Los métodos de guitarra españoles (1790 - ca. 1900)
This present work, centered on locating, describing and analysing Spanish guitar methods created from 1790 to about 1900, has been able to list an extensive corpus of manuscript and printed treatises produced both in Spain and abroad which as well as the interest of its compilation and systematic or...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universidad de Valladolid |
| Repositorio: | UVaDOC. Repositorio Documental de la Universidad de Valladolid |
| OAI Identifier: | oai:uvadoc.uva.es:10324/60744 |
| Acceso en línea: | https://doi.org/10.35376/10324/60744 https://uvadoc.uva.es/handle/10324/60744 |
| Access Level: | acceso abierto |
| Palabra clave: | Guitarra - Métodos Guitar methods Métodos de guitarra 19th century guitar Guitarra siglo XIX 6203.06 Música, Musicología |
| Sumario: | This present work, centered on locating, describing and analysing Spanish guitar methods created from 1790 to about 1900, has been able to list an extensive corpus of manuscript and printed treatises produced both in Spain and abroad which as well as the interest of its compilation and systematic ordering, offers the possibility of increasing our knowledge of historical repertories, technical procedures and performing practices. It includes an itemized inventory of ninety-one methods, a figure which rises to one hundred and ninety if one also includes the new editions and new issues which have been discovered. Bearing in mind that music publishing in a large part of the nineteenth century was less mechanized than was the case later, and that it readily responded to the needs of its public, such a number bears witness to an important presence of the guitar and its practice in Spanish nineteenth century society. These methods demonstrate the diversity of the instrument’s functions and repertories, which did not limit itself to the well-known solo and polyphonic compositions of famous musicians but also extended into more popular contexts through methods written not only in formal music notation but also in other systems, aimed at satisfying a varied range of expectations which in their turn reflect the adaptability of the guitar to a variety of contexts. Without neglecting the names which are well known in traditional historiography, this thesis seeks to rescue the pedagogical works, technical treatises and teaching manuals of those other writers who had been relegated to oblivion because they were not part of the so-called academic guitar; and it also takes into account those who had to carry out their work in other countries such as Great Britain, France, or the USA because of political or social events. |
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