John Williams: Changing the Culture of the Classical Guitar

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Introduction
The 'Segovian' narrative
John Williams and diversity
Aims
1 Andres Segovia and John Williams
Segovia: career, tributes and reception
Other contributions to classical guitar culture in the early twentieth century
Attitudes to other musical styles
Teaching
Interpretation of the Segovia legacy
The king and the prince
Williams as a child prodigy
Contrasting approaches to popular and folk music styles
Williams and politics
Shifting attitudes about classical guitar
Conclusion
2 John Williams' approach to the classical guitar
Following the pulse
Performance anxiety
Approach to J.S. Bach's Chaconne in D minor
Contrasting approaches to Mauro Giuliani's Guitar Concerto No. 1 in A major, Op. 30 (1808)
Ensemble playing and sight-reading
Amplification and other manipulations of the natural sound
'Squeaks'
Guitar design
Williams and guitar teaching
Summary
3 'Putting the guitar out of classical music'
Cavatina and other film projects 1
Sky
Africa
Venezuela - El Diablo Suelto
John Williams and jazz
Summary
4 New directions in classical guitar
Sculthorpe
Takemitsu
Dodgson
Performing with Julian Bream
Richard Harvey
Williams' own compositions
Programme choices
Leo Brouwer
Agustin Barrios Mangore
Summary
Conclusion
Broadening the repertoire and appeal of the classical guitar
Critical perception
Summary
Bibliography
Index

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This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams. Beginning with an examination of Andres Segovia and his influence upon Williams' life's work, a further four incisive chapters cover key areas such as performance, perception, education and construction, considering social and cultural contexts of the guitar over the past century. A final chapter on New Directions in Classical Guitar examines the change in reception of the composer from the mid-1970s to the present day, and Williams' impact upon what night be termed `standard classical guitar repertoire'.

With in-depth discussion of the cultural and perceptual impact of Williams' more daring crossover projects and numerous musical examples, this is an informative reference for all classical guitar practitioners, as well as scholars and researchers of guitar studies, reception studies, cultural musicology, and performance studies. An online lecture by the author and a transcript of the author's interview with John Williams are also available, as e-resources.

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