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A Newly Discovered Letter of 1827 by Fernando Sor 费尔南多·索尔1827年新发现的信件
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2017.3.4
Erik Stenstadvold
{"title":"A Newly Discovered Letter of 1827 by Fernando Sor","authors":"Erik Stenstadvold","doi":"10.56902/sbs.2017.3.4","DOIUrl":"https://doi.org/10.56902/sbs.2017.3.4","url":null,"abstract":"This article discusses a hitherto unknown letter, written by Sor in Saint Petersburg in April 1827. It provides new insight into the publishing and personal relationship between Sor and his Paris publisher, Antoine Meissonnier, to whom the letter was addressed. We learn about three airs with variations Sor was busy composing at the time; he was particularly pleased with the variations Meissonnier later published as op. 30. The letter also mentions some unknown Sor works, including a book of drafts at Málaga, and it reveals that Meissonnier had published, without Sor’s knowledge, music that he had received from sources other than the composer himself. Furthermore, Sor blames Meissonnier for having published in his name two minuets that were not actually composed by him, and for releasing as a solo piece the guitar part of a duo for flute and guitar. Finally, the letter reveals Sor’s negative attitude toward the engraving by M. N. Bates of his portrait—the only sure pictorial record of Sor we have. The article also sheds new light on the relationship between Sor and the young ballerina Félicité Hullin and the rupture between the two in 1827.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"63 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":"114820619","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}
引用次数: 0
Rudolph Süss’s Lyrische Suite no. 2, op. 24 他在哪?2单元，24号
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2022.8.16
Matanya Ophee
{"title":"Rudolph Süss’s Lyrische Suite no. 2, op. 24","authors":"Matanya Ophee","doi":"10.56902/sbs.2022.8.16","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.16","url":null,"abstract":"This article reproduces the Lyrische Suite no. 2, op. 24, by the Austrian composer Rudolph Süss, with a short introductory commentary. First published in Vienna around 1921, this suite is a fine example of the enthusiasm for the guitar in early twentieth-century Austria and Germany, which resulted in much music that has been overlooked, overshadowed as it was by the emerging Spanish repertoire. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"83 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":"117259295","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}
引用次数: 0
Le donne e la chitarra, James Akers, romantic guitar Le donne e la chitarra, James Akers，浪漫吉他
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2020.6.13
Ellwood Colahan
{"title":"Le donne e la chitarra, James Akers, romantic guitar","authors":"Ellwood Colahan","doi":"10.56902/sbs.2020.6.13","DOIUrl":"https://doi.org/10.56902/sbs.2020.6.13","url":null,"abstract":"A review of Le donne e la chitarra, James Akers, romantic guitar.","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":"123325430","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}
引用次数: 0
Elsa Just’s Ständchen for Guitar Trio Elsa Just的Ständchen吉他三人组
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2022.8.17
Matanya Ophee
{"title":"Elsa Just’s Ständchen for Guitar Trio","authors":"Matanya Ophee","doi":"10.56902/sbs.2022.8.17","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.17","url":null,"abstract":"This article reproduces a serenade from an early twentieth-century German guitar magazine. It is for guitar trio and of moderate difficulty. The introductory commentary attributes the piece to Elsa Just (1894–1919) and includes a translation of the entry on Just from Zuth's 1926 Handbuch der Laute und Gitarre. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"42 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":"124520139","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}
引用次数: 0
The Early Guitar in The New World: Its Route from Seville to Santo Domingo, Puerto Rico, and Cubagua (1497–1550) 早期吉他在新大陆:从塞维利亚到圣多明各、波多黎各和古巴的路线(1497-1550)
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2019.5.4
Richard T. Pinnell
{"title":"The Early Guitar in The New World: Its Route from Seville to Santo Domingo, Puerto Rico, and Cubagua (1497–1550)","authors":"Richard T. Pinnell","doi":"10.56902/sbs.2019.5.4","DOIUrl":"https://doi.org/10.56902/sbs.2019.5.4","url":null,"abstract":"Pinnell discusses the history of guitar in the New World. The third voyage of Christopher Columbus was not only the first of the Columbian voyages to reach South America along the Venezuelan coastline; it was also the first that explicitly included musical instruments and trained musicians. \"Their Catholic Majesties\" (Los Reyes Católicos), so designated by Pope Alexander VI upon their defeat of the Moors, had already been quite disappointed with the lack of stability and growth in the grim encampments established by Columbus, so this time they proposed a unique list of professions and skills among the passengers to ensure the success of their next venture. In order to address social, physical, and scientific needs along with their political and military strategies, Ferdinand and Isabella sought the inclusion of a wide range of experts in differing fields and vocations. They aimed to ensure that future settlements would not only be defensible but also civilized. Among the admiral's handpicked passengers were artisans, craftsmen, health professionals, and finally the musicians, intended to improve the morale of the settlers.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"26 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":"129315644","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}
引用次数: 0
Issues in Transcribing German Lute Tablature 德国琵琶谱子誊写中的问题
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2022.8.11
Kurt Dorfmüller
{"title":"Issues in Transcribing German Lute Tablature","authors":"Kurt Dorfmüller","doi":"10.56902/sbs.2022.8.11","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.11","url":null,"abstract":"Kurt Dorfmüller's essay is from Le luth et sa musique, a volume of proceedings from the 1957 research symposium of the same name that gathered a number of eminent scholars at the beginning of the modern era of lute scholarship and performance revival. In it, he inquires into the unique nature of German lute tablature, its mostly latent capacity for expressing polyphony, and the types of music for which it is more or less suited. He ends by proposing a set of guidelines for establishing a \"mainstream practice\" for transcription not only from German tablature but also from tablature in general. Appended to the essay is a transcript of the short discussion following the delivery of Dorfmüller's original paper at the symposium for which it was prepared. Notes This article was originally published in French as “La tablature de luth allemande et les problèmes d’édition,” in Le luth et sa musique: Neuilly-sur-Seine, 10–14 septembre 1957, ed. Jean Jaquot (Paris: C.N.R.S., 1958), 145–57. The translation is by Ellwood Colahan.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"10 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":"129478065","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}
引用次数: 0
Timbre-Based Composition for the Guitar: A Non-Guitarist’s Approach to Mapping and Notation 基于音色的吉他作曲:非吉他手的映射和记谱方法
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2020.6.8
Jason Noble, Steve Cowan
{"title":"Timbre-Based Composition for the Guitar: A Non-Guitarist’s Approach to Mapping and Notation","authors":"Jason Noble, Steve Cowan","doi":"10.56902/sbs.2020.6.8","DOIUrl":"https://doi.org/10.56902/sbs.2020.6.8","url":null,"abstract":"Composing for the guitar can be intimidating for non-guitarists, but their fresh perspectives can uncover new ways of thinking about music for the instrument. This paper discusses timbre-based composition, an approach to writing for guitar that may be more intuitive for non-guitarist composers than traditional polyphonic composition. The rich palette of timbres available on the guitar, including pitched and nonpitched sounds, is conceived as primary compositional material. Issues of notation and mapping are addressed, focusing on three categories of mappings: (i) physical mapping from notational symbols onto physical objects, such as parts of the guitar; (ii) analogical mapping from notational symbols onto models from other domains, such as vowels; and (iii) organizational mapping from notation onto musical structures, especially nonlinear structures. The paper argues that notation should not be viewed as a closed system within which the composer is bound to work, but as an open system over which the composer has a certain amount of creative control, which may be modified freely to reflect the particular problems and solutions of a given project.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"4 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":"133386578","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}
引用次数: 0
Carlo Barone (1955–2022)
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2022.8.20
Adrian Walter
{"title":"Carlo Barone (1955–2022)","authors":"Adrian Walter","doi":"10.56902/sbs.2022.8.20","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.20","url":null,"abstract":"Carlo Barone (1955–2022) was a pioneering performer, researcher, and educator in the nineteenth-century performing practice of the guitar. In this tribute, his friend and collaborator Adrian Walter describes Barone's career.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"22 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":"114933848","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}
引用次数: 0
La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, by Daniel Sinier and Françoise de Ridder 吉他=吉他= La Chitarra，巴黎，1650-1950，附录，由Daniel Sinier和francaloise de Ridder
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2017.3.12
R. Long
{"title":"La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, by Daniel Sinier and Françoise de Ridder","authors":"R. Long","doi":"10.56902/sbs.2017.3.12","DOIUrl":"https://doi.org/10.56902/sbs.2017.3.12","url":null,"abstract":"La Guitare = The Guitar = La Chitarra, Paris, 1650-1950, Addendum, by Sinier, Daniel and Francoise de Ridder is reviewed.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"1 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":"129961005","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}
引用次数: 0
Notes on Some Early-American Guitar Concerts 早期美国吉他音乐会笔记
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2021.7.13
Peter L. Danner
{"title":"Notes on Some Early-American Guitar Concerts","authors":"Peter L. Danner","doi":"10.56902/sbs.2021.7.13","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.13","url":null,"abstract":"This article is one of a series of five by Peter Danner on the history of the guitar in the United States from the late eighteenth to the early twentieth century. Written between 1977 and 1994, these articles first appeared in early issues of the GFA’s magazine Soundboard. They are reprinted here in tribute to Danner’s pioneering contribution to guitar research and to bring them to the attention of a new generation of scholars. The author has generously provided a newly written introduction to the series.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"11 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":"133157736","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}
引用次数: 0
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