In early May, 2015, there was a biennial gathering of guitar history enthusiasts and scholars at the town of Hemmenhofen, Germany, on Lake Constance. One of the sessions was a round table with the title, "Old and New Sources and Horizons for Historical Research on the Guitar." It was designed to stimulate audience participation and certainly succeeded. Brief papers were offered by three scholars in attendance. Here, Heck identifies eight points of progress, each of which can be considered good news for those who work in the field of guitar history.
{"title":"Editorial: Guitar Research Resources—An Update","authors":"T. Heck","doi":"10.56902/sbs.2015.1.4","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.4","url":null,"abstract":"In early May, 2015, there was a biennial gathering of guitar history enthusiasts and scholars at the town of Hemmenhofen, Germany, on Lake Constance. One of the sessions was a round table with the title, \"Old and New Sources and Horizons for Historical Research on the Guitar.\" It was designed to stimulate audience participation and certainly succeeded. Brief papers were offered by three scholars in attendance. Here, Heck identifies eight points of progress, each of which can be considered good news for those who work in the field of guitar history.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114759824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses a page of music manuscript, shelf no. MD-C-90 (4), preserved in a royal monastery situated in Madrid: the Convent of the Descalzas Reales. It contains three works for guitar, including two attributed to the Catalan composer and guitarist Fernando Sor (1778–1839). The first, entitled Minué de Sors, is known as Sor's Op. 23, No. 6, while the second short composition, Alemanda desors [sic], is not yet officially attributed to Sor. While recent research has revealed that Salvador Castro de Gistau (ca. 1770–?), a publisher originally from Madrid, issued this same piece in his Op. 6 with the title Allegretto, the version found in the manuscript of the Convent of the Descalzas Reales provides a new perspective on this work, potentially by Fernando Sor. The third piece is a minuet (Minué) without attribution.
本文讨论的是一页音乐手稿，架子号。MD-C-90(4)，保存在位于马德里的皇家修道院:Descalzas Reales修道院。它包含三首吉他作品，其中两首被认为是加泰罗尼亚作曲家和吉他手费尔南多·索尔(1778-1839)的作品。第一篇题为《索尔的细节》，被认为是索尔的作品23号，第6号，而第二篇短篇作品《悲哀》(Alemanda desors)尚未被正式认定为索尔的作品。虽然最近的研究表明，来自马德里的出版商Salvador Castro de Gistau(约1770 - ?)在他的Op. 6中以“Allegretto”的标题发布了同样的作品，但在Descalzas Reales修道院手稿中发现的版本提供了对该作品的新视角，可能是费尔南多·索尔。第三首曲子是一首没有署名的小步舞曲。
{"title":"An Uncatalogued Piece by Fernando Sor?","authors":"Ricardo Aleixo","doi":"10.56902/sbs.2015.1.8","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.8","url":null,"abstract":"This article discusses a page of music manuscript, shelf no. MD-C-90 (4), preserved in a royal monastery situated in Madrid: the Convent of the Descalzas Reales. It contains three works for guitar, including two attributed to the Catalan composer and guitarist Fernando Sor (1778–1839). The first, entitled Minué de Sors, is known as Sor's Op. 23, No. 6, while the second short composition, Alemanda desors [sic], is not yet officially attributed to Sor. While recent research has revealed that Salvador Castro de Gistau (ca. 1770–?), a publisher originally from Madrid, issued this same piece in his Op. 6 with the title Allegretto, the version found in the manuscript of the Convent of the Descalzas Reales provides a new perspective on this work, potentially by Fernando Sor. The third piece is a minuet (Minué) without attribution.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"28 8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126533307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An introduction to the aims and scope of this new scholarly journal of the guitar, and an introduction to the individual articles.
介绍的目的和范围这个新的学术杂志的吉他，并介绍个别文章。
{"title":"Soundboard Scholar no. 1: Editor's Letter","authors":"T. Heck","doi":"10.56902/sbs.2015.1.3","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.3","url":null,"abstract":"An introduction to the aims and scope of this new scholarly journal of the guitar, and an introduction to the individual articles.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125978994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the first decades of the nineteenth century, playing music outdoors became a popular trend in Europe and North America. This largely reflected the Romantic ideal of coming closer to nature, whose allure played a significant role in contemporary education, literature, art, fashion, and music. By investigating a wide variety of written and pictorial sources, as well as surviving instruments in museum collections, this article discusses the development of the guitar as an “open-air” instrument as epitomised by the invention of guitar variants for use “on the go”. Moreover, the article sheds new light on the guitar’s connections to other portable wind and keyboard instruments, such as the csakan or the orphica, which were designed to provide musical accompaniment “al fresco”.
{"title":"The Guitar as an \"Open-Air\" Instrument in the Early Romantic Era","authors":"P. Poulopoulos","doi":"10.56902/sbs.2015.1.5","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.5","url":null,"abstract":"In the first decades of the nineteenth century, playing music outdoors became a popular trend in Europe and North America. This largely reflected the Romantic ideal of coming closer to nature, whose allure played a significant role in contemporary education, literature, art, fashion, and music. By investigating a wide variety of written and pictorial sources, as well as surviving instruments in museum collections, this article discusses the development of the guitar as an “open-air” instrument as epitomised by the invention of guitar variants for use “on the go”. Moreover, the article sheds new light on the guitar’s connections to other portable wind and keyboard instruments, such as the csakan or the orphica, which were designed to provide musical accompaniment “al fresco”.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127649688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Schneider features Harry Partch, one of America's most colorful and original composers. Though trained as a concert pianist, Partch's dissatisfaction with the scales and instruments of Western music inspired him to design and build an orchestra of over two dozen hand-crafted microtonal instruments that were tuned to what he called his monophonic scale of 43 tones per octave. He also composed dozens of vibrantly singular musical works of all sizes, and authored theoretical statements of lasting significance in his book Genesis of a Music.
{"title":"The Microtonal Guitars of Harry Partch","authors":"John Schneider","doi":"10.56902/sbs.2015.1.6","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.6","url":null,"abstract":"Schneider features Harry Partch, one of America's most colorful and original composers. Though trained as a concert pianist, Partch's dissatisfaction with the scales and instruments of Western music inspired him to design and build an orchestra of over two dozen hand-crafted microtonal instruments that were tuned to what he called his monophonic scale of 43 tones per octave. He also composed dozens of vibrantly singular musical works of all sizes, and authored theoretical statements of lasting significance in his book Genesis of a Music.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134218089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The three guitars were reproduced from La chitarra: quattro secoli di capolavori / The Guitar: Four Centuries of Masterpieces (Edizioni il Salabue, 2008), with the kind permission of Giovanni Accornero. The instruments were made (L to R) by Magno Graill (Rome, c.1620), Antonio Vinaccia (Naples, 1787), and Ignacio Fleta (Barcelona, 1961). —Thomas Heck
{"title":"Soundboard Scholar no. 1: Cover","authors":"T. Eakins","doi":"10.56902/sbs.2015.1.2","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.2","url":null,"abstract":"The three guitars were reproduced from La chitarra: quattro secoli di capolavori / The Guitar: Four Centuries of Masterpieces (Edizioni il Salabue, 2008), with the kind permission of Giovanni Accornero. The instruments were made (L to R) by Magno Graill (Rome, c.1620), Antonio Vinaccia (Naples, 1787), and Ignacio Fleta (Barcelona, 1961). —Thomas Heck","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127302177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article adds to our knowledge of Sor’s final months in London in 1822 and his subsequent Paris sojourn before he went to Russia in 1823. Central to Sor’s activity during this period was his involvement in the ballet Cendrillon, for which he wrote the music. Hitherto unknown reviews of the premiere at the King’s Theatre on March 26, 1822, show that both the ballet and the music were consistently well received by the London critics. This success led to action being taken to have the ballet staged at the Paris Opéra, and in the fall that same year Sor went to Paris, most probably in order to attend the preparations of the production there. During the long production period before the Paris premiere on March 3, 1823, Sor played in a number of concerts in the French capital, most of which have previously been unrecorded. Many of these concerts were reviewed in the press, and Sor was unanimously praised for his guitar playing. The Paris critics were, however, less enthusiastic about his ballet music than their London counterparts had been.
{"title":"Fernando Sor on the Move in the Early 1820s","authors":"Erik Stenstadvold","doi":"10.56902/sbs.2015.1.7","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.7","url":null,"abstract":"This article adds to our knowledge of Sor’s final months in London in 1822 and his subsequent Paris sojourn before he went to Russia in 1823. Central to Sor’s activity during this period was his involvement in the ballet Cendrillon, for which he wrote the music. Hitherto unknown reviews of the premiere at the King’s Theatre on March 26, 1822, show that both the ballet and the music were consistently well received by the London critics. This success led to action being taken to have the ballet staged at the Paris Opéra, and in the fall that same year Sor went to Paris, most probably in order to attend the preparations of the production there. During the long production period before the Paris premiere on March 3, 1823, Sor played in a number of concerts in the French capital, most of which have previously been unrecorded. Many of these concerts were reviewed in the press, and Sor was unanimously praised for his guitar playing. The Paris critics were, however, less enthusiastic about his ballet music than their London counterparts had been.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131413257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ferguson discusses Emil Heerbrugger's Grand Grecian Military March. Grand Grecian Military March was composed for one or two guitars by Heerbrugger and published in the 1830s. It is parlor music for the amateur. It displays the traits of so much of that repertoire--foursquare phrasing, strict diatonicism, tonic-dominant harmony, and simple rhythm. The tambour technique was a staple of nineteenth-century martial music on guitar, typically used to evoke drums, and Heerbrugger marks it as such in his score. The composer recommends executing the effect percussively with the right-hand middle finger.
{"title":"Emil Heerbrugger's Grand Grecian Military March in Facsimile","authors":"Roberta C. Ferguson","doi":"10.56902/sbs.2015.1.9","DOIUrl":"https://doi.org/10.56902/sbs.2015.1.9","url":null,"abstract":"Ferguson discusses Emil Heerbrugger's Grand Grecian Military March. Grand Grecian Military March was composed for one or two guitars by Heerbrugger and published in the 1830s. It is parlor music for the amateur. It displays the traits of so much of that repertoire--foursquare phrasing, strict diatonicism, tonic-dominant harmony, and simple rhythm. The tambour technique was a staple of nineteenth-century martial music on guitar, typically used to evoke drums, and Heerbrugger marks it as such in his score. The composer recommends executing the effect percussively with the right-hand middle finger.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121902693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An introduction to the contents of Soundboard Scholar, no. 8.
《音板学者》内容简介，没有。8.
{"title":"Editor's Letter","authors":"Jonathan Leathwood","doi":"10.3905/jwm.2005.608945","DOIUrl":"https://doi.org/10.3905/jwm.2005.608945","url":null,"abstract":"An introduction to the contents of Soundboard Scholar, no. 8.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125225507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A review of A Tribute to Vladimir Morkov, by The Czar’s Guitars (John Schneiderman & Oleg Timofeyev) (Hänssler Classic HC20018, 2020, 2 compact discs).
{"title":"A Tribute to Vladimir Morkov (The Czar’s Guitars)","authors":"Ellwood Colahan","doi":"10.56902/sbs.2021.7.22","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.22","url":null,"abstract":"A review of A Tribute to Vladimir Morkov, by The Czar’s Guitars (John Schneiderman & Oleg Timofeyev) (Hänssler Classic HC20018, 2020, 2 compact discs).","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115433412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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