{"id":{"repo_id":"dialnet","oai_identifier":"oai:dialnet.unirioja.es:TES0000023122"},"canonical_url":"https://search.dev.ndltd.org/etd/dialnet/oai:dialnet.unirioja.es:TES0000023122","repository":{"repo_id":"dialnet","name":"Dialnet","base_url":"https://dialnet.unirioja.es/oaites/OAIHandler"},"display":{"title":"La guitarra clásica en el mercado discográfico español (1926-1939)","abstract":"The second half of the 1920s saw an increase in the publication of guitar recordings aided by new electrical recording technology and the expansion of cultural industries. The Spanish record labels Odeon, Parlophon, La Voz de su Amo, Regal and Columbia led the international publication of electric albums recorded by classical guitarists such as Miguel Llobet, María Luisa Anido, Andrés Segovia, Emilio Pujol, Daniel Fortea, Juan Parras del Moral or Regino Sainz de la Maza, among others. This process coincides with a transformative moment in the history of the instrument through which the guitar manages to penetrate the international classical music market. In this framework, the thesis studies the functioning of the industry and the record market in Spain; the labels and their A&R policy; classical guitar recordings and their production and publication process; the recording activity of the performers and the recorded repertoire, as well as its impact, dissemination and reception through the media. The thesis shows how an interested action took place between record labels and performers that, supported by the media, contributed to modifying the position of the guitar within classical music as a concert instrument, to disseminate and establish repertoire and to introduce the performers in the classical market. The guitarists established an artistic and economic strategy supported by records, radio and the press, becoming media artist. We check how the Spanish recording industry develops to its full potential in parallel to the international companies through autonomous companies but integrated into multinationals and we reveal new data on the functioning of record companies and their relationship with their parent companies. Our work shows how, before 1940, the guitar record market was varied in performers and repertoire. Furthermore, we demonstrate the leadership of the performers in the selection of the repertoire to be recorded, combining their criteria and artistic interest with economic interests. Finally, the thesis offers a discography model for cataloguing, documentation, bibliographic and analytical control of recordings and phonograms.","abstract_html":"The second half of the 1920s saw an increase in the publication of guitar recordings aided by new electrical recording technology and the expansion of cultural industries. The Spanish record labels Odeon, Parlophon, La Voz de su Amo, Regal and Columbia led the international publication of electric albums recorded by classical guitarists such as Miguel Llobet, María Luisa Anido, Andrés Segovia, Emilio Pujol, Daniel Fortea, Juan Parras del Moral or Regino Sainz de la Maza, among others. This process coincides with a transformative moment in the history of the instrument through which the guitar manages to penetrate the international classical music market. In this framework, the thesis studies the functioning of the industry and the record market in Spain; the labels and their A&R policy; classical guitar recordings and their production and publication process; the recording activity of the performers and the recorded repertoire, as well as its impact, dissemination and reception through the media. The thesis shows how an interested action took place between record labels and performers that, supported by the media, contributed to modifying the position of the guitar within classical music as a concert instrument, to disseminate and establish repertoire and to introduce the performers in the classical market. The guitarists established an artistic and economic strategy supported by records, radio and the press, becoming media artist. We check how the Spanish recording industry develops to its full potential in parallel to the international companies through autonomous companies but integrated into multinationals and we reveal new data on the functioning of record companies and their relationship with their parent companies. Our work shows how, before 1940, the guitar record market was varied in performers and repertoire. Furthermore, we demonstrate the leadership of the performers in the selection of the repertoire to be recorded, combining their criteria and artistic interest with economic interests. Finally, the thesis offers a discography model for cataloguing, documentation, bibliographic and analytical control of recordings and phonograms.","abstract_has_math":false,"creators":["Ruiz Preciado, Jorge"],"institution":"Universidad de La Rioja (España)","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Rodríguez Fernández, Pablo L. (Universidad de La Rioja)"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024","date_published":"2024","updated_at":"2026-07-24T06:27:07Z","subjects":[],"languages":["spa"],"rights":["LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://dialnet.unirioja.es/servlet/oaites?codigo=324494","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Rodríguez Fernández, Pablo L. (Universidad de La Rioja)"]},{"key":"dc:creator","label":"Author","values":["Ruiz Preciado, Jorge"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2024"]},{"key":"dc:publisher","label":"Institution","values":["Universidad de La Rioja (España)"]},{"key":"dc:type","label":"Dc Type","values":["text (thesis)"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["spa"]},{"key":"dc:rights","label":"Dc Rights","values":["LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://dialnet.unirioja.es/servlet/oaites?codigo=324494"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The second half of the 1920s saw an increase in the publication of guitar recordings aided by new electrical recording technology and the expansion of cultural industries. The Spanish record labels Odeon, Parlophon, La Voz de su Amo, Regal and Columbia led the international publication of electric albums recorded by classical guitarists such as Miguel Llobet, María Luisa Anido, Andrés Segovia, Emilio Pujol, Daniel Fortea, Juan Parras del Moral or Regino Sainz de la Maza, among others. This process coincides with a transformative moment in the history of the instrument through which the guitar manages to penetrate the international classical music market. In this framework, the thesis studies the functioning of the industry and the record market in Spain; the labels and their A&R policy; classical guitar recordings and their production and publication process; the recording activity of the performers and the recorded repertoire, as well as its impact, dissemination and reception through the media. The thesis shows how an interested action took place between record labels and performers that, supported by the media, contributed to modifying the position of the guitar within classical music as a concert instrument, to disseminate and establish repertoire and to introduce the performers in the classical market. The guitarists established an artistic and economic strategy supported by records, radio and the press, becoming media artist. We check how the Spanish recording industry develops to its full potential in parallel to the international companies through autonomous companies but integrated into multinationals and we reveal new data on the functioning of record companies and their relationship with their parent companies. Our work shows how, before 1940, the guitar record market was varied in performers and repertoire. Furthermore, we demonstrate the leadership of the performers in the selection of the repertoire to be recorded, combining their criteria and artistic interest with economic interests. Finally, the thesis offers a discography model for cataloguing, documentation, bibliographic and analytical control of recordings and phonograms.","En la segunda mitad de la década de 1920 se produce un aumento en la publicación de grabaciones de guitarra favorecido por la nueva tecnología eléctrica de grabación y la expansión de las industrias culturales. Los sellos discográficos españoles Odeon, Parlophon, La Voz de su Amo, Regal y Columbia lideraron a nivel internacional la publicación de discos eléctricos grabados por guitarristas clásicos como Miguel Llobet, María Luisa Anido, Andrés Segovia, Emilio Pujol, Daniel Fortea, Juan Parras del Moral o Regino Sainz de la Maza, entre otros. Este proceso coincide con un momento transformador en la historia del instrumento por el que acabaría situándose en el mercado internacional de la clásica. En este marco, la tesis estudia el funcionamiento de la industria y el mercado discográfico en España; los sellos y su política de A&R; las grabaciones de guitarra clásica y su proceso de producción y publicación; la actividad discográfica de los intérpretes y el repertorio grabado, así como su impacto, difusión y recepción a través de los medios de comunicación. La tesis muestra cómo se produjo una acción interesada entre sellos discográficos e intérpretes que, apoyada por los medios de comunicación, contribuyó a modificar la posición de la guitarra dentro de la música clásica como instrumento de concierto, a difundir y fijar repertorio y a introducir a los intérpretes en el mercado de la clásica. Los guitarristas establecen una estrategia artística y económica apoyada en los discos, radio y prensa, convirtiéndose en intérpretes mediáticos. Comprobamos cómo la industria discográfica española se desarrolla en todo su potencial de manera paralela a la internacional mediante compañías autónomas pero integradas en las multinacionales y damos a conocer nuevos datos sobre el funcionamiento de las discográficas y su relación con las casas matriz. Nuestro trabajo muestra cómo, antes de 1940, el mercado de discos de guitarra era variado en intérpretes y repertorio. Además, demostramos el liderazgo de los intérpretes frente a las direcciones artísticas de los sellos en la selección del repertorio a grabar, aunando su criterio e interés artístico con los intereses económicos. Por último, la tesis ofrece un modelo de discografía para la catalogación, documentación, control bibliográfico y analítico de grabaciones y fonogramas."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["La guitarra clásica en el mercado discográfico español (1926-1939)"]}]}],"canonical_facts":{"dc:contributor":["Rodríguez Fernández, Pablo L. (Universidad de La Rioja)"],"dc:creator":["Ruiz Preciado, Jorge"],"dc:date":["2024"],"dc:description":["The second half of the 1920s saw an increase in the publication of guitar recordings aided by new electrical recording technology and the expansion of cultural industries. The Spanish record labels Odeon, Parlophon, La Voz de su Amo, Regal and Columbia led the international publication of electric albums recorded by classical guitarists such as Miguel Llobet, María Luisa Anido, Andrés Segovia, Emilio Pujol, Daniel Fortea, Juan Parras del Moral or Regino Sainz de la Maza, among others. This process coincides with a transformative moment in the history of the instrument through which the guitar manages to penetrate the international classical music market. In this framework, the thesis studies the functioning of the industry and the record market in Spain; the labels and their A&R policy; classical guitar recordings and their production and publication process; the recording activity of the performers and the recorded repertoire, as well as its impact, dissemination and reception through the media. The thesis shows how an interested action took place between record labels and performers that, supported by the media, contributed to modifying the position of the guitar within classical music as a concert instrument, to disseminate and establish repertoire and to introduce the performers in the classical market. The guitarists established an artistic and economic strategy supported by records, radio and the press, becoming media artist. We check how the Spanish recording industry develops to its full potential in parallel to the international companies through autonomous companies but integrated into multinationals and we reveal new data on the functioning of record companies and their relationship with their parent companies. Our work shows how, before 1940, the guitar record market was varied in performers and repertoire. Furthermore, we demonstrate the leadership of the performers in the selection of the repertoire to be recorded, combining their criteria and artistic interest with economic interests. Finally, the thesis offers a discography model for cataloguing, documentation, bibliographic and analytical control of recordings and phonograms.","En la segunda mitad de la década de 1920 se produce un aumento en la publicación de grabaciones de guitarra favorecido por la nueva tecnología eléctrica de grabación y la expansión de las industrias culturales. Los sellos discográficos españoles Odeon, Parlophon, La Voz de su Amo, Regal y Columbia lideraron a nivel internacional la publicación de discos eléctricos grabados por guitarristas clásicos como Miguel Llobet, María Luisa Anido, Andrés Segovia, Emilio Pujol, Daniel Fortea, Juan Parras del Moral o Regino Sainz de la Maza, entre otros. Este proceso coincide con un momento transformador en la historia del instrumento por el que acabaría situándose en el mercado internacional de la clásica. En este marco, la tesis estudia el funcionamiento de la industria y el mercado discográfico en España; los sellos y su política de A&R; las grabaciones de guitarra clásica y su proceso de producción y publicación; la actividad discográfica de los intérpretes y el repertorio grabado, así como su impacto, difusión y recepción a través de los medios de comunicación. La tesis muestra cómo se produjo una acción interesada entre sellos discográficos e intérpretes que, apoyada por los medios de comunicación, contribuyó a modificar la posición de la guitarra dentro de la música clásica como instrumento de concierto, a difundir y fijar repertorio y a introducir a los intérpretes en el mercado de la clásica. Los guitarristas establecen una estrategia artística y económica apoyada en los discos, radio y prensa, convirtiéndose en intérpretes mediáticos. Comprobamos cómo la industria discográfica española se desarrolla en todo su potencial de manera paralela a la internacional mediante compañías autónomas pero integradas en las multinacionales y damos a conocer nuevos datos sobre el funcionamiento de las discográficas y su relación con las casas matriz. Nuestro trabajo muestra cómo, antes de 1940, el mercado de discos de guitarra era variado en intérpretes y repertorio. Además, demostramos el liderazgo de los intérpretes frente a las direcciones artísticas de los sellos en la selección del repertorio a grabar, aunando su criterio e interés artístico con los intereses económicos. Por último, la tesis ofrece un modelo de discografía para la catalogación, documentación, control bibliográfico y analítico de grabaciones y fonogramas."],"dc:format":["application/pdf"],"dc:identifier":["https://dialnet.unirioja.es/servlet/oaites?codigo=324494"],"dc:language":["spa"],"dc:publisher":["Universidad de La Rioja (España)"],"dc:rights":["LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI"],"dc:title":["La guitarra clásica en el mercado discográfico español (1926-1939)"],"dc:type":["text (thesis)"]},"updated_at":"2026-07-24T06:27:07Z"}