Notes
- 179 - - NOTES 0 INTRODUCTION 1. A well-documented case of the guitar in America being put almost exclusively into the hands only of cowboys or bluesmen is Frederic V. Grunfeld, The Art and Times of the Guitar: An Illustrated History of Guitars and Guitarists (New York: Collier Books, 1969). Peter Danner cites Grunfeld’s oversight in “The Guitar in 19th-century America: A Lost Social Tradition.” Soundboard 22/3 (1985): 293. Tom and Mary Anne Evans also offer a consistently anachronistic view of the American guitar in Guitars: Music, History, Construction and Players from the Renaissance to Rock (New York: Paddington Press, 1977), 286–88. In its volume on the United States and Canada, the Garland Encyclopedia of World Music indexes the “non-electric” guitar sixty-five times but only one of these references documents a non-folk or non-popular setting. This one citation leads the reader to a short paragraph about the nineteenth-century African American guitar pedagogue, composer, and arranger, Justin Holland; Garland Encyclopedia of World Music: Volume 3, The United States and Canada, Ellen Koskoff, ed. (New York and London: Garland Publishing, 2001). In his recent study, Steve Waksman ignores the early history of the guitar in America, asserting (but not documenting ) that “The guitar [like the banjo] similarly entered the American continent through the slave trade”; Steve Waksman, Instruments of Desire (Cambridge, MA: Harvard University Press, 1999), 17. 2. Waksman’s study stands as a particularly good example of this celebration of the guitar as a tool of resistance and rebellion. He celebrates the musical achievements of many twentieth-century guitar icons but, drawing on the work of Jacques Attali, uses them as exemplars of transgressive creators of social and cultural noise that challenges and eventually overturns the status quo. CHAPTER 1. THE GUITAR IN AMERICA TO 1880 1. See for example, Mike Longworth, Martin Guitars: A History (Cedar Knolls, NJ: Colonial Press, 1975); Jim Washburn and Richard Johnston, Martin Guitars: An Illustrated Celebration of America’s Premier Guitarmaker (Emmaus, PA: Rodale Press, 1997); Robert Carl Hartman, Guitars and Mandolins in America. Featuring the Larson’s Creations (Hoffman Estates, IL: Maurer & Co., 1984); or John Teagle, Washburn: One Hundred Years of Fine Stringed Instruments (New York: Music Sales, 1996). Waksman, 283–84, offers an evaluation of the vintage guitar movement as an - 180 attempt to both idealize and reify the past. For a slightly more critical view of the vintage guitar market as well as the place Martin guitars hold in that market, see Timothy Brookes, “Martin’s Millionth Guitar Is a Flash of Its Future,” Philadelphia Inquirer (December 21, 2003). 2. Guitar Review and Soundboard remain the most important resources for scholarly work about the classical guitar in America. Articles from these periodicals have played a significant supportive role in this study and are cited throughout. Readers are encouraged especially to consider the work of Peter Danner and Douglas Back, two of the more productive researchers in this area. 3. Philip F. Gura, C. F. Martin and His Guitars, 1796–1873 (Chapel Hill and London: University of North Carolina Press, 2003). 4. See, for example, Sonneck’s paper, “The Musical Life of America from the Standpoint of Musical Topography” (1909), collected in Oscar Sonneck and American Music, ed. William Lichtenwanger (Urbana and Chicago: University of Illinois Press, 1983). For examples of Crawford’s approach to America’s musical story, see Richard Crawford, The American Musical Landscape: The Business of Musicianship from Billings to Gershwin (Berkeley: University of California Press, 1993) and America’s Musical Life (New York and London: W. W. Norton, 2001). 5. Lawrence W. Levine describes this cultural divide in Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988), a book that has inspired numerous other studies. For a critique of Levine’s conclusions see Ralph P. Locke, “Music Lovers, Patrons and the ‘Sacralization’ of Culture in America,” 19th-Century Music 17 (Fall 1993): 149–73. While Levine places this cultural division in the second half of the century, Michael Broyles describes three stages covering most of the nineteenth century in “Music and Class Structure in Antebellum Boston,” Journal of the American Musicological Society 44 (Fall 1991): 451–93. 6. Richard Crawford examines early French and Spanish music-making on this continent, describing a seventeenth-century French ceremony as an example of both religious and political use of music. See America’s Musical Life, 15–19. In the opening chapters of A History of Music and Dance...
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