[en] This present work, centered on locating, describing and analysing Spanish guitar methods created from 1790 to about 1900, has been able to list an extensive corpus of manuscript and printed treatises produced both in Spain and abroad which as well as the interest of its compilation and systematic ordering, offers the possibility of increasing our knowledge of historical repertories, technical procedures and performing practices. It includes an itemized inventory of ninety-one methods, a figure which rises to one hundred and ninety if one also includes the new editions and new issues which have been discovered. Bearing in mind that music publishing in a large part of the nineteenth century was less mechanized than was the case later, and that it readily responded to the needs of its public, such a number bears witness to an important presence of the guitar and its practice in Spanish nineteenth century society. These methods demonstrate the diversity of the instrument&#8217;s functions and repertories, which did not limit itself to the well-known solo and polyphonic compositions of famous musicians but also extended into more popular contexts through methods written not only in formal music notation but also in other systems, aimed at satisfying a varied range of expectations which in their turn reflect the adaptability of the guitar to a variety of contexts. Without neglecting the names which are well known in traditional historiography, this thesis seeks to rescue the pedagogical works, technical treatises and teaching manuals of those other writers who had been relegated to oblivion because they were not part of the so-called academic guitar; and it also takes into account those who had to carry out their work in other countries such as Great Britain, France, or the USA because of political or social events.

[es] El trabajo, centrado en la localización, descripción y análisis de los métodos de guitarra españoles creados desde 1790 hasta aproximadamente 1900, ha conseguido reunir un extenso corpus de tratados, manuscritos o impresos, producidos tanto en España como en el extranjero que, al interés de su propia compilación y ordenación sistemática, añaden la posibilidad de ampliar el conocimiento sobre repertorios, técnicas de ejecución y prácticas performativas históricas. Se ha creado un inventario razonado de noventa y un métodos que, con todas las reediciones o reimpresiones descubiertas alcanza la cifra de ciento noventa registros. Teniendo en cuenta que la edición musical en buena parte del siglo XIX era artesanal y respondía a la demanda de los aficionados, dicho número testimonia una importante presencia de la guitarra y de su praxis en la sociedad española decimonónica. Los hallazgos revelan la diversidad de funciones y repertorios del instrumento, que no se circunscribía únicamente a las más conocidas composiciones solistas polifónicas creadas por músicos de renombre sino que se extendía a ámbitos más populares a través de métodos tanto en música como en otros sistemas alternativos y dirigidos a satisfacer una variada gama de expectativas que, a su vez, reflejan la adaptabilidad de la guitarra a cualquier contexto. Sin desatender los nombres más instalados en la historiografía tradicional, este trabajo pretende rescatar las obras pedagógicas, prontuarios técnicos y manuales propedéuticos de aquellos otros autores que quedaron relegados al olvido por no formar parte de la llamada guitarra académica, tomando en consideración, además, a cuantos debieron desarrollar su labor en distintos países como Gran Bretaña, Francia o Estados Unidos debido a los acontecimientos políticos o a las circunstancias sociales de su tiempo.