{"title":"Un angelo senza paradiso, by Nicoletta Confalone","authors":"R. Long","doi":"10.56902/sbs.2018.4.10","DOIUrl":"https://doi.org/10.56902/sbs.2018.4.10","url":null,"abstract":"A review of Nicoletta Confalone, Un angelo senza paradiso: La chitarra alla ricerca di Schubert (Bologna: Ut Orpheus, 2017).","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"80 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":"131732063","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}
{"title":"New Information on Sor and Gil Blas","authors":"Erik Stenstadvold","doi":"10.56902/sbs.2022.8.22","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.22","url":null,"abstract":"A contemporary London newspaper report clarifies the extent of Fernando Sor's contribution to the operatic drama Gil Blas. This letter is an addendum to Erik Stenstadvold, \"Fernando Sor on the Move in the Early 1820s\" Soundboard Scholar, no. 1 (2015), https://doi.org/10.56902/SBS.2015.1.7.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"60 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":"124691340","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}
{"title":"Thank You, Richard — and Yes, She Did!","authors":"B. Jeffery","doi":"10.56902/sbs.2022.8.21","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.21","url":null,"abstract":"New documentary evidence shows that Sor's pupil Natalie Houzé performed with him in public on February 29, 1832.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"15 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":"128337229","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}
{"title":"The Flight of the Maiden: Representations of Women and the Guitar in Brazilian Culture","authors":"C. Garcia","doi":"10.56902/sbs.2021.7.11","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.11","url":null,"abstract":"This article examines the relationship between women and the guitar in the context of both Brazilian literary discourse and the instrument’s culture and history. To this end, I have sought out texts that illustrate intersections between women and the guitar from the perspective of both female and male authorship. We see that the guitar provides a vehicle for the woman’s voice in all its restlessness, violation, and libertarian desire; but equally, it enables the perpetuation of stereotypes linked to the mirroring of the guitar and the female body. In the absence of literary and historic records of the guitar in female hands, a discourse prevails that reinforces masculine imagery and ignores the role of women guitarists throughout the instrument’s history. This article was first published in Portuguese as “A Fuga da Donzela: Relações entre Mulheres, Violão e Discurso na Cultura Brasileira,” Revista Vórtex (Curitiba) 8, no. 3 (2020). The translation is by Diogo Alvarez.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"17 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":"122267797","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}
{"title":"Corbetta: La Guitarre Royalle (Elias)","authors":"Ellwood Colahan","doi":"10.56902/sbs.2019.5.10","DOIUrl":"https://doi.org/10.56902/sbs.2019.5.10","url":null,"abstract":"A review of Corbetta: La Guitarre Royalle, album by Elias, Izhar.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"54 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":"122522121","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}
{"title":"Diamonds, Abaci, and Hexagrams: Exploring the Pitch Surface of the Guitar Fretboard","authors":"M. Mermikides","doi":"10.56902/sbs.2022.8.4","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.4","url":null,"abstract":"In this presentation, I will analyze the idiosyncrasies, challenges, limits, and affordances of the guitar’s \"pitch surface\": its fretboard and tuning. Whatever the context—staff notation, music theory, improvisation, performance, and other arenas of guitar activity—the layout of the fretboard exerts a profound influence on how guitarists learn, play, and compose. Inspired by De Souza, Goodrick, and Martino, I will also explore the benefits of creative constraints: scordatura, capo, MIDI tools, and other ways of remapping the guitar’s pitch matrix. These constraints can be used to break the guitarist’s tight auditory-motor link, revitalizing the fretboard as a primary musical space and insightful musical \"abacus.\"","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"78 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":"122612612","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}
{"title":"Sor's Guitar Music—A Fresh Start","authors":"Erik Stenstadvold","doi":"10.56902/sbs.2020.6.4","DOIUrl":"https://doi.org/10.56902/sbs.2020.6.4","url":null,"abstract":"This article addresses the considerations and decisions that underlie a new critical edition of Sor’s guitar music that is being prepared by the author. Sor’s oeuvre for guitar survives almost exclusively in early printed editions, not autograph manuscripts, so such a task begins with a reassessment, based on historical and text-critical criteria, of which editions he was likely to have been involved in himself and which we can therefore trust the most. As a result, this new edition partly uses different original sources as models than other modern editions. Meissonnier’s later versions of opp. 1–23 from 1826, claimed to be “corrected and fingered by the composer”, have generally been chosen and even prioritized over the editions Sor issued 1816–1822 while he was in London. The early Castro editions have been repudiated as unauthentic. The article also discusses Sor’s seemingly peculiar attitude towards errors in the printed scores as well as his notation of ornaments and some other symbols that have puzzled scholars and editors.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"67 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":"131566898","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}
{"title":"Sinfonia Concertante by Luigi Boccherini, edited by Matanya Ophee","authors":"R. Long","doi":"10.56902/sbs.2017.3.10","DOIUrl":"https://doi.org/10.56902/sbs.2017.3.10","url":null,"abstract":"Sinfonia concertante (G. 523), by Boccherini, Luigi is reviewed.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"44 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":"133593297","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}