Stephen Goss, Kathy Acosta Zavala, Lorenzo Micheli, Michael O'Toole, Christopher Page
{"title":"The Guitar and the Musical Canon (Webinar)","authors":"Stephen Goss, Kathy Acosta Zavala, Lorenzo Micheli, Michael O'Toole, Christopher Page","doi":"10.56902/sbs.2022.8.3","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.3","url":null,"abstract":"For much of the twentieth century, classical guitarists suffered from an inferiority complex. Could their idiosyncratic instrument ever be taken seriously by the classical establishment? Andrés Segovia devoted his life to “four essential tasks” that would help the guitar sit shoulder to shoulder with the more established instruments of the classical canon: a separation from “mindless folkloric entertainment,” a newly commissioned repertoire of original pieces and arrangements (a new canon—a reinvented tradition), the introduction of the instrument to the wider general public, and the initiation of guitar programs in conservatoires and universities. And yet the guitar’s place in the classical canon has always remained that of an outsider, an exotic novelty. The classical “club” is exclusive; it has quite particular rules. More recently, the cultural barriers between different styles of music have become more fluid, while repertoires have become more plural and inclusive. Consequently, the guitar has been able to draw on its rich connection with many global music cultures. Perhaps now the guitar is better placed to take a more integrated role in the way that the canon develops. This webinar brings together a panel of experts with complementary perspectives on the guitar’s canon. Christopher Page’s writings contain various discussions of the construction of the canon in the nineteenth century and the exclusion of the guitar. Kathy Acosta Zavala brings the perspective of the rise of the guitar canon in the USA through the work of Vahdah Olcott-Bickford and others. Lorenzo Micheli is a major performer who engages with a wide range of repertories. Michael O’Toole has written about how figures such as John Williams refused to engage with the canon, instead treating the guitar as an instrument with a rich and unique cultural history and its own musical integrity. The conversation is chaired by Stephen Goss.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"124 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":"133437123","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":"An Online, Open-Access Journal","authors":"Jonathan Leathwood","doi":"10.56902/sbs.2021.7.3","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.3","url":null,"abstract":"The editor explains the journal’s migration to an online, open-access platform and provides an introduction to the contents of this issue.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"35 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":"121875044","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":"“An Attractive and Varied Repertoire”: The Guitar Revival of 1860–1900 and Victorian Song","authors":"C. Page","doi":"10.56902/sbs.2022.8.7","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.7","url":null,"abstract":"Most modern histories of the classical guitar are devoted to solo playing. They therefore forego a different kind of history based upon the guitar used as an accompaniment for a singer. This article explores how that alternative history might be framed with reference to England during the long reign of Queen Victoria (1837–1901). This is the ideal laboratory for such an experiment, not least because the compositions of Catharina Pratten (1824–1895), the most influential guitar player of the day, are often thought to reveal a late-Victorian public with little interest in the guitar as a solo resource. Yet the newspaper record, here distilled into 1,405 separate performances, shows that there the guitar actually underwent a revival in England between about 1880 to 1900; it was, however, primarily a vogue for using the instrument as an accompaniment to songs, not for playing solo music. A substantial part of that song repertoire is recoverable, and the newspaper reports can often be collated with census records and trade directories to produce micro-histories of players. The article therefore works towards a social and musical history of the guitar at a time when the entertainment industry of Great Britain was fed by an inexhaustible supply of musicians, actors and songwriters that did not fail to encompass guitar-players. A complete list of the data analyzed in this article is available in this issue at https://digitalcommons.du.edu/sbs/vol8/iss1/4.","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":"126090772","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 Guitarist behind La Guitaromanie : Charles de Marescot","authors":"Damián Martín-Gil","doi":"10.56902/sbs.2018.4.4","DOIUrl":"https://doi.org/10.56902/sbs.2018.4.4","url":null,"abstract":"The guitarist Charles de Marescot is a figure often cited when referring to the guitar mania that arose in France during the first decades of the nineteenth century. Yet very little is known about his life and musical production, which was dedicated almost entirely to the guitar. Drawing on several newly discovered documents, this article aims to understand the role of this polemical figure in the vogue for the guitar by reconstructing his whereabouts. Particular attention is given to his relationship with Hector Berlioz, with whom he conducted some minor business.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"73 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":"121832816","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":"Nineteenth-Century Guitar Songs: An Idiosyncratic Survey, by Ian Gammie","authors":"R. Long","doi":"10.56902/sbs.2019.5.8","DOIUrl":"https://doi.org/10.56902/sbs.2019.5.8","url":null,"abstract":"A review of Nineteenth-Century Guitar Songs: An Idiosyncratic Survey, by Ian Gammie.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"21 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":"124708880","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":"François Campion: Music for Baroque Guitar (Hofstötte)","authors":"Ellwood Colahan","doi":"10.56902/sbs.2018.4.13","DOIUrl":"https://doi.org/10.56902/sbs.2018.4.13","url":null,"abstract":"A review of François Campion: Music for Baroque Guitar, with Bernhard Hofstötter (Brilliant Classics 95275, 2017), compact disc.","PeriodicalId":271859,"journal":{"name":"Soundboard Scholar","volume":"148 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":"131749099","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 Guitar in America as Mirrored in Cadenza (1894–1924)","authors":"Peter L. Danner","doi":"10.56902/sbs.2021.7.16","DOIUrl":"https://doi.org/10.56902/sbs.2021.7.16","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":"103 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":"131050671","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":"Luigi Legnani's Missing Opus 9","authors":"R. Coldwell","doi":"10.56902/sbs.2022.8.10","DOIUrl":"https://doi.org/10.56902/sbs.2022.8.10","url":null,"abstract":"The guitar composer Luigi Legnani (1790–1877) published some 250 works with opus number, most of them for solo guitar. His catalog, however, contains many gaps. This article explores the particular circumstances of the discovery of Legnani's opus 9, focusing on Legnani’s possible contact with the French guitarist Luigi [Louis] Sagrini (1809–74).","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":"130777734","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}