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......... In a noisy and raucous age the simple voice of the classical guitar takes the listener back to an intimate, personal musical environment. The guitar's natural sound, being unamplified, corresponds to the dynamics of the speaking human voice; its simple directness appeals immensely in the somewhat dehumanized context of industrial society. ........ 此部分共[4]页: 1>> 2>> 3>> 4>> 〖A Concise History of the Classical Guitar(古典吉他简史,by Graham Wade)〗 封面介绍 Contents List of Illustrations Foreword Introduction(简介) What is a Guitar?(什么是吉他) Footnotes to the Introduction PART I: THE RENAISSANCE(文艺复兴时期) 1. Italy and the Renaissance(意大利与文艺复兴) 2. The Printing of Instrumental Music(器乐记谱印刷) 3. The Music of the Spanish Vihuela(西班牙维埃拉琴) 4. Luis Milan and the Vihuela(露易斯.米兰与维埃拉琴) 5. The Four-Course Guiiar(四弦吉他) Footnotes to The Renaissance PART II: THE BAROQUE(巴洛克时期) 6. The Five-Course Baroque Guitar(5弦巴洛克吉他) 7. Joan Carles Amat and the Five-Course Guitar 8. Opposition to the Guitar(吉他的反对者) 9. Luis de Bricefio's Guitar Method 10. The Five-Course Guitar and Alfabeto 11. Developments by Foscarini and Others 12. Francesco Corbetta 13. Giovanni Battista Granata 14. Robert de Visee 15. Gaspar Sanz 16. Lucas Ruiz de Ribayaz 17. Ludovico Roncalli 18. Francisco Guerau 19. The Guitar in the Early 18th Century 20. Santiago de Murcia 21. The End of the Five-Course Tradition 22. A Digression Concerning the Baroque Lute Footnotes to The Baroque PART III: THE CLASSIC GUITAR(古典吉他) 23. The Six Siring Classic Guitar(6弦古典吉他) 24. A Multiplicity of Guitars, 1750-1815 25. Luigi Boccherini 26. Padre Basilio 27. Three Publications 28. Guitarists of the Early 19th Century(19世纪早期的吉他名家) 29. The Art of Ferdinando Carulli 30. Sor and Giuliani - Rivals in Dominance 31. The Significance of Anton Diabelli 32. Dionisio Aguado 33. Paganini and Legnani 34. The Contribution of Matteo Carcassi(卡尔卡西的贡献) 35. Zani de Ferranti - End of an Era 此部分共[4]页: 1>> 2>> 3>> 4>> 其它相关链接: 〖The Guitarist's Guide to Bach by Graham Wade(巴赫作品演奏指南)〗 Graham Wade |
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