Dedication
Preface
List of Illustrations
List of Tables
List of Musical Examples
List of Abbreviations
Acknowledgements
Part I: The Guitar in the Sixteenth Century James Tyler
1. Spain: La Guitarra de quatro ordenes
2. France: The Creation of the Repertory
3. England: '... yused of gentilmen, and of the best sort ...'
4. Italy: La Chitarra da sette corde
5. Italy: The Role of the Guitar in the Rise of Monody
Part II: The Spanish Guitar (c.1600-c.1750) James Tyler
6. Italy: The Creation of the Repertory
7. France: Les Guitarristes Royals
8. 1. England
2. The Low Countries
3. Scandinavia
4. Germany and the Austrian Empire
9. Spain, Portugal, and the New World
Appendix I. A Brief Guide to Reading and Interpreting Baroque Guitar Tablatures
Appendix II. Sources of Specific Information on the Tuning and Stringing of the Five-course Guitar
Appendix III. The Mandora
Part III: The Origins of the Classical Guitar Paul Sparks
10. 1750-69: The Emergence of the Six-Course Guitar
1. Spain, Portugal, and South America
2. France
3. Britain
11. 1770-89: The First Six-String Guitars
1. A Short History of String Making
2. Spain, South America, and Portugal
3. Italy
4. France
5. England. Germany, and Austria
12. 1790 to the Early 1800s: The Triumph of the Six-String Guitar
1. Spain and Portugal
2. Britain
3. Italy
4. France
5. Germany, Austria, and Elsewhere
13. The Guitar 1750-c.1800: Practical Information
1. The Instrument
2. Strings
3. Playing Positions
4. Specialist Techniques and Ornamentation
Appendix IV: Primary Sources (1750-c. 1800)
1. Paris - Instrumental Music (Published)
2. Paris - Songs with Guitar Accompaniment (Published)
3. Guitar Methods (Published and Manuscript)
4. Non-Parisian Guitar Music (Published and Manuscript)
Appendix V: Pieces for Guitar (c.1750-c.!800)
Bibliography of Secondary Sources
Index