The electric guitar has long been a symbol of artistic prowess and cultural rebellion, primarily associated with male guitar legends such as Jimi Hendrix, Eddie Van Halen, and Jimmy Page. This prevalent gender disparity in electric guitar culture has perpetuated the belief that men not only pioneered its creation but have also historically dominated it. However, this perception is challenged by the notable contribution of women to the field. From iconic figures such as Memphis Minnie and Sister Rosetta Tharpe, to trailblazers such as Jennifer Batten and Bonnie Raitt, women have defied conventional expectations related to gender, culture, and class, while utilizing their guitars as instruments of personal expression. This investigation delves into the contributions, struggles, and achievements of women players, shedding light on their vital role in shaping the history of the electric guitar. It is conducted through the lens of guitarist Sue Foley, who sought inspiration from these heroines to light her own path while navigating the rugged landscape of electric guitar culture. Foley has invested decades of research into interviewing female guitarists, studying and learning the styles and methods of many of the pioneering women guitar players, while pursuing her career as a professional blues guitarist and recording artist.

The electric guitar is often presented as a novel but straightforward solution to a particular problem: amplification. It is remarkable, then, that histories of the instrument focus mainly on the iconic six-string itself. No electric guitar is complete without an amplifier, and no companion to the electric guitar is complete without a corresponding history of electronic amplification. This chapter is about certain tendencies and possibilities that have existed around electric guitar amplification. It covers the historical development of the amplifier, focusing less on a loudness teleology than the instrument’s social and political construction. It also discusses the history of amplification in relation to recent scholarly interests in signal chains and supply chains. The chapter concludes with a discussion of electric guitar amplification and the problem of electricity—suggesting that the power of the amplifier has never been found in loudness alone.

This chapter outlines key developments in effect pedal history since the format’s inception in the 1960s. Centered around fuzz, overdrive, delay, and modulation effects, this chapter considers the technology’s role in how electric guitarists understand tone. Additionally, this chapter details the emergence of more recent playing styles explicitly centered around liberal effect pedal use, especially involving granular or micro loopers. By exploring these various technologies and performance techniques, this chapter suggests that guitar pedals produce not only musical sounds but also knowledge about musical sounds.

Historical critiques of Schubert’s methods of development hold that he substitutes ‘genuine’ development with sequences of variation, blurring the boundary between musical progression (development via fragmentation) and additive expansion (repetition via sequence and variation; Adorno 1928, Salzer 1928). Recent appraisals of Schubert’s expansive developmental strategies suggest, alternatively, that the distinction between the two techniques is not as unambiguous as might be assumed (Burstein 1997, Hyland 2013, Martinkus 2018), and have begun to problematise this binary opposition. Building thereon, this chapter brings the continuity drafts and autograph scores for the Piano Sonatas D958, D959 and D960 into focus by paying particular attention to the changes made by Schubert in the final versions, which employ variation or varied repetition as part of an ongoing developmental process. It assesses the impact on formal function and syntax caused by the introduction of varied repeats at different levels of structure, from the individual bar to the full phrase, underlining the resulting amalgamation of sonata (discursive) and variation (recursive) techniques that these works articulate (Ivanovitch 2010). Ultimately, through close examination of Schubert’s compositional revisions, this chapter presents a fuller understanding of what constitutes development in a Schubertian context and the vital role of variation therein.

More than half of Schubert’s chamber works from 1824 to 1828 feature his preferred instrument, the piano. Yet in none of them does it function as an instrumental accompaniment, being instead an equal participant in a duo or trio chamber format. Especially in solo chamber works written for performance in recitals by befriended virtuoso instrumentalists, Schubert was perfectly willing to adapt the style brillant that flourished between 1820 and 1830. Based on the assumption that Schubert applied the style brillant solely for reasons of economy, his virtuoso chamber music has previously been considered to be of lesser value, mentioned only in passing. More recently, however, his turn to extroverted forms of expression has been described as a deliberate counterfoil to the introverted sublimation of his other ‘late’ works. This chapter considers the Fantasy in C Major (D934) and Variations in E Minor on ‘Trockne Blumen’ (D802) to show how Schubert discovered the sophisticated and outgoing mannerisms of the style brillant; it also discusses the development of ornamented variation techniques as an alternative to thematic development, and how this shift of emphasis between musical substance and figuration seems to anticipate the aesthetics of the Romantic arabesque.

There can be little doubt that the piano was one of Schubert’s instruments of choice, featuring not only in an array of solo pieces but also in chamber music and as an accompaniment to Lieder. Given the popularity of the instrument in Vienna during the early nineteenth century, this is perhaps not surprising. However, very little is known about Schubert’s own instruments, or which specific makers and models he preferred throughout his career. The instruments themselves underwent substantial change during Schubert’s lifetime, with preference moving away from the delicate touch and tone of late eighteenth-century models to the larger compass and more weighty tonal qualities of the instruments of the 1820s and 1830s, in part as a reaction to the demands of composers. By considering Schubert’s connection to specific instrument makers, the unique qualities of Viennese instruments and individual works for pianoforte by Schubert, this paper revisits what is known about the instruments he may have preferred, while also making observations about the connections between his keyboard music and the instruments that were available in early nineteenth-century Vienna.

Franz Schubert’s waltzes may seem small, but they bear more than meets the eye. Leopold von Sonnleithner tells us that Schubert ‘never danced, but was always ready to sit down at the piano, where for hours he improvised the most beautiful waltzes; those he liked he repeated, in order to remember them and to write them out afterwards’. The composer appears to have been inspired by the motion and joy he saw and caused, for certain waltzes communicate physical momentum and personalised interiority – reflections and echoes from the past.The effects expressed within Schubert’s waltzes arise from expectations elicited by their voice-leading, coupled with changes in texture, register, dynamics, metre and rhythm. This chapter will explore representative examples from Schubert’s Originaltänze, Valses sentimentales, Valses nobles, and the Zwanzig Walzer (Letzte Walzer) to demonstrate how they convey impressions of physicality and flow, perceptions of distance and disturbance, plus aspects of sonority and spatiality. In turn, these reflections and echoes offer insights regarding Schubert’s art and aesthetics, as well as the past they inhabited.