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 |
---|---|---|---|---|
1342 | 아유...그런거 지천이야요... | 수 | 2001.05.06 | 8117 |
1341 | ☞ 기타의 수명이 짧다는 것이 근거없다는 어느 가설 | 셰인 | 2001.05.08 | 15514 |
1340 | ☞ 형석님 글 정말 잘 읽었습니다. | 꼬 | 2001.05.06 | 14176 |
1339 | 수님~. 기타 부품에 관해서~ 2 | 김현영 | 2001.05.05 | 9322 |
1338 | 국산 악기에 관하여. | 형서기 | 2001.05.06 | 15952 |
1337 | ☞ 하현주를 낮추면??? ... 글쎄요...??? | pepe | 2001.05.07 | 9245 |
1336 | 기타 고르는데요...잘 모르겠어여...ㅠㅠ 3 | 민 | 2001.05.06 | 11142 |
1335 | ☞ t-brace. 5 | 서정실 | 2001.05.09 | 11589 |
1334 | 할 줄 아는 것이 정말 없고낭....쩝.... 1 | 간절한 | 2001.05.08 | 10866 |
1333 | 하현주를 낮추면??? 2 | 간절한 | 2001.05.07 | 11576 |
1332 | 존 윌리암스가 기타를 스몰맨으로 바꾼이유. 11 | 길벗맨 | 2001.05.08 | 12069 |
1331 | Dieter Hopf 8 | 박카스 | 2001.05.09 | 13244 |
1330 | 브릿지와 새들의 접합면이 이상해서 글 올립니다용. 5 | 간절한 | 2001.05.09 | 9945 |
1329 | ☞흐어~ 제가 파는게 아니오라 그냥 퍼온광고임다. (내용무) | 셰인 | 2001.05.11 | 10385 |
1328 | 기타줄을 새로 바껐는데여... 4 | ... | 2001.05.10 | 8274 |
1327 | 힌베스 팝니다. 1 | 셰인 | 2001.05.11 | 14637 |
1326 | 해드 머쉰 을 구하고 싶은데요? 2 | 5급 | 2001.05.11 | 10033 |
1325 | 수님 홈피에... 2 | 일자무식 | 2001.05.16 | 8156 |
1324 | 국산50호 기타... | 형서기 | 2001.05.16 | 10599 |
1323 | 제 경험에 의하면 1 | 서정실 | 2001.05.17 | 13684 |
1322 | 기타줄 장력의 차이? | 문병준 | 2001.05.17 | 9528 |
1321 | 현이 높이 뜨면 습한거죠. 5 | 수 | 2001.05.17 | 10482 |
1320 | 맨날 헷갈리는데.. 습도와 넥의 휘는 방향의 관계가.... 4 | 기타랑 | 2001.05.17 | 10197 |
1319 | 셸락칠은 약해요, 원래. 4 | 수 | 2001.05.18 | 8500 |
1318 | 몇가지만 더 여쭤 볼게여~~~ 3 | 기타랑 | 2001.05.18 | 9915 |
1317 | 으라차차님 기타는 더 좋아질거예요. 2 | 수 | 2001.05.19 | 9080 |
1316 | 기타의 소리 교정..(수 님께..) 3 | 으랏차차 | 2001.05.18 | 10022 |
1315 | 일년간 쉬는 원목기타라..... 1 | 수 | 2001.05.24 | 10859 |
1314 | ☞ 기타에 현을 매었을 때.... | 라일 | 2001.05.29 | 10101 |
1313 | 사바레스 하이텐션이람.. 2 | 뽀짱 | 2001.05.27 | 17417 |
1312 | 어찌야쓰까이잉~ 7 | 멋쟁이 | 2001.05.23 | 9411 |
1311 | 기타에 현을 매었을 때.... 2 | 늦깎이 | 2001.05.24 | 12649 |
1310 | [잡담]사바레즈 하이텐션.. 9 | 으랏차차 | 2001.05.28 | 11956 |
1309 | 현이 가늘죠. | 수 | 2001.05.31 | 8993 |
1308 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 11548 |
1307 | 이그나시오 로자스가 합판기타를?? 1 | 으랏차차 | 2001.06.01 | 8625 |
1306 | 현장길이가 모냐면여.... 2 | 수 | 2001.06.12 | 11859 |
1305 | 헤드머쉰은 기타의 왕관이다! 1 | 으랏차차 | 2001.06.09 | 10536 |
1304 | 현장길이가 모예요? 5 | chobo | 2001.06.11 | 10844 |
1303 | 로자스 얘기가 많군요.. 1 | 최성우 | 2001.06.11 | 11048 |
1302 | 로자스 3페이지 | 최성우 | 2001.06.11 | 9469 |
1301 | 행복한? 기타 18 | 새내기 | 2001.06.12 | 10815 |
1300 | 계열이가 여기에?! | 기혀니 | 2001.07.08 | 9564 |
1299 | ☞ ☞ 사용소감 | 김진성 | 2001.06.14 | 8897 |
1298 | ☞ 사용소감 4 | Lew | 2001.06.14 | 8538 |
1297 | 아~ 기타줄... 4 | 김진성 | 2001.06.13 | 8416 |
1296 | ☞ 또 기타줄... 4 | ganesha | 2001.06.15 | 9276 |
1295 | 국산기타현.... 3 | 수 | 2001.06.19 | 9349 |
1294 | 또 기타줄... 8 | 김진성 | 2001.06.13 | 9476 |
1293 | 기타줄에 대한 글들이 많은데여.. 7 | 고정욱 | 2001.06.18 | 10556 |
1292 | 맨나중프렛이.... | 수 | 2001.06.22 | 6884 |
1291 | 기타로 오도바일타자.... 4 | 멋쟁이 | 2001.06.20 | 10193 |
1290 | ☞ 맨나중프렛이.... | 박카스 | 2001.06.22 | 8570 |
1289 | 기타왔습니다 3 | 박카스 | 2001.06.22 | 8453 |
1288 | 저 7 | 수 | 2001.06.22 | 8655 |
1287 | 수님~! 3 | 박카스 | 2001.06.22 | 7270 |
1286 | 장마철엔 조심해야죠........ 1 | 수 | 2001.06.26 | 10390 |
1285 | 기타와 장마 2 | 새내기 | 2001.06.25 | 8561 |
1284 | ☞ 오호호호~ 2 | 고정욱 | 2001.06.28 | 8996 |
1283 | 제 기타가 이상해여....ㅜ.ㅜ 7 | 고정욱 | 2001.06.26 | 8038 |
1282 | 스몰맨..................... 7 | YO | 2001.06.28 | 10044 |
1281 | 기타줄 바꾸고 싶은데 뭘로하죠? 5 | 노경문 | 2001.06.30 | 10076 |
1280 | 요즘은 장마철이라 습도가 높져... 1 | 수 | 2001.07.02 | 9074 |
1279 | 왜 기타가 깨질까 | 방가방가 | 2001.07.02 | 8902 |
1278 | . 1 | 수 | 2001.07.09 | 10012 |
1277 | 얼마전 100호기타를 구입했는데... 18 | 렐리우스 | 2001.07.09 | 9709 |
1276 | 수님 질문이 한가지 있습니다. | 목향 | 2001.07.10 | 9283 |
1275 | 수님께선 어쿠스틱 기타 제작은 안하시나요? ^^;;;; | 짱팔이 | 2001.07.11 | 6784 |
1274 | ☞ 줄은 지판에 닿지 않는데.... 4 | 셰인 | 2001.07.11 | 9802 |
1273 | 아마추어-.-a 클래식기타 인터넷 방송합니다~~~ | ㅎㅎㅎ | 2001.07.11 | 10191 |
1272 | 현은 지판에 안 닿아도 누군가는 지판에 닿아요. 4 | 수 | 2001.07.12 | 10438 |
1271 | 도데체 어떤 마술을 부리셨길레... 수님!! | 으랏차차 | 2001.07.11 | 10365 |
1270 | 중요한건 습도가 얼마나 되느냐죠. | 수 | 2001.07.13 | 8467 |
1269 | 평시엔 기타를 케이스에서 내어놓아야 좋은가요? 1 | 렐리우스 | 2001.07.12 | 9347 |
1268 | ☞ 지판을 딱을 때... | 木香 | 2001.07.14 | 8475 |
1267 | 새로 단장한 흑단 지판.. 7 | 으랏차차 | 2001.07.13 | 9592 |
1266 | ☞ 케이스에 대한 질문. 1 | 기타랑 | 2001.07.14 | 9612 |
1265 | ☞ 케이스를 한번 만들어보면? | 木香 | 2001.07.15 | 9638 |
1264 | 케이스에 대한 질문. 1 | 최성우 | 2001.07.14 | 14370 |
1263 | 케이스를 한번 만들어보면? 3 | 최성우 | 2001.07.15 | 7743 |
1262 | 라왕으로 기타를 만든다면.... 2 | 간절한 | 2001.07.18 | 10696 |
1261 | 똥글똥글한 소리.. 맑고 투명한 소리.. 심금을 울리는 소리.. 6 | 으랏차차 | 2001.07.19 | 11086 |
1260 | 수님아 질문인데요.... 앞판을.. "하카란다"란 나무로.. | 느끼오빠 | 2001.07.19 | 9462 |
1259 | 한가지더 질문인데요.... 기타줄은.. 1 | 느끼오빠 | 2001.07.19 | 10154 |
1258 | 이런 기타 스텐드... 4 | 木香 | 2001.07.21 | 10940 |
1257 | 클래식기타, 포크기타의 현높이... 1 | 木香 | 2001.07.21 | 10729 |
1256 | 부쉐 다뤄보기... 5 | 난넘 | 2001.08.02 | 9362 |
1255 | 나도,,, 25 | loveromero | 2001.08.02 | 17268 |
1254 | 인도에선 상아구하기 힘들당. 3 | 수 | 2001.08.13 | 9997 |
1253 | 넥의 넓이는.. | 저기 | 2001.08.16 | 9653 |
1252 | 구입한지 반년정도지났는데... | kosams | 2001.08.17 | 8744 |
1251 | k.hofner 클래식기타... 4 | 木香 | 2001.08.18 | 12165 |
1250 | 장마철관리는 faq에서 읽어보셔요. | 수 | 2001.08.22 | 10833 |
1249 | 음질의 이중성. 1 | 날카론시각. | 2001.08.27 | 9352 |
1248 | 기타 잘 받았습니다. 4 | 쇼팽 | 2001.08.22 | 12273 |
1247 | 친구가 기타샀다. 3 | 매냐 | 2001.08.29 | 8762 |
1246 | 이그나시오 로자스가 어리 갔나 했더니... | 매냐 | 2001.08.29 | 7155 |
1245 | 동문서답. 1 | 병서기님 팬 | 2001.08.31 | 10860 |
1244 | 자문자답 | 병서기 | 2001.08.31 | 17537 |
1243 | 안녕하세요 홈에는 첨이네요... 자료실만 왔었는데... 저기 질문염.. 3 | 우 | 2001.09.02 | 8106 |
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