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THE RELEVANCE of the TEACHING METHODS of DIONISIO AGUADO, FERNANDO SOR and Andres SEGOVIA for GUITAR TECHNIQUE in the LATE 20TH CENTURY

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THE RELEVANCE of the TEACHING METHODS of DIONISIO AGUADO, FERNANDO SOR and Andres SEGOVIA for GUITAR TECHNIQUE in the LATE 20TH CENTURY THE RELEVANCE OF THE TEACHING METHODS OF DIONISIO AGUADO, FERNANDO SOR AND ANDReS SEGOVIA FOR GUITAR TECHNIQUE IN THE LATE 20TH CENTURY by CORNELIA SUSANNA NIELU VAN DER WALT submitted in fulfilment of the requirements for the degree of MASTER OF MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR M H A KOPPERS 30November1996 Summazy Page -ii THE RELEVANCE OF THE TEACHING METHODS OF DIONISIO AGUADO, FERNANDO SOR AND ANDRIS SEGOVIA FOR GUITAR TECHNIQUE IN THE LATE 20TH CENTURY This research study reports on the effectiveness of older methodologies with regard to teaching purposes for the classical guitar. The following Methods were discussed : F Sor : Methode pour la Guitare; D Aguado : Nuevo Metodo para Guitarra; A Segovia, as written by V Bobri : The Segovia Technique. These Methods were evaluated and compared with current guitar techniques as applied by Pujol, Artzt, Carlevaro, Duarte, Duncan, Shearer, Parkening, Sagreras, and the opinions of Brouwer, Aussel and Barrueco were also taken into consideration. The following technical aspects were analysed : posture; the Tripod; right· and left·hand techniques; fingering and scales; quality of tone and right-hand stroke : apoyando, tirando and ornamentation, as applied by Sor, Aguado and Segovia; and Sor's opinion of transcriptions. The Methods for the vihuela, the four· and five-course guitar, and the efforts of the eighteenth and nineteenth century were briefly discussed, such as : Milan; Narvaez; Pisador; Mudarra. KEYWORDS: Fernando Sor Methode pour la Guitare Dionisio Aguado Nuevo Methodo para Guitarra Vladimir Bobri The Segovia Technique GUITAR TECHNIQUES: Posture Pujol Tripod Shearer Apoyo Duncan Right-hand strokes Romero Apoyando Carlevaro Tirando Ophee Duarte Artzt Stroke to the left and right Pujol Financial Assistance Pac;e - iii Financial assistance rendered by the Centre for Science Development towards the cost of this research is hereby acknowledged. Opinions expressed in this publication, or conclusions arrived at, are those of the author and not necessarily to be attributed to the Centre for Science Development. vN!S.:~ t.•:SUOTE€1< / l. ·. ·" S:Y I 787.87193 VAND \\llll\l\ll\111 0001707798 Acknowledgments Page -iv I wish to express thanks and appreciation to my distinguished promoter, Dr Mario Koppers for his interest and support. My sincere thanks to Mrs Louise van den Berg at the UNISA library for her assistance in locating references, and Prof E Hugo for her participation and interest, and to my friend, Lynette for her editing and support. Last but not least, and most importantly, I wish to thank my husband and daughter for their patience and understanding when I needed to put my dissertation before their needs. p - CONTENTS Paue 1. CHAPTER 1: IHTBODOCTION TO PBOBlEM STATEMENT ........................................................... 1 1.1 Problem Statement ....................................................................................................................3 1.1.1 The defective available literature of the methodological development of the classical guitar ............................................................................................................................. 3 1.1.2 Different editions of traditional Methods ...................................................................................... 4 1.1.3 The merit of traditional established Methods by Dionisio Aguado, Fernando Sor and Andres Segovia .................................................................................................................... 4 1.2 Objectives of the Research ...................................................................................................... 5 1.3 Demarcation ...............................................................................................................................6 1.3.1 Definition of the concept Method ................................................................................................. 6 1.3.2 Field of study ......... ..... ......... .... ... ... .. ... ...... .. ..... .... .............. ... ..... .. .. .. .. ... ... ... ..... .. .. .. .... ... ... .. .. .. .... 6 1.4 Method of Research and Presentation .................................................................................... 7 1.4.1 Availability of methodological material ........................................................................................ 7 1.4.2 Use of catalogue information ...................................................................................................... 7 1.4.3 Methodological material .............................................................................................................. 8 1.4.4 Magazines ................................................................................................................................... 9 1.4.5 Overseas travel research and interviews .................................................................................... 9 1.4.6 Overseas correspondence ........................................................................................................ 10 1.4.7 Research based on an analytical comparative basis ................................................................ 10 P e - vi 2. CHAPTER 2: HISTORICAL REVIEW OF THE DEVELOPMENT OF THE MOST IMPORTANT METHODOLOGICAL MATERIAL (1500 -19931 .................................................... 12 2.1 Introduction ............................................................................................................................... 12 2.2 The Evolution and Development of the Guitar .......................................................................... 12 2.3 Vihuela Methods ....................................................................................................................... 14 2.4 Methods for the Four-Course Guitar (The Renaissance Guitar) ................................................ 19 2.5 The Five-Course Guitar (Baroque Guitar) ................................................................................. 20 2.6 Methodological Contributions during the Eighteenth Century ................................................... 25 2.7 Methodological Contributions of the Nineteenth Century .......................................................... 27 2.8 Lesser Known Guitar Composers, Methods and Compositions of the Nineteenth Century ...... 28 2.9 Development of the Guitar, Methods and Repertoire after 1850 ............................................... 30 2.10 Conclusion .................................................................................................................................33 Contents Pa e - vii 3. CHAPTER 3: DIONISIO AGUADO (Spain 1184-18491. AN ANALYTICAL DISCUSSION OF THE MOH OD : NUEVO MeTHODO PW IUITUBA l18431 ........................ 34 3.1 Introduction ............................................................................................................................. 34 3.2 Biography .................................................................................................................................36 3.3 Overview of the Aguado "Methods" ...................................................................................... 37 3.3.1 Aguado's first Method: Escue/a de Guitarra, Por Don Dionisio Aguado {Madrid, 1825) .......... 37 3.3.2 Aguado's second Method: Nouvelle Methode de Guitare Op. 6 {Paris, s.a.) ........................... 38 3.3.3 Aguado's third Method: Neuvo Methodo para Guitarra {Madrid, 1843) .................................... 39 3.3.4 La Guitare Enseignee par une Methode Simple ou Trainte des principes elementaires, pour jouer de cet instrument d'une maniere agreab/e en peu de tems par D. Aguado {1837) .. 40 3.4 Dionisio Aguado's Approach in his Method .......................................................................... 40 3.4.1 Aguado didactically orientated ................................................................L ................................ 40 3.4.2 Layout of the Aguado Method ................................................................................................... 41 3.5 Posture : Aguado's Position of Guitar and Player ................................................................ 41 3.5.1 Aguado's Tripod ........................................................................................................................ 41 3.5.2 Stabilizing of posture ................................................................................................................. 43 3.5.3 Aguado's motivation for using the Tripod .................................................................................. 44 3.5.4 Aguado's opinion concerning the traditional sitting posture ...................................................... 47 3.6 Analysis of the Right-Hand Technique .................................................................................. 48 3.6.1 Aguado's position of the right hand ........................................................................................... 48 3.6.2 Aguado's curved wrist ............................................................................................................... 49 3.6.3 Aguado's right-hand fingers : prolongation of the forearm ........................................................ 52 3.6.3.1 Slanted stroke of the fingers : further extension of the fingers .................................................. 52 3.6.3.2 The perpendicular stroke ..........................................................................................................
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