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.
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933 | [re] 줄의 장력이 세게 느껴져요!! 34 | 홍이 | 2003.12.13 | 6797 |
932 | [re] 줄의 장력이 세게 느껴져요!! 12 | 카 | 2003.12.14 | 6119 |
931 | [re]블루제이님의 글(퍼왔습니다) 4 | 수 | 2003.12.15 | 4351 |
930 | 험프리는 특허 냈습니다. (US patent NO. 4,873,909 ) 6 | 학생 | 2003.12.08 | 5918 |
929 | 울림구멍...(포트)... 6 | 나래지기 | 2003.12.08 | 6015 |
928 | [re] 울림구멍...(포트) | 나래지기 | 2003.12.08 | 4595 |
927 | 겨울철 악기관리에 신경쓰세요. - 가습기 종류와 장단점 16 | 고정석 | 2003.11.29 | 8196 |
926 | Plenosom Armrest , Plenosom Pads 판매 2 | 토레스공방' | 2003.12.03 | 6647 |
925 | BRAHMAN #6 3 | 차차 | 2003.11.24 | 5944 |
924 | [re] BRAHMAN #6 | 차차 | 2003.11.24 | 5216 |
923 | [re] BRAHMAN #6 | 차차 | 2003.11.24 | 4459 |
922 | 편안한 기타연주를 위한 GUITAR-AID 를 소개합니다. 6 | ART | 2003.11.16 | 5533 |
921 | La Guitarra California – 기타 전시회 1 | bluejay | 2003.10.29 | 5728 |
920 | 폴 갈브리헤쓰--8현 기타 12 | 혁 | 2003.10.22 | 7936 |
919 | 고메즈의 프렛계산 4 | 아르헨칭구 | 2003.10.21 | 10015 |
918 | 국내 수제품기타 1 | 궁금이 | 2003.09.28 | 6772 |
917 | 기타구입은 정말 힘들어여~~ | 혁 | 2003.09.17 | 5762 |
916 | [re] 기타구입은 정말 힘들어여~~ | 김택권 | 2003.10.09 | 5015 |
915 | [re] 언제든지여^^ 28 | 혁 | 2003.09.18 | 6590 |
914 | 전시회 소식 몇가지 올립니다. 3 | 토토 | 2003.09.03 | 4767 |
913 | 후꾸다 신이치의 "부쉐"를 살수있는 기회. 13 | 수 | 2003.08.11 | 7685 |
912 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 5237 |
911 | ignacio fleta......mikulka가 연주하는 | 수 | 2000.08.08 | 6928 |
910 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5693 |
909 | [re] 바리오스의 기타? | 혁 | 2003.09.16 | 4428 |
908 | hermann hauser | 웅수 | 2000.07.15 | 5052 |
907 | robert bouchet | 수 | 2000.07.15 | 4516 |
906 | bernabe.......kraft가 연주하는 | 수 | 2001.05.22 | 4028 |
905 | ignacio fleta......mikulka가 연주하는 | 수 | 2000.08.08 | 6858 |
904 | 음반 표지 소개. | 눈물반짝 | 2001.04.30 | 4817 |
903 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5603 |
902 | hermann hauser | 웅수 | 2000.07.15 | 4562 |
901 | robert bouchet | 수 | 2000.07.15 | 4482 |
900 | ☞ kasha- schneider | 눈물반짝 | 2001.06.18 | 4629 |
899 | Marcelo Barbero SP/BR (Classical) | 고정석 | 2002.10.19 | 6717 |
898 | Miguel Rodriguez Centenario SP/HR (Classical) | 고정석 | 2002.10.19 | 6848 |
897 | José Romanillos SP/IN (Classical) | 고정석 | 2002.10.19 | 5576 |
896 | Daniel Friederich | 고정석 | 2002.06.16 | 7183 |
895 | 1965 David Rubio Julian Bream SP/BR | 고정석 | 2002.06.16 | 7551 |
894 | 1970 Ignacio Fleta | 고정석 | 2002.06.16 | 9625 |
893 | 미국 중고 기타 가격 정보 입니다. | 수현이네 | 2002.10.08 | 7414 |
892 | 미국 제작가 명단과 주소. | 수 | 2000.07.19 | 4997 |
891 | 브라질 제작가 명단과 주소. | 수 | 2000.07.19 | 5738 |
890 | cg price | 웅수 | 2000.07.17 | 6305 |
889 | g s price. | brawman | 2000.07.06 | 6924 |
888 | banister price. | brawman | 2000.07.06 | 6267 |
887 | cgi price. | brawman | 2000.07.06 | 6607 |
886 | r.e.brune price | brawman | 2000.07.06 | 5688 |
885 | 두번째 압축파일입니다. 2 | 궁금해서요 | 2003.07.24 | 5589 |
884 | 이기타 아무래도 부쉐같죠?(1) 1 | 궁금해서요 | 2003.07.24 | 5190 |
883 | 제 기타에 대하여 알고 싶어요 | 성찰 | 2003.07.20 | 4514 |
882 | [re]Amailio Burget 대하여 | 수 | 2003.07.21 | 4962 |
881 | [re]Amailio Burget 대하여.....gmland님 번역 | 수 | 2003.07.22 | 4423 |
880 | 요즘 중고기타가격이.... 3 | 매냐 | 2003.07.19 | 5802 |
879 | 기타의 좋고 나쁨에 대하여.. 9 | 차차 | 2003.07.14 | 5591 |
878 | 중국기타제작가 방인준씨 이야기... 1 | 차차 | 2003.07.14 | 5580 |
877 | 전설중의 명기 1 | 차차 | 2003.07.11 | 6970 |
876 | 전설적인 명기 | 수 | 2003.07.11 | 6079 |
875 | [re] 전설적인 명기 | 아랑 | 2003.07.13 | 5566 |
874 | [re] 명기라지만... | 수 | 2003.07.13 | 5433 |
873 | 스몰멘을 사려면.. 14 | 익제 | 2003.07.09 | 5146 |
872 | 미국 제작자의 연락처 | 수 | 2003.07.07 | 4412 |
871 | 스페인..그라나다 제작자의 연락처 | 수 | 2003.07.07 | 5791 |
870 | 독일기타에 대해 궁금한게 있는데요 2 | 빌라로보트 | 2003.06.29 | 5045 |
869 | [re] 독일기타에 대해 궁금한게 있는데요 | 수 | 2003.06.29 | 4941 |
868 | 오늘 쳐본 60년도 프리드리히 2 | hesed | 2003.06.26 | 4845 |
867 | 동아리 기타 구입 8 | 빨리... | 2003.06.27 | 5408 |
866 | 앰프 꽂을 수 있는 클래식 기타.. | 궁금 | 2003.06.25 | 5026 |
865 | [re] 앰프 꽂을 수 있는 클래식 기타.. | 지나가는띨빵이 | 2003.06.26 | 5126 |
864 | [re] 앰프 꽂을 수 있는 클래식 기타.. | 수 | 2003.06.26 | 5119 |
863 | 슈퍼칩만들때 노하우좀 갈쳐주세요~~ 3 | Y | 2003.06.24 | 5220 |
862 | 슈퍼칩(브리지단추)... 3 | 정성민 | 2003.05.20 | 6830 |
861 | 제가 생각하는 수제품... 4 | Sangsik | 2003.05.21 | 5381 |
860 | 좋은 악기의 기준? | 토토 | 2003.05.21 | 5708 |
859 | 이런 건 어떨까요? (베이스 리플렉스 포트) | 아랑 | 2003.05.21 | 5447 |
858 | 하카란다가 어떻게 생긴 나무인지 궁금하신 분 6 | woodmania | 2003.05.15 | 6912 |
857 | 이런나무로 기타를 만들면... 5 | woodmania | 2003.05.13 | 7363 |
856 | [re] 이런나무로 기타를 만들면... | 오대근 | 2005.10.19 | 4757 |
855 | Brahman (fleta-humphrey model ) 1 | sangsik | 2003.05.04 | 6050 |
854 | 12홀 상아단추의 길버트모델브릿지 7 | sangsik | 2003.05.04 | 7045 |
853 | [re] 12홀 브리지 현묶은 모습과 이유. 4 | sangsik | 2003.05.15 | 5373 |
852 | 어쿠스틱 포트와 험프리라이징보드넥 5 | sangsik | 2003.05.04 | 6765 |
851 | 헤드 | sangsik | 2003.05.04 | 5843 |
850 | 로제트 6 | sangsik | 2003.05.04 | 5602 |
849 | 뒷판 | sangsik | 2003.05.04 | 5733 |
848 | A forgotten Instrument 3 | iBach | 2003.04.09 | 5700 |
847 | 곰발바닥이란 2 | gaspar | 2003.04.08 | 6230 |
846 | matthias damman [2] 4 | 방 | 2002.10.14 | 5127 |
845 | 아래글 도움 될만한 사진 몇개여..(쓰루넥방식의 베이스) | 기타랑 | 2001.10.27 | 4641 |
844 | 일렉트릭 베이스 기타에 쓰이는 나무랑.. 몇가지 이론들이여. 읽어보시면 잼있어요^^ 1 | 기타랑 | 2001.10.25 | 7428 |
843 | 한국최고의 칠 "황칠" 6 | 일랴나 | 2001.03.17 | 7333 |
842 | 으....이번 여름에 어딜 가야 되는고얌... | 형서기 | 2001.02.23 | 4337 |
841 | 옻나무에선 옻칠이... | 수 | 2001.02.18 | 4164 |
840 | 우리나라 나무사정 | 스기 | 2001.02.01 | 4559 |
839 | [re] 우리나라 나무사정 | 김동선 | 2001.12.19 | 4526 |
838 | ... | 수 | 2001.01.31 | 4750 |
837 | brazilian rosewood. | 웅수 | 2000.07.15 | 7396 |
836 | 왜 로즈우드는 그렇게 기름기가 많은가? 1 | 수 | 2001.07.19 | 5156 |
835 | 세계의 기타제작가 주소...www.cybozone.com에서 퍼왔슴다. | 수 | 2002.09.30 | 10466 |
834 | 프렛계산해주는 페이지(자바스크립트 추가) | 루지에리 | 2002.08.15 | 5424 |
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