Recording the Classical Guitar charts the evolution of classical guitar recording practice from the early twentieth century to the present day, encompassing the careers of many of the instrument’s most influential practitioners from acoustic era to the advent of the CD. A key focus is on the ways in which guitarists’ recorded repertoire programmes have shaped the identity of the instrument, particularly where national allegiances and musical aesthetics are concerned. The book also considers the ways in which changing approaches to recording practice have conditioned guitarists’ conceptions of the instrument’s ideal representation in recorded form and situates these in relation to the development of classical music recording aesthetics more generally. An important addition to the growing body of literature in the field of phonomusicology, the book will be of interest to guitarists and producers as well as students of record production and historians of classical music recording.


part One|70 pages

The Recording Model Established

chapter 3|24 pages

Segovia at HMV (1923–1939)

chapter 4|23 pages

The Classical Guitar in the Early Period of Recording

Latin America

part Two|81 pages

The Recording Model Consolidated

chapter 5|33 pages

Segovia at American Decca

chapter 6|26 pages

The North American Backdrop to Segovia

chapter 7|20 pages

Developments in Latin America

part Three|88 pages

The Recording Model Interrogated

part Four|116 pages

The Recording Model Deconstructed