Gitarre

For the first time in this book the history of the entire instrumental music of the Baroque is presented in concise and clear form, starting with the beginning at the end of the 16th century until the transition to early classical music around 1750. The published volume by Siegbert Rampe (with contributions by Clemens Fanselau and Grzegorz Joachimiak) includes parts about orchestral music, chamber music, lute and guitar music and keyboard music. The individual genres of each section are discussed, including special genres such as the baroque orchestra's Sinfonia and ensemble music without a Generalbass. The volume also includes short portraits of the most important baroque instrumental composers. A glossary, a bibliography and a register of persons and works complete the volume. See to: https://laaber-verlag.de/detailview?no=00193

Zum ersten Mal wird in diesem Buch in konziser und übersichtlicher Form die Geschichte der gesamten Instrumentalmusik des Barock dargestellt, beginnend mit den Anfängen am Ende des 16. Jahrhunderts bis zum Übergang zur Frühklassik um 1750. Der von Siegbert Rampe (mit Beiträgen von Clemens Fanselau und Grzegorz Joachimiak) herausgegebene Band schließt Teile über die Orchestermusik, die Kammermusik, die Lauten- und Gitarrenmusik und die Tastenmusik ein. Dabei werden jeweils die einzelnen Gattungen jeder Sparte besprochen, darunter auch Sondergattungen wie die barocke Orchester-Sinfonia und die Kammermusik ohne Generalbass. Außerdem schließt der Band Kurzportraits der wichtigsten Instrumentalkomponisten des Barock ein. Ein Glossar, ein Literaturverzeichnis und ein Personen- und Werkregister komplettieren den Band. Siehe zu: https://laaber-verlag.de/detailview?no=00193

In this work, the right hand technique of classical guitar, which dates back to the Renaissance era, has been studied and its evolution until the end of the 19th century, when today's common practice could be reached has been investigated. In doing so, it has been aimed to contribute to this technical problem, which could still not be fully solved by many contemporary guitarists and hence offer assistance to guitarists experiencing problems with their right hand technique. In this research, the methods published, works done and thesis elaborated by guitarists, composers and academicians such as D. Aguado, F. Sor, E. Pujol, H. Quine and S. Tenant have been used to monitor the evolution of the right hand technique in the course of history. The right hand technique of many expert guitarists, from Andres Segovia to our day, have been analysed, their right hand positionings, wrist angles, finger movements, nail shapes, taking also into consideration the factors influencing their right hand technique have been investigated in detail and it has been determined that each of those guitarists have developed their unique techniques in conformity with their own physical features. The biographies of the subject guitarists have also been examined, with the aim of determining the factors influencing their techniques in the light of the facilities and developments available to each of them in the years they lived. Moreover the concepts of tonality and tone color in guitar performance have been investigated in detail. It has been emphasized that those concepts are the two most important building stones of guitar performance characteristics and the factors effecting tonality and tone color have been outlined in detail. Another important matter in guitar performance, which is the nail factor has also been investigated in detail, the various methods of nail rasping have been explained, also mentioning relevant examples, giving detailed information about alternative nail shapes, nail maintenance, nail care and nail mending. In the light of these determinations, it has been concluded that an "absolute right" in the righthand technique does not exist and that it varies depending on the anatomy of each individual guitarist.

Leo Brouwer II. Dünya Savaşı sonrasında ortaya çıkan avangart bestecilik tekniklerini klasik gitar müziğinde sistematik olarak kullanan ilk bestecidir. Küba müziğinin 20. yüzyıldaki gelişimi boyunca ortaya çıkan ve Brouwer’ın yetiştiği müzik çevresinde baskın rol alan müzik akımları, Afro-Küban tarihsel geçmişine dayanan folklorik müzik materyallerinin, evrensel bestecilik teknikleri ve formlarıyla işlenerek Kübanizm algısını uluslararası müzik platformuna taşımayı amaçlamaktadır. Brouwer’ın müziği, bu amaç doğrultusunda atonal müzik, deneysel müzik, rastlantısal müzik ve minimalist müzik ögelerinin, klasik formlar altında Afro-Küban ritim ve melodik yapılarıyla sentezlendiği bir özellik göstermektedir. Bu çalışmada Brouwer’ın 1985’te bestelediği üçüncü gitar konçertosu Concerto de Elegiaco ve 1987’de bestelediği dördüncü gitar konçertosu Concerto de Toronto üzerine yapılan incelemelerle, bestecinin 20. yüzyıl gitar müziğinde önemli bir gelişim gösteren konçerto formuna kazandırdığı yenilikçi özellikler tartışılmaktadır. Bestecinin solo gitar müziğinde kullandığı bestecilik tekniklerini orkestra içerikli konçertolara hangi yöntemlerle uyguladığı araştırılmaktadır.