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 |
---|---|---|---|---|
1626 | 프렛 교체 1 | 수 | 2020.05.29 | 4020 |
1625 | 프렛 | 수 | 2020.07.20 | 3317 |
1624 | 프랑스에는 굴러다닌다던데... | 泳瑞父 | 2000.08.10 | 5238 |
1623 | 폴리우레탄 냄새? | 형서기 | 2000.09.28 | 5315 |
1622 | 폴 피셔. | 수 | 2000.10.22 | 5023 |
1621 | 폴 갈브리헤쓰--8현 기타 12 | 혁 | 2003.10.22 | 7785 |
1620 | 폭탄맞은 창고 24 | 콩쥐 | 2007.09.30 | 7687 |
1619 | 포크기타 반음계 2 | 바람들이 | 2011.01.22 | 9852 |
1618 | 평시엔 기타를 케이스에서 내어놓아야 좋은가요? 1 | 렐리우스 | 2001.07.12 | 3889 |
1617 | 평균율은 원래 고개 절래절래 하데요? | 진국 | 2000.09.14 | 5139 |
1616 | 편안한 기타연주를 위한 GUITAR-AID 를 소개합니다. 6 | ART | 2003.11.16 | 5446 |
1615 | 팬프렛 브람스 8현기타 | 수 | 2022.02.14 | 2697 |
1614 | 파리콩쿨입상자인 Sergio Abreu가 만든 기타 | 일랴나 | 2000.12.27 | 5232 |
1613 | 특이한 디자인 기타 (최동수선생님 봐주세요 ㅎ) 7 | 프렛 | 2013.08.25 | 18124 |
1612 | 특이한 넥 조인트.... 1 | 木香 | 2002.03.23 | 7521 |
1611 | 특별한 기타.....음향반사판기타 39 | 콩쥐 | 2012.06.02 | 16733 |
1610 | 튜닝팩이 문제인가, 아니면 기타가??? 앙~도와주세용^^** | 간절한 | 2001.09.05 | 3929 |
1609 | 투넥기타...^^; 5 | z커피 | 2004.02.27 | 8283 |
1608 | 통이 이상하게 부풀어져 있는데여... | 고정욱 | 2002.01.28 | 5048 |
1607 | 통기타 리뷰 진짜 제대로 해주네요 | 흙바람 | 2015.11.26 | 6663 |
1606 | 토레스기타.. | 수 | 2020.10.13 | 4083 |
1605 | 토레스기타,라미레즈,부쉐 10 | 토레스기타 | 2004.12.11 | 6472 |
1604 | 토레스 플렌입니다... 1 | 박민병 | 2006.12.11 | 5595 |
1603 | 토레스 기타플랜은 여러가진데... | 수 | 2000.09.03 | 4888 |
1602 | 토레스 기타 프랜 갖고 계신가여 수 선생님?? | 형서기형 후배 | 2000.09.01 | 4289 |
1601 | 텐션이 강하다면 흥미가 매우 생기는데... | 형서기 | 2000.10.08 | 4014 |
1600 | 테스트 해봤더니...거봐여... | 지영이 | 2000.10.10 | 4355 |
1599 | 테스트 해봤더니... | 변소반장 | 2000.10.10 | 4718 |
1598 | 태평양 건너온 귀한물건 입니다. 3 | 프리덤 | 2013.01.09 | 13887 |
1597 | 탄현에너지의 분산에 관하여... | 명노창 | 2000.06.12 | 4039 |
1596 | 탄소 섬유로 만든 기타 3 | cf | 2011.12.02 | 17949 |
1595 | 타우너를 우습게 알다니 ...이노옴! | 센빠이 | 2000.11.12 | 3832 |
1594 | 키틴제 도료에 대해... | 지우압바 | 2000.11.24 | 5073 |
1593 | 키트 조립 1호 6 | gd7 | 2006.03.06 | 6252 |
1592 | 킁킁...논쟁을 위한 준비 운동 | 개코 | 2000.09.02 | 4421 |
1591 | 클래식기타에 관해 질문이 있습니다 1 | 문 | 2005.12.29 | 4583 |
1590 | 클래식기타, 포크기타의 현높이... 1 | 木香 | 2001.07.21 | 5466 |
1589 | 클래식기타 튜닝문제..... 8 | 기타맨 | 2009.04.07 | 10219 |
1588 | 클래식기타 컬렉션 2008 1 | 리브라 | 2012.06.12 | 14661 |
1587 | 클래식기타 제작 관련 질문 | seo b k | 2023.01.19 | 1409 |
1586 | 클래식기타 에 사용할 온습도계 추천좀 부탁드립니다~ 4 | 케이스삽니다 | 2011.05.19 | 13870 |
1585 | 클래식과 통키타의 헤드머쉰... | 으랏차차 | 2001.02.03 | 5039 |
1584 | 클래식 기타~ 8 | 정수진 | 2006.01.03 | 6829 |
1583 | 클래시컬 기타 스트링에 대한 기초지식 | 김재승 | 2006.02.09 | 5832 |
1582 | 쿠쿠렐리8현 | gaspar | 2000.12.27 | 3958 |
1581 | 쿠쿠렐리 기타 | gaspar | 2000.12.27 | 3969 |
1580 | 쿠쿠렐리 11현 | gaspar | 2000.12.27 | 4169 |
1579 | 콘트레라스 1 | 아무개 | 2007.01.18 | 5270 |
1578 | 콘트라베이수...손톱 갈아 묵는 애... | 형서기 | 2000.11.03 | 3721 |
1577 | 콘트라레스는요.... | 수 | 2000.08.31 | 4721 |
1576 | 코흐연주회 다녀왔어요. 4 | 콩쥐 | 2007.10.01 | 5905 |
1575 | 케이스에 대한 질문. 1 | 최성우 | 2001.07.14 | 3803 |
1574 | 케이스를 한번 만들어보면? 3 | 최성우 | 2001.07.15 | 3783 |
1573 | 컨셉기타..... 에보니라인 기타 | 수 | 2023.05.31 | 1186 |
1572 | 카즈오 사또 시몬(?)에 대해 알고싶습니다. 5 | 청년 | 2001.04.10 | 3743 |
1571 | 카본줄은 5 바퀴 | 수 | 2023.12.20 | 834 |
1570 | 친구네 집에서 업어온 기타 1 | 쉑 | 2004.01.26 | 8366 |
1569 | 친구가 기타샀다. 3 | 매냐 | 2001.08.29 | 3842 |
1568 | 측후판 | 박장규 | 2002.02.14 | 4612 |
1567 | 축구는끝나고 심심해서 5 | 에뚜드 | 2006.06.25 | 5107 |
1566 | 최원호님의 CEDARUCE GUITAR. 2 | 콩쥐 | 2008.01.21 | 7198 |
1565 | 최동수선생님 최근 제작 악기 소개 3 | 기타바이러스 | 2015.08.08 | 9476 |
1564 | 최동수선생님 악기 탐방! 5 | 이호성 | 2012.12.11 | 14021 |
1563 | 최동수선생님 류트 기타 제작기! 11 | 기타바이러스 | 2016.05.02 | 7629 |
1562 | 최동수선생님 4번째 리라기타 제작기 | 기타바이러스 | 2016.06.24 | 6338 |
1561 | 최동수님의 로맨틱기타. 10 | 콩쥐 | 2007.09.18 | 7520 |
1560 | 최동수님 2013년 9월에 완성될기타 훔쳐보기.... 21 | 기타바이러스 | 2013.08.24 | 15480 |
1559 | 최동수님 ...... 16 | Kyung Yoo | 2009.03.01 | 7167 |
1558 | 최동수 제작가님 최근 제작기! 1 | 기타바이러스 | 2017.08.14 | 5625 |
1557 | 최동수 제작가님 최근 작품! 4 | 기타바이러스 | 2016.12.08 | 6394 |
1556 | 최동수 작 비웰라형 기타 9 | 최동수 기타 | 2017.10.16 | 7570 |
1555 | 최동수 선생님이 새로 만드신 총 기타... 18 | 대건안드레아 | 2012.06.30 | 16120 |
1554 | 최동수 선생님이 만드신 지팽이 기타..... 9 | 대건안드레아 | 2012.07.01 | 15554 |
1553 | 최동수 선생님께 질문을 올립니다.... 15 | STELLO | 2009.10.30 | 7293 |
1552 | 최근에 기타제작 콩쿨이 있었다는데.. | 방문객 | 2001.03.31 | 3839 |
1551 | 최고의 튜닝머신들.. 2 | 그놈참 | 2004.05.11 | 5941 |
1550 | 최고급 튜닝머신은 무엇때문에 그렇게 비싼지 17 | 튜닝머신 | 2005.12.07 | 7604 |
1549 | 초보를 위한 클래식기타 제작 강습회 제안... | 신우현 | 2000.09.01 | 5043 |
1548 | 첼로에서 안쇠소리나는 음반 혹 들어보셧어요? | 지영이 | 2000.10.10 | 4964 |
1547 | 첼로에서 나는 쇳소리라는건... | 형서기 | 2000.10.10 | 4896 |
1546 | 첼로같은 찰현악기에서 쇠소리는 당연한거 아닌가요.... | 명노창 | 2000.10.10 | 4848 |
1545 | 첨 작업해보는 재료 | 수 | 2023.07.03 | 1317 |
1544 | 철공소사장님이 만든기타 | 여름은가고 | 2005.06.14 | 9294 |
1543 | 천만에여..... | 개털 | 2000.10.11 | 4459 |
1542 | 책 안내 - "기타 명기와 명장" | 비우자 | 2012.02.14 | 14101 |
1541 | 채문식선생님 기타공방 싸이트 (참고하세요) 1 | 초보궁금이 | 2007.09.03 | 7101 |
1540 | 차로 실고간데... | 곰팽이 | 2000.11.03 | 3927 |
1539 | 차라리.. | 길가던나그네 | 2000.09.16 | 4464 |
1538 | 쩝....기타를 새로 살려구요...-_- | 고정욱 | 2001.01.25 | 4265 |
1537 | 째즈기타라는게 어떤 특정한 기타가 있습니까? 9 | 우주비행사 | 2006.07.13 | 5475 |
1536 | 짧은현장악기 이런 디자인은 어떨까요? 2 | 최병욱 | 2007.09.11 | 6244 |
1535 | 짧은 식견이지만.. | 개풀 | 2000.09.01 | 4196 |
1534 | 짧은 식견이지만.. | 화음 | 2000.08.31 | 4142 |
1533 | 질문입니다. 항공이 타원형이라면... 1 | 1_sunny | 2001.09.16 | 4292 |
1532 | 질문요. 1 | 방문객 2 | 2001.04.08 | 3743 |
1531 | 질문염... 옆뒤판을 마호가니로 만들면 로즈우드하고 음색이 어떤 차이가 있을까요? | 우 | 2001.09.04 | 5747 |
1530 | 질문드립니다 1 | 박용수 | 2005.05.27 | 4248 |
1529 | 질문..스프루스기타에 대해서 질문있습니다.. 7 | 김희도 | 2001.09.05 | 4414 |
1528 | 질문) 영자님 Bernhard Kresse란 어떤 악기이죠? | illiana | 2000.10.21 | 3648 |
1527 | 질문 한가지 드립니다. 4 | 간절한 | 2002.01.23 | 4282 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5