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the quItAl2 FounOation
of AMERICA 1973
41Pn 40n .OPP 4011P 411P 404040 41P n 4101n 4P.On 40, .0n 41.
401n .40- 'AP' AP 4P
In This Issue
A Segovia Visit 18-19
Tax Exemption Statement 19-20
Works In Progress/Completed 21-22
Secretary/Treasurer Report 22
Newsworthy 23-25
Return With Us Now 26-28
Recent Developments in Spanish Discography 29
Publications Received/Reviewed 30
Introducing - Paul Cox 31
Abstracts from Abroad 32-33
GFA Archivist's Report 33-34
Yellow Pages 35-36
1 1 1
1 1 1 1 1 1
1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
QUARTERLY NEWSLETTER
MAY 1975
VOL. II, NO.2 COPYRIGHT 1975 BY The Guitar Foundation of
America, Inc.
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BOARD OF DIRECTORS PAUL W. COX, 400 Briar Lane #7, Champaign,
Ill. 61820 PETER DANNER, 604 Tennyson Ave., Palo Alto, CA. 94301
THOMAS F. HECK (Chairman), 3393 E. Scarborough Rd., Cleveland
Heights,
Ohio 44118 ABEL NAGYTOTHY-TOTH, P.O. Box 851. Stn. B, Montreal,
H3B-3K5, Canada FREDERICK MAD, 3160 Mountain View Dr., Laguna
Beach, CA. 92651 SOPHOOLES PAPAS, 3222 Wynford Drive, Fairfax, VA.
22030 JOHN C. TANNO, 808 W. Rancho Drive, Phoenix, Arizona
85013
EXECUTIVE COMMITTEE PRESIDENT
RONALD C. PURCELL, 15035 Greenleaf St., Sherman Oaks, CA. 91403
VICE-PRESIDENT
MARTEEN LEE POORT, 11021 Meads, Orange, CA.92669 SECRETARY/
TREASURER
J. GEORGE GREGORY, P.O. Box 4323, Santa Barbara, CA. 93103 GFA
ARCHIVIST
THOMAS F. HECK, 3393 E. Scarborough Rd., Cleveland Heights, OH.
44118 SOUNDBOARD EDITOR
MARTEEN LEE POORT, 11021 Meads, Orange, CA. 92669
The Guitar Foundation of America (GFA) was established in 1973
as a non-profit organization incorporated in California. Our
specific and primary purposes are set forth in the GFA Charter: "To
cultivate, promote, foster, sponsor, and develop understanding,
taste, and love of the musical arts and especially to promote
interest in the classic guitar and similar string instruments; to
foster the study or the classic guitar In private studios and at
the elementary, secondary and college levels, and to encourage the
development of innovative curricula in support of these ends; to
promote the guitar as an ensemble instrument particularly with
other string instruments; to encourage composition, arrangements,
and publications of ensemble music involving the guitar; and to
support scholarly research into the guitar's history and
literature; all of the foregoing purposes being limited to
non-profit educational, cultural, scientific and charitable
ends."
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Variations sur .Folia de Espatia. et Fugue
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c,f c4oie The world's foremost concert guitarist, Andr-es
Segovia, visited the Music Department at California State
University, Northridge on March 6, demonstrating his boundless
energy and dedication to the young aspiring guitarists of the
future. The grand Maestro's presence was electrifying and
profoundly inspiring to the serious musicians of CSUN. The charisma
which emanates from this gentleman of the music world was hypnotic.
The students were spell-bound by the Maestro's wit and sensitive
direction. He was as successfully captivating in the classroom as
during his sold-out concert at the Dorothy Chandler Pavilion the
evening before, where he curtain calls and three encores.
Maestro Andres Segovia and GFA President Ronald Purcell '
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THE MAESTRO
as his presence is forever in his masterful performances.
Segovia's own words describe his entire musical career in his
book, THE GUITAR AND I, soon to be pub-lished in an English
Translation by the MacMillan Company. Ronald, Purcell's second
edition of ANDRES SEGOVIA: CONTRIBUTIONS TO THE WORLD OF GUITAR; a
complete bibliography and discography is in press with Belwin-Mills
Publishing Corporation.
J. B. Purcell Department of Spanish and Portuguese, University
of Southern California
**1**************************** APPLICATION FOR RECOGNITION OF
EXEMPTION UNDER SECTION 501 (c) (3) of the INTERNAL REVENUE CODE.
PART III, 3, - ACTIVITIES AND OPERATIONS
The following has been filed with the Internal Revenue Service
.
The Guitar Foundation of America, Inc. (hereafter referred to as
GFA) engages exclusively in activities which fall under the
following headings:
A. Charitable Despite the small size of our budget, we made
grants to two scholars
in March 1974 to further their work related to the guitar. Mr.
Paul Cox, doctoral student at Indiana University, received $50
toward the purchase of microfilms for his dissertation, in
progress, on "The Development of Classic Guitar Technique..." Mr.
Lowell Thornton, Denver, Colorado, received $50 to aid his
compiling of biographical information on 20th-century guitarists.
His research is being used to improve the quality of educational
radio broadcasts featuring the guitar on KVOD-FM in Denver.
We intend to make further grants this year to deserving persons
in the guitar field, as finances permit.
B. Scientific and Educational If one takes "scientific" to mean
"scholarly," our organization contri-
butes materially to the furtherance of scientific humanistic
knowledge by supporting an archive of rare guitar music
(manuscripts, first editions, microfilms, photostatic copies) and
reference books (dictionaries, periodicals, catalogues, and
histories of the guitar and related instru-ments in all languages)
open to the general public. Our archival operation is publicized in
our quarterly newsletter, the Soundboard (copy attached), where
information on recent acquisitions can be found. During our first
year of operation, the GFA Archive received about 80 requests for
copies of rare music, literature, and information about music, all
of which were responded to. (Continued on next page)
19
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Dr. Thomas F. Heck, professor of musicology and presently GFA
Archivist, edits a "Works in Progress/Completed" column in the
Soundboard every quarter which is proving to be extremely valuable
to those engaged in scholarly research into the guitar's history
and literature. It provides current information on all kinds of
scholarly and educational undertakings related to the guitar, and
promotes communication by providing names and addresses of persons
involved. Nowhere else can such information be found.
The GFA plans soon to publish information on model guitar
curricula for the benefit of schools and colleges offering or
planning to offer guitar instruction.
C. Literary (music literature) At present the GFA, in
cooperation with the Guitar Workshop of New
York (a similar 501 (c) (3) educational organization chartered
in New York), is publishing a facsimile series of "Classic Music
for Classic Guitar" and a chamber music series involving guitar
with other instru-ments. Proceeds from the sale of these music
editions will be used by the GFA in furtherance of our specific and
primary goals. These editions are examples of how the GFA is
achieving one of its chief literary objectives.
The term "cultural" appears in our Articles of Incorporation as
one of our areas of activity (along with educational, scientific,
and charitable). In the context of the passage, this is understood
to mean activities related to find music (as in "cultural" events),
not to any specific racial or ethnic cultures. We will certinally
become involved in sponsoring public concerts ("cultural" events),
as any arts organization would do, when our 501 (c) (3) status is
approved.
In summary, then, the GFA is a broadly-based, democratically
controlled, and growing coalition of individuals (professional
musicians, scholars, teachers, students, amateurs, and the general
public) who are united by the sincere desire to promote the guitar
as an artistic vehicle for fine music, and thereby to improve the
quality of life in the United States. The organization is committed
to aiding researchers and aspiring students, and to preserving and
disseminating the guitar's rich musical and literary heritage. In
the future the GFA will, as funds become available, sponsor guitar
recitals and establish its archive in a permanent location. We may
also organize and operate a musical instrument museum. Plans call
also for our sponsoring seminars and workshops to develop and
publicize innovative guitar curricula, as well as organizing guitar
competitions in the United States to encourage and reward serious
artistic study of the instrument.
20
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WORKS in PROGRESS/COMPLETED Compiled and edited by Thomas F.
Heck
Scholars and researchers seeking rare books or music, or
otherwise seriously embarked on a project, are welcome to insert a
notice of their current research in this column. Please write to T.
F. Heck, c/o GFA, Box 4323, Santa Barbara, CA. 93103. Deadlines are
January, April, July and October 15. Some repetitions will occur in
this section of the Soundboard from issue to issue in order to keep
new readers abreast of continuing projects. Reinsertions are
identified with their first listing in parentheses (Vol./No.).
In Progress
1. Prof. Jcizef Powroiniak (40-953 Katowice - 2, Skrytka
pocztowa 296, Poland), Rector of the Music Conservatory in
Katowice, recently contributed articles on Felix Horetzky
(1796-1870) to Guitar Review and to il 'Fronimo'. His sketch
entitled "The Guitar in Poland" appeared in German in Gitarre, 717
-7-(1975), and his anthology of guitar works by Horetzky (Feliks
Horecki, utwory wybrane) was published by PWM Editions, Cracow,
within the past year. Prof. Powroiniak writes that he is working
hard on a Guitar Lexicon and hopes to complete it in two years. It
apparently will be brought out in English, German, and possibly
Polish, and should supplant Zuth's Handbuch der Laute und Gitarre
(1926) and similar compendia as a standard reference tool.
2. The Guitar Foundation of America has entered negotiations
with the non-profit Guitar Workshop of New York to publish
facsimiles of the first editions of Mauro Giuliani's Rossiniane,
Op. 119, 120, 121, sources which Julian Bream used in his recent
reco77177(R67 Red Seal, ARL 1-0711). Plans call for the publication
also of a chamber music series with guitar, the first number of
which will be an edition by Peter Danner of a Nocturne by Carulli
(V1. & G.). Please send the Archivist your proposals for other
works to be included in these series.
3. (1/4) John W. Tanno, Music Librarian, University of
California, Box 5900, Riverside, CA. 92507, is compiling two
reference works related to the guitar: (a) Bibliography and
Discography of the Classical Guitar, and (b) Bibliography and
Discography of Flamenco. These will not include music, but rather
books and articles on the classic and flamenco guitars in all
languages.
4. (I/1) "The Development of Classic Guitar Technique as
Reflected in Methods and Tutors of c.1780-1850" is a doctoral
dissertation in progress at Indiana University. Persons having rare
material of relevance to this study should communicate with Paul
Cox (permanent mailing address: Box 809, Paintsville, KY.
41240).
5. (1/4) John Howarth, 413 12th Ave. SE, Minneapolis, MN. 55414,
is compiling a catalogue of 20th-c. American music for guitar (solo
and ensemble) "so that performers may have better access to this
literature." This is an ongoing project; Mr. Howarth would like to
hear from anyone who composes contemporary guitar music or has some
knowledge of its sources. Completed 6. Thomas F. Heck completed a
biographical study of Giuliani's activity in his home-land,
"Giuliani in Italia," published in il 'Fronimo', Nos. 8-10
(1974/75). His article
21
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entitled "Stalking the Oldest Six-String Guitar," illustrated
with 7 plates, appears in the Japanese magazine Gendai
Guitar, Vol. 9, No. 3 (Tokyo, 1975), 64-71.
7. Elena Machado Lowenfeld, 5776 Palisade Ave., Riverdale, N.Y.
10471, completed an M.A. thesis entitled "Santiago de Murcia's
Thoroughbass Treatise for the Baroque Guitar (1714)" at the City
College of the City University of New York (Dec., 1974). The thesis
contains an introduction, translation and transcription of Murcia's
Resumen de acompanar la parte con guitarra.
8. (I/4) The Guitar Review, Nos. 1-6, has been announced as
available in a commemorative reprint volume with supplements for
$25. Kindly send orders to G.R. Reprint Project, 409 E. 50th
Street, New York, N.Y. 10022.
SECRETARY/TREASURER REPORT (1/15/75-4/15/75)
1. Membership: Voting (115) - Associates (66) - Total 181
2. Finances: Account balance - $416.15
3. On February 10, 1975, GFA received formal notification of
their non-profit, tax exempt status as an Educational corporation
by the State of California. Board Chairman T. Heck is in the
process of filing for a similar exemption at the federal level.
4. Ron Purcell plans to attend Guitar '75 in Toronto, Canada in
June as GFA representative. A report will be filed.
5. Executive Committee meetings were held on 1/24 and
4/11/75.
6. Volume I of Guitar Review has been received by the
secretary.
7. Bulk rate mailing privileges are being requested and will be
used until we qualify for non-profit mailing rates.
George Gregory Secretary/Treasurer
22
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MBWalvielitir DR. KARL GEIRINGER, Professor Emeritus of Music at
the University of California, Santa Barbara, gave an invited
lecture at the American Musicological Society Midwest Chapter
meeting, Ann Arbor, Michigan, on April 4, 1975, on the topic "Lute
and Guitar in Historical Perspective." His lecture marked the
opening of the new facilities to house the Roland Stearns
collection of musical instruments at the University of Michigan - a
collection rich in fretted chordophones.
Professor Geiringer has been a student of the history of the
lute and guitar since he became active in the field of musicology,
in Vienna around 1920, where his doctoral dissertation was on
"Flankenwirbel- instrumente" (instruments with laterally-mounted
tuning pegs (like lutes, viols) in the iconography of the middle
ages and renaissance. It is noteworthy that he still is active as a
scholar in this area, some fifty-five years later, notwithstanding
his diverse studies on Bach and other great musicians.
His slide lecture concentrated on depictions of lutes and
guitars in graphic art and sculpture from about 1200 B.C. to the
present. He developed the thesis that the vielle (or vihuela) and
the dotar inter-married, as it were, in Spain to produce plucked
and bowed instruments there with waisted bodies. He ably traced
prototypes of the guitar and lute forward to around 1650, but did
not address himself to the baroque guitar in any detail, nor to the
classic guitar. His lecture was well received by the audience of
musicologists and music students. -TFH
NOTICE: The classic guitar has now been added to the list of
auditioning instruments of the Music Teachers National Association.
For further information on both MTNA's "Collegiate Artists
Competition Handbook" and "1976 Repertoire Requirements for High
School Division and National Auditions" write to: Ms. Gertrude
Brown, Vice President, MTNA, 5126 Bradley Blvd., Chevy Chase,
Maryland 20015.
-RCP
DR. BRIAN JEFFERY made a lecture tour of Mexico and the United
States in January 1975, speaking either on the renaissance chanson
or on "Fernando Sor, Concert Performer." His lecture on Sor was
heard, among other places, at the University of California at Santa
Cruz (Jan. 17), at Baldwin-Wallace College in Cleveland on the
22nd, and several days later before the Society of the Classic
Guitar in New York.
His lecture traced the life of Sor in Spain, France, and
England, and was interspersed with live performances by local voice
and guitar students in the sponsoring cities. Selected songs of Sor
were revealed for the first time to the audiences, and provoked
considerable interest for their local color, their political
overtones, and their commentary on the musical tastes of the time.
Dr. Jeffery is completing a book on Sor and a catalogue of his
works this year, and will publish it himself. Watch for publication
notices in the Sounaboard. -TFH
THE SECOND EDITION of Andres Segovia: Contributions to the World
of Guitar, is now in press with Belwin Mills Publishing Corp.., New
York. The author, Ronald C. Purcell has advised that this edition
is now more complete and up-to-date and that it also includes
recent unpublished photographs.
Purcell also advises that his Guitar, Lute and Vihuela
Discography goes to press at the end of May (Belwin-Mills). This
work includes indexes for approximately 400 records, more than 100
performing artists and 400 composers and their works. The
discography concentrates only on recordings of classic guitar, lute
and vihuela which are presently on the world market and will be
up-dated ever 2-3 years.
-MLP
2 3
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THE JOURNAL OF THE LUTE SOCIETY OF AMERICA, Vol. VII (1974),
contains several articles of interest to guitar students: (1) Peter
Danner, "Giovanni Paolo Foscarini and his 'Nuova Inventione'," (2)
Thomas Heck's discussion of all current schools of thought on
transcribing intabulated music, "Lute music: tablatures, textures
and transcriptions," (3) Robert Strizich, "A Spanish Guitar Tutor:
Ruiz de Ribayaz's Luz y Norte Musical," and (4) Joscelyn Godwin,
"Eccentric Forms of the Guitar, 1770-1850." Readers wishing to
subscribe to this journal may send $8.50 to Membership Chairman,
L.S.A., Box 194, Topanga, CA. 90290
-NIP
COMING EVENTS, SYMPOSIA, MASTER CLASSES May 20-31
GUILD OF AMERICAN LUTHIERS convention at Northwestern
University, Evanston, IL. Features free concerts and exhibits.
Contact Richard Brune, President, Guild of American Luthiers, 800
Greenwood, Evanston, IL. 60201. June 2-6
ROBERT GUTHRIE will conduct a classic guitar workshop open to
intermediate and advanced players as well as to auditors at
Southern Methodist University, Dallas, Texas. Tuition is $100 for
performers, 625 foralditors. One hour of credit (undergraduate or
graduate) is available to performers with an additional $15
University admission fee. For further information write to Division
of Music, Meadows School of the Arts, SMU, Dallas, Texas 75275.
June 15-28
SUMMER INSTITUTE IN MEDIEVAL PERFORMANCE at the University of
Pennsylvania, Philadelphia. Tuition is $170 and includes
performance and study of 12th-13th-c. music under Mary Anne Ballard
(musicology, vielle, rebec), Derwood Crocker (plucked instruments),
Konrad Ruhland and others. Contact Mary Anne Ballard, Department of
Music D-8, 201 South 34th St., University of Pennsylvania,
Philadelphia, PA. 19174. June 23-28
GUITAR 75 "International Guitar Festival," Toronto, co-sponsored
by the Guitar Society of Toronto and the Faculty of Music of the
Univ-ersity of Toronto. Five days and nights of workshops,
seminars, concerts and fraternizing with Oscar Ghiglia, Alirio
Diaz, Leo Brouwer, Carlos Barbosa-Lima, Ako Ito, Henri Dorigny,
John Duarte, David Rubio, etc. $70 covers the week's activities.
For information and application contact Guitar 75, 139 St.
Leonard's Ave., Toronto, Ontario, Canada M4N 1K6. The GFA
representative to this festival will be our President Prof. Ronald
C. Purcell. July
FESTIVAL DE GUITARRA INDOAMERICANA, Mexico City. For more
information contact Richard Stover, Merrill College, University of
California, Santa Cruz, CA. 95060. July 1-11
MANUEL LOPEZ RAMOS will conduct a class for classic guitarists
from beginning to advanced levels in Mexico City. Tuition is $150
U.S. for performers, $100 for auditors. Information and application
forms may be received by writing to Maricarmen Costero, Estudio de
Arte Guitarr-istico, Insurgentes Sur 421 B-601, Mexico 11, D.F.
July 7-18
MIGUEL ABLONIZ: Seventy Annual Guitar class will be held at
Ithaca College School of Music in New York. For brochure, write to
Henry Dunn, School of Music, Ithaca College, Ithaca, N.Y. 14850.
July 13-27
RONALD PURCELL will conduct a workshop in technique, repertoire
and enjoyment of the classic guitar at Idyllwild School of Music
and the Arts in Idyllwild, California. For further information and
application write to ISOMATA, University of Southern California,
School of Performing Arts, Idyllwild, California 92349. July 15 -
Aug. 1
NARCISIO YEPES will direct an "International Guitar Course" in
Paris. Tuition will be 350 F (about $90) for students, 200 F (about
$60 U.S.) for auditors. Information and application forms from
Festival Estival, 5 Place des Ternes, Paris 17, France.
24
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July 21 - Aug. 24 OSCAR GHIGLIA will conduct a classic guitar
master class in Aspen,
Colorado. For application forms and brochure write to Aspen
Music School, 1860 Broadway, New York, N.Y. 10023. From June
23-August 24, Associate Faculty members Philip DeFremery and Eliot
Fisk will conduct classes at the ASPEN MUSIC SCHOOL. July 25- Aug.
3
SANTIAGO NAVASCUES will direct a "7th International Guitar
Seminar" in Reisbach, Germany. Tuition will be DM 160 (about $45)
active, and DM 120 (about $35) for auditors. Information and
application forms from Herman Hauser, 8386 Reisbach, Postfach 10,
Germany.
Aug. 4 - 15 SAN DIEGO CLASSICAL GUITAR WORKSHOP - 2nd year -
Directed by Lee Ryan, Instructor of Guitar at San Diego State
University. Beginners and advanced players welcome. Special lecture
series on guitar, lute, vihuela history and literature. For
brochure write to:Workshop, 1229 Park Row, La Jolla, California
92037. Aug. 8 - 25
SIEGFRIED BEHREND will hold an "International Master Class in
Guitar Interpretation" at Rosenburg, a resort near Riedenburg,
Germany, limited to a maximum of 15 active participants. Tuition
will be DM 300 (about $90 U.S.) active, DM 200 (about $60 U.S.)
passive participation. Prof. Behrend speaks English. Information
and application forms: Leitung des Bundes Deutscher Zupfmusiker
(BDZ), Herrn Adolf Moessner, Rissweg 22, 7501 Sollingen, Germany.
Aug. 11-15 CHRISTOPHER PARKENING will conduct a master class at
Montana State University for advanced performers and observers.
Advanced performers who desire to receive individual instruction
($250) should contact Mr. Parkening personally, c/o the School of
Performing Arts, University of Southern California, Los Angeles,
CA. 90007 (213/746-2521). For more information write to the
Department of Music, Montana State University, Bozeman, Montana
59715.
Aug. 15 - 9 FREDERICK NOAD will conduct a classic guitar
workshop in Seattle,
Washington, spondored by the Seattle Classic Guitar Society. Mr.
Noad will give a recital in Seattle on August 24. For further
information and application write to Wynn Smith, 2519 Montavista
Pl. W., Seattle, Washington 98199. September 13-27 INTERNATIONAL
COMPETITION FOR MUSICAL PERFORBERS is to be held at the
Conservatoire of Music, Geneva, Switzerland. The competition is
open to guitarists born between October 1, 1943 and October 1, 1953
and includes a public recital from a specified repertoire, with a
first prize of 6,000 francs and second prize of 2,500 francs.
Applications must be received no later than July 1. For further
information and application write to the Secretariat of the
Competition, Palais Eynard, CH-1204 Geneva, Switzerland. October
23-28
ABTA NATIONAL GUITAR SYMPOSIUM, Cleveland, Ohio. The agenda of
this teachers' symposium calls for round tables to share
information on: (1) the guitar curriculum at the college level, (2)
class guitar teach-ing, (3) methods of tuning the guitar correctly
and efficiently, (4) playing positions and technique, (5) guitar
methods and exercises currently available, (6) approaches to
teaching beginners, (7) master class techniques: the participants
will be the "teacher" in actual coaching sessions, (8) the studio
teacher: problems of standards, available resources, (9) various
approaches to selecting good guitars, and (10) grading guitar
repertory according to difficulty. The establishment of a placement
service for guitar teachers under the auspices of ASTA will also be
discussed. More information will appear in the next issue of
Soundboard. Reserve the date and plan to attend. November 20-22 THE
CLASSIC GUITAR FESTIVAL will be presented at the Sunset Theater in
Monterey, California. Performers will include Byron Paul Tomingas,
Peter Evans, and Richard Stover, and among other featured events
will be an antique guitar exhibit and lectures on guitar
construction. To learn more, write to Classic Guitar Festival, Box
977, Carmel, CA. 93921.
25
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The Soundboard's Featured Facsimile
Contributed by Paul Cox
This piece is curious from at least a couple of standpoints. The
scordatura tuning D-d', while not unheard of, is not often found in
classic guitar music. Furthermore, the symbols for the ascending
and descending rasqueados are unique, at least to me. But the most
interesting aspect involves the notation. The composer, Henry
Worrall, has obviously assumed that any performer would have so
much with the scordatura tuning that something had to be done to
make the piece easier to play. He reasoned that normal tuning,
E-e', would be so ingrained in most guitarists that it would be
easier for them to read the piece as if they were playing in that
tuning rather than the scordatura. That is why the music looks so
strange. The first two measures are clearly not in the given key of
D major if the notes are played in normal tuning. In the
traditional sense this music is not in any key at all. But if the
guitar is retuned to D-d', and the notes are played as if one were
playing in normal tuning, everything is resolved. The difficulty is
the lack of coordination between eye and ear. What you see is not
what you get. We are not used to that. However, once you read
through it a couple of times, it is not as bad as it seems.
The only information I have on Henry Worrall is that he wrote
this piece and is also the author of a guitar method: The Eclectic
Guitar Instructor. Boston: 0. Ditson & Co., 1884. (University
of Illinois-Urbana library catalogue no. M026577) Sebastapol is a
description of the siege of Sebastapol fought in 1854-1855 during
the Crimean War. A copy of this piece is in the same library, but
uncatalogued.
* * * * * * * * * *
HAVE YOU AN INTERESTING FACSIMILE OR ORIGINAL? A free year's
subscription to the Soundboard will be offered to anyone submitting
a non-copyright facsimile of music, text, or graphic art relating
to the history of the guitar, with commentary, selected for
publication. Please submit proposals to the Editor (ATTN:
Facsimiles), GFA, Box 44239 Santa Barbara, CA. 93103.
26
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AIAar Ur THE VIOLET WALTZ _ THE ORIGINAL SPANISH FANDANGO
&a
AN/5'M/ by A.C.&J.L.PETERS. IY/1/711/bik: SvarrAgara k H.7
IliPr.v him.r 494 //Ail 4#37.
/*my/A. Me Pm( /arr.
3242
27
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17tPFI a r : . .
5712 * tb not!. ti, string to b struck, and the tigures, th:
fret upon which the Harmonic hi produced .
3242. 4 Entered according to A t of Coni4 MIR In the year
1240,by A.C.& J.L .Peteta, in the Clerk's Office of the
Southetn Okts lc( I .
1.71 1 13ar :
*Harmonies Distant 13 ncl
. 1.;sar: . .
1 IIIIMLnM-1111ff Magri MIIII=all
IMPIIIMIP =WIWI 110 11111M
Ilii.111 , 4 1 I ,
7 7 7 7-
7 ---.
V 7 7 7 *
7 . - 5 - - 7. 12
SEBASTO PO L. Remarks. Chords milked thus A should be strueit
with thumb, horn the Base to the Treble strings. Chords mark ii
thus V
should be struck with the 1st
or :0 finger, from the Troble to the Bast strings.
Tune the Guitar thus:
r fi an.i fil,eer as it tune,' in tile orttinary manner.
7 3
541;ttat re .
10 10
mi .. Now
I 0 sill ....I 111 , adPII/Mr-1611n 11n11 =I= MI ../N .=1
r7.1n=111111.911MMIIIMINIr f M11111111111n 11.11nU16n111=11=111111/
a/NIIIMM i MN INI1611111111n1111.111n MI IIIP 11P 1n 1111111nCLIMIM
NW NM .1' 4n nnn11 INIIIMMINK8 .
i 11nMINI
IMINIo-111111M/111111 =I 10..MNIMMIMINCI n n Wili/MI NM OM MINN
,
28
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RECENT DEVELOPMENTS IN SPANISH DISCOGRAPHY
Pioneers of Spanish musicology Felipe Pedrell and Higinio Angles
would be happy to see the present growing discography of Spanish
music. The Institut Espariol de Musicologia under the able
direction of SeEor Don Miguel Querol is largely responsible for
stimulating such an interest. Several Spanish firms have responded
by issuing records of only the highest quality. An excellent guide
to the background is offered by the firm Hispavox (Torrelaguna -
102/Madrid 27). The collection entitled Antologi'a del Folklore
Musical de Espaiia, is an important contribution to the student of
Spanish music. Of more direct concern is their three record series
of Vihuelistas EspaEoles S. XVI (HHS5, HHS 10, HHS 15). The first
record features Luys de Milan's El Maestro and Enrique de .
Valderr6bano's Silva de Sirenes. The second record boasts Alonso
Mudarra's Tres libros de mUsica en cifras para vihuela and Miguel
de Fuenllana's 0rph6nica Lyra. Jorge Fresno, the performer in both
of these records, displays an accurate knowledge of style and is a
sensitive interpretor. The third record contains,works by Milan,
Daza, Narvg.ez, Mudarra, Pisador, Fuenllana, and Valderrabano.
Subtitled MUsica Vocal e Instrumental, it features Anne Perret,
mezzo-soprano, and Rodrigo de Zayas, vihuela, in an excellent
performance.
The Servicio de Publicaciones del Ministerip de EducaciOn y
Ciencia in collaboration with the Instituto Musicologia is
releasing a series of records. One, dealing with the CanciOnero de
Palacio, presents several lovely vihuela compositions. COFASA, Av.
America, s/n; Madrid 17, is responsible for production of this
record.
The firm Edigsa (Avda. Jose Antonio 654: Barcelona, 10) is
currently releasing a series of records presenting the history of
,Catalonian music. A volume entitled La Guitarra features Jose
Lopatequi performing works by Fernando Sor, Francisco T6rrega,
Miguel Llobet, Emilio Pujol and others. Again, only the highest
praise may be given for this contribution.
At the same time, the series Hispaniae Mifsica of Deutsche
Grammaphone offers much for the devotee of Spanish vihuela, but it
is apparently not available in America.
Alfred E. Lemmon, SJ Spring Hill College Mobile, Alabama
29
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PUBLICATIOni RECEIVED,REVIEWED
Help wanted! Academically qualified guitarist with permanent
address sought to edit this section of the Soundboard four times a
year. Please apply with a letter, in duplicate, stating educational
background and ability to read foreign languages, to N. L. Poort,
Soundboard Editor, by June 15, 1975.
I - SOLO GUITAR MUSIC
Altpolnische Musik fUr Gitarre (Old Polish music for guitar),
arranged and fingered by Jan-Anton van Hoek. Frankfurt: W.
Zimmermann, 1975. 8 pp. Consists of 15 short pieces, mostly
transcribed from lute and keyboard sources now in Poland which date
from c.1300-1803. TFH
Giuliani, Mauro. Variazioni su un tema di Handel, Op. 107.
Edited and fingered by Ruggero Chiesa. Milan: Edizioni
Suvini-Zerboni, 1974. 9 pp. A quality performing edition in
contemporary musical typesetting of one of Giuliani's most famous
pieces. (Frederick Noad has published a facsimile of the first
edition of this piece, which the serious student may wish to
consult regarding notational details.) The Chiesa edition is
excellent in terms of authentic notes and interpretation symbols;
editorial changes are always accompanied by a footnote giving the
original. TFH
Giuliani, Mauro. Variazioni, Op. 112. Edited and fingered by
Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni, 1974. 13 pp. A
quality performing edition in contemporary musical typesetting of a
piece which is technically more demanding than Op. 107. -TFH
Giuliani, Mauro. Giulianate, Op. 148. Edited and fingered by
Ruggero Chiesa. Milan: Edizioni Suvini-Zerboni, 1974. 36 pp. A
quality performing edition in contemporary musical typesetting of
Giuliani's swan song. This collection consists of eight
well-wrought character pieces, a selection of which would comprise
an excellent section of a guitar recital. TFH
Legnani, Luigi. Introduzione, Tema, Variazioni e Finale, Op. 64.
Edited and fingered by Ruggero Chiesa. Milan: Edizioni
Suvini-Zerboni, 1974. 15 pp. A quality performing edition in
contemporary musical typesetting of one - of Legnani's many sets of
solo guitar variations. Could be a real show piece if performed
with gusto! TFH
NOTE: The U.S. importer for Edizioni Suvini-Zerboni is MCA
Music, 225 Park Avenue South, New York, N.Y. 10003.
II - DUETS
Musik italienischer Meister (Music of Italian masters), four
pieces for two guitars,
arranged by Armin Schmidt. Frankfurt a/M: W. Zimmermann, 1975. 8
pp. Easy transcrip-tions of 18th-c. didactic pieces by Tinazoli,
Reggio, and Campioni, originally for cembalo or for two cellos.
TFH
30
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-NO
31
ZPS Paul Cox was recently elected to the GFA Board of Directors
and will serve a three year term beginning January 1, 1975. Paul is
presently teaching at Eastern- Illinois University and working on
his doctoral dissertation "The Development of Classic Guitar
Technique as Reflected in Methods and Tutors of c. 1780-1850". Paul
has studied classic guitar since 1962 and has performed with the
Danville Symphony, and numerous chamber groups at the Indiana
University, and as a guitar duo with John Myers. Paul has also
studied voice, piano, trumpet, organ, and several historical
instruments. He served as musical director for a number of summer
stock shows from 1968 through 1970, and has extensive conducting
experience. In addition to being an active member and board member
of the GFA, Paul belongs to the American String Teachers
Associ-ation, the Lute Society of America and the American
Musicological 6ociety.
The following is a few thoughts Paul has concerning goals he
feels the GFA should undertake, and some problems concerning the
classic guitar world. -NIP
As far as pressing problems are concerned, the classic guitar
world has plenty of them, but I think it is difficult to pinpoint
one as the most important. Before the formation of GFA I would have
said a singular lack of communication among guitarists was the most
detrimental situtation we faced. For the exchange of ideas on a
national, and even global, basis is essential to the development of
high quality standards which we absolutely must have. With the
birth of the GFA and the Soundboard we have the communication
needed to work on current and longstanding problems of performance
and teaching standards, college curricula, guitar research and
editions of guitar music. I see these as the major issues facing
the guitar today and rate them of more or less equal importance. We
can best further the development of the classic guitar by working
as an organization to solve these problems. The guitar has yet to
see a soundly organized, responsible group of selfless people
working together to secure the best interests of the instrument.
The guitar has too long been a house divided. That is why progress
has been neither frequent nor permanent. The GFA has the
opportunity to make lasting improvements and to become the type of
organization needed to further the interest of the classic guitar.
We have had an excellent start. We have a competent, enthusiastic
membership, and I am confident that we are equal to the task.
Paul Cox University of Illinois at Urbana-Champaign
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%bstracts 'From %broad From time to time, we will summarize and
report on the scholarly research
about the lute and guitar appearing in languages other than
English. We invite Soundboard readers to contribute their synopses
of foreign language materials to this column. There appear below
abstracts of the first ten installments of a continuing series by
Rugger Chiesa, in Italian, in il 'Fronimo', entitled "History of
the literature for lute and guitar."
il 'Fronimo' issue:
No. 1 (Oct. 9 1972), pp. 21-26: The year 1507 marks the
appearance of the first printed book of lute tablature. Its author
was Francesco Spinacino. The historical and musical factors that
account for the appearance of this work include the discovery that
the sixcourse lute played with the fingers could imitate and often
duplicate polyphonic vocal music, then so much in vogue. An
inventory of the 1507 Spinacino Intabulatura de lauto, libro primo,
is included.
No. 2 (Jan.2 1973), PP. 11-15: The earliest document concerning
intabulation for lute is the preface to Spinacino's Intabulatura de
lauto, libro prim, of 1507, in which collection one also finds
scordatura tunings for lute. Comprised of both transcriptions of
polyphonic pieces and original ricercars, the Spinacino volumes
(1507 and 1509) reveal considerable sophistication in style,
balance, and suitability to the lute. Numerous musical examples (in
text) support this finding.
No. 3 (Apr., 1973), pp. 22-26: Lute intabulations of polyphonic
vocal models were not strict always. Sustained vocal notes were
sometimes rendered by repeatedly plucking them on the lute to
compensate for its decaying sound. Ornamentation was added to
intabulations presumably for the same reason. The ornamented
intabulations of Spinacino are remarkable examples of artistic
liberty.
No. 4 (Jul., 1973), 20-25: The Intabulatura de lauto libro
tertio of Petrucci (Venice, 1508), containing works of Giovan Maria
Alemanno, once in the Bibl. Colombina of Seville, is now lost. Joan
Ambrosio Dalza composed Petrucci's Intabulatura de lauto libro
quarto (Venice, 1508), which contains tastar de corde, ricercars,
dances and calatas; the author provides an inventory of the Dalza
book and discussion of its musical styles.
No. 5 (Oct., 1973), pp. 15-20: Continuing his discussion of the
Dalza lutebook of 1508, the author deals with its lute dances:
pavanas, saltarellos, pivas and springardi. Thematic incipits are
given for each of the 29 dances in the 1508 ed.
No. 6 (Jan., 1974), pp. 14-19: Concluding his discussion of
Dalza's Intabolatura de lauto of 1508, the author studies the
thirteen calatas and four intabulations of vocal models in the
collection. Several incipits are given. In 1509 and 1511 Petrucci
publishes the lute books of Franciscus Bossinensis, which together
contain 126 songs with lute accompaniment and 46 solo ricercars.
Complete inventories of these books are given.
No. 7 (Apr., 1974), pp. 26-32: The Bossinensis lutebooks are the
earliest known sources of solo song with solo instrumental
accompaniment. The songs are, in fact, quite accurate arrangements
of frottole by Tromboncino, Marco Cara, Josquin and others, in
which now the voice sings the superius, the lute plays tenor and
bass lines. The altus line normally is dropped in these
arrangements. The ricercars of Bos- sinensis, while designated as
preludes to the songs, are of sufficient musical worth to stand on
their own in certain cases.
-
(Abstracts from Abroad, contld.)
No. 8 (Jul., 1974), pp. 23-28: The first German source to
mention the lute and its notation is Sebastian Virdung's dialogue
treatise, Musics getutscht (Basel, 1511). A close examination of
intabulations in this source reveals them to be unplayable, the
work of a blind theorist who was not a lutenist. Hence the work is
of interest only as a historical document. Arnold Schlick, in his
-Tabulaturen etlicher Lobgesang... (Mainz, 1512), roundly
criticized Virdung's incompetent intabulations.
No. 9 (Oct., 1974), PP. 29-33: Arnold Schlick's 1512 treatise
(cited above) contains pieces for organ (nos. 1-14), for voice and
lute (nos. 15-26) and solo intabulations (nos. 27-29). The pieces
for voice and lute are similar to those of Bossinensis (v. No. 7,
above): adaptations of polyphonic vocal models (Lieder by Isaac,
etc.) for soprano (superius) with a lute playing the tenor and bass
lines, the altus being omitted.
No. 10 (Jan., 1975), Pp. 20-24: Vincenzo Capirola's lute music
would have disappeared entirely were it not for a MS now in the
Newberry Library, Chicago. Otto Gombosi dates the Capirola lutebook
at around 1517. An examination of the prefatory remarks and an
inventory of the lutebook are provided.
Abstracts by Thomas F. Heck
411.
%.
GFA ARO-11\11/M REPORT Several persons have requested a
catalogue of our holdings. At present
the GFA Archive contains the complete works of Giuliani in first
editions in various formats: photostats, microfilms, and originals.
These works are catalogued in Vol. 2 of the Heck dissertation (v.
"Dissertation Reproduction" section else-where in this issue). We
also have a number of theses, reference books, and research tools.
Until funds become available to properly house and catalogue our
rapidly expanding collection, I regrettably must limit my efforts
to describing our recent acquisitions. For the current trimester
these include:
1. Reproducible xerox copy of all Sor works listed on page 10 of
Soundboard, II, no. 1, including Op. 1-23. (If anyone would like to
donate copies of Sor's later works, please write to the
archivist!)
2. Calvin Elliker, N85-W16506 Mary Ct., Menomonee Falls, WI.,
gave the GFA Archive positive enlargements made from a GFA
microfilm of an extraordinary ensemble piece composed jointly by
Viennese classic composers Moscheles (pianist), Giuliani
(guitar-ist) and Mayseder (violinist): "Der Abschied der
Troubadours, Romance...," for soprano with alternating interplay of
piano, violin and guitar (Heck catalogue, WoO, vocal-13). Total
length: 33 pages. (Available now in positive copies for $3.30.)
3. Mairants, Ivor. La Guitarra Flamenca. Metodo completo pare
tocar mUsica flamenca con guitarra espehola... escrito en notaciOn
nnisical y Cifras..., con lo cual puede aprendexse a tocar sabiendo
o sin saber mlieica... London: Latin-American Music Publishing Co.,
Ltd., 1958. Archivist's note: This method comprises three parts and
totals about 200 pages. Having tablature and staff notation
throughout, it continues a line of guitar methodology that dates
from the 18th century.
33
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Thomas F. Heck GFA Archivist Mailing address until further
notice:
Box 4323 Santa Barbara, CA. 93103
(GFA Archivist's Report, cont'd.)
4. Lithographic reproduction (at a slight reduction) of Mauro
Giuliani, Grand Concerto in A major, Op. 30, version for guitar and
string quartet. 40page facsimile, 85 postpaid from the GFA
Archive.
5. Photostatic reproduction of Mauro Giuliani, Sinfonia
nell'opera 'La Cenerentola' del Sig. ROSSINI, arrangement for solo
guitar. Milan, Ricordi, plate number 3785. Donated by Ruggero
Chiesa, Milan, Italy. Heck catalogue no. WoO, 0-11. 9 pages.
The GFA Archive endeavors to serve the public interest by
providing repro-ductions of rare and outofprint music at cost to
scholars and performers around the globe. We never furnish copies
of copyright material. Some of the works we reproduce may
themselves be copies of originals in foreign libraries, which we
always acknowledge. Because of the vested interest that the
proprietors of such originals have, the GFA shall provide only
single copies of such works for study purposes. We ask that these
not be further reproduced and that credit be given to the original
owner whenever a public performance, recording, or edition results
from the use of that material.
34
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eau ragaztow ADVERTISING: Commercial concerns wishing to
advertise in the Soundboard are welcome to send their prepared copy
(exactly as you would want to see it in print) to the Guitar
Foundation of America, P.O. Box 4323, Santa Barbara, CA. 93103, in
time for the publication deadlines of January 15, April 15, July
15, and October 15. Check or money order must accompany copy and be
made payable to the Guitar Foundation of America. Rates are: Full
page (81 x 11); $50.00 - page; $30.00 - $1.00 per 70 character
line, minimum limit $3.00. All full page or half page ads must be
camera-ready copy for offset printing.
* * * * * * * * *
STRINGS - GOOD AND CHEAP: Augustine Black Label, silver
32.90/set, 829.00/doz; gold 83.15/set, 331.50/doz; Red Label
33.70/set, 337.00/doz; Blue Label $4.35/set, 343.50/doz; Aranjuez
classic gold, classic or Spanish silver 33.50/set, $35.00/doz;
Savarez (any tension, plain trebels) 84.85/set, 855.20/doz; (high
tension, wound B & G) 35.25/set, $60.00/doz; Concertiste
silver, any tension 35.95/set, 368.00/doz. We pay postage. Write
for prices on other brands. Ye Musick Shoppe, Dept. SB, P.O. Box
1201, Lexington, N.C. 27292.
LUTE MUSIC FOR GUITAR - Transcriptions from the CAPIROLA LUTE
BOOK Opus 1 Three Lute Pieces (La Villanella, Balletto, Ricercar
X).Send 81 for one copy or $5 for six copies to R. Westerberg, 2804
P St., Sacramento, CA. 95816.
ccD THE GUITAR INSTITUTE-P.O. Box 2746, Seal Beach, CA 90740. A
complete line of classic and flamenco guitars from such makers as
Jose Ramirez,' Antonio Mann Montero, Felix Manzanero, Miguel
Rodriguez and Manuel Contreras. Student models from $160. Also, The
Classic Guitar Method of Hal Kinnaman, Vol. 1, an innovative
approach to basic guitar tech-nique. Price $2.77(13.00 foreign)
postpaid. Strings at a reasonable price.
35
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eleuutie 94et4t Net/fa-Vat 1-2. _$2.00. _Tat 3 2.50 A thorough
Technical Foundation is presented with the works of Sor, Carcassi,
Tarrega, Aquado, Bach, and others.
E44# et4442iC 54104 $Z5 Classical Guitar Repertoire arranged for
the beginner.
91.e.at sa1.4 $150 Classical Guitar Solos arranged for
intermediate difficulty.
2:)elate filezoc 4 eetudie $2,95
A spiral-bound Master Text of Classical Music from The Ba-roque,
Classic, and Romantic periods arranged for the advanced
guitarist.
gazzvt Sumote1e4
$125 Classical Guitar Quartets.
S MC Pro - Arte Presents
Carmen Aarina
Spain's leading lady Concert Guitarist, playing the music ot
Spanish composeri,
in SMC (l_p) and Casette recordings.
Order directly from
SPANISH MUSIC CENTER
*SMC-1121 t RECORDANDO A ESPARA An all-Spanish program of music
by Spanish composer-guitarists is played by
CARMEN MARINA: RONDO, in A minor, by Dionisio Aguado; RONDER A
& ZAPATEADO, by Regina Sainz de la Maza, LA CATEDRAI, &
PRELUDE #I, by Agustin Barrios, and ZORTZICO & JUEGOS by Emilio
Pujol. *SMC-1122, 19th CENTURY GUITARISTS:
Music by famous guitarists of the 19th Century is played by
CARMEN MARINA on the guitar, in a very exquisite and artistic
manner: SONATA, in E Major (Zapateado), by Mateo Albeniz, STUDIES
#11, 13 & 16 (From Op. 100), by Mauro Giuliani, STUDIES #2,
8_13 ,& 14, from Dionisiu Aguado's-Sainz de la Maza famous
guitar tutor; FANTASIA, in C minor, by Fernando Sor; VENEZUELAN
CHILDREN's SONGS (Variations), by Antonio Lauro and arranged by
Alirio Diaz; STUDIES #1 & 20 (From Op. 38), by Napoleon Coste.
*SMC-1123 ALBENIZ FOR THE GUITAR:
An all-Spanish program of music by one of Spain's greatest
musician-composers, is played on the guitar in very inspinng
manner, by CARMEN MARINA: CORDOBA, GRANADA, LEYENDA (Asturias),
MALAGUENA Op. 165; MALLORCA, PAVANA-CAPRICHO, RUMORES DE LA CALETA
(MalagueRa), and ZAMBRA GRANADINA. *SMC-1124, BACH FOR THE GUITAR:
An all-BACH recital of concert masterworks is played on the guitar
with great
T-iosify -Ey the talented Spanish gVirarist, CARMEN MARINA:
PRELUDE, FUGUE & ALLEGRO; PRELUDE & GAVOTTE (From Lute
Suite #1), originally for Violin, SUITE #3 (Originally for
cello).
When ordering please if Long Playing or Cassiets recording is
desired The same number applies bosh for Long Playing or Cassette
recording.
319 West 48th Street, New York City, New York 10036
53.95 each in either style
1
: Weel &If PaliCatid4t4 AC:testa
Pip
IJ 107W. Jefferson Kirkwood, Mo. 63122 Pediecateda4,
et441.4e611 9,4464,r "("44
36
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1. The GFA, as a non-profit corporation governed by an elected
board of directors, is legally able to receive, own and care for
donations of rare music, memorabilia, books, sound recordings, and
instruments of all kinds. The Foundation is making a concerted
effort to acquire in particular gifts and legacies of old or
out-of-print guitar music. Please contact the GFA Archivist to
inquire about donating, now or in the future, part or all of your
collection for preservation. Archival holdings will be carefully
catalogued and photocopies made available to GFA members and to the
public upon request. 2. NOTICE TO CONTRIBUTORS: The GFA Soundboard
is primarily for news of interest to national and international
readers. The Editor reserves the right not to print news of
strictly local interest. Please send contri-butions of all kinds
(concerts, reviews, notices of new publications, master classes,
etc.) to the Editor in time for the publication dead-lines of
January 15, April 15, July 15, and October 15. 3. Scholars and
researchers seeking rare books or music potentially in private
hands are welcome to insert a notice of their current research in
the Soundboard. The notice will be run only once unless the sender
indicates otherwise at the time it is received by the "Works in
Progress" Editor. 4. Annual dues in the GFA are applicable to the
fiscal year starting July 1 and ending June 30, and are prorated on
a six month basis only. 5. The Board of Directors of the GFA urges
all serious guitarists seeking an opportunity to engage in mixed
ensemble playing, or inter-ested in fostering the guitar in schools
and colleges, to join the American String Teachers Association.
Annual dues are $12/Professional, $4/Student. Please make
application to Robert Marince, Executive Secre-tary, 2455 Princeton
Pike, Trenton, N.J. 08638. The American String Teacher features a
"Guitar Forum" by and for guitarists.
Dissertation Reproduction The following dissertations dealing
with the guitar are available from University Microfilms, Box 1307,
Ann Arbor, Michigan 48106. The repro-ductions cost around $4 for a
film, $10 for a soft-bound xerox copy at slight reduction, and $12
for the hard-bound version of the same. Do not send money with your
order, as they will bill you after shipment. But do specify the
author, title, year of the dissertation, and type of reproduction
desired. 1. Sasser', William G. - "The Guitar Works of Fernando
Sor" - The Univ-
ersity of North Carolina, 1960. Order No. 60-6995. 2. Hudson,
Richard A. - "The Development of Italian keyboard variations
on the passacaglio and ciaccona from guitar music in the 17
century." UCLA 1967. Order No. 68-219.
3. Heck, Thomas F. - "The Birth of the Classic Guitar and its
Cultivation in Vienna, Reflected in the Career and Compositions of
Mauro Giuliani (d. 1829)". Yale University, 1970. Order No.
71-16249.
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MEMBERSHIP IN THE GUITAR FOUNDATION OF AMERICA CURRENTLY IS:
$8.00 Active (Voting membership) $4.00 Associate (non-voting for
students
and institutions) Mail applications to GFA Secretary, P.O. Box
4323, Santa Barbara, California 93103.
The GFA Soundboard is published quarterly and mailed
individually to members and in bulk to affiliated guitar societies
for local distri-bution. Quantity prices are available to guitar
societies And other music groups as follows;
10-25 copies .20 each 26-75 copies CP .15 each
76 or more copies 0 .10 each A yearly non-member subscription is
offered to overseas libraries, institutions, and schools at the
following rates: $4.00 per year surface mail and $6.00 per year air
mail.
THE SOUNDBOARD 11021 MEADS ORANGE, CA.92669
DAVID GRIMES 3011 MT. CURVE AVE. ALTADENA, CA. 91001
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