Mark Marrington

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• Doctor of Philosophy
• Associate Professor, Music Production at York St John University

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 the acoustic era to the advent of the CD. A key focus is on the ways in which guitarists’ recorded repertoire program...

This article considers the ways in which metal has interacted with the aesthetics of electronic music since the 1980s, from its earliest exchanges with hip hop through to recent developments in the djent subgenre. It highlights the persistence of metal’s practitioners in adopting new technologies (including samplers, drum machines and Digital Audio...

Since its beginnings more than fifty years ago, metal music has grown in popularity worldwide, not only as a musical culture but increasingly as a recognised field of study. This Cambridge Companion reflects the maturing field of 'metal music studies' by introducing the music and its cultures, as well as recent research perspectives from discipline...

Research into early recorded classical guitar music has been scarce until relatively recently. This has largely been due to the inaccessibility of early recordings, many of which have either lain undiscovered in library archives or undetectable in private collections. We are fortunate, however, in that certain individuals have over the decades show...

The purpose of this penultimate chapter is to draw together some of the key narrative threads discussed in this book and consider the ways in which they have continued to manifest themselves in classical guitar recordings since the 1990s. Obviously, it is not possible in a volume of this moderate length to fully encompass the multitude of developme...

This chapter considers the contrasting narratives which emerged concurrently in the recordings of British, North American and Eastern European classical guitarists during the 1970s. These developments can be understood in terms of a counter-ideological perspective on the repertoire in relation to the Segovian paradigm which continued to remain prev...

This chapter considers trends in classical guitar recording from the early 1970s to the mid-1980s which can be seen, in their focus upon retaining and revitalizing the repertoire traditions of the instrument, to reflect an attitude of conservatism. This refers both to guitarists who continued to adhere closely to the Segovian canon and those who he...

This second chapter devoted to the recording career of Andrés Segovia begins with a consideration of the maestro’s various recording activities of the 1940s as he reinstated his recording career towards the end of the Second World War. Following this the focus moves to the post-1950s period and the recordings made by Segovia during his time at Amer...

This chapter gives an overview of the development of classical guitar recording in Latin America from the 1950s to the 1970s in reference to activities of guitarists in Brazil, the Rio de La Plata, Venezuela, Mexico and Cuba, all territories which gave rise to classical guitar cultures whose musical outlooks were integral to the later development o...

o provide further context for the developments of Segovia’s recording career, this chapter surveys the emerging marketplace for classical guitar recordings in North America from the late 1930s to the early 1960s. During this period a number of guitarists emigrated to the United States from Spain and Latin America, establishing fruitful recording ca...

This chapter’s purpose is to situate the narrative of classical guitar recording in relation to the wider European context, broadly speaking from the 1950s to the mid-1980s. The focus is on the activities of classical guitarists in Spain, Germany, Austria, Czechoslovakia, and France, countries which developed distinctive classical guitar cultures d...

Having established a context for early guitar recording in Spain this chapter moves to a consideration of the development of the recording career of Andrés Segovia between 1923 and 1939, encompassing the period from his first recording in Cuba to his last HMV sessions in London prior to the Second World War. Segovia’s multi-faceted contribution to...

The purpose of this book is to trace the evolution of the classical guitar in the twentieth century as an idea expressed in recorded form. In large part it constitutes a survey of the recording careers of many of the most prominent classical guitarists active in Europe, North America and Latin America from the early twentieth century to the 2010s....

The prime exponents of the classical guitar in Britain during the 1950s and 1960s were Julian Bream (1933–2020) and his younger Australian born contemporary, John Williams (b. 1941). In their innovative approaches to album programming and recording both contributed to paradigm shifts in classical guitar recording practice in the 1960s and 1970s, fr...

This chapter describes a lesson that gets learners to go beyond the loop paradigm typical to most DAW production environments by encouraging a focus on the musical content of looped materials. Students will develop skills using a DAW’s MIDI editing facilities for “re-calculating” musical content, such as note value augmentation/diminution and pitch...

My aim in this chapter is to isolate certain key threads that have emerged from the substantial body of literature on songwriting that has been produced over the last few decades - threads that constitute those theoretical perspectives that might usefully inform the development of practical pedagogical frameworks for the teaching of songwriting. In...

This article is the first published survey of Denis ApIvor's output for classical guitar. It appeared in the now defunct Guitar Review, Summer 2006.