〖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)〗
The Sources（资料来源介绍）
　　Both guitar and lute music were written in tablature notation (see below), and for the guitar there is a considerable resource of surviving printed books. Among the most famous and successful of these may be mentioned Gaspar Sanz's Instruction de musica sobre la guitarra espanola, (Zaragoza 1674), an extensive method with illustrations of the left hand in a number of chord positions, detailed instructions on playing and a number of pieces for performance. The original book was added to and reprinted, and as late as 1752 was extensively copied by Pablo Minguet Y Yrol for his method Ar-reglas Y Advertencias. Admired by Sanz and well-known all over Europe was the Italian guitarist mentioned above, Francesco Corbetta (cl615-1681), who after several previous books published La Guitare Royale in 1670 dedicated to Charles II. The book is beautifully engraved and worthy of its royal dedicatee, containing a large selection of solo dance suites and songs, and instructions in French and Italian for the interpretation of tablature. Further books under the same title appeared in 1673 and 1674, evidencing the success of the original.
　　Corbetta's pupil Robert de Visee became a celebrated musician in his own right, and in 1682 published his first Livre de Guitare dedicated to his royal patron Louis XIV. A second collection followed in 1686, and these two books provide a considerable resource for the modern transcriber being clearly engraved in a tablature less elaborate than Corbetta's.
　　In Italy one of the most interesting publications was Count Lodovico Roncalli's Capricci armonici sopra la chitarra spagnola, (Bergamo, 1692) more simply printed than the "royal" books mentioned above, but containing music of great interest. The 1881 transcription of this book by Oscar Chilesotti was one of the first of the modern era, and provided the inspiration for several movements of Respighi's Suites of Ancient Dances.
　　It is beyond the scope of this book to discuss all the guitar publications of the period since they are quite numerous, the British Museum library alone containing more than twenty of them. However it should be mentioned that a fair proportion of them are in the "Rasgueado style" which, since it consists only of simple chord sequences with dance rhythm indications, affords little interest to the player of today.
　　Printed books for the lute are scarcer than those for the guitar during the Baroque period, giving evidence that the more difficult instrument had less of a popular following. Nevertheless a number have survived, among them Thomas Mace's Mustek's Monument, published by subscription in London in 1676. This book contains elaborate instructions for playing the lute, together with recommendations for choosing strings, caring for the instrument, design of a music room etc. Much of this old music teacher's personal philosophy emerges from the text, and his impassioned defence of the lute serves to underline the decline in its popularity in England. On the continent the decline was less marked and books continued to appear in France until 1730 and in the German-speaking countries until as late as 1760.
　　A much greater source of lute music exists in manuscript including all that survives of perhaps the greatest lute composer of his period, Sylvius Leopold Weiss. In spite of contemporary recognition much of Weiss's music still remains to be transcribed into modern notation.
　　For further information on the books and manuscripts with details of modern editions and transcriptions, the reader is referred to Ernst Pohlmann's Laute, Theorbe, Chitarrone, (Edition Eres Lilenthal/Bremen, 2nd Edition, 1972). This is the most complete reference work so far produced on the lute and its music.
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〖The Baroque Guitar (巴罗克时期的吉他音乐)〗