The Guitar and Its Music: From the Renaissance to the Classical Era

Contents

• Dedication
• Preface
• List of Illustrations
• List of Tables
• List of Musical Examples
• List of Abbreviations
• Acknowledgements
• Part I: The Guitar in the Sixteenth CenturyJames Tyler:
• 1. Spain: La Guitarra de quatro ordenes
• 2. France: The Creation of the Repertory
• 3. England: '... yused of gentilmen, and of the best sort ...'
• 4. Italy: La Chitarra da sette corde
• 5. Italy: The Role of the Guitar in the Rise of Monody
• Part II: The Spanish Guitar (c.1600-c.1750)James Tyler:
• 6. Italy: The Creation of the Repertory
• 7. France: Les Guitarristes Royals
• 8. 1. England
• 2. The Low Countries
• 3. Scandinavia
• 4. Germany and the Austrian Empire
• 9. Spain, Portugal, and the New World
• Appendix I. A Brief Guide to Reading and Interpreting Baroque Guitar Tablatures
• Appendix II. Sources of Specific Information on the Tuning and Stringing of the Five-course Guitar
• Appendix III. The Mandora
• Part III: The Origins of the Classical GuitarPaul Sparks:
• 10. 1750-69: The Emergence of the Six-Course Guitar
• 1. Spain, Portugal, and South America
• 2. France
• 3. Britain
• 11. 1770-89: The First Six-String Guitars
• 1. A Short History of String Making
• 2. Spain, South America, and Portugal
• 3. Italy
• 4. France
• 5. England. Germany, and Austria
• 12. 1790 to the Early 1800s: The Triumph of the Six-String Guitar
• 1. Spain and Portugal
• 2. Britain
• 3. Italy
• 4. France
• 5. Germany, Austria, and Elsewhere
• 13. The Guitar 1750-c.1800: Practical Information
• 1. The Instrument
• 2. Strings
• 3. Playing Positions
• 4. Specialist Techniques and Ornamentation
• Appendix IV: Primary Sources (1750-c. 1800)
• 1. Paris - Instrumental Music (Published)
• 2. Paris - Songs with Guitar Accompaniment (Published)
• 3. Guitar Methods (Published and Manuscript)
• 4. Non-Parisian Guitar Music (Published and Manuscript)
• Appendix V: Pieces for Guitar (c.1750-c.!800)
• Bibliography of Secondary Sources
• Index