE, Philip J. "Dom F. Huerta, guitarist, vocalist, and conm-—

poser". Cadenza VIIM/11 (July 1902) 14-15.
A biography of Don F. Huerta (b.1805). List of compositions.

613. BONE, Philip J. "Johann Nepomuk Hummel". Cadenza XI/6 (Feb

1906) 10-12.
A biography of Johann Nepomuk Hummel (1778-1837), guitarist, pianist,
and composer. Includes comments on his association with Giuliani.
List of compositions.

614 BONE, Philip J. "Joseph Kuffner". Cadenga XII/12 (Aug 1906)

11-14.
A biography of Joseph Kuffner (1776-1856), guitarist and composer.
List of compositions.
MGG: Lists Joseph Kuffner II (1777-1856) as a guitarist-composer.

bilS BONE, Philip J. "Antoine Lemoine". Cadenza XII/10 (June 1906)

10-11.
A biography of Antoine Marcel Lemoine (1763-1817), guitarist and
publisher. List of compositions for guitar.
Grove: Antoine Marcel Lemoine (1753-1817).

OG.) BONE, Philip J. “C. Lintant™., Cadenza XLIT/14. ‘Gul 190710,

A biography of Lintant (1758-1830), guitarist, violinist, and com-
poser. List of compositions.

617~ BONE, Philadp J. “Victor Magnien". Codenea XLI/6 (Feb 1906) 13-14;
A biography of Victor Magnien (1804-1885), guitarist, violinist, and
composer. List of compositions.

618 BONE, Philip J. "Joseph Mayseder". Cadenza XIII/1 (Sept 1906)

LO-i4 .
A biography of Joseph Mayseder (1789-1863), guitarist, violinist, and
composer. Notes on his association with Giuliani. List of compositions
for guitar.

619 BONE, Philip J. "Antoine and Joseph Meissonnier". Cadenza XI/11

(July 1905) 14-16.
A biography of the brothers Antoine and Joseph Meissonnier, guitar-
Lsts, composers, and, publishers. List of compositione:

132
Early Six-String Histories (620-628)
620 BONE, Philip J. "Giacomo Merchi". Cadenza XII/10 (June 1906) 10.
A biography of the father and son Giacomo Merchi, (son born IbYZSLOM)S
performers and teachers of the guitar, mandoline, and colascione. List
of compositions by both musicians.
Grove: Brothers Giacomo and Joseph Bernard were both guitarists-—
composers and are often confused. No mention of the father Giacomo is
made. In Grove, Joseph Bernard is credited with the composition of two
methods which are attributed to Giacomo in RISM and in Appendix II of
this bibliography.

621 BONE, Philip J. "Don Francois Molino". Cadenza X/9 (May 1904)
13-14.
A biography of Don Francois Molino (1775-1847), guitarist, violinist,
and composer. List of compositions.

622 BONE, Philip J. "Ignaz Moscheles". Cadenza XI/6 (Feb 1905) 10-12.
A biography of Ignaz Moscheles (1794-1870), guitarist, pianist, and
composer. List of compositions.

623. BONE, Philip J. "Andrew Oberleitner". Cadengza XIII/7 (March 1907)

L516",
A biography of Andrew Oberleitner (b.1786), guitarist, mandolinist, and
composer. List of compositions.

624 BONE, Philip J. "Hieronimus Payer". Cadenza XV/3 (Sept 1908) 29.
A biography of Hieronimus Payer (1787-1845), guitarist, mandolinist,
and composer. List of compositions.

DCO ONE s Pirlinesl, siluierm Plechrantis. Codenza xel/dl (July 1906)

ine
A biography of tuigi Picchianti (1787-1864), guitarist and music
CIA Lice aL St (Of compositions:

626 BONES Phiiip J. “Poller. Cadenza.x1/12.-(Aug 1905) 18-197

A biography of Charles Francois Alexander Pollet (1748ca. 1811),
Jean Joseph Benoit Pollet (1753-1818), and L. M. Pollet (1783-1830).
List of compositions by each.

627 BONE, Philip J. "Stanislaus Sczepanowski, guitar virtuoso".

Cadenza IX/9 (May 1903) 10-11.
A biography of Stanislaus Sczepanowski (b.1814), guitarist, ‘cellist,
and composer. List of compositions for guitar.

628 BONE, Philip J. "Gottfried Weber". Cadenza XV/6 (Dec 1908) 16,
Boe
A biography of Gottfried Weber (b.1779), guitarist and composer. List
of compositions.
Grove: (Jacob) Gottfried Weber (1779-1839).

133
(629-631) Early Six-String Histories

D. The Terz Guitar

See also 803, 896

629 ELLIKER, Calvin. "On gasogenes, penang lawyers, echiquiers and

terz) puitars''..Goundb V/4 (Nov 1978) Al2=13%
An examination of historical evidence for a description of the terz
guitar. Bibliog. ref. in notes.

630 OPHEE, Matanya. "Chamber music for terz-guitar. A look at the

options”. ‘Guttarh XLII (Fall 1977) 12-14.
A discussion of the performance of music on the terz guitar or guitar
with capotasto. Explanation of tuning, notation, use of the capotasto,
and string gauges. Illus., ref. to compositions in footnotes.

631 OPHEE,, Matanya.. "La chitarra terzina™” [The terz suitariee eon
VO/25 (Oct 1976) “S=24
A detailed study of the history of the terz guitar. Description of the
instrument. Tuning and terminology is explained. Repertoire is dis-
cussed; problems of performance in the early nineteenth-century and
for the present-day performer are considered. Several works were
written by Giuliani. Illus., table, music, bibliog. cei. go mores.

134
Engraving. Music Party with Guitar and Mandolins by Vincent M. Langlois.

135
Ceo Fee
tise ett ae ee
 CHAPTER SIX

From Tarrega to the Present

The renewal of interest in the guitar in the late nineteenth and early
twentieth centuries has been attributed to Francisco Tarrega. As a
composer, transcriber, and teacher, Tarrega made a great contribution
to the instrument. Although he left no written method, Tdrrega has
been accredited with the formulation of the basic foundations of the
modern school of guitar technique. His teachings have been espoused
by his students Miguel Llobet (1878-1938) and Emilio Pujol (1886-
1980). For this reason, the period of Tdrrega’s career has been chosen
as a Starting point in the investigation of the literature on the history
of the guitar as a modern instrument. The question of the existence of
a ‘school’ of Tdrrega is treated in Hofmeester’s article (entry 810) and,
more extensively, in Ophee’s article (entry 814). In these articles,
authors’ opinions are compared and criticized.
Andrés Segovia (b. 1893) may be considered the greatest contributor
and inspiring influence in the promotion of the classic guitar as a legiti-
mate instrument and in the development and organization of a valid
repertoire for study and for performance. The most comprehensive
bibliographical tool on Andrés Segovia is Ronald C. Purcell’s Andrés
Segovia, contribution to the world of guitar (New York: Belwin Mills
Publishing Corp., n.d. [1975] ). In addition to extensive bibliographies
of works by and about Segovia, listings of modern editions of music
and a discography of Segovia’s recordings are included.
Gilardino’s article (entry 638) is a discussion of the roles of Tdrrega,
Llobet, and Segovia in the revival of the interest in the guitar in the
twentieth century. Leeb’s article (entry 786) gives biographical sketches
of Segovia, Pujol, and Llobet with a comparison of their careers and of
their musical interpretation. Other listings of studies of these artists are
found under their headings in Section C.
This chapter is divided into four sections: Section A. General Sur-
veys, Section B. Notation, Section C. Individual Composers, Performers,
and Publishers, and Section D. Selected Interviews of Performers and
Composers.

137
FROM TARREGA TO THE PRESENT

In Section A., a number of entries treat specific aspects of the

twentieth-century guitar. Entries 640 and 641 are portrait issues of
Guitar News and Guitar Review. Biographical sketches of representative
composers are given in entries 639 and 642-45. Style, repertoire, and
performance are emphasized in entries 636, 637, 642, and 643. Modern
guitar duos are discussed in entries 632 and 633.
Section B. gives a list of a few articles on systems of notation idio-
matic to the guitar.
In Section C., sixty individuals are listed. Articles, including inter-
views, and book-length texts are included.
Section D. is a short list of interviews of thirteen individuals. This
includes presently active performers and teachers.

138
 (632-637)
A. General Surveys
632 DUARTE, John W. "The future of the guitar duo". GuitarR
XXXI (May 1969) 12-13.
Comments on the careers of three contemporary guitar duos: Sergio
and Eduardo Abreu, the Athenian guitar duo, and Henri Dorigny and
Ako Ito. Ports. (the duos).

633 DUARTE, John W. "Rationale of the guitar-duo form". GuttarR

XXXI (May 1969) 9-11.
A discussion of the musical advantages and potentials of the guitar
duo, Performers of guitar duos are mentioned, including Sor and
Aguado and many twentieth-century duos. Some detail is given on the
careers of the Pomponio-Martinez duo, the Zarate duo, and the
Presti-Lagoya duo. Illus.

634 GILARDINO, Angelo. "Aspetti della musica per chitarra del

secolo XX" [Aspects of music for guitar of the twentieth
century]. Fronimo I/2 (Jan 1973) 7-10. In It.
A discussion of the musical style of important twentieth-century
composers, including Frank Martin, Castelnuovo-Tedesco, Tansman,
Villa-Lobos, Britten, Rodrigo, Henze, and Dodgson. Twentieth-century
composers of guitar music who are not guitarists themselves are
distinguished from the guitarist-composers of earlier centuries.
See also: RILM VIII/2-3 (May-Dec 1974) 2764ap28.

635 GILARDINO, Angelo. "La musica contemporanea per chitarra

in Gran Bretagna" [Contemporary music for guitar in Great
Britain]. Fronimo 1/5 (Oct 1973) 8-14. In It.
A discussion of the revived interest in the guitar in England in the
twentieth century. Remarks on contemporary performers and composers
of guitar music. Several compositions are briefly considered. 31
works (title, publisher, and editor) are listed in the footnotes.
See also: RILM VIII/2-3 (May-Dec 1974) 2765ap28.

636 GILARDINO, Angelo. 'La musica italiana per chitarra nel

secolo XX" [Italian music for guitar in the twentieth
century]. Fronimo II/7 (Apr 1974) 21-25. In It.
A discussion of twentieth-century music for guitar by Italian com-
posers dating from Luigi Mozzani (1869-1943). Representative works
are briefly considered. 47 works (title, publisher, and editor) are
listed in the footnotes.
See also: RILM VIII/2-3 (May-Dec 1974) 2766ap28.

637. GILARDINO, Angelo. "La musica per chitarra nel secolo XxX"
[Guitar music in the twentieth century]. In 4 parts. "Italia"
[Italy], Frontmo VIII/31 (Apr 1980) 25-29; "Spagna" [Spain],
VIII/32 (July 1980) 21-25; "Gran Bretagna" [Great Britain],
VIII/33 (Oct 1980) 25-29; "Francia" [France], IX/34 (Jan
L981) e50—353%, Ins Ht.
The output of solo guitar music by twentieth-century composers is
considered. Organization is by individual country. Music is listed

139
(637-643) Modern Histories

alphabetically by composer with titie and publisher cited. Discus-

sion following the list of works is divided into four main cate-
gories: "La quantita" [The quantity], "Le Tendenze" [Tendencies],
"La qualita" [The quality], and "Gli interpreti" [The performers].

638 GILARDINO, Angelo. "La rinascita della chitarra" [The

rediscovery of the guitar]. Fronimo I/1 (Oct 1972) 10-12.
eM Ute
A discussion of the causes of the waning of the interest in the
guitar in the Romantic period and of the subsequent renewal of
interest at the end of the nineteenth century. The importance of
Tarrega, Llobet, and Segovia in the development of this new in-
terest is considered. Ten developments of the modern movement are
listed.

639 Guitar Player Magazine, editors. The guttar player book.

(New York: Grove Press, 1978).
Section "Great guitarists" is a series of articles on contemporary
guitarists including interviews and biographies. Guitarists of the
classical tradition include Almeida, Bream, Segovia, and Williams.
Other main headings are "The guitar in contemporary society",
"Acquiring guitars and keeping them in shape", and "Guitars and
accessories". Ports., append., index, ix, 403p.

640 "[Portraits of contemporary guitarists and composers]".

GuttarN LX (July-Aug 1961) entire issue.
A tenth anniversary issue of Guttar News featuring thirty-five
photographs of contemporary guitarists and composers.

641 “Portrait issue’. Guttarh XI (1950) ‘entire tssue-

The complete issue of Guttar Review is devoted to portraits of
important guitarists, composers, musicologists, and guitar makers
of the nineteenth and twentieth centuries. Emphasis is on the
twentieth century.

642 SCHNEIDER, John. "Twentieth-century guitar: the second

golden age". GuttarLute X (July 1979) 14-18.
A chronological survey of twentieth-century composers of guitar
music who are not guitarists themselves. Many works and their
general stylistic characteristics are mentioned. Historical back-
ground on the six-string classical guitar is given. Biographical
notes on the author. Ports., including Boulez, Stockhausen, Berlioz,
Britten, Schoenberg, Berg, Stravinsky, and Webern. Port., bibliog.
ref. in notes.

643 SCHNEIDER, John. '"Twentieth-century guitar: the second

golden age". GuttarLute XII (Jan 1980) 22-26.
Twelve "specialist" composers who are well-known for their contribu-
tion to the guitar repertoire are discussed: Villa-Lobos, Barrios
Mangoré, Moreno-Torroba, Turina, Ponce, Castelnuovo-Tedesco,
Rodrigo, Smith-Brindle, Duarte, Dodgson, Biberian, and Brouwer.

140
Modern Histories (643-648)
Biographical information on the composers and a consideration of
stylistic aspects of their music. Compositions cited. Ports.

644 SOPENA, Federico. Historia de la musica espanola contem-

poranea [History of contemporary Spanish music]. (Madrid:
Ediciones Rialp, S.A., 1958). In Sp.
A general history of twentieth-century Spanish music, organized
chronologically. Many important figures associated with the guitar
are mentioned including Pedrell, Segovia, Rodrigo, and Salazar.
Index of Spanish composers, bibliog., index, 415p.
Revtew: RMChtlena XIII (May-June 1959) 160-61.

645 VIDAL, Robert J. "Quelques grands guitaristes" [Some

great guitarists]. MDtsques XXXI (Oct 1956) 27-31. In Fr.
A brief discussion of the contributions of Tarrega, Pujol, Segovia,
Presti, and Lagoya. Several contemporary composers are also men-
tioned. lilus., port.

B. Notation
646 BURLESON, Spencer. "Avant-garde composition for the electric
guitar. GurtarP X/10 (Oct 1976) 14-15, 64, 66, 68.
A consideration of selected contemporary compositions
the in which
electric guitar is included in the instrumentation. Includes com-
ments on notation and on the performance of the works. List of
"Selected references for contemporary electric guitar" (scores,
records, books). Music (8 ex. of notation).

647 MARRIOTT, David F. "The contemporary guitar". Soundb VIII/1

(Feb 1981) 39-41.
An examination of the use of and notation of silence in twentieth-
century guitar music as contrasted with rhythmic notation in nine-
teenth-century music. The notation systems of Alvaro Company and
Maricio Kagel, among others, are considered. Bibliog. ref. in notes.

648 TANNO, John C. "The classic guitar. Harmonic notation". In

2eparts.. Fretts LL (1967). 8-10; IIl (1967) 2-4.
Part 1: A discussion of systems of harmonic notation with examples
selected from guitar methods and compositions of the nineteenth and
twentieth centuries. Historical background on notation systems and
some information on the laws of acoustics. Port., music, bibliog.
ret. in notes.
Part 2: Further remarks on methods of notating harmonics. Notes
on the technique of producing harmonics on the guitar. Discussion
of notation includes an explanation of the methods of nineteenth-
and twentieth-century composers. Port., music.

14]
(649-655) Modern Histories

C. Individual Composers, Performers, and Publishers

ABREU, Sergio and Eduardo (Duo)

SEQ 37

ALMEIDA, Laurindo

See also 639

649 BALL, Ernie. 'Laurindo Almeida". Fretts (Dec 1958-Jan 1959)

4-5.
A biographical sketch of Almeida.

ANIDO, Maria Luisa

650 "Biography of a classical guitarist. Anido Gonzales Isabel

Maria Luisa". Guttarra (Chicago) I/4 (Sept-Oct 1963) 14.
A portrait of Anido.

651 "Contemporary guitarist (no. 5)". GuttarN VI (Apr-May 1952)

1-2.
A biographical sketch of Anido. Port.

652 NICOLA, Isaac. "Maria Luisa Anido". Guitarra (Havana)

III/4 (July 1942) 8-9. In Sp.
A biographical sketch of Anido. Port.

653. ROVERI, Ercole Remo. Maria Lutsa Anido. (Milan: Edizioni

Ercole Remo Roveri, 1957). In It.
The most extensive biography of Anido. Includes Anido's comments on
Llobet and remarks on a Torres guitar in Anido's possession which
originally belonged to Tarrega. Letters in Italian translation,
port., music (autograph copies in facsim.), list of honors awarded
to Anido, list of works (published and unpublished, transcriptions),
distog.'sW56p.

ARGENTO, Dominick (b. 1927)

654 "Introducing Dominick Argento". GuttarR XLV (Spring 1979) 11.

Biographical notes on Argento. Port.

655 SCLAR, Joyce Rohr. "Guitar: Consort to the voice". MA diss.,

Music: Ithaca College, Ithaca, N.Y. [1975-?}.
This thesis is listed in Soundb IV/1 (Feb 1977) 13. It consists of
discussions of the following works: Argento's Letters from composers,
Britten's Songs from the Chinese, and Henze's Kammermustk.

142
Modern Histories (656-661)
656 SCLAR, Joyce Rohr. "Guitar: Consort to the voice. Chapter .l.
Dominick Argento: Letters from composers". GuitarR XLV
(Spring 1979) 6-11.
A discussion of Argento's song cycle "Letters from composers" for
voice and guitar with text based on letters from seven composers.
Sclar considers the songs based on letters of Bach, Debussy, Chopin,
and Schubert. Comments on text. Analysis of musical style and struc-
ture in relationship to the text. Quotations of the letters. Music,
iites;, bibliog. ref. in notes.

ATHENIAN Guitar Duo (Liza ZOI and Evangelos ASSIMAKOPOULOS)

See 632, 739

BARRIOS MANGORE, Agustfn Pid (1885-1944)

See also 78, 643

657 BALADA, Juan Ruano. "Agustin P. Barrios". Guttarrq (Madrid)

XVII (Nov 1964) 7 (text), 8-9 (music). In Sp.
Biographical notes on Barrios as an introduction to his music
"Humoresca".
See also: Guttarra (Madrid) XVIII (Dec 1964) 8-9 for Barrios's
"Romanza".

658 SENSIER, Peter. "Guitar topics". BMG LX/691 (Nov 1962) 53-54.
A biographical sketch of Barrios.

659 STOVER, Richard. "Agustin Barrios Mangoré. Forgotten master

of the guitar". In 2 parts. Soundb V/2 (May 1978) 44-47; V/3
(Aug 1978) 65-69.
A detailed biography of Barrios with extensive comments on his com-
positions and on his performing career. Concert programs listed.
Port., bibliog. ref. in’ notes.

660 STOVER, Richard. "Agustin Barrios Mangoré. Un genio della

chitarra dimenticato" [Agustin Barrios Mangoré. Forgotten
master of the guitar]. Frontmo V/20 (July 1977) 6-14. In It.
An Italian translation of Stover 659. Port., music, list of pub-
lished works, bibliog. ref. in notes, discog., bibliog.

661 STOVER, Richard. "Return with us now. The Soundboard's

featured facsimile". Soundb V/3 (Aug 1978) 82-83.
A facsimile of Barrios's Preludto Saudade (1938) with a short dis-
cussion of the history of the work.

143
(662-667) Modern Histories

BELLOW, Alexander (1912-1977)

662 "Contemporary guitarist (no. 4)". GuttarW V (Feb-Mar 1952)

1-2.
A biographical sketch of Alexander Bellow. Port.

BERG, Alban (1885-1935)

See 642

BIBERIAN, Gilbert

See 643

BICKFORD, Vahdah Olcott [née Ethel Lucretia Olcott] (1885-1980)

663 PURCELL, Ronald C. "In memoriam: Vahdah Olcott Bickford

Revere". Soundb VII/3 (Aug 1980) 120. Reprinted from Overture
LX/3 (June 1980).
A biographical sketch of Bickford in memory of her on her death in
May 1980. Port.

664 "Vahdah Olcott Bickford". GuitarLute XIV (July 1980) 7.

A portrait of Bickford in memory of her on her death (18 May 1980).

BOULEZ,
Pierre (b. 1925)

See also 642

665 WAGER-SCHNEIDER, John. "The contemporary guitar". Soundb

VII/3 (Aug 1980) 126-27.
A discussion of Boulez's works in which the guitar is used: Le
Marteau sans mattre (1953-54), Plt selon pli (1958-62), Eclat
(1965), and Domatnes (1968).

BREAM, Julian (b. 1933)

See also 390, 639, 686, 775

666 "Biography of a guitarist. Julian Bream". Guttarra (Chicago)

IL/6 (Jan-Feb 1964) 20.
A short biographical survey of Bream with notes on his education
and career as a performer.

667 "A conversation. Julian Bream-Malcolm Weller". GuttarkR

XXXVII (Fall 1972) 10-13.
Bream and Weller discuss performing, guitars, and technique.
144
Modern Histories (668-672)

668 "Incontri. Colloquio con Julian Bream". Fronimo I1/9 (Oct

1974) 4-7.
Bream is interviewed by Pier Luigi Cimma. Includes a discussion of
Bream's early education and career, Segovia's influence on him, and
his opinions on repertoire and transcription.

669° "Man with a guitar: Julian Bream. A self-portrait, with

music". GuttarN LXII (Nov-Dec 1961) 13-14.
A short biography of Bream. Includes quotations of comments made by
Bream in an interview broadcasted on B.B.C. London Regional in Sept
£961.

670 McCREADIE, Sue. "Julian Bream. 'Music may use mechanics, but
it must always be at the service of the human spirit'". Guitar
VIII/7 (Feb 1980) 18-22.
Bream discusses his concert activities, repertoire (including
opinions on the music of Ponce and Henze, concerto performance, and
duo performance), interpretation, performing, and opinions on early
MUStoey LelLuses, ports

BRINDLE, Reginald Smith (b. 1917)

See 643

BRITTEN, Benjamin (1913-1976)

peeralso.642,°655

671 FROESE, Reinhard. "Benjamin Brittens Nocturnal und John

Dowlands Come heavy sleep" [Benjamin Britten's Nocturnal
and John Dowland's Come heavy sleep]. GttarreLaute 1/2
(1979) 20-25. In De.
A discussion and analysis of Benjamin Britten's Nocturnal for solo
guitar and the song on which it is based, John Dowland's "Come heavy
sleep", song no. 20 in The first booke of songes or ayres of fowre
partes (1597). Background on Britten's significance as a composer
and on the 1964 premier performance on Britten's Nocturnal. The
compositional techniques of Britten are considered with a detailed
comparison of the thematic material of the Wocturnal to that of the
original model. Illus., port. (Britten), music (Dowland and
Britten).

672 MILLER, Carl. "Meditation on Benjamin Britten's Nocturnal".

GuttarR XLII (Fall 1977) 15-16.
A discussion of Britten's Nocturnal for solo guitar and its rela-
tionship to the original model, John Dowland's song ''Come heavy
sleep" song no. 20 in The first booke of songes or ayres of fowre
partes (1597). Examination of the musical structure and of the
technical aspects of each of the eight sections of the Nocturnal .
Ellas.
145
(673-678) Modern Histories

673. SCLAR, Joyce Rohr. "Guitar: consort to the voice". GuttarR

XLII (Pall 1977) 17-24.
"Prologue and chapter 1. Benjamin Britten: Songs from the Chinese".
Analysis of Britten's Songs from the Chinese op. 58 for high voice
and guitar, a cycle of six songs written in 1958. Study of the
relationship of the music to the text. Detail on the idiomatic use
of the guitar as an accompanying instrument. Illus., music, bibliog.
rer, in notes.

CANO, Antonio (1811-1897)

See 10

CARRILLO-TRUJILLO, Julian Antonio (1875-1965)

See also 79, 80

674 BENJAMIN, Gerald R. "Julian Carrillo and 'Sonido Trece'".

YbDIAIMR III (1967) 38-68.
A study of the life and work of Carrillo, inventor of the micro-
tonal system of composition called "Sonido Trece"’. Detailed
biography. Analysis of Carrillo's systems of notation. Extensive
list of Carrillo's compositions and theoretical writings. Discog.
Of ‘Carrillos “music. Charts, music, bibliog. ref. in’ notes:

675 FORD, John. "Carrillo after 100 years". CGuittarInt III/1

(Fall 1975) 11-14.
A short introduction to Carrillo's microtonal system "Sonido Trece".
Part 1: "Notation". Carrillo's method of notation is described.
Music (facsim. of guitar music), bibliog. (works for guitar com-
posed in the "Sonido trece" system).
See also: Ford 676.

676 FORD, John. "Carrillo: Music pioneer". CGuttarInt I11/2

(Winter 1976) 14-17.
A continuation of Ford 675. Biographical notes on Carrillo with
emphasis on his accomplishments in music. Port.

677. FORD, John. "Carrillo's sonido trece". CGuttarInt II1I/3

(Spring 1976) 12-14.
A continuation of Ford 676. Conclusion of Carrillo's biography with
a discussion of his method of composition. Port.

CARLEVARO,
Abel

See also 66

678 AZKOUL, Jihad; DIAZ, Bartolomé. "Abel Carlevaro: Looking

ahead". GuitarLute
IX (Apr 1979) 21-24.
146
Modern Histories (678-685 )
Carlevaro's philosophies on guitar technique and on methods of
teaching are discussed, including a consideration of the ideas put
forth in his method entitled Escuela de la guttarra: Exposictén de
la teorta instrumental. The authors indicate the uniqueness of his
approach and the depth of his technical analysis. Biographical
information on the authors. Port., illus.

CASTELNUOVO-TEDESCO, Mario (1895-1968)

See also 38, 643

679 DUARTE, John W. "Death of Castelnuovo-Tedesco". BMG LXv/

758 (June 1968) 280-81.
In memory of Castelnuovo-Tedesco, a discussion of his life and
works.

680 HIGHAM, Peter. "Mario Castelnuovo-Tedesco". Guitar VI/7

(Feb 1978) 24-25.
A biography of Castelnuovo-Tedesco with many compositions mentioned.
Biographical information on the author. Port., bibliog. ref. in
notes.

681 HIGHAM, Peter. "Castelnuovo-Tedesco's works for guitar".

MA diss., Music: University of Alberta, Edmonton, Canada.

682 MOLLER, Dirk. "Mario Castelnuovo-Tedescos 24 Caprichos de

Goya". GttarreLaute III/1 (Jan-Feb 1981) 42-46. In De.
A discussion of Castelnuovo-Tedesco's 24 Caprichos de Goya based on
a selection from Goya's 80 "Caprichos", political characterizations.
Historical background on Goya in his contemporary environment.
Analysis of Castelnuovo-Tedesco's music with comments on the rela-
tionship of the music to Goya's art. Chart, 5 iconog. (reproductions
of Goya's "Caprichos"), music, bibliog. ref. in notes.

683 PURCELL, Ronald C. "Mario Castelnuovo-Tedesco and the guitar".

GuttarR XXXVII (Fall 1972) 2-4.
A short biographical sketch mentioning his important works for the
guitar. Castelnuovo-Tedesco's relationship with Segovia is dis-
cussed. Port., complete list of guitar works (date, title, opus no.,
publisher).

684 STEWART, Jimmy. ''The guitarist as a complete musician.

Castelnuovo-Tedesco". GuitarP VIII/2 (Feb 1974) 44.
A short biographical sketch with some important compositions men-
tioned. Music (by Jimmy Stewart).

CHILESOTTI, Oscar (1848-1916)

685 DIAZ, Alirio. "Oscar Chilesotti". Frontmo V1/22 (Jan 1978)

i272, AN Lt.
147
(685-689) Modern Histories

A discussion of Chilesotti's major contributions to the study of

the guitar and his publications. Bibliog. ref. in notes.

COMPANY, Alvaro

See 647

CUARTETO, Dona-Dio

See 84

DODGSON, Stephen (b. 1924)

See also-~38, 643

686 FARRELL, Terrence. "Interview: Stephen Dodgson". GuttarLute

EX Apr. 1979):413=14, 39.
Introductory notes include biographical information on Dodgson.
Dodgson discusses composition for guitar, his future plans, and his
association with Julian Bream, John Williams, and Hector Quine.
Port.

687 PROVOST, Richard. "The guitar music of Stephen Dodgson".

Soundb VI/1 (Feb 1979) 3-5.
Biographical notes on Dodgson. Description and evaluation of his
works for guitar, published and unpublished.

688 TOLLY, Kevin. "Stephen Dodgson: his works for guitar".

GuttarLute IX (Apr 1979) 15-17.
A survey of Dodgson's works for guitar through 1978 with remarks on
each. 20 works considered. Biographical notes on the composer. List
of publishers. Port. (Dodgson and the author).

DORIGNY, Henry and ITO, Ako (Duo)

See 632

FALLA. Manuel de (1876-1946)

See Alsen 52

689 CHRICHTON, Ronald. Manuel de Falla. Descriptive catalogue of

hts works. (London: J. & W. Chester, Edition Wilhelm Hansen
bide, 1976).
History and description of the works of de Falla. Discussion of de
Falla's "Homenaje 'Le tombeau de Claude Debussy' for solo guitar",
De Oe
148
Modern Histories (689-694)
Revtews: MMustctan XXV (Feb 1977) 30; MTimes CXVIII (Mar 1977) 211-
12; Strad LXXXVII (Apr 1977) 1019; MinEd XLI/385 (1977) 385.

690 "Falla's 'Homenaje pour le tombeau de Claude Debussy’. A

master lesson with Rey de la Torre- taped in the form of a
conversation with Walter Spalding, Sept. '76". Chelys 1/5
(1977), 37-—41...1n Fr.
A dialogue between Walter Spalding and Rey de la Torre. Historical
background on de Falla's "Homenaje", originally published in 1920 in
Revue Musicale. Comments on the musical interpretation of the work
and on the close association between de Falla and Miguel Llobet
during its composition. Port. (Llobet).

691 JENSEN, Richard d'A. "A closer look at Falla's 'Homenaje'".

Soundb V/4 (Nov 1978) 101-03.
An examination of Manuel de Falla's "Homenaje" (1921) for solo
guitar. Comments on the relationship of the work to the music of
Ravel and Debussy. Analysis of thematic material with a comparison
to the material from Debussy's Sotrée dans Grenade and Parfums de
la mutt. Music, bibliog. ref. in notes.

692 KEIM, Betty. "Manuel de Falla: the guitar and his music".
GuttarR XLI (Winter 1976) 22-23.
A brief discussion of de Falla's opinions on the guitar and the
influence of the guitar on his musical style. De Falla's use of
guitaristic effects is illustrated in representative examples of
orchestral works and works for piano. Illus., bibliog.

693 MEIJERING, Cord. "Analyse von Manuel de Fallas 'Homenaje'

auf den Tod von Claude Debussy" [Analysis of Manuel de Falla's
"Homenaje" on the death of Claude Debussy]. GitarreLaute II/2
(Mar-Apr 1980) 14-16, 19-22. In De.
Historical background and detailed analysis of de Falla's ''Homenaje"
with particular emphasis on the analysis of de Falla's motivic de-
velopment. Comments on the derivation of the work from Debussy's
La sotrée dans Grenade included. Illus., music, bibliog. ref. in
notes.

694 TONAZZI, Bruno. "Considerazioni sull' 'Omaggio a Debussy'

per chitarra di Manuel de Falla" [Considerations of Manuel
de Falla's 'Hommage to Debussy']. Fronitmo 11/8 (July 1974)
9—1.5.., 10) 16,
Historical background on de Falla's "Homenaje", originally written
in memory of Claude Debussy for La Revue Mustcale (1921). Comparison
of the original version for guitar to the versions for piano and for
orchestra. Miguel Llobet's edition for the guitar is described.
Music, bibliog. ref. in notes.

149
(695-700) Modern Histories

FALU, Eduardo

695 SENSIER, Peter. "Eduardo Falu". BMG LXVIII/789 (Jan 1971)

L335
A discussion of the career of Argentinean guitarist Eduardo Falu.
Rote

FORTEA, Daniel (1878-1953)

See 109

HENZE, Hans Werner (b. 1926)

See also 655, 670

696 "Incontri. Intervista a Hans Werner Henze" [Encounters.

Interview with Hans Werner Henze]. Frontmo 1/4 (July 1973)
$=52 In Dts
Henze, interviewed by Ruggero Chiesa, discusses his compositions for
guitar and his opinions on the instrument. Port.

697 KESSNER, Daniel. "Contemporary guitar music". Soundb IV/1

(Feb 4977) Sif.
A discussion of Toru Takemitsu's "Folios for guitar" and Hans Werner
Henze's "Drei Tentos fiir Gitarre". Comparison of the two works.

698 LEISNER, David. "Contemporary guitar music. Three perspectives

on Henze's 'Drei Tentos'''. Soundb IV/2 (May 1977) 36-38.
Italian trans. "Tre vedute prospettiche dei drei tentos di
Henze". Fronimo V/21 (Oct 1977) 19-23.
A study of Henze's "Drei Tentos" from his Kammermustk 1958. In 3
sections: 1. Analysis. 2. Relationship of music. 3. "Stage design".
Music.

699 WAGER-SCHNEIDER, John. "The contemporary guitar". Soundb

VII/4 (Nov 1980) 173-75.
A discussion of Henze's compositions for guitar. Short descriptions
of the works.

HINDEMITH, Paul (1895-1963)

700 SCHWARZ-REIFLINGEN, Erwin. "Paul Hindemith. Musik fur drei

Gitarren" [Paul Hindemith. Music for three guitars]. DieGit
X1I/5-6 (1930) 39-40. In De.
Background on Hindemith as a composer with general remarks on his
style. Discussion of the history of and first performance of Music
for three guttars in Berlin (1930).

150
Modern Histories (701-707)
JEFFERY, Brian

701 KOZINN, Allan. "Brian Jeffery. Historian, music editor,

Fernando Sor's biographer". GuitarP XIII/7 (July 1979)
61-64, 66, 68.
A survey of Jeffery's career and main contributions to the field of
guitar research. Remarks on the activities of his publishing com-
pany, Tecla Editions, and on his research on Fernando Sor are in-
cluded. Music (Sor, "El que quisiera amando" for voice and guitar).
Port.

KAGEL, Mauricio (b. 1931)

See 647

LECKIE, Walter J.

702 ROBERTS, John. "Historical notes". Guttar VII/1 (Aug 1978)

28-29.
Biographical notes on Dr. Walter J. Leckie. Emphasis is on his
association with Tarrega. Quotations by Pujol and Prat. Port.

LLOBET, Miguel Soles (1878-1938)

See also 109, 638, 690, 694, 786, 808, 814, 829

703. "Guitar music. The artistry of Miguel Llobet (1878-1938)".

GuttarN LXVII (Sept-Oct 1962) 14-15.
A biographical sketch of Llobet with notes on his arrangements and
transcriptions for guitar.

704 "Miguel Soles Llobet". Guttarra (Chicago) I/2 (May-June

1963) 13-15.
Biographical information on Llobet. Port.

705 RIERA, Juan. "Miguel Llobet, composer and guitarist (1878-

1938)". Trans. from the Spanish by Mrs. A. Korwin-Rodziszewski.
GuttarN XXVII (Oct-Nov 1955) 7-8.
A biographical sketch of Llobet.

706 ROBERTS, John. "Miguel Llobet". Guitar I/5 (Dec 1972).

707 SCHWARZ-REIFLINGEN, Erwin. "Miguel Llobet". DteGit IX/1-2

(Jan-Feb 1928) 9-13. In De.
A biography of Llobet with comments on his significance as a guitar-
ist-composer. Quotation of a review of a 1927 Berlin concert with
repertoire listed. Port.

151
(708-713) Modern Histories

708 SCHWARZ-REIFLINGEN, Erwin. "Miguel Llobet (zu seinem 50.

Geburtstag am 18. Oktober 1928)" [Miguel Llobet (on his
50th birthday on 18 October 1928) ]. DteGit IX/9-10 (1928)
DO 6340 eens Det
A biographical survey of the life and work of Llobet. Includes com-
ments on Tarrega's influence on Llobet. Information on concert tours
and repertoire interests. Port.

709 TONAZZI, Bruno. Miguel Llobet, chttarrtsta dell'impresston-

tsmo. (Ancona: Edizioni Bérben, 1966). In It.
A detailed biographical study of Llobet with a discussion of his
career as a performer and a summary and evaluation of his major
contributions to the guitar as a composer and as a transcriber.
A short history of the guitar from the sixteenth century. Descrip—
tion of Llobet's original compositions. Concert programs cited.
List of works organized in the following categories: compositions
published and unpublished, transcriptions for guitar published and
unpublished, and transitions for voice and guitar. Annotated
DIDO ser NS dc, DOr Es... 40.1%
Review: Terrence Farrell, GuitarLute VIII (Jan LOTS) sae

710 VECHTEN, Carl van. "A critic's view of Llobet". Chelys 1/5
(1977) 42. Reprinted from [CHASE, Gilbert] The music of Spain.
(New York: Alfred A. Knopf, 1918), p. 39-41.
The author's reflections on the artistry of Llobet in a recital in
ApETPaLOl6. Port. (ps 43).

LORCA, Federico Garcia (1898-1936)

711 DELL'ARA, Mario. "La chitarra nella poesia di Federico Garcia

Lorca" [The guitar in the poetry of Federico Garcia Lorca].
Fronimo IV/16 (July 1976) 15-19. In It.
A biographical sketch of Lorca includes remarks on his involvement
with music. Quotations of poetry on the subject of the guitar with
commentary. Consideration of the influence of Lorca's poetry on
contemporary composers with representative compositions listed.

712 MAXSON, Gloria, trans. "Six strings from a Spanish guitar.

Poems translated from the Spanish by Gloria Maxson". GuttarP
VI/8 (Nov-Dec 1972) 18.
Quotations in English translation of the poetry of Lorca, Paz, and
Machado.

MARTIN, Frank (1890-1974)

713° BOSMAN, Lance. "Analysis 6". Guttar IX/1 (Aug 1980) 7-8.
A short analysis of the "Prelude" from Martin's Quatre ptéces bréves
(1933). Music.
2,
Modern Histories (714-717)
MOZZANI, Luigi (1868-1943)

714 FERRARI, Romolo. "La vita e le opere di Mozzani" [The life and
works
of Mozzani]. In 6 parts. AChttarristica I/1 (Jan 1947)
5-6; 1/2 (Mar 1947) 5-6; 1/3 (June 1947) 5-6; 1/4 (Aug 1947)
5-6; 1/8 (Apr 1948) 5-6; I/10-11 (Aug-Oct 1948) 12-13. In It.
A study of the life and works of Mozzani with discussion of his
career as a guitarist and as a luthier. Anecdotes recalled.
Mozzani's main contributions, including innovations in con-
struction, are noted.

715 HUTTIG, H. E. Il. "Luigi Mozzani, a vignette". GuitarP

XXXVII (Fall 1972) 19. Originally written in German by F.
Buek in La Guitarra magazine (Buenos Aires, 1926). Trans.
into Spanish by Federico Canno. Trans. from Spanish to English
by Huttig.
A brief account of some experiences of Mozzani as a guitarist, in-
cluding his association with William Foden. Illus.

PEDRELL,
Carlos (1878-1941)

Dee AW

PEDRELL,
Felipe (1841-1922)

See also 644, 808, 829. The first nine articles of Anuarto Musical
XXVII (1972) are in the memory of Felipe Pedrell. Among them are
Pujol 7.16.

716 PUJOL, Emilio. "El Maestro Pedrell, la vihuela y la guitarra"

[The Maestro Pedrell, the vihuela and the guitar]. AnM XXVII
(E9712 24 /=59sciniTSpe
A homage to the late Felipe Pedrell in which he is honored for his
musicological research on the guitar and vihuela. Pujol recalls his
own experiences in working with Pedrell's studies and examines the
value of Pedrell's accomplishments. Includes a comparison of the
transcription methodology used by Pedrell, Conte de Morphy, and
Leo Schrade. Music (2 works for voice and vihuela, transcr. only,
vihuela music in 2-staff system, treble and bass clef), bibliog.
ref. in notes.

PETRASSI, Goffredo (b. 1904)

717. "Guitar music. Pedrell and Petrassi". GuttarN LXVI (July-

Aug 1962) 30.
Short biographical surveys of composers Carlos Pedrell, nephew of
Felipe, and Petrassi.

153
(718-724) Modern Histories

718 "Tncontri. Intervista a Goffredo Petrassi" [Encounters.

Interview with Goffredo Petrassi]. Fronimo I/1 (Oct 1972)
T=9, Ins tt.
Petrassi is interviewed by Ruggero Chiesa. Port., music.

719 WAGER-SCHNEIDER, John. "The contemporary guitar. Goffredo

Petrassi". Soundb VIII/2 (May 1981) 92-94.
A stylistic analysis of works for guitar solo and for guitar with
other instruments: "Suoni notturni" (1959), "Seconda-serenata trio"
(1962), "Nunc" (1971), "Alias" (1977), "Grand septuor" (1978).
WONele 6 ICE.

POMPONIO-MARTINEZ DUO

See 633

PONCE, Manuel M. (1882-1948)

See also 13, 38-41, 79-81, 643, 670, 776

720 ANGEL, Miguel. "En memoria a Ponce" [In memory of Ponce].

FINews XVII/6 (Nov-Dec 1948) 12.
A portrait of Ponce in his memory. Port.

721 BOSMAN, Lance. "Variations 6". Guttar V/4 (Nov 1976) 28-29.
A discussion of Ponce's treatment of variation form in "Variations
sur Folia de Espania". Analysis included. Music.

722 CHAVEZ, Carlos. “Historical evaluation of Manuel M. Ponce".

GuttarR VII (1948) 6.
Commentary on Ponce's influence on the development of Mexican music,
his development of larger forms, and his use of national folk music
in his’ compositions: Port.

hake, COELHO, Olga. "Ponce, lover of Mexican folklore". GuitarR

VII (1948) 8-9.
The author recalls his first meeting with Ponce, expresses his
admiration for Ponce as a man and as a composer, and comments on
Ponce's interest in Mexican folk music. Illus.

724 JEFFERY, Brian. "24 preludes for guitar of Manuel M. Ponce".

Soundb VIII/3 (Aug 1981) 160-62.
An introduction to Ponce's "24 Preludes" (one for each major and
minor key) which have been recently published in an edition by
Miguel Alcazar. Alcazar bases his research on the original manu-
script composed in the late 1920s in Paris. A general stylistic
description includes remarks on representative works. Segovia's
objection to the inappropriateness of certain choices of key in
guitar composition is revealed in a letter from Segovia to Ponce.
Music (incipits of the 24 Preludes).
154
Modern Histories (725-734)
725 LUSE, Marvin W. Jr. "Interval, contour, and shape as struc-
tural elements in Manuel Ponce's 'Sonata III'". MA diss.,
Music: University of South Florida.
A reference copy is available through the GFA Archive.

726 MENDEZ, Guillermo Flores. "Manuel M. Ponce". AChttarristtica

I/10-11 (Aug-Oct 1948) 13. In It.
A portrait of Ponce in which his contributions and accomplishments
as a composer of guitar music are noted.

727 MENDEZ, G. [Guillermo] F. [Flores]. "Manuel M. Ponce".

Trans. from the Spanish by Mrs. A. Korwin-Rodziszewski.
GuttarN XXX (Apr-May 1956) 3-4.
A short biographical sketch in which Ponce is praised for his con-
tribution to the guitar repertoire. Includes general comments on his
musical style with some works mentioned.

728 "Obituary notice". GuttarR VI (1948) 152.

An announcement of the death of Ponce, 24 April 1948 in Mexico City.

729 OTERO, Corazon. "Book review: Manuel M. Ponce y la guitarra"

[Book review: Manuel M. Ponce and the guttar]. Guitar 1X/10
(May 1981) 21-23. In En.
A pre-publication review. No publication information is given. Ports.

730 PINCHERLE, Marc. "A letter". GuitarR VII (1948) 11.

A portrait of Ponce in his memory.

731 RAYGADA, Carlos. "Manuel Maria Ponce". Trans. by Eithne

Golden. GuttarR VII (1948) 5-6.
A biographical sketch of Ponce including the author's own reflections
on his personal relationship with the composer. Illus.

noe SEGOVIA, Andres. "Manuel M. Ponce: sketches from heart and

memory". Trans. by Olga Coelho and Eithne Golden. GuttarR
VII (1948) 3-4 (English text), 15-16 (Spanish translation).
Segovia's praise of Ponce for his outstanding character and contri-
bution. Includes anecdotes of Segovia's own personal experiences
with Ponce.

eps SILVA, Jesus. "Reminiscences of Manuel M. Ponce". GuttarR

ViIT. (1948) Ll.
Silva's recollections of his final moments with Ponce. Segovia's
last words to Ponce are recalled.

734 SMITH, Carleton Sprague. "Impressions of Manuel Ponce".

GuttarR VII (1948) 10.
A portrait of Ponce based on the author's recollections of the
composer on his meeting with him in Mexico City (1941). Notes on
Ponce's areas of interest in composition and his style of composi-
tion. Music.

55
(735-743) Modern Histories

735 SPALDING, Walter. "Manuel Maria Ponce". Chelys I1/2 (1978)

29-30%
A brief description of Ponce's style of composition. Biographical
notes included. Port.

736 STEWART, Jimmy. "The guitarist as a complete musician. Manuel

Ponce: a tribute'’. GuitarP VII/1 (Jan 1974) 45.
A biographical sketch of Ponce with some compositions mentioned.

737. VILLA-LOBOS, Heitor. "Nostalgic recollections". GuttarR

VII (1948)011.
Villa-Lobos's recollections of his friendship with Ponce on the
event of Ponce's death.

PRESTI, Ida (1924-1967)

and LAGOYA, Alexander (b. 1929) (Guitar Duo)

See also 633, 645

738 ARTZT, Alice. "Presti in New York". GuitarR XXXI (May

1969) 4.
The author's recollections of her experiences with Presti during
Presti's New York visit. Remarks on Presti as a teacher.

739 THE ATHENIAN GUITAR DUO (Liza ZOI and Evangelos

ASSIMAKOPOULOS). "Ida Presti-in memoriam". GuttarR
XXXI (May 1969) 5.
Recollections by the authors of their experiences with Ida Presti
and with the Presti-Lagoya duo.

740 DORIGNY, Henri. "Ida Presti". GuttarR XXXI (May 1969)

4-5. Trans. from the French by Chantal Dubourg.
Praise of Presti for her contribution to the guitar as a performer
and as a teacher.

741 DUARTE, John W. "Ida Presti™. BMG LXIV/746 (June 1967)

303-04.
A portrait of Presti immediately following her death. The author
recalls his association with her. Port.

742 DUARTE, John W. "Presti-Lagoya duo". GuitarR XXXI (May

1969) 6.
Biographical accounts of the childhoods and the careers of Presti
and Lagoya. Illus.

743 LAWRENCE, Catherine. "Viewpoints: Alexandre Lagoya and

Guttarra". Guitarra (Chicago) XXXVIII (May-June 1980)
2-5 °

An interview with Lagoya on 23 Feb 1980. Includes a discussion of

Lagoya's concert activities. Comments on the history of technique
and position in reference to Lagoya's development of the technique

156
Modern Histories (743-751)
of playing on the right side of the nail. Port., illus. (including
right hand positions).

744 "Presti + Lagoya + two guitars". Guitarra (Chicago) II/8

(May-June 1964) 14-19.
An interview with Presti and Lagoya. Emphasis of the discussion is
on their concert careers and on the guitar repertoire.

745 SEGOVIA, Andrés. ["Ida Presti"]. GuitarR XXXI (May 1969) 3.

Segovia's tribute to Ida Presti in which he expresses his grief for
mer deathtin’ 1967. Port. "(Prestt)*%

746 SHERRY, James. "Ida Presti leaves us". Guitarra (Chicago)

V/26 (May-June 1967) 10-15.
A tribute to Presti with biographical notes on her life as a per-
former. Port.

PUJOL,
Emilio (1886-1980)

wee aleor 38, 427° 6455-702, 716,786," 8085 810, 1814, 5815-215, 1858

747 ~=ADAMS, Henry. "Interview: Emilio Pujol". GuitarLute IX

(Apr 1979) 8-10.
Introductory notes give biographical information on Pujol. The
interview includes a discussion of Pujol's opinions on recording,
transcriptions, the influences on his career and his influences on
others, Torres guitars, and education. References to Tarrega's
influences throughout. Port.

748 AUGUSTINE, Rose L. "Emilio Pujol (Biographical sketch)".

GuttarR V (1948) 117.
A sketch of Pujol's career as an artist, composer, teacher, and
author.

749 CHIESA, Ruggero. "I novant'anni di Emilio Pujol" [The nine-

tieth year of Emilio Pujol]. Fronitmo IV/15 (Apr 1976) 6-10.
Wye teeSe
A biography of Pujol with emphasis on his contributions to the
suitar. Illus. (facsim. of a 1927 recital program), port.

750 "Emilio Pujol: a complete list of works". GuttarLute VI

(May 1978) 12-14.
A reprint of the list of works in Riera 756.

751 "Incontri. Colloquio con Emilio Pujol" [Encounters. Inter-

view with Emilio Pujol]. Frontmo I11I/10 (Jan 1975) 3-4.
on. VLG.
Emilio Pujol, interviewed by Silvio Cerutti, discusses his work as
a musicologist, transcription, and the teachings of Tarrega. Port.

YSi7
(752-759) Modern Histories

752 KOZINN, Allan. "Emilio Pujol. ‘If you cannot live your art
in this secret intimate way, there is no reason to continue'".
Guttar V/12 (July 1977) 9-11.
Pujol discusses his study with Tarrega, his work on his method, La
escuela razonada de la guitarra, the work of de Falla, transcrip-
tion, and recordings. Port.

753 KOZINN, Allan. "Emilio Pujol. Teacher, performer, master of

classical guitar". GuitarP XI/4 (Apr 1977) 20 (text); 21
Gste). 840, 05250/63..5 IniGeaes hs
A biography of Pujol with notes on his contributions, activities,
and philosophies. Quotations of Pujol. "Selected works by Emilio
Pujol", port.; music ("Becqueriana’ by Pujol).

754 PORTA, A. “Emilio Pujol, a world-famous Leridan". Guitarl

XXI (Oct-Nov 1954) 3-5. Trans. from the Spanish by A.
Rodziszewska from Labor, Lérida, Spain (10 Feb 1954).
A defense of Pujol's contribution to the guitar in a reaction
against the Leridan's lack of recognition of the artist. Pujol's
main accomplishments are noted. Includes comments on his continua-
tion of the teachings of Tarrega.

755 PURCELL, Ronald C. "Emilio Pujol. In memoriam. 1886-1980".

Soundb VIII/2 (May 1981) 65-69.
A portrait of Pujol with notes on his career and accomplishments
in the field of the guitar. Chronological listing of important
events in the life of Pujol based on information taken from Riera
756. Includes a facsimile of a review by Isolde Radclyffe of a
recital by Pujol (London 1912), reprinted from BMG. Facsim of a
program (France 1922). Port.

756 RIERA, Juan. Emilto Pujol. (Lérida: Instituto de Estudios

Ilerdenses, 1974). In Sp.
A detailed biography of Pujol in 2 parts: "Biografia" [Biography]
and "El artista y su obra" [The artist and his work]. Emphasis is
on his life in music, his activities, his contributions, and his
associations. Comments on his relationship with Tarrega are in-
cluded. Programs of recitals, port., 7 append., bibliog., 201p.
Review: John Roberts, Guitar IV/8 (Mar 1976) 35.

757. ROBERTS, John. "Emilio Pujol. 1886-1980". Guitar IXx/8

(Mar? 3981) 127, -29.
A biographical survey of the life of Pujol. Notes on his association
with Tarrega included. Port.

758 SANUY, Ignacio Maria. Notas biograficas sobre Emilio Pujol

[Biographical notes on Emilio Pujol]. (Lerida: Publicaciones
del Instituto de Estudios Ilerdenses, 1952). In Sp.

759 SCHWARZ-REIFLINGEN, Erwin. "Emilio Pujol und die spanische

Gitarristik" [Emilio Pujol and Spanish guitar music]. DieGit
VII/9-10 (Sept-Oct [1926]) 63-65. In De.
158
Modern Histories (759-765)
A biographical sketch of Pujol with notes on his technique, his
major contributions, and his publications. Includes a summary of
the history of the guitar in Spain with some important guitarists
mentioned. Port.

QUINE, Hector

See 686

RODRIGO, Joaquin (b. 1902)

See also 282, 643, 644

760 C., M.G. "Il 'Concierto de Aranjuez' per chitarra e orchestra

di Joaquin Rodrigo" [The "Concerto de Aranjuez" for guitar
and orchestra by Joaquin Rodrigo]. AChttarristtca II/10-11
(Aug-Oct 1948) 6-7. In It.
A description of the first performance of Rodrigo's "Concerto de
Aranjuez" (Madrid, 1940) performed by Regino Sainz de la Maza.
Stylistic consideration of the work.

761 GOMEZ-SANTOS, Marino. [Once] Espanoles universales. [Eleven

renown Spaniards]. (Madrid: Ediciones Cultura Hispanica,
1969). In<Sp.
Includes five interviews with Joaquin Rodrigo in July 1959, p.
269-303, and five interviews with Andrés Segovia in July 1960, p.
355-005 rOrt., 417p.

762 = "Incontri. [Joaquin Rodrigo]'' [Encounters. Joaquin Rodrigo].

Frontmo III/11 (Apr 1975) 3-5. In It.
Silva Cerutti interviews Joaquin Rodrigo. Topics of discussion
include Rodrigo's compositions for guitar, guitar technique, and,
in particular, composing for guitar with orchestra. Port.

763 IRVINE, Kip. "Joaquin Rodrigo: Fantasta para un genttlhombre.

Analysis and comments". GuitarLute IV (Mar 1977) 17-19.
A discussion and analysis of the six movements of Rodrigo's
Fantasia para un genttlhombre. Relationships between the music of
Gaspar Sanz, Rodrigo's model, and Rodrigo's work are considered.
Music, bibliog.

764 RODRIGO, Joaquin. "L'analisi tecnica dell'autore sul

"Concierto'" [Technical analysis of the "Concerto" by the
composer]. AChitarristica II/10-11 (Aug-Oct 1948) 7-8.
ip Le.
Rodrigo's analysis of the three movements of his "Concerto de
Aranjuez". Music.

765 RODRIGO, Joaquin. "Concerto de Aranjuez". GuitarN LV

(Sept-Oct 1960) 16-17.
159
(765-770) Modern Histories

Rodrigo's personal reflections on his composition "Concerto de

Aranjuez".

766 STEWART, Jimmy. "The guitarist as a complete musician.. Joaquin

Rodrigo". GuttarP VIII/4 (Apr 1974) 45.
A short biography of Rodrigo with some compositions cited. Music (by
Jimmy Stewart).

767. VAYA PLA, Vicente. Joaquin Rodrigo: Su vida y su obra [Joaquin

Rodrigo: His life and his work]. (Madrid: Real Musical
Editores; 1977). In Sp:
A detailed study of the life and works of Rodrigo. Analysis of
selected compositions including "Concerto de Aranjuez". Also includes
general discussion of all of Rodrigo's music for guitar. Catalogue
of works organized by genre (title, duration in min., publisher),
24 pis, bappend. ,~bibliog.; discoge,;:245p.

ROSETTA ,Giuseppe

768 BOSMAN, Lance. ''Variations 8". Guitar V/5 (Dec 1976) 29.
A short analysis of Rosetta's treatment of theme and variation in
the rondo movement of the Sonatine (1969). Music.

SCHONBERG, Arnold (1874-1951)

See also 642

769 HAAS; ‘Theodor. "Schonbergs Serenade, op.—24 mit obligater

Mandoline und Gitarre" [Schénberg's Serenade, op. 24 with
obligato mandolin and guitar]. Zfde 1V/4°(1925)0lLl-156 in
Dex

SAINZ DE LA MAZA, Regino

See 66, 109, 760, 870

SEGOVIA, Andrés (b. 1893)

see aleov47,; 64,410; 419, 638,°6395 644, 645, 668516835 7245°7323

7334 (45507615. 80434831, 8430860; 890; (97%35" 1032652088

770 ANDERSON, Peter. "Segovia at Los Olivos". BMG LXV/757

(May 1968) 247-48.
A description of Christopher Nupen's film documentary "Segovia
at Los Olivos". Procedures and events in the making of the film
are discussed.

160
Modern Histories (771-776)
771 "Andrés Segovia. Celebrated guitarist". Crescendo XX/8
(Feb 1928) 5-6.
A portrait of Segovia as a performer. Quotation of a review of
Segovia's New York debut. Recital program listed.

772 “Andrés Segovia-Golden Jubilee. Fifty years of concertizing

in the United States". Soundb V/1 (Feb 1978) 1-15.
A tribute to Segovia in a commemorative issue of Soundboard "in
celebration of the Golden Anniversary of his first American concert
in New York". Includes essays on the contributions of Segovia with
biographical information. Description of the Andrés Segovia exhibit
in January and February. Photographs of Segovia with descriptive
captions (p. 4-7). Sketches of Segovia and other sketches by Andrés
SegoviayJr. (p:. 8-15).

773 ~BOBRI, Vladimir. The Segovia Technique. (New York: The

Machi tian <Go
< 5 39:72)%
A detailed consideration of Segovia's technique for both the left
and the right hand. Includes an "Historical outline" in which the
history of the guitar is traced briefly from ancient times to the
present; chapter on "Virtuosi" includes comments on outstanding
guitarists from the early nineteenth century to the present. Bio-
graphical information on Segovia, praise of Segovia for his genius
and for his influence on others. Illus., port., iconog., append.,
bibliog. (of instruction books, annotated), index, 94p.
Reviews: GuttarR XXXV (Summer 1971) 32; GuttarR XXXVII (Fall 1972)
23; TennFolkSoc XXXVIII/3 (1972) 88; MJ XXX (Sept 1972) 45; Instru-
ment XXXVIIL (Aug 1972) 16; Musart XXVI/2 (1973) 45; Dieter Kreidler,
MBildung VI/7-8 (July-Aug 1974) 462-63; GuitarP XIV (Sept 1980) 90.

774 BURTNIEKS, J.A. "Andrés Segovia". GuttarN XXIV (Apr-May

1955) 2-3.
A brief discussion of the career and contributions of Segovia.

775 CLINTON, George, comp. and ed. Andrés Segovia-

An apprecta-
tton. (London: Musical News Service Ltd., 1978).
Twenty-eight articles include biography, accounts of important
events, interviews, and essays on opinions on and associations with
Segovia. Authors include Prat, Cooper, Hardie, Moffatt, Clinton,
Walker, Mills, Mairants, Randolph, Biberian, Maccaferri, Roberts,
Artzt, Bream, Bobri, Diaz, Duarte, Matsuda, Williams, and Nupen.
Includes a reproduction of Segovia's baptismal record and the
script to the film "Andrés Segovia- The song of the guitar"
(Christopher Nupen). Autograph letter, many photographs, 100p.
Reviews: H. de C., Guttar V1I/9 (Apr 1978) 32; Gitarre (Graz) I/2
(July 1978) 30; GuitarP XII (July 1978) 10; Tom Vollmer, GuttarLute
VII (Sept 1978) 40-41; MTimes CXIX (Oct 1978) 863; AmerStrT SVT /
SRL OFS )e42%

776 - GLINTON, George. "Segovia". Guitar III/5 (Dee 1974) 20-21.

16]
(776-785) Modern Histories

Clinton interviews Segovia. Includes a discussion of Segovia's

performing experiences, his family, his recordings, and his asso-
ciation with Manuel Ponce. Port.

777 CLINTON, George. "Segovia in the Alhambra". Guttar V/3 (Oct

1976) 20-23.
An account of the making of the film of Segovia by filmmaker
Christopher Nupen. Photos.

778 CROCKETT, Jim. "Andrés Segovia". GuitarP V/4 (June 1971)

22=23 5 44.
Biographical information on Segovia including notes on his child-
hood, career, opinions on the guitar, and his activities. Port.
See also: Oribe 788 for criticism.

779 DOMINGUEZ, F. "'Segovia' and 'Guitar' are inseparable words".

Guttarra (Chicago) I/1 (Mar-Apr 1963) 13-16.
Biographical with information on Segovia's concert career, influence
on others, and his main accomplishments. Port.

780 GAVOTY, Bernard. Andrés Segovia. Portraits by Roger Hauert.

(Geneva: Editions René Kister, 1955). In Fr.
Reflections on Segovia as a performer and accounts of his conversa-
tions with Segovia. Autograph letter by Segovia with French transla-
tion (New York, 1956). Biography. Illus. (17 pages of photographs),
discog:5 7132p.

781 GAVOTY, Bernard. Andrés Segovia. Portraits by Roger Hauert.

Trans. by F.E. Richardson. (Geneva: Editions René Kister,
T9555
An English translation of 780.

782 GELATT, Roland. Music Makers. (New York: Alfred A. Knopf Inc.,
1953). Reprint ed. (New York: Da Capo Press, Inc., 1972).
Ch. IV, p. 195-203. A biography of Segovia with emphasis on his
performing career. Some inaccuracies.
Reviews: SaturdayR XXXVI (28 Mar 1953) 19; MCourter CXLVII (June
1953) 26; Instrument VIII (Sept 1953) 74; Notes X (Sept 1953) 638;
HiFt/MAmer III (Sept-Oct 1953) 116; MTtmes CXIV (Sept 1973) 901-02;
Strad LXXXV (Aug 1974) 217.

783 GORNER, Peter. "Golden hands from a quieter age". Guitarra

(Chicago) XL (Sept-Oct 1980) 2-6.
A biographical sketch of Segovia as a performer. Port.

784 "“Incontri. Intervista ad Andrés Segovia" [Encounters. Inter-

view with Andrés Segovia]. Frontmo 1/2 (Jan 1973) 3-6. In It.
Segovia is interviewed by Silvio Cerutti. Includes a discussion of
performance, instruction, interpretation, and repertoire. Port.

785 KOZINN, Allan. "Andrés Segovia". GuttarP XII/6 (June 1978)

26=28;, (1045, 106, 110;
162
Modern Histories (785-794)
An interview with Segovia in which the changes in the guitar and the
public view of it over the past fifty years, the repertoire, tran-
scription and methods, recording and performing are among the topics
discussed. Includes a list of "Selected works by Segovia" (transcr.,
exercises, records). Port.

786 LEEB, Hermann. "Von Segovia, Pujol, und Llobet". [On Segovia,
Pujol, and Llobet]. GitarreLaute II/6 (Nov-Dec 1980) 32-33.
In De.
Short biographies of the three guitarists with comparisons of their
musical interpretation and of their background. Port.

787 NORDAU, Max. "The artistry of Segovia". Trans. from the French
by George Giusti. GuitarR IV (1947) 87.
The author's reflections on his first impressions of Segovia upon
seeing him at the Ateneo in Madrid. The article was originally
written on 20 Mar 1919.

788 ORIBE, Jose. "An open letter to Andrés Segovia". GuitarP

V/7 (Oct 1971) 16-17.
The response of guitar maker
José Oribe to Crockett's article on
Segovia 778 expressing his objection to comments made by Segovia
concerning strings, guitars, and performance.

789 PEEL, Douglas. "Segovia-

the legend and the dream". BMG
(May 1974) 24-25.
A portrait of Segovia with quotations by him. Biographical notes
included. Port.

790 PEROTT, Boris A. "A letter". GuitarR IV (1947) 94.

A letter by Perott expressing his admiration for Segovia.

791 "Return with us now. The Soundboard's featured facsimile".

Soundb V/1 (Feb 1978) 16-17.
Segovia's manuscript of "Macarena" with a brief explanation of the
significance of the work.

792 SCHWARZ-REIFLINGEN, Erwin. "Andrés Segovia". DieGit VIII/3-4

(Mar-Apr 1927) 23-24. In De.
A portrait of Segovia with reports of recent concerts. Description
of his concert tour in Europe. Port.

793 SEGOVIA, Andrés. "Adventures in Argentina". Trans. by Eithne

Golden-Sax. GuttarR XLVIII (Spring 1981) 4-6.
Segovia's recollections of his experiences on his 1920 concert tour
of Argentina. Illus.

794 SEGOVIA, Andrés. Andrés Segovia, an autobtography of the

years 1893-1920. Ed. by Tana de Gamez. Trans. by W.F. O'Brien.
(New York: Macmillan Publishing Co., Inc., 1976).
A personal account of Segovia's childhood, early career, travels,
and acquaintances. Letters included. Illus., pl.

163
(794-799) Modern Histories

Revtews: P.K. Thomajan, GuitarR XLI (Winter 1976) 28; Dolber B.

Spalding, Chelys 1/8 (Mar-Apr 1977) 10-11; MEducatorsd LXIII (Apr
1977) 75; Ivor Mairants, Guitar VI/6 (Jan 1978) 32-33; MMustctan
XXVI (Jan 1978) 34; MTimes CXIX (Feb 1978) 143; MTeacher LVII (Feb
1978) 37; MinEd XLII/389 (1978) 37.

795 SEGOVIA, Andrés; BOBRI, Vladimir. "A conversation". GuttarR

XLIEL ¢Sprines 1978). 2=5.
A dialogue between Segovia and Bobri which took place in Jan 1977.
Includes a discussion of Segovia's concertizing and recording plans,
repertoire, technique, and guitar makers. Illus.

796 SEGOVIA, Andrés. "The guitar and myself". Trans. by Eithne

Golden. In 6 parts. GuitarR IV (1947) 77-86; VI (1948) 133-
402. VILL Ch969) 31-362. XX. Cl949), L1Li-18. XTTD (1952). 4=13>
XXV (Feb 1961) 7-11. Pagination for parts 1 through 5
include supplements of the text in Spanish.
Part 1: "Granada", "Cordoba", "Seville". Segovia's recollections: of
his childhood and early career including accounts of experiences
with acquaintances and of incidents significant to the development
of his career. Illus., port.
Part 2: "Towards Madrid". Segovia's experiences as a guitarist-
performer in Seville and in Cordoba leading up to his departure for
Madrid. Illus.
Part 3: "Madrid". Segovia's meeting with José Ramirez. Illus.
Part 4: "Madrid". Segovia's experiences in Madrid including an
encounter with a student of Tarrega and a period of illness. Illus.
Part 5: An account of Segovia's recollections about his preparation
for his first Madrid recital at the Ateneo. His reflections on the
outcome of his recital include recollections of letters regarding
his debut which he was able to obtain from various sources. Illus.
Part 6: Segovia's amusing anecdotes and accounts of experiences with
acquaintances in Madrid. Illus.

797 + SEGOVIA, Andrés. "Japan revisited". Trans. by Eithne Golden-

Sax. Guitark XLVIII (Spring 1981) 7.
An account of the events surrounding Segovia's arrival in Japan on
his 1980 tour.

798 STEWART, Jimmy. "Segovia at 80". GuttarP VIII/4 (Apr 1974)

WA

Comments on Segovia's activities at 80. Quotations of Segovia

included. Port.

799 USILLOS, Carlos. Artistas espaftioles contemporaneos

- Andrés
Segovta (No. 65) [Contemporary Spanish artists: Andrés
Segovia (no. 65)]. ({[Madrid]: el Servicio de Publicaciones
del Ministerio de Educaci6n y Ciencia, 1973). In Sp.
A detailed biography of Segovia including numerous quotations of
authors and reviewers about Segovia. Photos., bibliog., discog.,
I39p.

164
 Modern Histories (800-804)
800 VEGA, Carlos. "The miracle which is Segovia". GuitarR IV
(1947) 88.
The author's opinion of Segovia as a man and as an artist.

801 WALKER, Donald. "Guttar's first family". Guitar V/11 (June

1977) 20-21.
An account of an interview with Segovia and his family. Port.

STOCKHAUSEN, Karlheinz (b. 1928)

_ See 642

STRAVINSKY, Igor (1882-1971)

See 642

TAKEMITSU, Toru (b. 1930)

See also 697

802 MARRIOTT, David F. "Interview: Toru Takemitsu". Soundb

VIII/3 (Aug 1981) 167-68.
Takemitsu discusses his use of the guitar in composition, his asso-
ciation with guitarist Kiyoshi Shomura, other contemporary composers,
and the popularity of the guitar in Japan, among other topics. Port.

803 WAGER-SCHNEIDER, John. "The contemporary guitar. Toru

Takemitsu". Soundb VIII/3 (Aug 1981) 169-71.
A study of the chronological development of the compositional style
of Takemitsu with emphasis on his works for guitar. Short descrip-
tions with remarks on the peculiarities of the performance and no-
tation are given for the following works for guitar: The trilogy of
works "Ring (1961)-for flute, terz guitar, and lute; "Sacrifice"
(1962) for flute, lute, vibraphone, antique cymbals; "Valeria"
(1965) for two piccolos, guitar, violoncello, and electric organ;
"Stanza I" (1969) for voice, piano, guitar, harp, and vibraphone;
"Folios" (1974) for solo guitar, dedicated to Kiyoshi Shomura; '12
songs for guitar" (1977). The influences of composers Boulez and
Messaien shown in the works of the trilogy are pointed out. Port.,
music.

TANSMAN, Alexander (b. 1897)

804 "Incontri. Intervista ad Alexander Tansman di Ruggero Chiesa"

[Encounters. Interview with Alexander Tansman by Ruggero
Chiesa]. Fronimo VI/23 (Apr 1978) 3-5. In It.
Tansman's discussion includes comments on the possibilities and
problems of composing for guitar, his association with Segovia,
165
(804-812) Modern Histories

opinions on Villa-Lobos's and other contemporary composers' under-

standing of the guitar, his compositions, and musical style. Port.

805 STEWART, Jimmy. "The guitarist as a complete musician.

Alexander Tansman". GuttarP VIII/5 (May 1974) 52.
A short biography of Tansman with compositions mentioned. Music (by
Jimmy Stewart).

TARREGA, Francisco (1852-1909)

See Gleo- 92. 410; 638, 645, 653, 702; 747, 75l, 752. 7545756, Joe
806 BUEK, Fritz. "Francisco Tarrega”. Gfreund KXV (1924) 18-22:
ineaDer

807 "Francisco Tarrega: a complete list of works". Guttarlute V

(Nov 1977) 17-18.
In 2 main divisions: Original works and transcriptions.

808 "Francisco Tarrega sepgun...". Guitarra (Havana) II/3 (Dec

1941) between pages 16-17. In Sp.
Quotations of comments on Tarrega by Lopez Chavarri, Felipe Pedrell,
Victor Monagne, Luis Millet, Ricardo Mufloz, Miguel Llobet, Emilio
Fujyol, and Luis de Soto.

S094) *HECK; Thomas’ FF,’ “Historical» notes, to a“farregasretital: of

1888". GuttarN CVII (Jan-Mar 1970) 24-27.
The works listed on an 1888 recital program of Tarrega
are original
works by Tarrega and transcriptions of late nineteenth-century com-
positions. The transcriptions on the program are discussed with
conclusions drawn concerning program choice. Program listed.

810 HOFMEESTER, Theodorus M. Jr. "Is there a school of Tarrega".

GuttarR I (1946) 4-6.
Hofmeester examines Tarrega's contribution to guitar technique and
the resulting formation of a "rational system". Domingo Prat's
theory that there can be no "school of Tarrega'' because he left no
written method is refuted. The ideas of Roch, Pujol, Sor, Aguado,
and Carcassi on selected technical points are compared to those of
Tarrega, WP ort...,0 bibliog refi insnetes?

811 LLOBET, Miguel. "Francisco Tarrega". DieGit IX/9-10 (1928)

64. im De,
A short sketch of Tarrega as a man and as an artist. Notes on his
compositions and transcriptions.

812 LLOBET, Miguel. "Francisco Tarrega". RMCatalana VII/73

(1920) =9=10.° In Ga.
A portrait of Tarrega with notes on his outstanding qualities as an
arose,

165
Modern Histories (813-819)
813. LOPEZ, Antonio. "Francisco Tarrega Eixea (1854-1909)". DteGit
KI/1=2 (1930) 1-5. In De.
A biographical survey of the life of Tarrega. Author's sources are
not indicated. Quotation of a contemporary report on Tarrega's vir-
tuosity. List of some compositions.

814 OPHEE, Matanya. "The promotion of Francisco Tarrega - a case

hastory’. In’ 2 parts. cowidy V1iL1/3 (Aug 1981) 152 (port.),
1B =5830 VLLI/ 4s (Nov, 198192 256-61.
Part 1: The author investigates and compares the opinions on
Tarrega's historians Pujol, »Pvat, sand Llobet. The: subjectivity
which has caused the aggrandizement of Tarrega's name is distin-
guished from historically documented facts. In particular, Pujol
has over-emphasized the influence of Tarrega on his own teachings.
His contribution independent of Tarrega and the influence of Aguado
on, Pujoljare pointed out. Prat's: critical portrayals of Pujol: and
Tarrega pre evaluated. .Port., bibliog. ref. in motes.
Paget 2; “A discussion of the reputation of Tarrega by his. disciplés
at the expense of past traditions, especially of the teachings of
Sor and Aguado. Includes the ideas of Prat, Llobet, Roch, Pujol,
Sagreras. Views on what constitutes the school of Tarrega. The
author evaluates Tarrega's contribution to technique in a comparison
Gielatrocass, teachings fol pastitraditions..Bibliog.eref.) ini notes:

815 PUJOL, Emilio. T@rrega. Ensayo biografico [Tarrega.

Biographical essay]. Prologue by Eduardo L. Chavarri.
(Valencia: Artés Graficas Seler, 1978). Insp.
A detailed biographical study of the life and works of T&arrega.
Recital programs are shown. List of works (original compositions and
Pransceiptions). (Ports: ,, index, 266p.
Review: Guttarlute IV (Mar 1977) 25-28.

816 PUJOL, Emilio. "El 32 aniversario de la muerte de Tarrega"

[The 32nd anniversary of the death of Tarrega]. Guttarra
(Havanaj—11/3. (Decv1941)414.) Inesp,
A commentary on Tarrega with a discussion of his contributions to
Eneeeurtan., Adlus:.

ol/ = PUIG, Emiltot “Parrega-as teacher”. GuttarN 1X (Oct-Nov 1952)

2-3 °

Pujol's praise of Tarrega. No detail on technical approach to or

philosophy of teaching.

818 PUJOL, Emilio. "Pedagogia de Tarrega" [The pedagogy of

Tarrega]. Guttarra (Havana) II/2 (June 1941) 7, 30. In Sp.
A portrait of Tarrega with information on his teaching philosophies.

819 PUJOL, Emilio. "Tarregas Wohnhaus" [Tarrega's home].

Os terreichGitarrezZ T1II/3-4 (Apr-July 1929) 49-52. In De.
Pujol's reflections on Tarrega's home with a description of Tarrega
as a man and as a musician at home in his daily routine.

167
(820-829) Modern Histories

820 PUJOL, Emilio. "Tarrega's home". OsterretchGitarreZ (Aug

1930) 15-18.
An English translation er eL9%

821 PUJOL, Emilio. "Tarrega's home". Crescendo XXIII/4 (Dec

L930) 137° £6.
An English translation of 619.

822 ROBERTS, John D. "Historical notes: Tarrega". Guitar I (Oct

LOT2

823 ROBERTS, John D., trans. "Notes on Tarrega". Guitar IV/5

(eG £975) 29.
A translation of comments on Tarrega made by Rafael Balaguer.

824 ROBERTS, John D. ''Tarrega concert". BMG LXIII/729 (Jan 1966)

Las
Comments on a concert by Tarrega translated from the journal La
Vanguardia of Vall de Uxo (1904). Discussion of Tarrega as a per-
forming artist.

825 SAINZ DE LA MAZA, Regino. "Homage", GuttarN IX (Oct-Nov

P52) =2=3%
A tribute to Tarrega and his contribution to the guitar.

826 SAVIO, Isaias. "Clasicos antiguo"”. Guttarra (Chitago)

V/29 (Nov-Dec 1967) 12-18. In En.
A discussion of the life and major contributions of Tarrega. Port.

827 SCHWARZ-REIFLINGEN, Erwin. "Tarregas Gitarrentechnik" [The

guitar technique of Tarrega]. DteGtt XI/1-2 (1930) 9-11.
ili) WSs.
Analysis of Tarrega's teachings with a comparison to methods before
him. Tarrega's influence in Germany is considered with notes on
recent guitar-related activities in Germany.

828 STEWART, Jimmy. "The guitarist as a complete musician.

Francisco Tarrega: a tribute". GuttarP VII/1 (Jan-Feb
LOTS) 43%
A short biography of Tarrega.

829 "Tarrega als Mensch und Kunstler im Urteil seiner Zeit-

genossen" [Tarrega as a man and as an artist in the judgment
of his contemporaries]. DteGit XI/1-2 (1930) 5-8. In De.
Quotations of writings by Felipe Pedrell, Miguel Llobet, and Emilio
Pujol. Eulogies, comments on his significance as a composer, ar-
ranger, and performer.

TORROBA, Federico Moreno (b. 1891)

See also 643

168
Modern Histories (830-836)
830 "Biography of a composer. Federico Moreno Torroba". Cuttarra
(Chicago) I/3 (July-Aug 1963) 17.
A short biography of Torroba with a summary of his compositions.

831 "Incontri. Incontro con Federico Moreno Torroba di Griselda

Ponce de Leon" [Encounters. Interview with Federico Moreno
Torroba by Griselda Ponce de Leon]. Fronimo VI/24 (July 1978)
3-6.
Torroba discusses his own compositions, problems in composing for
the guitar, musical style, and the influence of Segovia. Port.,
bibliog. ref. in notes.

832 STEWART, Jimmy. "The euitarist as a complete musician.

Federico Moreno Torroba". GuittarP VIII/3 (Mar 1974) 45.
A short biography of Torroba with a summary of his compositions.
Music (by Jimmy Stewart).

TURINA, Joaquin (1882-1949)

See also 643

833 STEWART, Jimmy. "The guitarist as a complete musician. Joaquin

Turina. GuitarP VI1/8 (Dec 1973). 45.
A short biography of Turina with some compositions mentioned.

VILLA-LOBOS, Heitor ( 1887-1959)

BEC ALGO” 045) 785. 0435. 73156804

834 ABLONIZ, Miguel. "More about the Choro". GuitarN XLV (Nov-
Deel 1958) (12.
The dates for Villa-Lobos's works in the Sutte Brasiltenne and
Prelude no. 3 and no. 4 are established.
See also: Appleby 835.

835 APPLEBY, Wilfrid M. "The choro- and Villa-Lobos". GuttarWl

XLIV (Sept-Oct 1958) 21. 2
Comments on the meaning and the use of the term choro and on the
works of Villa-Lobos by that title. Notes on his publications as
be LIDS.
See also: Abléniz 834.

836 GLADSTONE, Ralph J. "An interview with Heitor Villa-Lobos".

CULTGY He 957, 13.
An interview with Villa-Lobos by Vladimir Bobri, John Richter, and
the author in Feb 1957. Includes Villa-Lobos's discussion of his
association with the guitar and guitarists from childhood. Music
("Modinha" by Villa-Lobos, Rio, 1926), p. 11-13.

169
(837-844) Modern Histories

837 JAFFEE, Michael. "Harmony in the solo guitar music of Heitor

Villa-Lobos". GuitarR XxXIX Gune 1966) 18-22.
An analysis of harmony and structure in Villa-Lobos's works for solo
guitar. Influences on his style are noted. Music examples are taken
from “Suite populatre bresilienne”’, “Choros”) the’Btudes:4 the
"Preludes", and "Brazilian folk tunes". Text is divided into the
following sections: 1. ‘General tonal organization’ -2..7Modulatoery
procedures" 3. “Parallelism” 4: "Polytonality” 5. "Chord voeabu-
Lary" Musie) biblaos. ref.) in notes,

838 KELLY, Christine Kuehn. "The twentieth century's preeminent

classical guitar composer. Villa-Lobos". GuitarP XV/7 (July
1981) 70-71.
A survey of Villa-Lobos's education, career, and the influences on
his style of composition. Includes some brief comments on his works
nor ouhtar. Port:

839 LORIMER, Michael. "Prelude no. 1. An analysis". GuttarP XV/7

G@uly 1981): 71-72.
Passages selected from Villa-Lobos's Prelude no. 1 are analyzed for
their technical difficulty. Villa-Lobos's idiomatic writing creates
a musical texture which is quite accessible to guitarists. No back-
ground in theory is required. Music examples are notated in the
original staff notation and in tablature.

840 SANTOS, Turibio. Hettor Villa-Lobos e lo viol&@o [Heitor Villa-

Lobos and the guitar]. (Rio de Janeiro: Museu Villa-Lobos,
17S). A Ee.
"Discusses problems of performance, analyzes the guitar music, and
gives pertinent biographical details. Port., music, bibliog., list
of works." — Quoted from RIZM IX/1-2 (Jan-Aug 1975) 1614bm28,

84] SCARLATTI, Vincenzo. "Clasicos Antiguo". Guitarra (Chicago)

V/26 (May-June 1967) 18-19. In En.
Notes on the life and works of Villa-Lobos. Port.

842 SCHAFFER, John W. "The published solo guitar music of Heitor

Villa-Lobos", MA diss., Music: Southeastern Community College,
Po On box lol, Witkevi tte. oN .O. 264 72.
See also: Soundb VI/4 (Nov 1979) 149 for announcement.

843 SCHAFFER, John W. "Voice-leading: Towards a better under-

standing of select passages in Villa-Lobos' Preludes for
guitar". Soundb VII/4 (Nov 1980) 155-59.
Schenkerian analysis of voice-leading in passages selected from
Villa-Lobos's Preludes no. 1 and no. 4. Background on Schenkerian
theory included: Bibliog. ret.’ in notes. Music.

844 SEGOVIA, Andrés. "I meet Villa-Lobos". Trans. from the

Spanish by Eithne Golden. GuttarR XXII (1958) 22-23,
Segovia's account of his meeting with Heitor Villa-Lobos at the home
of the Countess Olga de Moraes Sarmento in Paris in 1924. Illus.
170
Modern Histories (845-850)
845 STEWART, Jimmy. "The guitarist as a complete musician. Heitor
VillasbLobosY..GurtarP VIII/6, (June 1974). 61.
A short biography of Villa-Lobos with some compositions mentioned.
Music (by Jimmy Stewart).

846 ZVENGROWSKI, Steven. "Structural patterns found in Prelude

number 4 by Hector Villa-Lobos". Soundb VI/3 (Aug 1979)
86-89,
mecctailed analysis af ‘structural: patterns) in) [Heitor] Villa-
Lobos's Prelude no. 4 provides insights into performance possi-
bilities. Music.

WEBERN, Anton (1883-1945)

See 642

WILLIAMS,
John (b. 1941)

Bee 39,2 066877 5

YEPES, Narciso (b. 1927)

See also 1035

847 JIMENEZ, Salvador. "With Narciso Yepes". Guitarra (Chicago)

II/9 (July-Aug 1964) 3-12.
Topics of discussion include Yepes's career and education, his
interests, and his opinions on the ten-string guitar. Port.

848 KOZINN, Allan. "Narciso Yepes. Classical master of the ten-

string guitar". Frets II/2 (Feb 1980) 39-42.
A discussion of Yepes's views on the value of the ten-string guitar.
Includes his comments on the guitar repertoire and his experiences
asea guLeariste, Tilus.

849 SENSIER, Peter. "Narciso Yepes and the ten-string guitar".

Guecar BlL/9 Apr 1975)0 27%
Yepes's reason for using four additional bass strings on the guitar
are given.

850 SNITZLER, Larry. "Narciso Yepes. The ten-string guitar:

overcoming the limitations of six strings". GuttarP XII/3
(Mare 19768) 26, 425-46; 48,7 52:
Yepes discusses the use, the value, and
his reasons for developing
the ten-string guitar. Also considered in the conversation are
Yepes's early education, right-hand techniques, and teaching. Bio-
graphical information is given in the introductory notes. Port.,
selected discog. of the recordings by Yepes.

17]
(851-856) Modern Histories
851 WALTER, E. "Narciso Yepes: la guitare classique en pleine
renaissance" [Narciso Yepes: the classic guitar in full
renaissance]. Harmonte CXXXV (Mar 1978) 44-48.

ZARATE-DUO

See 633

D. Selected Interviews of Performers and Composers

ARTZT, Alice

852 BOSMAN, Lance. "My guitar obeys instructions... says Alice

Artet «Gt vaPe11/1. (Aug 1973).423.
Alice Artzt discusses performance and recalls personal experiences
of her performing career. Her attitudes toward teaching, her
guitars, and the effect of the particular instrument on her inter-
pretation and technique are also topics of discussion. Port.

853. +"Incontri. Colloquio con Alice Artzt". [Encounters. Meeting

with Alice Artzt]. Frontmo II/8 (July 1974) 5-8. In It.
Alice Artzt is interviewed by Angelo Gilardino. Artzt discusses her
concert tours, teaching, recording, contemporary performers and
repertoire, and guitar makers. Port.

854 "Interview: Artzt". GuttarLute_I/1 (Apr-June 1974)_11-12, 33.

A 1973 interview with Alice Artzt includes a discussion of her back-
ground and education, her opinions on the role of women in music,
experiences in recording, and her opinions on non-classical styles.
Port.

BARRUECO, Manuel

855 ADAMS, Henry. "Interview: Manuel Barrueco". GuitarLute XVI

(Jamd9381) 27-105) 425-14... 26s
A biography of Barrueco and a discussion of Latin American music
and concert repertoire, Barrueco's career, teaching philosophy,
and future plans are considered. Port.

BOYD, Liona

856 LAWRENCE, Catherine. 'Liona Boyd and Guttarra". Guitarra

(Chicago) XXXVII (Mar-Apr 1980) 2-3.
The interview includes a discussion of Liona Boyd's education, tech-
nique, career experiences, and reflections on being a woman in
MUSA"Crome © eters

Li
Modern Histories (857-861)
BROUWER, Leo (b. 1939)

See also 78, 643

857 BREUKERS, El. "Leo Brouwer in Holland". Guitar V/9 (Apr

1977) 7-8.
Brouwer is interviewed during a concert tour in Holland. Brouwer
discusses his feelings for Cuba, opinions on the '‘avant-garde', and
his compositions "Metafora del amor" and "Hommage a Lenin".

CHIESA, Ruggero (b. 1933)

858 FARRELL, Terrence. "Interview: Ruggero Chiesa". GuitarLute

XI (Oct 1979) 13-14.
Chiesa discusses his views on repertoire, composition, recordings,
performance and transcription of early music, Pujol's influence, and
chamber music. Biographical information on Chiesa included.

DIAZ, Alirio (b. 1923)

See also 775, 866

859 BREUKERS, El. "Alirio Diaz in Zwolle". Guitar IX/4 (Nov

1980) 20-21.
Commentary on the guitar course in Zwolle, Holland, where Diaz
taught in the summer of 1980. The interview includes a discussion
of Diaz's early study, musical preferences, opinions, activities,
and views on teaching. Port.

860 "Incontri. Intervista ad Alirio Diaz" [Encounters. Interview

with Alirio Diaz]. Fronimo-I1/6 (Jan 1974) 3-5. In It.
Diaz is interviewed by Ruggero Chiesa and Silvio Cerutti. Includes a
discussion of composers and repertoire of the nineteenth and twenti-
eth centuries, Diaz's interest in South American folk music, Segovia,
repertoire, and transcription. Port.

DUARTE,
John (b. 1919)

See 643, 775 (an interview)

FISK, Eliot

861 KOZINN, Allan. "Eliot Fisk. Dynamic classical performer,

outspoken teacher". GuitarP XIV/6 (June 1980) 30-34, 36.
Introductory notes on Fisk's achievements and activities as a
guitarist. Fisk's work with Ralph Kirkpatrick, aspects of per-
formance, his own values and attitudes towards performance,

173
(861-867 ) Modern Histories

technique, rhythm, and transcription are among the topics dis-

cussed. Port.

862 WAGER-SCHNEIDER, John. "A feature conversation with Eliot

Fisk". Soundb VIII/1 (Feb 1981) 10-17.
The interview offers a detailed discussion of Fisk's views on
transcribing music for guitar, transcription methodology, and
interpretation. References to specific works. Concluding remarks
on his activities as a performer and as a recording artist. Port.

GHIGLIA, Oscar

863 "Incontri. Intervista a Oscar Ghiglia''. [Encounters. Inter-

view with Oscar Ghiglia]. Fronitmo I/3 (Apr 1973) 3-5.
Oscar Ghiglia is interviewed by Ruggero Chiesa. Includes commentary
on the study of the guitar, repertoire, and fingering and technique
in relationship to musical interpretation. Port.

ISBIN, Sharon

864 BOSMAN, Lance. "Sharon Isbin. ‘As a woman you don't have
models". Guitar VI/2 (Sept 1977) 23-24.
Sharon Isbin discusses fingering and practicing, her concert career,
her feelings on being a woman in music. Port.

865 LAWRENCE, Catherine. "Viewpoints. Sharon Isbin in Chicago".

Guttarra (Chicago) L (Sept-Oct 1980) 16-19.
Introductory notes give biographical information on Sharon Isbin.
The interview includes a discussion of Isbin's recent activities
as a performer and as a teacher, her education, her research on
Bach (with specific references to the performance of Bach on the
guitar), and her views on technical studies. Port.

LAURO, Antonio (b. 1913)

See also 78

866 ADAMS, Henry. "Interview. Antonio Lauro". Guttarlute XII

(Jan 1980) 8-12.
Introductory notes on Lauro include biographical information and
commentson his compositions. The interview includes a discussion
of Lauro's approach to composition, his association with Alirio
Diaz, his knowledge of Venezuelan music and instruments, and their
influence on his style of composition. Port., map of Venezuela,
list of works (for solo guitar, for guitar with other instruments,
and arrangements and transcriptions).

867 "Antonio Lauro in conversation with Sue McCreadie". Guitar

IX/2 (Oct 1980) 16-17.
174
Modern Histories (867-870)
Lauro discusses his early interests and influences, his composi-
tions, and his method of composing. Port.

THE ROMERO FAMILY (Celedonio [father] , Celfn, Pepe, Angel [sons])

868 ADAMS, Henry. "Interview. The Romeros". GuitarLute VII

(Sept 1978) 15-17.
Biographical information on the Romero family is given in the
introductory notes. The family discusses composers and their choice
of repertoire, recording plans, and transcription, among other
topics. Information on the guitar curriculum at USC is included.

869 Guttarra magazine. "An evening with Angel Romero". Guitarra

(Chicago) XXXVIII (May-June 1980) 11-13.
Angel Romero is interviewed by James Sherry, Eve Warren, and Nico
Angel. Includes a discussion of technique, composers of guitar
music, and teaching. Port.

SAINZ DE LA MAZA, Regino (b. 1896)

See also 66, 109, 760

870 ADAMS, Henry. “Interview. Regino Sainz de la Maza". Guttar-

Lute XIII (Apr 1980) 12-15.
Introductory notes give biographical information on Sainz de la
Maza. Sainz de la Maza discusses influences on his early interest
in guitar, guitar composition, transcription, repertoire, perfor-
mance, and education. Illus. (concert program by Sainz de la Maza).
POT.

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 CHAPTER SEVEN

Iconographies

The study of musical iconography has contributed to the understanding

of performance practices, technique, social function, and the question
of pre-Renaissance origins of the vihuela and the guitar. Available litera-
ture written on vihuela and guitar iconography is limited. Representa-
tions of the instruments, however, are found in the works of significant
artists. Artists Edgar Degas, Francisco José de Goya, Edouard Manet,
Henri Matisse, Pablo Picasso, Marc-Antoine Raimondi, and Antoine
Watteau are among those who chose the guitar or vihuela as a subject
for their art.
The following chapter is divided into four sections: Section A. Gen-
eral Surveys, Section B. The Seventeenth Century, Section C. Nine-
teenth-Century Lithography, and Section D. Individual Artists.
In Section A., cross-references are made to those general histories of
the guitar which contain a substantial number of reproductions of
guitar iconography. In addition to the wealth of iconography in
Grunfeld’s work (entry 20), a number of reproductions are also con-
tained in Bellow (entry 8), Evans (entries 15, 16), Ragossnig (entry 35),
and Turnbull (entry 43).

Wie
 (871-875)

A. General Surveys
See also 8, 15, 20, 35, 43, 896, 897
871 BECK, Sydney; ROTH, Elizabeth E. Music in prints. (New York:
The New York Public Library, 1965).
52 plates from the New York Public Library
collection of prints.
Descriptive notes on each plate cites artist, date, nationality,
title, and type of print. Guitars are represented in the works of
Vincent M. Langlois the younger (pl. 35), Francisco Jose de Goya y
Lucientes (pl. 38), Edouard Manet (pl. 41), Jacques Villon (pseud.
- of Gaston Duchamp) (pl. 45), Henri Laurens (pl. 46), Hans Fischer
(ple As

872 DUFOURCQ, Norbert. La musique, les hommes, les instruments,

les oeuvres [Music, men, instruments, works]. 2 v. (Paris:
Librarie Larousse, 1965). In Fr.
A chronological survey of the history of musical instruments. In-
cludes a brief historical discussion of the guitar and of the
vihuela mentioning significant composers and their works.
V. 1: 11 illustrations of historical guitars and iconography of
the guitar including art works by Marc-Antoine Raimondi, David
Teniers le Jeune, Antoine le Nain, Jean Garnier, and Goya. "Glos-
saire des instruments" [Glossary of instruments], bibliog., index,
391p.
V. 2: 3 representations of the guitar including works by Gouache
de Gauthier Dagoty and N.A. Taunay. Bibliog., index, 399p.

873 GIANOLI, L.; MASCHERPA, G. La pittura e la musica [Painting

and music]. (Milan: Arti Grafiche Ricordi, 1967). In It.
60 plates of works of art representing musical subjects from ancient
times to the twentieth century. Description and location of the work
is given. The guitar is pictured in works by Frangois Pujet (pl. 32),
Francisco Goya (pl. 38), and George Braque (pl. 54). 29p. (text).

874 "Guitar Gallery". In 4 parts. Guitarra (Chicago) V/25 (Mar-

Apr 1967) 19; V/26 (May-June 1967) 16-17; V/27 (July-Aug
1967) 12-13; V/29 (Nov-Dec 1967).
Reproductions of works of art in which the guitar is represented.
Part 1: A work by David Ryckaert III (17th c. Vienna).
Part 2: Includes a work by Edouard Manet.
Part 3: Includes a work by Marguerite Gérard (Leningrad, early
19th c..)'
Part 4: A work by Henri Matisse.

875 HARRISON, Frank; RIMMER, Joan. European mustcal instruments.

(London: Studio Vista Limited, 1964).
A chronological survey of the history of musical instruments. In-
cludes illustrations of historical guitars (2) and iconography of
the guitar (6). Little information is given on the guitar in the
text. Artists represented include frescos of the Renaissance,
Velasquez, Theodoor Rombouts, and the instrument maker's shop
Nig)
(875-882) Iconographies

from Diderot and D'Alembert's Encyclopédie (1751 onwards). Plate 93,

a vihuela from Bermudo's Declaracton, is omitted from the index. 248
ilius.. index, 74p.. (@ext). 2105.

876 HOHNE, Erich. Mustk in der Kunst [Music in art]. (Leipzig:

Veb E.A. Seemann Verlag, 1965).
46 plates with descriptive commentary in German, Russian, English,
and French. Information on artist, title, type of art, and location
is given. Illustration 29: Jean-Baptiste Oudry, "Table in the
artist's studio with musical instruments" (1713) includes a repre-
sentation of a guitar. 18p. (text).

877 KENDALL, Alan. The world of musical tnstruments. (London:

Hamlyn Publishing Group Ltd., 1972).
A general historical survey organized by instrument type. Includes a
short, inaccurate survey of the history of the guitar. Representation
of an historical guitar (Tielke, 1693) and iconography including
works by Degas, Ben Shahn, and the instrument maker's shop in Diderot
and D'Alembert's Encyclopédia (1751 onwards). 128p.

878 KINSKY, Georg. A htstory of music in ptctures. Introduction

by Erie Blomea (New. York: ‘E.P3 Dutton: é&-Co. 47 Ines5. 1930);
An iconographical survey of the history of musical instruments from
ancient times through the eighteenth century. Includes 29 reproduc-
tions of iconography of guitars and of historical guitars. Among the
works of art are those by Bernhard Schmid 1'ainé, Giov. Filoteo
Achillini, Caravaggio, Bernard Jobin, Frangois Pujet, Gaspard
Duiffiproncart, Etienne Picart, Gonzales Coques, Theodor Rombouts,
Jan Fijt, Watteau, Jean-Honore Fragonard, M. Barth, and plates from
the publications of music by Jacob Kremberg (1689), Jacques-Champion
de Chambonnieres (1670), and Pablo Minguet (1752-54). 1560 reproduc-
tions. 364p.

879 KINSKY, Georg. Storta della mustca attraverso 1'immagine

[A history of music in pictures]. Introduction by Gaetano
€Cesari. (MilancwrSperline 6 KupferrSiA., 1930)<sinsit.
An Italian translation of 878.

880 KINSKY, Georg. Albwn Musical [Picture album of music]. Preface

by Henry Pruniére. (Paris: Librairie Delagrave, 1930). In Fr.
A French translation of 878.

881 MORECK, Curt (pseud.) [Haemmerling, Konrad]. Dte Mustk in

der Maleret [Music in painting]. (Munich: G. Hirth's Verlag,
fieds) 2 parte-to 1 vin ln, De.
Representations of the guitar include works by Bernardino Pinturic-
chio, Diego Velasquez, Antoine Watteau, Nicolas Lancret, Gottlieb
schick, and: Francisco de Goyay Part) 1, 113p.7 (text); Parti2.. 147p.
(plates).

882 PINCHERLE, Marc. An tllustrated history of mesic. Trans. by

Rollo Myers. (New York: Reynal & Co., 1959).
180
Etching. Blind Guitarist on the Horns of a Bull
by Francisco José de Goya Y Lucientes.

18]
Lithograph. The Clown Andreff with Guitar by Hans Fischer.

182
Iconographies (882-887)
A chronological survey of the history of music in art from ancient
times to the twentieth century. Commentary on iconography includes
information on artist, title, date, description, location of the
work. The guitar is represented in the works of the following
artists: Larmessin, Marc-Antoine Charpentier, Claude Gillot, Eugéne
Manet, Pablo Picasso, Georges Braque, and the engraving of an in-
strument maker's workshop in Diderot and D'Alembert's Encyclopédie.
index, a221p.

883 WELLER, M.P.I. "Some steps in the evolution of the Spanish

guitar and related instruments, based on a consideration of
iconographic evidence". Dissertation in progress, Newcastle
(MLH).

B. The Seventeenth Century

884 MIRIMONDE, A.P. de. L’tconographie musicales sous les rots
bourbons. La mustque dans les arts plastiques (XVIIe-XVIIIe
stécles) [Musical iconography under the Bourbon kings, Music
in plastic arts (XVIIth-XVIIIth centuries)]. (Paris: Editions
Reet Ie EtCara, O75). 2° Ve ln Fry
V.nieeGhoe we Musiciens isoles et portraits au XVile siecle’. "La
guitare" [Isolated musicians and portraits in the XVIIth century.
The guitar], p. 144-45. A brief explanation of the role of the
guitar in XVIIth-century France as shown through iconography. Fig.
105: by Stephano della Bella; Fig. 106: by A. Quensel. V. 1: LXXII
plates containing 142 figs., 202p. (text).
Reviews: CourrterMFrance LII (1975) 156; MTimes CXVII (July 1976)
593-94; RMSutsseRomande XXIX/5 (1976) 1723; SchwetzertscheMg CXVI/3
(1976) 211-12.

C. Nineteenth-Century Lithography
885 FROMLICH, Yane. Mustque et caricature en France au xXIXe
stécle [Music and caricature in nineteenth-century France].
(Genéve: Editions Minkoff, 1973). In Fr.
136 plates organized by subject. Annotations give title, descrip-
tion, artist, original source of publication, date. Plates 19, 20,
and 70 are lithographs by Honoré Daumier in which the guitar is
pictured. Includes introduction, chronology, table of illustrations,
and bibliog.

886 GRUNFELD, Frederic V. "L'Accord parfait en amour. Incidental

notes to the graphic music of Balzac's Paris". GuttarRk XLIV
(Summer 1978) 1-2. )
A study of lithography in nineteenth-century Erance, Soctalvatti-
tudes and the concurrent age of Guttaromanie are revealed.

887 [GRUNFELD, Frederic V.]. "A portfolio of nineteenth-century

lithographs and wood engravings from F.V. Grunfeld's
183
(887-892) Iconographies

collection". GuitarR: XLIV (Summer) 1978) 3-20.

20 works are reproduced. Title, description, artist, publisher, and
date are cited.

D. Individual Artists

DE GOYA Y LUCIENTES, Francisco Jose (1746-1828)

See also 682

888 FENTON, Edward. "Aveugle enlevé sur les cornes d'un taureau
[Goya] [Blind man‘ tossed by a@ubull]. Guttarf XIII (1952) 14.
Brief notes on Goya and his use of thé guitar ain art. Iconog:

889 FENTON, Edward. "Goya and the guitar". GuitarR XIV (1952)
BO=30%
A short history and interpretation of Goya's art in which the guitar
is pictured. Five representative works shown are "Scene populaire",
"Blind, man singing’, *"Brabisimo!, "Daweears and cuitarist”,. and: YNun
frightened by a ghost". Iconog.

PICASSO, Pablo (1881-1980)

890 D'ALESSIO, Gregory. "Pablo Picasso - monument or mountebank?
Meounrarier So céactaon tothe: cudiar. in) moderate .s4n62
parts. GuitarR XLVI (Winter 1979) 2-6; XLVII (Spring 1980)
1-6.
Part 1: Author's reflections on and opinions of the guitar in modern
art. Emphasis is on the discussion of Picasso's sculpture entitled
Pcuttar’ (1911). Ieonog; (Pieasso, Braque, Bobri).
Part 2: Further opinions and analysis of Picasso's representation of
the guitar with emphasis on a study of Picasso's sculpture "Guitar"
(1911). Segovia's reaction to the sculpture is included. Iconog.
(Picasso).

891 HAWARD, Lawrence. Muste in patnting. (London: Faber and

Faber, 1945). Second impression (1946).
10 plates and discussion, Plate 10: Pablo Picasso, "Les trois
masques" (1921). A discussion of Picasso's treatment of the guitar
in art with a comparison to Watteau's treatment. 220.

892 SPIES, Warner. "La guitare anthropomorphe" [The anthropo-

morphic guitar ].-AA4rt XIL (1971) 89-92. Im Pr, stmmaryrim
Bn ip. 109)? ands Paes pe kos
The role of the musical instrument and the function of its form in
cubist art are discussed. Emphasis is on Picasso's representations.
Bibliog., ref, in motes ,» Leone.
See also: RILM V/2 (May-Aug 1971) 1932ap!9,

184
 Iconographies (893-894)
WATTEAU, Jean Antoine (1684-1721)

See also 891

893 FENTON, Edward. "Jean Antoine Watteau". GuitarR XVI (1954)

111-12.
Introductory notes on Watteau's style and his representation of the
early guitar. Historical background on the guitar contains inaccura-
cies. Two engravings: ''Lecon d'amour" and "La game d'amour".

894 MIRIMONDE, A.P. de. "Les instruments de musique chez Antoine

: Watteau" [The musical instruments in the works of Antoine
Watteau]. BulSocHistArtFrangais. Extratt (May 1927) 47-53.
In Er.
A study of the representation of musical instruments in the works of
Watteau. The significance of Watteau's work in the study of guitar
performance practice is considered.

185
[hairs SRotSO

Etching. Still Life by Henri Laurens.

186
 CHAPTER EIGHT

Design and Construction

This chapter contains literature on both the historical aspects and the
technical and scientific aspects of the design and construction of the
guitar and the vihuela. These aspects are documented as early as the
sixteenth century in extant instruments, treatises, and other texts in
which builders’ activities are described. Iconographies, also valuable in
determining the physical structure of the guitar, are listed in Chapter VII.
Instrument exhibition catalogs and museum publications are excluded
from this chapter. Several reference works are available which give in-
formation on musical instrument collections, instrument makers’ busi-
nesses, and manufacturers, A listing of musical instrument collections in
museums, libraries, conservatories, and private collections is available in
International directory of musical instrument collections, ed. by Jean
Jenkins (Buren, Gld., Netherlands: Frits Knuf for the International
Council of Museums ICOM, 1977). In this reference work, the contents
of collections are summarized, and available services and publications
are listed. A survey of musical instrument collections in the United
States and Canada, compiled by William Lichtenwanger (Ann Arbor,
Michigan: Music Library Association, 1974) is organized by county,
state, and city and gives detail on 572 collections. James Coover’s
Musical instrument collections. Catalogues and cognate literature,
Detroit Studies in Music Bibliography, no. 47, (Detroit, Michigan: In-
formation Coordinators, 1981) gives further information on publica-
tions concerning collections. Also useful is Vincent Duckles’s chapter
on “Catalogs of musical instrument collections” in Music reference and
research materials, An annotated bibliography, 3rd ed. (New York:
Schirmer Books, 1974). This contains an international listing of cata-
logs, organized by city. Susan Caust Farrell’s Directory of contempo-
rary American musical instrument makers (Columbia and London:
University of Missouri Press, 1981) includes guitar makers in its listing.
Appendixes give information on instrument making schools, societies,
and a bibliography. In a section on music industries in Christopher
Pavlakis’s The American music handbook (New York: The Free Press,
1974), sixteen manufacturers of fretted instruments are listed with in-
formation on their businesses.
This chapter is divided into twelve sections: Section A. General Sur-
veys, Section B. Dictionaries of Luthiers, Section C. The Sixteenth
Century: Vihuela and Guitar, Section D. From 1600 to 1900, Section
E. National Histories, Section F. Individual Luthiers of the Twentieth
187
DESIGN AND CONSTRUCTION

Century, Section G. Construction Manuals, Section H. Studies of Acous-

tics and other Scientific Aspects of the Guitar’s Construction, Section I.
Guitar Strings, Section J. The Eight-String Guitar, Section K: The Ten-
String Guitar, and Section L. The Microtonal Guitar.
Section A. includes a selected number of general histories of musical
instruments which contain information on historical guitars. Specifi-
cally, these are entries 897-900.
Section B. lists French- and German-language texts. Cross-referenced
texts are in Italian.
Section C. is divided into three sub-sections: SOURCE READINGS,
SECONDARY WORKS, and MODERN LUTISTRY. The only entry
cited in SOURCE READINGS is a 1556 French-language treatise which
gives a detailed explanation of the Pythagorean system of fretting.
SECONDARY WORKS includes studies of extant instruments, luthiers’
records, and luthiers’ marks. MODERN LUTISTRY contains a list of
articles in which present-day makers’ techniques for constructing repro-
ductions of early instruments are discussed.
Section D. is divided into three sub-sections: SOURCE READINGS
INCLUDING CONSTRUCTION MANUALS, SECONDARY WORKS:
LUTHIERS AND HISTORICAL INSTRUMENTS, and INDIVIDUAL
LUTHIERS. The third sub-section is further divided by individual
luthier.
Section E. contains sub-sections of individual countries. These are
Argentina, Austria, France, Germany, Mexico, and Spain.
Section F., organized alphabetically by luthier, includes interviews,
biographies, and discussions of makers’ construction techniques and
materials.
Section G. contains annotations which give general descriptions of
the contents and the organization of the literature. No attempt has been
made to evaluate the actual quality of the advice and instruction con-
tained in these publications.
Section H. lists works which treat the study of acoustics and physical
sound production, including works based specifically on the results of
experiments in physics. Many of these are detailed and highly technical.
Section I. contains material on early twentieth-century string manu-
facturing (entries 1031, 1032) and a debate over the addition of bass
strings to the guitar (entry 1033).
Section J, lists one article in which the advantages of the eight-string
guitar in the performance of early music are considered.
Section K. contains literature in which the ten-string guitar is
described and its advantages over the six-string guitar are discussed.
Further readings are found under Narcisco Yepes (entries 847-51) in
Chapter VI.
In Section L., works on the construction of the microtonal guitar are
listed. Cross-references refer to literature on Julidn Antonio Carrillo-
Trujillo (entries 674-77), who is noted for his experiments in notation
and composition in a microtonal system.

188
 (895-899)

A. General Surveys
Dee GLSOnLOy, 2260372

895 APPLEBY, Wilfrid M. "In a museum". GutitarN LV (Sept-Oct

1960) 3%
Short descriptions of several guitars by makers of the seventeenth
through the twentieth centuries which are exhibited in the Horniman
Museum (London S.E.).

896 BOBRI, Vladimir; NELSON, Martha; D'ALESSIO, Gregory. "A

gallery of great guitars from the XVIth to the XXth century".
In 3 parts. GuttarR XXX (Aug 1968) 13-27; XXXII (Fall 1969)
14-31; XXXV (Summer 1971) 9-27.
A pictorial history of the development of the guitar's design with
front, back, and side views shown. Type, maker, date, location,
physical description, and dimensions are cited.
Part 1: [ca. 1500-XVIIth century]. Twenty-two extant guitars and
a vihuela. Several examples of the chitarra battente and of the terz
guitar are included.
Part 2: "The XVIIth Century". Twenty-three extant guitars including
the chttarra battente and the double guitar. Illus.
Part 3: "The XVIIIth Century". Twenty-one extant guitars including
the chttarra battente and theorbo guitar (ten single strings),
iconog.

897 BUCHNER, Alexander. Mustcal tnstruments: An tllustrated

htstory. Trans. by Borek Vancura. (New York: Crown Publishers,
ieee Oyo).
A general survey of the history of musical instruments from ancient
times to the twentieth century. Includes illustrations of historical
guitars from the seventeenth through the twentieth centuries and
Leonor rapny. (one: work (by. J.) Massys;"Lothec.)<1332 pl.,° illus in
Cext abibiioegs..,andex, —275p.
Revtews: MJ XXXI (Dec 1973) 6; MEducatorsd LXI (Nov 1974) 75-76.

898 BUCHNER, Alexander. Musical tnstruments through the ages.

Trans. by Iris Urwin. (London: Batchworth Press Ltd., 1961).
An historical survey of musical instruments including historical
guitars of the seventeenth and the eighteenth centuries. Includes
the guitars of makers Georgius Sellas (early 17th c.), Matthias
Fux (1692), and Thomas A. Hulinzky (1754). 323 illus., tables,
index, 38p. (text).

899 GABRY, Gyorgy. Old mustcal tnstruments. Trans. by Eva R&acz.

(Budapest: Corvina Press, Kossuth Printing House, 1969).
A general history of musical instruments which includes some com-
ments on guitars, p. 19-20. Plate 23 pictures a lady's guitar from
the possessions of Kornélia Lotz built by José Fernandez Silva,
Orense (ca. 1900). Information on stringing, dimensions, location,
and bibliography are given. Pl. (55 instruments) , 42p.

189
(899-903) Design and Construction

Reviews: MTimes IIL (Apr 1970) 393; MOpinton LXLIII (July 1970) 527;
Mustca XXIV/6 (1970) 597; Mf XXV/2 (1972) 230-31.

900 HIPKINS, Alfred James, Mustcal tnstruments. Histortc, rare

and untque. Illustrated with a series of forty-eight plates
in colours drawn by William Gibb. (London: Adam and Charles
Black, Ltd., 1921). First published (Edinburgh, 1888).
An illustrated survey of historically significant musical instru-
ments. Annotations of plates give information on owner, location,
description, and the history of the instrument. Pl. X "The Rizzio
guitar"; pl. XXIX "Guitar by Antonio Stradivarius". 48 pl., index,
123p.

901 NICKEL, Heinz. "Beitrag zur Entwicklung der Gitarre in

Europa" [Contribution concerning the evolution of the guitar
in Europe]. PhD diss., Musicology: Univ. Frankfurt am Main,
1971. (Haimhausen: Biblioteca de la Guitarra, 1972). In De.
169p.
"Traces certain forms and building techniques of the l6th-c.
‘suitar to the small boards glued together in the Arabian lute (in
Europe, ca. 800) and to Spain's copies of viols made in the late
Middle Ages. The most highly developed instrument of this family,
the vthuela da mano, should not be called a Spanish lute, but a
guitar."
- Quoted from RILM VII/2 (May-Aug 1973) 2521dd44. Illus.,
port., facsim., music, bibliog., list of works.
Reviews: NeueMz XXII (Apr-May 1973) 16; Gertrud Marbuch, MBildung
VI/11 (1974) 637; IZ XX1IX/12 (1975) 762; Andrej Mentschukoff, Soundb
II/1 (Feb 1975) 14; Mf XXIX/3 (1976) 362-64.

902 SCHWARZ-REIFLINGEN, Erwin. ''Zur Geschichte des Gitarren-

baues" [Towards a history of guitar making]. DteGzit VIII/5-6
(May-June 1927) 33-36. In De.
An outline history of guitar construction. Building activities of
luthier Otto Schick and other late nineteenth-century luthiers are
considered. The Spanish Torres school of guitar making and the
German, French, and Italian schools are distinguished.

B. Dictionaries of Luthiers
See also 73 and 76 for dictionaries of Italian luthiers

903 FISSORE, Robert [R. Dupuich, pseud.]. Tratte de luthter

anetemne [Treatise on ancient luthiers]. (Paris: R. Fissore,
1394)...i0, Fr.
A dictionary of luthiers of the sixteenth through the eighteenth
centuries. Organization is by country (French, Italian, and English
schools) with alphabetical lists of luthiers within each category.
Each entry gives name, place, dates, description of instrument,
evaluation of work, price category. Some labels are quoted. Guitar
makers listed are Huel, Lacote, Laprevotte, Panormo, Pons, Saunier
(of France), and Bergonzi and Guadagnini (of Italy). 7Op.
190
Design and Construction (904-906 )
904 LUTGENDORFF, Willibald Lee, Freiherr von. Die Getgen- und
Lautenmacher vom Mittelalter bis zur Gegenwart [Violin and
lute making from the middle ages to the present]. 2 v. 5th
and 6th revised ed. (Frankfurt am Main: Frankfurter Verlags-
Apstalt.AvG.5- 1922). In /De.
V. 1: An historical survey of stringed instrument making. Organiza-
tion by country. Includes a list of makers organized by city (dates
given). 98 pl.. 422p. (text).
V. 2: Alphabetical listing of makers with biographies and descrip-
tions of their work. Facsimiles of brand marks (79) and labels (853).
670p.

905 VANNES, René. Dicttonnatre universel des luthiers [A compre-

hensive dictionary of luthiers]. Preface by Giovanni Iviglia.
Second ed., augmented and revised. (Brussels: Les amis de la
musique, 1951). First ed. (Paris: Librairie Fischbacher, 1932).
Laem Shet
Main text consists of "Notices biographiques" [Biographical
notices]: 15,000 entries arranged alphabetically by luthier with
biographical information, main contributions, description of their
work, and quotations of their label. Facsimiles of 2583 labels (n.
PAC) smbOLt ss) 40op.. (text).
V. 2: Preface by Dr. H. Pourtois. (Brussels: Les amis de
la musique, 1959).
Additions and corrections of the 2nd edition. Facsimiles of makers'
labels and brands. 198p. (text).
Reviews: VVtiolinists XII (Nov 1951) 326; RBelgeMustcol VI (Jan-Mar
1952) 57-58; MensMelodte VII (Apr 1952) 124; Strad LXIII (Dec 1952)
248; RMItaltana LVII (Jan-Mar 1955) 77-78; GalptnSocJ XIII (July
1960) 104-06; Notes XVII/4 (1960) 577; RBelgeMusicol XIV/1-4 (1960)
T44,

C. The Sixteenth Century: Vihuela and Guitar

SOURCE READINGS

906 WECKERLIN, Jean Baptiste Theodore. Nouveau mustctana: extratts

d'ouvrages rares et bizarres [New selections of rare and
unusual works]. (Paris: Garnier fréres, éditeurs, 1890). In
Ein
This volume contains a reprint of an extrait entitled "La maniere
de bien et justement entoucher les lucs et guiternes' [The manner of
tuning lutes and guitars well and precisely] from the anonymous
treatise Discours non plus mélancoliques que divers (Poitiers:
L'imprimerie d'Enguilbert de Marne, 1556). The text offers a de-
tailed explanation of a Pythagorean system of fretting lutes and
guitars. Some preliminary comments on the use and the popularity of
the guitar are included. Diagrams.
See also: Turnbull 43 and Lesure 162 for comments.

19]
(907-912) Design and Construction

SECONDARY WORKS

See also 162

907 COOK, Frederick. "A vihuela in Quito?" GuttarLute IX (Apr

1979), IES E28
A description of an instrument in the Iglesia de la Compafita de
Jesas in Quito, Ecuador. Arguments are given for the identifica-
tion of the instrument as a guitar and as a vihuela. The instrument
belonged to Santa Mariana de Jesis (1619-1645). Illus.

908 COUTAGNE, Henry. Gaspard Dutffoproucart et les luthters

lyonnats du XVIe stécle [Gaspard Duiffoproucart and the
sixteenth-century luthiers of Lyon]. (Paris: Librairie
Eisehbacher, 1693)4. in Fx.
A detailed study of the life and works.of Duiffoproucart (1514-1570)
and the Lyonnais school of luthiers based on a study of sixteenth-
century documents: im addition to Daificproucart, Piilappe Flac is
alse mentioned’ as a maker of guitars. Port. (Duiffeproucart, 1562),
plblwtee. rein notes, indesd.'/9p-

909 HELLWIG, Friedemann. "Makers' marks on plucked instruments

of the sixteenth and seventeenth centuries". GalptnSocd XXIV
CSalyetop 1) 22-32).
A discussion of instrument makers" marks on plucked instruments.
Marks and method of marking are described. List of marks gives in-
formation on type of mark, description of detail, identification of
instrument, location, maker, place, date. Marks on four guitars are
described.) 4? pls. @0.marks) ;, biblics. ref. tainetes:

910 LESURE, Francois. "La facture instrumentale a Paris au

. iss «NS W . . . -
seizieme siecle" [Instrument makers in Paris in the six-
teenth century]. GalpinSoed VII (Apr 1954) 11-52. In “Fr:
An examination of sources on instrument makers from the Minutier
Central des notaires de Paris aux Archives nationales. 30 documents.

911 POULTON, Diana. "Notes and information. A vihuela in Ecuador".

TuteSoed XVIII (1976) 45-46.
A discussion of the discovery of a vihuela in a seventeenth-century
church insEcuador, Chile. Destription of the instriment -

912 PRYNNE, Michael. "A surviving vihuela de mano". GalpinSocd

XVI. (May (1963) 22-27.
A detailed description*of a vihuela. The author conjectures that it
the only vihuela to have survived from the sixteenth century. The
instrument is located in the Musée Jacquemart-André of the Institut
de France. Chart of dimensions, pl. (vwihuela).

MODERN LUTISTRY

Hee Cleo. 159, 74s, Leb

ee
Design and Construction (913-917)
io HELILANDS Wintrieds “Zur Rekonstruktion historischer Musik-
instrumente: Das Beispiel der Vihuela de mano" [Towards a
reconstruction of an historical musical instrument: the
example of the vihuela de mano]. Mustca XXXIII/1 (Jan-Feb
LO) 27-30 IneDex
Alternative methods of vihuela construction - exact copy and recon-
struction with adaptations - are evaluated. The problem of the lack
of surviving instruments and considerations in the determination of
authenticity through the sources are topics of discussion. Illus.

914 ROBBINS, Lance. "The vihuela lives again/". GuitarP VII/8

Meee h97 3). 1:83. 36537.
Notes on the revival of interest in the vihuela by Lorenzo Pimentel
and Hector Garcia. Biographical information on luthier Pimentel with
some comments on his construction techniques. Includes a short
niston7 onwehervihuela:? Dilus., ports

915 ZAYAS, Rodrigo de. "The modern concert vihuela: a challenge

to instrument builders of today". GuttarR XXXVIII (Summer
MOPS VRS 22...
A-discussiton of theveareers of Fernandd (b+ 1934) and: César
(b. 1939) Vera, instrument makers of Madrid, who specialize in
the construction of vihuelas and early guitars. Biographical
information. Ls piven. ll stie. (euitars and vihuelas).

D. From 1600 to 1900

SOURCE READINGS, INCLUDING CONSTRUCTION MANUALS
916 BACHMANN, Otto. Theoretisch-Praktisches Handbuch des getgen-
baues. Oder, Anwetsung, italtentsche und deutsche guitarren
und getgenbogen [Theoretical-practical handbook of violin
making. Or, instruction, Italian and German violin, viola,
violoncello, viol, as well as guitar and bow making].
(Quedlinburg und Leipzig: G. Basse, 1835).
Section "Vom Guitarrenbau" [On guitar making]. A description of the
guitar and an explanation of techniques for construction and for
Gepaip elon: a détailed set of plans for construction. 97/p.

917. MAUGIN, J.C. Manuel du luthter, contenant: 1. La constructton

intérteure et extérieure des instrumens a archet tels que
vtolons, alto basses et contrebasses. 2. La construction de
la guitare. 3. La confection de l'archet [Luthier's manual,
containing: 1. The interior and exterior construction of
bowed instruments such as the violin, viola, and contrabass.
2 The construction of the euttar. 3. The construction of
the bow]. (Paris: librairie encyclopédique de roret, 1834).
Ibi Jee
A practical handbook of instructions for instrument buat dines in
struction for guitar construction, p. 151-88. Diagrams.

£93
(918-922) Design and Construction

918 OTTO, Jakob August. Treatise on the construction, preserva-

tion, repair, and improvement of the violin, and all bowed
instruments, together with a dtssertation on the most eminent
makers, potnting out the surest marks by whtch a genuine
instrument may be distingutshed. Trans. from the German, with
notes and additions by Thomas Fardely. (London: Longman,
1833).
Otto's treatise, primarily a treatise for violin, contains commen-
tary on the guitar in Germany which greatly influenced early
historians of the guitar (p. 41-42 of the text). Otto explains the
introduction of the guitar into Weimar and claims responsibility for
building the first guitar with six strings and for using covered
strings for the D and G strings. Subsequent research has questioned
Otto's claims.
See also: Ragossnig 40, Sharpe (1959 ed.) 42, Tappert 47, Turnbull
48, and Heck 474, v. 1, for a quotation of the text concerning the
guitar and for opinions on the credibility of Otto's claim.

919° SOTTO, Jakob August. Treatise... Reprint in J.P. Banks. 2

complete system for the vtolin, 93-101. (Boston: John P.
Jewett and Company, 1846).
Text on the guitar, p. 98.

920 OTTO, Jakob August. A treatise on the structure and preserva-

tion of the violin and all other bow-tnstruments; together
with an account of the most celebrated makers, and of the
genutne characteristics of thetr instruments. Trans. from
the original with additions and illustrations by John Bishop.
(London: R. Cocks and Co., 1848).
An enlarged edition of Otto's Treatise with three appendixes. The
text concerning the guitar is found on p. 23-24.

921 OTTO, Jakob. August. A treatise... Trans. from the) original,

with additions and illustrations, by John Bishop. 4th ed.,
further enlarged. (London: W. Reeves, [187-?]).
A further enlarged edition of Otto's Treatise with five appendixes.
The text concerning the guitar is found on p. 28-29.

922 WETTENGEL, Gustav Adolf. Lehrbuch der getgen- und bogen-

macherkunst, oder Theorettsch-praktische anwetsung zur
anfertigung und reparatur der verschtedenen arten getgen
und bogen, sowte der guittarren, nebst einer darstellung
der darauf bezuglichen lehren der physik [Textbook of the
art of violin and bow making, or theoretical-practical
instruction on the construction and repair of various types
of violins and bows, as also of guitars, including a descrip-
tion of their physical characteristics]. (Weimar: B.F. Voigt,
1869): -In: De.
No text. Pl. IX, figs. 160-78 are plans for guitar construction.
LOapis

194
Design and Construction (923-929)
SECONDARY WORKS: LUTHIERS AND HISTORICAL INSTRUMENTS

See also 265

923 "Antique guitars are going for a song". Guitarist (Sept 1973)
10-11.
A discussion of early nineteenth-century guitars including notes on
construction techniques and present-day prices. Illus.

924 BONE, Philip J. "The museum. Shelley and the guitar". GuitarR
Ht (1947): 36.
A photograph of a guitar by Ferdinando Bottari (1816), once owned
by Percy Bysshe Shelley, now in the Bodleian Museum of Oxford
University. Description and history of the instrument. This guitar
is believed to be the subject of his poem "With a guitar". Illus.

925," “Collection of guitars". Guctarh XII (1951) 191.

Photographs of five historical guitars from the collection of
musical instruments in the Metropolitan Museum of Art (New York).
Guitars from the seventeenth century through the eighteenth cen-
tury, including three chitarra battente, are pictured.

926 "Foreign guitar makers and English music sellers". Giultaniad

III/1 (1833) 56-57. Reprinted in GuttarR XVIII (1955) 181-82.
A commentary on European guitar makers outside of England. Includes
a quotation of Fernando Sor's recommendation of particular makers.
The quality of Lacote's guitars is discussed. Thompson's invention
of the enharmonic guitar is considered for its value. List of guitar
music published by London music sellers (composer, title,
publisher).

927 GODWIN, Joscelyn. "Eccentric forms of the guitar, 1770-1850".

JLuteSocAmer VII (1974) 90-102.
Forms are classified in four categories: 1. guitars with added bass
strings. 2. guitars with added treble strings. 3. guitars with added
bass and treble strings. 4. guitars with multiple necks. Includes
information on makers, dating, tuning, and instrument description.
tus. Cli fist), bibliog. ref: in‘ notes.

928 Guitar Review editors. "The museum: four guitar variants".

GuttarR III (1947) 60-61.
A description and historical notes on four guitar variants in the
collection at the Metropolitan Museum of Art: harp guitar, guitar-
tirol, chitarra battente, and guitar Russian. Illus. (sketches of
each by George Giusti).

929 SENSIER, Peter. "Guitar topics". BMG LVIII/673 (May 1961)

256.
Brief notes on the predecessors of Torres and their construction
techniques. Also includes a description of the cittern and English
guitar.

195
(930-935) Design and Construction

930 USHER, Terence. "The Spanish guitar in the nineteenth and

twentieth centuries". GalpinSocJ IX (June 1956) 5-36.
A consideration of significant developments in design. Charts of
dimensions of representative guitars. Explanation of aspects of
construction. Lblus... bibliog.

931 USHER, Terence. "Three historic guitars". BMG LVI/644 (Dec

1958) 75-76.
A description of three guitars (two by Lacote, ome by Panormo) in
the possession of Sir Vincent de Ferranti, grandson of Zani de
Ferranti and Stanislaus Sczepanowski. Biographical sketches of
Ferranti and Sczepanowski. Illus. (guitars).

INDIVIDUAL LUTHIERS

Banks, Bengamtn (1727-1795)

932 "Guitar history". BMG LXIII/728 (Dec 1965) 99-100.

An advertisement in the Saltsbury Journal (1757) mentions the sale
of guitars by Benjamin Banks, a stringed instrument maker whose
guitars are unknown.

Gareta Castillo, Enrtque (b. 1868)

933 "Biography of a luthier. Enrique Garcia Castillo". Guttarra

(Chicago) I/2 (May-June 1963) 21-22.
A brief discussion of the career of guitar maker Garcia Castillo,
teacher of Francisco Simplicio.

Lacote, René Frangots

See 926, 931

Martin, Christtan Frederteck (1796-1873)

934 AUGUSTINE, Rose. "The Museum. A guitar-maker of two con-

tinents". GuttarR II (1947) 37.
A biography of Martin, pupil of Staufer of Vienna, who later
relocated from Germany to New York. Guitars (1836, New York) are
described. Illus.

Otto, Jakob August

See 918-21

Panormo, Louts (b. 1784)

See also 931

935 SENSIER, Peter. "Louis Panormo". Guitar III/11 (June 1975)

24-25.

196
Design and Construction (935-939)
A biography of Louis Panormo and his family. Includes a description
of Panormo's guitars and construction methods; comments on his
association with Fernando Sor. Illus. (guitars by Panormo and
Pages).

Staufer, Johann Georg

936 BLUMML, Emil Karl. "Der Wiener Geigen- und Gitarrenmacher

Johann Georg Staufer" [The Viennese violin and guitar maker
Johann Georg Staufer]. In 5 parts. ZfdG III/1 (1923) 6-9;
ITII/2 (Nov 1923) 3-5; III/3 (Jan 1924) 2-5; III/4 (Mar 1924)
2-5; III/5 (May 1924) 2-4. In De.

Stradtvart, Antonto (1644-1737)

937 FROSOLI, Patrizia. "The Museo Stradivartano in Cremona".

GalpinSoeJ XXIV (July 1971) 33-50.
An exhibition of Antonio. Stradivari's tools and materials for con-
struction contained in the Stradivari museum, a subsidiary of the
Museo Civico, Cremona, includes Stradivari's designs for guitar.
These are described on p. 40-41. Bibliog. ref. in notes, fig.
See also: Gill 288 for Stradivari's tuning instructions.

Ttelke, Joachtm (1641-1719)

938 HELLWIG, Gunther. "Joachim Tielke". GalptnSocJ XVII (Feb

1964) 28-38.
A discussion of the life and works of Joachim Tielke. Two lists of
instruments are given. List A cites instruments whose location is
known to the author. 15 guitars are mentioned in this list. List B
cites known instruments whose present location is unknown. 2 guitars
are mentioned in this list. Bibliog. ref. in notes.

939 HELLWIG, Gunther. Joachim Tielke: ein Hamburger Lauten- und

Vtolenmacher der Barockzett [Joachim Tielke: a Baroque luthier
and violin maker of Hamburg]. (Frankfurt am Main: Verlag das
Musikinstrument, 1980).
A detailed study of the life and works of Joachim Tielke.In 3 parts.
Part 1 "Die Familie Tielke" [The Tielke family]. Part 2 "Das Werke
Tielkes" [The work of Tielke] offers a discussion of Tielkes guitars,
p- 44-46 including illustrations and a table of eleven of his
guitars giving year, string length, and body length. Part 3
"Beschreibendes Verzeichnis der ermittelten Arbiten Tielkes"
[Descriptive catalogue of the known works of Tielke]. Plates with
date, location, and description cited. 25 guitars are listed. 139
pins bibliog., index, =35Zp.
Reviews: Mhandel XXX1I/6 (1980) 334; RecorderM VI/10 (1980) 298;
Soundb VII/3 (1980) 129; JVdGSocAmer XVII (1980) 74-78; GalpinSocd
XXXIV (1981) 158-60.

Lo7
(940-946 ) Design and Construction

Torres Jurado, Antonto de (1817-1892)

peeralso, 655, 5747 962 10035011012

940 BUEK, M. "Die Torres-Gitarre" [The Torres guitar].

XXIX (1928) 7-8. In De.

941 HOFMEISTER, Theodorus Jr. "Torres, the creator of the modern

guitar". GuitarR XVI (1954) 121-24.
A study of the achievements and contributions of Antonio Torres.
Biographical information on Torres divides his career into two
epochs. 1. 1850-69. 2. 1880-92. Makers' labels are cited. Includes
a description of the guitar (1867) owned by the author. Detailed
chart of dimensions. Port., illus. (Torres guitar).

942 OPHEE, Matanya. ''Torres, the creator of the modern guitar,

an addend[um]"". GuttarR XVII (1955) inside cover.
Additional information on Torres as a supplement to Hofmeister 941.
Two more makers' labels are quoted.

943. OPHEE, Matanya. "Historical research. A guest essay by

Matanya Ophee". Guttarra (Chicago) XXXIX (July-Aug 1980)
13-15.
An examination of extant guitars and texts (in particular, that of
Aguado) which prove the existence of developments in size and
strutting that influenced the Torres guitar design. Illus.

944 SCHWARZ-REIFLINGEN, Erwin. 'Die Torresgitarre" [The Torres

guitar]. DieGit IX/7-8 (1928) 47-53. In De.
Text in 2 parts. Part 1: A description and praise of the Torres
guitar. A comparison of the Spanish-made guitar to guitars made in
other countries. The problems of German-made guitars are described.
Illus. Part 2: Biographical information on Torres with notes on his
importance as a guitar maker. Disciples of Torres and developments
in construction after Torres are also considered. Port.

945 SENSIER, Peter. "Torres and the first generation". Guttar

ie(Octs 1973).

E. National Histories

ARGENTINA

946 SENSIER, Peter. "Guitar topics. Guitar makers of Argentina".

BMG LXV1I/765 (Jan 1969) 136, 141.
A survey of guitar makers of Argentina, including notes on the maker
José Yacopi.

198
Design and Construction (947-950)
AUSTRIA

947 HAUPT, Helga. Wiener Instrumentenbauer von 1791 bis 1815

[Viennese instrument making from 1791 to 1815] in Studien
aur,Mustkwissenschaft, Bethefte der Denkmaler der Tonkunst
tn Osterretch XXIV (1960). In De.

FRANCE

See also 908, 910

948 MILLIOT, S. "Documents inédits sur les luthiers parisien

du XVIIIéme siécle" [Unpublished documents concerning Paris-
ian string instrument makers of the eighteenth century].
PhD diss., Music: University of Paris, 1970. Publications de
la société frangaise de musicologie II/3. (Paris: Heugel et
GS].n1970)-. Ingrr:
Text is divided into 2 parts. Part 1 is a study of the lives and
businesses of important Parisian luthiers of the eighteenth century.
Makers are considered individually. Part 2 contains inventories and
personal letters of luthiers. Charts, including a comparative table
of different makers listing their dates, instruments (including
guitars), and instrument cost. Illus. bibliog., 240p.
See also: RILM IV/1 (Jan-Apr 1970) 1087dd44.
Revtew: OrganYb III (1972) 110.

949 PIERRE, Constant. Les facteurs d'instrumentale mustque.

Les luthiers et la facture tnstrumentale [Musical instrument
makers. Luthiers and instrument making]. (Paris: Ed. Sagot
Librairie musicale, 1893). Facsim. reprint (Genéve: Minkoff
Feprintss7 1971)<e. Invkrs
A detailed study of the history of instrument making in France.
Source material concerning guitar makers (seventeenth to nineteenth
century). Index, 439p.

GERMANY

See also 944

950 SCHUSTER, Friedrich. "Zur Geschichte des Gitarrenbau in

Deutschland" [On the history of guitar making in Germany].
DteGtt X/11-12 (1929) 83-87. In De.
A history of guitar making in Germany from the time of Jakob August
Otto (1760-1829). Includes a quotation of a 1797 correspondence
between Korner and Schiller concerning an Otto guitar. Also dis-
cussed is the account of an argument over the privilege for a
license for guitar construction (Markneukirchen, early nineteenth
century).

19
(951-957) Design and Construction

MEXICO

951 MENDEZ, Guillermo Flores. Constructores de guitarras finas

en Mexico [Builders of fine guitars in Mexico]. Carnet
Musical Jan clo54) Siacsps

952 MURRAY, D. "The guitars of Paracho: village industry thrives

in Mexico". GuitarP XII/8 (Aug 1978) 34-35, 106, 108-09.
An account of guitar construction activities in Paracho, Mexico.
Includes description of shops, guitars, construction methods, and
makers. Illus.

SPAIN

953 ADAMS, Henry. "A partial directory of Spanish guitar

builders". GuttarLute VIII (Jan 1979) 26-27.
Guitar makers are listed by city: Barcelona, Cordoba, Granada, Jaen,
Madrid, Malaga, Sevilla, and Valencia. Makers' addresses are cited.

954 CANO TAMAYO, Manuel. Un siglo de la guitarra granadina [A

century of the Granadan guitar]. Monograph series no. 38 of
"Temas de nuestra andalucia". (Granada: Obra cultural de la
Caja de Ahorros de Granada, 1975). In Sp.
A history of guitar making in Granada, Spain. Chronological survey
of important makers with descriptions of their instruments. Includes
a general history of the guitar. Color facsim.. of labels, illus.
(ee lLor, of Hiistorical cuitars)s [16ps)<

955° “GILBERT, Alice: 'Spainés® lithiers, 7A. tourSof the shops”.

GuetarP: Vil/3< (Apr (1973) 223.35.
A discussion of the makers of Madrid and Barcelona. Shops described;
information on pricing. 10 makers listed (name, address). Illus.

956 MAIRANTS, Ivor. "Where have all the Spanish guitars gone?".
BMG LXV1I/772 (Aug 1969) 345-51.
A survey of established Madrid guitar makers with some information
on their career and technique. Makers considered include Hermanos
Conde, Hernandez and Aguado, Fernandez, Ramirez, Juan and Lorenzo
Alvarez, and Contreras. Port.

957 RIOJA, Eusebio. An tnventory of Granadan guitar makers.

(Granada: Graficas Monachil, S.A., 1976).
Reviews: Guttar V/7 (1977); GuitarLute VII (Sept 1978) 2.

F. Individual Luthiers of the Twentieth Century

BARBERO, Marcello (1904-1955)

See also. LOI

200
Design and Construction (958-963)

958 "Guitarras y guitarrerros" [Guitars and guitar makers].

Guttarra (Chicago) V/29 (Nov-Dec 1967) 20-23. In En.
Biographical notes on Barbero. Illus. (5 views of a 1946 Flamenco
guitar with description).

BERNABE, Paulino

959 MAIRANTS, Ivor. "Paulino Bernabe". BMG (Nov 1973) 2-3. In En.
Biographical information on Bernabé. Notes on his career and his
construction techniques. Port., illus.

BOUCHET, Robert

960 CLINTON, George. "Robert Bouchet: luthier". Guitar 1/7

(Feb 1973).

CALDERSMITH, Graham

961 CALDERSMITH, Graham. "A letter excerpt from Graham

Caldersmith". JGuttarAcous III (June 1981) 19-22.
Ww
-..- he discusses low frequency resonance coupling and compares
this phenomena in the frequency response curves of one of his own
instruments along side a Ramirez and a Kohno.", p. 19. Illus.

CONE, Michael

962 "A conversation with Michael Cone". In 3 parts. Chelys 1/9

(1977) 12-20; II/1 (1978) 34-41; II/2 (1978) 54-56.
In an interview with Walter Spalding, Cone disctéses his own
experiences in building, judging the quality of sound, Ramirez,
Torres, Kasha, and other builders, and his opinions on his own
guitars from the point of view of a performer.

DICKENS, Fred T.

963 "An interview with Fred T. Dickens". JGuitarAcous II (Mar

1981) 5-27.
"He [Dickens] holds the distinction of discovering the bracing
pattern for a guitar back which produces a ring mode in the free
state, all the more remarkable because this was not by accident,
but the result of more than a year's directed research.", p. 5.
Dickens discusses his experimentation. Diagram.

ESTESO LOPEZ, Domingo (1882-1937)

See also 1012

(964-969) Design and Construction

964 "Biography of a luthier. Domingo Esteso Lopez". Guitarra

(Chicago) 1/4 (Sept-Oct 1963) 15-17.
A short biography of Esteso. Includes a chart describing "woods",
"dimensions", "finish and complements". Illus. (guitar).

965 "Guitarras y guitarrerros" [Guitars and guitar makers].

Guitarra (Chicago) V/25 (Mar-Apr 1967) 20-23. In En.
Information on the Esteso family. Illus. (1959 concert guitar with
description).

966 SHERRY, James. "Guitarras y guitarrerros" [Guitars and

guitar makers]. Guitarra (Chicago) IV/9 (Mar-Apr 1966)
20-23. In En.
Biographical notes on Esteso. Illus. (1928 concert guitar with
description).

FERNANDEZ, Francisco

See also 956

967 SCARLATTI, V. "Guitarras y guitarrerros" [Guitars and guitar

makers]. Guttarra (Chicago) V/27 (July-Aug 1967) 20-23. In
En.
Biographical notes on Fernandez. Illus. (1964 concert guitar with
description).

FLETA, Ignacio (b. 1897)

968 MAIRANTS, Ivor. "Ignacio Fleta e Hijos" [Ignacio Fleta and

sons]. BMG LXIII/735 (July 1966) 310. In En.
Biographical information on Fleta with a discussion of his construc-
tion techniques. Measurements of the Fleta guitar are given.

FLETA, Francisco Manuel (b. 1902)

969 SHERRY, James. "Guitarras y guitarrerros" [Guitars and guitar

makers]. Guitarra (Chicago) IV/23 (Nov-Dec 1966) 20-23. In
En.
Biographical notes on Fleta. Illus. (1962 concert guitar with
description).

GARCIA, Enrique

See 109
Design and Construction (970-976)
HAINES, Daniel

970 "An interview with Daniel Haines". JGuitardAcous IIl (June

1981) 5-13.
Biographical information on Haines. Acoustics, wood-sound production,
and substitute wood experiments are discussed. Highly technical. Fig.

HAUSER, Hermann (1882-1952)

pecertarso 10125 1032

971 FARRELL, Terrence. "Interview: Herman Hauser". GuttarLute

VIII (Jan 1979) 28-29.
An interview with Hermann Hauser Jr. and Hermann Hauser III
including a discussion of their training, construction methods,
woods, and tone quality. Port. (Hauser Sr., Jr., and III).

972 ‘SCHEIT; Karl. "Fifty years of Hauser guitars". GuitarN Xxx

(Apr-May 1956) 8-9.
Biographical notes on Hermann Hauser Sr.

973 SEGOVIA, Andrés. 'In memoriam Hermann Hauser". GuttarR XVI

(1954) inside cover.
Segovia's account of his first encounters with Hermann Hauser Sr.
Includes Segovia's compliments of Hauser guitars. Port.

HERNANDEZ, Sobrinos de Santos (1873-ca. 1940)

mee aso. 1012

974 "Guitarras y guitarrerros". [Guitars and guitar makers].

Guitarra (Chicago) V/28 (Sept-Oct 1967) 20-23. In En.
Biographical notes on Hernandez. Illus. (guitar with description).

975 SHERRY, James. "Guitarras y guitarrerros" [Guitars and guitar

makers]. Guitarra (Chicago) IV/2 (July-Aug 1966) 20-23. In En.
Biographical notes on Hernandez. Illus. (1940 concert guitar with
description).

IBANEZ, Salvador

976 SCARLATTI, V. "Guitarras y guitarrerros" [Guitars and guitar

makers]. Guitarra (Chicago) IV/22 (Sept-Oct 1966) 22-23. In
En.
Biographical notes on Ibanez. Illus. (guitar with description).

203
(977-981) Design and Construction

KASHA, Michael

See also 962, 993, 994

977 "History and design of stringed instruments. A new look".

GuttarN CXIII (July-Sept 1971) 8-10.
Kasha's developments in design and construction are discussed. Notes
on Kasha's* léctures with recital. Port.

LORCA, Antonio

978 "Guitarras y guitarrerros" [Guitars and guitar makers].

Guitarra (Chicago) V/26 (May-June 1967) 20-23. In En.
Biographical notes on Lorca and his family. Illus. (1965 concert
guitar with description).

ORIBE, Jose

See also 788

979 . “Making a classical guitar

- José Oribe". GuitarP I1/2
(1967) 15-17.
A short discussion of Oribe's construction techniques. Illus.,
diagrams.

OROZCO, Juan

980 CLINTON, George. "Juan Orozco. Luthier, string maker,

impresario". Guitar VII/11 (June 1979) 17-18.
An account of the career of Orozco. Port.

PIMENTEL, Lorenzo (b. 1928)

See also 914

981 TANNO, John C. and John W. "The classical guitar. Luthier

Lorenzo Pimentel of Albuquerque, New Mexico". Fretts IV
(1965) 6-8.
An account of the author's visit to the shop of Pimentel. Methods of
construction and experimentation are discussed. Includes biographical
information on Pimentek. Port., illus.

RAMIREZ, José and family

pee Giso 196, 9535 955, 9565. 962, 1036

204
Design and Construction (982-990)
982 ADAMS, Henry. "Interview: José Ramirez". GuitarLute VIII
(Jan 1979) 14-16.
An interview with José Ramirez. Includes an historical survey of
the Ramirez family from José Ramirez I. Emphasis is on the Ramirez
family's influence on the Madrid school of guitar making. Port.

983 ALVARADO, A. "José Ramirez IIL". Guttarra (Chicago) I/1

(Mar-Apr 1963) 17-19.
Remarks on the career of José Ramirez III. Guitar description
("woods", "dimensions", "finish and compliments"). Illus.

984 "Guitarras y guitarrerros" [Guitars and guitar makers].

Guitarra (Chicago) IV/24 (Jan-Feb 1967) 20-23. In En.
Biographical notes on José Ramirez III (b. 1922). Illus. (1965
concert guitar with description).

985 "Madrid school of guitar makers". GuttarLute VIII (Jan 1979)

22-23.

A chart of the guitar makers of Madrid indicating the Ramirez family

members and those trained by them. Name, place, and dates given.
Also listed are other Madrid builders, beginning with Vannes (1951),
who are not included on the chart.

986 MAIRANTS, Ivor. "Madrid makers". BMG LVI/652 (Aug 1959)

275-76.
Author's account of a visit to the Ramirez shop. Information on the
Madrid school of guitar making.

RODRIGUEZ, Manuel (b. 1927)

987 “Interview: Manuel Rodriguez". GuitarLute VIII (Jan 1979)

24-25.
Biographical information on Rodriguez. Brief discussion of construc-
tion techniques with a comparison of traditional and modern methods
and remarks on judging the quality of an instrument. Port.

ROMANILLOS, Jose

988 CLINTON, George. "José Romanillos, luthier". Guttar I/7

(Feb 1973).

989 FORD, Charles, editor. Making music instruments. Strings and

keyboard. 4. José Romantllos: The classtcal guttar. Foreword
by Anthony Baines. (London: Faber and Faber, 1979).

RUBIO, David (b. 1934)

990 "Interview: David Rubio". Guitarlute VIII (Jan 1979) 6-8.

205
(990-996) Design and Construction

Biographical information on Rubio. Discussion of the quality of

instruments, construction materials and methods, Rubio's views on
building as an art form and as a profession, present-day lute con-
struction.

991 CLINTON, George. "David Rubio". Guitar V/9 (Apr, 1977) 15,
L775 19=21.
Rubio, interviewed by George Clinton, discusses wood quality and
its effect on sound, his business. Port., illus.

992 WELLER, Malcolm. "David Rubio. Our cover subject". BMG

LXVIIL/786° (Octs 1970).-13.
A discussion of Rubio's career and building techniques.

SCHNEIDER, Richard

993. "An interview with Richard Schneider- the origins of the

Kasha design are discussed". JGuitarAcous I (Dec 1980) 19-25.
Schneider discusses work on sound production and construction tech-
nique done in conjunction with Michael Kasha. Innovations in guitar
design are considered.

994 PATERSON, John. "Richard Schneider". GuttarP V/4 (June 1971)

21a o.
A discussion of Schneider's career and his construction techniques.
Includes comments on his association with Michael Kasha. Illus.

SIMPLICIO, Francisco

See 109, 933

TATAY, Vicente

995 ADAMS, Henry. "Hijos de Vicente Tatay. A visit to Valencia's

largest guitar factory". Guittarlute VIII (Jan 1979) 9-11.
Notes on Tatay's guitar industry and construction procedures.
ELLs2 suport.

996 TANNO, John C. "The classic guitar. A tribute to Vincente

Tatay, Jr., master luthier and a pioneer of modern classical
guitar construction in this country". Fretts IV (1967) 5-8.
Biographical information on Vincente Tatay, Jr., and his sons. Notes
on construction theories. Includes quotations of the Tatays. Port.,
illus.
Design and Construction (997-1003)
VELAQUEZ, Manuel (b. 1917)

997 BELLOW, Alexander. "Manuel Velazquez". GuitarN XXVIII (Dec

1955-Jan 1956) 9-10.
A biography of Velazquez with praise of his craftsmanship. Port.

VOGL, Hans

998 '"Collectors' pieces". BMG (July 1973) 23.

A description of a guitar by Hans Vogl (Munich, 1913). Illus.

G. Construction Manuals
999 BEHLEN, H. AND BROS., INC. The art of wood finishing. (New
YOUR. Hse Benlen ana Bros. . Ine. , 1957).

1000 BERNER, A.; VAN DER MEER, J.H.; THIBAULT, G. [Genevieve] with
the collaboration of Norman Brommelle. Preservation and
restoration of mustcal instruments. Provtsional recommenda-
ttons. (London: Evelyn, Adams and Mackay, 1967).
In 3 parts: "Preservation", “Restoration, Plates. A-detailed
investigation of the problems of preserving and of restoring musical
instruments with solutions and methods discussed. Specific problems
related to the guitar and to other plucked instruments are treated
individually. Plate V, p. 45, is an illustration of the four-course
and five-course guitars shown in Mersenne 310. Commentary on p. 44.
Pies Se DLLOR<5) 2aps
Revtews: MTimes CIX (Nov 1968) 1029; MMustctan XVII (Dec 1968)
42-43.

1001 BROSNAC, D. An introduction to sctentifitc guitar destgn. (New

York: The Bold Strummer, Ltd., n.d.).
Revtew: CanadtanM 1/4 (1979) 16.

1002 CIURLO, E. Fausto. "La chitarra nella liuteria moderna" [The

guitar of modern lutistry]. Fronitmo I1/6 (Jan 1974) 20-31.
Direne.
An examination of the principles of modern guitar construction based
on a detailed description of the parts of the guitar. In outline
form (parts a-t). Terminology is defined in a glossary. 25 fig.
(diagrams of individual parts). Iconog., illus.
See also: RILM VIII/2-3 (May—Dec 1974) 3696ap44.

1003 HUTTIG, H.E. II. "The guitar maker and his techniques".
GuttarR XXVIII (May 1965) 1-27.
A discussion of guitar construction based on the principles of
Antonio Torres Jurado (1817-1892). History and methods examined. In
2 main sections: "General discussion of principles and materials"
and "Assembly of the guitar". Illus., diagrams, tables.

207
(1004-1011) Design and Construction

1004 JAHNEL, F. Die Gitarre und thr Bau; Technologie von Gttarre,
Laute, Sister Tanbur und Satte [The guitar and its construc-
tion; Technology of the guitar, lute, sister tanbur, and
strings]. (Frankfurt/Main: Verlag das Musikinstrument,
(19641). in: De;
Review: CollegeMusSym VIII (1968) 157; Mustkergtehung XVII/5 (1964)
238-39.

1005 KAMIMOTO, Hideo. Complete guitar repair. (New York: Oak

Publications). 174p.
Reviews: GuitarP IX (July 1975) 57; Bluegrass X (Aug 1975) 24-25.

1006 LEWIS LUTHIER SUPPLIES. Catalogue for mustcal instrument

builders. (Vancouver, B.C., Canada: Lewis Luthier Supplies,
1976).
Advice, recommendations, and procedures. Detailed descriptions and
evaluation of materials and tools available for the construction of
guitars and other instruments. Supplement contains information on
new woods, tools, plans, books, and other supplies.

1007 McLEOD, Donald; WELFORD, Robert. The classical guitar. Design

and construction. (Northgates, Leicester: The Dryad Press,
L971).
Construction manual with step-by-step instructions. List of sup-
pliers. Illus., diagrams, 107p.

1008 OVERHOLTZER, Arthur E. Guitar making. (Chico, Calif.: Lawrence

Ay Brock, 1974).
A detailed manual on construction with instructions for building.
Append. (includes "Sources for materials and supplies"), photos.
(264), drawings (108), bibliog., index, 323p.
Review: GuttarP VIII (July 1974) 55.

1009 SCHNEIDER, John. "The well-tempered guitar. A discussion of

temperaments and interchangeable fingerboards". Soundb V/4
(Nov 1978) 108-11.
A discussion of the interchangeable fingerboards developed by Tom
Stone which provide different tuning systems for the guitar. Com-
parison of equal temperament and just intonation included. Illus.,
music, charts, bibliog. ref. in notes.

1010 SCHNEIDER-KLEMENT, Albrecht; WILLEE, Gerd. "Neue Moglichkeiten

im Gitarrenbau" [Innovations in guitar construction]. MInstru-
ment XXI/10 (Oct 1972) 1180-81. In De. Summary in En, Fr, and
liters
"Discusses guitar tuning and construction with reference to two
models. Considers problems of intonation, technique, and scale
systems.''- Quoted from RILM VI/3 (Sept-Dec 1972) 3899ap44.

1011 SHARPE, A.P. Make your own Spanish guitar. First ed. (1957).
Revised ed. (London: Clifford Essex Music Co. Ltd., 1963).

208
Design and Construction (1011-1017)
A step-by-step construction manual. Illus., 36 fig. (diagrams), a2p.
Revtew: MTimes CI (Mar 1960) 161.

1012 SLOANE, Irving. Classic guitar construction. (New York: E.P.

Dutton and @Co se Ines, 61966).
A detailed construction manual. Introduction includes a history of
guitar building. Fig. 2 "Torres's development of modern guitar" with
six guitars pictured (1843-1888). P. 90-92: Six guitars pictured,
dimensions cited (Hauser, Barbero, Arias, Esteso, and Hernandez).
List of supply sources. 125 fig. (diagrams, photographs), bibliog.,
950%
~Revtew: MJ XXV (Feb 1967) 72.

1013 SLOANE, Irving. Guitar repatr. A manual of repair for guitars

and fretted instruments. (New York: E.P. Dutton and Co.,
ries. =1975).
A detailed manual of instructions explaining the techniques for
repairing individual problems. Includes a chapter on "Restoration
techniques for antique instruments". List of supply sources. 95p.
Reviews: GuttarP VII/8 (1973) 48; GuitarR XXXVIII (Summer 1973) 33;
Instrument XXIX (Sept 1974) 18; HarlyM III/3 (1975) 271.

1014 TANNO, John C. "A brief discussion of the construction and

assembly of guitars by non-Spanish luthiers". GuittarR
XXVIII (May 1965) 28-31.
Twenty-four steps of guitar construction are listed. Comments on the
differences between Spanish and non-Spanish construction methods.
illus..." bibliocg. ref: in notes.

1015 WALLO, Joseph F. How to make a classte guitar. (1319 F Street,

Washington, D.C. 20004).

H. Studies of Acoustics and other Scientific

Aspects of the Guitar’s Construction
1016 "Acoustical properties of complex cavities. Prediction and
measurements of resonance properties of violin-shaped and
guitar-shaped cavities". Acousttca XXXVII/4 (May 1977)
211-21.

1017 CALDERSMITH, Graham. "Physics at the workbench of the luthier".

JGuttarAcous II (Mar 1981) 28-34.
"Tn this article we are exposed to some good data regarding the
guitar bridge's role in high frequency tone production. Comparing
bridge motion to sound-production results in a measure of an instru-
ment's ‘radiation efficiency", which is said to vary greatly from
one instrument to another. In Australia the face is called the
‘table’ and the range of an instrument its 'compass'.", p. 28. In 3
parts. "Frequency responses", "Lower range response and table

Zuo
(1017-1022) Design and Construction

tuning", and "Higher range response and bridge tuning". Highly tech-
nical. 2 charts.

1018 "Le changement du Spectre et du timbre de la guitare du a la

qualité differente du bois de la table de resonance" [The
change of spectrum and of timbre of the guitar caused by the
different qualities of the wood of the resonance table].
AGOUSTLGa: SXXITI/1. (June. 1975)-25-31. Ins Pry,

1019 CHRISTENSEN, Ove; VISTISEN, Bo B. "Simple model for low-

frequency guitar function". JGuttarAcous III (June 1981)
42-62. Reprinted from Journal of the Acoustical Soctety of
Amertea LXVIII/3 (Sept 1980) 758-66.
"The frequency response of the sound pressure and top plate mobility
is studied around the two first resonances of the guitar. These
resonances are shown to result from a coupling between the fundamen-
tal top plate mode and the Helmholtz resonance of the cavity. A
simple model is proposed for low-frequency guitar function... ", p.
42. Experimentation and results are discussed. In 4 main sections.
I. "Methods and results", II. "Simplified mode for low frequency
guitar function", III. "Comparison between experiment and theory",
and LV. "Discussion". Highly technical. 1 table; 5 ‘fies, “bibiiog.
ref. in notes.

1020 CUMPIANO, William. "The origins and derivation of guitar

scales- and overview". JGuttarAcous I (Dec 1980) 32-36.
Discussion includes an explanation of scale types (Pythagorian
theory, scale of nature, just-toned scale, equal temperament),
problems in tuning the guitar due to discrepancies in the fret
board, the experiments of General T. Perronet (enharmonic guitar)
and Tom Stone (interchangeable fingerboards). Highly technical.

1021 CUMPIANO, William. "Popular attitudes in guitar acoustics.

survey of the popular media". JGuttarAcous II (Mar 1981)
53-57.
"A survey of the popular media.", p. 53. A discussion of problems
and misconceptions of guitar making. Includes a consideration of the
propagandizement of new techniques in guitar production.

1022 HAINES, Daniel. "On musical instrument wood". In 2 parts.

JGuttarAcous II (Mar 1981) 35-52; III (June 1981) 32-41.
Reprinted from The Catgut Acoustical Society Newsletter XXXI
(May 1979); XXXIII (May 1980).
"The following work is a classic and will go down in luthiery
history as a central reference for makers of all stringed instru-
ments.... the many physical properties relevant to sound produc-
tion of all commonly used instrument woods are accurately measured
under controlled conditions and tabulated for the first time"; P-
35. Individual consideration of wood types. Results of experimenta-
tion are recorded. Highly technical. Tables, fig., bibliog. ref. in
notes.

210
Design and Construction (1023-1026)
1023 MEYER, Jurgen. "Das Resonanzverhalten von Gitarren bei
mittleren Frequenzen" [The resonance of guitars in the middle
ei frequencies]. MInstrument XXIII/9 (1974) 1095-1102. In De.
The frequency zone around 1,000 Hz plays a significant role in de-
termining the sound quality of guitars. Therefore, the study investi-
gates the vibration shapes of the soundboard in the individual
resonances, as well as the formation of stationary waves in the
interior of the body in the zone between 700 and 1,400 Hz. The in-
fluences of the soundboard-support groupings in various quantities
and positions are scientifically measured in the 800 Hz, 1,000 Hz,
and 1,250 Hz zones. The construction of the guitar back has little
effect on the projection of sound in the middle frequencies." -
Quoted from RILM IX/3 (Sept-Dec 1975) 4664ap86.
1024 MEYER, Jurgen. "Die Abstimmung der Grundresonanzen von Gitar-
ren" [The synchronization of the fundamental resonances of the
guitar]. Minstrument XXIII/2 (1974) 179-86. In De.
"The two lowest resonance frequencies of the guitar body are viewed
as coupled frequencies of a single system consisting of one sound-
board resonance and one cavity resonance; thus the coupling factor
is closely dependent upon the type of soundboard reinforcement by
struts or crossbars. The cavity resonance is similar to a Helmholtz
resonance, but deviates considerably in its frequency from the stan-
dard calculated according to the Helmholtz formula because of flat
construction and the eccentric position of the sound holes. The
lowest resonance of the soundboard is particularly influenced by
the type of support. Methods of calculation are given for all of
the usual modes of construction." - Quoted from RILM IX/3 (Sept-
Dec 1975) 4665ap86,

1025 RIMSKI-KORSAKOV, A.V. "Les recherches sur le timbre des

violons et guitares et sur l'excitation des vibrations d'une
anche d'harmonium" [Research on the timbre of violins and
guitars and on the excitation of the vibrations of the tongues
of the harmonium]. Acoustique mustcale. Colloques tnternatton-
aux du Centre Nattonal de la Recherche Setenttfitque LXXXIV.
(Paris: Editions du Centre National de la Recherche Scien-
tifique, 1959) 203-13. In Fr.
A detailed synopsis of experiments in the evaluation of the quality
of sound in the violin, guitar, and harmonium conducted by Jankovski,
Jakovlev, and Rimski-Korsakov. Results recorded. 12 fig. (graphs,
charts); bibliog:

1026 STETSON, Karl A. "On modal coupling in string instrument

bodies". JGuttarAcous III (June 1981) 23-31.
"Tt is a complicating fact of life that guitar resonances are coupled
to one another in varying degrees. In this paper the mechanical basis
of this coupling is explored. Also demonstrated are some very clear
hologram reconstructions of various low-order resonances in an ideal-
ized soundbox without an air resonance, as well as in a steel string
guitar.", p. 23. Highly technical. Fig., bibliog. ref. in notes.

Zar
(1027-1033) Design and Construction

1027 TANNO, John W. "The acoustics of strings as related to the

guitar". Soundb IV/3 (Aug 1977) 63-64.
A study of acoustical properties of strings with emphasis on the
construction of the guitar in relationship to tone production.
Iituss, bibliog. ref. in notes.

1028 WHITE, Timothy P. "The guitar's air resonance-a model for

air-wood interactions is proposed". JGuittarAcous I (Dec 1980)
25-31.
"A model for air-wood interactions is proposed.", p. 25. Individual
instrument resonance is discussed. Highly technical. Illus.

1029 WHITE, Timothy P. "Harmonics of a dead guitar string".

JGuttarAcous I (Dec 1980) 39-42.
"A Real Time analyzer is used to look at the tone produced by a new
string which sounds like an old string.", p. 39. Experiment procedure
and results are discussed. Fig.

1030 WHITE, Timothy P. "Identification of guitar resonances".

JGuttarAcous III (June 1981) 14-18.
An examination of individual resonances of a guitar detected by
the use of a "Shaker table''. Description of electronic components
used in the assembly of a "Shaker table''. Results of experiment are
recorded. Fig.

I. Guitar Strings
1031 BOBZIN, Charles. "The making of strings for musical instru-
ments from a commercial and sentimental standpoint". Crescendo
II/5 (Nov 1909) 5-6, 9.
A discussion of the string manufacturing industry in Germany, Italy,
England, France, and America. Notes on methods of production and on
the quality of the products.

1032 SEGOVIA, Andrés. "Guitar strings before and after Albert

Augustine". Trans. by Eithne Golden. GuttarR XVII (1955)
145-48.
Segovia's account of his experiences with guitar strings and of the
early improveménts made by Pirastro and Hauser. The circumstances
which led to the manufacturing of nylon strings by Albert Augustine
are described.

1033 SEGOVIA, Andres. "More strings?". GuttarR XXXIX (Summer

1974) 2-4.
Opinions on the question of the addition of more bass strings to the
guitar. "Editor's note" by Vladimir Bobri gives examples of guitars
with added bass strings built in the late eighteenth century and the
nineteenth century. Quotation of a letter from Segovia (29 Jan 1974)
in which he expressed his objections to the addition of bass strings
to the modern guitar. Some historically important builders and

aie
 Design and Construction (1033-1039)
players of the six-string guitar are mentioned. In Sp and in En
trans. Illus. (drawing of a 1924 "Schrammel" guitar).

J. The Eight-String Guitar

1034 HARRIS, David. "The eight-string guitar". GuitarLute XIII
(Apr 1980) 21-23.
A biography of the author is given in the introductory notes. Harris
discusses his opinions on the advantages of an eight-string guitar
for the performance of early lute music. Representative works for
' lute by J.S. Bach and by Sylvius Leopold Weiss are used to illus-
trate the problems of transcription to the modern guitar. Port.

K. The Ten-String Guitar

1035 MARLOW, Janet. "Notes on the ten-string guitar". Soundb
VII/4 (Nov 1980) 151-54.
The author discusses her early experiences with the ten-string
guitar, its advantages and possibilities, and Narciso Yepes's
reasons for playing it. Port., append. ("Sources of ten-string
guitars, strings, and music"), music, bibliog. ref. in notes.

1036 SHERRY, James. "Commentary on the ten-string guitar". Guttarra

(Chicago) II/11 (Nov-Dec 1964) 31-35.
A description of the Ramirez ten-string guitar: "Woods", "Finish and
Complements". The author gives his opinions and the opinions of
other guitarists on the instrument. Illus. (guitar), music (tuning).

L. The Microtonal Guitar

1037. “Una chitarra quartitonale" [A quarter-tone guitar]. MuovakM-

Ttaltana VIII/2 (Apr-June 1974) 337-38. In It.
Description of the design of a quarter-tone guitar constructed by
Giuseppe Teti (Rome).

1038 CIURLO, E. Fausto. “Chitarra quartitonale" [The quarter-tone

eultar|. ronuno L1l/10) (Jan 19/75) 25-267, In ULt.
A discussion on the quarter-tone guitar with an explanation of the
system of calculating the mathematical division of the fingerboard.
The developments of Luthier Giuseppe Teti in collaboration with
guitarist Carlo Carfagna represent the first efforts in this area
of construction. Illus.
See also: RILM IX/1-2 (Jan-Aug 1975) 2454ap44.

1039 SCHNEIDER, James. An introduction to the quarter-tone guttar.

(356 E. Walnut Lane, Philadelphia, PA 19144, the author). 92p.
Review: GuttarP XIV (Feb 1980) 117.

213
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 Appendix I.

Periodicals Devoted to the Guitar

and Other Fretted Instruments

Appendix I lists periodicals devoted to the guitar and other

fretted instruments. This includes current and out-of-print periodi-

cals and newsletters. Library locations are given for the United

States and Canada only. All locations cited refer to United States

libraries unless they are marked C for Canadian holdings. Brackets

placed around a number or numbers indicate that the holdings of

these volumes are incomplete. The list of abbreviations for Ap-

pendisi—a1s On-p. SOccyi.

Periodicals Appendix I

ACCORDIAN AND GUITAR WORLD. Directory of manufacturers,

publishers, wholesalers. Accordians, guitars, music
electronics. Running title: ACCORDIAN AND GUITAR WORLD
YEARBOOK. (Bedford Hills, N.Y.). I (1956?)-

BRp a
DM =
NYp La

L'ARTE CHITARRISTICA. Rivista di cultura musicale. (Modena,

Italy).

Holdings in the GFA Archive.

B M G; BANJO, MANDOLIN, GUITAR. (D.K. Keogh, 20 Earlham Street,

WC2H 9LR London, England). Continues Guttarist. I (1973)-

NYp LOT o=
We ii

BANJO NEWSLETTER. (Banjo Newsletter, 1310 Hawkins Lane,

Annapolis, Maryland 21401). I (Nov 1973)-

THE CADENZA. American guild of banjoists, mandolinists, and

guitarists. (Boston, Mass.). Merged into Jacob's Orchestra.
I/1 (1894)-

NYp (27 1=[30), 31

OB [7-8, 11]
We I/1-XXXI/2

CHELYS [ELECTRIC CHELYS]. Other title: CHELYS, "Journal of the

New England Society of the plucked string" (1976-77).
(Exeter, New Hampshire). [Not to be confused with Chelys;
the Journal of the Viola da Gamba Soctety]. 1/0 (undated),
I/1 (1976)-

DUu I=
Io i=

LA CHITARRA. Rivista mensile letteraria e musicale. (Bologna,

Ltaly) vk (E934)=

216
Appendix I Periodicals
CREATIVE GUITAR INTERNATIONAL. (Mockingbird Press, Box 1275,
Edinburgh, Texas 78539).

NYp i=
We ik

CRESCENDO. American guild of banjoists, mandolinists, and

guitarists. (Hartford, Conn.). I (1908)-

NYp Dat 2-—45 Ose 13208223)

OB (tL 2169919]
We 25

ELECTRIC CHELYS See CHELYS

FRETTED INSTRUMENT NEWS. Official organ of the American

guild of banjoists, mandolinists, and guitarists.
(Providence, R.I.). I (1932)-

NYp 18- PROu 20-

PHE [6-20]- We [6]-[16, 18]

FRETTS. News from the fretted instrument world. Formed by the

merger of the Fretted Instrument News and Muste Studto
News. (Randall Publishing Co., Inc., P.O. Box 928, Santa
Ana, Calif.). (1958-1968).

NYp 1958=1968
PHf P95Ss1968
We 1962-1968

IL "FRONIMO". Rivista trimestrale di chitarra e liuto. (Presso

le Edizioni Suvini Zerboni, Via Quintiliano 40, Milan,
healye20138), L/1--(1972)-

AA 1- LEX i
BE 1- NH i
BLu spre NYp ie
Bp i= PHu is
CARu 1- PRu [1]
Cer l= STU I=
Clu 1- U ie
EU 1a C On ee
IO 1- Caru 1-
LAuc ii

Pa et
Periodicals Appendix I

THE GENDAI GUITAR. (2-12-4 Ikebukuro, Toshima-Ku, Tokyo, Japan).

T1967) =

DIE GITARRE. Monatsschrift zur pflege des Gitarre- und Lauten-

spiels und der Hausmusik. (Berlin, Germany). I (1919)-

NYp [1]-13

DIE GITARRE. Zeitschrift des Gitarren Collegiums Graz. Gitarren

Collegium Graz. (A-8010 Graz Bruckner Strasse 76, Austria).
I/1 (1978)-

We I/2 (July 1978) 1 issue only

GITARRE + LAUTE. (Verlag Gitarre + Laute Verlagsgesellschaft

mbH, Postfach 41 04 08, 5000 Koln 41). I (1979)-

NH ihe
NYp E/3 C1979) =

DER GITARREFREUND. First titled MITTEILUNG DES INTERNATIONALEN

GUITARRISTEN-VERBANDS. (Munich, Germany) I (1900)-

THE GIULIANIAD, OR GUITARIST'S MONTHLY MAGAZINE. (Sherwood

and Co., 23 Paternoster Row, London, England).

NYp TIL/i (1833)

GUITAR. The magazine for all guitarists. (Musical News Services

Ltd., 8 Horse and Dolfin Yard, Macclesfield Street, W1
London, England). I (1972)-

Bp a= NH 1-
IO [3\- We 2=

GUITAR AND LUTE. (Galliard Press Ltd., 1229 Waimanu Street,

Honolulu, Hawaii 96814). I (1977)-

NH Ue
NYp =

GUITAR AND MANDOLIN. (M.I. Holmes: Silver Springs, Maryland).

Continues Mandolin Notebook. II/2 (Mar 1980)-

218
Appendix I Periodicals
We Tt /2=

GUITAR ET MUSIQUE CHANSONS POESIE. (92 Rue de Richelieu, Paris

(2e), France).

GUITAR NEWS. International Classic Guitar Association. (Chelten-

ham, England). I (1951)-

BApi Soa
NH OV—AS

GUITAR PLAYER. (Eastman Publications, 843 The Alameda, San Jose,

Calit.). © (1967)-

AA [Sa Io i
BLu dic NYp i:
BO te U l=
Bp 1=- We cl =

GUITAR REVIEW. Society of the Classic Guitar. (409 East 50th

Street, New York, N.Y. 10011). I (1946)-

AA 8- LAuc Sam
BE 1, 4, 8- NYp 1-
BU 4, 8- PHE [1]-
CHH 8- SLug 18-
Cp [2|- U o—
EU [1-2]- We 1-10

GUITARIST. (Music Sales Ltd., 78 Newman Street, W1P 3LA London,

England). Continues B M G; Banjo, Mandolin, Guttar. I (1973)-

We Nee

LE GUITARISTE MAGAZINE. (Editions Folk International, 43, rue

Léon Frot, 75011 Paris, France). I (Nov 1980)-

NYp I-X

GUITARRA. Sociedad guitarristica de Cuba. (Havana, Cuba). I

(1940)-

NYp i
We = 3.

219
Periodicals Appendix I

GUITARRA MAGAZINE. Flamencos International Association. (A.

Sherry-Brener Enterprises, 3145 W. 63rd Street, Chicago,
Illinois 60629).

PHE 2-29
We [1]

LA GUITARRA. REVISTA MENSUAL. (Madrid, Spain).

NYp 9-28

HAWATIAN GUITARIST See MUSIC TODAY FOR GUITARISTS

JOURNAL OF GUITAR ACOUSTICS. (11,000 Seymour Road, Grass Lake,

Michigan 49240). I (Dec 1980)-

NYp I (Dec 1980)-

JOURNAL OF THE INTERNATIONAL VIOLIN, GUITAR MAKERS, AND MUSI-

CIANS ASSOCIATION. (William K. Reid, 403 W. Maple Street,
Jeffersonville, Indiana 47130).

THE LUTE SOCIETY OF AMERICA. JOURNAL. (128 Norwood Avenue, Upper

Montclair, New Jersey 07043). I (1968)-

AA l= NH =
AUS i NYp Bae
CA l= RI 5
CARu ile Re
Clip l= PHu i=
CIu i— PRu os
ig i= SLug t=
10 i= Su i
LAusc jee U i
Ge
LEX l= WE i
M 1l- Catu 1l-

THE LUTE SOCIETY OF AMERICA. NEWSLETTER. (Los Angeles, Calif.).

BLu 1977- NO 1966-

CARu [1968]- PROu 1979-
LA current issues TE 1979-
MOSu 1979- WE 1S75—
Appendix I Periodicals
LUTE SOCIETY JOURNAL. Lute Society. (London, England). I (1959)-

BE i LEX Z—
BLu NH T=
BO a= PRu 4-
CA ie Pu Se
CARu Lae RI i
COu 2 STu 2=
Cn 2 U 2-
Cu 2 We 2-
Dp 2 Wsi Oe
IO Dies C Vu 10=

LUTE SOCIETY NEWSLETTER. (Dublin, Ireland).

CA 2
We 1962-

MANDOLIN NOTEBOOK. (M.I. Holmes, 12704 Barbara Road, Silver

Springs, Maryland 20906). Continued by Guttar and Mando-
lin. I (May-June 1977) -

We ile

MUSIC TODAY FOR GUITARISTS. Titles vary: HAWAIIAN GUITARIST

(1933-Jan 1935), GUITARIST (1935-Sept/Oct 1942), MUSIC
TODAY. (Cleveland, Ohio). I (1933)- Holdings for 1944-
are not recorded in the US.

GLa 19— Tp C2 0)—

MOSu [20]= We i=
NYp 20- C Hp 1942-45;
Poe 13= [1946], 1949
C Tp B=eaa 10-27

MUSIK IM HAUS. ZEITSCHRIFT FUR DIE GITARRE. (Vienna, Austria)

LVGhO2)=

NYp [[5-6] These issues are now lost.

OESTERREICHISCHE GITARRE-ZEITSCHRIFT. (Musikverlag Haslinger,

Vienna, Austria). I (1926)-

We D/L (L926)i=

i)ie)
Periodicals Appendix I

[lh -Plettroac(Milan Sltaly).; L..(1904)—

SOUNDBOARD. (Guitar Foundation of America, 6538 Reefton Avenue,

Cypress, Calif. .90630). I6(1974)=

NH T/ ls
We V/1-VI/2

S.S. STEWART'S BANJO, GUITAR AND MANDOLIN JOURNAL. (Philadelphia,

Pa.). I (1884)-

NYp XVI (1899)-XIX (1902)

DIE ZUPFMUSIK. (Quartalsschrift des Bundes Deutscher des Bundes

Deutscher Zupfmusiker e. V., Memmingerstrasse 26, 7411 Reut-—
ingen 1, West Germany).

NYp XVII/1 (Mar 1964), XVII/4 (Dec 1964) only

to i) i)
 Appendix IT.

Music for Guitar and Vihuela

Printed Before 1800 and Modern Editions
The sources in the appendix are organized first in alpha-

betical order by composer and then in chronological order. The ap-

pendix consists primarily of works for solo guitar and vihuela printed

between 1535 and 1800. Method books and ensemble music are also in-

cluded. Songs with guitar accompaniment

have been listed only if they

contain tablature. These were included because of their importance

in the study of tablature types. No arrangements of music originally

composed for another instrument are listed. Numerous listings of

songs with guitar accompaniment and arrangements for guitar are found

in RISM A/I. The majority of works are for five-course (double-

stringed) guitar. Music known to be composed for guitar other than

of five courses is specified in the comments.

Some publications which are not specifically for guitar or

vihuela have been included. On the title pages of the publications

of Antonio de Cabecon, Thomas de Sancta Maria, and Luys Venegas de

Henestrosa, the vihuela is cited. These works, however, were written

primarily for keyboard, and much of the music is not suitable for

performance on vihuela. Also included in the appendix is some music

for English guitar, a type of cittern in use in eighteenth-century

England. On many of the title pages of publications, Ghestnseru=

ment was identified as a guitar with no distinction made between it

and the true-form guitar. Because of the resulting confusion,

Appendix II

several works for English guitar have been listed in this appendix;

the instrumentation is clarified in the comments. Three publications

it y
for lute by Pierre Phalése (Phal/1546° 9erhal/1546~, Phal/1568) con-

tain music by Luis de Narvaez which was originally written for

vihuela. These works are listed in the appendix with cross-

references to Narvaez.

Below is a list of reference works used in locating the material

for the appendix:

Brown: Brown, Howard Mayer. Instrwnental mustc

printed before 1600: a btbltography.
(Cambridge, Mass.: Harvard University
Press, 1965).

Coser Cox, Paul. "The evolution of playing techniques

of the six-stringed classic guitar as seen through
teaching method books from ca. 1780-1850".
PhD diss.
Musicology: Indiana University, 1978.
UMI 7909683.

Danner: Danner, Peter. 'Bibliografia delle principali

intavolature per chitarra'" [Bibliography of
the principal tablatures for guitar]. Fronimo
VII/29 (Oct 1979) 7-18.

Danner "Usdate=~..": Danner, Peter. ''An update to the bibliography

of guitar tablatures, 1546-1764". JLuteSocAmer
VI (197 3).,33-36.. Titts: is.an:. update of the
original bibliography published in JLuteSocAmer
V (1972) 40-51.

Eitner: Eitner, Robert. Btographtsch-Bibltographisches

Quellen-Lexitkon der Mustker und Mustkgelehrten
christltcher Zeittreechnung bts Mitte des
neunzehnten Jahrhunderts. (Graz, Austria:
Akademische Druck-U. Verlagsanstalt, 1959).

Peres: Fétis, Frangois J. Btographie uwniverselle des

mustetens et btbltographte generale de la
mustque. 2nd ed. (Bruxelles: Culture et
Civilisation, 1963).

to toaN
 Appendix II

Kirkendale: Kirkendale, Warren. L'arta di ftorenza td

est tl Ballo del Gran Duca. (Firenze: Leo
omolsenid,. O72.)

RISM A/T: Répertotre tnternattonal des sources musicals.

(Internattonal tnventory of musical sources).
Einzeldrucke vor 1800. 9v. Ed. by Karlheinz
Schlager. (Kassel: Bdrenreiter-Verlag, 1971-
81).

AISM BI: Répertotre tnternattonal des sources musicals.

(Internattonal inventory of muste sources).
Recuetls tmprimés XVIe-XVIle stécles. Ouvrage
publié sous la direction de Francois Lesure.
(Miinchen-Duisburg: G. Henle Verlag, 1960).

Pn e211 Répertotre internattonal des sources mustcals.

(Internattonal tnventory of mustcal sources).
Recuetls tmprimés XVIII[e stécles. Ouvrage
publié sous la direction de Francois Lesure.
(Miinchen-Duisburg: G. Henle Verlag, 1964).

hileMee Vis Répertotre tinternattonal des sources mustcals.

(Internattonal inventory of mustcal sources).
Eertts imprimés concernant la mustque.
Ouvrage publié sous la direction de Francois
Lesure. 2 v. (Miinchen: G. Henle Verlag,
iGWETS

Wolf: Wolf, Johannes. Handbuch der Notattonskunde.

ii. Tertl. Tonsehroften der Neuzert.
Tabulaturen, Partitur, Generalbass und
Reformversuche. (Leipzig: Breitkopf und Hartel,
1913-1919). Reprint ed. (Hildesheim: Georg
Olms Verlagsbuchhandlung, 1963).

Titles and library locations were gathered mainly from AISM,

All sources printed before 1600 are listed as well in Brown in which

additional information and a complete list of the contents of ex-

tant sources is given. Articles by Peter Danner deal specifically

Wit guitar, tablature. Paul Cox lists only methods, and Warren

Kirkendale presents a study of the Aria di fiorenza. Because Wolf and

Eitner were published in the early part of the century, their accuracy

BLUM
Appendix II

is questionable. RISM has partially superseded them, and many

libraries have since changed location or have been lost. Revisions

of locations have been made according to Stephen A. Willier's "The

present state of libraries listed in Robert Eitner's Btographtsch-

btbltographisches Quellen-Lextkon", Fontes Artts Mustcae XXVIII/3

(July-Aug 1981) 220-29.

Manuscripts of guitar music are not included in this appendix.

Lists of manuscripts are found in Danner, Danner "Update .. .",

Kirkendale, Tyler (entry 3 of the bibliography), Httner and Wolf.

An additional text, devoted entirely to manuscripts of music for

suitar, vihuela, and lute, is entitled RISM B VIZ; handserrfitenh

uberlieferte Lauten- und Gitarren-tabulaturen des 15. bis 18.

Jahrhunderts (Miinchen: G. Henle Verlag, 1978).

For information about the libraries designated in the appen-

dix, Rita Benton's Directory of muste research libraries, tncluding

contrtbutors to the International Inventory of Mustcal Sources

(RISM) is most useful. It gives detail on library collections,

including address, telephone number, services, publications,

catalogue system, hours, and type and size of holdings. This work is

published in four volumes: Part I: Canada and the United States (lowa

City: The University of Iowa, 1967), Part II: Thirteen European

Countries (lowa City: The University of Iowa, 1970), Part III:

Spain, France, Italy, Portugal (lowa City: The University of Iowa,

1972), Part IV: Australia, Israel, Japan, New Zealand (Kassel:

Bdrenreiter-Verlag, 1979).

226
 Appendix II

USING THE APPENDIX

Three types of editions are listed in the appendix: original

editions, subsequent early editions, modern editions. The entry

identifier, placed in the left-hand margin, consists of a four-

letter author abbreviation and the date of the work. Brackets

around a date indicate that the date was ascertained from a source

other than the work itself. Superscript numbers are assigned when

two or more works appear in the same year. ND (no date) is given

in place of a date for undated works. The letters ca before a

date indicate circa (approximate dating).

Ortgtnal Edition

The complete title of the work is quoted in this entry;

this is particularly useful for identifying the contents of a work

and for distinguishing between editions. Library locations are

listed below the title and are preceded by the italicized title

abbreviation of the locator where they were found. Bold type

igecates the country Location and is tollowed by: the: libraries in

Phat country.

Example:

Colo/1627 Intavolatura di ehitara spagnuola del primo,

secondo, terzo et quarto i1bro . . . (Milano:
erede di Giovanni Battista Colonna).
RISM A/I: I Nn.
Appendix II

Subsequent Early Edittons

Subsequent early editions are listed after the original

edition. When both modern editions and subsequent early editions

follow the original edition, the moderm editions are listed first.

The complete title of the work can be found only in the entry for

the original edition. The entry identifier for the original edition

is given after the equal sign. Any differences between the original

edition and the subsequent early edition are then noted.

Example:

Goilo/ 1637 = Colo/1627 s 2 « Nuovamente rietanpata.

(Milano: Dionisio Gariboldi).
RiSM A 7: GB, Tion.. 1 Be,

Modern Editions

All known modern editions are cited immediately after

the source. Only complete works editions or almost complete works

editions are included. Sheet music of single pieces, anthologies con-

taining selections, and small booklets of tablature or of transcrip-

tions are not listed. In the entry identifier, an ME appears

betore the publication date to indicate Modern Edition. The entry

identifier of the source is given after the equal sign. The modern

publisher's abbreviation is then given. The list of abbreviations

for modern publishers its on p. xility.

Examp le:

Colo /ME16 37 = Colo/1637 FORNI (1971).

 (Abba/1627-Abre/1799)
ABBATESSA [BADESSA], Giovanni Battista

Abba/1627 Corona dt vaght ftort overo nuova intavolatura

dt ehttarra alla spagnola...coretta & dt nova
agtunta accrescutta. (Venezia: stampa del Gar-
dano, appresso Bartholomeo Magni).
RISM A/T: GB Lbm.

Abba/1635 Cespuglto dt varti ftort. Overo tntavolatura dt

ehttarra spagnola...et tl modo d'accordare, con
aleune canzonette da cantarst & una, due, e tre
voet sopra tl eimbalo hd altrt tstromenti, con
L'alfabeto del[lla chitarra spagnola. (Orvieto:
Giovanni Battista Robletti).
BESM A/T: GB-Lbm.

Abba/1637 Abba/1635 (Firenze: Zanobi Pignoni).

AISM ASL: Fo Pthibault, I :Be;

Abba/1652 Intessttura di vartt ftiort, overo tntavolatura

dt chitara alla spagnola. (Roma-Lucca: Bernardino
PAerivg GlacintemPaci):
Pei oA,l. Ti Be.
Comments: According to Kirkendale, the name
“"Badessa'’ is written on the title page.

Abba/ND Ghtrlanda dt vartt ftort, overo tntavolatura dt

ghttarra spagnola, dove che da se stesso ctascuno
potra tmparare con grandtssima factlita, e bre-
vtta. (Milano: Lodovico Monza).
RESM A/a Bo Bre Gb bm. aS? R.

ABREU, Antonio; PRIETO, P. F. Victor

Abre/1799 Escuela para tocar con perfecctén la guttarra de

cinco y sets ordenes, con reglas generales de
mano taequterda y derecha. Trata de las cantortas
y pasos dtficiles que se pueden ofrecer, con
método faetl de executarles con prontitud y lim-
pteza por una y otra mano. Compuesta por D. An-
tonto Abreu, bten conocido por el Portugués,
tlustrada y awnentada con vartos divertimtentos
honestos y uttles para los aftctonados a este
instrumento por el P.F. Victor Prieto... (Sala-
manca: Imprenta de la Calle del Prior).
RISM B VI: E Bd. US Wem.
BESMOA/i acevine
Comments: Music composed for five- and six-
course guitar.

229
(Alba/ND1-Amat/ [ca1750]) Appendix II
ALBANESE, Egidio Giuseppe Ignazio Antonio

Alba/Nb1+ Les amusements de Melpomene ou IV? recuetl d'airs

mélés d'accompagnement de vtolon, de guttarre et
des ptéces de guitarre...par Mrs. Albanese et
Cardon. (Paris: de La Chevardiére).
RISM A/T: F Pag Pe <a ex.9- US. Ca, We:

Alba/ND2 Alba/ND!...les accompagnements par M. Cardon.

(Paris: de La Chevardiére).
RICH A/T ko ves

ALBERTI, Francesco

Albe/1786 Nouvelle méthode de guttarre dans laquelle on y

trouve différentes vartattons, une sonate, 12
menuets et 6 artettes. (Paris: Camand).
RISM A/T: F Pn.

AMAT, Juan Carlos [Joan Carles y][{Ivan Carlos]

Amat/ [1586] Guitarra Espanola, Y Vandola en dos maneras de

Guitarra, Castellana, y Cathalana de cinco Or-
denes, la qual ensena de templar, y taner ras-
gado, todos los puntos naturales, y b, mollados,
con estilo maravilloso. Y para poner en ella
qualquter tono, se pone una tabla, con la qual
podra qualquter stn dtftcultad ctfrar el tono,
y despues taner, y cantarle por doze modos. Y se
haze meneton tambten de la Guttarra de quatro
ordenes. (Barcelona).
Brown: Now lost.
Comments: Wolf erroneously attributes this work
to Fr. Leonardo de San Martino. As Brown ex-
plains, Fray Leonardo de San Martin is the
author of a letter to Amat in which this edi-
tion is mentioned. The letter was published in
Amat's 1639 edition. Music composed for five-
course guitar and vandola,

Amat /1639 Amat/[1586] (Gerona).

Dammer: E-Ma. GBoubl.. US Rs

Amat/1745 Amat/[1586] (Gerona: Gabriel Bro).

RISM B VI: NL DHgm.
Amat/[cal750] Amat/[1586] (Gerona: Antonio Oliva).
RISM B Vie E Bd. GB Lbn.

230
Appendix II (Amat/1758-Amon/ND2)
Amat /1758 i} Amat/[1586] (Valencia: Agustin Laborda).
RISM B VI: E Mn.

Amat /ND Amat/[1586] (Valencia: la viuda de Agustin

Eaboraa) .
RISM B VI: E Bd, Mn. US R.
Amat /ME[cal761] ?Amat/ND BARENREITER (1980).

Amat/[cal765] I Amat/[1586] (Gerona: Joseph Bro).

GicM baie *) Bee bebameeMns (oe ex..)s ¢ Pe. 1 Me.
US Cn, NH, NYcu, NYp.

Amat /1596 Guttarra espanola de cinco érdenes, la qual

ensena de templar y tamer rasgado, todos los
puntos naturales y b mollados, con estilo mara-
vtlloso, y para poner en ella qualquter tono,
se pone una tabla, con la qual podra qualquter
sin dificultad ctfrar el tono, y después tanner
y ecantarle por doze modos. Y agora amadtda por
el mtsmo autor. Ya la fin se haze menet6n tam-
bten de la guttarra de quatro Oérdenes...Autor
del estilo, Ivan Carlos, doctor en medicina...
(Lerida: viuda Anglada y Andrés Lorenco).
Comments: The privileges and dedication of the
1626 edition are dated 1596. No extant source
is known.

Amat /1626 Amat /1596

Danner: US Cn.
Comments: Ettner cites a 1626 edition as
listed in Fétts.,

Amat /1627 Amat/1596

RISM B VI: E Mn.

Amat /ME1627 Amat/1627 TECLA

AMON, Johann Andreas

Amon/ND1 Divertissement [C] pour la guttarre, vioton,

alto ou second vtoton et vtoloncelle...oeuvre 16.
(Offenbach: Johann André, No. 2466).
RISM A/I: D-brd F, OB.
Amon/ND2 IV Walzes, deux eccossatses et une marche pour le
ptanoforté et guttarre. (Bonn: Nikolaus Simrock,
No. 946).
RISM A/T: A Wem.

231
(Amon/ND3-Asun/[cal765]) Appendix II
Amon/ND3 Sta walges [C, C, C, Cy Fs Cl a quatre mains
pour le pianoforté avec guttarre obligée...
oeuvre 52. (Offenbach: Johann André, No. 26/71).
RISM A/T: A Wem. D-brd HEms, LCH.

Amon/ND4 Trots sonates [G, C, D] pour ptano-forté, avec

guttarre ad ltbttum...oeuvre 69. (Offenbach:
Johann André, No. 3638).
RISM A/T: A Wem. D-brd BNba (pf).

ARAGONA, Paolo d@’

Arag/1616 Amorose querele, canzonette a tre voct, segnate

con le lettere dell'alfabeto per la chitarra
alla spagnolo, sopra la parte del basso, e canto
...parte seconda. (Napoli: Lucretio Nucci).
RISM Aff: I Be.

ARANIES, Juan

Aran/1624 Itbro segundo de tonos y vtllanctcos a una dos

tres y quatro voces, con la atfra de la guitarra
espanola a la usanza romana. (Roma: Giovanni
Battista Robletti).
RieM A/T: I Bex

ASIOLI, Francesco

Asio/1674 Primt scherzt de chttarra. (Bologna: Giacomo

Monti).
RISM A/T: 1 Moe.

Asio/ME1674 Asto/1G74°5.P 8.5.

Asio/1676 Coneertt armonict per la chitarra spagnuola...

opera tergza. (Bologna: Giacomo Monti).
RISM A/I: F Pe.

ASUNI, Ghillini di

Asun/[cal765] The Lady's amusement, being an entire new collec-

tion of favourite French and Italian songs, airs,
minuets & marches, none ever before publtsh'd,
eompos'd and adapted for the guitar by sr. Ghil-
lint dt Asunt. (London: P. Welcker).
RISM B fT:~GB Lbm.
Comments: Contains works by Ghillini di Asuni,
Traetta, Anon.
2o2
Appendix II (Asun/[cal1785]-Bal1/1780)
Asun/[cal785] A select collection for one, two and three gut-
tars of stx favortte English...Frencn...Italtan
songs and six easy lessons or solos...comptled
and composed by Sig. Ghillint di Asunt. Op. 19.
(London: Longman and Broderip).
RISM B II: GB Gu, Lbm, Ob.
Comments: Contains works by Ghillini di Asuni,
Paisiello.

AUBERT, Pierre Francois Olivier

Aube/ND Trots duettt pour deux guttares, op. 34. (Paris:

auteur).
RISM A/T: D-brd Mbs.

BAILLEUX, Antoine

RATA) Tes Méthode de gutttarre par mustque et tablature,

avee dtfférens exerctces sur le ptncer de cet
tnstrument dans lesquels se trouvent les Foltes
d'Espagne. Suivts d'une suttte d'atirs et menuets
ajustés pour un vtolon et une gutttarre et d'une
autre suttte d'atrs a chanter avec accompagnement
de guitttarre...Par Mr. B.D.C....Mts au jour par
Mr, Batlleux. (Paris:1'éditeur).
Risse Vis Fr Pe:

BaiA/ME[1773] = BaiA/[1773] MINKOFF (1972).

BAILLON, Pierre-Joseph

BaiP/1781 Nouvelle méthode de guitarre selon le sistéme des

meilleurs auteurs, contenant les moyens les plus
elatrs et les plus atsés pour aprendre a accom-
pagner une votx et parvenir a jouer tout ce qut
est propre & cet instrunent...par P.J. Batlion.
(Paris: l'*auteur).
RSI ETE SRE Bea aelr

BaiP/ME1781 = BaiP/1781 MINKOFF (1977).

BALLESTEROS, Antonio

Ball1/1780 Obra para guitarra de sets ordenes.

Comments: No sources are known. Contains music
for six-course guitar.

233
(Banf/1653-Bert/1624) Appendix II

BANFI, Giulio

Banf/1553 Il maestro della echitara dt Giulto Banft nobtle

Milanese academtco perseverante all'alteaza Ser
ma dt Ferdinando tl granduca dt Toscana, (Milano).
Danner: 1 Ma (inc. ).

BARBERIS, Melchioro de

Barb/1549 Opera intttolata contina Intabolatura dt lauto dt

fantaste, motettt, canzoni, discordate e varit
modt, fantaste per sonar uno solo con uno lauto,
et farst tenore et soprano: madrigalt per sonar a
dui lautt: fantaste per sonar a dut lautt: fanta-
ste per sonar sopra la chitara da sette corde.
Composta per il reverendo M. Pre Melchtoro de
Barberis padoano, mustco, et sonator dt lauto
eccellenttsstmo. Libro dectmo. (Venezia:
GeeScotto).
RISM B I: A Wn. DW.
Comments: Contains works by J. Mouton,
Passereau, and eight anonymous compositions.
Music composed for four-course guitar and
for lute.

BARTOLOMEO, de Selma e Salaverde

BarS/1638 Primo libro, canzont fantaste et correntt da

suonar ad una 2. 3. 4. con basso continuo.
(Venezia: Bartholomeo Magni).
RISM A/T: PL WRu (lacks be, 2. Ste) defy).

BARTOLOTTI, Angiolo Michele

BarA/1640 [Ltbro p®. dt chttarra spagnola. (Firenze: S.N.).

RESM A/T? F Pthibaulty GBYLbme I Be.

BarA/ND Secondo ltbro dt chttarra. (Roma: S.N.).

RISM A/I: GB Lbm. I Ne.

BERTI, Giovanni Pietro

Bert/1624 Cantade et arte ad una voce sola con aleune a

dot commode da cantarst nel clavicembalo, chitar-
rone & altro stmtle stromento, con le lettere
dell'alfabeto per la chitarra spagnola (libro
primo). (Venezia: Alessandro Vincenti).
RISM A/T: D-brd Hs. I Be.
234
Appendix II (Bert/1627-Bran/ND)
Bert /1627 Cantade et arte ad una voce sola commode da can-
tarst nel clavicembalo, chttarrone, & altro
simile stromento, con le lettere dell'alfabetto
per la ehttarra spagnola, ltbro secondo...racolte
da Alessandro Vineentt. (Venezia: Alessandro
Vincenti).
RISM A/f> GB Lbm. 1 Be.

Bert/1634 = Vinc/1634
Comments: Contains two works by Berti.

BOECKLIN, Franz Friedrich Siegmund August von

Boec/ND Amusement pour le beau monde, sur le vtolon avec

deux guttarres et violoncell de la composttton de
Ms. le conseitller tntitme, op. 35. (Braunschweig:
magasin de musique).
RESM: A7-fs 1 -S¥m.

BOTTAZZARI, Giovanni

Bott/1663 Sonate nuove per la chttarra spagnola. (Venezia:

Sensi.
BISMEAT: 1 (Bes

Bott/ME1663 Bott/ 2663 S.P.E.S.

BOULERON

Boul/ [cal770] Trios pour la guttarre ou recuetl de morceaux

chotsts mis en trio pour une guitarre, un vtolon
et un alto. Par Mr. Bouleron...mis au jour par
Mr, Parison... (Paris: aux adresses ordinaires
de musique; Versailles: Parison).
RIiSM OB tise Pe Pac ec.
Comments: Contains works by Grétry, Monsigny,
Philidor.

BRAND, Aloys Carl

Bran/ND VI Walses pour la guttarre seule. (Mainz: Bern-

hard) Schott, No., 517).
RISM A/I: D-brd Mmb.
 (Bray/1553-Busa/ 1644) Appendix II

BRAYSSING, Gregor

Bray /1553 Quart livre de tabulature de guttarre contenant

plusteurs fantastes, pseaulmes, et chansons:
avee L'Alouette, & la Guerre. (Paris: Adrian
Le Roy & Robert Ballard).
RISM A/E: F Pms GB? Uba.
Comments: Music composed for four-course
guitar.

BREMNER, Robert

Brem/1758 Instructtons for the guttar; with a collectton

of atrs, songs and duets, fitted for that tn-
strument. (Edinburgh: [Robert Bremner]).
fio A/l: EVREGDi GB UChp. VE Gi.) cu.
Comments: Tyler (entry 3, p. 109) indicates
that this work contains music for English
guitar, a type of citterna:

Brem/ND Brem/1758 (London: author)

RISM A/f: GB Du, Em, Gm,

BRICENO, Luis de

Bric/1626 Metodo mut faciltssimo para aprender a tafier la

guitarra a lo espafiol, compuesto por Luts
Brigefio...en el qual se hallaran cosas curtosas
e fe

itetones diferentes, un metodo para templar,

otro para conocer los aquerdos, todo por una
horden agradable y fagiitssima. (Paris: Pierre
Baliard)%
his Bovis FF Pay

Bric/ME1626 Bric/1626 MINKOFF (1972).

BUSATTI, Cherubino

Busa/1640 Compago ececlestasttcorum motectorum untus vocts

modulattone confecta...opus terttum. (Venezia:
Bartolomeo Magni).
REGU A/ TS Be, ORL WRU

Busa/1644 Settimo ltbro d'artette a voce sola [accompagna-

mento per la ehttarra alla spagnola]. (Venezia:
Alessandro Vincenti).
RISM A/T: PL WRu.

236
Appendix II (Busa/1688-Calv/1644)
Busa/1688 Arte a voce sola commode da cantarst nel elavt-
cembalo, chitarone & altro simile stromento, con
le lettere dell'alfabetto per la chitarra spag-
nola. (Venezia: Alessandro Vincenti).
fboM A/ie I Rec.

CABECON, Antonio de

Cabe/1578 Obras de mi[st]ea para tecla, arpa [y] vthuela,

de Antonto de Cabegon...recoptladas y puestas en
etfra por Hernando de Cabegon su hijo. (Madrid:
Francisco Sanchez).
RISM A/T: B Br. D-brd W. D-ddr Bds. E E, Mn.
F Penipault. GB, Lbm 4Ginc.).. we. US We:

Cabe/M21578 = Cabe/1578 InstEspMusic

CALEGARI, Francesco

Cale/Nnp1 Dodtct walzer progresstvt per chttarra sola.

(Leipzig: Friedrich Hofmeister, No. 283).
RISM A/T: D-brd Tu.

Cale/ND? Rondo per chttarra sola...op. 3. (Leipzig:

Friedrich Hofmeister, No. 287).
RISM A/T: D-brd Tu.

Cale/ND? Tre tema con vartaztont per chttarra sola...

opera 7%, (Leipzig: Friedrich Hofmeister, No.
SISO)
RISM A/T: D-brd Mmb.

Cale/ND4 Sechs Leettonen fir die Guitarre tn den gewvhn-

Ltchsten Posttionen um dte letchteste Appltcatur
su. erlernen...Op: Ji., (Leipzig:-*riedrich Hof—
meister, No. 380).
RISM A/I: D-brd Mmb.

Cale/ND° Six thémes avec variations pour la guttarre...

oeuv. 12. (Leipzig: Friedrich Hofmeister, No.
A25)i6
RISM A/I: D-brd Mmb.

CALVI, Carlo

Calv/1644 Intavolatura di chitarra e chitarrtglta.

(Bologna).
Danner: I Bc.

ok
(Calv/1646-Camp/ 1730) Appendix II

Calv/1646 Calv/1644 Intavolatura di Chttarra, e Chttarrig-

lia, con le ptu necessarte, e factle suonate a
cht sti diletta di tal Professtone. Havute da duo
eccellentt Professort... (Bologna: Giac. Monti).
Part 2
Eitner: GB Lbm.
Wolf and Danner: I Bc.

Calv/ME1646 Calvi loa Ss.P soe

CAMARELLA, Giovanni Battista

Cama/ [1633] Madrigalt et Artie dt...Academico Fileleutero

detto lL'Affretato, & perfetto dt detta Academia.
Op. 1. (Ven: Appresso Al. Vincenti).
Wolf: D-brd Bds.
Comments: Contains a section of music for
guitar. Date MDXXXIII [1553], cited on title
page, is probably incorrect. 1633 is substituted.

CAMPION, Francois

Camp/1705 Nouvelles découvertes sur la guttarre contenantes

plusteurs sutttes de ptéces sur hutt mantéres
différentes d'accorder, (Paris: Michel Brunet).
RISM A/T: F Pe, Pn Clacks title page).

Camp /ME1705 Camp/1705 MINKOFF (1977).

Camp/1716 Tratté d'accompagnement et de composttion, selon

la régle des octaves de mustque. Ouvrage générale-
ment uttle pour la transposttton, a ceux quit se
mesltent du chant et des tnstrumens d'accord, ou
d'une partte seule, et pour apprendre a chtffrer
la basse continue, par le steur Campion... Oeuvre
second. (Paris: veuve G. Adam).
RISM B VI: F Pn. NL DHgm (inc.). S Skma.

Camp/ME1716 Camp/1716 MINKOFF (1977).

Camp/cal717 Camp/1716 (Amsterdam: Estienne Roger),

His B VIS CH SEK. GB Lbm. fF Bc}

Camp/1730 Addttton au tratté d'accompagnement et de compo-

sttion par le régle de l'octave; on est compris
parttcultérement le secret de l'accompagnement du
théorbe, de la guitare et du luth avee la maniére
de transposer tnstrumentalement, et de solfier
faetlement la mustque vocale sans l'usage de la
game. Par le steur Campton...Oeuvre IV. (Paris:
oes
Appendix II (Camp/ME1730-Cart/ND)
veuve Ribou).
RISM B VI: B Br. F Pn. GB Ge. NL DHgm. S Skma.

Camp /ME1730 Camp/1730 MINKOFF (1977).

Camp/1734 Second recuetl d'atrs...oeuvre V. (Paris: auteur,
Vve Boivin, Le Clerc, gravé par Mlle Noel).
RISM A/T: F AG, Pc, Pn.

CANOBBIO, Carlo

Cano/ND Stx sonates [C, D, C, G, a, d-D] pour la guitarre

accompagnées d'un vtolon (avec sourdtne)...oeuv ITI.
(St. Petersburg: auteur, Gerstenberg & Dittmar,
Now 2 2)
RISM A/I: D-ddr SWI, WRtl.

CARBONCHI, Antonio

Carb/1640 Sonate dt chitarra spagnola con tntavolatura

franzese. (Firenze: Amadore Massi & Lorenzo Landi).
RioMwAsg seo Mn. le Pi (2 ex).

Carb/ME1640 Carb/1640 S.P.E.S.

Carb/1643 Le dodict chttarre spostate tnventate...ltbro

secondo dt chitarra spagnola, con due alfabett,
uno alla franzese et uno alla spagnola. (Firenze:
Francesco Sabatini).
RISM A/T: D-brd W. I Fc, Fn, Rsc.

Carb/ME1643 Carb/1643 S.P.E.S.

CARRE, Antoine

Carr/ 1671 Livre de guitarre contenant plusteurs ptéces...

avee la maniere de toucher sur la partite ou basse-
continue. (Paris: s.n.).
Riad [oe i Pi.

Carr/ME1671 Carr/1671 MINKOFF (1977).

CARTER, Charles Thomas

Cart/ND La tumtere [la plus pure]. A favourite French
song with vartations for the harpstchord or ptano
forte, also for the violin, german flute or gut-
tarr. (London: Charles & Samuel Thompson).
239
(Cast/ND!-Cima/ND) Appendix II
RISM A/T: GB Cke,, Lbm.

CASTRO

Cast/ND1 Journal de musique étrangére, pour la guitare ou

lyre, rédtgé par Castro, chaque numéro de ce
journal sera composé de trots morceaux, dont un
de chant espagnol, un de chant ttalten et un
pour L'tnstrument (Heft 1-12). (Paris: auteur
gravé par Michot).
RISM A/T: D-brd Mbs.
Comments: Music composed for five-course guitar
and lyre.

Cast /ND2 Deux atrs vartées pour la guitarre...oeuvre 7.

(Paris: auteur, gravé par Michot).
RISM A/I: D-brd LCH.

Cast/ND? Boléros pour la guitare ou lyre...oeuvre XIII.

(Paris: auteur, gravé par Michot).
RISM A/T: D-brd HVs.
Comments: Music composed for five-course guitar
and lyre.

CHABRAN, Francesco

Chab/[cal795] Compleat instructtons for the Spantsh guitar...

to whteh ts added a collection of favorite
songs... (London: Culliford, Rolfe & Barron).
RISM B VI: GB Lbm, Ob.

CHERBOURG,
Mlle

Cher/ND Premter recuetl de chansons avec accompagnement

de guitarre et stx menuets en duo pour deux
guttarres. (Paris: Bailleux).
RISM AL: FoOPn.

CIMAROSA, Domenico

Cima/ND IV Duetts [G, D, G, D] fiir gwet Guttarren [und

Stngst.]. (Braunschweig: Musikalienverlag in der
Neuenstrasse, No. 85).
RISM A/I: CS Pnm. D-brd ASm, Mbs.

240
Appendix II (Col0/1620!-Corb/1643)
COLONNA, Giovanni Ambrosio

Colo/16201 Intavolatura di chitarra alla spagnuola, dove st

contengono passacallt, follte, & altre arie alla
spagnuola, pass'emezt, gagltarde, corrente, &
arte diverse all'ttaltana, con facilita passeg-
gtate, & concertate per sonare a due, & tre chi-
tarre, con una sonata tn fine tn ecco detta la
Beolea. (Milano: erede di Giovanni Battista
Colonna).
RISM A/T: GB Lbm. I Bec (lacks title page).

Colo/16202 Il secondo ltbro d'tntavolatura dt chitarra alla

spagnuola. (Milano: erede di Giovanni Battista
Colonna).
RISM A/T: I Ma.

Colo/1623 Il terzo libro de intavolature di chitarra alla

spagnuola, dove st conttene in parttcolare, dt-
verst passacallt straordinarij, chtacone, zara-
bande, e correntt alla francese. (Milano: erede
di Giovanni Battista Colonna).
RIiSM -A/T© 1 Be.

Colo/1627 Intavolatura dt ehttara spagnuola del primo,

secondo, terzo et quarto ltbro...con una sctelta
dt canzonette a voce sola de ptu tllustri mustet
dt Roma. (Milano: erede di Giovanni Battista
Colonna).
RISM A/T Io Nn;

Colo/1637 Colo/1627...nuovamente ristampata. (Milano:

Dionisio Garibotd)).
RLSM A/L<. GB>Ubm. “I Be.

Colo/ME1637 Colo/1637 FORNI (1971).

CORBETTA, Francesco

See Pinnell 342 and 344 for lists of concordances of alternate

sources of Corbetta's music. A transcription of his complete works
Ze, found in’ Pinnell 344.

Corb/1639 De glt scherzt armontet trovatt, e factlttatt in

aleune curtosissime suonate sopra la chttarra
spagnuola. (Bologna: Giacomo Monti & Carlo
Zenero).
RipM Ayin A Bose Nc.

Corb/1643 Varit caprtect per la ghitarra spagnuola.

RGekeeuSe ile),
241
(Corb/ME1643-Corb/1729) Appendix II

RISM A/I: GB Lbm.

Corb/ME1643 Corb/1643.S..P. Ea.

Corb /Nb+ Corb/1643 (Milano: Bianchi),

RISM A/T: I. Be.

Corb/1648 Vartt scherzt di sonate per la chitarra spagnuola

wan bORO! GUdrtos, Aiea
ls gee Diss)
RISM A/Is F Pu. GB Lpm.

Corb/1671 La guitarre royalle. (Paris: H. Bonneuil).

RISM A/T: E Mn. F Pc, Pn. GB Lbm, Ob. NL DHgm.

Corb/ME1671 Corb/1671 MINKOFF (1975).

Corb/1673 Corb/1671
Wolf and Eitner: F Pn.
Comments: Wolf and Eitner list a 1673 edition
in F Pn. This may be an incorrect dating of the
1674 edition which is listed in RISM A/I as
located dan, both Fo Pn. and JeBc.

Corb/1674 La guttarre royale. (Paris: H. Bonneuil).

RISM A/T: F Pn. I Be (the second guitar part of
the duets is missing).

Corb/ME1674 Corb/1674 FORNI (1971).

Corb/1677 Easte lessons on the Gutttar for young Practt-

ttoners; single, and some of two parts. By
Setgnor Franetsco. Printed for Jo. Carr in
Middle Temple lane.
Comments: No extant source is known. Pinnell
(entry 344, p. 254-55) lists this work as it
is cited in The Term Catalogues (26 Nov 1677)
and suggests that Corbetta is the author of
the work.

Corb /ND2 Guttarra espanola y sus dtferencias de sones.

Danner: No locations cited.
Comments: Danner suggests 1621-1665 as a pos-
sible date range and suggests that this is
Corbetta's third book. The composer's name
given on this volume is Corbera, Franciscus.
Appendix II (Cori/1670-Criv/
1628)
CORIANDOLI, Francesco

Cori/1670 Diverse sonate ricercate sopra la chitarra spag-

nuola...opera prima. (Bologna: Giacomo Monti).
PRISM sAs El FEC,

CORRADI, Flamminio

CorF/1616 Le Stravaganze d'amore...a una, due et tre voci

con la tntavolatura del chitarrone & della cht-
tarra alla spagnola & con tl basso continuo da
sonare nel clavtcembalo et altrt tstromentt
stmtlt. (Venezia: Giacomo Vincenti).
EEoMrAAG ah. Pe.

CorF/1618 = Corr/1616...novamente rtstampate et con diligenza

corette. (Venezia: Giacomo Vincenti).
RISM A/T: A Wem. I Me.

CORRETTE, Michel

CorM/ND Les Dons d'Apoltlon. Méthode pour apprendre

factlement a jouer de la guttarre...avec...
des jolts airs connus notés en partttton...
ltvre 1°, (Paris: Bayard de La Chevardiere,
Mlle Castagnery).
RISM A/T: GB Lbm.

COSTANZO, Fabrizio

Cost/1627 Ftor novello. Libro primo di concerti dt dtverse

sonate, sinfonte, e correntt da sonare con una,
con due, con tre, e con quattro chttarre alla
spagnuola, con l'alfabetto, et diechtarationt da
poterle accordare, e sonare. (Bologna: Nicolo
Tebaldini).
BEOMMALIGEL BCs

CRIVELLATI, Domenico

Criv/1628 Cantate diverse a una, due, e tre voct, con

L'tntavolature per la chitarra spagnola in quelle
pth appropostto. (Roma: Giovanni Battista Rob-
Lletta).
RISM A/I: GB Lbm.
(Dala/ND!-Delv/ND) Appendix II
DALAYRAC, Nicolas-Marie

Dala/NDt Air...pour la guittare. (Hamburg: J.A. Bohme).

RISM A/T: CH Bu. D-brd Lth.
Dala/ND@ Arie... flir Forte Ptano & Guttarre. (Hamburg-
Altona: Rud. Cranz).
RISM A/T? DK Kk.

Dala/ND? Cavatina...
fiir dte Guttarre oder Piano-Forte.
(Witent= J. Cappaylivie, 22317).
RISM A/T: D-brd Cl.

DAZA [DACA], Estevan

Daza/1576 Iibro de mustca en ctfras para vihuela, tntitu-

lado el Parnasso, enel qual se hallara toda dt-
verstdad de musica, asst motetes, sonetos, vtl-
Laneseas, en lengua castellana, y otras cosas,
como fantastas del autor, hecho por Estevan
Daca, veztno de la my tnstgne villa de Valla-
dotid... (Valladolid: D. Fernandez di Cordova).
RISM BT?) Mos.
Comments: Contains music by Basurto, S.
Boileau (6), Ceballos (3) 9-1. *Crecqailion (3).
F. Guerrero (3), P. Guerrefo;:J. Maillard,
Navarro’ (3))°P, Ofdonez= €2 )}e-dy. Richatore.
Villalar, Anon? GS);

Daza/ME15761+ = Daza/1576 BreitkopfHartel (1902, ed. by Conde

de Morphy).

Daza/ME15762 = Daza/1576 CEstHist (1923, ed. by E. Martinez

Torner).

Daza/ME15762 = Daza/1576 Entry 222 (1972, ed. by Ronald C.

Purcell).

Daza/ME15764 = Daza/1576 MINKOFF (1978),

DELVER, Friedrich

Delv/ND Drey Lteder flr Guitarre & Fldte. (Altona:

L. Rudolphus).
RISM A/I: D-brd B.
Appendix II (Dero/1688-Dois/ND°)

DEROSIER, Nicolas

Dero/1688 Douze ouvertures pour la guttare, op. &.

(la! Haye)”.
Wolf: No locations cited.

Dero/[cal1690 ] Les prinetpes de la guttare composez par Nicolas

Deroster ... (Amsterdam: Antoine Pointel).
holes VED Beal Be. NE DHgem.

Dero/ME1690 = Dero/[cal690] FORNI (1975).

Dero/1696 = Dero/[cal690]
Wolfs Bo Br. 1 Be:

Heron 699 = Dero/[cal690]

Wolpe bape | Bex

Dero/1699° Nouveaux prinetpes pour la guittare, avec une

table untverselle de tous les accords qui se
trouvent dans la basse-continue sur cet tnstru-
ment. Ce qut peut servitr ausst aux personnes
gut jouent du luth, du théorbe et de la basse
de vitole. Par monsieur Nicolas Derozter [sic],
(Paris: Christophe Ballard).
BrSMAB Vis Fo Pr.

DIBDIN, Charles

Dibd/ND ... a favortte rondo for the harpsichord,

vtolin, german flute and guitar. (London:
Longman & Broderip).
PicM Avie GB Guy Lbm. (ine). Ob.

DOISY-LINTANT, Charles

Dois/ND* Etudes ou caprices pour la guttare, fatsant

sutte aux prinetpes généraux. 2e partte.
(Paris: auteur).
RISM A/T: A Wn. D-brd Mmb.

pote/NDS Fandango pour une guttarre seule. (Wien: bureau

darcesetid industrie, No 134).
Riu Al kh Sea.

Dois/ND> Grand concerto composé pour la guitare, avec

aceompagnement de deux violons obliges, alto et

245
(Dois/ND4-Dois/ND!S3) Appendix II

votoloneelle. (Paris: auteur, No. 15):

PISM Avis CUS Pee (euitarre.

Dore (Np Prinetpes généraux de la guttare a cing et a

stx cordes et de la lyre ... premtére partte.
(Paris; Doisy).
RISM A/T: A Wn.
Comments: Music composed for five-string,
five- and six-course guitar, and lyre. Cox
dates this work 1802. See Dois/ND® for a
German edition.

Dois/ND? Dois/ND* (Doisy, No. 2).

RISM A/I: D-brd Bhm.

Dois/ND® Vollstindige Anwetsung fiir dte Gitarre, sowohl

fiir Anfdnger als solche welche schon etnige
Fortschrttte auf stesem Instrumente gemacht
haben. von Dotsy. (Leipzig: Breitkopf und Hartel).
Cos: GB bm -USaNYp-
Comments: A German edition of Doi ay NO

Dole /ND” Quatre sonates factles pour guttare seule.

(Paria auteuri
RISM A/T: CS.Pnm. .D-brd B.

Dois/ND™ Sonatine [Nr. 1: C]) pour-gurbare et vtoton.

(Wiens bureau diarts ét d'industrie, More 180)<
ALEM Avi: CSN. 1 Me.

Dois/ND? Trots duos pour guttarre & violon, composés par

Dotsy & Donneaud. (Amsterdam: A. Kuntze, au
magazin de musique, No. 20).
RISM A/T: D-brd B.

Dois/ND19 Trots duos, extrémement faetles pour guitarre et

vieLlon... liv: £. (Amsterdam: A, Kuntze, aa
magazin de musique, No. 21).
Rie Ae CS la Ceultarre) =

Dois/nptt Trots duos extrémement factles pour guttarre &

viotons ... Live ED. (Amsterdam: A. Kuntze, au
magazin de musique, No. 22).
RISM A/T: D-brd Mbs.

Dois/Nnp+2 Trots duos conecertans et faciles, composés pour

guchore: 6b vioion. > (Paris: Doisy, Nos 23):
RISM A/T: S Skma (cuitarre),

Dois/ND+3 Trots duos eonecertans composés pour guttare et

alto. (Paris: Doisy, grave par Dorsey. No. 35).
RISM A/T: D-brd Bhm.
246
Appendix II (Dois/ND14-Falc/16192)
Dois/ND+4 Trots duos factles pour deux guttarres ...
oeuvre 15. (Amsterdam: A. Kuntze, au magazin de
musique, No. 31).
RISM A/I: D-ddr Dib.

Dois/NnD+> Walses, rondequx, allemandes, airs vartés et

faetles, &, &c, composés et arrangés pour une
guttare seule, et pour les commengans. (Paris:
Doisy,; No. 34).
AioM A/t:-S Sima.

DOIZI DE VELASCO, Nicolao

Doiz/1640 Nuevo modo de etfra para tafier la guttarra con
vartedad, perfecctoén, y se muestra ser instru-
mento perfecto, y abundanttsstmo. (Napoli:
Egidio Longo).
io A/ Lise Mn:

Doiz/1645 = Doiz/1640
Danner: No locations cited.

EPPINGER, Heinrich

Eppi/Nbt Tero A\ per Violino; IGhULara, € ULOLG wa.

(Wien: Artaria & Co., No. 1564 [durch-scheinend
eine, abe: Pll} =No.” 203)
BISM A/T: A Wst.

Eppi/ND2 VI Vartattons sur le menuet de L'opéra Don Juan

pour un vtolon et une guttare. (Wien: Traeg,
Now LOG),
BlpM CAsfs YU. Zhe"

FALCONIERI, Andrea

Falc/1616 GPECOWOP ING AM OLULONEL LOC bmn hi On VOCL, “CON

L'alfabeto per la chitarra spagnola. (Roma:
Giovanni Battista Robletti).
mie Leo Po.) | Be Rse (sexys

Falc/16191 Mustche ... a una, due & tre voct, ltbro sexto,
con L'alfabbeto [!] della ehttarra spagnola.
(Venezia: stampa del Gardano, appresso, Barto-
lomeo Magni).
RECA Le 1 RSC:

Falc/16192 Libro quinto delle mustche a una, due e tre voct

eon L'alfabeto per la ehttarra spagnuola.
247
(Faso/1627-Ferr/1623) Appendix I]

(Firenze: Zanobio Pignoni).

Danner: | Fn. Rse:
Comments: RISM and Ettner cite a shorter title,
but give the publisher's name not identified in
Danner.

FASOLO, II (? pseud. MANELLI [MANNELLI], Francesco)

Faso; 1627 Misttcanza dt Vigna alla Bergamasea; 11 Canto

della barchetta, et altre cantate et artette
per voce et chttarra. (Rome: Robletti).
Wolfs I BDC, formerly OscariChileseter’s
I sUlyie ghee
Comments: According to Grove, "Manelli"” arti-
cle, il Fasolo is possibly a pseudonym for
Francesco Manelli and should not be confused
with Giovanni Battista Fasolo. Both Chile-
sotti (entry 269) and Danner attribute these
works to Giovanni Battista. Chilesotti dis-—
cusses this work and includes a transcription
of two compositions in, entry 269.

Faso/1628 Il carro dt Madana LIucta, e una serenata in ltn-

gua lombarda, che fa la gola, a carnevale; doppo;
un ballo dt tre zoppt; con una sguazzata dt cola-
sone, una morescha de schiavt a 3, et altre arte,
é @correntt francese, con le lettere per ta cht—
tarra spagnola. (Roma: Giovanni Battista Rob-
Lerten).
RLSM A7f: GB Lbm.
Comments: See Comments for Faso/1627.

FERANDIERE [FERRANDIERE], Fernando

Fera/1799 Arte de tocar la guttarra espafiola. (Madrid:

en la imprenta de Pantaleon Aznar).
RIS Asef > A Wem. -Ch Eee in.
Comments: Music composed for six-course guitar.

Fera/ME1799 Fera/1799 TECLA (1977).

FERRARI, G.
Ferr/1623 Ghiz/1623
Comments: Contains two works by G. Ferrari.
Appendix II (Fosc/ND!-Fuen/ME15544 )
FOSCARINI, Giovanni Paolo (Caliginoso detto il furioso)

Fosc/NDt Il primo, second, e terzo della ehttarra spag-

Hollow (eek).
RISM A/I: D-ddr Bds.
Comments; According to Hudson tN, ZI,
oie Pas the title pages of Fosc/ND~ and
Fosc/ND“ may have been exchanged; the index
of Fosc/ND~ cites works found only in Fosc/
ND

Fosc/ND@ PVQuaTrO Libr? della enttarra spagnola. (s.1.).

RISM A/S |\warkous editions| E Mn. F. Pn.
GBocn, Lim «Guth the tithe page of the first
edition). I Bc.
Comments: See Comments for Fosc/ND!,

Fosc/1629 Intavolatura dt ehttarra spagnola, itbro

Secondo. (Macerata: Giovanni Battista Bonono).
ALSM ALT SSE Pet
Ktrkendale: Photo in D-ddr Bds.

Fosc/16402 Et & ttbrt della chitarra alla spagnuotla.

(Roma: KS...)+
ne Ave > Ao Vang.

Fosc/ME1640- Sorosc/TGH0 Sob PSs (1979).

Fosc/16402 Inventtone dt toccate sopra la ehttarra spag-

MumoOvas “Roma t7 Sst.)
RiGM aA eT vt.

FUENLLANA, Miguel de

Fuen/1554 Libro de mustca para vthuela, intttulado Orphen-

tea Lyra. En el qual se conttenen muchas y dt-
versas obras. (Sevilla: Martin de Montesdoca).
TR Ayese WieWi. Wl cebu WU caw bles wise Be Mis
EF Pe, Pn. GB Lbm. US Cn, NYp-
Comments: Music composed for vihuela, four-
and five-course guitar.

Pie n/MET5 54— S¥rden/155) Breitkoprhartel (1902y ed. by Conde

de Morphy).

Rien MELS54° = Fuen/1554 CEstHist (1923, ed. by E. Martinez

Torner).

Fuen/ME1554> S uen/(1554) OXFORD (1978).

Fuen/MEI554¢ = Fuen/1554 MINKOFF
249
(Fuen/ [1564] -Ghiz/1623) Appendix II

Fuen/ [1564] Libro de mistea para Vihuela tntttulado Orphentea

Lira: en el qual se conttenen muchas y diversas
obras, comp. “° por Miguel de Fuenllana, dirigtdo
al mut alto y mut poderoso Sr. D. Pheltpe Prin-
etpe de Espana Ret de Inglaterra de Napoles, &c.
Con Privilegto Real. En Madrid por Francisco
Sanchez. Ano de 1564.
Broum: E Mn.
Commente: According to Brown, the authenticity
of this possible second edition is not proven.
The title above is a quotation of a manuscript
title page which had been added. The original
title page is missing.

GATAYES, Guillaume-Pierre-Antoine

Gata/[cal800] Nouvelle méthode ratsonnée de la gutttare ou

Lyre contenant des prinetpes conetsément explt-
qués, des atrs avec accompagnement pour les com-
mengans et terminée par des valces et autre mor-
eeaue Dar P, Garayes ... (Paris: Cochet
[cal800]).
Rich 8: Viz F Bo, Pa.

GAUDE,F.

Gaud/ND Sechs Walzer und Sechs Ececosatsen [!] fiir dte

Guttarre ... op. 10. (Hamburg: Johann August
Bohme).
ALS Axe? D=brdad Tu.

GHILLINI DI ASUNI

pee ASUNL.. Challiniwdi

GHIZZOLO, Giovanni

Ghiz/1623 Fruttt d'amore tn vaghe et vartate arte, da can-

tarst co'l chitarrone clavicimbalo, o altro stro-
mento, accomodatovt l'alfabetto con le lettere
per la ehttarra spagnola. Di Gtovannt Ghizgzotlo
maestro dt Capella della Veneranda Arca di S.
Antonto di Padova. Libro quinto. Et opera vige-
sima prima. Novanente composta, et data in luce.
(Venezia: A. Vincenti).
RPiSM Bia:
Comments: Contains works by G. Ferrari (2),
G. Ghizzole (59x
250
Appendix II (Giac/1618-GiuF/ND)

GIACCIO, Orazio

Giac/1618 Labertnto [!] amnoroso, canzonette a tre voct .

Ltbro terzo. (Napoli: Pietro Paolo Riccio;
Giovanni Battista Gargano & Matteo Nucci).
Blo A/T: 1 Be. S Skma.

GIAMBERTI, Gioseppe

Giam/1623 Poeste diverse poste tn musica de Gtoseppe Gtam-

bertt romano a una e tre voet per cantar nel
etmbalo et aleune con l'alfabeto per la chitarra
spagnola con due aggtunte una di Gto. Bernardino
Nantnt, l'altra dt Paolo Agostini ambidot mtet
maestrt. Itbro primo. (Roma: L.A. Soldi).
TST TSM TON weal Raa
Comments: Contains works by P. Agostino (1),
Ga bm Nanino, (Cl) GC. Gianbert. C15).

GIORDANI

Gior/[cal790] Anon/[cal790]
Comments: Contains works by Giordani.

Gior/[cal800]+ Anon/[ca1g00]1
Comments: Contains works by Giordani.

GISTAU, S. Castro de

Gist/ND Journal de guitare. Publté par S. Castro de

Gistau. Livratson {5-¢4]. (Bruxelles: A.» La=
erosse; Paris: chez L’auteur et L“editeur, s.d.).
Rio B T7> .S. Skina’
Comments: Contains works by S. Castro, F.
Moretti, F. Sors. S. Castro de Gistau may be
the publisher-composer identified as CASTRO
(listed above: Case NDlac)e Both Castro and
S. Gastro de Gistau were active in Paris:

GIULIANI, Giovanni Francesco

GiuF/ND Set duettt notturnt a due soprant con l'aecom-

pagnamento d'arpa, o ctmbalo, o ehttarra fran-
cese. (Firenze: Niccolo Pagani & Giuseppe Bardi).
BES A/T el Bo.

251
(GiuG/ [158?]-Gorl/[156?}]) Appendix II

GIULIANI, [Girolamo]

GiuG/[158?] Intavolatura de Chttara del Gtultant. (Venezia:

Giacomo Vincenti).
Brown: Now lost.

GOPFERT, Carl Andreas

GSpf/NpDt Sonate pour deux guttarres & flites ... oeuvre

11, (Offenbach: Johann André, No. 25/0).
RISM A/f> CS Bue D-brd OF.

Gdpf£ /ND2 Sonate pour guttarre & basson ou alto ... oeuvre
13. (Offenbach: Johann André, No. 2504).
RISM A/D: CS Bu. D=-brd As, OF.

Gépf/ND? Sonate fiir Guttarre und Fléte ... 15tes Werk.

(Offenbach: Johann André, No. 2565).
RISM A/I: A Wem.

Gépft/ND* = Gbpf£/ND? (Offenbach: Johann André, No. 3943).

RISM A/T: CS Bu. D-brd OF.

Gépf/ND° Atr varté pour guttarre & fliite ... oeuvre 18.
(Offenbach: Johann André, No. 2564).
RISM A/T: D-brd oF.
GSpf /nd° Sonate pour deux guttarres, avee accompagement
de flute. (Offenbach: Johann André, No. 2353).
RISM A/T: D-brd OF (lacks f1).

GORLIER, Simon

Gorl/ 1551 Le troysteme livre contenant plusteurs duos, et

trtos, avec la batatlle de Janequin a trots,
nouvellement mts en tablature de gutterne, par
Stmon Gorlter, excellent joueur. (Paris: R.
Granjon et M. Fezandat).
HIS Bas ICH Sey
Comments: Contains works by Jacotin, C. Jane-
quin, and eleven anonymous works. Music composed
for four-course guitar.

Gor1/ME1551 = Gorl/1551 BARENREITER (1980, published under the

title Four guttar books (1551-1553).

Gorl/[156?] Livre de Tabulature de Gutterne. (Lyon: Simon

Gorlier, thd.).
Broun: Now lost.

we
Appendix II (Grag/ND!-GraG/1680)
GRAGNANI, Filippo

Grag/Nnb1 Trots duos [A, D, F] pour deux guttares ... op. 4.

(Paris tsaRichaukt > Momieny; Now 533).
RioMaAvers (he Ne,

Grag/ND Sestetto per flauto, clartnetto, vtoltno, due

BHLLAY REM Eel ULOLONCeTOD .4% sop. 9: (Paris:
Richault, Momigny, No. 726).
RISM A/T: D-ddr HER.

Grag/ND? Le déluge. Sonate sentitmentale pour guttare

Seucewe.. 0p. 16. (Paria) Richault. Momieny)..
Plo e no Ll aNes

Grag/NnD® Stnfonta [d] per ehttarra sola. (Milano:

Giovannd Ricordi, No. 49).
fen eAaes MeHweBi:

GRANATA, Giovanni Battista

GraG/1646 Caprteet armontet sopra la chittarriglia spag-

nola. (Bologna: Giacomo Monti).
Wolye 21 Be, Fn. GB. Lom.

GraG/ME16461 = GraG/1646 BERBEN (1962).

GraG/ME16462 = COraGy 64 Seenoe CLIT 8).

CracG /l65i. Nuova setelta dt capricet armonict e suonate

mustealt in vart tuont. (Bologna).
Wolpe ly Be:

GraG/1659 Soavt coneenti dt sonate mustealt per la ehttarra

spagnuola ... opera quarta. (Bologna: Giacomo
Monti).
RISM A/I: E Mn. I Be, Vib.

GraG/ME1659 GraG/1659 BARENREITER (1979).

GraG/1674 Novt capricet armonict mustcalt tn vargj tont per

la chitarra spagnola, vtolino, e vtola concer-
tatt, et-altre sonate per la ehitarra sola,
opera quinta. (Bologna: Giacomo Monti).
RISM A/T: D-ddr Bds. I Be.

GraG/ME1674 GraG/1674 FORNI (1971).

GraG/1680 Nuovt sovavt [!] coneenti dt sonate mustcalt tn

vartj tont per la ehtttara spagnola, et altre
sonate concertate a due vtolont, e basso, opera
253
(GraG/1684-Guer/ME1694 ) Appendix II
sesta. (Bologna: Giacomo Monti).
RISM A/T: I Be.

GraG/1684 Armontost tont di varte suonate mustcalt con-

certate, a due vtolint, e basso, con la ehitarra
spagnola, opera settitma. (Bologna: Giacomo
Monti).
RISM A/I: GB Lom: 1 Be.
Comments: Wolf gives the date 1664.

GraG/ND Nuove suonate dt chitarriglia spagnuola ptcet-

Care S partite Ws.dig Gols)
Walfe 1. Be:

GRANDI, Alessandro

GraA/1626 Cantade et arte a voce sola, commode da cantarst

nel elavtcembalo, chttarrone, & altro stmile
stromento, con le lettere dell'alfabetto per la
chitarra spagnola ... raccolte, & date in luce
dG... Andrea @16ttt, libro terzo. (Wenezia:
Alessandro Vincenti).
RISM A/T: GB Lbm.

GraA/1629 GraA/1626 Libro quarto.

Wolf: PL WRu.

GRENERIN, Henry

Gren/1680 Livre de guttarre et autres ptéces de mustque

meslées de symphontes avec une instruction pour
jouer la basse continue. (Paris: Bonneuil, grave
par Hierosme Bonneuil).
REM CALI s+ F- Pes

Gren/ME1680 Gren/1680 MINKOFF (1977).

GUERAU, Francisco

Guer/1694 Poema harmonitco compuesto de varias cifras por el

temple de la guttarra espanola. (Madrid: Manuel
Ruiz de Murga).
RISM A/T: GB<Lbm.

ieee 16o4- Guer/1694 Entry 361 (1974, ed. by Janis M.

Stevenson).
Appendix II (Guer/ME1694¢-Kaps/1610)
Guer/ME16942 = Guer/1694 TECLA (1977).

GUICHARD,L.

Guic/[cal795] La guttharre rendu facile sans le secours de

L'art, ou L'on trouve la maniére de préluder et
jouer dans tous les tons posstbles tant majeur
que mtneur. Par M.L.G. (Paris: Frére).
AUSME BA eh ene

HENESTROSA, Luys Venegas de

See VENEGAS DE HENESTROSA, Luys

HUBER, J.N.

Hube/ND Trots fantatstes pour la guttarre seule. (Wien:

Jean Traeg, No. 325).
RSM A/T? CStPnm

INDIA, Sigismondo [D’]

Indi/1621 Le mustche ... a una et due voet da cantarst nel

chttarrone, clavicembalo, arpa doppta et altrt
stromentt da corpo, con aleune arte, con Ll'alfa-
betto per la enttarra alla spagnolad. ...- toro
quarto. (Venezia: Alessandro Vincenti).
RISM A/I: GB Och.

Indi/1623 Le mustehe [a l v] ... da cantarst nel chitarrone,

eLlavicembalo, arpa doppta & altrt stromentt da
corpo, con aleune arte, con l'alfabetto per la
ehttarra alla spagnola ... ltbro qutnto. (Venezia:
Alessandro Vincenti).
RISM A/T: GB Och.

KAPSBERGER, Johannes Hieronymus

Kaps/1610 Ltbro primo di vtllanelle a I. 2 et 3 voet accom-

modate per qualstvoglia strumento con Ll 'intavola-
tura del ehttarone et alfabeto per la chttarra
spagnola ... raccolta dal Sig” Cavalier Flanminto
Flammintj. (Roma: s.n.).
Riciel Ge Baberashe U-brda Bs F Pe .lacks (title
page). GB Lbm, Lem. I Bc, Rvat-barberini, Rvat-
capp. giulia. US Wc.

2)
(Kaps/1612-Krem/ 1689 ) Appendix II

Kaps/ 1612 Libro primo di arte passaggtate a una voce, con

L'intavolatura del ehttarone ... raccolto dal
Stg” Cav. Fra Jacomo Christoforo ab Andlaw.
CRoma ssn. J
RIGM A/T: Bh WawB Bes GRaGes Lbmu(2)ex-)i eRe,
Rvat—barberini (Gmes), Rvat-capp. giulsa.
US We.

Pape ae Libro secondo di villanelle al. 2. & 3 voet;

eon L'alfabeto per la ehitarvra spagnola ...
raccolte dal Sig. Ascanto Ferrart. (Roma: Gio-
Vanni, Battista Rebletcti.
RISM A/T: B Br. GB Lbm. Dp BeyvRvar—barberiaz;
Rvat-capp. giulia.

ape miciss labro terzo-dt ve-lLiaetle ai. 2. 2b 3. vocr

accommodate per qual st voglta stromento con
L'intavolatura del chitarone et alfabeto per la
chitarra spagnola ... vaccolto dal Sig” Fran-
Gesco Porta. (Roma: 6.2).
RISM A/i: B Br. GB Lbm. 1 Be, Rvat—barberini ,
Rvat-capp. giulia.

Kaps/1623 Itbro quarto dt vitllanelle a una @ ptu voet con

L'ialfabeto per la chitarra spagnola ... raccolte
dal Stgnor Marcello Panoechtescht de Contt
d'#LleL. (Roma: Luca Antenie Solidi)-
AiSM AL’ B Be. Debra) Be Fi Pes Gb Lom (2 4x27,
I Be, Rsc, Rvat-barberini, Rvat-capp. giulia.

KECK: PAL.

Keck/ND sumpreces (C, GA, A, Cy Glpour fluc es

guttarre. (Kébenhavn: C.C. Lose).
RESM A/T: S Ska.

KRAUS,J.

Krau/ND Sonate [C] pour la guttarre ... dédiée @ ule

Caroline de Retehe ... o¢s TI. (Leipzig: N:
Kihnel, bureau de musique, Ferdinand Schwarz,
No. 938).
RISM A/I: D-brd F,

KREMBERG, Jakob

Krem/1689 Mustcaltsche Gemiiths-Ergdtaung, oder, Ariten, samt

deren unterlegten hochdeutschen Gedtchten ...
Weleche also etngerichtet, dass ste entweder mit
256
Appendix II (Laba/[1788]-Laga/1764°)
einer Stimme allein 2u singen, benebenst dem
General Bass, oder aber ... auf der Lauthe,
Angelique, Viola dt Gamba, und Chitarra konnen
gesptelet werden. (Dresden: Autor, Christoph
Mathesius).
RISM A/T: A Wem. B Bc. DK Kk. GB Lbm. NL DHem.
US NYp.

LABARRE, Trille

Laba/[1788] Etrennes de guttarre ou recuetl des plus joltes

romances et couplets qut atent paru dans 1l'année
1787, sutvts d'une sonate avec accompagnement de
vtolon obligé et de plusteurs autres ptéces ...
par Mr. Trtlle Labarre. Oeuvre ITé ... (Paris:
Barton):
RiSMiMbe the webu:
Comments: Contains works by Leonard, Saeie
Trille Labarre, Anon.

LAGARDE, Pierre (de)

Vecaiye4- I. recuetl de brunettes avee accompagnement de

gutttare, de clavectn ou de harpe ... les bru-
nettes sont tirées du Journal de musique.
(Paris: auteur):
(eho Wp Peis tex.) © Pie@eex-). GB Lbm:

raga II” Recueil de brunettes avec accompagnement de

vtolon, guttare, elavectn ou harpe ... les bru-
nettes sont tirées du Journal de musique.
(Parigerauteur):.
Rie Ae Heo Grex), Paavo. GB Lbm:

ease Gee TIT’ Recueil de brunettes avee accompagnement de

vtolton, guitare, clavecin ou harpe ... ces bru-
nettes sont ttrés du Journal de mustque.
(Parts: auteur) *
RISMVA/T> Fr Pe (CS. ex. , 2rdifferent editions
with slightly different contents), Pn (2 ex.),
Po. GB Lbm.

Mey aod V° Recueil de duo ... ces duos sont tirés du

Journal de mustque. (Paris: auteur, aux addresses
ordinaires).
Piet A jeeBeBRr. & Pe (5.ex.), Pn. GB. Lbm.

20
(Laga/1764°-Lemo/ME1773) Appendix I]

hapainty aae VI’ Recuetl de duo ... ces duos sont ttres du
Journal de musique. (Paris: auteur, aux addresses
ordinaires).
RISM A/T: B Breck Be (G ex2)soPn. GE Lbm:

LA GRANGE,de

Lagr/1671 Livre de guitarre, contenant plusteurs pteces ...

avee la mantere de toucher sur la partite ou basse
eontinue. (Paris: s.n..)-
RESM Afi: F Pu.

LANDI, Stefano

Land/1620 Arte a una voce. (Venezia: Bartolomeo Magni,

stampa del Gardano).
RISM A/T: F Pc. GB Lbm. PL WRu.

Tandon ee Re a
Comments: Contains works by Landi.

Z
land (i621 Anon/1621
Comments: Contains works by Landi.

Land/1637 Il quinto ltbro d'arte da cantarst ad una voce,

con la sptnetta & con le ltttere per la chttara.
(Venezia: Bartolomeo Magni, stampa del Gardano).
RISM A/i; PI WRu.

LEMOINE, Antoine Marcel

Lemo/ME1773 Methode de Gutttarre par mustque et tablature,

avee dtfferens Exerctces sur le Pineer de cet
Instrument dans les quels se trouvent les Foltes
d'Espagne, sutvts d'une suttte d'Airs et menuets
ajustés pour un vtoton et une Guittarre et d'une
autre suttte d'Airs a chanter avec accompagnement
de Guttarre ... Dédté a Mlle. Sa Soeur. (Paris:
L'Editeur M. de musique ordinaire de la Chamber

258
Appendix II (Lemo/ND!-LeRo/[1551})
et menus plaisirs du Roi). MINKOFF
Comments: No library locations of the original
edition were found.

Tone rNt. Nouvelle méthode de lyre ou guitarre a six

cordes. (Paris: auteur, ecrit et grave par
Johannes, No. 2).
RISM A/T: D-brd Mmb. F Pn.
Comments: Contains music for six-course guitar.

Age Nouvelle méthode de guitarre a l'usage des com-

mengans, dtvisée en trots parties ... par A.M.
Lemoine ,... (Paris: Ivauteur).
Rie Babe be epips

TenoyND. Nouvelle Méthode courte et facile Pour la Gut-

tarre a l'usage de Commengan composée par Mr.
Le Motne Professeur de Guttarre et de lyre.
Deuxteme Edition. Augmentée de Principes pour la
Lyre, de Romances et d'Airs variés, et de deux
Estampes représentant la Guttarre et la Lyre
avee leur Dotgtés. Prix 9 A Parts, chez Imbault,
Professeur et Edtteur de Mustque, au Mont d'Or,
Rue St. Honoré No. 125 prés celle des Poulties.
Et Pertstyle du Theatre de l'Opera Comique Impe-
rtal, Rue Favart No. 461.
Cox: No library locations are cited.
Comments: Music composed for five-string gui-
Lae, SiIx-String eurtarm, and wyre.

Lemo/ME/ND° Lem /ND” MINKOFF (1972).

LE ROY, Adrian

1 Brtefve et factle tnstructton pour apprendre la

LeRo/ [1551]
tabulature a bten accorder, condutre et disposer
la main sur la gutterne.
Brown: Now lost.
Comments: See LeRo/[1578] for a later edition.
Because of slight differences between the two -
titles, the editions have been listed separate-—
ly. Heartz (entry 229) explains that
Rowb/[1568] may be an English translation of
this work; Heartz also discusses the relation—
ship between this work and Phal/1570, a pla-
giarism with Latin text.

259
(LeRo/1551°-LeRo/1554) Appendix II
Peres Premier livre de tahulature de gutterre, conten-
ant plusteurs chansons, fantastes, pavanes,
gaillardes, almandes, branles, tant stmples qu’
autres: le tout composé par Adrian Le Roy.
(Paris: A. Le Roy eek. Pallerd. 1551).
RIG Bt: -F Pm, GE Lb.
Comments: Music composed for four-course gui-
tar. Contains works by Boyvin (2), J. Maill-
ard.

LeRo (METS 51° pandyss" EdChanterelle (1979).

LeRo/1552 TIERS LIVRE DE TABULATURE DE GUITERRE, CONTEn-

ant plusteurs Préludes, Chansons, Basse-dances,
Tourdtons, Pavanes, Gatllardes, Almandes, Bran-
sles, tant doubles que stmples. Le tout composé
par ADRIAN LE ROY, [Printer's mark] A PARIS. De
L'imprtmerte, d'Adrtan le Roy, & Robert Ballard,
Imprimeurs du Roy, rue saint Jean de Beauvais, a
Liensetgne satnte Genevieve. 1552. Avec privi-
lege du Roy, pour neuf ans.
Broun: F Pm. GB ibm.
Comments: Music composed for four-course gui-
eelit

LeRo/ME1552 LeRo/1552 EdChanterelle (1979).

LeRo/1553 Quart ltvre de tabulature de gutterre contenant

plusteurs fantastes, pseaulmes, et chansons:
avee L'Alouette, & la Guerre, composées par M.
Gregotre Brayssing de Augusta. (Paris: A. Le
Roy GR. Batlard, 1555),
PiSM B To _F Pm. GB Lbms
Comments: Music composed for four-course gui-
tar. Contains works by J. Arcadelt, J. Boy-
Vill, o« Festa, C¢. daneduin (3). P. Sandrin,
MM. SonLer, Adon.

LeRo/ME1553 LeRo/1553 EdChanterelle (1979).

LeRo/1554 CINQIESME LIVRE DE GUITERRE, CONTENANT PLUSIEURS

CHANSONS A TROIS & quatre parttes, par bons &
excelens Musictens: Reduttes en Tabulature par
Adrian le Roy. [Table of contents] A PARIS. De
L'tmprimerte, d'Adrian le Roy, & Robert Balard,
Imprimeurs du Roy, rue saint Jean de Beauvais,
a L'ensetgne sainte Genevteve. 6. Decembre.
1554. Avec privtlege du Roy, pour neuf ans.
Brown: F Pm. GB Lbm.
Comments: Music composed for solo voice and
four-course guitar. (RISM B I: Contains works

260
Appendix II (LeRo/1554-LHoy/ND”)
Detarsreadelte (13)5 pBonards <P. Certon (25
De, Bussit, 7A. Ler Royse (2) .)

LeRo/ME1554 = LeRo/1554 EdChanterelle (1979).

LeRo/1555 SECOND LIVRE DE GUITERRE, CONTENANT PLUSIEURS

CHANSONS EN forme de votx de ville: nouvelle-
ment remtses en tabulature, par Adrian le Roy.
[Table of contents] A PARTS. De L'tmprimerte,
d'Adrtan le Roy, & Robert Balard, Imprimeurs
du Roy, rue saint Jean de Beauvais, a l'enseigne
satnte Genevieve. 5, Janvier, 1555. Avec privi-
Lege du Roy, pour neuf ans.
Brown: F Pm. GB Lbm.
Conments: Music composed for four-course gui-
[EBNE 6

LeRo/ME1555 = LeRo/1555 EdChanterelle (1979) .

LeRo/ [1578] Briefve & factle tnstruetion pour apprendre la

tabulature a bien accorder, condutre & disposer
la matin sur la Guiterne. (Paris: Adrian le Roy
et Robert Ballard).
Brown: Now lost. 1
Comments: A later edition of LeRo/[1551].
Because of slight differences between the two
titles, the editions have been listed separate-
Ib 4

LYHOYER, Antoine de

LHoy /Nbt Air varté pour guttarre. (Offenbach: Johann

Andre, Noe 13732)".
RISM A/I: D-brd OF.

LHoy /ND2 Air varté pour guitare. (Paris: Pleyel pére &
fais’ aine; Noy 1223)%
RISM A/I: D-brd Mbs.

LHoy /ND? Grand sonate [G] pour la guttarre ... oeuvre 12.
(Hamburg: Johann August BOhme).
RISM A/I: S Skma.

LHoy/ND@ Stx. romances pour la guitare ... oeuv. XIV.

(Hamburg: Johann August Bohme).
RISM A/T: A Wn.

LHoy/ND° Stx romances composées & arrangées pour la

guittarre ... oeuv. 15. (Hamburg: Mees & Co.).
RISM A/1:-S: Skiia.

261
(LHoy/ME/ND©-Maje/1732) Appendix II
LHoy /ME/ND® Trots duos concertants pour deux guttarres,
Opt) 24; (Oe Pennes
Comments: No library locations of the original
edition were found.

LHoy /ME/ND/ Trio eoncertant pour trots guttarres, Op. 29.

Stoll atehc
Comments; No library locations of the original
edition were found.

LHoy /ME/ND® Grand duo coneertant pour guttarre et vtoton,

OD. 20. SOP. Eos.
Comments: No library locations of the original
edition were found.

LIGHT, Edward

LighA[ W795] The art of playing the guittar, by Edward Light;

to which ts added a variety of the most familiar
lessons, atrs, divertimentos, songs, &c. properly
adapted for that instrument. (London: J. Preston).
RISM B VI: GB Lbm. US Wem.
Comments; Cox indicates that this work contains
Music for fnglish cuitan sa ‘type of cittern,
andvdates it L7é=.

LOSY, Jan Antonin

Losy/ND Ptéces de guttarre.

Grove (article on Losy): CS Pnm.

Losy/ME/ND = Losy/ND ARTIA (Mustca anttqua bohemtea I/XXVIII,

1958).

MAJER, Joseph Friedrich Bernhard Caspar

Maje/1732 Museum mustcum theorettco practicum, das ist:

Neu-erdffneter theorettsch- und practtscher Music-
Saal, darinnen gelehret wird, wte man sowohl dte
Voeal- als Instrumental-Muste griindlich erlernen,
auch dte heut 2u Tag tibltch- und gewdhnlichste,
blasend- sehlagend und stretehende Instrumenten in
kurger Zett und compendteuser Appltcation in be-
sondern Tabellen mit letchter Mihe begretfen
konne. Nebst etnem Appendtce derer anjetzo ge-
brauchltchst-grtechtsch-lateintsch-ttaltantsch-
und franzdstsch-musicaltsehen Kuntsworter nach
alphabettscher Ordnung eingerichtet und erkldret
zum nutalitechen Gebrauch aller und jeder Mustc-
262
Appendix II (Maje/1741-Marc/post1660)

Ltebhaber zusammen getragen und mitgetheilet von

Joseph Friedertch Bernhard Caspar Majer ...
(Schwab. Hall: Georg Michael Majer).
fiver Vie) Mbn}: Mbs, NemseRp- (2 ex.) SCH.
Pere e Gee Lbme. Ts
Comments: A theoretical text which contains
Music for euitar.

Maje/1741 Joseph Frtederich Bernhard Caspar Majers ... Neu-

eroffneter theorettsch- und prackttscher Mustc-
Saal, das tst: Kurze doch vollstindige Methode,
so wohl dte Voecal- als Instrwnental-Muste griind-
Lich au erlernen, auch dite ... blasend- schlagend-
und stretehende Instrumenten ... durch die deut-
lichste Exempla, tn besondern Tabellen, mit
Letchter Mihe zu begretffen. Nebst einem ...
Appenditce und Erklarung derer anjezo gebrauch-
Ltehsten griechtsche-latetntsch- ttaltdntsch-
und franzdstsch- mustealtsehen Kunst-Worter.
Zweyte und viel-vermehrte Auflage. (Nurnberg:
Iohann Iacob Cremer).
Rip 2 Vie) AWems) B Bc. Bree DP Bds, D1, LEm
Mbs, MGu5) Nem (2 ex), ROw. DK. Kk: F Pn: GB Er,
Lbm. NL DHgm. S L, Skma, Uu. US A, I, NYp, PHE,
Wem.
Comments; A theoretical text which contains
music for guitar.

MARCHETTI, Tommaso

Marc /1648 Il prtmo ltbro d'tntavolatura della cehttarra

spagnola. Composto, e dato tn luce da Tomasso
Marehettt romano. Con una regola factltssima per
poter'imparar' @ sonare, accordare, e far lettere
della detta chttarra da se stesso. Et st conten-
gono anco nel detto ltbro molte sonate passe-
gtare, non pin da altirt dare aniuce. (Roma?
Catalaniy’.
RIiSM B VPs 1 Rset

Marc/1660 = Marc/1648 (Roma: Francesco Moneta).

RioM B Vi; F Pn. I-Rse.

Marc/ME1660 = Marc/1660 MINKOFF

Marc/post1660 Title unknown.

Danner: I Rsc.
Comments: Danner "Update ..."' lists this item
as "tablature with mutilated title page".

263
(MarB/1655-Mart/ [cal790] ) Appendix II

MARINI, Biagio

MarB/1655 Per ogni sorte d'istromento mustcale, diverst

generi dt sonate, da chtesa, e da camera, a due,
tre, & a quattro, con L'alfabeto alle ptu pro-
prie, per la chitarra alla spagnola ... ltbro
terzo, opera AXT7. (Nenezia: Francesco Magni).
RISM A/T; GB ob. I Be. PL WRu.

MARINONI, Girolamo

MarG/1614 Il primo libro de motettt a una voce et in fine

una Salve Regina a dot, postt tn mustca per
alfabeto. (Venezia: stampa del Cardano, aere
Bartolomei Magni).
RLSM AY LG Sees

MARTIN, Francois
MarF/1663 Piéces de guitairre [!], a battre et a ptnser
. premier livre. (Paris: ,proche 1'autheur").
RBS Lye Fo Pse.

MARTIN Y SOLER, Vicente

MarV/ND Dret Duetts (Il Giuramente, Notturno L'Allegrta)

fiir zwet Guitarren ... mtt doppeltem Texte.
(Braunschweig: Musikalienverlag in der Neuen-
strasse, Now 42).
RISM A/I: D-brd Mbs.

MARTINI

Mart/(.cal775| = Anon/[cal775]
Comments: Contains works by Martini.

Mart/[1785] = Porr/ [1785]

Comments: Contains works by Martini.

Mart/1788 = Porr/1788
Comments: Contains works by Martini.

Mart/[cal790] = Anon/[cal790]
Comments: Contains works by Martini.

264
Appendix II (Matt/[cal680]-Merc/ME/NDC)
MATTEIS, Nicola

Matt/[cal680] Le False consonanse della musica per poter' ap-

prendere a toccar da se medesimo la chitarra
sopra la parte. Esemptt curtoso con havertimentt
ehtartssimt e dichtarattont dove etasche d'uno
potrad tn breve aceompagnar le arie tn mustca, e
SOnNGr Gua et VOGRTE POSSC. 6... it tutto é diviso
tn quattro partt. Opera di Nicola Mattets.
({London]).
RESM BOVi Fh oethapaule,

Matt/[1682] The False consonances of mustek or instructions

for the playing a true base upon the guitarre,
with chotee examples and cleare directions to
enable any man in a short time to play all
WUSPCALL QUreS 1. (| Londons ele Carr |p).
Pig B Vir GbaGe, Ob, Clacksspx b=32) 7 1 sBe,
US NY p.
Comments: An English translation of
Matty Tealoouls

Matt/ME1682 = Matt/[1682] BARENREITER (1980).

MEDARD, Rémy

Méda/1676 Plecesae guirarre. (Paris).

Danner: S Uu.

MERCHI [Giacomo MERCHI DI BRESCIA, Giacomo MERCHI, Mr. MERCHT]

See RISM A/I undér MERCHI for a list of works with guitar accompani-
ment.

Merc/ND1 Quatro duettt a due chttarre e set minuetti a

SOLOLCGON VaOPTALLONL,. «5. Linduettt possono essere
anehe acompagnatt dal vtoltno, opera tersa [!].
(Paris: auteur, Bayard, Le Clerc, Mlle Castag-
nery).
RISM A/T: F Pn. GB Lbm.

Merc /ME/ND+ = Merc/ND! S.P.E.S.

Merc/ND@ Raceolta d'ariette francest ed ttaltane per la
chttarra, 11 acompagnanentt sono tn mustca e
tavolatura ... opera quarta. (Paris: auteur).
Row Aye? ee.

Merc /ME/ND2 SiMeresibe 6.2.E.S

265
(Merc/ND3-Merc/[cal770]) Appendix II

Merc/ND? Le guide des écoliers de guitarre ou préludes

ausst agréables qu'utiles, sur tous les modes,
Les posttions et les arpégemens avec des atrs
et des variations ... Ve livre de guitarre,
oeuvre Vilé. (Paris: auteur).
RISM A/T = Verret ex.s

Merc /ME/ND> = Merc/ND? MINKOFF

Merc/ND* Dodiet suonate per la chitarra, set a due chi-
tarre o con aecompagnamento dt vtolino e set a
solo ... opera XVI. (London: author).
RISM A/T: GB Lbm. S Skma.

Merc/ [1768] XVIé Livre de guitarre contenant des airs, ro-

manees et vaudevilles. Avec des accompagnements
préludes et rttournelles par Mr. Mercht. Oeuvre
Xe. “(Paris: auteur)’.
Rich 6 tas here,
Comments: Contains works by Collet and anony-
mous works.

Merc /ND> Twelve dtvertimentos for two gutttars or a

guittar and violin ... opera 21°". (London:
Welcker).
RISM A/T: GB iba.

Merc /ND® = Merc/ND? (London: Robert Bremner).

RSM whys DK Sax

Merc/[ca 1766] Les Sotrées de Paris. XVIIIé ltvre de guitarre

eontenant des airs d'opéra comtque avec des
accompagnemens d'un nouveau gotit, des préludes
et des rttournelles par Mr Mercht. Oeuvre XXITIé.
(Paris: l"auteur, et aux adresses ordinaires;:
Lyon, Castaud) «
A Sie ees Pex
Comments: Contains works by Duni, Gluck,
Monsigny, Philidor, Rinaldo da Capua. Both
this work and Merc/ND’ are cited as opus 22.

Merc/ND/ A collection of the most favortte Italtan, French

& English songs & duets for the gutttar, wtth an
aeccompanyment for an other guittar ... op. XXII.
(London: Welcker).
RISM A/T? GB Che, Lb
Comments: Both this work and Merc/[cal766] are
cited as opus 22.

Merc/[cal770] XXé. Livre de guitarre contenant des airs d'opera

ecomtque avee des accompagnements d'un nouveau
gout, des préludes et des rttournelles par Mr.
266
Appendix II (Merc/ME/ND°-Merc/ND!1)
Mereht. Oeuvre XXIVe ... (Paris: l'auteur).
epee) FP ea.
Comments: Contains works by Duni, Grétry,
Monsigny, Anon.

Merc /ME/ND® XXI Livre de guttarre contenant des Airs connus,

des préludes et des ritornelles, Op. 25. S.P.E.S.
Comments: No library locations of the original
edition were found.

Mere /ND? Set duettt a chitarra e violtno con sordina o a

due chitarre. XXIxe Itvre de guitarre, oeuvre
KkXT Te: (Paris* arteur):
Ri oMeA?TI GB Cke:

Merc /ME/ND? = Merc/ND? S.P.E.S.

Comments: The modern edition is marked as
Opec

Merc/ND19 Tratté des agrémens de la mustque exécutés sur

la vgutcarre... oeuvre XXXVe. (Paris? auteur).
PRISMA AICe FPG,
Comments: MINKOFF dates Merc/ND!9 as 1761 and
igi. ecoredatese this work.ca. L/L and. indi—
cates that it was written for five-string
guitar.

Merc/ME1761 = Merc/ND!° MINKOFF

Merc/ME1777 = Merc/ND1O MINKOFF

Merc/1780 XXXIVé Ltvre de guttarre contenant des airs
d'opéra et opéra comtque et autres de soctetez
avee des accompagnements, des préludes et des
rttournelles par Mr. Mereht. Oeuvre XXXVIé.
(Paris: l'auteur et aux adresses ordinaires;
Lyon, Castaud).
ISM Bi: FSP cs
Comments: Contains works by Albanése, Dezéde,
Gluck, ‘Gretry, Merchi, Mereaux, Piceini,
Rousseau.

Merc/Np!1 Stx Lessons and stx duets for one and two gut-
tars ... book first. N.B. These duets may be
play'd by a guitar and violin. (London: Robert
Bremner).
Pi SMAA/Te DKYSas

267
(Mich/1698-Mi1C/1622!) Appendix II

MICHELI, Antoniodi

Mich/1698 La nuova cehttarra. (Palermo).

Kirkendale: US We.

MILAN, Luys [Luis]

MII
/1535 Libro de musica de vthuela de mano, intttulado El
maestro. El qual trahe el mesmo estilo y orden
que un maestro traherta con un dtsetpulo prinet-
ptante. (Valencia: Francisco Diaz Romano,
{[Kolophon: 1536]):.
RISU Asie C Pesodeddr Lua’ tine.). E Ba, Mn
CZ, ex.s FPO, Pu Gncl) sob: Lom Ll Pace ra:
NL DHem. US Cn (inc., with complete photocopy).
Comments: Music composed for vihuela.

MilL/ME15
35+ Mit
/1535 BreitkopfHartel (1902, ed. by Conde de
Morphy).

MilL/ME15352 Mini 1535 CEstHist (1923, ed. by E. Martinez

Torner).

MilL/ME15352 Mit hey 1535 BreitkopfHartel (1929, ed. by Leo

Schrade).

MilL/ME15354 Maaliey 1535 ZERBONI (1965, Italian and English

text, 2D Ge es

MilL/ME1535- Milly 1535 OLMS “(L967

MilL/ME1535© Maine 53 5 PennaStUniv (1971, ed. by Charles

Jacobs).

MilL/ME1535/ Midi
y L525 MINKOFF (1975).

MilL/ME15358 Mi Pees 5 HOFMETSTBR. “Cea. 1975).

MILANUZZI, Carlo

MilC/16221 Primo scherzo delle artose vaghezze, commode da

cantarst a voce sola nel clavtcembalo, chitar-
rone, arpa doppta, & altro stmile stromentt, con
le itttere dell' alfabetto, con l'tntavolatura,
e con la scala dt mustea per la chttarra alla
Spagnola ... opera settima. (Venezia: Bartolomeo
Magni).
RISM A/I: D-byd.Hs. I Be.

268
Appendix II (Mi1C/16222-Mi1C/1635)
MilC/16222 Secondo scherzo delle artose vaghezze, commode
da cantarst a voce sola vel clavtcembalo, chitar-
rone, arpa doppta, & altro stmile stromento, con
le ltttere dell' alfabetto, con L'intavolatura,
e con la scala dt mustca per la chitarra alla
spagnola ... aggtontovt ... alcune sonate facilt
~+- Opera ottava. (Venezia: Alessandro Vincenti).
RISM A/T: I Me.

Many 625 MilC/16222

RIM A/pe lo Bek

MELG/ 1623 Terzo scherzo delle artose vaghezze commode da

ecantarst a voce sola nel elavtcembalo, chitar-
rone, arpa doppta, & altro simile stromento ..
econ L'aggtunta nel fine dt aleunt balletti,
saravende [!], spagnolette, gagliarde, follie,
etaccone, & altre sonate ... opera nona.
(Venezia: Alessandro Vincenti).
RISM A/T: D-brd Hs. I Mc.

MilC/1624 Quarto Scherzo, op. 11. (Venezia).

Wolf: D-brd Hs.

MilC/1628 Sesto libro delle artose vaghezze, comode da

cantarst a voce sola nel clavtcembalo, chitar-
rone, o altro stmile stromento, con le lettere
dell' alfabetto per la chitarra alla spagnola
opera decimaquinta. (Venezia: Alessandro
Vincenti).
BISM oA oA l thes

MilC/1630 Settimo libro delle artose vaghezze, comode da

eantarst a voce sola, con le lettere dell' alfa-
betto per la chttarra alla spagnola, aggtuntavt
un' artetta a due voet con sinfonte dt due
vitolint, se ptace ... opera dectmasettima.
(Venezia: Alessandro Vincenti).
REsiey/iy le Be.
Comments: Wolf cites the title as Settimo
sceherzo.

MilC/1634 Vinc/1634
Comments: Contains two works by Milanuzzi.

MG
/ 63:5 Ottavo ltbro delle artose vaghezze, comode da
cantarst a voce sola nel clavtcembalo, chttar-
rone, o altro stmile stromento ... opera dectma
ottava. (Venezia: Alessandro Vincenti).
Aisi Ay: 71 Be.
Comments: Wolf cites the title as Ottavo
scherzo.
269
(M4 1C/1643-Mi11/1631?) Appendix II
MilC/1643 Nono libro delle ariose vaghezze, commode da
eantarst a una, e due vocet nel clavicembalo,
chitarrone, o altro simile stromento, con le
Lettere dell' alfabetto per la chitarra alla
spagnola ... opera vigesima. (Venezia: Ales-—
sandro Vincenti).
RISM A/T: PL Kj.

MILLIONI [MILION]], Pietro

Mil1/16271 Prima scielta di villanelle accomodate con

L'intavolatura per cantare sopra la chttarra
spagnola. (Roma: Guglielmo Facciotti).
RS A/a Be.

Mill1/16272 Prima tmpresstone del quinto ltbro d'tntavola-

tura dt chitarra spagnola ... con una regola
generale con la quale st pud L'tmparar' a
sonare ognt sorte dt sonate con reptccht.
(Roma: Guglielmo Facciotti).
RISM A/T: I Be.

Mil1/16273 Quarta tmpresstone del primo, secondo et terzo

ltbro d'intavolatura ... sopra tl quale ctascuna
da se medestmo puo l'tmparare a sonare di cht-
tarra spagnola, accordare ... (Roma: Guglielmo
RPaeehot
ti)
RESMMAY To Fn ol Be:

Mill/16274 Seconda impresstone del quarto ltbro d'tntavola-

tura dt chittarra spagnola ... con una aggtunta dt
molte sonate, et anco una regola generale con la
quale st pud L'imparar' a sonare ogni sorte dt
sonate con trillt. (Roma: Guglielmo Facciotti).
RISM ayTs Ll Bas

Mi11/1635~ Mill1/16274 ... Novamente rtstampato ... con

L'aceresctmento dt molte sonate curtose. (Roma:
Paolo Masotti) .
RISM A7ie 1 Be (inc.)x

Mil1/1631+ Corona del primo, secondo, e terzo ltbro d'inta-

volatura dt chttarra spagnola dt Pietro Milltont
Una regola per tmparar' il modo d'accordare
dodtet ehttarre, per poterle sonare insieme in
econeerto etascheduna per differente chtave, overo
lettera; et anco l'alfabeto et accordatura per il
ehitarrtno, overo ghitarre italtana. (Milano:
Filippo GhidolfisG.B. Gerrit & ¢. Bexrrendi)).
RISM 8 VEN Prhibaule.

270
Appendix II (Mi11/1631°-Mi11/1652)
Mill/16312 = Mill/16311 mMuovamente stampata ... (Roma: C.
RaACeLOttL):.
RisMeA/ iT: |. Rw. US* Wem.

Mi11/1635~ = Mil1/1631! ... et rtstampata tn Torino .

Roe ATi APT

Mill1/1661 Nuova corona d'tntavolatura dt chttarra spagnola

novamente ristanpata secondo tl vero ortgtnale
con aleune sonate, e passeggtate nuove ...
tra le qualt vt s'é anco aggtunto la Siciltana,
e le Letante de' santt con L'intavolatura messe
speazatamente. (Roma: erede del Mancini).
RISM A/I: I Be.
Comments: Kirkendale indicates that Mill/1661
and Mill/1676 are plagiarisms of Pico/1608.

Mil1/1676 = Mill/1661
Comments: See comments for Mill1/1661.

MILLIONI, Pietro; MONTE, Lodovico (Joint Authorship)

Mill/|eal627 | Vero e factl modo d'tmparare a sonare, et accor-

dare da se medesitmo la Chttarra spagnola, non
solo con L'Alfabeto, et accordatura ordtinarit,
ma anco con un'altro Alfabeto, et accordatura
straordtnartt, nuovamente inventatt da P. Mil-
litont et Lodovico Monte ... (Venezia: Angelo
Salvadori).
RISM B VI: NL DHem.
Mill1/1637 = Mill/[cal627] Et di nuovo rtstampato, da me
Lodovtco Monte bolognese. (Roma, Macerata:
eredi Salvioni e Agostino Grisei).
RISER ot = GBs Lbm.

Mil1/1644 = Mill
/ feaho2s | Venezass Pv Viecers)
BICMeB Vine 1 Bec auSe BE eGnees

Mil1/1647 = Mill/[cal627] (Roma e Macerata: A. Grisei).

RISM B Viz: I Be.

Mill/ME1647 =] Mili/1647 FORNT. ([1977]) -

Mil1/1652 = Mill/[cal627] (Venezia: Giacomo Bortoli).

BISM BWV: lo Be.

Paap
(Mi11/1659-Ming/ME1754) Appendix II

Midsi A659 = Mild/(¢ale27])) (Venezia: Ga Barts):

RiSMee Vitel sy

Mill1/1666 = Mill/|leal627)] (Venezia: Ga, Bortols),.

RISM Bevie Ff Pthibaule:

Mil1/16731 = Mill) [ealo27 1. Weneziar CG. Didint) .

RISM B VI: I Bc, Vnm.

Mill /16732 = Mill/(eal627] ‘(Wenezia: Macerata, Piccini).

RISM B VI: D HVI.

Mil1/1678 = Mild.
/ [cal6é27)|-(Venezia: Giacomo: Zini).
RISM B VI: GB Lbm (2 ex.). I Be, MOe. US Wem.

Mil1/1684 = Mint)|calevh| (Venezia. Gl. Zini).

RiSM SB Viz) Bee US Wem.

Miult71737 = Mill
/ (calé27. | Wenezias Dosbouisa).
RISM B VI: F Pc.

Mill1/ND = MonL/ND
Comments: Contains works by Milioni.

MINGUET
E YROL, Pablo

Ming/1774 Academia Mustcal de los tnstrumentos que expltica

Pablo Minguet en sus Tratados, los quales en-
sefian el nuevo estilo de tinerlos por musteca y
etfra con perfeccton. Reglas y advertenctas gene-
rales que ensefian el modo de tafter todos los in-
strumentos mejores y mas usuales como son la
Guttarra, Tiple, Vandola, Cythara, Clavtcordto,
Organo, Harpa, Psalterto, Bandurria, Vtolin,
Flauta Travesera, Flauta Dulce y las Flauttlla
con vartos tatitdos, danzas, contradanzas y otras
cosas semejantes, demonstradas y figuradas en
diferentes Laminas finas por Mustca y ctfra,
al estilo Castellano, Italtano, Catalan y Francés
paraque qualquter Aftetonado las pueda comprehen-
der con mucha faetlidad y stn Maestro: con una
breve expltcacton de como el Autor los aprendté,
que esta al bolver de esta hoja. (Madrid: Joaquin
[bartea):
Risk & Vis DWE & BooBd, Mn. Fe Pe. GBR.
US. Ga: (ine,)y NYp- (par tiemiay)). Wem. (ix fase
Cinles, thrée- of which aréedated 1752... 1/54.
and-l//4, each with a particular tittle).

Ming/ME1754 = Ming/1774 MINKOFF (the date 1754 on the MINKOFF

edition indicates the 1/54 fascicle):

ONGip
Appendix II (Moli/ND-Monz/ND)
MOLINO, Valentino

Moli/ND Grand trto conecertant [C] pour vtolon, alto et

guttare ... oeuvre 10Mé, (Torino: les fréres
ReyvieendewaCow,eNo. 15) .
RISM Aft: I. Ne.

MONTE, Lodovico

MonL/ND Vago ftor dt virtih dove st conttene il vero modo

per sonare la chttarrtglta spagnuola, con sonate
factlt per prinetptantt, et per echt sona bene
sonate non plu vtste, raccolte da me Lodovtco
Monte bolognese dalla Chitarriglia. (Venezia:
ING Selilyveiovest)y..
RAICM- Bots A. Bex
Comments: Contains works by P. Milioni, Santino
da Parma (4),, Todeschino,, Anon. (18).

MonL/[cal627] = Mill/[cal627]
Comments: Joint authorship of Millioni and
Monte. See also entries following Mill/[cal627].

MONTESARDO, Girolamo

MonG/1606 Nuova tnventtone d'intavolatura per sonare t

ballettt sopra la ehttarra spagnuola, senza
numert e note. (Firenze: Christofano Marescotti).
RISM A/T: A Wem. I Bec.
MonG/1612 i Viet gloria dt Napolt, eonecertint ttaliany in
arta spagnuola a due, e tre voet con la [!]
lettere dell' alfabeto per la chitarra; madrt-
galettt, et arte gravt passagtate a una, e due
voet per cantare alla ttorba, gravecitmbalo, arpa
doppia, et altrt tstrumentt ... opera XI. (Napoli:
Giovanni Battista Garzano: & Lucrezio Nucci).
RLSM A/D GB’ Ge.

MONZINO, Giacomo

Monz/ND Divertimentt per chitarra francese ... op. a

14. a. (Milano: Antonio Monzino).
RISM A/T: I VEas.

213
(More/[cal775]-Morl1/1552°) Appendix II

MORELLI

More/{cal775] Anon/[cal775]
Comments: Contains works by Morelli.

More/[cal790] = Anon/[cal790]
Comments: Contains works by Morelli.

MORETTI, Federico

MorF/1799 Prinetptos para tocar la guttarra de sets ordenes.

Preceditdos de los elementos generales de la mustca
: por ws. Bedertco Movetty ... +i [-11] pr.
(Madrid: por Josef Rico).
RISM B VI: E Mm, Zsc. GB Lbm. US NH, NYp.
Comments: Contains music Lor six-coursé guitar.

MorF/ME1799 = MorF/1799 TECLA

MorF/ND1 Prinetpt per la ehttarra composti dal dilettante

sig.” D. Federico Morettt. (Napoli: Luigi
Marescalchi).
Bist B- Vis A “Be.

MorF/ND2 = Gist/ND
Comments: Contains works by Moretti.

MORLAYE, Guillaume

Morl1/[1550] Gutllaume Morlaye. Tabulature de gutterne ou sont

chansons, gatllardes, pavanes, bransles, alle-
mandes, fantatstes, etc. (Paris: Michel Fezandat).
Brown: Now lost.

Mor1/15521 LE PREMIER LIVRE DE CHANSONS, GAILLARDES,

PAVANNES, Bransles, Almandes, Fantatstes,
redutctz en tabulature de Guiterne par Maistre
Guillaume Morlaye joueur de Lut. [Cut of a guttar
Lying on an open book] A PARIS. De l'Imprimerte
de Robert GranJon & Michel Fezandat, au Mont S.
Hylatre, a L'Ensetgne des Grandz Jons. 1652.
Avee prtvtlege du Roy.
Broun: CH SGv.
Comments: Music composed for four-course
guitar.

Mor1/15522 QUATRIESME LIVRE CONTENANT PLUSIEURS FANTASIES,

Chansons, Gatllardes, Paduanes, Bransles, re-
duietes en Tabulature de Guyterne, & au jeu de
la Cistre, par Matstre Gutllawne Morlaye, & autres
274
Appendix II (Mor1/1553-Muda/ME1546©)
bons autheurs. [Cut of a guitar Lying on an open
book] A PARIS, De l'imprimerte de Michel Fezan-
dat, au mont sainct Hylatre, a l'hostel d'Albret,
1552, Avee privilege du Roy, pour dix ans.
Brown: CH SGv.
Comments: Music composed for four-course
guitar.

Mor1/1553 LE SECOND LIVRE DE CHANSONS, GAILLARDES, PADUANES,

Bransles, Almandes, Fantastes, reduitctz en tabula-
ture de Gutterne, par matstre Gutllaune Morlaye
joueur de Leut. [Cut of a guttar lying on an open
book] A PARIS. De l'itmprimerte de Michel Fezandat,
ou montveainer AL Laine: en. Lihostel d’Albret. 1553.
Avee privtlege du Roy, pour dtx ans.
Brown: CH SGv.
Comments: Music composed for four-course
guitar.

MUDARRA, Alonso

Muda/1546 Tres ltbros de mustca en etfras para vthuela, en

el primero ay mustea factl y diftetl en fantastas:
y composturas: y pavanas: y gallardas: y algunas
fantastas para guitarra. El segundo trata de tos
ocho tonos (o modos) tiene muchas fantastas por
diversas partes: y composturas glosadas. El ter-
cero es de mustca para cantada y tafitda. Ttene
motetes, psalmos, romances, canetones, sonettos
en castellano: y ttaliano versos en latin. Villan-
gteos. (Sevilla: Juan de Leon) .
RSME AEA ESE . Mn
Comments: Music composed for vihuela and four-
course guitar.

Muda/ME1546! I Muda/1546 BreitkopfHartel (1902, ed. by Conde de

Morphy).

Muda /ME15462 Muda/1546 CEstHist (1923, ed. by E. Martinez

Torner)<

Muda/ME15462 Muda/1546 InstEspMusic (1949, ed. by Emilio

Pujol).

Muda/ME15464 Muda/1546 HOFMEISTER

Muda /ME1546- Muda/1546 BARENREITER (1980).

Muda/ME1546© Muda/1546 MINKOFF

Pigs
(Murc/1714-Narv/ME1538/ ) Appendix II

MURCIA, Santiago de

Murc/1714 Resumen de acompayiar la parte con la guitarra

comprendtendo en el todo lo que condusze para
este fin: en donde el afictonado hallara dts-
sueltas por diferentes partes del tnstrumento,
todo género de posturas, y ltgaduras, en los
stete stgnos Naturales y accidentales ... Por
Santtago de Mureta, Mro. de guttarra de la
HEU. wan (| Madrid)i
REM B Vile Es MavenVS: Gay aA.

Murc/ME171414 = Mure/1714 Entry 365 (1975, ed. by Elena M.

Lowenfeld, selected compositions).

Mure /ME17142 = Murc/1714 BARENREITER (1980).

NARVAEZ,
Luis de
Narv/1538 Los seys ltbros del Delphin de miustea de ctfras
para tafer vthuela [6 vol.]. (Valladolid: Diego
Hernandez de Cordova).
RESM A/T? Boba: Cine.ys. GB: ib. US We:
Comments: Music composed for vihuela.

Narv/15461 = Phal/154614
Comments: See comments for Phal/1546!.

Narv/15462 = Phal/15462
Comments: See comments for Phal/15462.

Narv/1568 = Phal/1568
Comments: See comments for Phal/1568.

Narv/ME15381 = Narv/1538 BreitkopfHartel (1902, ed. by Conde de

Morphy).

Narv/ME15382 = Narv/1538 CEstHist (1923, ed. by E. Martinez

TOPREr) .

Narv/ME15382 = Narv/1538 InstEspMusic (1945, ed. by Emilio

Prig.ol)s

Narv/ME15384 = Narv/1538 HOFMEISTER (1965).

Narv/ME1538° = Narv/1538 InstEspMusic (1971, ed. by Emilio
Putodene

Narv/ME15386 = Narv/1538 UMusicEsp (1971).

Narv/ME1538/ = Narv/1538 MINKOFF (1980).

276
Appendix II (Nive/1666-Pel1/ME16502)
NIVERS, Guillaume-Gabriel

Nive/1666 Méthode factle pour apprendre & chanter la

musique. Par un mattre célébre de Paris.
(Pamis< Robert Ballard).
io Mie d eee Pie GB. DRE... Be.

Nive/1670 = Nive/1666 Second édttton.

RLSM VE Peer

Nive/1696 = Nive/1666
RISM B VI: B Br. GB DRc.
Comments: No additional information is given on
this edition. Lt, is adsorartriputed to. Charles
Lemaire.

Nive/1702 = Nive/1666 (Paris: C. Ballard).

RioMoe Vis. bk Pthipault.

PAIXAO RIBEIRO, Manoel da

Paix/1789 Nova arte devviold .5. adivida-em duas partes ...
com estampas das posturas ... e com alguns minu-
ettes, e modtnhas por mustca, e por ctfra.
(Commpras nartkeal® Offteana was Universidade»-
Riot ae Celta Daddy Bas. bc Mie ekere. Gb LbF
(J tes Our. at S Ake INE NY page tee er,

PARRY,J.

rela ayfal op A colleetton of Welsh, English & Seotch airs with

new vartations, also four new lessons for the
harp_or harpsichord ... by J. Parry. To whteh are
added twelve airs for the guittar. (London: the
adthor and J. Johnnson).
RISM B IT: GB DU. US CAh, LA, We.
Parts | cals 62,| = Parr/l/6l (London: J. Johnson).
Rio @ irs GB ibm. VS CA, NYp.

PELLEGRINI, Domenico

Pel1/1650 Armontost coneertt sopra la chttarra spagnuola.

(Bologna: Giacomo Monti).
Ric (47> PePciG2. 6x.) « Be,’ In. US BE.

Pell /ME1650+ ll Peli o50L3P, EaS. (1978).

Pell /ME1650° Pel1/1650 MINKOFF

yw:
(Peso/[1648]-Peso/ND2) Appendix II
PESORI, Steffano

Peso/[1648] Galerta mustcale ... compartita in dtverst

echerzt dt chitarriglta ... parte batture @
parte sminutte; con un dtscorso utile, e eurto-
stsstmo alla virtuosa gtoventu. (Verona: G.B.
Merl: & fratel lis:
AISM Avi? I Be.
Comments: Wolf incorrectly cites the composer
as Pisari. Ktrkendale states that the dedica-
tion of this otherwise undated work gives the
date 4 Luglio 1648.

Peso/ME[1648 ] =Peso/[1648] S.P.E.S.

Peso/[1648/49 | Lo sertgno armonico. Opera seconda ... ove st

rtinehtudono vaghtssime danze, & artette al modo
ttaltano, spagnolo, e francese; per suonare in
concerto con basso, vtolino, manacordo, & altrt
tnstrumentt: et molte vaghtsstme villanelle, con
L'intavolatura della ehttarra spagnola. (s.1.,
Sele!)
RUS AL: CB YLpL.. fee:
Comments: According to Ktrkendale, the preface
of this work indicates that it was published a
few months after Pése/11648].

Peso/ME[1640? | = Peso/ [1648/49] S.P.E.S.

Peso/[1650?] toceave dv chitarrigita, parte teraza 2... Ove Con

etnque belltssimt ordini deseritta st vede una
factltssima regola per apprendere tl modo dt
suonare la chitarrtglia dt Spagna. (Verona:
Andrea & fratelli Rossi).
RSM AyTe 1) Vom.

Peso/ME[1650? } = Paso /)1650?) SPE.Ss.

Peso/NDt i.coneertt armontet dt chitarriglia-... ridotti

in etnque beltss. ordint. (Verona: Andrea & fra-
tell Rossi).
RiSM A/T OB EBL.

Peso/ND@ Rtereattont armonitche overo toccate di chit-

tariglta ... ove con bellisstmo ordine descritto
st vede tl vero modo per sonare ad uso moderno
la chtttariglia di ppogna. (Sil., S.2.).
AiOM Ayi= 1 Ba.
Appendix II (Phal/1546!-Phal/
1568)

PHALESE, Pierre

NOTE: Phal/1570 and Phal/1573 were published in conjunction with

Jean BELLERE.

Phal/1546! Des chansons redutetz en TabulatuRE DE LUC A

TROIS ET QUATRE PARTIES LIVRE DEUXIEME. [Cut
of ten performing mustctans] A LOUVAIN Par
Pitere Phaleys ltbratre. Lan de Grace M.D.XLVI.
Brown: GB Lbmh.
Comments: Ward (entry 191, p. 383-84) indi-
cates that works by Narvaez appear in lute
tabulature in this publication. Concordances
are. crteds

Phal/15462 Carminum pro Testudine Liber IIIT. IN QUO CON-

TINENTUR EXCELLENTISSIMA carmina, dicta Paduana
& Galtarda, composita per Franetscum Medtolanen-
sem: & Petrum Paulum Medtolanensem, ac altos
arttftces tn hace arte praestantisstmos. [Cut of
ten performing mustctans] LOVANIIT Apud PETRUM
PHALESIUM Btbltopolam juratun. Anno Domtnt
M.D.XLVI. Cum gratia & privtlegto ad trtenntum.
Brown: A Wn. GB Lbmh.
Comments: Ward (entry 191, p. 384) indicates
that this work, published under a pours GiieLen
contains the same music as Phal/1546!,

Phal/1568 LUCULENTUM THEATRUM MUSICUM, IN QUO (DEMPTIS

VETUSTATE TRITIS CANTIONIBUS) SELECTISSIMA
OPTIMORUM QUORUMLIBET AUTORUM, AC EXCELLEN-
ttsstmorum artiftewn tum veterum, tum praectpué
recenttorum carmina, matore quam unquam dtlt-
gentta & industria expressa, ocults proponuntur.
Et primo ordine continentur avté6pata quae Fanta-
stae dtcuntur, Secundo Canttlenae quatuor &
quinque Vocum. Postea Carmina difftctltora quae
Muteta appellantur, eaque quatuor, quinque & sex
Voeum. Detnde succedunt Carmina longe elegan-
tissima duabus Testudtntbus ludenda. Postremo
habes & etus generis Carmina quae tum festtvt-
tate, tum factlttate suit discenttbus, primo
maxtmé satisfacient ut sunt Passomezo, Gatl-
ltardes, Branles etc. [Cut of ten performing
mustetans]| LOVANII. Ex Typographta Petrt Pha-
Llestt Bibltopolae Iuratt. ANNO M.D,.LXVIII.
Brown: A Wn. D ROu. GB Ob. NL DHgm.
Comments: Ward (entry 191, p. 384) indicates
(Phal/1570-Phil/ND?) Appendix II
that this publication contains one fantasia, by,
Narvaez. Concordances are cited.

Phal/1570 Selectissima elegantisstmaque, galltea, ttaltea

et latina tn gutterna ludenda carmina, qutbus
adduntur et fantastae, passomezt, saltarellt,
galltardt, almandes, branles et simtlta, ex
optimts elegantisstmtsque collecta et tam cum
omnt diligentta recens impressa. His accesstt
Luculenta quaedam & perutilis instttutto qua
quisque citra alteutus subsidiun artem factilimé
peretptet. (Louvain: P. Phalése; Antwerpen:
J Bellere),
PISM Bie Di ROu (2 exc).
Comments: Contains plagiarisms of works pre-
viously published by Adrian Le Roy. See
Heartz (entry 229) for an explanation of the
relationship between LeRo/[1551]1 and this
work.

Phal/ME1570 = Phal/i570°SCHOTT (1969, ed. “by B.J. Gileshert.

Published under the title Flandrtsches Gittarren-
buch) .

Phai/i15/3 Selectisstma carmina ludenda tn Quinterna, cum

tripudis & instttuttone ad arte tn eandem.
Lovantt apud Petrum Pha[lestuls & Antverp.apud
Bellerum.
Broun: Now lost; actual existence questioned.

PHILLIS, Jean Baptiste

Phil/ND! Ah! vous dirat-je Manan. Avec 12 vartattons

poue Laeuittare. (aris: Imbault)).
RISM A/T: D-brd DUk.

Phil /ND? Etude nouvelle pour la guttare ou lyre dans les

tons Les plus usités, majeurs et mtneurs, ou
L'on démontre les difftceultés, les agréments et
les postttons du démanchement. (Paris: Pleyel,
Now 2Z03)%
RISM A/T: DK Kk.

Phil/ND? Nouvelle méthode pour la lyre ou guttarre a siz

eondes .4.. oeuvre 6... (Paris: Plevel. Now=455)-
RISM A/T: 1 Me.
Cons Pa. US U Coaim).
Comments: Music composed for six-string guitar
and lyre.

280
Appendix II (Pica/1752-PisD/1552)
PICA DA ROCHA, Joao Leite

Pitca/ 1752 Iteam instrumental da vtola Portugueza, ou de

ninfas, de ctnco ordens. (Lisbon).
Danner: P Pm.
Comments: Danner*s “Update....", ps 35 notes
that Ronald Purcell confirmed the existence
oDMEhis publication.

PICO, Foriano

‘Pico/1608 Nuova secelta dt sonate per la chttarra spagnola

econ aleune sonate e passegtate non piu poste
alla stampa, tutte curtose tra le quali vi s'é
aggtunto la Steiltana e le letante de'santz, con
L'tntavolature messe spezzatamente, e la Roma-
nella. (Roma: Giovanni-Francesco Paci).
Pobom, aa Fe Bowe 1. Nas
Danner: I Bc, Nn. F Pn.
Comments: Ktrkendale indicates that Mill1/1661
and Mill/1676 are plagiarisms of Pico/1608 and
Pico/1609. Kirkendale and Danner, in conflict
with AISM, cite Naples as the place of publica-
tion of the 1608 edition; the 1609 edition, not
listed in RISM or Wolf, is listed as a Rome
edition in Ktrkendale. Ktrkendale states that
Wolf incorrectly cites Francesco Pari, 1628 for
the Paci, 1608 edition. However, MINKOFF fac=
simile edition (Pico/ME1628) identifies the
original edition as: Naples: F. Pace, 1628; not
1608.

Pico/1609 Pico/1608 (Rome).

Kirkendalte: F Pn. I Pn.
Comments: See comments for Pico/1608.

Pico/ME1628 Pico/1698 (Naples). MINKOFF

PISADOR, Diego

Pas)
/1552 Ltbro de mustca de vithuela, agora nuevamente
compuesto por Diego Pisador, veatno de la ctudad
de Salamanea, dirigtdo al muy alto y muy poderoso
sefior don Phtltppe prinetpe de Espana... (Sala-
manca: D. Pisador).
Rue bam saree teh Ping SGBoLbdy. US BE, .R-
Comments: Contains works by J. Basurto (2),
Mombikecha, N- Gombert (3), dosquin (13), C.
Morales, J. Mouton, J. Vasquez (3), A. Willaert
(2). Music composed for vihuela.
281
(PisD/ME15521-Porr/[1785]) Appendix II

PisD/ME1552! PisD/1552 BreitkopfHartel (1902, ed. by Conde de

Morphy).

PisD/ME15522 PisD/1552 CEstHist (1923, ed. by E. Martinez

Torner).

PisD/ME15523 PisD/1552 MINKOFF (1973).

PLAYFORD, John

Play/1652 A booke of new lessons for the etttern and

gtttern. (London).
Danner: GB Gu.
Comments: Contains music for four-course
euiltar

PLEYEL, Ignace

Pley/1788 Porr/1788
Comments: Contains works by Pleyel.

Pley/Nbt Stx sonatines per [!] la guttarre avec accom-

pagnement d'un vtolon. (Wien: Johann Cappi,
No. 986).
RISM A/T: CS Pum.
Pley/ND2 Duettino [C] fiir fldte oder vtolin und ghitar [!].
(Wien: Pietro Mechetti q@™ Carlo, No. 202).
RISM A/T: DK A (with price-tag: Copenhagen,
GiCy hose).

Pley/[ca1soo]1 Anon/[cal800]1
Comments: Contains works by Pleyel.

Pley/[1802] Stxe sonatines |G, D, A, G, C, Gl pour ta guitarre

avee accompagnement d'un vtolon. (Leipzig: Breit-
kopf & Hartel, No. 96).
RISM A/T: A Wst. CH BEL. I cDO. US IObenton.

PORRO, Pierre-Jean

Porr/[1785] Nouvelles étrennes de guitarre ou recueil des

plus jolites romances et couplets qut atent paru
dans l'année 1784 sutvts d'une sonate et de plu-
steurs ptéces pour la guttarre seule, mis en
mustque et arrangés expressément pour cet instru-
ment «~~ par Ms Porro.sQeuvre. 1V ... (Paris:
Baillon).
RSM Bs iT oF Pre eUS ONY
282
Appendix II (Porr/ME
[1785 ]-Riba/ME1677)

Comments: Contains works by Grétry, Lalleman,

leben Mantind, de Mayer,.P. Porro, Anon.

Porr/ME[1785] Pore 7SojeS.P.EVSi) (Opere-scelte, fascicle b).

Porr/1788 Journal de guttarre, ou choix d'atrs nouveaux

de tous les caractéres avec préludes, accom-
pagnements, atrs varlés, &c ... Pincé et dotgté
marques pour L'instruction ... par Mr. Porro ...
12 eahters et les étrennes de guttarre ...
(Paris: Porro):
Bo ee erer co (a ponte Gieoop
esia USENYD <
Comments: Contains works by Bertoni, Bonesi,
Cambini, Champein, Dalayrac, Desaugiers, M.
Foignet, Grétry, J. Haydn, Hoffman, Kozeluch,
Martina, Mensozzi5) Pleyél, Porro, Propiac,
J.J, Rousseau, Sacchini.

Porr/ME1788 Poriyl/6815.Pc8.9.. (Opere Sceelte, fascicte c)-

Porr/ND Collectton de préludes et caprices dans tous les

tons pour l'étude de la guitare. (Paris: auteur).
Rise aie Bien baPp.

Porr/ME/ND Porr/ND=S.P:E.S. (Opera scelte, fascicle d).

PRIETO, P. F. Victor

Prié/ 1799 Abre/1799

Comments: Joint authorship (Abreu and Prieto).
Prieto composed the divertimentos for this
work.

RIBAYAZ, Lucas Ruiz de

Riba/1672 Luz y norte musteal para camtnar por las etfras

de la guttarra espajiola, y arpa, tafvier, y cantar
& compas por canto de organo; y breve expltcacton
del arte, con preceptos factles, tndubitables, y
explicados con claras reglas por teortca, y
practtca. Compuesto por D. Lucas Ruta de Rtbayaz.
(Madrid: Melchor Alvarez).
RISM B VI: GB Lbm.

Riba/1677 Riba/ 672

BESMeBaVls)B.Be. DB. E Messina G sexs) a F-Pc
(tera)... GS. Lbm; ‘Lem., US-Cn;-NYhss4NYpy. Sis’,
Wem.

Riba/ME1677 Riba/1677 MINKOFF (1972).

283
(Ricc/1677-Ront/1618) Appendix II

RICCI, Giovanni Pietro

Rice/1677 Scuola d'intavolatura con la quale etaseuno senza

maestro puo le imparare a suonare la ehitarriglta
spagnuola, accordare, fare tl trillo, tl repteco,
trasmutar da una lettera all' altra corrtspon-
denti ... (Roma: P. Moneta).
RISM B VI: F Pthibault. GB Lbm (47p. out of
bp. ie

RITTER, Peter

Ritt/ND Notturno pour guttarre, fltite et alto. (Mainz:

Bernhard Schotts Sohne, No. 1165).
RISM A/T: D-brd Mmb (contains: fl, vla,
guitarre; price-tag: Kéln, Gebriider Almenrdder).

ROLLA, Alessandro

Rol1/ND Tre duettini [F, C, F] per chttarra e vtoltno.

(Zurich: Johann Georg Nageli).
RISM ALT 2 CH Bue.

ROMANO, Remigio (Compiler)

Sée [im order of appearance] Anon/1618°, Anon/16221, Anon/1623°,

Anon/1625.

RONCALLI, Ludovico

Ronc/1692 Capritect armonict sopra la chitarra spagnola,

Op. I. (Bergamo: Sebastian Casetti).
RISM A/T: D-brd MUs. F Pthibault. GB Lbl.
lL Be, BGe; Mb, Re, Rse.

Ronc/ME1692+ = Rone/1692 EdChanterelle (1979).

Ronc/ME16922 = Rone /1692°S..P.isS.

Rone /ME169223 = Ronc/1692 FORNI (1969).

Rone /ME16924 = Ronc/1692 BARENREITER (1979).

RONTANI, Raffaello

Ront/1618 Le varte mustche a una, due e tre voct per can-

tare nel eimbalo, 6 tn altrt stromentt simtlt con
284
 Appendix II (Ront/1619-Rowb/
[1568] )

L'alfabeto per la chttarra spagnola. Libro

secondo, opera sesta. (Roma).
Danner: I Rsc.
Wolf:-1 Vnm. GB Lbl. I Rvat-capp. giulia.

Ront/1619 Le varte mustche ... a una et due voci, per can-

tare nel ctmbalo, o in:altrt stromentt stimtlt,
con L'alfabeto per la chitarra in quelle pti a
propostto per tale stromento. Libro terzo, opera
settima. (Roma: Luca Antonio Soldi).
RES Ake GB ibd. vam

. Ront/1620 Ront/1619 Ltbro 5. (Roma).

Wolf: I Vnm. GB Lbm.

Ront /1622 Ront/1619 Ltbro 6. (Roma).

Wolf: I Vom. GB Lbm.

Ront/16211 Anon/16211
Comments: Contains two works by Rontani.

Ront /16212 Anon/16212

Comments: Contains two works by Rontani.

Ront/1623 Le varte mustche a una, due, e tre vocet, per

cantare nel ecimbalo, o in altrt stromenti simtlt,
con L'alfabeto per la ehttarra spagnola in quelle
ptu a proposito per tale stromento. Libro primo.
(Roma: Antonio Poggioli, appresso Giovanni
Battista Roplet ta).
Pel i ab ein. 1s Vim

Ront /1625 Varte musiche a una e due voct . per cantare

nel cimbalo e nella ttorba, con l'alfabeto della
echitarra spagnola tn quellt ptu a propostto per
tale tnstromento. Ltbro quarto, opera ottava.
(Romas Giovanni, Battista Ropletti)..
RISM A/T: I Rvat-capp. giulia.

ROWBOTHAM, James (Publisher)

Rowb/ [1568 ] The breffe and playne tnstructton to lerne to

play on the gyttron and also the Cetterne.
(London: James Rowbotham).
Brown: Now lost.
Comments: This work may be an English transla-
iLon sos LeRo/[1551]1. See Heartz (entry 229)
for an explanation of the relationship between
the two works.

285
(Rubi/1799-Sabb/1641) Appendix II

RUBIO,
M. J.

Rubi/1799 Metodo Facil De Guttarra Dedicado a Los Aftcto-

nados Por M.J. Rubio. Proptedad. Pr: 28 Rs.
Madrid Este Metodo ademas de los conoctmtentos
generales. conttene otras cosas, 24 ptezas de
todo genero de batle.
Com? E- iin. Wa
Comments: Music composed for six-course guitar.
Cor dates this work 1799.

RUIZ DE RIBAY AZ, Lucas

See RIBAYAZ, Lucas Ruiz de

RUSH, George

Rush/NDL XII Favourtte lessons or atrs for two guittars,

opera 2d. (London: James Oswald).
RSM A/F: GB ipl.
Comments: Tyler (entry 3, p. 109) dates this
work ca..1755 and indicates that it contains
titisic for English gubtary«a type of citterm:

Rush/ND@ a first set of sonatas Té, Cy lk forthe qgetiar,

with an accompanyment for another gutttar or
vtolin. ([London]: author).
BICMeAy iGO. Gn, .Lbdse

Rush/[cal800]! = Anon/[cal8s0o]+t
Comments: Contains works by G. Rush.

SABBATINI, Pietro Paolo

Sabb/1622 = ?Anon/1622
Comments: Contains works by P.P. Sabbatino,
possibly Pietro Paolo Sabbatini who began
publishing his own works in the same city
(Rome) eighteen years after this edition.

Sabb/1640 Canzont spirttualt ad una, a due, et a tre voct,

da cantarst, @ sonarst sopra qualstvoglia tstro-
mento, ltbro secondo, opera dectmaterza. (Roma:
Ludovico Grignani).
RISM A/T: GB Lbl. I Rvat-eapp.giulia.

Sabb/1641 Vartt caprtect, e canzonette a una e tre voet da

ecantarst sopra qualsivoglta tstromento, con l'al-
fabeto della chittara spagnola ... libro settimo,
286
Appendix II (Sabb/1650-SanM/1565)

opera dectmaquarta. (Roma: Vincenzo Bianchi).

RISM A/T: GB Lbl.

Sabb/1650 Prima scelta dt villanelle a una voce dellt dtect

ltbrt ... da cantare sopra a qualstvoglia instru-
mento, con L'alfabeto della chttarra spagnola.
(Roma: Vitale Mascardi).
RISM A/T: I Rdp.
Babb i652. Sabb/1650 ... dt nuovo ristampate, e corrette.
RISM A/F: GB LbI:

Babb i652 - Primavscelta di uillanetle a.due voet ... da

sonarst tn qualstvoglta tnstromento, con le
lettere accomodate alla chittara spagnola.
(Roma: Vitale Mascardi).
AGMA Ts (GBe Lb. US vWes

Sano/165(2]~ Seconda scelta dt villanelle a una voce dellt

dtect litbrit ... da cantare sopra a qualsivoglia
tnstrumento, con l'alfabeto della chitarra spa-
gnola ... dt nuovo ristanpate e corrette. (Roma:
Vitale Mascardi).
RIiSM A/ie GBR Lbi.

SAN SEVERINO, Benedetto

SanS/1620 Intavolatura factle delli passacallt, ctaccone,

saravande, spagnolette, fulte, pavaniglte, pass'e
me2z2t, correntt, & altre varte suonate composte,
& accommodate per la ehttarra alla spagnuola ...
opera terza. (Milano: Filippo Lomazzo).
RISM A/E> GBLbL.

SanS/1622 Il primo libro d'intavolatura per la chitarra

alla spagnuola, de passacallt, ectaccone, sara-
vande, spagnuolette, folte pavaniglte, pass'e-
meS3L, correntt, etaltre varie suonate ... dt
nuovo rtstampato, con aggtonta d'aleune canzonette
dal istesso autore ... opera terza. (Milano:
Filippo Lomazzo).
Bio Miet nee Goalie. ols Dee

SANCTA MARIA, Tomaso de

SanM/1565 Libro llamado, arte de taner fantasta, asst para

teela como para vthuela, y todo tnstrumento, en
(SanM/ME1565-Sanz/ME1674°) Appendix II
que se pudiere taner a tres, y a quatro vozes, y
amas... el qual por mandado del muy alto con-
sejo real fue exaninado, y aprovado por el emt-
nente mustco de Su Magestad Antonto de Cabegon,
y por Juan de Cabegon, su hermano. Compuesto por
el muy reverendo padre fray Thomas de Saneta
Maria ... Parte f{-d1). \Walladolid: Francisco
Fernandez de Cordova).
REG Se Vie D8, Roy te Ba, 8, Mme s FC” Pay
GB"Ge; Lim, US’ Ch, ‘CAhy Ry “Wen:
Comments: Music composed for vihuela and key-
board. Although primarily a work for keyboard,
theoretical discussions may be applied to the
vihuela and other instruments.

SanM/ME1565 = SanM/1565 MINKOFF (1973).

SANTINO
DA PARMA

SanP/ND = MonL/ND
Comments: Contains four works by Santino da
Parma.

SANZ, Gaspar

Sanz/1674 Instruceton de mustca sobre la guitarra espanola,

y metodo de sus primeros rudimentos, hasta taner-
la con destreza. Con dos labertntos tngentosos,
vartedad de sones, y dances de rasgueado, y pun-
teado, al estilo espanol, ttaltano, francés, y
inglés. Con un breve tratado para acompanar con
perfeceton, sobre la parte muy essenctal para la
guitarra, arpa, y organo, resumtdo en doze reglas,
y exemplos los mas prtnetpales de contrapunto,
compostcton ... Compuesto por el licenctado
Gaspar Sanz, aragones,... Libro primo [-tercero].
(Zaragoza: herederos de Diego Dormer).
RES B Vis) Mos.’ E Bday Ma. US° Wem.

Sey aye = Sanz/1674" Insthern@at (1952).

2
Sanz/ME1674 = Sanz/1674 Linda Ragus, “A translation and tran-—
. . 1 mae veers
scription of Gaspar Sanz’ Instruccion de musica
 5
Appendix II (Sanz/ME1674 -~SchC/ND°)
sobre la guitarra espanola." Unpublished M.A.
thesis, University of California’ at San Diego
(1965).

Sanz/ME1674> Sanz/1674 InstEspMusic (1966).

Benz /MEL6T4 Sanz/lo/48Entey O74 (1974, ed. by Jerrold A.

Manns’, 30° dances)’.

Sane MELO TA Sanz/1674 (ltbro primero). Entry 376 (1976-77,

ed..by Rodrigo de Zayas):

Sane /MEIGTA° Sanz /674— SCHOTT

Sanz/1697 Sanz/1674
FU eMa Be iD Bi. Gi Gira DB. seaM ie ain e@aex.) >
F Pc. GB Lbm. NL DHgem. US R.

Sane 7ME1 69 7 Sanz/1697 InstFernCat (1952).

Sane MEIGo 7 Sanz/1697 MINKOFF (1976).

Sanz/ME1697° Sanz/1697 SCHOTT

SARTI

Sart/ Liss | Laba/ [V/8e|

Comments: Contains works by Sarti.

SCHEIDLER, Christian Gottlieb

Schc/ND- sonacre [CG] pour la guttarre ... WP ([hand-

senriftltehs| 1-2). (Mainz: Bernhard Schott,
No. 199[-200]).
RISM A/T: S Skma.

SchC/ND* Duo pour guttarre et viotlon .. . W ({hand-

SCnpipeLlicn: | hk (DIS 2 [2 |). Carini Bernhard
Schotts Sohne, No. 225[-226]).
RISM A/I: D-brd B, MZsch (1, 2).
SchC/ND> Duo pour guttarre et vtoton .. ee (ELt=
ville: Georg Zulehner, No. 225) =
RISM A/T: A Wn ‘(guitarre, vl).

289
(Sche/ND-SchF/ND-) Appendix II

SCHEIDLER, J. F.
Sche/ND Nouvelle méthode en frangats et en allemand pour
apprendre la guitarre ou la lyre ... 1¢¥€ partte.
(Bonn: N., Simrock), No.f 385).
RISM A/I: CH Behristen. D-brd Tu.
Cone Faves US U eGR).

SCHLICK, Johann Conrad

Schl1/ND Recueil de petites ptéces pour la guttarre ...

cahter I [12 Lieder, 2 Sonatinen tn F und C].
(Leipzig: Breitkopf & Hartel).
RISM A/I: D-brd LUh. D-ddr Bds.

SCHONIGER

Sch6/ND Variations [G] pour deux guttarres. (Bonn:

Nu Simrock, No. 394)...
RISM A/I: D-brd LB.

SCHULZ, Andreas

SchaA/NDL 6 Walzer nach Sachsischer Art [F, F, d, G, G, C]

fiir Guttarre, Violin, und Flite ... 4tes Werk,
lites fefe.. Wien > Artariay’&.Gon, NOw2292
([Umschlag: | 2202).
RESM A/T: CH FE (euitarre).

SchA/NDZ Set vartaztont con finale d'un tema originale per

la echitarra. (Wien: Jean Traeg).
RISM A/i: D-brd Mbs.

SCHULZ [SCHULTZ], Johann Abraham Peter

SchJ/ND Klage der Schaferinn. Fiir dite Guitarre. (Hamburg:

Rudolphus: Altona: Crang. Now 552).
ALS AES ROWS.

SCHUMAN, Friedrich Theodor

SchF/NDL Thirty etght lessons, with an addition of six

French & Italtan songs, for the guittar ... opera
IS, (London: Michael Rauche & Coes
RisM Ay ie BIRE Dns GB Gm, bei.

290
Appendix II (SchE/ND°-Soto/1764)
Z
SchF/ND A second set of [21] lessons for one and two
gutttars ... opera IT. (London: J. Johnson).
moo 77tf: GB Lb1l: S*Skma: US Ch, I0, NYp.

SEVERI PERUGINO, Francesco

Seve/1622 = Anon) L622

Comments: Contains works by F. Severi, possibly
Francesco Severi Perugino who published his own
work in the same city (Rome) four years later.

Seve/1626 Arte dt Francesco Severt Perugino Cantor dt N.S.

a una, due, et tre voct Da Cantarst, nel Chttar-
rone, Clavitcembalo, & altri stmilt Instroment.
Con aleune Arte con l'Alfabeto per la Chttarra
alla Spagnola. Ltbro Primo Opera Seconda. (Roma:
Appresso Paolo Masotti).
Wolf: I’ BDG, formerly Oscar Chilesotti's lib-
Lavy.
Comments: Chilesotti (entry 269) gives infor-
mation on this work and a transcription of ten
compositions.

SFONDRINO, Giovanni Battista

Sfon/1637 Trattenimento virtuoso dtsposto in leggtadrissime

sonate per la chttarra. (Milano: Giorgio Rolla).
mio As Eo ries

SORS,
F [ernando]

Sors/ND = Gist/ND
Comments: Contains works by F. Sors. According
to Jeffery (entry 556, p. lo). Sors was active
as a composer of opera and guitar music before
1800, although no published works are known.
In his catalog of Sors' works, Jeffery indicates
that Sors' Op. 1 was published in London, ca.
Sis and not) berere Si5%

SOTOS, Andrés de

Soto/1764 Arte para aprender con factltdad, y sin maestro,

a templar y taner rasgado la guttarra de etneo
(Stra/ND-Stra/ME[1768]) Appendix II

érdenes, 6 cuerdas; y tambien la de cuatro Oo sets

érdenes, llamadas guitarra espanola, bandurrta y
vandola, y tambien el tiple. Demuéstrase con
grande clartdad la formacton de los 12 puntos
naturales, y 12 b.mollados con laminas, y prin-
etpalmente se pone una tabla, que por ella se
puede etfrar cualquiera tono, tocarle y cantarle
por doce modos distintos, sacado de las mejores
obras y maestros: dispuesto, recoptlado y awmen-
tado por Andrés de Sotos. (Madrid: imprenta de
Cruzada).
RISM B VI: E Mn. GB Lbm. US NYp, R, Wem.

STEFANI, Giovanni (Compiler)

See [in order of appearance] cons (ara dpa 620k Apion [62
Anon/1626, Anon/1620, Anon/16222, Anon/16232.

STRAUBE, Rudolf

Stra/ND Lessons for two guittars with a thorough bass.

(London: Michael Rauche).
Rist A/is GB ipl.
Comments: Tyler (entry 3, p. 109) indicates
that this work contains music for English
guitar, a type of cittern, and dates it ‘2.
L763

Stra/[1768] Three Sonatas for the gutttar, with aecompany-

ments for the harpsichord or violoncello ...
With an addttton of two sonatas for the guittar
accompanyd with the vtoltn. Ltkewtse a chotce
collection of the most favourtte English, Scotch
and Italian songs for one, and two guittars, of
different authors ... Also thirty two lessons by
several masters. (London: for M. Rauche).
RISM B IT: GB Lbm.
Comments: Tyler (entry 3, p. 109) indicates
that this publication contains music for English
guitar, a type of cittern. Contains works by
Gernvaston Ne 2 leCimin moimatiner

Stra/ME[1768 ] = Stra/[1768] BARENREITER (1979).

Appendix II (Tard/1634-Tiss/[cal780])

TARDITI, Oratio

Tard/1634 = Vinc/1634
Comments: Contains two works by Tarditi.

Tard/1646 Arte a voce sola di Oratio Tarditi per cantar

nella sptnetta, chttarrone é altro tstrumento.
Con le lettere, & tntavolatura per la chttarra
alla spagnola, racolte da Alessandro Vincenti ...
(Venezia: A. Vincenti).
RISM B I: NL DHgm.
Comments: Contains works by F.M. Melvi.

THACKRAY, Thomas

Thac/Nb! Di Vessons CSF, (C5 Cau, Cll gor the ouctian.

(York: Thomas’ Haxby, for the’ author).
Rilo A/t: GBAGn, Lb

Thac/ND2 = Thac/ND! (York: Longman & Broderip).

AL A/ ls S*Skma,.

Thac/ND? ote lessons for “the guittar«.. opera seconda.

(London: author).
pigohi a / i= Gbe Cia US alps

Thac/ND4 UMEIVE ALVErTUMNENLE Cs uly bs Cs. Ba C. 6,..C,-8,

C, C, F\ for two gutttars or a guittar & violin
opera 38d. (London: Longman, Lukey & Co.).
RESM AES GBy Lbs,

Thac/ND- 12 diverttssements pour deux gutttars avec

L'aecompagnement d'un vitoton ou guittar 2me ...
Cape ornit 60)!<
Res Aye: “CSe Pune (eur tar el).

Thac/ND® A collection OF forty four airs... for one or

two gutttars. (London: John Johnston).
RSM Ay: GB Gm (ane. )::

TISSIER

Tiss/[cal780] IVé Recuetl d'artettes d'opéra comiques et autres

avee accompagnement de guitarre et autres airs
connus par la guitare seule par Mr. Tisster ...
Geupre: 86 22. (aris: Le Duc).
RES B tis Bo Bes

299
(Tode/ND-ValE/1547) Appendix II

TODESCHINO

Tode/ND = MonL/ND
Comments: Contains works by Todeschino.

TRAEG, Andreas

Trae /NDt Différentes petites ptéces faciles pour la gut-

tarre seule ... oeuv. 6. (Wien: Jean Traeg,
Non cs).
RISM A/I: A Wem.
Trae /ND2 15 Vartattonen nQuant' e pru bello" aus nla
Molinara" [von Paistello]. Guitarre (Sammlung
verscniedener Vartattonen, Nr. 6). (Wien:
Jean *Traeg, No. S84).
RISM A/T? AMst. PL WRa.

TROMBETTI, Agostino

Trom/1639 Intavolatura dt sonate, nuovamente tradotte sopra

la chittarra spagnuola ... ltbro primo, et secondo.
(Bologna: N. Tebaldini).
RIGM A/1: 1 Be.

VALDAMBRINI, Ferdinando

ValF/1646 [thro primo d'tntavolatura dt chttarra a cinque

ordine. (Rema: s.n.)
RIM A/Es 1 Ree,

ValF/1647 Ltbro secondo d'tntavolatura dt chitarra a

cinque ordint. (Roma: s.n.).
RISM A/I: I Rsc.

ValF/1648 Il primo ltbro d'tntavolatura della chttarra

spagnuola con una regola factltsstma per poter
tmparare a sonare accordare, e far le lettere
dt detta chitarra da se medesitmo. (Roma).
Danner: No locations given.

VALDERRABANO, Enriquez de
ValE/1547 Iibro de mustea de vithuela, tntttulado Stlva de
strenas. En el qual se hallara toda diversidad
de mustea [7 vol.]. (Valladolid: Francisco
Fernandez de Cordova).
RISM A/T» A Wo. E Bu, Ma (2 exo VAS Cine.
294
Appendix II (ValE/ME1547!-yanE/ND4)
GB Lbl. I MOe. US NYhsa.
Comments: Music composed for vihuela.

ValE/ME15471 ValE/1547 BreitkopfHartel (1902, ed. by Conde de

Morphy).

ValE/ME15472 ValE/1547 CEstHist (1923, ed. by E. Martinez

Torner).

ValE/ME15473 = ValE/1547 InstEspMusic (1965, ed. by Emilio

Puyol):

ValE/ME15474 ValE/1547 MINKOFF

VALVASENZI, Lazaro

Valv/1634 Secondo gtardino d'amorost fiort, cioe arte a

voce sola accomodate per cantarsi nel clavt-
cembalo, ttorba, chttarrone, ouero altro stmile
tnstromento con L'alfabeto & tntavolatura per la
ehitarra spag., opera ottava. (Venezia: Bartolo-
meo Magni).
RDSM A/T: GB. Och.

VAN EYK, Jan Jacob

VanE/ND1 VI Vartagztont [C] per la chttarra con vtoltino o

flauto e viola obligata. (Wien: Artaria & Co.,
No. 417596
RISM A/T: A Wst, M.
VanE/ND2 VI Vartattons [G] sur le théme: Nel cor ptu non
mt sento, pour vtoton ou flite et ptanoforte ou
guitarre ... oe. 42. (Leipzig: Ambrosius Kithnel,
No. 853)-
RISM A/I: A Wem, Wst.

VanE/ND? oie [=Douze| petites pieces [Fy C, C, C, C, ¢

(Cys. Cy .C, C)) pour ptane-forte, & gutrarre
Lio, 1 (it). (Bonn. Nikolaus “Simrock. No.
5261 529i).
icie ies abd) LB Cbk.. Lc piss bks lla pr ane...
guitarre), Mbs.

VanE/ND4 VIII. Petites pieces tres faciles pour le forte

ptano ed guttarre. (Wien: Tranquillo Mollo).
RISM A/T: CS Bm (pf).
(VenH/1557-Vi dB/ND@) Appendix II
VENEGAS DE HENESTROSA, Luys

VenH/1557 Libro de etfra nueva para tecla, arpa, y vthuela,

en el qual se ensefia brevemente cantar el canto
Llano y canto de organo, y algunos avisos para
contrapunto. (Alcala: Ioan de Brocar).
RISM ARE? EO Mar 2 ext,ys
Comments: Music composed for vihuela, keyboard,
harp. Ward (entry 192, p. 383) andieates, taat
compositions by Narvaez are quoted literally
and are parodied in this publication. Ward
also cites concordances.

VenH/ME1557 VenH/1557 InstEspMusic (1944, ed. by Higinio

Anglés).

VENERI, Gregorio

VenG/ 1621 Le wart scherai ... a ung, dteve tre poer per
cantare nel eimbalo, o tn altrt stromentt simtilt
econ L'alfabeto per la chittarra tn quelle ptu a
propostto per tale stromento, ltbro primo, opera
guinta. (Rona: uca Antonio Solidi).
RISM A/T: GB Lbl.

VIDAL,B.

VidB/1776 Les sotrées espagnoles ou chotx d'artettes

d'opéra comiques et autres avec accompagnement
de guitarre, menuets et allemandes par Mr. Vidal.
(Parise. Boudin).
RESM A/Pe Un Ze (ines so FP Pe Cine.) «

VidB/1786-87 Journal de guttarre composée de sonates, de

ptéces d'airs arrangés d'artettes et romances
avee accompagnement de guitarre et vtolon ad
Ltbitum séparés du journal ... par Mr. Vidal,
(Paris auteur) .
RISM A/T: CH Bu (2e année). F Pe (2e année
ticesae |)ie

vidB/Nb1 [arrangement]: Pot-pourrt en trto concertant

pour guttarre et deux violons. (Paris: auteur).
REO A/T: F Pr.

VidB/ND2 Recuetl d'artettes, d'opéra comiques, et autres

avee accompagnement de guttare, plusteurs
atrs varlés, et trois duo pour guitare et vio-
Lon, ou deux gutvarre. (Paris: aux adresses
ordinaires; Rouen: Briere Luttier).
296
Appendix II (VidB/ND?-Visé/[1682])
Paine teehee. CH

VidB/ND2 [V?] Recueil de petits atrs vartés pour la

Gut care.» (Paris: auteur) .
AESM Aye F Pn.

VidB/ND4 Recuetl de ptéces et airs variés, suites des

premtéres Lecons nouvellement composées pour la
guitare. (Paris: Decombe, No. 163).
AL SM AIS Foie.

VidB/ND? Stx sonates pour la guitarre avee accompagnement

de vtolon ... IVéme oeuvre de sonate. (Paris:
auteur).
Rei A Leh Pais

VidB/ND® Stix duos coneertants pour guttarre et vtolon ...

VIT? oeuvre de duos. (Paris: Imbault, gravés par
Mme Chaume).
Pie MAS E Pct iCswit ar)

VidB/ND? [Doubtful attribution] Collectton of easy pteces

for the guitar. (London:-Vidal) .
ADSM A/re CS Pum.

VINCENTI, Alessandro (Editor)

Vinc/1634 Arte de dtverst raccolte da Alessandro Vineentt

commode da cantarst nel clavtcembalo chtitarrone,
et altro stmile stromento, con le lettere dell'
alfabetto per la chttarra spagnola. (Venezia:
A. Vincenti).
RISE be leRSse,
Comments: Contains works by G.P. Bert (2),
CosMathanuzz: |C2)_,) dard irs

VIRCHI [TARGHETTA}, Paolo

Virc/1574 Il primo libro di tabolatura dt ettthara dt

ricercart madrtgalt ecanzont napolitane et
saltarellt. (Venezia: erede di Girolamo Scotto).
RISM A/T: A Wn.

VISEE, Robert de
Visé/[1682] Livre de gutttarre, dédié au Roy. (Paris: Bon-
neuil, Nicolas Cheron, gravé par Hierosme Bon-
neuidel);
BSR A/i= FePnewe GB Lbl.
297
(Vis@/ME[1682]!-Weid/ND) Appendix II

Visé/ME[1682]~ Visé/[1682] HEUGEL (1969, ed. by Robert Strizich.

Published under the title Oeuvres complétes pour
guitare).

Visé/ME[1682]° Visé/ [1682] SCHOTT ()1971) , ede by F.J. Clesbert.

Published under the title Gitarrenbuch).
Comments: The Suite in G major is omitted from
the edition.

Visé/ME[1682]> Visé/[1682] MINKOFF (1973).

Visé/1686 Iivre de ptéces pour la gutttarre. (Paris: Bon-

neuil, A. Letteguine, gravé par Bonneuil).
RIGM As TF Pave ex).
4B 1
Visé/ME1686 Visé/1686 SCHOTT ([ca.. 1969], ed. by F.d. Cies—
bert. Published under the title Gitarrenstucke).

Aas 2 Visé@/1686 HEUGEL (1969, ed. by Robert Strizich.

Visé/ME1686
Published under the title Oeuvres complétes pour
Ouveare) .

Visé/ME1686> Visé/1686 MINKOFF (1973).

Visé/1689 Visé/1686
Danner: No locations cited. Fétts indicates
that Corbetta published this third book.

VITALI, Filippo

Vita/1620 Mustche ... a una, due e tre voet per cantare nel
eimbalo o tn altrt stromentt simtlt con l'alfa-
beto per la chttarra tn quelle ptu a propostto
per tale stromento, ltbro terzo. (Roma: Luca
Antonio Soldi).
RISM A/T? F Pe. US Cn.

Vita/1622 [75] Arte a 1.2.3. voet da cantarsi nel chttar-

rone, chttarra spagnuola & altri stromentt,
Ltbro quarto. (Venezia: stampa del Gardano).
RISM Aft: GB-Lb1. PL WRu.

WEIDEMAN [WEIDEMANN], Karl Friedrich [Charles Frederick |

Weid/ND Wetdeman's favorite minuet, for the harpsichord,

two german flutes or two: guistarss \s.12 ist.) .
RISM A/E GB Bre Tie

298
Appendix II (Weid/[{cal775]-Yate/ND)

Weid/[cal775] Anon/[cal775]
Comments: Contains works by Weideman.

WILLIMANN [WILLMANN], Eduard A.

Will/Npb+ Auswahl von Ltedern mit Begleitung der Guitarre

von L.A. Willimann. (Wien: Hoffmeister & Co.;
Leipzig: im musikalischen Bureau, No. 96).
Rigi, AAe Debrd kun,
Will/ND2 Mein Herr Bauer, grossen Dank. Antwort des Malers
an den Bauer. Gegenstiick zur Arte: der Bauer und
der Maler. Componirt flir's Forte-Ptano. (Hamburg:
Johann August BOdhme).
RISM A/I: D-brd Hmb. D-ddr Bds.

Will/ND3 Will/ND2 ... Compontrt fiir Gitarre und Forte-

PL anon CS ol a eersen 6)
RISM A/T: D-brd W.

WINTER, Peter von

Wint/ND Varcvativonen ~ ber etn@inema@ vom Caray fa- se.

fiir 2 Guitarren mit Hinweglassung der Worte
etngertchtet von Anton Diabellt. (Wien: Cappi
S Diabella, No, -208)%
RPioM A/T + ok Wn.

WRANITZKY, Anton

Wran/ND VI Variattons concertantes sur un théme ortgtnale

pour vtolon et guttarre. (Wien: Anton Paterno,
NOD OSE
RISM A/T: A Wem.

XIMENES, Antonio

Xime/ND Trots trios pour guitarre, violon et basse ...

oeuvre 1°. (Paris: Vidal, gravés par Mlle
Michaud).
AIM AALS Fores Pax

YATES, William

Yate/ND A collection of moral songs or hymns for a votce,

harpsichord and guitar. (London: Thompson & sons).
RISM A/I: GB CDp, Lbl.
299
(Zuck/ND-Anon/1648) Appendix II

ZUCKERT, John Frederick (Johann Friedrich)

Zuck/ND Stx sonatas or solos for the gutttar and bass

opera seconda. (London: author, Sarah Philips) .
RISM A/T: GB LEc.
Comments: Tyler Contry 3, ps 109)° indicates
that this work (was) published in 1759-and*con-
tains music for English guitar, a type of
CAC Ce hing

ANONYMOUS

Anon/ 1602 Secondo ltbro d'intavolatura dt citara, nel quale

st contengono varie et diverse sortt dt Ballt.
Raccoltt da diverst autort et nuovamente
stampatt. (Venezia: G. Vincenti).
BIGM pol: 1 Bex

Anon/1618+ Affettt amorost canzonette ad una voce sola poste

tn mustca da diverst con la parte del basso, & le
lettere dell' alfabetto per la chittarra alla
spagnola raccolte de Giovannt Stefant con tre
arte stctltane, et due vilanelle spagnole.
(Venezia: GG. Vincenti).
BISM Bs Bex
Comments: Contains thirty-five anonymous works.

Anon/16211 = Anon/16181 Novamente in questa terza impresstione

rt stampate.
Pisano 1 Be. US we.

Anon/1623+ = Anon/1618! Novamente in questa quarta tmpresstone

rtstampate.
RISVe £2: Bet

Anon/ 1626 = Anon/1618! Novamente in questa quarta impresstone

rtstanpate.
RiSM Bale 1 Be.

Anon/16182 Il primo ltbro d'tntavolatura della chitarra

spagnuola econ una regola factltssima per poter'
tmparare a sonare, accordare e far le lettere a
detta chttarra da se medesimo. Composto e dato
an. lucé da incerto autore. Bian detto libro sz
eontengono anco molte sonate passagtate non pti
da altrt datt in luce. (Roma: Catalani).
RiGee a Sleek,

Anon/1648 = Anon/ 16184

Kirkendale: I Rsc.

300
Appendix II (Anon/16183-Anon/16223)
Anon/1618° Prima raccolta dt bellissime canzonette musicale,
e moderne, di auttort gravissimi nella poesta, &
nella mustea. Per tl stg. Remigto Romano.
Civieeirza? jingAs: Salvador?) 4
nist Bes GByiibm.
Comments: Contains anonymous works only.

Anon/1622+ Anon/1618°
ROSE SUS Rs

Anon/1620 Seherazt amorost canzgonette ad una voce sola poste

tn mustca da diverst, e raccolte da Giovannt
Stefant con le lettere dell' alfabeto per la chi-
tarran alla spagnuota. Dedieate all! 211" sig.
Filtppo Musottt mto signore e patron osserv. ™,
Iitbro secondo novamente correttt et ristampatt.
(Venezia: Al. Vincenti).
Pio ee wk seelec’,
Comments: Contains twenty-five anonymous works.

Anon/16222 Anon/1620 Libro secondo novamente correttt et

rtstampatt.
FLSMeB Ee Ae Bes

Anon/16212 Giardino mustcale dit vartt eccellentt autort,

dove st contengono sonettt, arte, et vilanelle,
a una, e due vocet, per cantare con tl etimbalo,
et altrt stromenti similt, con L'alphabeto per la
chttarra spagnola, tn quelle ptu &@ propostto.
Dedicate al molt'illustre, e reverendiss. stg. tl
Sto. Paolo Quagieate.. (RomaiwG 3B. Robletti) -
RISM B I: I Rvat lacks p. 5-65 19-20).
Comments: Contains works by A. Antonelli, G.B.
Boschettis(3) <0) Catalan (ojn fF. Cerasolo (2),
AaCostantind (2)6 6G) Freseohaldr (3) .° 5-9 bandi,
Re Romtani-(2)<

Anon/ 16212 Raccolta de varti concertt musicalt a una et due

voct. De diversi eccellentisstmi qutort. Per can-
tare nel cimbalo & altri stromenti simtlt, con
L'alfabeto per la chitarra spagnuola, tn quelle
Din ponpRopocivo”.... ((Romat-G. BiasRobletti):.
RISM B I: NL DHgm.
Comments: Contains works by A. Antonelli (2),
C(enCaitaLanis Gy Gera? ens anda” theeMacchia-
Velie DeeMerzacend. (2). P Muti GG.B eeNaninos
R. Rontani (2), Anon.

Mon 1622" Vezgzosetti fiort di vartt ececellentt qutort, ctoe,

madritgalt, ottava dialoght, arte, et villanelle, a
una, e due voet. Da cantarst con tl cembalo, ttor-
ba, chitarra spagnola, &c. (Roma: G.B. Robletti).
301
(Anon/1623¢-Anon/1657) Appendix II

RISM B I: GB Lbm,
Comments: Contains works by N. Borboni (2), A.
Constantinisy AgeGranatay eer apuceiols 56.
Mutii (2466 GN Pers; PyPeeeabbatinoe, Fo
Séeveriy G.A. Todine (2). Beeorscianel ilo:

Anon/ 16232 Concertt amorost. Terza parte delle canzonette

tn mustea raccolte da Giovanni Stefano novamente
ristanpate et corrette ... (Venezia: A. Vincenti).
RIM BT: 1 Be, Me (Cinc.).
Comments: Contains thirty-seven anonymous works.

Anon/1623° Nuova raccolta di bellisstmt canzonette mustcalt,

e moderne, dt auttort gravissimi nella poesia, &
nella musica. Per itl. stg. Remtgto Romano. Parte
quarta s.« “Wenézia: A. Salvadori).
RISM B Ts Gb tim. USAR:
Comments: Contains anonymous works only.

Anon/16251 Anon /16232

RISM BI: US R.

Anon/16252 Prima [-quarta] raccolta di bellitssitme canzonette

mustcalt, e moderne, dt autort gravissimt nella
poesta, & nella mustca. Per tl stg. Remtgto
OmeOn (Peres (Gai G Ge IKOSSI) -
RIGOR t: FOP ec, GB Lbs
Comments: Contains anonymous works only.

Anon/1645 Conserto vago dt balletti, volte, Corrente et

gagltarde, con la loro canzone alla Franzese
nuovamente pdstt tn Luce per sonare con ltuto,
ttorba et chttarrino a quatro corde alla Napolt-
tana insteme, 6 solt ad arbttrto ... Compostt da
buono, m& tncerto quttore. Libro primo. (Rome).
Danner: | Be.

Anon/ 1646 Intavolatura di chitarra e chitarrigita con le

plu necessarie e facilt suonate a chi si diletta
dt tal professtone havute da duo eccellenti pro-
fessori e dedicate all' 111." signore tl stg.
Bartolomeo Bolognint. (Bologna: G. Monti).
ISM Te 1 Bex
Comments: Contains fifty-eight anonymous
works.

Anon/1657 Canzonette sptritualt, e moralit, che st cantano

nell' Oratorto dt Chiavenna, eretto sotto la
protettione di S. Filippo Neri. Accomodate per
cantar 21x24. 3. voet come piu ptace, con le
lettere della chitarra sopra arte communt e nuove
date tn luce per trattentmento sptrituale d'ognt
SUZ
Appendix II (Anon/1659-Anon/ [cal760]3)
persona, (Milano: €7F . Rolla).
ho Bis -GB Ge. TREn.
Comments: Contains works by T. Merula and
seventy-two anonymous works.

Anon/1659 Nuove canzonette mustecalt de diverst quttort.

(Venezia: Giacomo Batti).
Wolf: No locations cited.

Anon/[cal750]+ The Compleat tutor for the gutttar, containing

the best and eastest instructions for learners
to obtain a profictency, to whtch are added a
ehotece collection of the most celebrated Italtan,
Engltsh & Sceoteh tunes, curtously adapted to that
instrument. (London: C. & S. Thompson).
nieve 1 Bis Cl US NY p.
Comments: Tyler (entry 3, p. 109) indicates
that this work contains music for English
Sultan, a type of eittern.

Anon/[1755] Anon/[cal750]+ (London? J. Johnson)’.

fio ert: GC RenDin Gb Gm (ine). Lbmy USeep.
Comments: Contains works by Felton, Handel,
Oswald.

Anon/[cal760]+ Anon/{cal750]2 (London: Thompson & Son).

Rio +B° Tis 6B Dey Gm: "Cine sy

Anon/[cal760]2 Anon/[cal750]1+ With two scales shewing the method

of playing-in the Keys of C. and G.: to which ts
added eighteen favourtte songs adapted for that
instrument. Book Ist [-2nd]. (London: J. Oswald).
RISM B IT: GB Lbm.
Comments: Contains works by Handel, Hasse, J.
Oswald, Anon. Book 2nd is entitled "The pocket
companion for the guittar containing a favourite
collection of the best Italian, French, English
and Scotch songs oy

Anon/[cal750]2 The Ladies' pocket gutde or the compleat tutor

for the guittar, containing easy rules for
learners ... with a chotce collection of the most
favourtte airs ... (London: D. Rutherford).
Ris bebe: Di He, GB -Cpl,“eDp., bm.
Comments: Contains works by Corelli, Grano,
Handel, Snow. Tyler (entry 3, p. 109) indicates
that this work contains music for English gui-
tara type of cittern.

Anon/ {eal 7601 Méthode pour apprendre & jouer de la guttarre

par Don *** (Paris: Le Menu; Madrid: J. Guerrero) .
RISM B VI: US Wen,
303
(Anon/ [cal770]-Anon/ND?) Appendix II

Anon/ {¢al770] Compleat instructions for the guitar, containing

the most modern directions, with proper examples
for learners to obtain a speedy proftetency,
corrected by the most eminent masters. To which
its added a collectton of favourtte minuets,
marcenes, songs &c. adapted purposely for that
instrument. (London: J. Longman & C®&).
RISM B. bis USeies

Anon/[cal775] A pocket book for the guitar. (London: Longman,

Lukey and Broderip).
RISMOS Lie GB avom,
Comments: Contains works by M. Arne, T.A. Arne,
CG. Dibdin,y Handel, Humphrys, Martini, £2,
Monsigny, Morelli, Stanley, Weideman.

Anon/ [cal785 ] Bland's first collection of twenty four airs,

marches, minuets, &c. Twelve for one, & twelve
for two guttars or a guitar and violin, composed
by the best masters. (London: J. Bland).
RSM BT) saGie Icbms

Anon/[cal790] Complete instructtons for the gutttar containing

the most useful dtrecttons & examples for learn-
ers to obtain a speedy proftctency. To whitch ts
added a choice collection of favourite airs,
minuets, marches, songs &c. properly adapted
por that tnetrumene .../ (London: J, Preston):
ALSM B f72-GB Lbm @ ex). US NB, We.
Comments: Contains works by Giordani, Martini,
Morelli.

Anon/[cal800]+ Elegant extracts for the gutttar, conststing of

the most celebrated songs sung at the publick
gardens, and from the latest operas and enter-
tatnments, canzonets, rondos, airs with varia-
tions, allemands, dances, &c. composed and pro-
perly adapted for that instrument by the most
eminent masters. (London: J. Preston).
HESM deo = GB Gn. Ge. 25° Lbme
Comments: Contains works by Dr. Arne, Arnold,
C. Bossi, Dibdin, Giordani, Haydn, Hook, Kotz-
wara, Nicolai, Pleyel, W. Reeve, Rouget de
Lashe. Gy Rush, Gtorace, dg." Wanhal.

Anon/[cal800]2 Méthode pour jouer de la guitarre. (Paris).

RISM BV isch Pes

Anon/ND+ Il vero modo per imparare sonare la chitarriglia

spagnuola eon sonate nuove e factlt per prinet-
ptantt raccolte da diverst. (Perugia: per il
Cost lalntind
304
Appendix II
(Anon/ND2)
Wolf: No locations cited,
Anon/ND2 = MonL/ND
Comments: Contains eighteen anonymous works.

305
 ©

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 Chronological List
A number placed after a name indicates the number of works
published in that year.

A number preceded by ME indicates the number of modern edittons

of that work.

1535 Milan 1, ME 8 156? Gorlkier I

1538 Narvaez 1, ME7 1570 Phalése 1, ME 1

1546 Mudarra 1, ME 6 15/3 Phalese 1

Narvaez 2
Phalése 2 tS74> Varco 1

1547 Valderrabano 1, ME 4 1576. “Dazacts ME 4

1549 Barberis 1 15/6 Cabecon=1, ME 1

Le Roy 1
1550 Morlaye 1
1586 Amat 1
1551 Corlier 1:, ME. 1
Weskoy 2, MEL 13582 IU
a tids. (Ge | et

1952- "Le Roy 1,-ME-1 1596 Amat i

Morlaye 2
Pasador 1, ME 3 1602 Anon 1

i553) sbrayssine 1 1606 Montesardo 1

be hoy-1, ME.1L
Morlaye 1 1608 IPate@, 1

1554 Fuenllana 1, ME 4 1609 Pico 1

LeRoy 1, «MeL
1610 Kapsberger 1
foaoo the Roy Met
Aye Kapsberger 1
1557 Venegas de Henestrosa 1, ME 1 Montesardo 1

1564 Fuenllana 1 1614 Marinoni 1

1505) Sancta Maria, lL, ME 1 1616 Aragona 1

Corea, AL
1568 Narvaez 1 Palconieri 1
Phalése 1
Rowbotham lL

307
Appendix II (1618-1638)

1618 Gonereerelst il 1626 Amat 1

(Gakereresirey IL Briceno Ll, MEL
Rontani 1 Gieevayela, Ih
Anon 3 Severi l
AnOnee!
1619 Bamiecomale tate
Kapsberger 2 1627 Abbatessa lL
ROmMtani a Amat Mie a.
Berta al
1620 Colonna 2 Colonna 1
Landi 1 Costanzo
Rontani lL Basoloml
San Severino 1 Millioni 5
Vitataod Monte 1
Anon L
1628 Greikyenlileyest AL
1621 Vsovalstey Al Fasolo 1
anidaas 2 MBL Neugreraaal, I
i3Xeyelersbo mma iakexoy 10D, AL
Veneri 1
Anon 3 1629 Foscarini 1
Grandi Il
1622 Milanuzzi 2
Rontani 1 1630 Mauileiareiet Il
Sabbatini 1
San Severino 1 1631 MEEbawerms: 2
Severi 1
Watiegulat, al 1633 CamareLila i
Anon 3
1634 Bertis 1
1623 Colonna 1 Maclean 2k
Ferrari 1 Aenaa'Gest al
€hizZzolon 1 Valvasenzi 1
Giamberti 1 Watioyexsiageal aL
Igayelslz) IL
Kapsberger 1 1635 Abbatessa 1
Malan zz aise: iid eheyseavast AL
Rontanw 1 Millioni 2
Anon 3
1637 Abbatessa 1

1624 Colenna tT, ME .L

Aranies 1
ancdaaes!
Berit all
MEINE sonaysk IL
Mat enone Ib
‘Suetonaicbeatianey If
i625 MielParntizz ees
Romtanis
1638 Bartolomeo 1

Anon 2

308
(1639-1674) Appendix II
1639 Amat 1 1652 = Abbatessa 1
Combetuan| Malla
@ mee:
Trombetti 1 Playtord |}
Salolgieiuan 8
1640 Bartolotti 1
Busacti 1 1653 Bane tao
Carbonchi 1, ME 1
Doizi de Velasco 1 1655. ° Marini’ 1
Rosearini 2, ME 1
Pesori ME 1 loch a -Anom 1
SAloleama IL
TO59) eGranatae!, (MEL
1641 Sabbatini 1. Millioni 1
Anon 1
1643 Carbonchi 1, ME 1
Gerperta ul ME aL 1660 Marchetti 1, ME 1
Magan
ZzZ16 ll
Post- Marchetti l
1644 ~=Busatti 1 1660
Calvi. 1
MGLIL iLatexayat 1b 1661 Mable tomaaeal:

1645 Doizi de Velasco 1 l603= —Bottazzari: 1, MEL

Anon 1 Martin 1

1646 Cady iio, ME a. 1666 Milieoni 1

Granata 1, ME 2 Nivers l
iWewealtien IL
Valdambrini 1 166? Marchetti 1
Anon 1
1670 Goriandel i. 1
1647) Walitoni 1, ME 1 Nivers 1
Valdambrini 1
1671 Garre J. ME 1
1648 Corbetta 1 Gorbetta J, ME 1
Marchetti 1 La Grange l
Pesorz 1, ME 1
Valdambrini 1 1672 SP Ribayaz el
Anon 1
1673 Gorbetta
1648/ Pesori 1 Millioni 2
49
1674 “Asioia a. ME 1
1650 Pellegrini 1, ME 2 Corbetta 1, ME 1
Pesori 1, ME lL Granata Mew.
Sabbatini 1 Sanz Mr 6

HES Granata f

309
Appendix II (1676-1770)

1676 NETO ALT Ih 1717 Campion 1

Médard 1
Mil vakewae JL 1730 Campion 1, ME 1

1677 Corbetta 1 Pei Majer 1

Ribayaz 1, ME 1
Rawecal, IL 1734 Campion 1

1678 Millioni l TST Millioni 1

1680 Granada ta. 174] Majer l

Grenerin 1, ME 1
Matteis L 1745 Amat 1

1682 Matteis ES-ME 1 1750 Amat lL

Visée 1, ME 3 Anon 2

1684 Granata 1 Ey5z Prea da kocha, i

Mama seyest, IL
1754 Minguet e Yrol ME 1
1686 Viseée 1, ME 3
1755 Anon lL
1688 Buse@ttaaes
Derosier 1 1758 Amat 1
Bremner lL
1689 Kremberg lL
Visée 1 1760 Anon 3

1690 Denosmtenr shy MEE 176] Amat ME 1

Merchi ME 1
1692 ROMA i Me Parry 1

1694 Guewaw ae ME 2 1762 Parry 1

1696 Derosier 1 1764 Lagarde 5

Nivers l Sotos 1

1697 SatZe ie Packs, Amat 1

Asuni 1
1698 Micheli 1
1766 Merchi 1
1699 Derosier 2
1768 Merchi 1
102 Nivers 1 Straube 1, ME 1

1705 Campion 1, ME 1 1769 Merchi 1

1714 uhobeeskeh Ih, W0n, 2 1770 Bouleron 1

Merchi 1
1716 Campion L, ME 1 Anon 1

Su)
(1773-ND) Appendix II
T7273 Bailleux 1, ME 1 1799 Abreu 1
Lemoine ME 1 Ferandiere 1, ME 1
Moretti. 1, ME 1
1774 Minguet e Yrol 1 Prieto l
Rubio 1
775" Martine 1
Morelli 1 1800 Gatayes 1
Weideman 1 Giordani 1
Anon 1 Pleyel 1
Rush 1
1776 Vidal 1 Anon 2

1777 =Merchi ME 1 1802 += Pleyel 1

1780 Ballesteros 1 ND Abbatessa 1

Merchi 1 Albanese 2
Lissier. 1 Amat 1
Amon 4
178] Pambion sl. Mie 1 Aubert 1
Bartoloters J
WS5 > Asuni. 1 Boecklin 1
Martini 1 Brand 1
RoVErO Ik, IM Ak Bremner 1
Anon 1 Calegari 5
Canobbio 1
1786 Albanése 1 Carter 1
/Movensiest AL Castros
Cherbours, i
1786- Vidal 1 Cimarosa 1
87 Corbetta 2
Corrette l
iieoo, a Labarre, 1 Dalayrac 3
Martini 1 Delver 1
Pleyel 1 Dibdiay |
Portola Me cL Doisy-Lintant 15
Syauewest ip Eppinger 2
Foscaring 2
1789 Paixad Ribeiro l Gaude 1
Gistau J
1790 Giordani 1 Giuliani. .Gzr., |
Martini 1 Gopfert 6
Morelli 1 Gragnani 4
Anon 1 Granata 1
Huber 1
1795. ~-Chabran: 1. Keck 1
Guichard 1 Kraus 1
Light 1 Lemoine 3, ME l
L'Hoyer 8
1796 Vidal 1 Losy 1, ME 1
Martin y Soler 1

31]
Appendix II

Meweeaa, Ih, Ile 5) Schmize "A ae

Mabikibswoyeat, 1 Schuloe ase ee
Molino 1 Schuman 2
Monte 1 Sorsh
Monzino lL Straube 1
Moretti 2 Thackray 6
Pesori 2 Todeschino 1
Phillis 3 Traeg 2
Pleyel.2 Van Eyk 4
letoeievoy dls NUE). IL \Watreizil 7
Rateeeimaus Weideman 1
Rew Lil). IL Willimann 3
Rush 2 Winter 1
Santino da Parma 1 Wranitzky Ll
scheidter> *C.Gr 3 Ximenes 1
Scheidiler, Wi. Yates 1
Selim I Meiecessie IL
Schoniger 1 Anon 2

By
 How to Use the Index

Authors Names of authors, editors, compilers, and

reviewers are printed in bold face type.

Foub sects Names of individuals who are subjects are

printed, intelite type. as are al other
subjects.

Titles (composer) Titles of books and large musical works

are printed in italics, The mane sor «the
composer or author appears enclosed in
parentheses after the title.

"Titles" (composer) Titles of small musical works appear in

elite type and are enclosed in quotation
marks. The name of the composer appears
enclosed in parentheses after the title.

NUMBERS

100 Enery numbers,.of laterature in the bibliog=

raphy are in ibold face type.

100 Page numbers-are in elite type.

L00 The number of an entry of which the author

is a reviewer appears in italic type.

SUIS
 Index
The Index
Abbatessa, Giovanni Aguado,“ Dionisio 96>
Bactista 229, 307-08, Sear lO5e 40, 410.7 42;
310; 294 MN5=23, 5685. 633. 610,
Abl6niz, Miguel 834 814, 943
Abreu, Antonio 229, Aguiree, Ricardo xx
233 310: 2266 Agutter 326
Abreu, Sergio and Aimon, Pamphile Leopold
Eduardo (duo) 632 Francois 590
accompaniment 60; 37, "WegtAir varies op. 21
408 (Giulio Regondi) 524
Berlioz, Hector 435, "Meme Air varie”, op.
438 22 (Giulio Regondi)
ensemble 223; 5, :286, 524
466, 512, 803 airs 232-33 5236, 240,
keyboard and guitar LHSW"44, 24 P2520, 22,
1; 38-41 259 201 5266-67, 277;
Sor, Fernando 5/0 283° 288.293, 297 5. 304
voice and guitar (al- Aksenow, S.N. 99
fabeto notation) 223, Aksjonow, Siemion 102
229, 234= 305 o's Alba, Duchess of 544
250-5, “268; 729, Albanése, Egidio
B01 Giuseppe Ignazio 230,
voice end guitar’ 223, £6745 O10
233 ely LAO 24S 4 Albéniz, Isaac 405
DIO 7=98s 35 55 fl5 Alberti, Francesco 230,
13552095 200.5, 0905's 310
HIG SUNS O29 5) Do l-34, Alcazar, Miguel 724
b06-a7 «000,673, JO), Alessio, Gregory d'
709 132, 890, 896
Ach isnt, GLlovs Alexandrow, N.I. 99
Filoteo 878 atfabete 229; 232, 234,
"Acoustical properties 239 ee 2a Zo0—ob
of complex cavities. 254-56, 264, 268-71,
Prediction and mea- 2135 289567 0291, .295=
surements of reso- 96;,..298; 300-01; 3
nance properties of Alfonso, Licentiate
violin-shaped and Sebastian 375
guitar-shaped cavi- Alfonso, Nicolas 2]
ties 1016 Alfonson, Francisco 2]
acoustics 188; 648, NMAlias™ (Goffredo
970, 1016-30 Petrassi) /19
Adame, Rafael 80 Allemande 304
Adams, Henry 747, 855, Corbetta, Francesco
866, 668, 3/0; 950, 348
962, 9953 d55- 26 Doisy-Lintant,
Charles 247
Agafoschin, Peter See
Le Roy, Adrian. 260
Agafosyn, Peter
Morlaye, Guillaume
Agafosyn [Agafoschin],
Peter 103, 108 274-75
Phalése, Pierre
AVOstino; Py Zak
272
Aguado, Dionisio 414
314
Index

Vidal)
>B;.-296 in the United States"
Visée,
Robert de 382 Li2
Allgemetne mustkalische Andriessen, Jurriaan
Zeitung (AMZ) 413, pocasBak
526-28 Angel, Miguel 720
Almeida, Laurindo 639, Angel, Nico 869
649 paselt capes/ 3225 260
Alonso, Felipe 21 Angles, Higini 2%; 223
Alonso y Castillo, Anido, Maria Luisa 650-
Mariano 21 5s
"L"Alouette" (Brayss- “Annie, Laurie! CB.
ing) 236 Blessner) 135
Atsina,-José 21 "Antique guitars are
ewrEOMm viol2) 235, 245- soine for a sone 923
Onn Zee 5 (273 5 2O4 Antoine ("Gatayes"),
Alvarado, A. 983 Guillaume Pierre 592
Alver, Alfred W. 392, Antonelli, 7A. SOL
505 "Antonio Lauro in con-
Amat. Jian Carlos [Joan versation with Sue
Gartes | Ssex') 36 7:230— McCreadie" 867
Bh. 2 06=07 7, 30922)’, Apel, Willi xix; 167
PW tlod se?| 45.500-51 Appleby, Wilfrid M. 71,
America (United States) 152, 448, 545-46, 835,
general 20 S955) 24, oy
late 18th-early 20th Mragana, Pagtords wa?
c. 10 306
Seatis, carly 20th ec. Aranes [Aranies], Juan
guitar 48 232, 307; 289
string manufacturing Aranjo, Mozart 64
1031 Arcas Lacal, Julian
The American guild of Gavino 32, 110, 424-
banjoists, mandolin- 26
ists, and guitarists archlute 2
124-29 Arcos, Duque of 35
"The American guild of Argentina 15, 188; 45,
banjoists, mandolin- 56-62, 946
ists. pond <idtarisic, Argento, Dominick 654-
Preamble" 124 56
The American Guitar Letters from compo-
Society 130 sers 655-56
Ametliler Cabrer, Narci- acta 302
sor de 2! Aria brand=euitars 012
Amon, Johann Andreas araa dio tierenzar60:
Col), SLO 280
Anderson, Peter 544, arie [Arien] 234-35,
770 OA TRIG DAG E 248-
"Andrés Segovia. Cele- 250, 254, 256, 258,
brated guitarist" 77] Pope 730 30020%
"Andrés Segovia - Gold- ariettes 230, 236, 248,
en Jubilee. Fifty 293.,°/296
years of coneertizing
3S
A-B Index

Armontost concertt Bailleux, Antoine 233,

sopra chttarra spag- 309; 398
nuola (Domenico Pell- Baillon, Pierre-—Joseph
eerini) 369 235) 2309
Annes Drei Baines, Anthony
Arne, M. 304 (trans.) xvi
Arne. TAY 2304 Bakus, Gerald J. 7
Arnold 304 Bal [y Gay], José xix;
Arnold, Johann Gott- 193, 224
fried 593 Balada, Juan Ruano 657
arpa [arpa doppia] 237, Balaguer, Rafael 823
Doe 055 2 ieee ee 6 20 ballad 200, 242
See[d LEO? hare Ballard, Robert 160,
AVtZb. \AlLCey a/232 7303 229-30
775 Ballesteros, Antonio
Artzt, Alice 852-54 233, 309
Asaftev, B. 108 balletti 269, 302
Asiodli, “Francesco: 232, Ballo del Gran Duca
BIR e753 (alternative name for
Assimakopoulos, Evange- Arta dt ftorenza) 60;
los See Athenian Gui- 280
tar Duo bandweria 2723-2923 | 166
Asuni ,) Ghilind dt 232= Banfis, Ciulio<-234, 306
33, 309-10 banjo 124
Ateneo (in Madrid) 7/87, Banks, Benjamin 932
796 Barberis, Melchior de
Athenian guitar duo su, 294, 30670161,
bece so 208
Aubert, Pierre Fraweous Opera tntttolata con-
Olivier. 2355 310 CUE on. US
Augustine, Albert (gui- Barbero, Mareello 958,
tar strings) 1032 1012
Augustine, Rose L. 748 Barbosa-Lima, Carlos
Australia 1017 63, 90
Austria 188: 254; 413 Barbour, James Murray
Viennese instrument 153
making 947 Barcelona (Spain) 955
Avshalomov, Jacob xxiii Bargall6, Miguel M4s
Azkoul, Jihad 678 109
Azpiazu, José de 6, 250 Barrios Mangoré,
Azpiazu, José de 2] Agustin Pio 66, /8,
643, 657-61
Bach, Johann Sebastien Humoresca 657
wai 656, 865,>)0s4 Romanza 657
Bachmann, Otto 916 Preludto Saudade
Bacon, Frederick J. 661
141, 146 Barrueco, Manuel 855
Badessa See Abbatessa, Barta, Lubor 67
Giovanni Battista Barth, M. 378
bagpipe 403 Bartolomeo, de Selma e
bailes 2l/ Salaverde 234, 307

316
Index

Bartolotti, Angiolo 159, 165, 168-69, 179,

Mrehnele 234, 307,- 310 WOT elon 14, eco. or)
bass 300 Bernabé, Paulino 959
basse 299 Berner, A. 1000
basse de viole 245 Berner, Alfred 168
basso 253-54, 278 Berti, Giovanni Pietro
basso continuo 60, 234 > 254 B06 297, 307
2p ody ASAD, 204% Bertoni 283
Ppore e200: 5 209, eC82s Biberian, Gilbert 775
362 See also figured Biberian, Gilbert 643
bass and thorough- Biblioteca nacional
bass (Mexico) 83
baseoy ta parte dew232 Bickford, Vahdah Olcott
basson 252 Ih2, 463
Basurte 244 - 261 Bickford, Vahdah Olcott
Bateman, William O. 130, 663-64
ie. 141] pIeKTOrd, Zarh Mee tsG
Bathioli, Franz 499 Bicktord, Zarh M. Ih2
Baumbach, Friedrich Biedermeier period
August 594 38-4]
Beck, Sydney 871 "Biography of a classi-
Becker, Gunther xxiii Cal guitarase.. Anido
"Becqueriana" (Emilio Gonzales Isabel Maria
Pujol). /53 farsa’. -05U)
Beethoven, Ludwig von "Biography of a compo-
30, 404, 476 ser. Federico Moreno
Behlen, H. & Bros., Porroba G30
Inc. 999 "Biography of a guitar-
Belgium 35 ist. Julian Bream"
Bella, Stéphano de 884 666
Bellere, Jean xvi, 36, "Biography of a luthi-
279-80; 160 er. Domingo Esteso
Bellow, Alexander 59, Lopez" 964
177; 8, 369, 997 Birnbach, Henry August
Bellow, Alexander 662 595
Benjamin, Gerald R. 674 Blantchor, Francis 134
Benton, Rita xxii, 226 Blessner, E.
WAnnie Laurle i oo
"La Beolca'" (Colonna) Blumml, Emil Karl 936
ie: Blum, Carl Ludwig 596
Beran, Alois 91-92 Blume, Friedrich xxvi
Berg, Alban 642 Bobri., Vlad imt paoos
Bergonzi 903 VIS, J1Ds 195, 0905
Berlin -(Germany) 558, 1033
707 Bopri, Viadimir 133,
Berlioz, Hector 428-33 836, 890
Berlioz, Hector 96; 30,
Bobrowicz, Jan Nepomu-
396, 434-397 515, 642 can [Jean Nepomucene
Bermudo, Juan 209-12 dejo3e7,, 597
Bermudo, Juan xvi- Bobzin, Charles 103]
mvidd,. xx, 35-36; 153,

Boley
 Index

Boecherini, (awe 96s Le Marteau sans

440-44, 508 mattre 665
Bodleian Museum of Pili. selon ple. 065
Oxford University Boulley, Aubery du 600
924 Bourree
Boecklin, Franz Eried- by Robert de Visée
rich Siegmund August 385
Won. 29a, ILO Boyd, Liona 856
Bohm, Joseph 499 Brabec, Lubomfr 67
Boetticher, Wolfgang brand, Aloys Cari
19 225i SLO
Bohr, Heinrich 415 Brandon, George 133
Boileau, S. 244 bransles [branles ]
bolero (Fernando Car- 260, 274-75, 279-80
alli) 451 Braque, George 873,
Bologna (Italy) 360 882, 890
Bolzmann, Franziska Brayssing, Gregor xvi,
499 36, 236, 306
Bonanni, Filippo 295- Brazil 1; 63-66, //
96 Brazilian folk tunes
Bone, Philip J. xxi, (Heitor Villa-Lobos)
96; 51, 416, 440, 445, 837
450, 454, 464, 469, Bragtltan Song (canedo)
470, 485, 494, 506-07, (Francisco Mignone)
522-23, 590-628, 924 63
Bone, Philip J. 548 Bream, Julian 775
Bonesi 283 Bream, Julian 30). 639;
Boom, Jan van 598 666-70, 686, 775
Bowmgbonis, N= 302 Bremner, Robert 236,
Bortolazzi, Bartolomeo 309-10
499, 599 Breukers, El 857, 859
Bboschetti, G:B.. Bol Briceno, Luis de 236,
Bosman, Lance 67, 194, 20724271 5200 sae
CANS O4d oS ha s 332-34
768, 852, 864 Bridge, Sir Frederick
OSE, (5 BHO 319
Boston (American Guild A brtefe and plaine
of Banjoists, Mando- instruction (James
linists, and Guitar- Rowbotham) 229
ists) 127 Britten, Benjamin 634,
Botet, Maria Emma 47] 642,655; 671-73
Bottari, Ferdinando Noeturnal 671-72
924 Songs from the Cht-
Bottazzari, Giovanni nese 655, 673
2395 308 Broca, Jose 109-10
Bouchet, Robert 960 Brommelle, Norman 1000
Bouleron 235, 309 Brondi, Maria Rita 9
Boulez, Pierre xxiii; Brosnac, D. 100]
642, 665, B03 Brossard, Sebastien de
Domaines 665 297-98
Eclat 665

318
Index B-C

Brossard, Sebastien de Camarella, Giovan-

308 nIe Battista 208:.
Brouwer, Leo 78, 643, 307, 309
857 Cambini 283
"Metafora del amor" Campion, Francois
857 238-39; 252-53
"Hommage a Lenin" 857 canarios 60; 282
Brown, Howard Mayer canciones 275; 21/
ue ees? Sieh? Us "Canhoto", Ameri-
Deg 59-6127 4-7 5, co Jacomino
279-80, 285 [Joao] 64, 66
Browne, Rosalind 133 Ganos~ Antonioz110
Brussels (Belgium) 100 Cano Tamayo, Manu-
Buchner, Alexander 897- el 954
98 Canobbio, Carlo
Buckley, W. 112 29k eS 1.0
pueckemrentez 10, /15: cantade 234-35,
806 Zoe
Buek, M. 940 cantate 243, 248
Buenos Aires 61-62 canzonette 60,
Buonanni, Filippo See Dajee are at a
Bonanni, Filippo 2515. 286-37,
Burleson, Spencer 646 300-02, 304; 269
Burtnieks, Janis A. canzone alla Fran-
BCOn 4/2. 040, Ji 4 zese 302
Busatti, Cherubino 236, canzond 234). 297
307-09 Caprani, A. 11
Button, Stuart W. 72 Capron, Henry 120
24 Caprichos de
Clee heen 7/0 Goya (Mario Cas-
Gee.» 760 telnuovo-Tedes-—
Cabezon [Cabecon], co) 682
Antonio Caravaggio 878
Obras de must- Carbonchi, Antonio
CimoD eeeoe 239, 307-08
2g 207 se 300% Carcassi, Matteo
Weze 215. 246 962 ee: 395. eeOls
"Tres ‘sobre 412, 445-47, 810
el cantollano Carfagna, Carlo
demas alta sheers
216 Carfagna, Carlo
Calabria (italy) 1038
268 Carlevaro, Abel
Caldersmith, Gra- 66, 678
ham 961, 1017 Carr, Benjamin- 136
Calegari, Frances- "Dead march and
con 23/— 310 monody" 136
Call, Leonard von Carré Sieur de la
454-56, 499 Grange, Antoine 239,
Caivi., Carte, 237— CLONED vaclorpn cH
35,..008

5A bs
 Index

CarfiLlo=iru jako, 289; 202 See also

Julian Antonio 188; French song
79-80, 674-77 Charles, Sydney Robin-
Carter, Charles Thomas SO\q) soxataiat
239-40, 310 Charles II of England
Carter, Robert 120 256%, Booey B43y 347
Carulli, Fernando 96; Charleston (West Vir-
135. 9955640) 412." 443- einia) 121
Do) 4625..56/, Charnassé, Héléne 12,
Casanova, Maria Julia ZOOis oe
549 Charpentier, Marc—
Casanovas, Joaquin 109 Antoine 882
Gastellacci, Luigi 6Q1 Chase,-61. ber’ 155 365
Castelnuovo-Tedesco, 154-55
Mario 38-41, 634, Chavarri, Lopez 808
643, 679-84 Chavez, Carlos 722
Castro 240, 310 Chavez, Carlos 80
Catalani, 0. 301 Cherbourg, Mlle 240,
“Caterete™ (Oliveira FLO
Queiroz) 63 chiacone 241]
Cateura, Baldomero 109 Chiesa, Ruggero 749,
Cavalieri 280 804
cavatina 244 Chiesa, Ruggero 7/18,
Ceballos 244 858, 860, 863
Cellier, Jacques 29] Chilesotti, Oscar xxi,
Gainer, Go BO! 290; 252-53, 269, 3/79
Ceeasolla. 15 SxOIL Chilesotti, Oscar 685
Cerone sy Dies chttarra battente 36;
BEMelopeo 1975. 256 166,..267-68 397, S96,
Cerreto, Scipione 299- 925, 928
300 chitarra napolitana
Cerreto, Scipione 165 307
Cexuttt,. Sitvio, 7514 "Una chitarra quarti-
762, 7/84, 860 tonaie” 1037
Cervantes, Miguel de chitarriglia [chittar-
36: 217-20, 330 riglia] 237-38, 253-
cetterne 285 Sy eee aebs Meee heRSbs
Chabran,. Exancesco. 240, 23.4, -302> 166
310 chivarrine 20 s9 302s
chaconne 2/6, 281 166
Chambonniéres, Jacques- chitarrone [chitarone]
Champion de 878 BId=35 5 232. 24S 2005
Champein 283 254-56, 268-70, 293,
"Le changement du 295, 297-98; 2
Spectre et du timbre chiterna 320
de la guitare dua la Chopin, Frederic 30,
qualité differente du 656
bois de la table de "Choro" (Heitor Villa-
resonance" 1018 Lobos) 834-35, 837
chanson, French 36, Choron, Alexander
236, 2600-61, 2/3=74, Etienne 483
320
Index

Chrichton, Ronald 689 Company, Alvaro 647

Christensen, Ove 1019 econeerti 232
"Christian Gottiteb concertina 413
Scheidler (ca. 1752- concerto (guitar with
Lsits yt 526 onchestra)= | ly. 760.
Christoforo ab Andlaw, 762
Ste -eCav. Kra 256 Gigiaani 477, 482.
Srhe chronicle” 131 484
eiacecona 00, 269;)287; Coneterto de Aranjuez
Elen ed 7 6 204 (Joaquin Rodrigo)
ciacones 335 760, 764-65, 767
Cimarosa, Domenico "Conde. Claros"=(Luis de
240% 210 Narvaez) 24]
eimpalou229,. 250-51. , Cone, Michael 962
284-85) 296, 295 Gonstantini Ae ss02
Cimma, Pier Luigi 668 "Constitution and by-
eustre. 2/4: 2 laws of the American
citole xv Guild of Banjoists,
cittern Mandolinists and
four-course French Cuttarists 125
160 "Contemporary guitarist
English guitar 223- no. 4'' (Alexander
DE 20420 22 R26b% Bellow) 662
PGs 300545035. 929 "Contemporary guitarist
CUO, Es, Fausto RO. (Mercia Luts
1002, 1038 Anido) 651
elarinetto, 253 continuo See basso con-
Clark, Matthew 1; 13 tinuo
Claudius, Car] xset Contreras, Segundo N.
clavecin 25/7 14, 56-58
clavicembalo 234-35, "A Conversation. Julian
DEG ee 2D, 2D4-55., Bream — Malcolm Wel-
268-70, 295, .297 er 5667
Clava cordio 2/2 "A conversation with
Clementi, Orazio 335 Michael Cone" 962
Clinton, George 77/5-77, Cook, Frederick xvi,
960, 980, 988, 991 35; 169-72, 907
Coelho, Olga 64, 723 Cooper, Colin 775
Cohen, Albert 286 Cooper, David Edwin
colachons xvi YORAY
"Collection of guitars" Coover, James 187
925 Coques, Gonzales 878
"Collectors'’ pieces” Corbera, Franciscus
998 242: 34]
Colombia // Corbetta, Francesco
Colonna, Giovanni 2Glena2, 6208. .50 1-03.
Ambrosio 240, 307; C52s53,..2555 .2OOn Ios
271, 294 P65. 291. 335-48; 359
Corellia, 303
"Come Heavy Sleep"
Coriandoli, Francesco
(John Dowland) 671-
We 243, 308
a2
C-D Index

Corradi, Flamminio 243, "Dalle antiche cro-

306 nache" 491
Corréa de Azevedo, Damas, Tomas 109-10
Luis-Hector 65 Danner, Peter xxvi,
correnti [corrente] Oe DIG? Thats P04,
Fike Eb. TOLa. DAS TOR ti es Loe sors
287. 302 $55 793575: 45540.
Corrette, Michael 243, Bee, 20
310 Danner, Peter xxiv,
Cortés, Narciso Alonso mevis 230-SL, 237-36.
243 DO. Tpke. est 265.
Costa, Onorato da 499 267, -261-82, 265, 294,
Costa Rica /7/ 998. 302: 356
Gostantin£g A. 301 Daumier, Honore 885
Cestanzo, Fabrizio 243, Daze, Esteban avi, 32,
307; 294 204. 306: 192, 22i—22
Coste, Napoleon 412, De inventtone et usu
457-62, 559-60 musteae (Tinctoris)
Cettlltons (Francis xvi
Blantchor) 134 "Dead march and monody"
"Courante" (Robert de (Benjamin Carr) 136
Visée) 383 Debussy, Claude-Achille
de Courcy 513 30, 656, 689-91, 693-
Coutagne, Henry 908 94
Covarruvias Orozco, Parfums de la nutt
Sebastien de 30] 691]
Covarruvias Orozco, La Sotrée dans Gre-
Sebastien de xvii- nade 691, 693
xviii; 302 Decker-Schenk [Dekker-
GOx, Paul xxi-xxiv, 36, Schenk], J[ohann] F.
27h. 246. 259 Oe. 98, 102
280, 286, 290; 393-94 Declaracton de instru-
Crecquillon 244 mentos (Juan Bermudo)
Crivellati, Domenico xvi-xviii; 175, 209-
PEE SO 14
Crockett, Jim 7/76 Degas, Hilaire Germain
Crocket, Jim /88 Edgar 177: G27
Cuarteto, Dona-Dio 84 Dekker-Schenk, Johann
Cuba 85/7 See Decker-Schenk,
Cubist art 892 Sateailsites
Cumpiano, William 1020- Dell'Ara, Mario 254,
2] 434, 452, 550-51, 711
Grin. 272 Della practica mustca
Czechoslovakia 153 67 (Scipione Cerreto) 165
Déelver, Friedrich 244,
Dagoty, Gouache de 310
Gauthier See Gauthier Denis, Francoise-
Dagoty, Gouache de Emmanuelle 255
Dalayrac, Nicolas-—Marie Denmark 15; 68-69
244 Looe oLU

322
Index

Denning, Darry] Doizi de Velasco,

174 Nicolas xix, 247,
Derosier, Nicolas 245, 307-08; 266, 289,
309; 29] 291
Des Prez, Josquin See Dominguez, F. 779
Josquin des Prés Domatnes (Pierre
Desaugiers 283 Boulez) 665
Deutsch, Otto Erich 530 domra 93
Desrech, (Otto Erich Dona-Dio 84
533-35 "Donna Diana" (Carl
"2eme Air varié", op. Maria von Weber) 589
21 (Giulio Regondi) Donneaud 246
524 doppelgitarre 413
Devoto, Daniel 195, 333 Dorigny, Henri 740
Dezede 267 Dorigny, Henri 632
Diabelli, Anton 96, Dorn, Charles James 112
299; 463-65, 483, 499 Dorotea (Lope de Vega
Dies "Alirio 6855. 775 Carpio) xix
Diaz, Alirio 859-60, Dotzauer, Justus Johann
866 B.603
Diaz, Bartolomé 678 Dowland, John
Dibdin, Charles 245, "Come Heavy Sleep"
3044, 310 671-72
Dichler, Josef 38-4] Douglas, Anthony G. 552
Dickens, Fred T. 963 Dret Tentos fur Gitarre
dictionaries (Hans Werner Henze)
General, of guitar- 697-98
ists 51-55 Dresden xx
Italian guitarists Duarte, John xxvi; 632-
and—luthiers /3, 76 3346/9, 741-423 775
Luthiers 903-05 Duarte, John 643
Diderot, Denis 291, Duchamp, Gaston (pseud.
BD t Os dan OO of Jacques Villon)
Diesel, Nathanael 349- 87]
5] Duckles, Vincent xxii,
diferencias [differen- xian Sy
east 3622202, (215; Dufourcg, Norbert 872
24] Duiffiproncart [Duiffo-
dimitum leutum xviii proucart], G. 878, 908
Diakow, J.1: 98 Duni 26/7
Dobson, Charles 160, duo ©@f guitars) 46,
165 136, 349, 480, 559-60,
Doce canetones (Federi- 632-33, 709
co Moretti) 501 Dupuich, R. (pseud.)
Dodgson, Stephen 38-41, See Robert, Fissore
634, 643, 686-88 Dussek, Jan Ladislav
Doisy[-Lintant], 467 (piano performance)
Charles 245-47, 310;
602

323
E-F Index

eccossaises [eccosai- English euditars, 223-24;

sen], 23.5250 D316 26 Taon 297s
Eeltat (Pierre Boulez) 300; 303
665 English somes 233 ,. 266
MEGLEOrial, A Deer enharmonic guitar 584-
history of the Ameri- 65, 926
can Guild of Banjo- Eppinger, Heinrich 247,
ists, Mandolinists, 310
and Guitarists — What VEgeritura para eultar-
the organization has ra. Sistema antiguo"™
done in the interest 203
of the stringed in- Escudero, José Castro
struments and what it 333
hopes to accomplish Escuela mustea xvii;
in the future” 1:26 315-17
eight-string guitar Espasa, Domingo Bonet
1034 109
Eitner, Robert xxiv, Rspinel, Vicente, xix-
Die Oe 2 le Oy xx; 352-53
242, 248 Esteso Lopez, Domingo
El Maestro (Luis Milan) 964-66, 1012
233-40 "Etudes" (Heitor Villa-
MEl que quisiera Lobos) 83/
amando' (Fernando etymology 158, 168,
Sor) 701 19h, 205
@lectric guitar 15, 646 ciaccona 284
Blizabethan guitar xv passacaglia 284
Ellaker, Calvin 473, Eulenstein, Carl 604
629 Eusebio, Font y Moreso
embellishments 287 See bos
also ornaments Evans, Tom and Mary
“Ymi lio Pujol: accomn= poe. 9. GO. may seyleas
plete list of works” Evers, Reinbert 221
750 VExplicacion para tocar
"An eminent guitarist" la guitar de punte-
(Madame Sidney Prat- ado'' (Juan Antonio
ten) 5138 Vargas y Guzman) 378
L'Hneouragement, op. 34
(Fernando Sor) 559-60 Babrigio xvi. .g5s Ase
Enedand, 155005 Falconieri, Andrea 247-
contemporary 635 48, 306-07
Fernando Sor 556-58 "Falla's ‘Homenaje pour
Julian Arcas recitals le tombeau de Claude
425 Debussy". A master
1600-1900 72 lesson with Rey de la
song and guitar, 19th Torre — taped in the
oe Al form of a conversa-
string manufacturing tion with Walter
1031-32 Spalding, Sept. '76"
690

324
Index

Falla, Manuel de Ferrari, Prof. Romulo

Homenaje pour le tom- [Romolo] 472, 489,
beau de Claude 714
Debussy 689-94, 752 Ferrer Esteve, José
The false consonances 109-10
of mustek (Nicola Ferrer, Manuel Y. 112,
Matteis) 363-64 iat
falsobordone 60; 275 "Spanish mazurka,
Falti, Eduardo 695 WO. eo ako)
Pamracsns. AS. 93 PeRiS el wangors 95%
fantasia [fantasie] 36, 2246, 2515) 2982 2467
Dohme S657 4, 260), Fierro, Martin 60
274-755 6280, 2873 208, figured bass 363-64 See
CO 226 also basso continuo
Fantasta para un gen- and thorough bass
tilhombre (Joaquin Mist. an ovo
Rodrigo) 282, 763 Fink, Michael 5658
fantasy 202 Finochelli, Francesco
Farish, Margaret K. 343
SOC IEIW Horio, Tiberio
Farrell, Susan Caust ("Scaramouche") 354
187 Fischer 96
Farrell, Terrence 686, Fischer, Hans 87]
709, $58, 9/1 Fischhof, Josef See
Racsolome 48, 3072 253, Fischof, Joset
269 Fischot, Josef 650
Bedeles60s 02/9 Figet, C.Fs 112
Feldman, Morton xxiii Fisk, Eliot 861-62
Felton 303 Fissore, Robert (R.
Fenton, Edward 888-89, Dupuich, pseud.) 903
893 Flac, Philippe 908
Ferandiere, Fernando flamenco guitar 11, 15-
248, 310; 266, 466 Re rae
Fernandez, Francisco Flamminij, Sig* Cavali-
967 en oHLammino 25)
Fernandez, Oscar Lor- Flandrisches Gttarren-
enzo 64 buch 280
"Fernando Sor. Zwolf flauta dolce See flute
Regeln des Gitarren- flauta traversa See
spiels” 543 flute
Ferrandiére See Feran- PUGUEL ICON L 12
diére, Fernando flauto See flute
Ferranti, Marco Aurelio: Blecha, M, 281
Zant de-95: 96% 100; Fleta, Francisco Manuel
396, 467, 931 969
Menersinc
ik, Salie Walineeiae Fleta, Ignacio 968
de 931 fléte See flute
Ferrara (italy) xvi. Marshes (244, 252-53,
Ferrari, Ascanio 256 DoGues i. 282 28a,
Rertati, Gyo245,. 250, 290, 295
307
See)
Index F-G
flute, German 2395 .245, Frary, Peter Kum soci
298 French song 232-33,
Foden, William 112, 289
thas. 138-47, 775 Frescobaldi, Girolamo
Foignet, M. 283 301; 271
folta B36, uo020194.<2 70. frescos 875
273-76 Froese, Reinhard 671
"Folia de Espania, Fromlich, Yane 885
Variations sur" Broso lls PalViziases/,
(Manuel Ponce) 271 frottola 36; 202
folie pavaniglie 286 Fuenllana, Miguel de
Les Foltes d'Espagne KV, XK, FD onc2 49550,
(Federico Moretti) 2002. LOl 1/7 seed ce
500 197, 200-01, 204,
Folitos for -euitar (Toru 223-27, 245
Takemitsu) 697, 803 Furstenau, Anton Bern-
folk music hard 606
ibertan }55 Furstenau, Caspar 606
Mexican 722-23 Fuertes, Mariano Sor-
folklore 22 iano See Soriano
foliie 2415269 Fuertes, Mariano
Fords: Charles 9o9s-52 Fussl, Karl Heinz
Ford, John 675-77 Oba
"Foreign guitar makers fulie 287
and English music Fux, Matthias 898
sellers" 926
Fortea, Daniel 109
fortepiano [forte
Gabry, Gyorgy 899
Gartner, Karl von 499
prane) 244, 29555 299:
gagliarde 241, 269, 302
38-4]
Fortune, Nigel 307 302 See also gaillardes
Foscarini, Giovanni
[gailliardes] and
galiarda
TaO UG, 249." S07 3s bOy,
Gaglione, Ferdinando
cil, 294, 355-56
is oot
Fox, Charles Warren 36;
gaillardes [gailliard-
204
Fraenkel, Gottfried S. es] 260, 274-75, 280
galiarda 279
175
Prance 15, 20,..0%, boos Gallot, Henry Francois
IOs 182, 2005. coe.: 30/, de [Gallot D'T] 255,
393, 407, “411, 556-58, 357-59
884-86, 910, 948-49 gambling rackets (of F.
"Francisco Tarrega: a Corbetta) 343
complete list of works " GangisM.:73
807 Gansbacher, John 607
"Francisco Tarrega se- Garcia, Enrique 109
gun. oie OUD Garcia, Hector 914
Fragonard, Jean Honore Garcia, Miguel 61
878 Garcia Castile
Frank, Mortimer 136 Enrique 933
Franklin, Benjamin 120

326
Index

Garcia de Baigorri, Gills Louis’ 133

Maria Antonia 17 Gillot, Claude 882
Gardeton, Cesar xxv; Gilmore, George xxii
387 Giordani 251, 304, 310
Garnier, Jean 872 Giordano, M. 74, 458
Garnsey, Sylvia 363 Giornale del Regno
Gatayes, Guillaume delle Due Sictlte
Pierre Antonio Death notice of
[Antoine] 250, 310; Mauro Giuliani 479
oe LSE Cis tauees = Casto de
gaucho 57-58, 60 Za OL
Caude, F<«-250, 310 MGttarre” 19
Gauthier Dagoty, eittar 19
Gouache de 872 gittern 152
Gavalda, Miguel Querol "Giuliani" xv; 468
ZF Giuliani, Giovanni
Gavoty, Bernard 780-81 Francesco 251, 310
Gelas, [Lucien] 457 Giuliani, [Girolamo]
Gelatt, Roland 872 252, O00
"George C. Krick" 149 Gsulianr, Mauro 96¢
Gérard, Marguerite 8/4 13, 386, 388-89, 400,
Gerhard, Roberto xxiii 402, 410, 412-13, 468-
Germany 15, 188; 10, 64, 499, 516,547,564,
42, .co%,5 402-03,.4133 Boece. Oil
4555 62/7, 946-21, 934, Giuliani-Giulielmi,
944, 950, 1031 Emilia 499
Gervasio 292 Giulitaniad xxvig2 95%
Chiedia..Oscar 663 386
Ghillini di Asuni See Gilisti, Georce. 928
Asuni, Ghillini di Giustiniani, Vincenzo
elie eare O29 303-06
Ghizzolo, Giovanni 250, Giustiniani, Vincenzo
307 307
braecctos,Orazio 251, Gladstone, Ralph J. 836
307 Gluck 266
Giamberti, Gioseppe Godwin, Joscelyn 927
Zale OOF Gopfert, Carl Andreas
PEW aTel[siete CARRS yee! 22, ok
Gibb, William 900 Goethe
Giertz, Martin 18 Erlkontg (Franz
eiespert, Fad. 298 Schubert) 529
Giga (Santiago de Gollmick, Carl 608
Murcia) 368 Gombert, N. 281
Gtgue (Robert de Visée) Gombosi, Otto 270
385 Gomez-Santos, Marino
Gilardino, Angelo 137; 761
634-38, 853 Gorter, Simon xvi, 36,
Gilbert, Alice 955 152, 306: 161
Grils=Donald xvis (288, Gorner, Peter 783
326-27, 358
G-
Index

Goya y Lucientes, Guild Sée Guitar Soci—

Francisco José de eties and Clubs
ITs 662. 67 levis eultar - variant forms
881, 888-89 ehitarra battente
Graeffer, Antoine 609 xxvi; 166, 267-68,
Gragnani, Felipe 253, Otis OI0g. Ios ee
310 chitarra napoli tane
Grammont, Count 338 307
Granade, (Spaim)® | lil, chitarriglia 166
954 chitarrino 166
Granadan guitar makers chitarrone 2
957 chiterna 320
Granados (y Campina), doppelgitarre 413
Enrique 405 eight-string guitar
Granata, Giovanni xxvi, 188; 1034
BArELeta 255, sUZ., électrie guitar 15,
309-10; 360 646
"Grand septuor" English guitar See
(Goffredo Petrassi) (abiewieseins
719 enharmonic guitar
“Grand solo", op. 14 584-85, 926
(Fernando Sor) 581 ehittar 329
Grandi, Alessandro 254, ehitcerna xVLLi
307 Sintewerstas Kove tet.
Grano 303 elitar 319
Grapuceioli, F., 302 gittern 152
Grassineau, James 308- guitar-tirol 928
09 suitare en batéeau 267
gravecimbalo 273 guitar
Great Britain See euiterne 229
England guiterre 229
Grebe, Maria Ester 176 harp ¢uitar 9232
Greene, Thomas E. 177 lyra euitar 402
Grenerin, Henri 254, microtonal guitar
BOS sal, Soo xxvii, 186s.1037-39
Gretry 235, 267, 2283 quarten—tone elssbar
Grial, Hugo de 79 See microtonal
Grunfeld, Frederic V. guitar
tie 20 .63956 6CcO-6/ quinterna 320
Guadagnini 903 RUSSian Gultar sexyil:
Guarnieri, M.C.- 66 90, 928
Guerau, Francisco 254- CeN=SELING Quitar
5 oo a Siero me, nese ed 7—5 i.
"La Guerre" (Brayssing) 1035-36
236 GEEZ Sumter avis
Guerrero, Francisco 629-31, '803,.°296
2443 289 theorbo guitar 896
Guiehard, i. 255, 310 violao 65
Guidonian hexachord Guitar Foundation of
system |// ANerica QRiV, swat
G-H Index

Guitar Societies and

Haas, Robert 465, 587,
Clubs 769
The American Guild Haemmerling, Konrad
of Banjoists, Man- (Moreck, Curt,
dolLinists; -and pseud.) 88]
Guitarists 124-29 Handel 303-04
The American Guitar
Haines, Daniel 1022
Society 130 Haines, Daniel 9/70
International
Haley, George 352
Guitar Club 409 Holl. MOniGerdslL. wl o%
Leipzig Guitar Club 330
42, 409 Hamburg (Germany) 939
LASic Che S@ciecwes
Hamilton, Anthony 338
66 Harder, August 610
Society of the hakales COlln 775
Classic Guitar 131- harmonics 648
yore sh! Berlioz, Hector 428-
"Guitar gallery" 874 $15
"Gudtare history '932 harmonium 1025
"Guitar in Mexico" 80 harp [harpa, harpe]
"Guitar music.,.Pedrell LOU 2 oe 2h elo ac
andpPetrassi” /17/ harp eurtar 926
"GuLtam music. The art— harpsichord .239, 245;
istry of Miguel 2h 292, 298-99. 38-4]
Llobet (1878-1938)" Harris, David 1034
703 Havers. John) 555
Guitar Player Magazine, Harrison, Frank 875
editors 639 Ha wietison., FVanhike Meo
Guitar Review Editors Haskins, H. Wolcott 396
554, 928 Hasse 303
guitar-tirol 928 Haug, Hans 38-4]
guitare en bateau 267 Haupt, Helga 947
"Guitarras y guitarrer- Hauser, Hermann 971-73,
Gost 705,. 974,978. LOZ, “032
984 Haward, Lawrence 89]
euLtarciiia xvii Hayden, William 148
"Guitarristas célebras; Haydn... 304
fichas biograficas 2] Haydn, Franz Joseph 283
euiterne 229 use of folk instru-
guiterre 229 ments 403
guitterne 229 Haywood, Charles 218
Gulién-Sor, Madame 5/78 Heartz, Daniel xv, 259,
Guzman, Juan Antonio 280, 285; 160-61, 229
Vargas Y See Vargas Y Heck, Thomas xxi,
Guzman, Juan Antonio medis, 3050 957) 445. Os
Guzman, Luis de, xvii 5 135, 267, 397-99, 474-
228 BOmr aoe 52 - S42 S00:
gyttron 284 PO. 35. 41S) obs
Heitland, Winfried 913
Held, Lanatz 102

S29
 Index
H-1

Hellwig, Friedemann 909 Hook 304

Hellwig, Glinther 938-39 Hoorickx, Fr. Reinhard
Henestrosa, Luys van 535
Venegas de See Hopkinson, Francis 120
Venegas de Henestro- Horetzky [Horetzsky],
sa, Luys Felix 05> .8/,).460,
Henke, Matthias 435 485-87
Henze, Bruno xix, xxi, Horniman Museum
xxiii; 400 (London, England) 895
Henze, Hans Werner 634, Hoskins, Arthur C. 141
655, 670, 696-99 Howell, Almonte 256
Hernandez, Sobrinos de Howell, Almonte C., dr.
Santos 974, 1012 oly
hexachord system Huber, J. 22
(Guidonian) 1/77 Hope, «J... 255.7310
Heyer, Anna Harriet Hudson, Richard 249;
soualalal 196.297, 271-79
Hickmann, Hans 19 Huel 903
Higbee, Dale 20 Huerta, A. Fe 145
Higham, Peter 680-8] Huerta, Don F. 612
Himmel, Friedrich Huerta, Trinidad. 110
Heinrich 61] Huffman-Blain Stearns,
Hindemith, Paul Roland |
Muste for three Hughes, John 215
guttars 100 Hulinzky, Thomas A. 898
Hipkins, Alfred James Hultberg, Warren Earle
900 246, 248
"History and design of Humanism 182
stringed instruments. Hummel, Johann Nepomuk
A new look" 977 967 388, 47355483, 613
Hoffman 283 Humoresca (Barrios
Hofmeester [Hofmeis- Manjoré) 657
ter], Theodorus M. Humphrys 304
IP. 6b 7 5010, 94) Hurdy-gurdy 403
Hofmeester [Hofmeis- Hutchinson, Loving 247
ter], Theodorus M. HURtiG. Hees bias
Ix. 942 FtSe- 1003
Hofmeister, Friedrich hymns 299
XXV
Hdhne, Erich 876 "T do not like the gui-
Holland 85/7 tar! Being an exami-
Holland, Justin 112 nation of the objec-
"Homenaje 'Le Tombeau tions raised against
de Claude Debussy'" that instrument" 388
689-91, 693-94 Ibanez, Salvador 976
"Home sweet home" "Tberian folk music"
(Francis Weiland) 151 Wels
"Hommage a Lenin" (Leo Iglesia de la Compafiia
Brouwer) 85/7 de Jests (Quito,
Honegger, Marc 244-45 Ecuador) 90/7

330
Index I-J

"Incontri. Colloquio "An interview with

con Alice Artzt" 853 Fred T. Dickens" 963
Mincontri. Coldoquio "An interview with
con Emilio Pujol" 75] Richard Schneider -
Mimcont ri. Collogquie the origins of the
con Julian Bream" 668 Kasha design are dis-
"Tncontri. Incontro con cussed" 993
Federico Moreno Tor- "Introducing Dominick
roba di Griselda Argento" 654
Ponce de Léon" 83] "Introduction et
Pineantrie intervista, a Caprice. 2-00. 62o
Goffredo Petrassi" (Giulio Regondi) 524
718 Irvine, Kip 763
Isakow, Peter 103
mineontric., intervista a
Isbin, Sharon 864
Hans Werner Henze"
Isekov, Peter 108
696
Italian song 36, 232-
Tincontri. Intervista a
53.2200, WOR meso ec Ue
Oscar Ghiglia™ 863
Peaiye >. 30.059
vincontri. (Intervista
Ca lepeiaucoo
ad Alexander Tansman
Dictionaries of gui-
di Ruggero Chiesa"
tardate. (35/6
804
early guitar 3
RInNconteri.. Intervista
eighteenth c. 254
ad Alirio Diaz" 860
general 10
Lincontrd,.. Intervista
Gru ipant sine 20
ad Andrés Segovia"
Ricordi house of
784
publishing 75
"incontri.. [Joaquin
Sardinia oh4
Rodrigo]" 762 string industry 103]
"Increasing popularity
tablature 4
Seethe guitar’ 11/7 twentieth c. 636
india. SLeismendor «(p")
Eto,. Ako 632
259 309
Ivan Carlos See Amat,
"Tnstrucettons to my
Juan Carlos
daughter for playing
Ivanov 94
on the enharmonte
Iwanow-Kramskoj,
guttar, by a member
Aleksandr 103
of the University of
Cambridge. Goulding
Jacobs, Charles 179,
and D'Almaine" 584
234
International Guitar
Jacobs, Walter 112
Club 42, 409
Jacquemart-André, Musée
"Tnterview: Artzt" 854
(Institut de France)
"Interview: David
912
Rubio" 990
Jaffee, Michael 837
"Interview: Manuel
Jahnel, F. 1004
Rodriguez" 987
Jakovlev 1025
"An interview with
Jambou, Louis 197
Daniel Haines" 970
Janequin 252

331
J-fau Index

Jankovski 1025 Phd= 15... 249, 25sec

Janon, Charles de 112 280
Jansen, C.W.hs Zz Kiev 101
Japan 19/5 602 Kinsky, Georg 536, 878-
Jape, Mijndert xxii 80
Jaga VWs 22 Kircher, Athanasius 326
"The jealous extre- Kirkendale, Warren
maduran" (Miguel de sriv, 225-26, 229, 249,
Cervantes) 330 2OGs Lids 2lOeo Loss
Jeffery, Brian 291; 300; 280
418-19, 501, 556-60, Kirkpatrick, Ralph 861
724 Kirsch, Dieter 36; 156
Jeffery, Brian 7/0] Kitchener, W.J. 401
Jenkins, Jean 187 Kitchener, W.J. 129
Jensen, Richard d'A. Klingenbrunner, Wilhelm
35:1 30-69| 499
Jesuit missions (Para-
Kiitmeers J 2Ay 38
guay) 58 Kmoch, Vladimir 509
Jimenez, Salvador 847 Kmoch, Vladimir 513
Jobin, Bernard 8/78
KOCZIfZ 5 AdOIs, ceize,
Josquin des Prés 281;
Soul S604 CU eCOe meow.
244-45
D305 SOLg Solas (4025
Jovaus; Paulus 228
466, 48]
Don. Juan OL Austeia 373
Korner, [ (Karl)
“Julian de Areas” 424
Theodor] 950
Juriew, Wasil 103 Kohno 96]
Koton, V. 453
Kagel, Maricio 647 Kotonski, Wlodzimierz
Kamimoto, Hideo 1005 odes
Kammermustk 1958 (Hans Kotzwara 304
Werner Henze) 655, Kozeluch 283
698 Kozinn, Allan 701, 752-
Kapsberger, Johannes 53, 785, 848, 861
Hieronymus 255-56, Kucera 67
306-07 Kuffner, Joseph 614
Kasha, Michael 23 Kramer 493
Kasha, Michael 962, Kraus, J. 256.4310
977, 993-94 Kreidler, Dieter 773
Keck, Psl. 256, 310 Kremberg, Jacob 256-59,
Keim, Betty 692 SUG) fen bes One
Ketthse Richard 258, 339 Kreutzer, Joseph 488
Kelly, Christine Kuehn Krick, George 142-44,
838 SAO. os
Kendall, Alan 877 Krick, George 112, 149
Kennard, Deric 259, 340
Kerll, Johann Kaspar Labarre, Trille 257,
ag Silko)
Kessner, Daniel 697 Lech, Ry 65
Keyboard: cl o.30, 2255
Laconi 341]
288>. poe4h,, 6/4. 190),

G4
Index

Lacote, René Francois Lerida (Spain) /54

903... 926-931 ter Roy Adriamr ov. 36;
Lagarde, Pierre (de) 259-61, 280; 306; 160=
257-58, 309
GIR 163, 229-30
Lagoya, Alexander 633, Letters from composers
645, 739, 742-44 See (Dominick Argento)
also Ida Presti
655-56
La Grange, de 258, 308 BRewis,-John- xxiii
Lalleman 283 PEWTS LUTHIER SUPPLIES
lamentation 36; 202 1006
Lancret, Micolas 88] L'Hoyer, Antoine de
Landi, Stefano 258, 261-62, 310
S015 1307 Libbert, JlUrgen 25,
Langlois, Vincent M. 456, 493
87] Iibro de mustca de
Lansing, Geo. L. 129 vithuela (Pisador)
Laprevotte 903 evisol/5
Larmessin 882 Libro de mustea de
Eatin America 15;° 15, vthuela, tntttulado
Vivi ion Ol, 1104 C55 Stiva de strenas
La Tour, Francesco 326 (Valderrabano) xvi
laud 302 See also lute Ltbro de mustca en
Laurens, Henri 871 etfras para vthuela,
Lauro, Antonio 78, 866- intttulado el Parnaso
67 (Daza)y xvi
Lauthe See lute Itbro de mustea para
lauto See lute vthuela, tntitulado
Lawrence, Catherine Orphentea lyra
FESWEWels lemme ele (Fuenllana) xvi
Lear, Edward (poet) 30 Lichtenwanger, William
Lebedeff, W.P. 98 (comp.) 187
Lebiediew, Wasil 102 Lied (Franz Schubert)
Leckie, Walter J. 702 531-34
Ledhuye, Adolphe 420 Lieder (Carl Marra von
Leeb, Hermann 137; 786 Weber) 586-87
hLeonant, Luiei 4/3, Lidel, Joseph (cellist)
489-92, 499, 515 4]3
Legouvé, Ernest 436-37 Light, Edward 262, 310
beipzie euttar club 42, Lindley, Mark 235
409 Lintant, Ge ONG
Leisner, David 698 Lipscomb, Pamela 356
Lemaire, Charles 277 Lithography lu/ye2 eo
Lemoine, Antoine M. 87
258-59, 310; 398, 615 Liuto 302 See alse Lute
Le Nain,, Antoine 8/72 Llobet, Miguel 811-12
Leon, Griselda Ponce de Llobet, Miguel 137;
831 1096388, 655, 690),
Leonard 257 694, 703-10, 786, 808,
Lesure, Francois xxv, 814, 829
PP TAO sc Os, OLS s Lockwood, Lewis xvi
334, 910 Lolikoff®, A.K.. 98

333
 Index
L-M

London (England) Lyons, David Bruce 349-

early P9th lc. muisre 50
sellers 926 tyra sviil
Fernando Sor 555, 558 lyra guitar 402
Giulio Regondi 413 iyre 240, 2465 250, 259,
Mauro Giuliani 472 7B, 2905) S97
Lope de Vega Carpio lyric drama (Spanish)
aaaly< Lois)
Lopez xvi, 35
Lopez 1/70 "Macarena" (Andrés
Lopez, Antonio 813 Segovia) 791
Lorca, Antonio 978 Maccaferri, Mario 775
Lorca, Federico Garcia Macchiavelli, I. 301
711-12 Mace, Thomas 32
Lorente 256 Machabey, Armand 28]
Lorimer, Michael 839 Machado 712
Losy, Jan Antonin 262, Mackévitch, M.V.-P. 56]
SHO "Madame Giulia Pelzer,
Lotz, Kornélia 899 mandolin and guitar
fois Xv 258 ar tes bert (Oba ondon,
Lowenfeld, Elena M. England" 519
276; 365-66 Maderna, Bruno xxiii
"Lucas Ruiz de Ribayaz" Madrid (Spain) 915, 955
370 "Madrid Sehool of
Lutgendorff, Willibald guitar makers" 985
Leo, Freiherr von 904 madrigaletti 273
Luse, Marvin W. Jr. 725 madrigalt 234, 236, 297
ute. xv—vi,” 36, 224, EL Maestro (Luis Milan)
226234, 257> cenoy xvi; 233-40
dso, 45s 4A; The Magte Flute (Moz-
Soy tod oo? E5028 Tox: art-Sor variations)
173-74, 183, 186, 189- 547
Oe e907 2U0cy 2345. 2535 Magnien, Victor 617
20072035 3025. 328-729, Magula, George 482
527-28, 803, 901 (Arabic Mahling, Christoph-
lute), 904, 906, 990, Hellmut 403
1004, 1034 See also Mairants, Ivor 775,
taud 5, lath 956959, 968; 9286;
lute construction (lute Lay 794
making) 990-92, 1004 Matigerd.. 05 “244
hutenista Oo, f6,— 9 Majer, Joseph Friedrich
Tuth: 238, 245:"See also Bernhard Caspar 262-
lute ie EN)
luthiers 73, /6, 904- Makarow [Makarov, Mak-
05, 908 aroff], Nicolai
Tuz y norte mustcale Petrovich 95-96
(Lucas Ruiz de Ri- Makarow [Makarov, Mak-
bayaz) 370-7] arotf], Nicolai
Lyon (France) Petrovich 100-02
16th c. luthiers
908

334
Index

"Making a classical Le marteau sans mattre

guitar - José Oribe" (Pierre Boulez) 665
979 Martin, Christian Fred-
Malipiero, Riccardo erick 934
~ocalatat Martin, Francois 264,
Mano with a. cultar. 308
Julian Bream. A self- Mactings Prank .634, /13
POLtrait.. with music" Martin y Soler, Vicente
669 264<. 3.10
manacordo 278 MantinisZ604. 8265.5, 304,
mandola.c, 166 310
Man@olan eis) Ilo, ka, Martina, PadrecdsBs, 30
149, 403, 507, 769 Mascherna, G. 873
mandolinists See Amer- Maschkewitsch [Masche-
ican Guild of Banjo- witz], W.P. 97-100
ists, Mandolinists, Maskewic, Vladimir 103
and Guitarists Mason, Barry 200
"The mandolin and gui- Massys, J. 897
tar. 118 Matiegka, Wenzel[slaus
mandora xv Thomas] 493, 499,
mandores xvi 530-0). 939
Manelli [Mannelli],
Matisse, Henri 177; 874
Matsuda 775
Francesco 248
Matteis, Nicola 265,
Manet, Edouard 871, 874
309; 3, 318, 363-64
Manet, Eugéne 882
Mauerhofer, Alois 455
Manifold, J.S. 219
Maugin, J2C. 917
Manjon, Antonio Jiménez
Maxson, Gloria (trans.)
109
7\2
Manns, Jerrold (Allen)
Mayer, de 283
2893-374: 43
Mayseder, Joseph 618
manufacturers (of gui-
Mazzacch1.. D. 301
tars) 137
McBride, Robert xxiii
maquina See tripodison
McCreadie, Sue 6/0
marche 231-32
McCreadie, Sue 867
Marchetti, Tommaso 263,
McLeod, Donald 1007
308
Marcos, Maria Livia Sao
Medard, Remy 265, 308;
259
66
Meijering, Cord 693
Marcos, Juan José Rey
Meissonnier, Antoine
xvi; 180
619
Marcus, Robert Samuel 289
Meissonnier ("Le
Marcuse, Sibyl 26
Jeune”), Joseph 395,
Marini, Biagio 26435.308
619
Marinoni, Girolamo 264,
El Melopeo (D.P.
306
Gerone) 197, 256
Markow, W.J. 99
melophone 413
Marlow, Janet 1035
Marriott, David F. 647,
Melvi, F.M. 293
802
Marsh, William Sewall
109
e)e))
 Index

"A memorable day for Milanuzzi, Carlo 268-70,

Boston. The launching 297, 307-10; 271, 294
of the Guild and the Millers Garl 6723 ¢, fe,
holding of a festival" 205 oo
Nay Milliot, S. 948
Mendez, G[uillermo | Mills, John 775
FLlores ] 726-27, 951 Milter, J.M. 495
Mendl, Franz 499 Millet, Luis 808
Mendoza xvi, 35; 170 Mitlioni, Pietre 269-/2,
Mengozzi 283 306-08, 310; 2/1, 294
memuers 2305 233, 240, Minguet y Yrol, Pablo
247, 296 See also minu- 272, 309-10; 289, 8/6
CES minuets 232, 2/6, 603
Merchi, Giacomo 265-67, Minutier Central des
309-11; 620 notaires dé-Paris,
Mereaux 267 Archives nationales
Mersenne, Marin 310-12 910
Mersenne, Marin 313-14, Mirimonde, A.P. de 884,
326 894
Mertz, Johann Kaspar Mitjana, Rafael 427
494-97, 499 modality (mode) 1/6,
Mertz, Josephine, née 244-45, 272
Plantin 495 mode See modality
Merula, T. 303 Modena (Italy) 492
Messaien, Olivier 803 Moffatt, Peter 77/5
MMestica™ (Anon.) 63 Molino, Valentino 273,
"Metafora del amor" Sick:
(Brouwer) 85/7 Molitor, Simon 402,
Metropolitan Museum of 408, 498-99
Art (New York) 925, description of a lyra
928 suitar 402
Mexia, Pero 228 “La Molinara™” 294
Mexican 79, 84, 377-78, Molino, Don Francois
722-23 See also Mexico 621
Mexico 15, 188: 77, °380- Méller, Dirk 682
Sos) AiG. (205 s34,, 9515 Monagne, Victor 808
52 See also Mexican Monsigny 235, 267, 304
Meyer, Jurgen 1023-24 Montanos 256
Micheli, Antoniodi .267, Monte, Lodovico 273,
308 S07 5. 2132 294
microtonal guitar xvi; Montesardo, Girolamo
1037-39 2135, BOG eile eros
Mignone, Francisco 63, 80, 284, 291, 294
66 Monzino, Giacomo 273,
"Miguel Soles Llobet" Sel.
704 Moraes Sarmento, Olga
Mifany Luis 231-32, 236 de 844
Marat, Lites Sev, “sv 2 Morales, C. 281
35=36, 268, 306: 13, Moramarco, Luigi 133
be Sires sw Sra dS Ragan Is ea 2
207, 233-35, 237-40
336
Index

Moreck, Curt (pseud.) Murphy, M. 261

See Haemmerling, Murphy, Sylvia 28,
Konrad 290-91
Monrellin Z7735°°503.. 810 Murr, Emma 145
Moreno-Torroba, Fed- MUECAYs° DesG52
erico 643 Museums 9
morescha 248 Bodleian Museum of
Moretti, Federico. 251, Oxford University
hire Ot i 6), S00=02 924
Doce Canetones 501 Horniman Museum
"Les Folies d'Espag- (London, England)
ne" 500 895
Morkow, Ladislaus 102 Metropolitan Museum
Morlaye, Guillaume xvi, of Art (New York,
SON 7), 306s 161 Neyo com oo
Morphy, Conde de Musée Jacquemart-—
heatilermo |" xix, “xxi, André, Institut de
Dine FOTO. 295; /16 France 912
Merris, Charles 129 Museo Stradivariano
Moschelles [Moscheles], (Cremona, Ltaly)
Tenaz 356, 622 937
Moscow (Russia) 558 Muste for three
Moser, Wolf xxii, 96; guttars (Paul Hinde-
Wee 356004 40. mith) /00
562-63 "Musica en la antigue-
motetes 244, 275 dad. Luis Millan’ 203
motetti 234, 264 Musica eEeta Os 204.
Mouton, J, 234, 281 246-47
Moutron xxi musical forms
Mozart, Wolfgang allemande 348, 382
Amadeus 54/7 aria oo7
Mozzani, Luigi 636, aria di fiorenza 280
714-15 ballo del Gran
Mudarra, Alonso xvi, Duca 280
Dee eGo O Lee 1/35 bourree 385
1925) 194-197, 20:37 245 chaconne 2/6, 281
Mumozeenicardo 27, 59 Giaceona 2/1, C7/;
Mufioz, Ricardo 808 Po. moO Cclacones)
Munrow, David 157 courante 383
Murcia, Santiago de fantasia 2USsucals. cco
276, 309: 266, 289, fantasy COZ
295.0. 500-00 fold ay lOd ec eee
Area
Neel ors: 76
Passacatlles y obras passacaglio [passa-
56/ eaglia| 271, -2/6-78,
Resumen de PSA OOO ohS
acompatiar la parte passacaille 281, 348,
con la guitarra 380
365-66
"Sarabande™ 366

Son
M-N-O Index

prelude [preludio] 147, Nicolai 303

BAB) 3/35. 100ee Ok. Nielsen, Karen Dusen
TER Oo. OO) BOOS 5 Dusgaard 28
842, 846 Nivers, Guillaume-
romance 193, 195, 200; Gabriel 277, 308-09
CULae 6 Wis eeon ale Noeturnal (Benjamin
romanesca 194 Britten) 6/1</2
sarabande 2/6, 368, Woeueira, A. To 66
383 Nordau, Max 787
sonata 551, 725 North, Roger 318
tarantelle 58, °196 Novelas Ejemplares
zarabanda 2/9 (Miguel de Cervantes)
zarabande francese 2/9 219
Zarazuela 2o3 "Nunc" (Goffredo
Mustealtsche Gemiths- Petrassi) /19
Ergokung oder Arten Nupen, Christopher 7/0,
(Jakob Kremberg) 42, eae es
302, S/o
Mutii, P. 301-02 Oberleitner, Andrew 623
Myers, Joan 18] ["The obituary and epi-
taph of Francisque
N. 564 Combet™) 336
Nanine.. GB. «251, 300 "Obituary notice” (Man-
Naples (Italy) xx, xxi uel Ponce) /28
Napolitane 296 Obras de mustca (Anton-
Narvaez, Luis de xvi, 35, io de Cabezon) 167
224, 216, 279-80, 296, Obrecht, Jas 1
2062 1705 180), -138,* 192, Obrovska, Jana 6/
194, 241-42, 245 "On the comparative mer-
"Conde claros” 24] its of the piano-Lorte
"Passeavase el Rey and euitar, 2s wit ac=
Moro" 242 companiment to the
Nassarre [Nassare], Pablo voice" 390
denxvis 290.) 200,607 "On the capabilities of
Naumann, Johann Gottlieb
the puitar’’ 389
LODO
Odell, Herbert! = (lz;
Nava, Antonio Maria /5, 129
395 Olsen, Poul Rovsing
Navarro 244 Sociale
Nelson, Martha 29, 63, opera
198,.°2055; 282, 696 arrangements for
Neris.<S. Filippo 302 guitar 399
Newcomb, A.H. 446 Sores, 1 2b
New York (N.Y.) Opera intttolata contina
Concert Life 121 (Melchior de Barberis)
Carly 2ZUth c., puttar 208
popularity 118 Ophee, Matanya 137;441,
Ida Presti in /38 483, 496, 630-31, 814,
Nichols, George 30 942-43
Nickel, Heinz 163, 901 Ordonez, PP. 244
Nicola. Isaac.) .abo2
338
Index Q-P

Orel, Alfred 404 Panormo, Louis 903, 931,

onganor2725. 288 935
organs 215 Paracho (Mexico) 952
Oribe, José 788 perry SMO u ees.
Oribe, José 9/9
"The original classic Parfums de la nutt
eaitar’ 3/78 (Claude Debussy)691
ornamentation 60; 293, Pari, Francesco 281
373 See also embellish- Paris (Prance), 251
ments construction in, L8th
Orozco, Juan 980 ec. 948
Orozco, Sebastien de cOnStEuetIOon in, Loth
Covarrubias See c. 910
Covarrubias Orozco, early Mt cles
Sebastien de AS 5 e435
orpharion 2 Segovia and Villa-
Orphénica Lyra (Miguel Lobos in 844
de Fuenllana) xvi, PeveiLSoie. Wie, 235
BOO ENO LOT. 8cCO-27 parody technique 188,
ostinato basses 194 190
Oswald, Jee 303 EL Parnaso (Esteban
Otero, Corazon 81, 729 Daza) xvi, 244; 22]-
Otero, Diego Vasquez xx 22
Otto, Jakob August xix, Parry 5.212775 O09
xxi; 918-21 passacaglio [passa-
Otto, Jakob August. 42, eae ics | OO a yes or
950 ZING 2IO-7O5 284,
Oudry, Jean-Baptiste Shine:
876 passacaille [passacalli,
Overholtzer, Arthur E. Hassacaa
a] 2b 287 $
1008 23 leo 465 360
Passacalles y obras
Paez, Francisco xvi, (Santiago de Murcia)
85-7170 367
"Paganini -— guitarist" "Passeavase el Rey Moro"
503 (Luis Narvaez) 242
Paganini, Nicold 96; 30, pass'emezi 241, 287 See
413, 503-17 also passomezo
"Paganini. Violinist and Passereau 234
guitarist" 504 passomezo 279-80
Page, Christopher xvi Partee.. Clarencesk.. 112
Pages (guitar maker) 935 Paterson, John 994
Paisiello. 233, 294 "Pater Noster" (Pisa-
Paixad Ribeiro, Manoel dor-Willaert) 246
dacs, 3 LU pavan [paduana] 36,
Panama // Dih=15,° 2792 1995202,
pandora 2 240
Panin, Peter 108 pavanes 260
Panocchieschi de Conti Pavlakis, Christopher
d'Elci, Signor Marcel- 187
om250 paz /\2

339
 Index

payadores (gaucho) 60 Pettine, Giuseppe 146

Payer, Hieronimus 624 Pettine, Giuseppe 141]
pedagogy 1354550. Pettolerti, Pietro 93,
119.0 122,. 150, .393-945 102
420, 466, 562, 678, Phalése, Pierre xvi,
113.7810, O14 Blo siecy, G0, 224, 239, 20, 2
Pedraza, Bermudez de 80, 306; 160
228 Philadelphia (Pennsyl-
Pedrelll .. Carlos. 717 vania)
Pedrell, Felipe xxi; concert life 12]
283 Philidor 235
Pedrell, Felipe 644, Phillis, Jean Baptiste
716, 808, 829 280, SLL
Peel, Douglas 405, 511, planoflorte xxvy 231-32,
789 239, 244, 295:>~38-4],
Pellegrini, Domenico 390, 467, 533-34, 692
Armontost concertt performance by Dussek
sopra la chitarra 467
spagnuola 277, 3083 Pica da Rocha 281, 309
369 Picart, Etienne 8/78
Pelzer, Ferdinand 95; Picasso, Pablo L//;
Sole aco 882, 890-92
Pelzer, Giulia 519-20 PtLechianti, Laigr 625
pefiazuela (16th c. Poyeeainal Hoy. 27
capotasto) 169 Pick, Richard 150
Pennington, Neil Pico, Foriano 281, 306-
(Douglas) 367, 442 OFS. 271, 294
Pepys, Samuel 319 Pierre, Constant 949
Pereira, Mark xxii Pietrobono xvi
periodicals Pimentel, Lorenzo 914,
European and American 98]
386
Pincherle, Marc 730,
German 55
882
Gtultantad 386, 520
Pinel, Germain 334
Revue et Gazette
"Pinnell completes
Musteale 567
dissertation" 345
Perrott, Boris. A. 101,
Pranel|, Rrehard? 241
790
2o2, 342-45, 359, 368;
Perronet, General T.
o00
See Thompson, General
Pinturicchio, Bernar-
Wo Meeheietormeie
dino 88]
Peru, 15;..86
Pique, Eduard 499
Pesori, Steffano 278-
Pirastre- 1032
TO So eaeoie
Pisador, Dieso xvi, 35;
Péetrassi, Goffredo./1/-
261=825 3068) 1755 192;
19
204, 243-47
Alea!" 7 19
pitch 189
"Grand septuor™ /19
Playtord, John~Ze2. 308
MNune <7 19
"Seconda-serenata
triey) 19
340
Index

Pleyel, Ignace 282-83,

Powrézniak, J6zef 52-
3048 “311
joeros/e WWcH03. 4/5 2
letters from Hector Della practtca musica
Berlioz 443 (Scipione Cerreto) 165
Plt selon ple (Pierre Praetorius, Michael
Boulez) 665 320-25
POetLY -OU, "O74 71 95% Praetorius, Michael
Soa, os J lle 924 1655, -h68
Poglietti, Alessandro Prat, Domingo 54, .775
271) Prat. Domineo 425, 427,
Polanco, Arismendi 133 AU2s e084
Poland 15; 87-88 Pratten, Madame Sidney
Pollet, Charles Fran- (Catherine Josepha)
cois Alexander 626 SU toon Sloe cUsr |
Pollet, Jean Joseph Prefumo, Danilo 512-13
Benoit 626 Preludes
Potter, LoM) 626 Corbetta, Francesco
Polupajenko, M.W. 98 348
Pomponio—Martinez duo Foden, William ''Pre-
633 ludes" 147
Pon, Juan Nogués 109 Le Roy, Adrian 260
Ponce, Manuel M. 13, Merchi, Giacomo 266-
38-41, 79-81, 643, 670, 67
P2035 9776 Ponce, Manuel M. "24
ponata itt “125 Preludes" 724
"Variations sur Folia Villa-Lobos, Heitor
de Espania" 72] 83455837, 8395 1043,
Pons 903 846
Pope (Conant), Isabel Visée, Robert de 382
boA4 35S Preludto o Capricho
Popow, Arsenij 103 arpeado (Sanz) 373
Porro, Pierre-Jean, 282- Preludto Saudade (1938)
650302. 311 (Barrios Mangoré) 661
Porta, A. /54 Mierehiy yartev! ope, 21
Porta, Francesco 256 (Giulio Regondi) 524
"Porprait issue” 641] Prés, Josquin des See
Portrait issues Josquin des Prés
Guttar News 138; 640 "The President's cor-
Guttar Review 138; ner. The first plan
641 fore Gulley ace
"TPortraits of conten- Prest1, Ida, 633.7645),
porary guitarists and 738-46
composers ]" 640 "Presti + Lagoya + two
Poubugad x<ve. 153°:09, guitars" /44
254 Prieto, Victor 229%
Portuguese musicians 283% 3103-266
19] Prosper... Carlo sxiitr
Poser lis Franco. 4275 PEopaac 203
502 Provost, Richard 263,
Poulton, Diane 36; 183- 346, 687
84. 1995 °249, 302, 911 Prud'homme, Brian 380
34]
P-Q-R Index

Prusik, Karl 498 Radke, H. 514

Prynne, Michael 912 Radole, Giuseppe 1; 34
psalmos 275 Ragossnig, Konrad 1,
psalterio 272 ijyer coo
pseaulmes 260 Ragus, Linda 288
"Public concerts" 39] Raimondi, Marc-Antoine
Publishing Le dc
Le Roy and Ballard Ramillete de Flores, O
230 Coleceetén de Vartas
Paris, 16th c. 161-62 Cosas Curtosas xvi,
Venegas de Henestro- 52> bi Ug sou
Say Luys col Ramirez, José 796, 956,
Pujet, Francois 873, 961-62, 982-86, 1036
878 Randolph, Laurie 775
Pug Obs -E0N 110. b,-36. rasgueado |rasguado |
215=70, 295; 32-33, 89. yooialal (610)
Hoes 2065 Ali6, Rasmussen, Knud 351
815-21 Ratliff, Neil xxv
Pujol, Emilio 137° 427, Ravel, Maurice 691
645, 702, 747-59, 786, Raygada, Carlos 731
808, 810, 814, 829 “Real Time Analyzer"
"Becqueriana" 7/53 (experimentation)
punteado xvii, 60 1029
Purcell; Ronald \C; recitals 95
Pav, 137 5.244, 2815 Llobet, Miguel (April
Iie 7ec, 400-003, 1916) 710
6835 "790 Paris (1829-1839) 41]
Pythagorean fretting Programs 47, 116,
188; 906 LZ wal 31. AS 1-92.
Pythagorian theory 1020 659; 07 5 FOS. 789.
755-56, 809, SIS,
quarter-tone guitar 870
1037-39 Reviews 141, 391,
quartet Alon. 4c55 S2h-25.
Cuarteto Dona-Dio 84 HOO-O7 sez 70s.
Giuliani, Mauro 484 Lewy Week
Paganini, Niccolo Segovia, Andrés 772
SOO To le. D6 Tarrega, Francisco
Schubert, Franz 493, (1904) 824
530, 535-40 Reeve, W. 304
Quatre piéces bréves Regondi, Giulio 401,
(Frank Martin) /1)3 413, 499, 522-25
Queiréz, José de “ler Air varie”.
Oliveira OP. 2) ued
"Caterete" 63 "2eme Air varie",
Quensel, A. 884 OD. ae, oe
Quine, Hector 686 "Tntroduction et
quinterna 320 Caprice”, op.. 23.524
Quito (Ecuador) 907 Reimer, Karel 6/7
Reinhard, Kurt 19

342
Index

reprisa 603.278 Robbins, Lance 914

Resumen de acompanar la Roberts, John 60, 111,
parte con la guttarra Teose 265 S47 5 oO
(Santiago de Murcia)
375, 421, 425, 567-68,
365
VOC saLUG eho s/o
"Return with us now.
BecHen eal 786
The Soundboard's
Robledo, Josefina 66
featured facsimile"
Roch (method) 810, 814
791
Rodrigo, Joaquin 764-65
Reviews of literature
Rodrigo, Joaquin. (282,
on Ponce, Manuel 729
634, 643-44, 760-67
Sor's Method 567 See
Rodriguez, Manuel 987
also reviews listed
Roemer, Kammersdnger
under individual
588
entries
Rolla, Alessandro 284,
"Réverie nocturne",
cual
op. 19 (Giulio
Romance 36, 236, 257,
Regondi) 524 ZO eAGAi gee OU oO,
Revue Musteale 690, 694 Doon 296 Gage. 195s,
Rey de la Torre 690 ZOOS B20 CSE Cld seer)
Ribayaz, Lucas Ruiz de La Sentitnelle 473
See Ruiz de Ribayaz, romanesca 36, 60; 194
Lucas
Romanillos, José 426
Ribouillault, Danielle Romanillos, José 988-89
407 Romano, Remigio 284,
RecHs, IGtovannd: (PAetiro
301-02
284, 309 "Romanza" (Barrios
Riemarert, J. 244 Mangoré) 657
Richter, John 836 Rombouts, Theodoor
Ricordi publishing firm [Theodor] 875, 878
(1808-1857)-/5, 399 Romea, Alfredo 569
Riemann, Hugo 266 Romero family 868-69
Riera, Juan 705, 7/50, Romere, Ludo tic
756 Roncalli, Lodovico 284,
Rierra, Juan 566 SON payer Fae)
RILM Abstracts of muste rondeau 247
literature (Inter- rondo 237_y 304
nattonal Inventory of Rontani, Raffaello 284-
Muste Literature) O25, SOL PESO7
XXVLiL Roth, Elizabeth E. 871
Rimmer, Joan 8/5; 8 Rothschild, Germaine de
Rimski-Korsakov, A.V. 443
1025 Rosetta, Giuseppe
Prine Tritosy (lore Sonattne 7168
Takemitsu) 803 Rosier, Nicolas de See
Rioja, Eusebio 957 Derosier, Nicolas
Rischel, Thorwald Rossato, Daniela 490
[Thorvald] 68-69, 459 Rosse Ae 570
ritornello 60; 278 ROSStam Ulin c/a)
Ritter, Peter 284, 311
The Rizzio guitar 900

343
R-S Index

Rossini, Gioacchino Sancta Maria, Thomas de

"Zelmiva™ >. arranged 36.° 227, “28 /=885 S065
for guitar 399 153, 248-49
Rouget de Lisle 304 Sandi, Luis 100
Rousseau 267, 283 Sanseverino, Benedetto
Roveri, Ercole Remo 653 Fe7. 3078 27Wee) Wy 294
Rowbotham, James 285, Santa Cruz 289
306; 229 Santa Mariana de Jesis
Rubio, David 990-92 907
Rubio. Mes. 2386, 310 Santiago de Murcia See
Ruiz de Ribayaz, Lucas Mureta, Santiago de
233% B09eE COD. COU. Satine da ParmsiZ 735
29.5 2935 o70=71 280, 11
Rush, George 286, 304, Santorsola, Guido 38-4]
el Santos, Turibio 840
Russia 15;-91-92, 97, Sanuy, Ignacio Maria
100, 102, 107-08, 556- 758
585 561, 5/8%See also Sanz, Gaspar xix; 266=
Soviet Union 89, 308-09; 194, 266,
RUSSDAane SuUltae xscvil s ZOOL g COD 4 Osho Ss
90, 93-95, 99 34l, S71 Jo 160
Russian guitarists 98 SHo Marcos, Maria Livia
Ryekaert, David. ILL 6/4 66
Sarabande
Sot ArlLewwoce Baroque five-course
Serie OL eultar 60S '276
Sabbatini, Pietro Paolo Murcia, Santiago de
286-87, 302, 307-08 368
Sacchini 283 Visée, Robert de 383
“eaeriimce wCToruU Sarabia, Benito 109
Takemitsu) 803 saravende 269, 287
Sadie, Stanley xxvi Sardinia (Ltaty)" 74
Sagreras 814 Sarenko, W[asil] S. 99,
Sainz de la Maza, 102
Regino 36, 825 Sarti 2565 12090. 340
Sainz, de La. Maza, Sasser, William Gray
Regino 66, 109, 760, Bi Al=72
870 Saunier 903
Salazar, Adolfo 220 Gavio, Isalas 66, 826
Salazar, Adolfo 644 Scandinavian countries
Salisbury Journal 932 10
saltarello 280, 297 "Scaramouche" 354
"Salve Regina" 264 Scarlatti, Vincenzo
San Martino, Fr. Add, 577, 841, 967,
Leonardo de 230 976
San Severino See San- Schaffer, John W. 842-
severino, Benedetto 43
Sancho. soebasitlan Scheidler, Christian
Caldentey 109 Gottlieb 289,921:
526-28

344
Index

Sschedder sy iy Psy 2 90); Lied "Nacht und

Sb Traume'" 532
Scheit, Karl 972 Quartet 493, 530,
Schenkerian theory 1; 535-40
843
"Standchen" (tran-
Schertzer 96 scription by Johann
scner74 | (2325) 204)
Kaspar Mertz) 496
Schick, Gottlieb: 881 use of folk instru-
Schick, Otto 902 ments 403
schiller, Johann Chris- Schultz see Schul7,
toph Friedrich von Johann Abraham Peter
950 Schulz 96
Schlager, Karlheinz 225 Schulz, Andreas 290,
Schlick, Johann Conrad Sala
296, Sik Sehulz [Sehulrtz ||, sJo—
Schmid (l'ainé), hann Abraham Peter
Bernhard 878 PacOle! ty talk
Schmid, Heinrich Kaspar Schulz, Leonard 499
538 Sscnlsses Erich 573
Schmid, sHeinrich (Kaspar Schuman, Friedrich
530 Theodor 290-91, 311
Schmitz, Eugen 264 Schuster, Friedrich 950
Schneider, James 1039 Schwarz-Reiflingen,
Schneider, John 642-43, Erwin xxi; 70, 409,
1009 460-61, 515, 539-40,
Schneider, Richard 993- 5fA=15 - 509% 100.
94 707-08, 759, 792,
Schneider-Klement, 827, 902, 944
Albrecht 1010 Sclar, Joyce Rohr 655-
Schonbach, Dieter xxiii 563078
Schoenberg, Arnold Sczepanowski, Stan-
Sid O47, -/09 fislaus: 627, 931
Serenade, op. 24 /69 Searle, Humphrey xxiii
Schoniger 290, 311 "The seasons of the
Schotty 515 year, in four solo
Schrade, Leo 238 SOMBUELIS 1EONE (ele Gesurice)
Schrade, Leo 716 francese" (Antonio
Schroth, Andreas 408 Nava) 75
Schubert, Franz 96; Sebastian, Felix de
403, 493, 496, 529-40, Santos 109
656 "Seconda-serenata
Virion
te e529 trio" (Goffredo
letter,, as. theybasis Petrassi) 719
Skea. Sone an Domi=. Segerman, Ephraim 160;
nick Argento's
Letters from compo- Segovia, Andrés 732,
sers 656 (450 / 93-97, 644.797 33
Lieder 531-34 1032-33
Lied "Hanflings
Liebeswerbung” 532

345
 Index

Segovia, Andrés 137; Simpson, Glenda 200

47, 64, 410, 419, 638- sinfonie 243
39; 644,668, 683, stster tanbur 1004
Fenn eas Lola 1029: Slavski, Vladimir 108
798-801, 804, 831, Sloane, Irving 1012-13
860, 890 Slonimsky, Nicholas 77
Segovia, Andrés Jr. Smith, Carleton Sprague
Tie 734
seguidillas 236 Smith-Brindle, Reginald
Seiber, Matyas xxiii 643
Selecttsstma elegant- Snow 303
tsstmaque (Pierre Siitzier, Larry 3650
Phalése) 229 Societies See Guitar
Sellas, Georgius 898 Societies and Clubs
Sensier, Peter 36; 82, Society of the Classic
wor, *hoG.y. 65o, 695. Guitar 131-33, 554
849, 929, 935, 945-46 Soiree dans Grenade
Serenade, op. 24 (Ar- (Claude Debussy) 691,
nold Schoenberg) /69 693
Sseveri Perugino, Sokolowski, Marek
Francesco 29), 302; Konrad 8/7
307; 269 Sokolowski, M.L. 100
Sfondrino, Giovanni Solerti, Angelo 306
Battista 2924307 Solowiow, Alexander 102
Shahn, Ben 87/7 "Some officers of the
Shaker table (experi- Gutta 179
mentation) 1030 sonata [sonate, sonet-
Sharpes ALPS xxi: 37; tos] 230, 232, 235%
1011 939. DAL. 243, 26,
shearer, Aaron 119 252-54, 25h, e265
Shelley, Percy Bysshe 206 1269 . 2ALS ak 75s
924 28-e2:, 2eEeto97.
Sherry, James 746, 869, 300
9665 79695975. 1036 Sor, Fernando 55]
Shomura, Kiyoshi 802-03 “Sonata [Li “(Manuel
Shore 326 Ponce) 725
Shulfer, Glen 484 sonate ricercate 243
Sicca, Mario 1; 38-41 Sonatitne (Giuseppe
Sichra foychra), vA.0. Rosetta) 7/68
99, 101-02 sonetos 244
Siegel, Samuel 129 Li. Songs: for guitar”
SigurbjOrnsson, (Toru Takemitsu) 803
Thorkell xxiii Songs from the Chtnese
Silva, Jesus 733 (Benjamin Britten)
Silva, José Fernandez 659, 673
899 "Sonido Trece™ (Julian
Simoes, Ronoel 66 Carrillo"s Micro—
Simplicio, Brancisco tonal system) 674-77
109, 933 Sonneck, Oscar G. xxv;
Simpson, Clinton 120 12]

346
Index

Sopena, Federico 644 Stakhovich, M.A. 104

Sor [Sors], Fernando Stanley 304
ee 5)BA) Alhomes il eam oes US haneaw le ¢Lor
32, 400-01, 405-06, Takemitsu) 803
410, 412, 419-21, 460, Starkie, Walter xix
473, 498, 541-83,°633, Staufer, Johann Georg
WAS 310, 9265-935 934, 936
eSor 54 | Stefani, Giovanni
Soriano Fuertes, Mari- (comp.) 292, 300-02
ano 427 Stravinsky, Igor 642
~isor s) obituary (542 steel-string acoustic
Sorriso, Marino 268 eubtar 15
Soto, Luis de 808 Stegemann, Michael 435
Sotos, André de 291- Stetson, Karl cA. 1026
92, 309; 266, 289 Stevenson, Janis M.
South American folk 25437736)
music 860 Stevenson, Robert 83,
Soviet Union 103 See SOs elas eh
also Russia Stevenson, Robert Lewis
"Ta Spagne" (tenor (poet) 30
melody/Cabezon) 216 Stewart, Jimmy 422,
spagnolette 269, 287 447, 462, 684, 736,
Spain. oo 1605) 0/9Os0U0,2oce.
construction 188; 845
953-57 Stockmann, J.M.. 98
early guitar xv, Stockhausen, Karlheinz
xviis, 3 642
general 155 Stolen Eicanza dem Pata
Granada, (Spaim)a lid 413, 499
Segovia, Andrés 796 Stone, Tom 1009, 1020
tablature 4 Storace, [Bernardo]
tech c.. 254 SUA eeriil
18th-20th c. 10 Stover, Richard (D.)
19th-20th c. 109-1] 78, 659-6]
Spalding, Dolber B. St. Petersburg (Russia)
794 Fernando Sor in 558
Spalding, Walter 216, Stradivarius, Antonio
735 288, 900, 937
Spalding, Walter 690, Stratton, Stephen S.
962 bts
"Spanish mazurka, no. Straube, Rudoli- 292.
2" (Manuel Y. Ferrer) B09, SL
137 sErrings, Suitar loos
Spies, Warner 892 1031-33
Spaneetar 256.293 Strizich, Robert 298;
Squire Lottery (alias 205, (aeWALI 30
of Francesco Cor- Subira, Jose 164
betta) 343 Subira, Jose 427
Stadlman, Michael Sutte Brastltenne
Ignatius xxi (Heitor Villa-Lobos)
834

347
S-T Index

Sutte populatre brest- "Tarrega als Mensch und

itenne (Heitor Villa- Kunstler in Ureedt
Lobos) 83/7 seiner Zeitgenossen"
Sucve Ind menor 829
(Robert de Visée) Tatay, Vicente 995-96
298; 380-85 Tatmay, NA. 8/2
Sussex, Duke of 544 Technique
"SiOnd Motrurnd ca, 1770-1650 axiv ;
(Goffredo Petrassi) 393-94
719 Aguado, Dionisio 419-
Switzerland 413 V5 423
Sychra, “AJO. see Sichra Berlioz, Hector 428-
Species AsO). a
Symphony 9 Carlevaro, Abel 6/78
Syntagma musteum (Mich- Ferandiére, Fernando
ael -Practorius) }65 466
Szczepanowski, Stanslaw Feance, early £9te c-
prus 67 407
general =l1, 33
Takemitsu, Toru 697, iconography 1 77
802-03 Lagoya, Alexander 743
UEeldOs Viorel tar nail ess iflesh Fstac3
697, 303 35
"Rane eter loey- 203 Segovia, Andres 419,
MSacrigice’ 803 773
HAZeSomes por geuttarn! Sor, Fernando 419,
803 DOS 5 UO AOS. i
MS tanzal Gos vibuela P58, 178,
mMmeria’ C03 18ly 183884; 6225
Talbot 29141326 Yepes, Narciso 850
Tamayo, Manuel Cano See tecia, (keyboard) 237%
Cano Tamayo, Manuel 296
Tandler, Franz. 499 Tecla Editions /01
Tami; sOnnIC. 84). M22, Teixeira, Patricio 64
1475 150,. 41056. 648; Tello, Francisco José
981, 996, 1014 Leon 266
Tanno, John W. xxiv; Tempel, Hans 411, 576
8 leed0275 38 temperament 153, 235,
Tansman, Alexander 634, 1020
804-05 Tenebaum, Elias xxiii
Tappert, W. xxi: 42 Teniers le Jeune, David
tarantel14 36, 60% 29, 872
58, 198 ten-string guitar 84/7-
Tardien, Oratio 293. 50, 1035-35
297, 307-08 The Term Catalogues 242
Tarrega, Francisco terz guitar 95-96; 629-
Kody KV eh 96, G7 $ S15 803, 896
lates 2ee 86. 410's.<4) 0, Terzi, Benvenuto 76
6364 (64507 653, 02,
10Gpe/ 4d, FOI e525 Woe:
756-57, 796, 806-29
348
Index

Tesoro de la lengua Tosca, Tomas Vicente

eastellana o espanola 266
(Covarrubias Orozco)
tourdions 260
xvii: 30]
Traeg, Andreas 294, 311
Teti, Giuseppi 1037-38 Traetta 232
Thackray, Thomas 293,
Transcription methodo-
Spe
ogy 36s uha?4: 542/20 36
Theatre
O75, 234, 245-46, 263
ULWielm:, 2%. Asheley ee
Of music by
Spanisha 60: 283,°289
Corbetta, Franci-
Spanish lyric drama
sco 344
evs:
Daza,, EBSteban 222
theorbo [theorbe] 238,
Guerau, Francisco
DUST aa
361
theorbo guitar 896
Sanz... Gaspate os 25
theorboists 73
376
miiballe, “Gs. 230), 1.000
Trend, J.B. xix; 239
iaomajam, PKL 794
Tres ltbros de musica
Thompson, General T.
en etfras para vthue-
Perronet 584-85, 926,
Lo (Mudarra): 202
1020
"Tres ‘sobré el cantol-
thorough-bass 292; 365-
vano de- da: alto"
66 See also basso
(Antonio Cabezon) 216
continuo
Trichet, Pierre 328
Tielke, Joachim 877, Trichet, Pierre: loz.
938-39 291
pientou sos 1975.25
trio (Wenzelslaus Mati-
Tilmouth, Michael 329, egka) 535-37, 539-40
364 Exitos “GallorsD shy Oy
PAIMeCEOnES XVI. AVAL
tripod See tripodison
tipibare/5, 285, 295, tripode See tripodison
Boz tripodion See tripodi-
tiple 272, 292 son
Tissier 293, 309
tripodison (invention
Todéschino 273, 294, of Dionisio Aguado)
SylAk 414, 417, 421
TodinieaG.s,. 202 Trombetti, Agostino
Tépfer, Karl 499 294, 308
Tolly, Kevin 688 Pranbar. lan. Gu
honazzie bruno 25. 5.16: tuning 285, 28/-88,
694, 709 291',, 906
Torner, E. Martinez iirina elOaduinO4ss
DLA, 275-16,-.295 833
Torscrene!
lo, 4H. 302 Turnbull, Harvey xxi,
Torres Jurado, Antonio 1, 60, 177; 43-44
de $250, 06553 / 4/7, Turner, William 329
902, 929, 940-45, Mipwsoncs: fore erltar”
962-7 1003. .-10I)2 (Toru Takemitsu) 803
Torroba, Federico
Moreno 830-32

349
T-U-V Index

24 Caprichos de Goya La Sentinelle 473,

(Mario Castelnuovo - 483
Tedesco) 682 Sonatine, rondo
Tyler, James xxiv, 60, (G. Rosetta) 7/68
22649296, 2S05 -29Z, Sor-Mozart Variations
3005" S083) Ss. 160.,, 165- 547
665-6 "lariations sur Folia
Tyler, Thomas C.B. 497 de Espania"™ (Manuel
Ponce) 72]
United States 15; I12- Vargas Y Guzman, Juan
51 See also America Antonio 3/7/-/78
Upton, William Treat Vasquez, J. 2861
XXV
Vaudeville 266
Uruguay 15; 45 Vaya Pla, Vicente 767
Usher, Terence 931] Vechten, Carl van 710
Usillos, Carlos 799 Vega, Carlos 61-62, 800
Vega Carpio, Lope de
"Vahdah Olcott Bick-
Scie
ford" 664 Velasco, Nicolas Doizi
Vaaidelkant., Jean! seval
de See Doizi de
Valdambrini, Ferdinan-
Velasco, Nicolas
do 294, 308 Velasco, Venancio
Valderrabano, Enriquez Garcia 423
de xvi, 35, 294-95, Velasquez, Diego 875,
3067 boy 571865. 245, 881
250 Velazquez, Manuel 997
Valdez-Blain, Albert Venegas de Henestrosa,
Sie 123 Luys 36, 2239. 296.
“Yaleria™ (CToru- Take- 306; 26. 245. 251
mitsu) 803 Veneri, Gregorio 296,
Valkvasenzi, Lazaro 295, S07 5 oe
307 Venezuelan music 866
Van der Meer, J.H. 1000 Vera, César 915
Varn Eyk, Jan Jacob 295, Vera, Fernando 915
311 Verdi, Giuseppe
Vator a *Z230s 2725. 2928 Otello, excerptiwith
166, #330 guitar part 43]-32
Vannes, René 905 Verini, Philippo 546
Vannes, René 985 Vernillat, France 12
variations La vtda del escudero
chaconne 281 Marcos de Obregon
Corbetta, Francesco (Vicente Espinel) 352
348 Vide, BS. 296+970 S80
diferencias 202,. 24] Vaded. Me. 120 fe)
folia 194 Vidal, Robert J. 645
"Folia de Espania"™
Vienna (Austria) 402-
(Manuel Ponce) 72]
04, 499
Giuliani, Mauro 477
construction in 947
Kreutzer 488
Giuliani in 474
romanesca 194
Schubert Lieder 533-34

350
Index

Viennese classical Whore vial >. 24h, 253 4

composers 403 294-654 191
Viennese guitar school vtola dt gamba 257
402, 404, 455, 474, 499 vtola Portugueza 281
Viglietti, Cedar 45 vtolao 65
vihuela de Flandes Loli KX, 20 5 oe s
peavgle dele Zi. 23-04, 25/5 1265
vihuelists xvi Cee Oo ee ee hoe 2Oes
Daza, Esteban xvi; 234, 286, 290, 292-93,
DOZER ZC Nis22 2955-299 See also
Fuenllana, Miguel de violon
Pay eos tone 192. violin notation 75
200-01, 204, 223-27, violin strings xx
245 violin technique
Mitane. Luis syit "ls, Niccolo Pacaninite:,
Nose miGw OC. Tov. as compared to his
CU Oy. 23 b=40 guitar technique 515
Mudarra, Alonso xvi; Vio Lon 230-31), 233,
Metsn 73, 192, 194, DID SD Se OH Ong? <2tt,
bo7 220, 245 262, 2/3, 289. 296-97
Narvaez, URES SiGe excyiiss violoncell [violon-
70S Wels loo, 92. celle, violoncello]
194, 241-42, 245 Dower SI, Oe Salts
Pisador, Diego xvi; 292
75.0 192, 204.2434 viols 90]
47 Vifias Dias, José 109-10
Valderrabano, Enri- Vincenti, Alessandro
quez de xvi; 167, Dae Lo sa eoy
heorncdo. 200. Virehi, [Tarchettals,
Vetlalar 244 Paolo 297,306
Villalba Muttioz, Luis Visée, Robert de 297-
(as G3— BOUIN = 55525).
Villa-Lobos, Heitor 737 Cole od I= 65
Villa-Lobos, Heitor 64, Vistisen, Bo B. 1019
78, 634, 643, 804, 834- Va tek eal
ip pope.
46 307
"“Erudes” 63/ Vogl, Hans 998
"Preludes" 843, 846 voix de-ville 261.
Sutte Brastltenne 834 Volkonsky, Andrei xxiii
Sutte poputatre bre- Vollmer, Tom 776
stltenne 837 Volman, Boris 578
Wil Panci Go. 30.2352, Vol'man, Boris L'vovich
Pies 5 19543 C02 105-07
villanelle [vilanelle] Vreedman 160
Pah 2 5D-I05. 2/04) 270,
287, 300-01 Wade, Graham 1; 46-47,
villanescas 244 127.020). 240. 3ol=95,
Villon, Jacques (Gaston 412, 579-81
Duchamp, pseud.) 871
Vinaccia. Antonius xxi

35.1
W-X-Y-Z Index

Wager-Schneider, John White, Timothy P. 1028-

665, 699... 719. 8036 30
862 See also Schneider, Willaert, Adrian Zol:
John 246
Wagner, Frank 88, 108 Willee, Gerd 1010
Walker, Donald 775, 801 “William Foden" 138-40
Walker, Thomas 284 Williams, John 775
Wallo, Joseph F. 1015 Williams, John 639,
walses 235, 247 See 686
also waltzes Willier, Stephen A.
Walter, E. 851 Sxiv, 226
waltzes, 231-32, 2373 Willimann [Willmann],
250 See also walses Fauard A... 299, 31.
Wanhal, x. 304 Wilson, John 318
Ward, John M. xvii, 35- Winter, Peter von 299),
36, 279, 290, 296; 188- Sick
Ole co. Witoszynskyi, Leo 49
Warren, Eve 869 Wolf, Alois 499
Warsaw (Poland) Wolf, Johannes xxiv,
Fernando Sor in 558, 22 5=26.,, 230% 22365. 2 42,
582 245, 253-54, 269 5 2155
Washington, George 136 Zoli n 20S a2 9G, SOS,
Watteau, Antoine 177; 305 aaa
878, 881, 891, 893-94 Wolfe, Richard J. xxv
Weber, Carl Maria von Wranitzky, Anton 299,
96; 586-89 Si
Weber, Gottfried 628 Wright, Lawrence xv
Webern, Anton 642 Wyssotzki, M.T. 99
Weckerlin, Jean Bap-
tiste Theodore 906 Xarava y Bruna, Diego
Weideman [Weidemann], (Licentiate for
Kenell Iesievchaalelol Gaspar Sanz) 3/5
[Charles Frederick] Ximenes, Antonio 299,
298-99, 304, 310-11 SUL
Weidlich, Joseph 294
Weiland, Francis 15] Yacopi, José 946
Weimar xx Yampol'sky, Izrail
Weiss, Sylvia Leopold Markovic 517
1034 Yates, William 299, 311
Welford, Robert 1007 Yepes, Narciso 188;
Weller, M.P.I. 883 847-51, 1035
Weller, Malcolm 992
Weller, Malcolm 667 Zabal, Fidel 133
Wettengel, Gustav Adolf Zadushevnaya Ispoved
922 (Nicolai Petrovich
Whalen, Margaret 48 Makaroff) 96
Whistling/Hofmeister, Zani de Ferranti, Marco
Handbuch de Mustka- Aurelio See Ferranti,
lisehen Itteraturen Marco Aurelio Zani de
Sx Mees) 6 o- O4 zarabanda 60; :2/9

352
Index

zarabande francese 60, Zuckert, John Frederick

24h a2 79 (Johann Friedrich)
Zarate duo 633 300%) S11
zarazuela 60; 283 Zurfluh, Jean 538
Zayas, Rodrigo de B6, Zuth, Joseph xix, xxi;
259 4159.5 192,202, Ce oO ea 7 439, 009).
CU 42 68/6. 915 528
Zeidel, Scott 348 Zvengrowski, Steven
Zon Liza see Athenian Theodore 1; 50, 846
Guitar Duo Zwolle (Holland)
Zimmermann, F.M. 99 Alirio Diaz in 859
Zimmermann, Fiordor 10?

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