Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history—notably c.1759-c.1800—which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.

More than twenty years ago James Tyler wrote a modest introduction to the history, repertory, and playing techniques of the four- and five-course guitar. Entitled The Early Guitar: A History and Handbook (OUP 1980), this work proved valuable and enlightening not only to performers and scholarsof Renaissance and Baroque guitar and lute music but also to classical guitarists. This new book, written in collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its musicfrom the Renaissance to the dawn of the Classical era.Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of theperiod. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers andscholars alike.Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central tomusic-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-stringinstrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.

This illustrated literary guide to all aspects of the guitar includes a history, celebrated players, iconic guitars, guitar techniques, a relevant chord dictionary and relevant local information.

CRITÈRES : Concerne la guitare et les instruments antécédants jusqu'à la fin du 18e siècle : histoire de la vihuela et des guitares (surtout ceux de 4 et 5 rangs de cordes, aussi bien qu'en comprenant un lexique d'autres instruments à cordes pincées), l'accordage de, et dispositions des cordes sur, ces instruments, les divers systèmes de tablature, le technique de toucher à ces instruments, l'ornamentation (i.e. les agréments, les broderies), la guitare comme instrument d'accompagnenemt et de continuo. Comprend des annexes bibliographiques du répertoire : Primary sources = [sources primaires et manuscrites] -- Vocal music accompanied by guitar ±alfabetol = [Musique vocal accompagnée par guitare en employant le système ±alfabetol des accords] -- 18th century vocal music accompanied by guitar = [Musique vocale du 18e siècle accompanée par guitare] -- [Some] facsimile editions of guitar tablatures = [Quelques publications en fac-similé d'éditions en tablature de guitare] -- Bibliography = [Bibliographie sur la guitare et sur des sujets connexes].

(Fretted). The term "steel guitar" can refer to instruments with multiple tunings, 6 to 14 strings, and even multiple fretboards. To add even more confusion, the term "Hawaiian guitar" refers to an instrument played flat on the lap with a steel bar outside of Hawaii, but in Hawaii, it is the early term for the slack key guitar. Lorene Ruymar clears up the confusion in her new book that takes a look at Hawaiian music; the origin of the steel guitar and its spread throughout the world; Hawaiian playing styles, techniques and tunings; and more. Includes hundreds of photos, a foreword by Jerry Byrd, and a bibliography and suggested reading list.

The American guitar, that lightweight wooden box with a long neck, hourglass figure, and six metal strings, has evolved over five hundred years of social turmoil to become a nearly magical object—the most popular musical instrument in the world. In The Guitar and the New World, Joe Gioia offers a many-limbed social history that is as entertaining as it is informative. After uncovering the immigrant experience of his guitar-making Sicilian great uncle, Gioia's investigation stretches from the ancient world to the fateful events of the 1901 Buffalo Pan American Exposition, across Sioux Ghost Dancers and circus Indians, to the lives and works of such celebrated American musicians as Jimmy Rodgers, Charlie Patton, Eddie Lang, and the Carter Family. At the heart of the book's portrait of wanderings and legacies is the proposition that America's idiomatic harmonic forms—mountain music and the blues—share a single root, and that the source of the sad and lonesome sounds central to both is neither Celtic nor African, but truly indigenous—Native American. The case is presented through a wide examination of cultural histories, academic works, and government documents, as well as a close appreciation of recordings made by key rural musicians, black and white, in the 1920s and '30s. The guitar in its many forms has cheered humanity through centuries of upheaval, and The Guitar and the New World offers a new account of this old friend, as well as a transformative look at a hidden chapter of American history.

The guitar is one of the most evocative instruments in the world. It features in music as diverse as heavy metal, blues, indie and flamenco, as well as Indian classical music, village music making in Papua New Guinea and carnival in Brazil. This cross-cultural popularity makes it a unique starting point for understanding social interaction and cultural identity. Guitar music can be sexy, soothing, melancholy or manic, but it nearly always brings people together and creates a common ground even if this common ground is often the site of intense social, cultural, economic and political negotiation and contest.This book explores how people use guitars and guitar music in various nations across the world as a musical and symbolic basis for creating identities. In a world where place and space are challenged by the pace of globalization, the guitar provides images, sounds and styles that help define new cultural territories. Guitars play a crucial part in shaping the commercial music industry, educational music programmes, and local community atmosphere. Live or recorded, guitar music and performance, collecting and manufacture sustains a network of varied social exchanges that constitute a distinct cultural milieu.Representing the first sustained analysis of what the guitar means to artists and audiences world-wide, this book demonstrates that this seemingly simple material artefact resonates with meaning as well as music.