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Mark Edwards Advanced Research and Writing CONR.701.101.

2013FA October 11, 2013

Annotated Bibliography Amelkina-Vera, Olga. "Variations on the Noise: The Convergence of the Spanish Folk Idiom and Central European Guitar Style in Dionisio Aguado's Variations on the Fandango, Op. 16 (1836)." Soundboard 36.4 (2010): 7-17. Print. Olga Amelkina-Vera covers many subjects, including new guitar techniques of Dionisio Aguado, context of Spanish music of the era, harmonic analysis of Variations on the Fandango, Op. 16, and comparison of Aguados and Mauro Giulianis music. Amelkina-Vera possibly negates the research done by Calvin Elliker by citing the work of Aguados teacher, Federico Moretti. Moretti, who published his method in 1792 in Madrid, profoundly influenced the way both Sor and Aguado later approached the notation of guitar music (9). Amelkina-Vera later writes on the flamenco tradition in Spain, and how it influenced Aguados technique and guitar writing. This authors harmonic analysis is thorough, and she shows how the harmonic progression and key structure relate Aguados music closely to the flamenco tradition. Olga Amelkina-Vera lacks citation in the flamenco section of this article, and if she had included citations for her reasoning behind making connections between Aguado and flamenco would make a more convincing argument. Within my research on nineteenth century guitar technique, this is an important article because of the contextual information of Aguado, and Amelkina-

Veras connections between compositional decisions and new techniques of the nineteenth century.

Amos, Nelson C. "The Suppression, Liberation, and Triumph of the Annular Finger: A Brief Historical View of Right-Hand Guitar Technique." Soundboard 21.4 (1995): 11-15. Print. Amos Nelson writes generally on technical breakthroughs on various instruments, and specifically on the inclusion of the annular (ring) finger in nineteenth century guitar technique. This author compares J.S. Bachs inclusion of the thumb in piano technique to nineteenth century guitarists inclusion of the annular finger. Nelson and Olga Amelkina-Vera agree on the topic of Aguados use of the ring finger, and that his method was one of the first to use the ring finger for striking the string rather than resting on the instrument. Amos Nelson weakens his own argument in his concluding paragraph by conjecturing that the little finger will be included in future guitar techniques. However, the middle, annular, and little finger are all connected to the same tendon, and too much contrary movement of the fingers may be detrimental to the health of the guitarist employing the little finger. Further, using the little finger would displace the rest of the right hand fingers, and cause other technical issues. Nelson includes important information on breakthroughs in right hand technique in the nineteenth century, which is essential to my own research on nineteenth century guitar technique.

Elliker, Calvin. "A Bibliographical Footnote to Benton and Halley: Discovery of JeanBaptiste Phillis's Mthode Courte Et Facile." Notes: Quarterly Journal of the Music Library Association 58.3 (2002): 491-503. Print. Calvin Ellikers article is organized into three parts: context regarding 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. Dr. Douglas James writes his dissertation on Luigi Legnani and his 36 caprices, gives contextual information on Legnanis work as a luthier and composer, provies a performance edition of the 36 caprices, and evaluates Legnanis contributions to the guitar repertoire and construction. Dr. James is a period performer, and as such, he provides a very plausible interpretation of how Legnani might have played his own compositions on his own instrument. Dr. Jamess research on Legnanis last surviving instrument is invaluable. The contextual information on Legnanis luthiery is further evidence of the evolution of the guitar and guitar notation in the nineteenth century. One possible shortcoming of Dr. Jamess writing is his inclusion of short cadenzas within his edition, which are subjective by nature, and easy to dispute. This author makes no allowances that these cadenzas are based on his musical inclinations, and not any direct with of Legnani. However, the contextual information on Legnani and his compositions are essential to a complete discussion of nineteenth century guitar technique due to the technical breakthroughs of Legnani in terms of instrument construction and right and left hand mechanics.

Kossler, Adam J. A Historical and Critical Analysis of 36 Valses Di Difficolta Progressiva, Op. 63, by Luigi Legnani. , 2012. Internet resource.

Dr. Adam Kossler writes contextual information about Luigi Legnani, compares his method to Mauro Guiliani and Fermando Sors methods, asserts that Legnani is an underrepresented composer in current guitar pedagogy, and compares Legnanis waltzes to waltzes of Matteo Carcassi, Giuliani, and Dionisio Aguado. Dr. Kossler is a former student of Dr. Douglas James, this connection is especially apparent in contextual information of Legnanis life. Dr. Kossler does not acknowledge that most pedagogues do not cite other composers in their own teaching, and peadagogues (such as Aaron Shearer) lack of inclusion is tradition, rather than validation that Legnani is underrepresented. However, Kossler does draw more connections between Legnani and other composers, which James does not, which furthers the body of literature. After Dr. James published his dissertation, a new guitar construction was developed, which was a design principle invented by Legnani, and Kossler uses this similarity in instrument construction to further his argument that Legnani should be performed more. While much of Kosslers writing is subjective in nature, he also compares the compositional styles of nineteenth century guitarists, and in so doing furthers the conversation on how different guitarists techniques were developing in different ways.

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