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"For Andrés Segovia": Francisco de Lacerda’s Suite goivos (1924) 《致andres Segovia》:Francisco de lacerda的组曲goivos (1924)
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2021.7.9
Pedro Rodrigues
{"title":"\"For Andrés Segovia\": Francisco de Lacerda’s Suite goivos (1924)","authors":"Pedro Rodrigues","doi":"10.56902/sbs.2021.7.9","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.9","url":null,"abstract":"Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of symbolist literature for guitar but also as the first work written for guitar by a Portuguese non-guitarist composer. So far, however, it has remained in relative obscurity. In this article, I first explore the suite’s context and history: its origin in meetings and correspondence between Lacerda and the work’s dedicatee, Andrés Segovia; its place among new works commissioned by Segovia from non-guitarist composers; and available manuscript sources for the work. I then argue for the work’s importance as music, highlighting its innovative features, from Lacerda’s use of the guitar to his incorporation of musical symbolist elements. This analysis has enabled a modern performance edition of the suite, allowing it to take its place in the concert repertoire. This article was first published in Portuguese as “‘Para Andrés Segovia’: A Suite goivos de Francisco de Lacerda,” Revista Vórtex (Curitiba) 8, no. 3 (2020). The translation is by Diogo Alvarez.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"19 6 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":"129816606","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
Guitar Music Manuscripts in the Senate Library of Madrid: The Canción patriótica de la Alianza and Its Experimental Notation 马德里参议院图书馆的吉他音乐手稿:Canción patriótica de la Alianza及其实验符号
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2017.3.8
Ricardo Aleixo
{"title":"Guitar Music Manuscripts in the Senate Library of Madrid: The Canción patriótica de la Alianza and Its Experimental Notation","authors":"Ricardo Aleixo","doi":"10.56902/sbs.2017.3.8","DOIUrl":"https://doi.org/10.56902/sbs.2017.3.8","url":null,"abstract":"The modest collection of manuscripts of guitar music preserved in the Senate Library of Madrid seems to provide a representative sampling of the types of guitar repertoire circulating in Spain in the late eighteenth and early nineteenth centuries. Despite its small size, this corpus contains the most typical genres of the period— namely, two chamber music works for guitar with bowed string instruments, by Federico Moretti and Antonio Ximénez, a guitar duet by Pierre-Jean Porro, a solo guitar work by the mysterious señor D. G. G. M. A., and two songs with guitar accompaniment, one by Francisco Xavier Moreno and the other by the same D. G. G. M. A., titled Canción patriótica de la Alianza. Among other interesting aspects, what is truly remarkable about this song is that its author uses two G-clef staves in the introduction to write the music of a single guitar, a surprising notational device also used in another of his pieces.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"116 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":"122267850","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 Lutenist!": Anxieties, Ambiguities, and Deviations in Julian Bream’s Discography “弹琵琶的人!”:朱利安·布里姆的专辑中的焦虑、模糊和偏差
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2021.7.8
Sidney Molina
{"title":"\"The Lutenist!\": Anxieties, Ambiguities, and Deviations in Julian Bream’s Discography","authors":"Sidney Molina","doi":"10.56902/sbs.2021.7.8","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.8","url":null,"abstract":"The recent passing of English guitarist Julian Bream (1933–2020) has prompted a reevaluation of his artistic legacy by critics around the world. In this article, I propose a way of reading Bream’s discography in relation to that of his predecessor, Andrés Segovia, utilizing Harold Bloom’s theory of influence, a methodology that I first proposed in application to music in 2006. After dividing Bream’s fifty albums into phases inspired by Bloomian categories, I examine the works that Bream chose to record more than once, with a focus on those to which he returned three or more times. This article was first published in Portuguese as \"…the luthenist!’: Ambivalências e desvios nas regravações de Julian Bream,” Revista Vórtex (Curitiba) 8, no. 3 (2020). The translation is by Diogo Alvarez.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"33 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":"121065684","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
Return with Us Now: Featured Facsimiles 现在与我们一起回归:特色传真
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2021.7.17
Peter L. Danner
{"title":"Return with Us Now: Featured Facsimiles","authors":"Peter L. Danner","doi":"10.56902/sbs.2021.7.17","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.17","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":"7 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":"114778031","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
Andrés Segovia’s Unfinished Guitar Method: Placing His “Scales” in Historical Context 安德里萨斯·塞戈维亚未完成的吉他方法:将他的“音阶”置于历史背景中
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2017.3.5
Andrea Stevens
{"title":"Andrés Segovia’s Unfinished Guitar Method: Placing His “Scales” in Historical Context","authors":"Andrea Stevens","doi":"10.56902/sbs.2017.3.5","DOIUrl":"https://doi.org/10.56902/sbs.2017.3.5","url":null,"abstract":"For over sixty years, guitarists of my generation have been familiar with the so-called Segovia Scales--the systematic scale fingerings advocated by the Andalusian maestro. They have been an influential--some might say a definitive--bestseller since their first USA publication in 1953. Countless guitar students have incorporated them into their daily practice routines. For the publisher, Columbia Music Co., they seem to be the goose that laid the golden egg. Are they everything that Segovia wanted them to be? Two books of recent date on guitar technique attest to their enduring value and relevance. Thomas Offermann wrote in 2015: \"The fingerings of the scales used here mostly correspond to those of Andrés Segovia.\" revised edition of the 1953 publication came out in 1967. It was republished in 2011 and has remained in print. The original preface by Segovia was partly removed and replaced by a \"Historical Note\" by Thea E. Smith, the granddaughter of the publisher, Sophocles Papas. She attested that they were \"one of the best-selling guitar publications of all time.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"38 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":"130274460","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 Life and Times of Josef Kaspar Mertz: New Biographical Insights 约瑟夫·卡斯帕·默茨的生平与时代:新的传记见解
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2016.2.6
Andrea Stevens
{"title":"The Life and Times of Josef Kaspar Mertz: New Biographical Insights","authors":"Andrea Stevens","doi":"10.56902/sbs.2016.2.6","DOIUrl":"https://doi.org/10.56902/sbs.2016.2.6","url":null,"abstract":"Stevens examines the biographical information about the German Romantic-era guitarist Josef Kaspar Mertz.The first one, authored in Russian by Nicolai Makaroff, became the best known because it has been available in English. By today's standards, Makaroff's recollections of the guitar's situation in the middle of the nineteenth century seem deeply subjective. Ever on the lookout for active exponents of the art of guitar playing, he met Mertz twice in Vienna and witnessed several private performances by Mertz. For better or for worse, his less-than-enthusiastic assessment of Mertz's playing has been taken at face value for perhaps too long, especially since there have been no contradictory opinions on the matter.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"5 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":"124319987","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
Breaking the Matrix: Transcribing Bartók and Ligeti for the Guitar Using a New Capo System 破解矩阵:转录Bartók和利格蒂吉他使用新的Capo系统
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2020.6.7
K. Koltai
{"title":"Breaking the Matrix: Transcribing Bartók and Ligeti for the Guitar Using a New Capo System","authors":"K. Koltai","doi":"10.56902/sbs.2020.6.7","DOIUrl":"https://doi.org/10.56902/sbs.2020.6.7","url":null,"abstract":"This paper demonstrates new transcriptions for the guitar of four piano pieces from the twentieth century: “The Night’s Music” from Bartók’s suite Out of Doors and Ligeti’s Musica ricercata, nos. 1, 2, and 7. The transcriptions deploy various newly invented single- and double-string magnet capos: I describe their design and, drawing on the work of De Souza, explain how their use transforms the affordances of the fretboard. In combination with scordaturas, the capos can be used to generate a series of radically altered open-string sets. Turning to the transcriptions of Bartók and Ligeti: by observing the pitch centers within their non-tonal structures, an open- string set can be generated that makes transcription possible. Excerpts from the transcriptions show how idiomatic features of the piano originals, such as contrast in register, can be mapped onto other idiomatic features of the guitar, such as contrast in timbre. The conclusion of the paper discusses how musical intention can connect with technological innovation, opening the way to an adaptable guitaristic interface with fresh potential for transcription and composition.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"18 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":"132670013","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
Olga Praguer Coelho, Ambassador of Brazilian Folksong Olga Praguer Coelho，巴西民歌大使
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2022.8.6
Marcia Taborda
{"title":"Olga Praguer Coelho, Ambassador of Brazilian Folksong","authors":"Marcia Taborda","doi":"10.56902/sbs.2022.8.6","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.6","url":null,"abstract":"A novelty emerged in Rio de Janeiro’s cultural environment in the late 1920s, one that echoed all over the country’s main cities: young society ladies who dedicated themselves to the guitar and offered the public a repertoire of typical Brazilian songs. One of these artists, Olga Praguer Coelho, had a very prominent international career, carrying out tours in several continents. In the 1940s, she began living with Andrés Segovia, before taking up residence in the United States, where her performances were always acclaimed both by specialized critics and by the cultural and political elite. Coelho's increasingly international repertoire presented a choice of themes along the lines of folklore, songs from the oral tradition that she picked up and apprehended in a unique way. Her art was also known for the expertise with which she mastered voice and guitar in instrumental arrangements of great virtuosity. Despite standing twenty years beside and under the shadow of Andrés Segovia, Coelho managed to build a priceless musical legacy, unfortunately unknown to the general public and recognized and respected only by experts. Coelho revealed to the world the multiple voices of Brazil and Latin America.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"7 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":"132994488","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
Unraveling the Discussion entre les Carulistes et les Molinistes (Paris, 1828) 展开卡鲁里派和莫林派之间的讨论(巴黎，1828年)
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2020.6.5
Damián Martín-Gil
{"title":"Unraveling the Discussion entre les Carulistes et les Molinistes (Paris, 1828)","authors":"Damián Martín-Gil","doi":"10.56902/sbs.2020.6.5","DOIUrl":"https://doi.org/10.56902/sbs.2020.6.5","url":null,"abstract":"In 1828, the French guitarist Charles de Marescot published a small booklet called La Guitaromanie, a collection of pieces for the guitar. It includes a caricature, entitled Discussion entre les Carulistes et les Molinistes, in which two opposing bands of guitarists are engaged in a fierce fight. Although, several scholars have proposed a variety of possible motives for such a shocking image, this issue has never been subjected to close examination. The article analyses the veracity of the known theories, making for the first time a comparative study between the method books of both Ferdinando Carulli and Francesco Molino, in a search for answers to the famous querelle.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"833 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":"133751957","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
Leo Brouwer: Guitar Sonatas, Ricardo Gallén 里奥-布劳威尔吉他奏鸣曲，里卡多-加伦
Soundboard Scholar Pub Date : 1900-01-01 DOI: 10.56902/sbs.2020.6.12
N. Cornelius
{"title":"Leo Brouwer: Guitar Sonatas, Ricardo Gallén","authors":"N. Cornelius","doi":"10.56902/sbs.2020.6.12","DOIUrl":"https://doi.org/10.56902/sbs.2020.6.12","url":null,"abstract":"A review of Leo Brouwer: Guitar Sonatas, Ricardo Gallén.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"19 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":"133845984","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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