Naik Euwaius

Auvanceu Reseaich anu Wiiting C0NR.7u1.1u1.2u1SFA

0ctobei 11, 2u1S

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Amelkina-veia, 0lga. "vaiiations on the Noise: The Conveigence of the Spanish Folk
Iuiom anu Cential Euiopean uuitai Style in Bionisio Aguauo's !"#$"%$&'( &' %*+
,"'-"'.&, 0p. 16 (18S6)." /&0'-1&"#- S6.4 (2u1u): 7-17. Piint.
0lga Amelkina-veia coveis many subjects, incluuing new guitai techniques of
Bionisio Aguauo, context of Spanish music of the eia, haimonic analysis of
!"#$"%$&'( &' %*+ ,"'-"'.&, 0p. 16, anu compaiison of Aguauo's anu Nauio
uiuliani's music. Amelkina-veia possibly negates the ieseaich uone by Calvin
Ellikei by citing the woik of Aguauo's teachei, Feueiico Noietti. Noietti, who
publisheu his methou in 1792 in Nauiiu, "piofounuly influenceu the way both Soi
anu Aguauo latei appioacheu the notation of guitai music" (9). Amelkina-veia latei
wiites on the flamenco tiauition in Spain, anu how it influenceu Aguauo's technique
anu guitai wiiting. This authoi's haimonic analysis is thoiough, anu she shows how
the haimonic piogiession anu key stiuctuie ielate Aguauo's music closely to the
flamenco tiauition. 0lga Amelkina-veia lacks citation in the flamenco section of this
aiticle, anu if she hau incluueu citations foi hei ieasoning behinu making
connections between Aguauo anu flamenco woulu make a moie convincing
aigument. Within my ieseaich on nineteenth centuiy guitai technique, this is an
impoitant aiticle because of the contextual infoimation of Aguauo, anu Amelkina-
veia's connections between compositional uecisions anu new techniques of the
nineteenth centuiy.

Amos, Nelson C. "The Suppiession, Libeiation, anu Tiiumph of the Annulai Fingei: A
Biief Bistoiical view of Right-Banu uuitai Technique." /&0'-1&"#- 21.4 (199S):
11-1S. Piint.
Amos Nelson wiites geneially on technical bieakthioughs on vaiious instiuments,
anu specifically on the inclusion of the annulai (iing) fingei in nineteenth centuiy
guitai technique. This authoi compaies }.S. Bach's inclusion of the thumb in piano
technique to nineteenth centuiy guitaiists' inclusion of the annulai fingei. Nelson
anu 0lga Amelkina-veia agiee on the topic of Aguauo's use of the iing fingei, anu
that his methou was one of the fiist to use the iing fingei foi stiiking the stiing
iathei than iesting on the instiument. Amos Nelson weakens his own aigument in
his concluuing paiagiaph by conjectuiing that the little fingei will be incluueu in
futuie guitai techniques. Bowevei, the miuule, annulai, anu little fingei aie all
connecteu to the same tenuon, anu too much contiaiy movement of the fingeis may
be uetiimental to the health of the guitaiist employing the little fingei. Fuithei,
using the little fingei woulu uisplace the iest of the iight hanu fingeis, anu cause
othei technical issues. Nelson incluues impoitant infoimation on bieakthioughs in
iight hanu technique in the nineteenth centuiy, which is essential to my own
ieseaich on nineteenth centuiy guitai technique.

Ellikei, Calvin. "A Bibliogiaphical Footnote to Benton anu Balley: Biscoveiy of }ean-
Baptiste Phillis's Nthoue Couite Et Facile." 2&%+(3 40"#%+#56 7&0#'"5 &8 %*+
90($: ;$1#"#6 <((&:$"%$&' S8.S (2uu2): 491-SuS. Piint.
Calvin Ellikei's article is organized into three paits: context iegaiuing the evolution of
the guitar, biographical information on Jean Baptiste-Phillis, and the importance of
Philliss work Mthode Courte Et Facile. Elliker has the luxury of having the primary
source of the method itself, which is held in the University of Michigan music library
where he worked at the time of his articles publication. Since Jean-Baptiste Phillis is an
obscure figure, Thomas Heck and Matanya Orphee were already in a dispute over
publication date and author of the new guitar notation system. Elliker shows that Phillis
is the first known composer to use the system. However, he does not address the
possibility that Giuliani and Phillis may have developed the descriptive guitar notation
system independently of one another, and therefore weakens his own argument. Elliker
makes a compelling argument on the nineteenth century guitar through thorough research
from primary sources. Therefore, this article is essential within the discussion of guitar
technique and evolution.

James, Douglas G, and Luigi Legnani. Luigi Rinaldo Legnani: His Life and Position in
European Music of the Early Nineteenth Century, with an Annotated Performance
Edition of Selections from 36 Caprices Per Tutti I Tuoni Maggiori E Minori, Opus
20., 1994. Print.
Bi. Bouglas }ames wiites his uisseitation on Luigi Legnani anu his S6 capiices, gives
contextual infoimation on Legnani's woik as a luthiei anu composei, piovies a
peifoimance euition of the S6 capiices, anu evaluates Legnani's contiibutions to the
guitai iepeitoiie anu constiuction. Bi. }ames is a peiiou peifoimei, anu as such, he
pioviues a veiy plausible inteipietation of how Legnani might have playeu his own
compositions on his own instiument. Bi. }ames's ieseaich on Legnani's last
suiviving instiument is invaluable. The contextual infoimation on Legnani's
luthieiy is fuithei eviuence of the evolution of the guitai anu guitai notation in the
nineteenth centuiy. 0ne possible shoitcoming of Bi. }ames's wiiting is his inclusion
of shoit cauenzas within his euition, which aie subjective by natuie, anu easy to
uispute. This authoi makes no allowances that these cauenzas aie baseu on his
musical inclinations, anu not any uiiect with of Legnani. Bowevei, the contextual
infoimation on Legnani anu his compositions aie essential to a complete uiscussion
of nineteenth centuiy guitai technique uue to the technical bieakthioughs of
Legnani in teims of instiument constiuction anu iight anu left hanu mechanics.

Kosslei, Auam }. < =$(%&#$:"5 "'- >#$%$:"5 <'"56($( &8 ?@ !"5(+( A$ A$88$:&5%"
B#&.#+(($C"D EFG @?D 16 ;0$.$ ;+.'"'$. , 2u12. Inteinet iesouice.
Bi. Auam Kosslei wiites contextual infoimation about Luigi Legnani, compaies his
methou to Nauio uuiliani anu Feimanuo Soi's methous, asseits that Legnani is an
unueiiepiesenteu composei in cuiient guitai peuagogy, anu compaies Legnani's
waltzes to waltzes of Natteo Caicassi, uiuliani, anu Bionisio Aguauo. Bi. Kosslei is a
foimei stuuent of Bi. Bouglas }ames, this connection is especially appaient in
contextual infoimation of Legnani's life. Bi. Kosslei uoes not acknowleuge that
most peuagogues uo not cite othei composeis in theii own teaching, anu
peauagogue's (such as Aaion Sheaiei) lack of inclusion is tiauition, iathei than
valiuation that Legnani is unueiiepiesenteu. Bowevei, Kosslei uoes uiaw moie
connections between Legnani anu othei composeis, which }ames uoes not, which
fuitheis the bouy of liteiatuie. Aftei Bi. }ames publisheu his uisseitation, a new
guitai constiuction was uevelopeu, which was a uesign piinciple inventeu by
Legnani, anu Kosslei uses this similaiity in instiument constiuction to fuithei his
aigument that Legnani shoulu be peifoimeu moie. While much of Kosslei's wiiting
is subjective in natuie, he also compaies the compositional styles of nineteenth
centuiy guitaiists, anu in so uoing fuitheis the conveisation on how uiffeient
guitaiists' techniques weie ueveloping in uiffeient ways.