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 |
---|---|---|---|---|
533 | ☞:홀에 대해서 질문... | 몽자삼촌 | 2000.06.12 | 3982 |
532 | 야광기타. | 귀똘이 | 2000.06.09 | 4306 |
531 | ☞:구멍많은 기타들.... | CC | 2000.06.11 | 5043 |
530 | 기타의 재료는 꼭 나무이어야만 하는가? | CC | 2000.06.08 | 4683 |
529 | 비브라토 기타. | 귀똘이 | 2000.06.07 | 4588 |
528 | 상현주가 쇠라면??? 플렛이 뼈라면??? | 간절한 | 2001.10.25 | 4076 |
527 | 기타의 6번줄 변칙튜닝에 대해.. 3 | 으랏차차 | 2001.10.16 | 4574 |
526 | [질문]락커칠 기타 앞판에 대해서??? 1 | 간절한 | 2001.10.10 | 4648 |
525 | 뭰히 길들이기 II 1 | 산넘 | 2001.10.09 | 4457 |
524 | 세르게이 디용의 기타...캐나다 토론토....2000. | 메니아 | 2001.10.07 | 4496 |
523 | [정보] 기타용 댐핏에 대하여.... 3 | 木香 | 2001.10.06 | 5620 |
522 | 만화속 기타이야기. | 지얼 | 2001.10.05 | 4709 |
521 | 습도에 따른 기타바디의 변형... 1 | 木香 | 2001.10.03 | 4686 |
520 | [기사] 북한의 기타. 7 | 눈물반짝 | 2001.10.03 | 5143 |
519 | 양쉐페이....그녀에게 누가 그렇게 많은기타를 주었나? 5 | 지방맨. | 2001.10.01 | 5126 |
518 | John Gilbert의 제자의 홈페이지(그런대로 재밌습당) 2 | 간절한 | 2001.09.30 | 4123 |
517 | 질문입니다. 항공이 타원형이라면... 1 | 1_sunny | 2001.09.16 | 4400 |
516 | Dominique Field를 아시나요??? 6 | 간절한 | 2001.09.16 | 4822 |
515 | 뭰히 길들이기... 6 | 산넘 | 2001.09.12 | 5312 |
514 | 라미레스 4e를 쳐보고... 21 | 으랏차차 | 2001.09.09 | 5545 |
513 | 소리가 트인다는게...어떤거죠?? 6 | 고정욱 | 2001.09.09 | 4396 |
512 | 일반적인 클래식 기타와 플라멩코 기타의 차이점이 무엇인가여? 7 | 바실리스크 | 2001.09.07 | 4770 |
511 | 튜닝팩이 문제인가, 아니면 기타가??? 앙~도와주세용^^** | 간절한 | 2001.09.05 | 4027 |
510 | 질문..스프루스기타에 대해서 질문있습니다.. 7 | 김희도 | 2001.09.05 | 4498 |
509 | 질문염... 옆뒤판을 마호가니로 만들면 로즈우드하고 음색이 어떤 차이가 있을까요? | 우 | 2001.09.04 | 5845 |
508 | Guitarlele 3 | ganesha | 2001.09.04 | 4780 |
507 | 베트남산 비단뱀 기타 2 | ganesha | 2001.09.04 | 4222 |
506 | 베트남산 비단뱀 기타 1 | ganesha | 2001.09.04 | 4469 |
505 | Sitar 3 1 | ganesha | 2001.09.04 | 4169 |
504 | Sitar 2 | ganesha | 2001.09.04 | 3994 |
503 | Sitar. 2 | ganesha | 2001.09.04 | 4107 |
502 | 황미나의 레드문과 밤과꿈 8 | EGOIST | 2001.09.04 | 6141 |
501 | 궁금한데여...기타여.. 16 | 정말초보 | 2001.09.02 | 3998 |
500 | 안녕하세요 홈에는 첨이네요... 자료실만 왔었는데... 저기 질문염.. 3 | 우 | 2001.09.02 | 3814 |
499 | 자문자답 | 병서기 | 2001.08.31 | 3882 |
498 | 동문서답. 1 | 병서기님 팬 | 2001.08.31 | 4083 |
497 | 이그나시오 로자스가 어리 갔나 했더니... | 매냐 | 2001.08.29 | 3892 |
496 | 친구가 기타샀다. 3 | 매냐 | 2001.08.29 | 3932 |
495 | 기타 잘 받았습니다. 4 | 쇼팽 | 2001.08.22 | 4287 |
494 | 음질의 이중성. 1 | 날카론시각. | 2001.08.27 | 3827 |
493 | 장마철관리는 faq에서 읽어보셔요. | 수 | 2001.08.22 | 4040 |
492 | k.hofner 클래식기타... 4 | 木香 | 2001.08.18 | 5951 |
491 | 구입한지 반년정도지났는데... | kosams | 2001.08.17 | 3966 |
490 | 넥의 넓이는.. | 저기 | 2001.08.16 | 4441 |
489 | 인도에선 상아구하기 힘들당. 3 | 수 | 2001.08.13 | 4392 |
488 | 나도,,, 25 | loveromero | 2001.08.02 | 4004 |
487 | 부쉐 다뤄보기... 5 | 난넘 | 2001.08.02 | 4035 |
486 | 클래식기타, 포크기타의 현높이... 1 | 木香 | 2001.07.21 | 5604 |
485 | 이런 기타 스텐드... 4 | 木香 | 2001.07.21 | 5241 |
484 | 한가지더 질문인데요.... 기타줄은.. 1 | 느끼오빠 | 2001.07.19 | 4665 |
483 | 수님아 질문인데요.... 앞판을.. "하카란다"란 나무로.. | 느끼오빠 | 2001.07.19 | 4126 |
482 | 똥글똥글한 소리.. 맑고 투명한 소리.. 심금을 울리는 소리.. 6 | 으랏차차 | 2001.07.19 | 4793 |
481 | 라왕으로 기타를 만든다면.... 2 | 간절한 | 2001.07.18 | 4227 |
480 | 케이스를 한번 만들어보면? 3 | 최성우 | 2001.07.15 | 3898 |
479 | 케이스에 대한 질문. 1 | 최성우 | 2001.07.14 | 3895 |
478 | ☞ 케이스를 한번 만들어보면? | 木香 | 2001.07.15 | 4413 |
477 | ☞ 케이스에 대한 질문. 1 | 기타랑 | 2001.07.14 | 4226 |
476 | 새로 단장한 흑단 지판.. 7 | 으랏차차 | 2001.07.13 | 4278 |
475 | ☞ 지판을 딱을 때... | 木香 | 2001.07.14 | 3922 |
474 | 평시엔 기타를 케이스에서 내어놓아야 좋은가요? 1 | 렐리우스 | 2001.07.12 | 4025 |
473 | 중요한건 습도가 얼마나 되느냐죠. | 수 | 2001.07.13 | 3843 |
472 | 도데체 어떤 마술을 부리셨길레... 수님!! | 으랏차차 | 2001.07.11 | 4508 |
471 | 현은 지판에 안 닿아도 누군가는 지판에 닿아요. 4 | 수 | 2001.07.12 | 5185 |
470 | 아마추어-.-a 클래식기타 인터넷 방송합니다~~~ | ㅎㅎㅎ | 2001.07.11 | 4379 |
469 | ☞ 줄은 지판에 닿지 않는데.... 4 | 셰인 | 2001.07.11 | 3943 |
468 | 수님께선 어쿠스틱 기타 제작은 안하시나요? ^^;;;; | 짱팔이 | 2001.07.11 | 3893 |
467 | 수님 질문이 한가지 있습니다. | 목향 | 2001.07.10 | 3924 |
466 | 얼마전 100호기타를 구입했는데... 18 | 렐리우스 | 2001.07.09 | 4227 |
465 | . 1 | 수 | 2001.07.09 | 4781 |
464 | 왜 기타가 깨질까 | 방가방가 | 2001.07.02 | 4248 |
463 | 요즘은 장마철이라 습도가 높져... 1 | 수 | 2001.07.02 | 3865 |
462 | 기타줄 바꾸고 싶은데 뭘로하죠? 5 | 노경문 | 2001.06.30 | 4718 |
461 | 스몰맨..................... 7 | YO | 2001.06.28 | 4591 |
460 | 제 기타가 이상해여....ㅜ.ㅜ 7 | 고정욱 | 2001.06.26 | 3842 |
459 | ☞ 오호호호~ 2 | 고정욱 | 2001.06.28 | 4083 |
458 | 기타와 장마 2 | 새내기 | 2001.06.25 | 3974 |
457 | 장마철엔 조심해야죠........ 1 | 수 | 2001.06.26 | 3942 |
456 | 수님~! 3 | 박카스 | 2001.06.22 | 3853 |
455 | 저 7 | 수 | 2001.06.22 | 3854 |
454 | 기타왔습니다 3 | 박카스 | 2001.06.22 | 3912 |
453 | ☞ 맨나중프렛이.... | 박카스 | 2001.06.22 | 3744 |
452 | 기타로 오도바일타자.... 4 | 멋쟁이 | 2001.06.20 | 4532 |
451 | 맨나중프렛이.... | 수 | 2001.06.22 | 3820 |
450 | 기타줄에 대한 글들이 많은데여.. 7 | 고정욱 | 2001.06.18 | 4480 |
449 | 또 기타줄... 8 | 김진성 | 2001.06.13 | 4529 |
448 | 국산기타현.... 3 | 수 | 2001.06.19 | 4230 |
447 | ☞ 또 기타줄... 4 | ganesha | 2001.06.15 | 4057 |
446 | 아~ 기타줄... 4 | 김진성 | 2001.06.13 | 4231 |
445 | ☞ 사용소감 4 | Lew | 2001.06.14 | 3971 |
444 | ☞ ☞ 사용소감 | 김진성 | 2001.06.14 | 3776 |
443 | 계열이가 여기에?! | 기혀니 | 2001.07.08 | 3818 |
442 | 행복한? 기타 18 | 새내기 | 2001.06.12 | 5133 |
441 | 로자스 3페이지 | 최성우 | 2001.06.11 | 4024 |
440 | 로자스 얘기가 많군요.. 1 | 최성우 | 2001.06.11 | 4360 |
439 | 현장길이가 모예요? 5 | chobo | 2001.06.11 | 5200 |
438 | 헤드머쉰은 기타의 왕관이다! 1 | 으랏차차 | 2001.06.09 | 5457 |
437 | 현장길이가 모냐면여.... 2 | 수 | 2001.06.12 | 5148 |
436 | 이그나시오 로자스가 합판기타를?? 1 | 으랏차차 | 2001.06.01 | 4132 |
435 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 5635 |
434 | 현이 가늘죠. | 수 | 2001.05.31 | 4459 |
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