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Journal articles on the topic 'Guitar music – 17th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Macaulay, Anne, and John M. Ward. "Sprightly and Cheerful Musick: Notes on the Cittern, Gittern and Guitar in 17th-Century England." Galpin Society Journal 45 (March 1992): 163. http://dx.doi.org/10.2307/842288.

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2

Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.

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3

Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (1986): 695. http://dx.doi.org/10.2307/964679.

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4

Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965019.

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5

SILBIGER, ALEXANDER. "‘17TH CENTURY KEYBOARD MUSIC’." Music and Letters 72, no. 2 (1991): 351–53. http://dx.doi.org/10.1093/ml/72.2.351.

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6

GUSTAFSON, BRUCE. "‘17TH CENTURY KEYBOARD MUSIC’." Music and Letters 72, no. 2 (1991): 353. http://dx.doi.org/10.1093/ml/72.2.353.

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7

Holman, P. "Performing 17th-century music." Early Music 41, no. 2 (2013): 335–37. http://dx.doi.org/10.1093/em/cat038.

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8

Holman, Peter. "17th-century England." Early Music 33, no. 2 (2005): 352–54. http://dx.doi.org/10.1093/em/cah090.

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9

Woodfield, Ian. "17th-century English consorts." Early Music XXII, no. 3 (1994): 514–20. http://dx.doi.org/10.1093/earlyj/xxii.3.514.

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10

Johnston, G. S. "Surveying the 17th century." Early Music 35, no. 2 (2007): 293–95. http://dx.doi.org/10.1093/em/cam018.

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11

Crawford, Tim. "Lute music form 17th-century Strasbourg." Early Music XXIII, no. 3 (1995): 513–16. http://dx.doi.org/10.1093/earlyj/xxiii.3.513.

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12

Combes, Liz. "16th- and 17th-Century Italy." Musical Times 136, no. 1826 (1995): 194. http://dx.doi.org/10.2307/1004173.

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13

Cooper, Barry. "A 17th-century English Keyboard." Early Music XXIII, no. 1 (1995): 158–60. http://dx.doi.org/10.1093/earlyj/xxiii.1.158.

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14

Chechenya, Kostyantyn. "Guitar movement in Ukraine at the beginning of the XXI century." Culturology Ideas, no. 19 (1'2021) (2020): 165–73. http://dx.doi.org/10.37627/2311-9489-19-2021-1.165-173.

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The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.

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15

Stimpson, Michael. "The Guitar in English Music Education." British Journal of Music Education 2, no. 1 (1985): 51–67. http://dx.doi.org/10.1017/s0265051700004605.

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The development of the guitar in the twentieth century has been sufficiently significant to warrant inclusion at all levels of music education. This article considers the extent and manner of its educational involvement and questions whether the response to the instrument has reflected its true potential.

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16

Wilson, Anthony. "17th- and Early 18th-Century France." Musical Times 136, no. 1826 (1995): 195. http://dx.doi.org/10.2307/1004174.

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17

Barker, Naomi Joy. "Tempered extravagance: 17th century keyboard collections." Early Music XXIII, no. 4 (1995): 713–14. http://dx.doi.org/10.1093/earlyj/xxiii.4.713.

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18

Giuliani, R. "Instrumental music of the early 17th century." Early Music 39, no. 1 (2011): 117–19. http://dx.doi.org/10.1093/em/caq127.

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19

Ivannikov, Tymur, and Tetiana Filatova. "Venezuelan twentieth century guitar music: Antonio Lauro, Alirio Diaz." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(44) (December 19, 2019): 33–55. http://dx.doi.org/10.31318/2414-052x.3(44).2019.189614.

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20

Christensen, Thomas. "The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory." Journal of Music Theory 36, no. 1 (1992): 1. http://dx.doi.org/10.2307/843908.

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21

Carter, Stewart. "The string tremolo in the 17th century." Early Music XIX, no. 1 (1991): 43–60. http://dx.doi.org/10.1093/earlyj/xix.1.43.

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22

Beurmann, A. "Iberian discoveries: six Spanish 17th century harpsichords." Early Music 27, no. 2 (1999): 183–208. http://dx.doi.org/10.1093/em/27.2.183.

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23

Carfoot, Gavin. "Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar." Leonardo Music Journal 16 (December 2006): 35–39. http://dx.doi.org/10.1162/lmj.2006.16.35.

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Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”

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24

MARTÍN GIL, DAMIÁN. "‘THE FAMOUS VIDAL’: NEW LIGHT ON THE LIFE AND WORKS OF A GUITARIST IN LATE EIGHTEENTH-CENTURY FRANCE." Eighteenth Century Music 18, no. 1 (2021): 123–49. http://dx.doi.org/10.1017/s1478570620000470.

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ABSTRACTDuring the second half of the eighteenth century the Spanish guitar reached a level of popularity in France not equalled elsewhere. Among the various composers who contributed to the vogue for the instrument in this country, sources of the period refer to a certain Mr Vidal, a guitarist of Spanish origins who was regarded as one of the most important masters of the guitar in Europe. Despite multiple references to his musical activities no extensive study has yet been made, which leaves this figure only partially studied. In order to address this lacuna, this article reconstructs the life of this guitarist, placing his music in the environment in which he lived in order to obtain a clearer picture of the situation of the guitar and the role of Vidal as a composer, guitarist, publisher and teacher.

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25

Cave, Penelope, and David Ledbetter. "Harpsichord and Lute Music in 17th-Century France." Galpin Society Journal 42 (August 1989): 152. http://dx.doi.org/10.2307/842640.

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26

Byrt, John, and Stephen E. Hefling. "Rhythmic Alteration in 17th-and 18th-Century Music." Musical Times 136, no. 1829 (1995): 358. http://dx.doi.org/10.2307/1004335.

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27

Meyer, Christian, and David Ledbetter. "Harpsichord and Lute Music in 17th-Century France." Revue de musicologie 74, no. 1 (1988): 106. http://dx.doi.org/10.2307/928177.

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28

Bruni, Franco. "17th-century music prints at Mdina Cathedral, Malta." Early Music XXVII, no. 3 (1999): 467–80. http://dx.doi.org/10.1093/earlyj/xxvii.3.467.

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29

Beletskaya, Olga A. "Clavier Music of Germany in the 17th Century." ICONI, no. 2 (2021): 30–40. http://dx.doi.org/10.33779/2658-4824.2021.2.030-040.

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17th century German clavier music presents a capacious stratum of culture of the Baroque period, which is of enormous interest. Frequently it is perceived as an enormous transition to J.S. Bach’s musical legacy, but upon more assiduous examination it turns out that this stratum has its own value, although, obviously, it could not do otherwise than create the footing for the musical culture of the following 18th century. The present article has an overview character and is meant to summate the most important phenomena which could give an overall perception of the chronological order of the formation of clavier genres and forms of the pre-Bach era, about the outstanding composers of clavier music, and of the intersection between various national styles in their heritages.

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30

S. Platonov, Rachel. "Guitar poetry." Tekstualia 2, no. 53 (2018): 147–56. http://dx.doi.org/10.5604/01.3001.0013.3291.

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The article explores the notion of guitar poetry and aims at tracing the genealogy of the genre that continued the traditions of music culture widespread in Russia in the eighteenth and nineteenth century, and was later revived in the 1940s. The genre had its roots in the classic romance and the urban romance, although it should not be considered as a simple hybrid of the two. The article goes on to establish similarities and differences between these three genres. It looks at the achievement of the major composers and writers who represented the guitar poetry movement, such as Victor Berkovsky, Aleksandr Mirzayan and Sergey Nikitin (composers), and Boris Pasternak and Marina Tsvetaeva (writers). The article addresses the themes of guitar poetry and puts a special emphasis on the genre’s pessimistic approach towards love.

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31

Zaslaw, Neal. "The Italian violin school in the 17th century." Early Music XVIII, no. 4 (1990): 515–18. http://dx.doi.org/10.1093/earlyj/xviii.4.515.

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32

Sayce, Lynda. "Continuo lutes in 17th and 18th-century England." Early Music XXIII, no. 4 (1995): 666–84. http://dx.doi.org/10.1093/earlyj/xxiii.4.666.

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33

Pruitt, William. "A 17th-century French manuscript on organ performance." Early Music 14, no. 2 (1986): 237–52. http://dx.doi.org/10.1093/earlyj/14.2.237.

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34

Thorp, J. "Dance in late 17th-century London: Priestly muddles." Early Music 26, no. 2 (1998): 198–212. http://dx.doi.org/10.1093/em/26.2.198.

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35

Pierce, K. "Dance notation systems in late 17th-century France." Early Music 26, no. 2 (1998): 286–99. http://dx.doi.org/10.1093/em/26.2.286.

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36

Deloria, Philip J. "T.C. Cannon’s Guitar." Arts 8, no. 4 (2019): 132. http://dx.doi.org/10.3390/arts8040132.

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How might we understand the art—and perhaps something of the life—of Kiowa/Caddo artist T.C. Cannon by centering his engagement with music and in particular with a meditation on Cannon’s 000-18 Martin guitar, which greeted visitors to the landmark exhibition, T.C. Cannon: At the Edge of America? In the form of a personal reflective essay, T.C. Cannon’s Guitar contemplates my own history with similar guitars, songs from the folk-songwriter tradition, and questions of multi-media crossings—art, music, text, object—that demonstrate revealing stylistic affinities. The essay explores intergenerational relations between myself, Cannon, and my father Vine Deloria, Jr., the three of us evenly spaced over the course of the late twentieth century, and it does so in an effort to understand something about the historical impulses of the period between 1965 and 1978. In that moment—accessible to me through memories of affects more than memories of actions—Native politics and art were both figuring out ways to honor the past while making it new, creating distinctive forms that we can recognize around concepts such as survivance, sovereignty, and indigenous modernism.

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37

Murata, Margaret, and Anne Schnoebelen. "Solo Motets from the 17th Century." Notes 45, no. 4 (1989): 836. http://dx.doi.org/10.2307/941234.

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38

Kronenberg, Clive. "GUITAR COMPOSER LEO BROUWER: THE CONCEPT OF A ‘UNIVERSAL LANGUAGE’." Tempo 62, no. 245 (2008): 30–46. http://dx.doi.org/10.1017/s004029820800017x.

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In the realm of art music, Leo Brouwer (1939-) is widely considered as the most significant living composer for the guitar. Since the latter part of the 20th century, students of the guitar at most, if not all, recognized music institutions have increasingly sought to perform Brouwer's works. Correspondingly, at the South African College of Music (University of Cape Town) respected instructors like Elspeth Jack, Neefa van der Schyff, and others, have over many years consistently and devotedly incorporated Brouwer's guitar literature into their teaching programmes. Cape Town's prized composer-conductor Alan Stephenson has similarly developed a keen interest in Brouwer's large-scale works, inspiring in 1998 a memorable rendition of Brouwer's acclaimed Elegiaco Concerto, performed by the talented soloist Christiaan Van der Vyver and the University of Cape Town Orchestra. In line with this, one of Brouwer's underlying goals has been to create works that are accessible to players of varying standards of performance. As a consequence, young, inexperienced, moderate, advanced as well as top internationally-acclaimed virtuosic players have all found some measure of contentment in performing Brouwer's guitar works.

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39

Wraight, Denzil, Martha Goodway, and Jay Scott Odell. "The Metallurgy of 17th- and 18th-Century Music Wire." Galpin Society Journal 42 (August 1989): 174. http://dx.doi.org/10.2307/842655.

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40

Burden, Michael. "‘A very good designe’: music from 17th-century England." Early Music XXII, no. 2 (1994): 345–48. http://dx.doi.org/10.1093/earlyj/xxii.2.345.

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41

Irving, D. R. M. "Italian (and related) instrumental music of the 17th century." Early Music 40, no. 2 (2012): 325–28. http://dx.doi.org/10.1093/em/cas053.

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42

Estudante, P. "A new 17th-century Iberian source of instrumental music." Early Music 34, no. 4 (2006): 645–60. http://dx.doi.org/10.1093/em/cal039.

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43

Waterhouse, William. "OBSERVATION: A newly discovered 17th-century bassoon by Haka." Early Music XVI, no. 3 (1988): 407–10. http://dx.doi.org/10.1093/earlyj/xvi.3.407.

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44

Gómez-Ullate García de León, Martín. "GUITAR TEACHING: STATE OF THE ART AND RESEARCH QUESTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 361. http://dx.doi.org/10.17770/sie2019vol4.3952.

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This work reviews guitar methodologies and didactic materials from the first 16th century methods of guitar and vihuela to the software/hardware devices patented now-a-days. One of the richest sources for guitar education research are master classes registered since the last 50-100 years and available today to the researcher. A set of 12 master classes are analysed in this study. Fundamental decisions for the education and practice of the guitar are highlighted as the fingernails vs. yolks playing, “learning by music” vs. “learning by ear”, the use of music vs. tablature notation or the autodidactic way vs. the teacher-student interaction in class. Despite the successful new devices and advances in software and hardware, literature review reveals the importance of the teacher and the classical methods.

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45

Decker, John A. "Graphite-Epoxy Acoustic Guitar Technology." MRS Bulletin 20, no. 3 (1995): 37–39. http://dx.doi.org/10.1557/s0883769400044390.

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We have successfully developed an acoustic guitar (Figure 1) composed of graphite. Trademarked the RainSong® graphite guitar, this instrument uses no endangered tropical tonewoods. The instrument's sound quality is equal to that of a fine wooden guitar. At high frequencies, the clarity, sustain, and play-ability surpasses that of wooden guitars. Because of its construction, the instrument is sturdy and is impervious to humidity, heat, and water.The development of this guitar required analysis of the theory of anisotropic sound propagation in the guitar soundboard and body, and resulted in two patents. We designed prototype guitars in collaboration with Pimentel & Sons, Guitar Makers, and used combinations of unidirectional and woven graphite and aramid fibers in an epoxy-resin matrix.The goal of our project was to accurately duplicate—panel by panel—the acoustic properties of a fine wooden guitar. We had the resulting acoustic modes and frequencies verified in the laboratory. We then developed and constructed open-mold and resin-transfer molding tooling for a family of classical, steel-string acoustic and hollow-body electric guitars, which are now in commercial production.Possibly the first all-composite acoustic guitar, the RainSong® represents a fundamental change in stringed-instrument construction, perhaps the first since the 17th Century Italian masters.The RainSong® technology allows musicians to skirt the effects of climate and transport damage on their instruments. The instrument contains essentially no wood, and hence negates environmental concerns about rapid depletion of the virgin-forest woods, from which stringed instruments have traditionally been made.

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46

Lionnet, Jean. "Performance practice in the Papal Chapel during the 17th century." Early Music XV, no. 1 (1987): 3–15. http://dx.doi.org/10.1093/earlyj/xv.1.3.

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47

Ranum, Patricia. "Audible rhetoric and mute rhetoric: the 17th-century French sarabande." Early Music 14, no. 1 (1986): 22–40. http://dx.doi.org/10.1093/earlyj/14.1.22.

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48

Bruni, F. "Performing matters. 17th-century music prints at Mdina Cathedral, Malta." Early Music 27, no. 3 (1999): 467–79. http://dx.doi.org/10.1093/em/27.3.467.

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49

Giles, Roseen. "‘Amor profano, amor sacro’: Musical orators of the 17th century." Early Music 48, no. 2 (2020): 272–75. http://dx.doi.org/10.1093/em/caaa030.

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50

Plesch, M. "The Topos of the Guitar in Late Nineteenth- and Early Twentieth-Century Argentina." Musical Quarterly 92, no. 3-4 (2009): 242–78. http://dx.doi.org/10.1093/musqtl/gdp016.

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