The guitar has existed in some form since 1546. In that time a lot has changed. Learning to Speak Guitar: A Luthier’s Thesaurus explores the one thing that remains mostly unchanged in the guitar industry—the language. Guitarists and guitar makers have specialized tools and methods for every aspect of the guitar except an effective and consistent way to discuss and manage things like tone-wood, humidity, noise, and driver’s seat phenomenon. This book is the missing tool that serves both sides of the bench by dispelling myths, sharing fresh perspectives, and bringing the guitar community together. Containing information not found in any other guitar book, Learning to Speak Guitar is an indispensable tool for all guitar lovers. This book has five sections, each containing specific topics and tools for handling musical language. The first section introduces the book, guitars, and lutherie. Section two focuses on the guitar as seen through aural, visual, and haptic experiences with the luthier’s views also considered. The third section addresses technical topics including the merits and mythology of tone-wood, the importance of flatness, and relative humidity for guitars while section four presents practical troubleshooting and discussion techniques. The last section is a complete thesaurus of guitar terms containing over 370 entries including guitar anatomy, colors, construction methods and materials, sounds and noises, woods, and repair techniques. The book closes with tables of the physical properties of guitar woods and metals, options for alternative guitar woods, and a 400 year chronology.
The guitar has existed in some form since 1546. In that time a lot has changed. Learning to Speak Guitar: A Luthier’s Thesaurus explores the one thing that remains mostly unchanged in the guitar industry—the language. Guitarists and guitar makers have specialized tools and methods for every aspect of the guitar except an effective and consistent way to discuss and manage things like tone-wood, humidity, noise, and driver’s seat phenomenon. This book is the missing tool that serves both sides of the bench by dispelling myths, sharing fresh perspectives, and bringing the guitar community together. Containing information not found in any other guitar book, Learning to Speak Guitar is an indispensable tool for all guitar lovers. This book has five sections, each containing specific topics and tools for handling musical language. The first section introduces the book, guitars, and lutherie. Section two focuses on the guitar as seen through aural, visual, and haptic experiences with the luthier’s views also considered. The third section addresses technical topics including the merits and mythology of tone-wood, the importance of flatness, and relative humidity for guitars while section four presents practical troubleshooting and discussion techniques. The last section is a complete thesaurus of guitar terms containing over 370 entries including guitar anatomy, colors, construction methods and materials, sounds and noises, woods, and repair techniques. The book closes with tables of the physical properties of guitar woods and metals, options for alternative guitar woods, and a 400 year chronology.
Does fiction do more than just represent space? Can our experiences with fictional storytelling be in themselves spatial? In Constructing Spain: The Re-imagination of Space and Place in Fiction and Film, Nathan Richardson explores relations between cultural representation and spatial transformation across fifty years of Spanish culture. Beginning in 1953, the year Spanish space was officially reopened to Western thought and capital, and culminating in 2003, the year of Aznar's unpopular involvement of his country in the second Iraq War, Richardson traces in popular and critically acclaimed fiction and film an evolution in Spanish storytelling that, while initially representative in nature, increasingly engages its audience in spatial practices that go beyond mere perception or conception of local material geographies. In original readings of films by Luis Berlanga, Luis Bu uel, Alex de la Iglesia, Alejandro Amen bar, and Julio Medem, and novels by Juan Goytisolo, Antonio Mu oz Molina, and Javier Mar as, Richardson shows this formal evolution as a necessary response to developments, restorations, and transformations of local landscapes that resulted during these years from various human migrations, tourist-invasions, urban development plans, resurgent nationalisms, and finally globalization. As these changes occur, Richardson traces a shift in the works studied from mere representation of spatial change toward actual engagement with shifting physical and social geographies, as they inch ever closer toward the production of an actual spatial experience for their audiences. In the final chapters of this book, Richardson offers in-depth and highly original readings of the storytelling projects of Medem and Mar as in particular, showing how these two artists invite readers to not only reconceive hegemonic notions of space and place, but to practice alternative notions of being-in-place. In these final readings, Constructing Spain, points to the newest developments in contemporary Spanish narrative and film, a rise of new grammars of creation to challenge the ongoing capital-driven creative destruction of globalized Spanish geography.
When Spanish dictator Francisco Franco legalized internal immigration in 1947 he unwittingly inaugurated the greatest period of urban expansion and rural de-population that Spain had known. During the next two decades, nearly four million citizens would move from Spain's traditional pueblos perdidos to overburdened urban metropolises. Along with wooden trunks and baskets of chickens, the immigrants (or paletos, as they were often called) bore on their journey the weight of centuries of ideological meaning tied to the geographic regions they were traversing. To abandon rural Spain had come to signify a rejection of manhood, wealth, Christian values, and even Spanishness itself. Paletos, however innocent they may have appeared, were not ideologically neutral. In the coming decades the weight and complexity of the meanings behind immigration, the country, and the city would only grow as Spain advanced from economic under development, social ignorance, and political reaction to full-fledged participation in global economics and politics, activities that would reshape what it meant to be an immigrant and paleto both within and across the geographic border that had traditionally defined the Spanish nation."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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