A network for historic guitars and vihuelas
very interesting study; thanks for sharing. Looking forward to reading further from you.
For more, you should visit my 'site web' (you already have, as the paper is hosted there).
Thanks for this article! Is it published in a peer-reviewed journal? While I didn't have time to read it through right away, I am reminded of some propositions I made as a masters-level graduate student (I now hold an MA in music) with regard to stringing. I found that putting the higher-octave string toward the ceiling on the fifth course (of a five-course Baroque guitar) and the higher-octave string toward the floor on the fourth course will allow all higher-octave strings to be sounded at once, granted the guitarist utilizes all five fingers. I don't suspect you mentoned this particular arrangement in your article, but of course I can't be sure because I haven't read it all. I am definitely enticed though. Thanks!
The trouble with peer-reviewed journals is that they are very slow, and that usually they don't offer open access.
It may take years before your article is published. Therefore I have put it on line, and also at academia.edu, to reach a broader readership. The drawback is that it may not appear in some bibliographic databases.
Sure, but in the long run a peer review will add more weight to your argument, if you ask me. I think both self-published and peer-reviewed material is important. Don't get me wrong. I value your offering 100%. As for the stringing arrangement, it is my understanding that Tyler and Sparks (or was it Gill?) arrived at the conclusion that the high-octave strings of the octave courses were generally placed toward the ceiling. Even though there may not be historical evidence for my proposed arrangement, it does facilitate playing a lower voice on the higher-octave string of the fifth course with the thumb while playing the upper voice on the higher-octave string of the fourth course the the index finger, for example. That technique was espoused by Sanz, I can say with certainty. So it is partially faithful to the documentary evidence, and partially an original thought--not uncommon in studies of history! My proposed arrangement does not really allow for playing the higher-octave of the fourth course with thumb, which is disappointing, but remediated by employing all five fingers. Overall, it expands the scope of campanelle playing through the employment of all five fingers, even though, as far as I know, Baroque guitar technique was usually limited to a maximum of four, the pinky finger being excluded. But with rasgueado, the pinky was coming off of the top of the guitar, which might open the door for a more active role in plucking.