LEADER 05601nam 2200637 a 450 001 9910782208403321 005 20221108104110.0 010 $a1-383-00884-1 010 $a1-281-34602-0 010 $a0-19-151851-4 035 $a(CKB)1000000000553388 035 $a(StDuBDS)AH24079586 035 $a(SSID)ssj0000298066 035 $a(PQKBManifestationID)11208190 035 $a(PQKBTitleCode)TC0000298066 035 $a(PQKBWorkID)10343326 035 $a(PQKB)11402844 035 $a(MiAaPQ)EBC422842 035 $a(EXLCZ)991000000000553388 100 $a20070316h20072002 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe guitar and its music$b[electronic resource] $efrom the Renaissance to the classical era /$fJames Tyler and Paul Sparks 210 $aOxford $cOxford University Press$d2007, c2002 215 $a1 online resource (xxv, 322 p. )$cill., music 225 1 $aOxford early music series 300 $aOriginally published: 2002. 300 $aFormerly CIP.$5Uk 311 $a0-19-921477-8 311 $a0-19-816713-X 320 $aIncludes bibliographical references and index. 327 $aDEDICATION; PREFACE; LIST OF ILLUSTRATIONS; LIST OF TABLES; LIST OF MUSICAL EXAMPLES; LIST OF ABBREVIATIONS; ACKNOWLEDGEMENTS; PART I: THE GUITAR IN THE SIXTEENTH CENTURY; 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); 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 GUITAR; 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 1800's: 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 330 $aThis publication is an authoritative guide to the history and repertory of the guitar from the Renaissance to the dawn of the classical era. 330 $bFollowing on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) this collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain. 410 0$aEarly music series (London, England : 1976) 606 $aGuitar music$xHistory and criticism 606 $aGuitar$xHistory 606 $aGuitar$xHistory 606 $aGuitar music$xHistory and criticism 615 0$aGuitar music$xHistory and criticism. 615 0$aGuitar$xHistory. 615 0$aGuitar$xHistory 615 0$aGuitar music$xHistory and criticism 676 $a787.8709 700 $aTyler$b James$f1940-.$01177432 701 $aSparks$b Paul$01528408 801 0$bStDuBDS 801 1$bStDuBDS 801 2$bUkPrAHLS 906 $aBOOK 912 $a9910782208403321 996 $aThe guitar and its music$93771951 997 $aUNINA