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 |
---|---|---|---|---|
1726 | 힛힛...누구 따라 가는중인가여?? | 형서기 | 2000.10.21 | 4740 |
1725 | 힌베스 팝니다. 1 | 셰인 | 2001.05.11 | 4698 |
1724 | 흑단(에보니).....최동수 3 | 콩쥐 | 2009.12.08 | 13469 |
1723 | 휜것도 가지가지..... | 말괄량이 | 2000.10.05 | 5817 |
1722 | 휘었다면 수리는 가능한지? 수리가 어려운가요? | essene | 2000.10.05 | 5066 |
1721 | 휘었다면 수리는 가능한지? 수리가 어려운가요? | 수 | 2000.10.06 | 5798 |
1720 | 후쿠다신이치 사용기타에 관해서... 6 | 정호정 | 2007.10.12 | 7006 |
1719 | 후배님 있쟈나여... | 형서기형 후배 | 2000.09.02 | 5295 |
1718 | 후꾸다 신이치의 "부쉐"를 살수있는 기회. 13 | 수 | 2003.08.11 | 7488 |
1717 | 후꾸다 신이치의 명기...과다니니1829년산. 4 | 콩쥐 | 2005.11.10 | 9120 |
1716 | 황칠나무 17 | 고정석 | 2009.06.26 | 19842 |
1715 | 황칠나무 2 | 콩쥐 | 2009.06.25 | 7966 |
1714 | 황칠 도료 제품 등장 2 | 보리 | 2011.04.03 | 15146 |
1713 | 황칠 2 | 수 | 2012.07.05 | 13998 |
1712 | 황미나의 레드문과 밤과꿈 8 | EGOIST | 2001.09.04 | 6013 |
1711 | 황동 하현주의 TEST결과 1 | 뮤즈기타 | 2004.11.13 | 7431 |
1710 | 황동 하현주 | 우파사 | 2004.09.19 | 7650 |
1709 | 화성학과 애드립을 위한 교재! | mg7732 | 2016.04.02 | 6153 |
1708 | 홀에 대해서 질문... | 몽자삼촌 | 2000.06.12 | 5253 |
1707 | 혹시...그 오됴...멀쩡해여. | 지영이 | 2000.10.10 | 4900 |
1706 | 혹시...그 오됴... | 형서기 | 2000.10.10 | 5720 |
1705 | 혹시 Dammann 아세요? | 기타마니아 | 2000.10.21 | 4602 |
1704 | 혹시 | 지우압바 | 2000.06.23 | 4721 |
1703 | 호주기타의 매력. 22 | 수 | 2002.09.11 | 6377 |
1702 | 호세 오리베란 사람을 찾습니다. 3 | 작은곰 | 2002.11.04 | 5801 |
1701 | 호세 루비오 | 과객 | 2001.02.20 | 5159 |
1700 | 호세 로마닐료스라는 악기에 대한 생각(?).... | 왕초보 | 2000.08.25 | 6738 |
1699 | 호세 라미레즈 기타관련 문의 3 | 치악 | 2020.12.06 | 4049 |
1698 | 현장이 짧은 기타에 대하여-2 5 | 최동수 | 2012.06.11 | 12419 |
1697 | 현장이 짧은 기타에 대하여-1 7 | 최동수 | 2012.06.10 | 16094 |
1696 | 현장길이가 모예요? 5 | chobo | 2001.06.11 | 5026 |
1695 | 현장길이가 모냐면여.... 2 | 수 | 2001.06.12 | 5043 |
1694 | 현장길이?? | 으라차차 | 2001.02.02 | 4768 |
1693 | 현이 어디 묶여있나요? | 수 | 2001.02.15 | 4968 |
1692 | 현이 높이 뜨면 습한거죠. 5 | 수 | 2001.05.17 | 4908 |
1691 | 현이 가늘죠. | 수 | 2001.05.31 | 4299 |
1690 | 현의 길이에 대한 생각.... | 개털 | 2000.09.18 | 5607 |
1689 | 현을 바꾸고서... | 은정 | 2000.07.04 | 4881 |
1688 | 현은 지판에 안 닿아도 누군가는 지판에 닿아요. 4 | 수 | 2001.07.12 | 5055 |
1687 | 현대기타 디자인 | 수 | 2018.09.06 | 5929 |
1686 | 현높이가 너무 높아졌습니다....어쩌죠? 10 | 이지현 | 2006.08.08 | 7331 |
1685 | 현길이 그 다양한 완성. | 개꼬리 | 2000.09.21 | 5514 |
1684 | 현고에 대하여 38 | 최동수 | 2008.09.04 | 19325 |
1683 | 혁님의 악기 ----브라만 15번 - 9 | 오모씨 | 2004.02.15 | 9367 |
1682 | 헬름홀츠의 공기공명 1 | 최동수 | 2012.06.08 | 17729 |
1681 | 헤드머쉰은 기타의 왕관이다! 1 | 으랏차차 | 2001.06.09 | 5284 |
1680 | 헤드머쉰 이야기 + 외국사이트 소개 3 | anom | 2008.01.19 | 10482 |
1679 | 헤드각과 현의 장력...실험 18 | 삭제... | 2010.02.20 | 10344 |
1678 | 헤드 | sangsik | 2003.05.04 | 5694 |
1677 | 험프리는 특허 냈습니다. (US patent NO. 4,873,909 ) 6 | 학생 | 2003.12.08 | 5721 |
1676 | 험프리기타의 뱃속...and | gaspar | 2000.10.05 | 6177 |
1675 | 험프리, 밀레니움 모델, 경사진 앞판 디자인. | 서정실 | 2001.04.07 | 4845 |
1674 | 험프리 스몰맨카피인가보당..... | 이쁜이 | 2000.10.05 | 5427 |
1673 | 험프리 and Guitar | gaspar | 2000.10.05 | 5281 |
1672 | 헐거워진 프렛 14 | 리브라 | 2011.06.18 | 14790 |
1671 | 헉스!! 현도 소리에 많은 영향을 미치는군요 2 | 롱랑디용 | 2006.02.03 | 6067 |
1670 | 허영만 만화속 기타 | 지우압바 | 2000.07.14 | 6620 |
1669 | 행복한? 기타 18 | 새내기 | 2001.06.12 | 4991 |
1668 | 해드가 신기하게 생겨서... 4 | 목향 | 2001.04.30 | 5563 |
1667 | 해드 머쉰 을 구하고 싶은데요? 2 | 5급 | 2001.05.11 | 4677 |
1666 | 합주에 필요한 기타현정보가 많은 리여석기타합주단홈페이지. | 수 | 2003.12.16 | 5233 |
1665 | 할 줄 아는 것이 정말 없고낭....쩝.... 1 | 간절한 | 2001.05.08 | 5012 |
1664 | 한번 더 게겨봅니당---인조손톱!!! 1 | 간절한 | 2001.12.20 | 6874 |
1663 | 한국최고의 칠 "황칠" 6 | 일랴나 | 2001.03.17 | 7202 |
1662 | 한국내 제작되는 기타 한달 2만대. | 콩쥐 | 2009.07.08 | 8216 |
1661 | 한가지더 질문인데요.... 기타줄은.. 1 | 느끼오빠 | 2001.07.19 | 4552 |
1660 | 한가지 더. | malhute | 2000.09.29 | 5444 |
1659 | 한가지 더. | 형서기 | 2000.09.28 | 5207 |
1658 | 하현주를 낮추면??? 2 | 간절한 | 2001.05.07 | 5439 |
1657 | 하현주(saddle) 미세조정 6 | 쏠레아 | 2010.03.15 | 19129 |
1656 | 하현주 조절과 조율개선 1 | 최창호 | 2004.12.26 | 8635 |
1655 | 하현주 재질 1 | seo b k | 2023.01.25 | 1398 |
1654 | 하현주 낮추기. 1 | gdream7 | 2006.01.02 | 6843 |
1653 | 하현주 각도에 대한 생각 20 | 쏠레아 | 2008.08.28 | 18773 |
1652 | 하하 ...내친구... | 화음 | 2000.08.17 | 5141 |
1651 | 하카란다가 어떻게 생긴 나무인지 궁금하신 분 6 | woodmania | 2003.05.15 | 6784 |
1650 | 하카란다.. 안쪽면에 칠?? 4 | 칠 | 2006.08.01 | 6487 |
1649 | 하카란다 원목자재 1 | 하카란다 | 2022.04.15 | 3189 |
1648 | 하카란다 꽃 6 | 조국건 | 2011.05.15 | 16582 |
1647 | 하카란다 2 | 언니 | 2014.06.03 | 12247 |
1646 | 하젤 스프르스 사진 4 | 콩쥐 | 2008.12.01 | 8707 |
1645 | 하이텐션 줄/로우텐션 줄 9 | 쏠레아 | 2010.02.20 | 14879 |
1644 | 하우저작업실에서.... 4 | 콩쥐 | 2007.07.27 | 7466 |
1643 | 하모닉스 어떻게 하는건가요. 1 | 시인 | 2004.12.09 | 5782 |
1642 | 하드케이스에 수납가방 만들기 2 | 음표 | 2008.08.04 | 9912 |
1641 | 하드케이스 백팩 | mauro | 2009.06.15 | 11099 |
1640 | 하까란다가 꽃피었네여. 12 | *라질 | 2004.09.01 | 8210 |
1639 | 하까란다 이야기... 15 | 혁 | 2004.04.06 | 7320 |
1638 | 픽업에 관하여... | Freudenthal | 2004.11.01 | 5630 |
1637 | 픽업 1 | 콩쥐 | 2009.05.22 | 7141 |
1636 | 피치가 완벽한 기타는? 2 | 지얼 | 2001.11.16 | 6013 |
1635 | 피에서 쇠냄새나여. | 수 | 2000.10.30 | 7233 |
1634 | 플레타 2 | 흠 | 2007.10.19 | 7789 |
1633 | 플라스틱 피크.. 2 | 고정욱 | 2002.05.23 | 5984 |
1632 | 플라멩꼬 기타 제작 | 콩쥐 | 2015.08.03 | 5802 |
1631 | 프리드리히의 구조적 특징은 어떤게 있을까요.. | bina | 2007.09.30 | 6074 |
1630 | 프렛방식의 상현주---아벨가르시아. 1 | 간절한 | 2002.01.10 | 6134 |
1629 | 프렛과 음정 이야기. -_-; | 안진수 | 2000.09.16 | 5860 |
1628 | 프렛계산해주는 페이지(자바스크립트 추가) | 루지에리 | 2002.08.15 | 5305 |
1627 | 프렛계산 엑셀표 | 강나루 | 2007.03.11 | 6843 |
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