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 |
---|---|---|---|---|
1133 | ☞: 얼마전에 고노를 사랑한다고 했다가 님으로 부터 뒤지게 욕먹은.... | 명노창 | 2000.09.01 | 5311 |
1132 | 좋은 생각입니다.. | 개털 | 2000.09.01 | 4626 |
1131 | ☞:내가 원하는 기타는... | 김남호 | 2000.08.27 | 3923 |
1130 | ☞:개발입니다. | 개발 | 2000.09.01 | 5006 |
1129 | ☞:개코입니다. | 개코 | 2000.08.31 | 4526 |
1128 | 개풀환영. | 개 삐다구 | 2000.08.31 | 4599 |
1127 | 내가 원하는 기타는... | 지우압바 | 2000.08.25 | 4741 |
1126 | 개풀입니다1 | 개풀 | 2000.08.31 | 4979 |
1125 | 개풀입니다2 | 개풀 | 2000.09.01 | 4505 |
1124 | 개풀님 기타 알아맞추기.... | 개풀 | 2000.09.14 | 4466 |
1123 | 3번선이 얇아지면 해결? | 개풀 | 2000.09.13 | 5145 |
1122 | 개발님의 글은... | 희정 | 2000.09.09 | 4053 |
1121 | 3번선이 얇아지면 해결? | 개팔자 | 2000.09.13 | 5437 |
1120 | ☞:저도 한몫 거들지요.....(내용없음) | 명노창 | 2000.09.02 | 4528 |
1119 | ☞:고질적 문제 3번선... | 개발 | 2000.09.09 | 4511 |
1118 | ☞:고질적 문제 3번선... 동감함다. | 개뼈다구 | 2000.09.08 | 4473 |
1117 | 킁킁...논쟁을 위한 준비 운동 | 개코 | 2000.09.02 | 4614 |
1116 | ☞:고질적 문제 3번선... | 안진수 | 2000.09.14 | 4604 |
1115 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 4473 |
1114 | ☞:음정에 관해 | 개뼈다구 | 2000.09.14 | 4704 |
1113 | 고질적 문제 3번선... | 개털 | 2000.09.08 | 4792 |
1112 | 다들 왜 이러지? 호호호! | 99.9% | 2000.09.16 | 4671 |
1111 | ☞:확실히... | 개풀 | 2000.09.16 | 4212 |
1110 | 차라리.. | 길가던나그네 | 2000.09.16 | 4652 |
1109 | ☞:확실히... | 개털 | 2000.09.16 | 4526 |
1108 | ☞:음메 어려운거...... | 명노창 | 2000.09.16 | 3957 |
1107 | ☞:평균율은 원래 고개 절래절래 하데요? | 개풀 | 2000.09.14 | 4500 |
1106 | ☞:음정에 관해 | 안진수 | 2000.09.14 | 4626 |
1105 | ☞:평균율은 원래 고개 절래절래 하데요? | 안진수 | 2000.09.14 | 4632 |
1104 | 음정에 관해 | 개풀 | 2000.09.13 | 4786 |
1103 | ☞:평균율=> 실용적인 악기 제작을 위한 타협 | 개발(CC) | 2000.09.16 | 4835 |
1102 | 정말대박일까? | 개삐다구. | 2000.09.16 | 4455 |
1101 | ☞:대박찬스....기회는 자주없수다. | 개풀 | 2000.09.16 | 4265 |
1100 | 평균율은 원래 고개 절래절래 하데요? | 진국 | 2000.09.14 | 5353 |
1099 | ☞:현의 길이에 대한 생각.... | 안진수 | 2000.09.19 | 5650 |
1098 | 프렛과 음정 이야기. -_-; | 안진수 | 2000.09.16 | 6089 |
1097 | 현길이 그 다양한 완성. | 개꼬리 | 2000.09.21 | 5744 |
1096 | 현의 길이에 대한 생각.... | 개털 | 2000.09.18 | 5822 |
1095 | 근데... 그럼 쇠소리는 모고 왜나는 걸까여?? | 변소반장 | 2000.10.11 | 4827 |
1094 | 테스트 해봤더니...거봐여... | 지영이 | 2000.10.10 | 4570 |
1093 | 테스트 해봤더니... | 변소반장 | 2000.10.10 | 4960 |
1092 | 첼로같은 찰현악기에서 쇠소리는 당연한거 아닌가요.... | 명노창 | 2000.10.10 | 5056 |
1091 | 혹시...그 오됴...멀쩡해여. | 지영이 | 2000.10.10 | 5129 |
1090 | 혹시...그 오됴... | 형서기 | 2000.10.10 | 5936 |
1089 | 첼로에서 안쇠소리나는 음반 혹 들어보셧어요? | 지영이 | 2000.10.10 | 5215 |
1088 | 아 | 수 | 2000.10.06 | 4177 |
1087 | 첼로에서 나는 쇳소리라는건... | 형서기 | 2000.10.10 | 5152 |
1086 | 접히는 기타. | 이지은 | 2000.10.06 | 5164 |
1085 | ☞ 비올라 다 감바를 연주하면 되~~~지!! | 오모씨 | 2000.11.21 | 4601 |
1084 | 난 현악기에서 나는 쇠소리가 시러여. | 지영이 | 2000.10.09 | 5178 |
1083 | 천만에여..... | 개털 | 2000.10.11 | 4656 |
1082 | ☞:빠진게 있네요. | 이재화 | 2000.10.19 | 4493 |
1081 | ☞:거문고 가야금 오리발이 세개인 이유? | 이재화 | 2000.10.19 | 4897 |
1080 | 여태본 굴비중 가장 깨끗한 굴비당. | 관식 | 2000.10.11 | 4991 |
1079 | 두개의 다리로 선다말예요? | 곁눈질 | 2000.10.19 | 5157 |
1078 | 거문고 가야금 오리발이 세개인 이유? | 곁눈질 | 2000.10.18 | 5629 |
1077 | 명주실에 대해 좀더 알려주셔요,,, | sophia | 2000.10.28 | 4554 |
1076 | ☞ 안족상단에 상아를 입히면? | 이재화 | 2000.10.24 | 5044 |
1075 | ☞ 가야금, 거문고는 어떤줄을 쓰나요? | 이재화 | 2000.10.28 | 5247 |
1074 | 명주실은요 | 이재화 | 2000.10.28 | 5863 |
1073 | 에~~~ 미워요.. | 김현영 | 2000.10.29 | 4564 |
1072 | 가야금, 거문고는 어떤줄을 쓰나요? | sophia | 2000.10.27 | 4749 |
1071 | 피에서 쇠냄새나여. | 수 | 2000.10.30 | 7530 |
1070 | 위의 글들을 읽으니 저도 기타를 만들어보고 싶네요... | 김웅찬 | 2000.11.01 | 4837 |
1069 | ☞ 피안나는 디자인.....공구편. 저도 한마디 | 이재화 | 2000.10.31 | 4575 |
1068 | 으미~ 기타는 어케 만드는쥐요? | 김현영 | 2000.10.29 | 4777 |
1067 | ☞ 일이되는 디자인 .....사포편. 저도 한마디........ | 이재화 | 2000.11.01 | 4704 |
1066 | ☞ 사포편, 제작과 관계는 없지만... | 김웅찬 | 2000.11.01 | 4969 |
1065 | 저도 한마디............ | 이재화 | 2000.11.02 | 4333 |
1064 | ☞ 기타의 앞판이 이러면 어떨까..??? 수님이 답좀 | 노 은 님 | 2000.11.25 | 5089 |
1063 | 나무의 세포벽은 무엇으로든 간에 채워지는것이 좋을까요? | 명노창 | 2000.11.02 | 4793 |
1062 | ☞ ☞ 기타의 앞판이 이러면 어떨까..??? 수님이 답좀 | 안진수 | 2001.02.09 | 5397 |
1061 | 기타의 앞판이 이러면 어떨까..??? | 변소반장 | 2000.11.20 | 5229 |
1060 | 신현수님 홈페이지가 궁금하신분들.. | 변소반장 | 2000.11.24 | 5702 |
1059 | ☞ 위에 기타 뒷사진. | 명노창 | 2000.12.25 | 5320 |
1058 | 키틴제 도료에 대해... | 지우압바 | 2000.11.24 | 5304 |
1057 | 웅수엉아...과연 우리나라에서 기타를 처음제작하신분은 누구일까요? | 명노창 | 2000.12.25 | 5760 |
1056 | 그리고요.... | 수 | 2001.01.08 | 4573 |
1055 | ☞ 바이올린에는 사운드포스트라는 게 있다던데..... | 이재화 | 2001.01.14 | 4756 |
1054 | 지판의 재질도 음색에 영향을 주나요? | 스기 | 2001.01.08 | 4729 |
1053 | ☞ ☞ 바이올린에는 사운드포스트라는 게 있다던데..... | 피어리나 | 2001.03.18 | 4650 |
1052 | 바이올린에는 사운드포스트라는 게 있다던데..... | 스기 | 2001.01.10 | 4542 |
1051 | ☞ 이런 그림은 어떨지^^ | guitar4u | 2001.08.14 | 4230 |
1050 | 앞판에 붙은 부챗살의 갯수는 몇개가 이상적일까여? | 형서기 | 2001.01.15 | 4919 |
1049 | 사운드 홀.. | 으랏차차 | 2001.02.01 | 4368 |
1048 | 클래식과 통키타의 헤드머쉰... | 으랏차차 | 2001.02.03 | 5241 |
1047 | 기타 앞판에 쪽물 들이면 이쁘겠다... | 기타랑 | 2001.03.15 | 4633 |
1046 | 저렴한 기타의 꽃단장? 2 | 김현영 | 2001.03.16 | 5012 |
1045 | 스프러스와 시더 3 | 무아 | 2001.04.19 | 5961 |
1044 | 로제트는 어떻게 만드나요? 3 | 으랏차차 | 2001.04.20 | 5416 |
1043 | 멋뜨러진 기타가 좋아요!!!!!!!!!!!!!!!!!!!!!!근데 돈이 엄따 2 | 기타살앙 | 2001.04.21 | 4685 |
1042 | 지판과 헤드를 흑단으로... 2 | 으랏차차 | 2001.06.09 | 5937 |
1041 | [re] 연주회 포스터할만한 사진이나 그림 없을까여? | 고정석 | 2001.09.22 | 4816 |
1040 | 연주회 포스터할만한 사진이나 그림 없을까여? 1 | 은영이 | 2001.09.21 | 5316 |
1039 | 이런 기타 있었으면 좋겠어요. 2 | 기타랑 | 2001.10.25 | 4581 |
1038 | go classic 에서 퍼온글입니다.. 1 | 채소 | 2001.11.05 | 4739 |
1037 | 소리, 연주자에 의해 좌우된다.스트라디바리우스와 현대 바이올린, 그 차이점은 무었인가? 8 | 고정석 | 2001.10.31 | 5035 |
1036 | 조율에 따라서 음정이 뭉게지는데... 2 | 고정욱 | 2001.11.06 | 4086 |
1035 | [re] 디용(dyen)을 연주해보셨구낭.... 3 | 김경진 | 2001.11.14 | 4553 |
1034 | [re] 디용(dyen)을 연주해보셨구낭.... | 송방 | 2001.11.14 | 5029 |
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