〖The Baroque Guitar (巴罗克时期的吉他音乐)，Frederic Noad)〗

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〖The Baroque Guitar (巴罗克时期的吉他音乐)〗
Introduction（简介）
　　The music selected for this collection was composed during the years from 1650 to 1750, representing the middle and late part of the period known as the Baroque. The term, derived probably from the Portugese barroco, an irregularly shaped pearl, was originally used in a depreciatory sense to imply an excess of ornament and elaboration in both music and architecture. This is in fact a heritage from the nineteenth century, whose critics and musical audiences had little appreciation for the Baroque style, and whose performers, when they did play the music, often altered the ornaments to avoid the dissonance that is so characteristic of it, and even changed chords and cadences to suit what was then considered good taste. While Dr. Bowdler was carefully eliminating from Shakespeare's works any words considered unsuitable for the young or the fair sex, so music editors were removing the essential spice and jangle from Baroque music.
　　The result of this Victorian misinformation is that the present compiler must ignore the editorial work of the past century and much of the early part of this one, concentrating on the original manuscripts and publications, attempting to discover from the writings of the composers of the period their real spirit and intention. In the case of this book the search has involved a very extensive survey of the surviving literature for the guitar and lute, with particular attention to such comments as the composers of the period have made on how their music should be played. There is in fact an enormous resource of music surviving from the period, although inevitably much of it is trivial and pedestrian. In addition the composers, who waxed eloquent and expressive to a degree in their dedications to a noble patron, were surprisingly economic of words in their instructions to the player.
　　1650 found the guitar in a state of increasing popularity following the addition of a fifth pair of strings which considerably increased its range over the four-course Renaissance instrument. It was much easier to play than the lute, to which also at this time extra courses were added to increase the bass range and for which a new tuning became popular under the influence of the French lutenists. The new tuning favored the use of the lute for song accompaniment and the realization of figured basses, but appeared to make it over-complex as an instrument for multi-part counterpoint. The essentially vocally conceived solo lute music of the late Renaissance gave place to simple stylized dances restricted mainly to a treble and bass line with the irregular addition of fuller chords.
　　In Spain the six-course vihuela had now declined completely, its role in serious music having been superceded by the keyboard instruments. In both Italy and Spain the five-course guitar was popular as a folk instrument, and was employed in two distinctive styles-Rasgueado (strummed) for dance accompaniment, and Punteado (fingered) for the performance of simply conceived solos based mainly on the dance forms.
　　Although both the guitar and lute were assigned roles of secondary importance in the Baroque period, it is during this same period that the first example of the phenomenon of "guitar mania" occurred, at the court of Charles II. The scene is graphically described in the Memoirs of the Count of Grammont, edited by Sir Walter Scott, from which the following is an extract.
　　"There was a certain foreigner at court, famous for the guitar, he had a genius for music, and he was.......of the guitar: his style of playing was so full of grace and tenderness that he could have given harmony to the most discordant instruments. The truth is, nothing was too difficult for this foreigner. The King's relish for his compositions had brought the instrument so much into vogue that every person played upon it, well or ill; and you were as like to see a guitar on a lady's dressing table as rouge or patches. The Duke of York played upon it tolerably well, and the Earl of Arran like Francisco* himself. The Francisco had composed a Sarabande which either charmed or infatuated every person; for the whole guitarery at court were trying at it, and God knows what a universal strumming there was."
　　A similar situation seems to have prevailed in the French court of Louis XIV, the king himself being a player of the instrument. Even Lully, the leading court composer and violinist, was more easily persuaded to perform on the guitar than the violin, a fact that the 18th Century historian Sir John Hawkins regarded with great scorn.
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〖The Baroque Guitar (巴罗克时期的吉他音乐)〗