Dedication

pp v-vi

Contents

pp vii-viii

List of Illustrations

pp ix-xii

Music examples

pp xiii-xiii

The editors and the contributors

pp xiv-xix

Foreword

pp xx-xxi

Acknowledgements

pp xxii-xxii

List of Abbreviations

pp xxiii-xxiv

Introduction: The Great Vogue for the guitar

pp 1-10

I - Contexts

pp 11-12

1 - Eighteenth-century precedents: The role of Paris

pp 13-28

2 - The Great Vogue for the guitar: An overview

pp 29-40

3 - The instrument and its makers

pp 41-56

4 - Printing and publishing music for the guitar

pp 57-76

5 - Amateurs and professionals

pp 77-92

6 - Teaching and learning the guitar

pp 93-106

7 - Early-nineteenth-century guitars in the saleroom, private hands and public collections

pp 107-120

8 - Music for early-nineteenth-century guitars in the saleroom, private hands and public collections

pp 121-136

II - The repertoire and its composers

pp 137-138

9 - Accompanied song

pp 139-156

10 - Chamber music for the guitar

pp 157-172

11 - Ferdinando Carulli (1770–1841)

pp 173-186

12 - Mauro Giuliani (1781–1829)

pp 187-202

13 - Fernando Sor (1778–1839)

pp 203-220

14 - Dionisio Aguado (1784–1849)

pp 221-236

15 - Emilia Giuliani (1813–1850)

pp 237-250

16 - Giulio Regondi (1822/23–1872) and Catharina Pratten, née Pelzer (1824–1895)

pp 251-268

Appendix: A note on string-making

pp 269-271

Glossary of guitar terms

pp 272-274