Santiago de Murcia (1673-1739) was one of the most prominent figures of the baroque guitar, both as composer and theorist. Despite his notability, his music and arrangements rarely find their way into the classical guitar repertoire. In modern guitar repertoire, it is common practice to arrange pieces from baroque composers such as Domenico Scarlatti, George Phillip Telemann, and Johann Sebastian Bach, none who wrote for guitar. My research involves doing an analysis of a historical transcription by Santiago de Murcia, and by doing so, share my insight into the possibilities, benefits, and idiosyncrasies of arranging baroque guitar works into the modern guitar. By analyzing Santiago de Murcia's Tocata de Coreli, a patchwork adaptation of Corelli's op. 5, my overarching objective is to empower modern guitarists to leverage this investigation and facilitate the creation of their own adaptations of baroque works. This documents not only the differences and similarities present in the original de Murcia manuscript print but how the study helped me develop a historically informed modern guitar transcription. Through this endeavor, I aspire to contribute to the broader discourse on the adaptation and preservation of baroque guitar repertoire within the contemporary musical landscape.

Este trabalho se ocupa da tradução comentada para o português do Instruccion de Musica sobre la Guitarra Espanõla, de Gaspar Sanz (1697), um dos mais importantes livros de repertório e de instruções de como tocar a guitarra de cinco ordens, que ora denominamos guitarra barroca. A tradução procura contextualizar o texto de Sanz, levando ao leitor, mesmo aquele não habituado à leitura dos tratados dos séculos XVII e XVIII, subsídios que lhe permitam compreender o texto e tirar utilidade prática de seu conteúdo. Assim como o Instruccion, o trabalho aborda temas os mais diversos concernentes à guitarra barroca: música solística, para a compreensão da qual a afinação reentrante mostra-se essencial, música de acompanhamento em suas diferentes vertentes, Rasqueado, Ponteado e Obbligato, instruções de afinação, ornamentação, escolha das cordas e diferentes afinações. Abrange também, embora não como objetivo principal, uma proposta de metodologia para transcrição da tablatura original, levando em conta a afinação reentrante modificada. Os comentários sobre o vasto conteúdo do Instruccion baseiam-se na leitura da obra de Sanz, no cotejamento com outras fontes primárias e secundárias, mas também, e não menos importante, na minha experiência como instrumentista de cordas dedilhadas antigas há mais de quinze anos. Todos os exemplos e transcrições trazem o fac-símile para confronto, convidando o leitor a exercer sua curiosidade em relação às fontes primárias e fazendo disto, de fato, seu principal objetivo. / This work deals with the commented translation into Portuguese of the Instruccion de Musica sobre la Guitarra Española , by Gaspar Sanz (1697), one of the most important books of repertoire and instructions on how to play the five orders guitar, we now call baroque guitar. This translation aims to contextualize Sanz\'s, text, leading the reader, even those not used to reading the treaties of the seventeenth and eighteenth centuries, subsidies to help understanding the text and make practical use of it\'s content. As the Instruccion, this work addresses the most diverse topics concerning the baroque guitar: solo music, where reentrant tuning shows to be essential to their understanding, accompanying music in its various aspects, rasqueado, ponteado and obbligato, ornamentation, choice of chords and different tunings. It also covers, although not as its main objective, a proposed methodology for transcription of the original tablature, taking into account the modified reentrant tuning. Comments on the vast content of the Instruccion are based on the reading of Sanz\'s work in mutual comparison with other primary and secondary sources, but also, and not least, in my experience as a player of early plucked strings over fifteen years. All examples and transcriptions bring also the facsimile, inviting the reader to exercise their curiosity about primary sources and making it in fact their main goal.

Este trabalho se ocupa da tradução comentada para o português do Instruccion de Musica sobre la Guitarra Espanõla, de Gaspar Sanz (1697), um dos mais importantes livros de repertório e de instruções de como tocar a guitarra de cinco ordens, que ora denominamos guitarra barroca. A tradução procura contextualizar o texto de Sanz, levando ao leitor, mesmo aquele não habituado à leitura dos tratados dos séculos XVII e XVIII, subsídios que lhe permitam compreender o texto e tirar utilidade prática de seu conteúdo. Assim como o Instruccion, o trabalho aborda temas os mais diversos concernentes à guitarra barroca: música solística, para a compreensão da qual a afinação reentrante mostra-se essencial, música de acompanhamento em suas diferentes vertentes, Rasqueado, Ponteado e Obbligato, instruções de afinação, ornamentação, escolha das cordas e diferentes afinações. Abrange também, embora não como objetivo principal, uma proposta de metodologia para transcrição da tablatura original, levando em conta a afinação reentrante modificada. Os comentários sobre o vasto conteúdo do Instruccion baseiam-se na leitura da obra de Sanz, no cotejamento com outras fontes primárias e secundárias, mas também, e não menos importante, na minha experiência como instrumentista de cordas dedilhadas antigas há mais de quinze anos. Todos os exemplos e transcrições trazem o fac-símile para confronto, convidando o leitor a exercer sua curiosidade em relação às fontes primárias e fazendo disto, de fato, seu principal objetivo. / This work deals with the commented translation into Portuguese of the Instruccion de Musica sobre la Guitarra Española , by Gaspar Sanz (1697), one of the most important books of repertoire and instructions on how to play the five orders guitar, we now call baroque guitar. This translation aims to contextualize Sanz\'s, text, leading the reader, even those not used to reading the treaties of the seventeenth and eighteenth centuries, subsidies to help understanding the text and make practical use of it\'s content. As the Instruccion, this work addresses the most diverse topics concerning the baroque guitar: solo music, where reentrant tuning shows to be essential to their understanding, accompanying music in its various aspects, rasqueado, ponteado and obbligato, ornamentation, choice of chords and different tunings. It also covers, although not as its main objective, a proposed methodology for transcription of the original tablature, taking into account the modified reentrant tuning. Comments on the vast content of the Instruccion are based on the reading of Sanz\'s work in mutual comparison with other primary and secondary sources, but also, and not least, in my experience as a player of early plucked strings over fifteen years. All examples and transcriptions bring also the facsimile, inviting the reader to exercise their curiosity about primary sources and making it in fact their main goal.

abstract: Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement. / Dissertation/Thesis / it is the appendix for the dissertation / D.M.A. Music 2013

The main purpose of this dissertation is to offer a modern transcription and critical edition of François Campion's Sonatina in D Major, found in his Piéces de Guitare du S.r Campion from 1748. Since it is not a common practice for the modern classical guitarist to study the baroque guitar and all its idiosyncrasies, this transcription from French tablature into modern notation will make this piece accessible to all classical guitar players. Using his sonatina as an example, this dissertation covers the process of transcribing baroque guitar French tablature while emphasizing a practical performance approach that suits the classical guitar. This approach includes examining tuning differences, suggested transposed notes, ornamental interpretation, and the overall differences in performance practice between both instruments. Not much is known about Campion's life (c1685-1747), but his importance as a musician in France during the early eighteenth century is evidenced by his publications and his accounts as a theorbo and baroque guitar player for the orchestra of the opera company L'Académie Royale de Musique, for which he was employed from 1703 until 1719. Unfortunately, while this music is fairly known and usually performed by early music specialists, it is ignored by modern guitarists, mainly because of the lack of modern transcriptions. This sonatina serves as an original critical edition adaptation for the classical guitar.