Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.

This study uses a general historical overview of luthiery that provides the reader with a basic understanding of construction techniques and terminology as a point of departure. From the outset the lack of consensus over an ideal or desired construction technique is highlighted. However, Torres is credited with the establishing of a perceived Spanish tradition of guitar construction and acknowledged as the “father” of the modern guitar. This will serve as a basic framework in which a discussion of six prominent past and present international luthiers can occur. These luthiers, namely Antonio de Torres, Hermann Hauser, Robert Bouchet, Daniel Friederich, Jose Romanillos and Greg Smallman are included in this study by virtue of their influence on the South African luthiers that are featured here. It is noted that these six luthiers, with the exception of Greg Smallman, all adhere to the “Spanish tradition” of guitar construction. Smallman can be considered a foremost proponent of a more recent “modern” school of guitar construction characterized by various innovative construction techniques. These are a result of new demands placed on the guitar as performance instrument because of larger concert venues and more collaboration with different instruments, resulting in a need for a stronger tone and more projection and penetration in sound. These two “poles” of luthiery are then manifested in the discussion on the seven featured South African luthiers. Alistair Thompson, Colin Cleveland, Mervyn Davis, Garth Pickard, Marc Maingard, Rodney Stedall and Hans van den Berg are discussed with special mention made of the features of their instruments, woods used and thoughts on luthiery, against the backdrop of their biographies. The four South African luthiers who build within the “Spanish tradition” (Pickard, Maingard, Stedall and Van den Berg) are distinguished from the three who build outside this so-called tradition (Thompson, Cleveland, Davis). South African luthiery is therefore shown to be an accurate microcosm of luthiery in global terms with styles of construction ranging from very “traditional” to very “modern”. The critical reflection on the information contained in this study appears in the form of a hermeneutic critique on luthiery that occurs within the parameters of the thought of two prominent hermeneutic thinkers, Martin Heidegger and his student, Hans-Georg Gadamer. It is shown that the collaboration that often occurs between guitar makers and performers can be related back to Gadamer and his analysis of Heidegger’s notion of the the hermeneutic circle. It is also argued that luthiery as practiced by the international and South African luthiers featured in this study can be seen both as art and technology in ancient Greek terms in that they are both a mode of revealing. Finally, it is shown how luthiery in its entirety can be viewed as a tradition and that different luthiers respond and add to this tradition in various ways.

To improve the replication of acoustic guitars, measurements of three Martin OOO style steel-string guitars were made at various stages of their construction. The guitars were constructed in parallel, as similar to each other as possible, with the exception of the soundboard material---which were made of Sitka spruce, Engelmann spruce and Western Red cedar. To improve the similarity of the instruments, methods were developed to measure and control the material properties of key components before their incorporation into the instruments, including a device to measure the thickness of a guitar soundboard attached to the back and sides of the instrument. Some of these measurements were compared to numerical models of the instrument and, after the establishment of a lexicon to describe guitar sounds, some physical factors contributing towards the timbre of guitar sounds were determined. The results of these investigations may be developed to improve the consistency in the manufacture of stringed musical instruments.

This work is about objects and their makers, their relationship, and the negotiation between tradition and innovation in the creation of things. I explore the relationship between tradition, innovation, and technology as it pertains to the creation, perception, and interaction with acoustic steel string guitars and ethnographies. First, I focus on the works of two Nashville based guitar makers, Grant and Cory Batson. I investigate the ways in which the Batsons critically evaluate traditional construction techniques and design features as they create their instruments, looking at their theories of tone production, methods of construction, and their perceptions and uses of various media within their guitars. Secondly, I recruit the Batsons’ theories, methods, and revisions of tradition as a metaphor to discuss the traditional ways of constructing ethnographic representations. Through this work, I argue for the craftsmanship of more responsive ethnographic things which take into account not only theoretical, but also methodological and media eclecticism.

This dissertation is a comparative study of the classical guitar and the Pipa. One of the most popular plucked string instruments in the Western Hemisphere is the guitar and in the East, the Chinese pipa. The guitar and the pipa are the distant relatives and both share many commonalities in their history, technique, and construction. The purpose of this study is to illustrate the origins of the instruments, to show the similarities and dissimilarities of construction, and to compare the techniques used for both instruments.The study consists of six chapters. Chapter I presents introductory information as well as the purpose, significance, procedures, and delimitation of the study. Chapter II, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter III presents a brief history of the classical guitar and the Chinese pipa. Chapter IV provides an overview of the construction in which related to tone production itself of the guitar and the pipa. Chapter V gives a thorough discussion of the techniques used in both instruments. This chapter is further subdivided into four sections: Tone production, Right hand technique, Left hand technique, and "Special" techniques with regard to the use of timbre.By making comparisons between the guitar and the pipa, composers, performers, and luthiers would benefit. By learning the musical possibilities of each instrument, composers could expand the repertoire of each by borrowing their respective musical characteristics. Performers could improve both their techniques as well as add techniques to enhance their own musicality. Finally, luthiers would be able to experiment with their methods of building and perhaps produce higher quality instruments. The author hopes that the findings of this study, therefore, will not only add to musical knowledge in a global society, but also encourage further study. / School of Music

To improve the replication of acoustic guitars, measurements of three Martin OOO style steel-string guitars were made at various stages of their construction. The guitars were constructed in parallel, as similar to each other as possible, with the exception of the soundboard material---which were made of Sitka spruce, Engelmann spruce and Western Red cedar. To improve the similarity of the instruments, methods were developed to measure and control the material properties of key components before their incorporation into the instruments, including a device to measure the thickness of a guitar soundboard attached to the back and sides of the instrument. Some of these measurements were compared to numerical models of the instrument and, after the establishment of a lexicon to describe guitar sounds, some physical factors contributing towards the timbre of guitar sounds were determined. The results of these investigations may be developed to improve the consistency in the manufacture of stringed musical instruments.

Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment.