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The Guitar and Its Music
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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

Reviews

`Review from previous edition Not only does [The Guitar and Its Music] offer a detailed guide to the sources, it integrates recent work from the fields of organology and iconography, archival and patronage studies, performance practice, and the analogous area of lute music, resulting in a coverage that is impressively inclusive in the best sense of the word. . . . with its detailed discussions of the sources, clear explanations of performance issues, and the extension of the coverage into the eighteenth century, all formed upon a solid musicological base, this book will surely be a cornerstone of future research and performance of early guitar repertories. . . . an important and essential study.' Renaissance Quarterly `Books on the history of the guitar are not in short supply but this one is one of the very best . . . Tyler's contribution is excellent . . . The Guitar and Its Music will open the eyes of those who think that the instrument is fit only for rock stars, born-again evangelists - and the occasional Prime Minister.' Anthony Pryer, Times Literary Supplement `This informative book with contributions from two of the most notable scholars in the field of early plucked instruments fills in a far more complete historical account of the guitar than James Tyler's already impressive 1976 OUP volume, A Handbook of the Early Guitar. Much new research figures in the detailed accounts of the guitar covering the sixteenth, seventeenth, and eighteenth centuries.' The Lute Society of America Quarterly `In this very important new book, James Tyler and Paul Sparks have managed not only to document the guitar's early history, but also to open a window on the music, survey the various relevant instruments and playing techniques, and set a course for future research. Their work will appeal to a wide range of readers, from historians with little interest in the guitar for its own sake, to performers with little interest in history for its own sake.' Charles Youmans, Notes, December 2003 `... exquisitely researched tome ... fascinating as a tool for frequent reference and a good read too.' Classical Guitar `Not only does [The Guitar and Its Music] offer a detailed guide to the sources, it integrates recent work from the fields of organology and iconography, archival and patronage studies, performance practice, and the analogous area of lute music, resulting in a coverage that is impressively inclusive in the best sense of the word.' Renaissance Quarterly `... with its detailed discussions of the sources, clear explanations of performance issues, and the extension of the coverage into the eighteenth century, all formed upon a solid musicological base, this book will surely be a cornerstone of future research and performance of early guitar repertories ... an important and essential study.' Renaissance Quarterly `This informative book with contributions from two of the most notable scholars in the field of early plucked instruments fills in a far more complete historical account of the guitar than James Tyler's already impressive 1976 OUP volume, A Handbook of the Early Guitar. Much new research figures in the detailed accounts of the guitar covering the sixteenth, seventeenth, and eighteenth centuries.' The Lute Society of America Quarterly `In this very important new book, James Tyler and Paul Sparks have managed not only to document the guitar's early history, but also to open a window on the music, survey the various relevant instruments and playing techniques, and set a course for future research. Their work will appeal to a wide range of readers, from historians with little interest in the guitar for its own sake, to performers with little interest in history for its own sake.' Charles Youmans, Notes `Books on the history of the guitar are not in short supply but this one is one of the very best ... Tyler's contribution is excellent ... The Guitar and Its Music will open the eyes of those who think that the instrument is fit only for rock stars, born-again evangelists - and the occasional Prime Minister.' Anthony Pryer, Times Literary Supplement

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