기타살롱의 리브라님의 글 퍼왔습니다..
..................................................................
델캄프 포럼에 재미있는 글이 있어서 가져왔습니다.
가계도도 있네요.^^
In an earlier thread the question of a “Granada School” of builders was raised, leading to heated discussion regarding whether the term holds realistically meaningful validity. Now that passions have subsided, and without wishing to take a side in the matter, I’d like to share my understanding of the term strictly as evidenced by a chronological overview of the historical record. Perhaps this background information will help others elucidate their positions.
Evidently the first coinage of the term “Granada School” in English may be attributed to a translation of words by Eusebio Rioja, who published the book Inventario de Guitarreros Granadinos, (1875-1975) in 1976. George Clinton and John Roberts (Editor and History Columnist of the English magazine “Guitar”, respectively), visited Granada in 1976 and Roberts, as a result, published an article entitled “The Guitar in Granada” in the February, 1977 issue (pages 9-11). Roberts quotes from it extensively (in his own translation) in his article, and specifically quotes Rioja’s phrase in the introduction, "la escuela guitarrera granadina", as “the Granada School of makers”. Roberts then goes on to cover Rioja’s list of Granada makers.
Ivor Mairants, the English jazz guitarist and classical enthusiast turned guitar dealer (who was importing and selling guitars by Antonio Marín Montero, Manuel Bellido, and Antonio Raya Pardo among others already), covered six “Guitarreros of Granada” in his 1980 book My Fifty Fretting Years (pages 356-357) without using the term, however.
Rioja published a second edition of his book, this one entitled Inventario de Guitarreros Granadinos, (1875-1983), in conjunction with the 11th Congresso Nacional de Actividades Flamencas in Granada in 1983. Mairants was in attendance, met Rioja, and returned to England to publish the two-part article “Granada: City of Guitar Makers” in the March/April and May/June issues of “Classical Guitar” magazine (pages 71-74 and 59-60, respectively). Like Roberts’ article seven years earlier, Mairants covers Rioja’s now extended list of Granada luthiers. While not using the term “Granada School”, Mairants opts instead to use “pupils of the House of Ferrer”, “the school of Ferrer”, and “the Ferrer school”.
The aforementioned George Clinton returned to Granada in 1988 for a week’s visit, thereafter writing a series of twelve articles entitled “Escuela Granadina de Luthiers” (The Granada School of Luthiers) in “Guitar International” magazine from September 1988 through 1989. Not merely parroting Rioja’s term, Clinton instead was referring to an actual organization called the Escuela. In his words, “The Escuela was formed in 1987—in truth to bureaucratize an already close association—and comprises twelve makers” (namely, Antonio Marín Montero, José Lopez Bellido, Juan Miguel Carmona, Rafael Moreno, Germán Pérez Barranco, Antonio Raya Pardo, José Marín Plazuelo, Manuel Diaz, Bernd Martin, René Baarslag, and Jonathan Hinves). In addition to his introductory article, essays in future issues were each devoted to one of the makers (save Manuel Diaz, who was unavailable). Each essay bore the main title, “Escuela Granadina de Luthiers”.
Clinton was the first to define the Escuela vis-à-vis the Madrid (i.e. Ramirez) “School” of builders. He states, “As a school, the present makers share several characteristics…”. He then goes on to list:
1. smaller plantilla
2. built up from the top
3. Spruce tops
4. Top domed on solera
5. Torres type strutting (usually 7)
6. Peones instead of continuous lining
7. 650mm scale length
8. Mosaic rosette construction technique
9. French polish finish
A year later, in 1990, Lisa Hurlong (aka “Lisa de Granada”) published her article on select Granada makers, after having purchased an Antonio Marín Montero while on a concert trip to Granada in 1979, and having reacquainted herself with Granada in 1984. The article, “Guitarra Granada Ole” appeared in the summer, 1990, issue of “Soundboard” magazine (pages 14-21), and covered Antonio Marín Montero, José Marín Plazuelo, René Baarslag, José Lopez Bellido, Jonathan Hinves, and Bernd Martin. (Later, in the winter, 1992, issue of “American Lutherie”, she covered Antonio Raya Pardo in a separate article). Nowhere in her writings, however, does Lisa de Granada use the term “Granada School”.
John Huber’s book, The Development of the Modern Guitar (Bold Strummer, 1991, and second edition, 1994), is careful to use the term “Granada School” in double quotes, as does Kenny Hill in his 2001 essay, “Visit to Legendary Granada” on his website.
In summary, then, it would appear that “Granada School” as a term in English has its origin in print in a translation of the 1976 writings of Eusebio Rioja. An actual Granada School was formalized in 1987, and George Clinton wrote extensively about it and its makers in English from 1988-1989. (Perhaps one of our Granada contributors might enlighten us as to the fate of the Escuela as an organized body of luthiers).
Aside from the formal organization which utilized the name, “Granada School” has, it seems, come to be associated with virtually any builder in Granada whose guitars exhibit most of the characteristics that Clinton enumerated in his 1988 article. In addition, it would seem that, as Mairants insinuated, luthiers of the “Granada School” can trace their lineage of teachers back to the House of Ferrer. Unlike the “Madrid School”, where few lineages spanned more than two generations save for the House of Ramirez, in Granada we find fathers teaching sons (e.g. Manuel and Jesus Bellido, Antonio Durán and Eduardo Durán Ferrer, Antonio Raya Pardo and Antonio Raya Ferrer, and Bernd and Lucas Martin), uncles teaching nephews (e.g. Benito and Eduardo Ferrer, Antonio Marín Montero and both Paco Santiago Marín and José Marín Plazuelo), brothers teaching brothers (e.g. Manuel and José Lopez Bellido), brothers-in-law teaching brothers-in-law (e.g. José Lopez Bellido and Antonio Raya Pardo), husbands teaching wives (e.g. René Baarslag and Ana Espinosa Rodriguez), etc. Hence familiarity is literally key, with the exception of expatriates, of course. Even then, for example, Antonio Marín Montero has referred to René Baarslag as being “like a son to me”.
Cheers,
David Gansz
P.S. The renowned historian, author, luthier, and guitar dealer Richard Brune, having read the above, has contacted me and graciously shared the following information: Brook Zern, author of a regularly appearing column on the Spanish tradition of lutherie in the publication "Flamenco Information Service Library Newsletter" in 1968, having finished a multi-part series on the Madrid school, indicated that his next month's installment would be on the "Granada school". So Richard, without having actually surveyed his vast archival collection of literature on the subject for verification, believes this to be the first appearance of the term in English. Interestingly, Richard notes that, in the actual article (No. 8, Vol 1, page 3...December, 1968), Zern states, "Granada has its own group of constructors (I'd hesitate to call it a School)". I am very grateful to Richard, an acknowledged expert in these matters, for freely sharing this information with us.
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1734 | (질문)새들에서의 현간격 1 | 씨티에스 | 2024.06.06 | 177 |
1733 | 연주자의 악기 | 수 | 2024.05.24 | 508 |
1732 | 루시어스 메컨타일이 문 닫았네요 | 수 | 2024.05.24 | 413 |
1731 | 기내반입이 자유로운여행용기타 | 수 | 2024.05.15 | 485 |
1730 | 사소한 줄 묶을때 신경쓸것들 | 수 | 2024.05.12 | 458 |
1729 | 칠하기전과 칠한후 기타소리변화 | 수 | 2024.05.06 | 634 |
1728 | 12홀 브리지 | 수 | 2024.05.06 | 562 |
1727 | 1만년 가는 악기.... 고금 | 수 | 2024.05.06 | 633 |
1726 | 350년된 스트라디바리우스 | 수 | 2024.04.14 | 751 |
1725 | 30년 건조된 이탈리안 스프르스 | 수 | 2024.04.14 | 754 |
1724 | 쉘락채취하는 과정 | 수 | 2024.04.11 | 728 |
1723 | 서울 ,,,자작기타제작 영상 | 수 | 2024.04.11 | 804 |
1722 | 안녕하세요 기타 장력 관해 질문드립니다. 1 | 아이어유 | 2024.04.09 | 790 |
1721 | 오른손연습용 기타 | 수 | 2024.02.21 | 881 |
1720 | 남미 로즈우드 | 수 | 2024.02.11 | 1168 |
1719 | 기타수명은 200년 이상 | 수 | 2024.02.07 | 1066 |
1718 | 떨어진 상목 붙이기 | 수 | 2024.01.21 | 1149 |
1717 | 사일런트 기타 | 수 | 2024.01.20 | 1042 |
1716 | 갈라짐 수리 | 수 | 2024.01.01 | 1288 |
1715 | 연주자의 기타 | 수 | 2023.12.28 | 1600 |
1714 | 카본줄은 5 바퀴 | 수 | 2023.12.20 | 1348 |
1713 | 20프렛 장착 | 수 | 2023.12.01 | 1301 |
1712 | 넥 휨 교정 | 수 | 2023.12.01 | 1614 |
1711 | 5피스 기타 | 수 | 2023.11.22 | 1371 |
1710 | 두랄미늄 새들 | 수 | 2023.11.02 | 1297 |
1709 | Pau ferro 에 대하여 | seo b k | 2023.10.31 | 1174 |
1708 | 수분에 대하여 | seo b k | 2023.10.31 | 1321 |
1707 | GMI 튜닝머신 소개_2023년 10월 출시 | 순돌이아빠 | 2023.10.07 | 1518 |
1706 | 조하르 | 수 | 2023.09.27 | 1809 |
1705 | 상아 ivory ..........넛트 새들 | 수 | 2023.09.01 | 2189 |
1704 | 스팔티드 타마린 | 수 | 2023.07.12 | 1940 |
1703 | 첨 작업해보는 재료 | 수 | 2023.07.03 | 1800 |
1702 | Saddle 가공에 대한 질문 2 | 아키 | 2023.06.26 | 1842 |
1701 | 백화현상 2 | 연어 | 2023.06.18 | 1873 |
1700 | 사일런트기타 개선 | 수 | 2023.06.14 | 2046 |
1699 | 7현기타 | 수 | 2023.06.14 | 1678 |
1698 | 635 사이즈도 좋아요 | 수 | 2023.06.12 | 1605 |
1697 | 컨셉기타..... 에보니라인 기타 | 수 | 2023.05.31 | 1672 |
1696 | 120센티 갈라진 기타 | 수 | 2023.05.17 | 2069 |
1695 | 1달러짜리 기타줄 | 수 | 2023.05.17 | 1737 |
1694 | 쉘락도장 보호하기 2 | seo b k | 2023.04.04 | 2076 |
1693 | 로맨틱기타 | 수 | 2023.03.28 | 2021 |
1692 | 류트의 자산 1 | 수 | 2023.02.25 | 1788 |
1691 | 베벨 켓웨이 | 수 | 2023.02.19 | 1968 |
1690 | 많이 연주해준 기타소리가 좋아요 1 | 수 | 2023.02.19 | 1947 |
1689 | 강남길 주문제작 5호 | Khkhw | 2023.02.13 | 1966 |
1688 | 5 piece guitar 1 | 수 | 2023.01.27 | 1930 |
1687 | 하현주 재질 1 | seo b k | 2023.01.25 | 1976 |
1686 | 3피스 넥 핑거보드 | 수 | 2023.01.19 | 1903 |
1685 | 무게를 줄이는방법 | 수 | 2023.01.19 | 2077 |
1684 | 로제트 | 수 | 2023.01.19 | 1855 |
1683 | 클래식기타 제작 관련 질문 | seo b k | 2023.01.19 | 2003 |
1682 | 수장건조 | 수 | 2022.12.30 | 2166 |
1681 | 줄걸고 세팅 | 수 | 2022.12.30 | 2300 |
1680 | 배부른 앞판 낮추기 1 | 수 | 2022.12.30 | 2082 |
1679 | 세팅에 드는 시간.... | 수 | 2022.12.06 | 2296 |
1678 | 지판 제작 관련 호기심 6 | Josue | 2022.11.04 | 2556 |
1677 | 김해부근 기타제작공방 2 | alexia | 2022.11.01 | 2164 |
1676 | 넥사이즈 . 지판사이즈. 넛트사이즈 | 수 | 2022.09.20 | 2750 |
1675 | 스트라디바리우스가 제작한 기타. 300년이상된 | 수 | 2022.09.18 | 2792 |
1674 | 5 PIECES TOP | 수 | 2022.09.15 | 2221 |
1673 | 여러번 감으면 | 수 | 2022.09.15 | 2051 |
1672 | tornaboz | 수 | 2022.09.04 | 2043 |
1671 | 스프르스와 메이플 조합 | 수 | 2022.09.04 | 2360 |
1670 | 노멀텐션 | 수 | 2022.09.04 | 2236 |
1669 | 건강한 프렛 | 수 | 2022.09.04 | 1992 |
1668 | 앞판이 깨지면 | 수 | 2022.09.04 | 2142 |
1667 | 기타 넥 을 주문 해서 받았는데 좀 달라서 문의 드립니다 1 | 페페 | 2022.07.29 | 2163 |
1666 | 8현기타는 어디서 구할수 있나요? 2 | 영이아빠 | 2022.07.27 | 2397 |
1665 | 8현기타 | 수 | 2022.05.09 | 2823 |
1664 | 하카란다 원목자재 1 | 하카란다 | 2022.04.15 | 3806 |
1663 | 팬프렛 브람스 8현기타 | 수 | 2022.02.14 | 3225 |
1662 | 류트....닥나무 한지. 2 | 수 | 2022.01.11 | 2853 |
1661 | 상처투성이 기타 1 | 수 | 2022.01.04 | 3376 |
1660 | 8현기타 오래만에보니 | 수 | 2021.10.20 | 3722 |
1659 | 데오르보 이야기 | 수 | 2021.09.24 | 3158 |
1658 | 조영갑 박사의 연구 결과 (기타 받침대 Z-Skinny 의 사용시 음향관계 분석자료) 2 | 노동환 | 2021.07.31 | 4623 |
1657 | 기타계에 여성전성시대 2 | 수 | 2021.04.18 | 4758 |
1656 | 기타의 사이즈 조정은 어디까지 1 | 수 | 2021.03.23 | 3934 |
1655 | 로맨틱기타 와 클래식기타 | 수 | 2021.02.17 | 5192 |
1654 | 호세 라미레즈 기타관련 문의 3 | 치악 | 2020.12.06 | 4605 |
1653 | 토레스기타.. | 수 | 2020.10.13 | 4655 |
1652 | 오래된 스푸르스,3000년 | 수 | 2020.10.04 | 4307 |
1651 | 목재의 반응 1 | 수 | 2020.09.23 | 4754 |
1650 | 브리지 핀 완성품 2 | 수 | 2020.09.20 | 4023 |
1649 | 브리지 12홀 제작 2 | 수 | 2020.08.29 | 4096 |
1648 | 브리지 핀 | 수 | 2020.08.29 | 3541 |
1647 | 기타 앞면에 사용되는 원목관련 문의드립니다 3 | 릿지우드 | 2020.08.17 | 4084 |
1646 | 예쁜소리는 예쁜손톱에서 나온다(손톱다듬기 강의) 2 | 박카노 | 2020.08.04 | 4556 |
1645 | 프렛 | 수 | 2020.07.20 | 3776 |
1644 | 기타계 인물 소사-수정10차-1,2,3부 | 최동수 기타 | 2020.07.12 | 4268 |
1643 | 기타계 인물 소사-수정10차-3/3부 1 | 최동수 기타 | 2020.07.12 | 5214 |
1642 | 기타계 인물 소사-수정10차-2/3부 | 최동수 기타 | 2020.07.12 | 4733 |
1641 | 기타계 인물 소사-수정10차-1/3부 | 최동수 기타 | 2020.07.12 | 4835 |
1640 | 7현기타 4 | 수 | 2020.07.09 | 4239 |
1639 | 망고나무.. 추상 수묵화같은 | 수 | 2020.07.09 | 3521 |
1638 | 오래된 기타 새로 칠하기 | 수 | 2020.07.09 | 4041 |
1637 | 기타 제작 공구 2 | alex | 2020.06.16 | 4786 |
1636 | 기타계 인물 소사에 관한 해명의 글 2 | 최동수 기타 | 2020.05.31 | 4341 |
1635 | 프렛 교체 1 | 수 | 2020.05.29 | 4632 |
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