English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

In an article published in 1939 the Mexican musicologist Miguel Bernal Jimenez revealed the existence of a series of fourteen sonatas, described as “for two guitars”, in the musical archive of Santa Rosa de Valladolid (now Morelia, in the state of Michoacan), nowadays lost. On the other hand, two sonatas for guitar from the same archive were played in a concert of music from New Spain, organized by the same Bernal Jimenez in 1939, by the guitarist Renan Cardenas Pinelo, whose scores, in a modern copy, have survived. A study of these scores shows that the original was probably intended for guitar and continuo, in the same style as the sonatas that appear in the copy from Veracruz of the guitar treatise by Antonio Vargas y Guzman, dating from 1776, modified in order that they could be played solo, and that the may belong to the series mentioned by Bernal Jimenez in 1952 whose whereabouts is at the present time unknown

Dos sonatas novohispanas para guitarra del siglo XVIII: un caso de Musicología forense