Recording the classical guitar

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"A Focal Press Book"--CoverIncludes bibliographical references, discography, and index.Recordings and the evolving identity of the classical guitar in the twentieth century -- Part 1. The recording model established. The classical guitar in the early period of recording : Spain ; Segovia at HMV (1923-1939) ; The classical guitar in the early period of recording : Latin America -- Part 2. The recording model consolidated. Segovia at American Decca ; The North American backdrop to Segovia ; Developments in Latin America -- Part 3. The recording model interrogated. Nationalism and modernism in the recordings of Julian Bream ; Non-conformity in the recordings of John Williams ; The wider European context -- Part 4. The recording model deconstructed. Post-Segovian narratives of the classical guitar ; Retaining and revitalizing the tradition ; Narrative threads since the 1990s ; Two contemporary "house" guitarists and the future of classical guitar recording practice."Recording the Classical Guitar explores the ways in which recording technologies and studio production techniques have shaped the performance aesthetics, repertoire, and sound of the classical guitar over the last century. Covering the full context of music theory, this book places the history of classical guitar into a technological context, tracing its evolution from the early days into the digital era. Many of the instrument's key performance personalities are referenced as well as the strategies of leading recording engineers. Recording the Classical Guitar is accompanied by a companion website that offers engaging musical excerpts that will demonstrate concepts in the book and will be an essential resource to professionals and students of the classical guitar alike"--Online resource; title from digital title page (viewed on April 14, 2021).Mark Marrington studied classical guitar as an undergraduate before training as a musicologist in the late 1990s and undertaking doctoral work focused on twentieth-century British music and the composer Denis ApIvor. Later he became interested in record production and recording technologies leading him to a period of research into the impact of digital production tools (principally the Digital Audio Workstation) upon musical creativity in a number of genre contexts. This book is essentially a marriage of these two perspectives. Mark is currently Senior Lecturer in Music Production at York St. John University and his academic writing has been published by Cambridge University Press, Bloomsbury Academic, Routledge, Future Technology Press, British Music, Soundboard, Classical Guitar, the Musical Times and the Journal on the Art of Record Production.