GENERAL
A. Artzt: ÔThe Guitar: Wet or Dry?'. Guitar Review) 1972), no.37. p.4
A. Bellow: The Illustrated History of the Guitar (New York. 1970)
A. Gilardino: ÔAspetti della musica per chitarra del secolo XX', 11
ÔFronimo', i/2 (1973), 7
A. Gilardino: ÔLa musica contemporanea per chitarra in Gran Bretagna',
II ~Fronimo', i/S (1973), 8
A. Gilardino: ÔLa musica italiana per chitarra nel secolo XX', Il ÔFronimo',
ii/7 (1974), 21
A. Gilardino: ÔLa musica per chitarra nel secolo XXÓ II ÔFronimo',
viii/31 (1980) [first of a series of articles]
A. Koczirz: ÔZur Geschichte der Gitarre in Frankreich von 1500 bis
1750', Zeitschr (ft far die Gitarre. i (1922), no.5, p.3; no.6, p.3
A. Koczirz: ÔZur Geschichte der Gitarre in Wien', Musikbuch aus Oesterreich,
iv (1907), 11
A. Koczirz: Die Wiener (iitarristik vor Giuliana', Die Gitarre, ii
(1920Ñ21), 71. 81, 93
A. Koczirz: Ueberblick uber die Spanische Gitaz-ristik im 16. .lahrhundert'.
Zeirschrft fur die Gitarre. i/3 (1922). 2
A. Mauerhofer: Leonhard von Call: Musik des Mittelstandes zur Zeit
der Wiener Klassik (diss., U. of Graz, 1974)
A. Orel: ÔGitarrenmusik in Wien zur Zeit Beethovens', Oesrerreichische
Gitarre-Zeitschrift, i/3 (1927), 46
A. P. Sharpe: The Story of the Spanish Guitar (London, 1954; 2/1959)
A. Schroth: ÔDem Gesang verschwistert: die Gitarre in der Romantik'.
Musica.~,xxxiii/l (1979), 23
A. Segovia: ÒGuitar Strings Before and After Albert Augustine,ÓGuitar
Review, no.17 (1955), 7
A. Simoes: A guitarra portuguesa (Evora, 1974)
B. Henze: Die Gitarre tend ihre Meister des 18. tend 19. Jahrhundens
(Berlin, 1920)
B. L. VoI'man: Gitara i gitaristi (Leningrad, 1968)
B. L. Vol'man: Gitara v Rossii (Leningrad, 1961)
B. Tonazzi: Liuto. vihuela. chitarra e strumenri samilari nelle loro
intavolature, con cenna sidle loro letterature (Ancona. 1971, 3/ 1980)
C. Carfagna and A. Caprani: Profilo storico della chitarra (Ancona,1966)
C. Elliker: ÔOn Gasogenes, Penang Lawyers, Echiquiers and Terz Guitars,
Soundboard, v/4 (1978), 112
C. S. Smith: ÔAristocratic Patronage and the Spanish Guitar in the
17th Century'. Guitar Review (1981), no.49, p.2
C. Simpson: ÒSome Early American Guitarists,' Guitar Review, no.23
(1959), 16
C. Viglietti: Oragen e historia de Ia guitarra (Buenos Aires, 1973/R1976)
D. Brosnac: An introduction to Scientific Guitar Design (New York,
1978)
D. Brosnac: The Steel String Guitar: its Construction, Origin, and
Design (San Francisco, 2/1975)
D. Brosnac:The Electric Guitar: its History and Construction (San Francisco,
1975)
D. Denning: ÔThe Vihuela: Royal Guitar of 16th-century' Spain'. Soundboard,
vi/2 (1979). 38
D. George: The Flamenco Guitar (Madrid, 1969)
D. Gill: ÔBandora, orpharion and guitar', GSJ, xxxi (1978), 144
D. Gill: ÔThe Stringing of the Five-course Baroque Guitar', Early Music,
iii (1975), 370
D. Gill: ÔVihuelas, Violas and the Spanish Guitar', Early Music, ix
(1981), 455
D. Gill: ÔVihuelas. Violas and the Spanish Guitar', Early Music. ix
(19811, 455
D. Heartz: ÔAn Elizabethan Tutor for the Guitar'. GSJ, xvi (1963),
3
D. Heartz: ÔParisian Music Publishing under Henry II: a propos of Four
Recently-Discovered Guitar Books', MQ, xlvi (1960), 448
D. Lyons: Lute, Vihuelae Guitar to 1800: a Bibliography (Detroit. 1978)
D. MCLaXI: The Classical Guitar: Design and Construction (WoodRidge,
N.J., 197l)
D. Poulton: ÔNotes on the Guitarra, Laud and Vihuela'. LSJ, xviii (1976),
46
D. Teeter: The Acoustic Guitar: Adjustment, Care, Maintenance, and
Repair (Norman, Oklahoma, 1974)
D. Young: The Steel String Guitar: Construction and Repair (Radnor,
Penn., 1975)
E. Biernath: Die Guitarre seit dem If I. Jahrstausend vor Christus
(Berlin, 1907)
E. Bowles: ÔThe Guitar in Medieval Literature', Guitar Review (1966),
no.29, p.3
E. F. Ciurlo: ÔChitarra quareitonale', Ii ÔFronimo', jul10 (1975),
25
E. F. Ciurlo: La chitarra nella liuteria moderna', 11 ÔFronimo', ii/
6(1974), 20
E. Fausto Ciurlo: ÔCenni sulle ricerche delle origini etniche della
chitarra e del liuto', 11 ÔFronimo', i/2 (1973), 16
E. Pujol: ÔLa guitare', EMDC, lI/iii (1927), 1997Ñ2035
E. Schroen: Die Gitarre tend ihre Geschichte (Leipzig, 1879) A. Koczirz:
Bemerkungen zur Gitarristik', 71MG, viii (1906Ñ7), 355
E. Schwarz-Reiflingen: ÔBeizrhge zur Gcschichte der Gitarrisik nach
1840', Die Gitarre, iv (1923), 65, 74, 90; v (1924), 103, 135
F. (Irunfeld: ÔL'accord parfait en amour: Incidental Notes to the ~Llraphic
Music of Balzac's Paris', Guitar Review (1978), no.44, p.1
F. Buck: Die Gitarre und ihre Meister (Berlin, 1926)
F. Hellwig: ÔMakers' Marks on Plucked Instruments of the 16th and 17th
Centuries'. GSJ. sxiv (1971), 22
F. Lesure: ÔLa guitare en France au XVIe si&cle', MD, iv (1950),
187
F. V. Grunfeld: The Art and Times of the Guitar (London, 1969)
F. V. Grunfeld: The Art and Times of the Guitar (New York. 1970)
G Bakus: The Spanish Guitar: a Comprehensive Reference to the Classical
and Flamenco Guitar (Los Angeles, 1977)
G. Chase: The Music of Spain (New York, 1941)
G. Gruhn: ÔEvolution of the Rat-top Steel-strung Guitar', Guitar Player,
xv/7 (1981)
G. M. Dausend: ÔDie Gitarre im Barockzeitalter: Instrumente, Komponisten.
Werke, Notationsformen und Spieltechnik', Zupfmusik. xxxiii/5 (1980), 85,
114; xxxiv/5 (1981), 16
G. Radole: Liuto, cliitarra e vihuela: storia c letteratura (Milan.1979)
G. Santoro and others: The Guitar (New York, 1984)
G. Wade: Traditions of the Classical Guitar (London, 1980) 3. Duarte:
ÔThe Guitar in Early Music', Guitar & Lute, nos. 13Ñ18 (1980Ñ81) [series
of articles]
H. Chansasni and F. Vemillat: ÔLa guitare', Les insiruments d cordes
pincdes (Paris, 1970)
H. Charnass~: ÔSur 1'accord de Ia guitare', RMFC, vii (1967), 25
H. Haider: ÔDie Gitarre im Jazz', Musica, xxxiii/l (1979), 36 i. Libbert:
Ô400 Jahre Gitarre und Gitarristen, Versuch eines histonschen Lfberblicks',
Musica, xxxiii/1 (1979). 17
H. Huttig: 'The Tripodison of Dionisia Aguado'. Guitar Review 1974),
no.39, p.23
H. Leeb: ÔDie Gitarre', Gitarre und Laute, ii (1980). no.2, p.34: no.3,
p.32
H. Nickel: Beitrag zur Entwicklung der Gitarre in Europa (Bad Schussenried,
1972)
H. T. David: ÔThe Six-four Chord without Theory, an Unofficial History',
Bach, ii (1971), no.3, p.7; no.4, p.3
H. Turnbull: The Guitar from the Renaissance to the Present Day (London
and New York, 1974)
I. Bishop: The Gibson Guitar from 1950 (London, 1977)
I. C. Bishop: The Gibson Guitar since 1950 (London, 1977) K. Achard:
ÔThe Ponder Guitar (London, 1977)
I. J. Schoenberg: ÔOn the Location of Frets on the Guitar'. American
Mathematical Monthly, 83/7 (1976), 550
I. Meyer: ÔDie Bestimmung von Qualit~tskriterien bei Gitarren: Mirteilung
aus der physikalisch-technischen Bundesanstalt', Das Musikinstrument, xxv
(1976), 1211
I. Meyer: ÔFundamental Resonance ÔTuning of Guitars'. Journal of Guitar
Acoustics. no.5 1982), 19
I. Meyer: ÔHortests und akustische Messungen zur Bestimmung der Klangqualitkt
von Gitarren'. Das Musikinstrument, xxvii (1978), 33
I. Powroinmak.: Die Gitarre in Russland. Gitarre und Laute. i/6 11979.
IX
I. Roberts: Guitar Travels (Valencia, 1977)
I. Rossine: ÔPhysics of Guitars: in Introduction' Journal of Guitar
Acoustics. No.4 (1981), 45
I. Schneider: Òrhe Microtonal Guitar'. Guitar A Lute, nos. 16Ñ17. 19Ñ(1981Ñ)
[series of 5 articles]
I. Schneider: The Well-Tempered Guitar', Soundboard. v/4 (1978). 108
I. Sloane: Classical Guitar Construction: Diagrams. Photographs, and
Step-bv-Step Instructions (New York, 1966)
I. Sloane: Steel-String Guitar Construction: Acoustic Sir-String, Twelve-String,
and Arched Top Guitars (New York, 1975)
I. Wolf: Handbuch der Notationskunde, ii (Leipzig, 1919). 157Ñ 218
J. A. van Hoeck: Die Gitarrenmusik im 19. Jahrh.: Geschichte, Technik,
Interpretation (Wilhelmshaven, 1983)
J. Beilson: The Gibson Story (Kalamazoo, MI, 1973)
J. de Azpiazu: La guitare et les guitaristes des oragines aux temps
modernes (Basic, 1959; Eng. trans., 1960)
J. Duarte: ÔLa notazione della musica per chitarra', Il ÔFronimo',
iv/14 (1976), 14
J. Duarte: ÔMusic and the Guitar', Guitar Review, nos.13Ñ17 (1952Ñ
5); nos.20Ñ21 (1956Ñ7)[series of short articles]
J. Godwin: ÔEccentric Forms of the Guitar. 1770Ñ1850'. Journal of the
Lute Sociery of America. vii (1974), 90
J. I. H. Klier: Die Gitarre: em Instrument und seine Geschichte (Bad
Schussenried, 1980)
J. Libbert: ÔMusikwissenschaft und Gitarristik: einige Aspekte zu Theorie
und Praxis', Zupfmusik, xxxiii/2 (1980). 47
J. M. Ward: ÔSprightly and Cheerful Musick Ñ Notes on the Cittern,
Gittern and Guitar in 16th- and 17th-century England', LSJ. xxi (1979Ñ81)
[whole issue]
J. Meyer: ÔDas Resonanzverhalten von Gitarren bei mittleren Frequenzen'.
Das Musakinstrument. xxiii (1974), 1095
J. Meyer: ÔDie Abstimmung der Grundresonanzen von Gitarren', Das Musikinstrument,
xxiii (1974), 179
J. Sallis, ed. Jazz Guitars (New York, 1984)
J. Schneider: ÔThe Contemporary Guitar', Soundboard, vii/2 (1980),
69 [first of a series of articles]
J. ScIar: ÔGuitar: Consort to the Voice. Chapter One, Benjamin Britten:
Songs from the Chinese', Guitar Review (1977), no.42. p.17
J. Sclar: ÔGuitar: Consort to the Voice. Chapter Two, Dominick Areento.
Letters from Composers', Guitar Review (1979), no.45, p.6
J. Stropes and P. Long: 20th Century Masters of Finger-style Guitar
(Milwaukee, 1982)
J. Tyler: ÔThe Renaissance Guitar 1500Ñ1650', Early Music, iii (1975),
341
J. W. Tanno: ÔCurrent Discography', Soundboard, iii/3 (1976), 56 [first
of a series of articles]
J. Zuth: Handbuch der Laute und Gitarre (Vienna. 1926)
J. Zuth: Simon Molitor und die Wiener Gitarristik urn 18(X) (Vienna,
1920)
J.C. Tanno: "A Brief Discussion of the Construction and Assembly of
Guitars by Non-Spanish Luthiers', Guitar Review (1965) no.28, p.28
K. Achard: The History and Development of the American Guitar (London,
1979)
K. Achard: Tihe Fender Guitar (London. 1977)
K. Prusik: ÔBemerkungen zur Entwicklung der Gitarrenmusik'. Zeitschr
(ft far die Gitarre, iv/l (1924), 5
K. Ragossnig: Handbuch der Gitarre und Laute (Mainz, 1978)
L. Beck-Neuwirth: ÔDie Gitarre im 16. Jahrhundert', Zupfmusik, xxxii/4
(1979), 99
L. Davenport: ÔGuitars in Chamber Ensembles', Guitar Review, no.16
(1954), 2
L. Persson: 'Computer-Aided Instruction for the Guitar', Soundboard,
vi/3 (1979), 96
L. Witoszynskyi: ÔVihuela und Gitarre im Spiegel neuer Litteratur',
OMz, xxx (1975), 186
L. Witoszy~skyi: ÔDie Gitarre in der Kammermusik und der Beitrag Wiens',
OMz, xxxi (1976), 640
M. -R. Brondi: 11 liuto e Ia chitarra: ricerche storiche sulla loro
origine e sal loro sviluppo (Turin, 1926)
M. Brisenden: ÒIn a Hula Heaven: the Story of the Hawaiian Guitar,Ó
Collusion, no.4(1983), 10
M. Cano Taniayo: Un siglo de Ia guitarra granadina (Granada, 1975)
M. Disler: ÔFinding Liturgical Music for Classic Guitar', Soundboard,
ix/1 (1982), 15
M. Giertz: Den kiassika gitarren: instrumentet. musiken. m4sterna (Stockholm,
1979)
M. Hall: ¥The guitarra espaliolaÓ', Early Music, iv (1976). 227 [letter]
M. Hood: ÒMusical Ornamentation as History: the Hawaiian Steel Guitar,Ó
Yearbook for Traditional Music, xv (1983), 141
M. Kasha: Adventures in the Physics of String Instruments: from Model
Physics to the Modem Instrument', Britannica Yearbook of Science and the
Future (1974)
M. Kasha: Complete Guitar Acoustics (Tallahassee, 1973)
M. Kasna: 'A New Look at the History of the Classic Guitar', Guitar
Review (l968), no.30. p.3
M. Longworth: Martin Guitars: a History (Cedar Knolls, NJ, 1975)
M. Longworth: Martin Guitars: a Histoty (Cedar Knolls, NJ. 1975)
M. Materassi: ÔTeoria e pratica del Suonare sopra'l bassoÓ nel primo
Seicento', II ÔFronimo'. vii/29 (1979). 24
M. Ophee: ÔChamber Music for Ten Guitar - a Look at the Options', Guitar
Review (1977), no.42, p.12
M. Ophee: ÔGuitar Chamber Music, Why?', Soundboard, iii/3 (1976) to
iv/2 (1977) [series of 4 articles]
M. Ophee: 'La chitarra terzina', II Fronimo', vi/25 (1978), 8
M. P. Baumann: ÔMusic of the Indios in Bolivia's Andean Highlands (Survey)',
The World of Music, xxv/2 (1982), 80
M. P. Baumann: ÔMusic, Dance, and Song of the Chipayas (Bolivia)',
Latin American Music Review, ii (1981), 171Ñ222
M. Schulz: ÔFrancesco Corbetta und das Generalbass-Spielen', Mf, iv
(1951), 371
M. Sicca: ÔLa chitarra e gli strumenti a tastiera', 11 ÔFronimo', i/l
(1972), 27
M. Sicca: ÔNote critiche sul problenia delle trascrizioni per chitarra',
ii ÔFronimo', iii/1l (1975), 23
M. Summerfield: The Jazz Guitar (Gateshead, 1978)
N. D. Pennington: The Spanish Baroque Guitar, with a Transcripnon of
De Murcia's Passacalles y Obras (Ann Arbor, Mich., 1981)
NI. Sorriso: ÔLa chitarra battente in Calabria', 11 ÔFronimo'. viii/31
(1980), 29
NI. Weber: ÔGitarrenkorpus geometrisch abgeleitet: Instruinentengeschichte
aus Spanien', IZ. xxxii (1978), p.774
O. Chilesotti: Notes sur les tuhlawres de luth et de guitare', EMDC.
1/u (1921), 636Ñ84
O. Christensen: ÔThe Response of Played Guitars at Middle Frequencies',
Journal of Guitar Acoustics, 11/3 (1983), 49
O. Gombosi: ÔMiscellanca: ad vocern cithara, citharista', AcM, ix (1937),
55
P. Camos: Reportaje a Ia guitarra (Buenos Aires, 1978)
P. Danner: ÔBreve storia della musica per chitarra in America', II
ÔFronimo', v/20 (1977), 18
P. Danner: ÔL'adattamento della musica barocca per chitarra all'esecuzione
modema', 11 ÔFronimo', ii/7 (1974), 11
P. Danner: ÔNotes of Some Early American Guitar Concerts,Ó Soundboard,
iv (1977), 8
R. A. Hudson: ÔFurther Remarks on the Passacaglia and Ciaccona', JAMS,
xxiii (1970), 302 [reply to T. Walker: ÔCiaccona an lia',JAMS; xxi (1968).
300]
R. A. Hudson: ÔThe Concept of Mode in Italian Guitar Music During the
First Half of the 17th Century', AcM, xlii (1970). 163
R. A. Hudson: ÔThe Folia Dance and the Folia Formula in 17th-century
Guitar Music', MD, xxv (1971), 199
R. A. Hudson: 'The Music in Italian Tablatures for the Five-course
Spanish Guitar', Journal of the Lute Society of America. iv (1971), 21
R. A. Hudson: ÔThe Zarabanda and Zarabanda Francese in Italian Guitar
Music of the Early 17th Century'. MD, xxiv (1970). 125
R. A. Hudson: The Development of Italian Keyboard Variations on the
Passacaglia and Ciaccona from Guitar Music in the 17th Century (diss.,
U. of California, Los Angeles, 1967)
R. Chiesa: ÔStona della letteratura del liuto e della chitarra', II
ÔFronimo': rivista trimestrale di chitarra e liuto (1972Ñ) (series of articles)
R. de Zayas: ÔThe Vihuela: Swoose. Lute, or Guitar', ÔThe Music of
the Vihuelists and its Interpretation', ÔThe Vihuelists', Guitar Review
(1973), no.38, p.2
R. Denyer: The Guitar Handbook (London, 1982)
R. Denyer: The Guitar Handbook (London, 1983)
R. Jensen and D. Rowe: ÔBaroque Guitar for the Modern Performer: a
Practical Compromise', Guitar Review (1981), no.49, p.22
R. Keith: ÔThe Guitar Cult in the Courts of Louis XIV and Charles II',
Guitar Review (1962), no.26, p.3
R. Pinnell: 'The Theorboed Guitar: its Repertoire in the Guitar Books
of Granata and Gallot', Early Music. vii (1979), 323
R. Simoes: ÔThe Guitar in Brazil'.Guitar Review (1958), no.22, p.6
R. Strizich: ÔL'accompagnamento di basso continuo sulla chitarra barocca',
II ÔFronimo', ix/34Ñ5 (1981) [2-part article)
R. Strizich: ÔOrnamentation in Spanish Baroque Guitar Music', Journal
of the Lute Society of America, v (1972), 18
R. Strizich: ÔStringing the Baroque Guitar', Early Music. iv (1976),
235
R. Strizich: ÔThe Baroque Guitar Ñ Then and Now', Soundboard, viii/3
(1981), 128
S. Garnsey: ÔThe Use of Hand-plucked Instruments in the Continuo Body:
Nicola Macteis', ML, xlvii (1966), 135
S. Murphy: ÔThe Tuning of die Five-course Guitar'. GSJ, xxiii (1970),
49
S. N. Contreras: La guitarra. sus antecedentes históricos y
biografias de ejecutantes célebres (Buenos Aires, 1927)
T and M. A. Evans: Guitars: Music, History, Construction and Players
from the Renaissance to Rock (New York, 1977)
T. Bacon, ed.: Rock Hardware (Poole, Dorset, 1981) M. dell'Ara: ÔIconografla
della chitarra', II ÔFronimo', ix/36 (1981), 28 [first of a series of articles]
T. Evans and M. A. Evans: Guitars: Music, History, Construction and
Players from the Renaissance to Rock (New York, 1977)
T. Evans et al.: Guitares: chefs d'oeuvre des collections de France
(Paris, 1980)
T. Haas: Die Verwendung der Lauteninstrumente in der Oper', Zeitschr(ft
far die Gitarre, iv (1925), no.8, p.8; no.9, p.1
T. F. Heck: ÔThe Role of Italy in the Early History of the Classic
Guitar', Guitar Review (1971), no.34, p.1
T. F. Heck: Stalking the Oldest Six-string Guitar', Gen~ai guitar,
(1975), no.98, p.64
T. F. Heck: The Birth of the Classic Guitar and its Cultivation in
Vienna. Reflected in the Career and Compositions of Mauro Giuliani (d.
1829) (diss., Yale U., 1970)
T. Heck: ÔComputerized Guitar Research Ñ a Report', Soundboard, v/4
(1978). 104; ÔPostscript'. vi/l (1979), 12
T. Heck: ÔMysteries in the 1-listoty of the Guitar', La guitarra. nos,37Ñ
8, 40Ñ41 (1980) [series of short articles]
T. Stone: ÔA New Tonal Universe for the Guitar Ñ Interchangeable Fingerboards',
Guitar & Lute (1978), no.6, p'19
T. Wheeler: American Guitars.' an Illustrated History (New York, 1982)
T. Wheeler: American Guitars: an Illustrated History (New York, 1982)
T. Wheeler: The Guitar Book.' a Handbook for Electric and Acousic Guitarists
(New York, 1974, 2/1978)
T. Wheeler: The Guitar Book: a Handbook/or Electric and Acoustic Guitarists
(New York, 1974, 2/ 1978)
T. White, ed.: ÔPapers from speakers at the guitar session of the meeting
of the Acoustical Society of America, Chicago. April 26Ñ30. 1982', Journal
of Guitar Acoustics, no.6 (1982) [eleven articles]
V. 0. Bickford: ÔThe Guitar in America', Guitar Review (1959),
no.23, p.17
V. 0. Bicltford: ÔThe Guitar in America,' Guitar Review, no.23 (1959),
17
W. Boetticher, H. Hickmami and K. Reinhard: ÔGitarre', MGG
W. P. Maschkewitsch: ÔZur Geschichze der Gitarre in Russland', Die
Gitarre, x (1929), 25, 38, 54; xi (1930), 52, 93
GUITARISTS
B. Terzi: Dizionario det chitarristi e liu:ai italiani (Bologna. 1937)
C Simpson: Some Early American Guitarists'. Guitar Review 1959. no.23.
p.16
C. Carfagna and M. Gangi: Dizionario chitarristico indiana (Ancona,
1968)
D Prat Marsal: Diccionarto hiogrdfico de guitarras y guirarristas (Buenos
Aires. 1934)
I. Zuth: Handbuch der Laute und Gitarre (Vienna, 1926)
J. Powro´zniak: Lekrykon gitary (Kraków, 1979; enlarged
Ger. tans., 1979)
M. J. Summerfield: The Jazz Guitar: its Evolution and its Players (Gateshead,
1978)
P. J. Bone: The Guitar and Mandolin: Biographies of Celebrated Players
and Composers (London, 1914, 2/1954/R 1972)
S. N. Contreras: La guitarra, sus antecedentes históricos y
biografias de ejecutantes a'lebres (Buenos Aires, 1927)
W. Moser: ÔSpanische Gitarristen zwischen Aguado und Tarrega', Gitarre
und Laute. i/4 (1979), 26
W. P. Maschkewttsch: Russischc Gitarristen'. Die Gitarre. xi (1930).
68
THE INSTRUMENT
A. Koczirz: ÔDie alt-Wiener Gitarre um 1800', Gitarristische Mitteilung
aus Cesterreich, i (1925), Ôno.3, p.1; no.4. p.2; no.5, p.2
Arzberger: ÔVorschlag zu ciner wesentlichen Verbesserung mm Bau der
Guitarre', AMZ, xi (1809), 481
E. Schwarz-Reiflingen: ÔDie Torresgitarre', Die Gitarre, ix (1928),
47
F. Bathioli: Guitarre-Flageolett-Schule mit Bemerkungen liber den Gitarrenbau
(Vienna, ?1833)
F. Jahnel: Die Gitarre und ihr Bau: Technologie von Gitarre, Laute,
Sister Tanur und Saite (Frankfurt am Main, 1964, 3/1977)
F. Schuster: ÔZur Geschichte des Gitarrenbau in Deutschland'. Die Gitarre,
x (1929), 83
G. Chase: ÔGuitar and Vihuela: a Clarification'. BAMS, vi (1942), 13
I. A. Otto: ÔUeber die Guitarre', Ueber den Bau der Bogeninstrumente
(Weimar, 1828)
J. Duarte: 'Variants of the Classical Guitar, an Evaluation', Guitar
Review, (1961), no.25, p.22
J. Zuth: ÔDie englische und deutsche Gitarre des ausgehenden 18. Jahrh,
D4r Gitarrefreund, xxii (1921), 77, 88, 99
K. Geiringer: ÔDer Instrumentenname Quinterne und die mittelalterlichen
Bezeichnungen der Gitarre, Mandola und Colascione', AMw, vi (1924), 103
M. lvanov: Russkaia semistrunnaia gitara (Moscow. 1948) F. Lesure:
ÔLa traité des instruments de musique de Pierre Trichet; des instruments
de musique k chordes', AnnM. iv (1956), 216
O. Chilesotti: ÔLa chitarra francese', RMI, xiv (1907), 791
T. Usher: ÔThe Spanish Guitar in the 19th and 20th Centuries', GSJ,
ix (1956), 5Ñ36
BIBLIOGRAPHIES OF MUSICAL SOURCES
A. Nagytothy-Toth: ÔChecklist of Chamber Music for Guitar (Lute) and Keyboard',
Soundboard, iii/l (1976), 15
A. Nagytothy-Toth: ÔChecklist of Concerti for Guitar (Lute) and Orchestra',
Soundboard, iii/3 (1976), 59
G. Gilmore: Guitar Music Index: a Cross-indexed and Graded Listing
of Music in Print for Classical Guitar and Lute (Honolulu, 1976-81)
Handbuch der musikalischen Lireranar (Leipzig, 1817Ñ) [19th-century
printed guitar music]
J. Tyler: The Early Guitar: a History and a Handbook (London. 1980)
P. Danner: 'Bibliografia dde principali intavolature per chitarra',
, Il ÔFronimo', vii/29 (1979), 7
P. Danner: ÔBibliography of Guitar Tablatures, 1546Ñ1764 , Journal
of the Lute Society of America, V (1972). 40; vi (1973). 33
T. Heck: Guitar Music in the Archive of the Guitar Foundation of America
and at Cooperating Collections: a Computeri:ed Catalog (Columbus, 1981)
W. Boetticher: Handsch,jfdich alberlieferte Lauten- und Gitarrentabulaturen
des 15. bis 18. Ja/zrhunderts, RISM, B/VII (1978)
W. Moser: Gitarre-Musik: em internationaler Katalog (Hamburg, 1973/R
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GUITAR TECHNIQUE
A, Gilardino: ÔIl problema della diteggiatura nelle musiche per chitarra',
II ÔFronimo', iii (1975), no.10, p.5; no.13, p.11
A. Koczirz: ÔUeber die Fingernageltechnik bei Saiteninstrumenten',
Studien zur Musikgeschichte: Festschr(ft ffir Guido Adler (Vienna, 1930/R1971)
B. Jeffery: ÔLa technica di unghia e polpastrello secondo Dionisio
Aguado', 11 ÔFronimo', viii/33 (1980), 14
C. Duncan: ÔAbout Vibrato', Soundboard, v/3 (1978), 69
C. Duncan: ÔArticulation and Tone: some Principles and Practices',
Guitar Review (1979), no.46, p.7
C. Duncan: ÔLa tensione funzionale e l'attacco preparato , Il ÔFronimo',
vii/28 (1979), 23
C. Duncan: ÔStaccato Articulation in Scales', Soundboard, iv/3 (1977),
65
Duncan: The Art of Classical Guitar Playing (Princeton, N.J.,1980)
E. Just: ÔDie Flageolettone und ihre Notierung', Der Gitarrefreund,
xx (1919), 11, 23, 35
E. Lind: ÔHaltungsprobleifiatik an der Konzertgitarre', Gitarre und
Laute, ii/6 (1980). 18
E. Pujol: El dilema del sonido en Ia guitarra (Buenos Aires, 1960)
E. Schwarz-Reiflingen: ÔKuppen- oder Nagelanschlag?', Die Gitarre,
vi (1925), 65
E. Schwax-z-Reiflingen: ÔDie modeme Gitarrentechnik', Die Gitarre,
xi (1930), 17, 34, 49, 81
F. Buek: ÔUeber den Nagelanschlag'. Der Gitarrefreund, xxii (1921),
5
F. Cook: ÔDie ÒBatteriesÓ auf der Spanischen Barockgitarre nach Main
Mersenne', Gitarre und Laute, 1/5 (1979), 34
F. Guthmann: ÔUeber Guitarrenspiel', AMZ, viii (1806), 362
F. Laible: ÔPhysiologic des Anschlages', Die Gitarre, ii (1921), 95
F. Laible: ÔPhysiologie des Greifens', Die Gitarre, iv (1923), 45
J. Huber: Origines et technique de Ia guitare (Lausanne, 1968)
J. Taylor: Tone production on the classical guitar (London, 1978)
M. Ophee: ÔII tocco appoggiato: precisazioni e argomenti storici'.
Il ÔFronimo'. xi/43 (1983). 8
M. Sicca: ÔII vibrato come arricchimento naturale del suono: suo studio
sistematico sulla chitarra e sul liuto', 1! ÔFronimo', i/5 (1973), 24
M. Sicca: ÔUna concezione dinamica di alcuni problemi chitarristici',
11 ÔFronimo', vii/29 (1979), 18
O. Seyffert: ÔUeber das Gitarrespiel mit Ring und Nagelanschlag', Der
Guitarrefreund, viii (1907), 33, 41
P. Cox: ÔConsiderazioni sui pnmi metodi per chitalTa', II ÔFronimo',
ix/34 (1981), 5
P. Cox: The Evolution of Playing Techniques of the Six-Stringed Classic
Guitar as seen through Teaching Method Books from ci 780Ñc.1850 (diss.,
Indiana U., 1978)
P. Danner: ÔGiovanni Paolo Foscarmni and his Nuova inventioneÓ', Journal
of the Lute Society of America, vii (1974), 4
P. Danner: ÔLute Technique and the Guitar: a Further Look at the Historical
Background'. Soundboard, vii/2 (1980), 60
R. Strizich: ÔA Spanish Guitar Tutor: Ruiz de Ribsyar's Luz y norte
musical(1677)', Journal of the Lute Society of America, vii (1974), 51
S. Murphy: ÔSeventeenth-century Guitar Music: Notes on Rasgucado Performance',
GSJ, xxi (1968), 24
T. Usher: ÔThe Elements of Technical Proficiency', Guitar Review (1953),
no.15, p.6
T. Usher: ÔTone and Tonal Variety', Guitar Review (1954), no.16, p.23
V. Bobri: The Segovia Technique (London and New York, 1972) |
