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 |
---|---|---|---|---|
633 | 행복한? 기타 18 | 새내기 | 2001.06.12 | 5245 |
632 | 현장길이가 모냐면여.... 2 | 수 | 2001.06.12 | 5286 |
631 | 로자스 3페이지 | 최성우 | 2001.06.11 | 4093 |
630 | 로자스 얘기가 많군요.. 1 | 최성우 | 2001.06.11 | 4450 |
629 | 현장길이가 모예요? 5 | chobo | 2001.06.11 | 5310 |
628 | 지판과 헤드를 흑단으로... 2 | 으랏차차 | 2001.06.09 | 5937 |
627 | 헤드머쉰은 기타의 왕관이다! 1 | 으랏차차 | 2001.06.09 | 5566 |
626 | 이그나시오 로자스가 합판기타를?? 1 | 으랏차차 | 2001.06.01 | 4216 |
625 | 현이 가늘죠. | 수 | 2001.05.31 | 4567 |
624 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 5750 |
623 | ☞ 기타에 현을 매었을 때.... | 라일 | 2001.05.29 | 4075 |
622 | [잡담]사바레즈 하이텐션.. 9 | 으랏차차 | 2001.05.28 | 5521 |
621 | 사바레스 하이텐션이람.. 2 | 뽀짱 | 2001.05.27 | 4600 |
620 | 기타에 현을 매었을 때.... 2 | 늦깎이 | 2001.05.24 | 3914 |
619 | 일년간 쉬는 원목기타라..... 1 | 수 | 2001.05.24 | 4065 |
618 | 어찌야쓰까이잉~ 7 | 멋쟁이 | 2001.05.23 | 4068 |
617 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 5308 |
616 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 4121 |
615 | 으라차차님 기타는 더 좋아질거예요. 2 | 수 | 2001.05.19 | 4141 |
614 | 셸락칠은 약해요, 원래. 4 | 수 | 2001.05.18 | 4158 |
613 | 기타의 소리 교정..(수 님께..) 3 | 으랏차차 | 2001.05.18 | 4426 |
612 | 몇가지만 더 여쭤 볼게여~~~ 3 | 기타랑 | 2001.05.18 | 3973 |
611 | 현이 높이 뜨면 습한거죠. 5 | 수 | 2001.05.17 | 5139 |
610 | 맨날 헷갈리는데.. 습도와 넥의 휘는 방향의 관계가.... 4 | 기타랑 | 2001.05.17 | 5215 |
609 | 제 경험에 의하면 1 | 서정실 | 2001.05.17 | 4469 |
608 | 기타줄 장력의 차이? | 문병준 | 2001.05.17 | 4730 |
607 | 국산50호 기타... | 형서기 | 2001.05.16 | 5148 |
606 | 수님 홈피에... 2 | 일자무식 | 2001.05.16 | 4299 |
605 | 해드 머쉰 을 구하고 싶은데요? 2 | 5급 | 2001.05.11 | 4904 |
604 | ☞흐어~ 제가 파는게 아니오라 그냥 퍼온광고임다. (내용무) | 셰인 | 2001.05.11 | 4310 |
603 | 힌베스 팝니다. 1 | 셰인 | 2001.05.11 | 4905 |
602 | 기타줄을 새로 바껐는데여... 4 | ... | 2001.05.10 | 3926 |
601 | 브릿지와 새들의 접합면이 이상해서 글 올립니다용. 5 | 간절한 | 2001.05.09 | 5044 |
600 | Dieter Hopf 8 | 박카스 | 2001.05.09 | 4326 |
599 | ☞ t-brace. 5 | 서정실 | 2001.05.09 | 6000 |
598 | 존 윌리암스가 기타를 스몰맨으로 바꾼이유. 11 | 길벗맨 | 2001.05.08 | 6222 |
597 | 할 줄 아는 것이 정말 없고낭....쩝.... 1 | 간절한 | 2001.05.08 | 5228 |
596 | ☞ 기타의 수명이 짧다는 것이 근거없다는 어느 가설 | 셰인 | 2001.05.08 | 4074 |
595 | ☞ 하현주를 낮추면??? ... 글쎄요...??? | pepe | 2001.05.07 | 3996 |
594 | 하현주를 낮추면??? 2 | 간절한 | 2001.05.07 | 5660 |
593 | 기타 고르는데요...잘 모르겠어여...ㅠㅠ 3 | 민 | 2001.05.06 | 4030 |
592 | 아유...그런거 지천이야요... | 수 | 2001.05.06 | 3984 |
591 | 기타내부에 칠을 하면... | 수 | 2001.05.06 | 3901 |
590 | ☞ 형석님 글 정말 잘 읽었습니다. | 꼬 | 2001.05.06 | 4699 |
589 | 국산 악기에 관하여. | 형서기 | 2001.05.06 | 5288 |
588 | 수님~. 기타 부품에 관해서~ 2 | 김현영 | 2001.05.05 | 3880 |
587 | 기타도료에 관한 사소한 질문입니당-특히 수님께 여쭙니다용??? 3 | 간절한 | 2001.05.05 | 4019 |
586 | ☞ 현재 사용중입니다. 평이라...글쎄요.. 4 | 꼬 | 2001.05.03 | 4666 |
585 | ☞ 써봤습니당. 엄씨가문의 기타를!!!보았습니당. 엄씨가문의 기타를!!! | 간절한 | 2001.05.03 | 5243 |
584 | 제 생각엔요.. | 형서기 | 2001.05.03 | 4973 |
583 | 엄씨 가문의 기타에 관한 냉철한 평을 부탁드립니다. 15 | 남경민 | 2001.05.02 | 5275 |
582 | 해드가 신기하게 생겨서... 4 | 목향 | 2001.04.30 | 5776 |
581 | 음반 표지 소개. | 눈물반짝 | 2001.04.30 | 4909 |
580 | 기타 머리 11 | Lacote | 2001.04.26 | 4920 |
579 | 기타케이스...skb 2 | 목향. | 2001.04.22 | 5082 |
578 | 멋뜨러진 기타가 좋아요!!!!!!!!!!!!!!!!!!!!!!근데 돈이 엄따 2 | 기타살앙 | 2001.04.21 | 4688 |
577 | 네크의 두께.. 2 | 으랏차차 | 2001.04.20 | 3936 |
576 | 로제트는 어떻게 만드나요? 3 | 으랏차차 | 2001.04.20 | 5418 |
575 | 고노와 사쿠라이의 가격 2 | 기타좋아 | 2001.04.19 | 5074 |
574 | 스프러스와 시더 3 | 무아 | 2001.04.19 | 5962 |
573 | 50호정도의 기타를 구입하려는데 조언을 17 | 오원근 | 2001.04.18 | 4658 |
572 | 김희주양 클래식기타독주회(현 서울음대2년재학중) 1 | guitar~ | 2001.04.16 | 4110 |
571 | 연주회합니다~ 3 | 정호중 | 2001.04.14 | 4031 |
570 | 아름다운 CF 한편... | 木香 | 2001.04.13 | 3989 |
569 | 가즈오 사또 3 | 강명구 | 2001.04.12 | 4106 |
568 | 30분전에 준비된 소리가... | 새내기 | 2001.04.10 | 4456 |
567 | 카즈오 사또 시몬(?)에 대해 알고싶습니다. 5 | 청년 | 2001.04.10 | 3898 |
566 | ☞ Ruck 애기가 나오길래. 2 | 서정실 | 2001.04.09 | 4567 |
565 | 무대용과 녹음용 악기의 차이?? 4 | 일랴나 | 2001.04.09 | 4075 |
564 | 유명악기에 대한 평이 엇갈리는건... 1 | 수 | 2001.04.09 | 4086 |
563 | 질문요. 1 | 방문객 2 | 2001.04.08 | 3920 |
562 | 가격대별 기타 사진(headstock, rosette, label) | 고정석 | 2001.04.08 | 6009 |
561 | 험프리, 밀레니움 모델, 경사진 앞판 디자인. | 서정실 | 2001.04.07 | 5073 |
560 | ☞ 군대에서 있었던 추억담~ 기타이야기^^;; | 딴따라~! | 2001.04.06 | 4542 |
559 | 군대에서 있었던 추억담~ 기타이야기^^;; | 정성민 | 2001.04.06 | 4590 |
558 | 나의 기타 | 수집걸 | 2001.04.06 | 4183 |
557 | 두분 의견 감사드립니다. | 길벗맨 | 2001.04.06 | 4288 |
556 | ☞ 가오리가 쓰는 기타가? | 왕초보 | 2001.04.05 | 3940 |
555 | 안토니오 마린 몬테로에 관한 나의 견해 | 길벗맨 | 2001.04.05 | 4857 |
554 | 세고비아의 기타. | 수 | 2001.04.05 | 4395 |
553 | 수제품을 구입하려는데... | 세고비아 | 2001.04.03 | 4048 |
552 | 정말 놀랬습니다 | 기타지존 | 2001.04.03 | 4273 |
551 | 30분후 기타 소리가 조아지는데... | 새내기 | 2001.04.02 | 4546 |
550 | ☞ ☞ ☞기타 사느라 장가 포기를 포기.... | 간절한 | 2001.04.01 | 4161 |
549 | 기타제작콩쿨은 아무도 .. | 방문객 | 2001.04.01 | 4194 |
548 | 국산기타와 외제기타 | 으랏차차 | 2001.03.31 | 4789 |
547 | 최근에 기타제작 콩쿨이 있었다는데.. | 방문객 | 2001.03.31 | 4012 |
546 | ☞ ☞ 정말 스페인에 가면 바로 살수..... | 간절한 | 2001.03.29 | 3937 |
545 | ☞ 몬테로 부쉐모델 | 명노창 | 2001.03.29 | 4812 |
544 | [초보]질문있습니다 | 기타치고시퍼 | 2001.03.29 | 3934 |
543 | 안녕하세요 ^^ 제 기타입니다 | 나이스드림 | 2001.03.29 | 4807 |
542 | 몬테로 부쉐모델 쓰시는 분 안계시나요? | 간절한 | 2001.03.29 | 4052 |
541 | ☞ 기타 추천 | 수 | 2001.03.28 | 4251 |
540 | 기타 추천 바랍니다. 1 | 박재만 | 2001.03.28 | 3980 |
539 | ☞ ☞ ☞ ☞ 중국 사업 | 으랏차차 | 2001.03.27 | 4215 |
538 | 자잘한 상처들은 좋아요. | 수 | 2001.03.27 | 4472 |
537 | ☞ ☞ ☞ 앙...으랏차차님 이구나..... | 명노창 | 2001.03.26 | 4036 |
536 | ☞ ☞ 댐핏대용으로 쓸 수 있는것,,, | 명노창 | 2001.03.26 | 4273 |
535 | ☞ 내기타에 문제들..웅수님도 보셔요~ ^^ | 길손입니다. | 2001.03.26 | 3907 |
534 | ☞ photo of my guitar-1 | 으랏차차 | 2001.03.26 | 4006 |
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