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Ask guitar players about their instruments, and you’re likely to get a story—where the guitar came from, or what makes it unique, or why the player will never part with it. Most guitarists have strong feelings about their primary tool, and some are downright passionate about their axes. Chuck Holley is a professional photographer and writer who loves music and listening to musicians talk about their trade. For several years, he has been photographing guitarists with their prized instruments and collecting their stories. This beautifully illustrated book presents these stories in revelatory photographs and words.

The guitarists included in this book range from high-profile performers, including Rosanne Cash, Guy Clark, Laurence Juber, Jorma Kaukonen, JD Souther, Bill Frisell, Dave Alvin, and Kelly Willis, to renowned studio musicians and band members. Holley’s beautifully composed photographs portray them with their favorite guitar, including detail shots of the instrument. Accompanying the photographs are the musicians’ stories about the Gibsons, Fenders, Martins, and others that have become the guitar in their lives, the one that has a special lineage or intangible qualities of sustain, tone, clarity, and comfort that make it irreplaceable. Several musicians talk about how the guitar chose them, while others recount stories of guitars lost or stolen and then serendipitously recovered. Together, these photographs and stories underscore the great pleasure of performing with an instrument that’s become a trusted friend with a personality all its own.

Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados.

Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.

Gibb Schreffler draws on two decades of research to investigate dhol's place among the cultural formations within Punjabi communities. Analyzing the identities of musicians, Schreffler illuminates concepts of musical performance, looks at how these concepts help create or articulate Punjabi social structure, and explores identity construction at the intersections of ethnicity, class, and nationality in Punjab and the diaspora. As he shows, understanding the identities of dhol players is an ethical necessity that acknowledges their place in Punjabi cultural history and helps to repair their representation.

An engaging and rich ethnography, Dhol reveals a beloved instrumental form and the musical and social practices of its overlooked performers.

Environment, craft, and meaning in the work of Appalachian instrument makers.

How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce considers the meanings of work, place, and creative expression in drawing music from wood.

Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region’s work and nature.

Original and expert, Instrumental Lives brings a new understanding of how musical instruments interact with their environments and societies. Contributors: Supeena Insee Adler, Marie-Pierre Lissoir, Terauchi Naoko, Jennifer C. Post, Helen Rees, Xiao Mei, Tyler Yamin, and Bell Yung

Shows how musical instruments and the sounds they produce are not incidental, but an integral part of music theory.

Many musicians dread music theory: Its rules and diagrams can feel stern and lifeless, far removed from the sounds that make music so thrilling. In this book, Alexander Rehding looks at music theory from a different angle. He argues that the sounds of the instruments on which music theory is demonstrated—starting with the piano in the music classroom—play a much more active role than we usually notice. They are “instruments” in a double sense: musical noisemakers, but also tools in a kind of scientific experiment. Rehding strips these devices down to their sound-generating mechanisms to show us how to read musical instruments for their theoretical content.

Instruments of Music Theory turns our attention to instruments such as multiphonic sirens, tuning forks, Chladni plates, Aeolian harps, and Wheatstone concertinas—these devices generate sounds that call for new ways of listening, measuring, and thinking about music. Bringing together music theory, critical organology, and media theory, this book can be read as a user’s manual for how to put sound back into music theory. Rehding shows us how instruments do not only produce sound—they produce knowledge about music. Through the lens of these new instruments, Instruments of Music Theory recasts fundamental musical ideas such as pitch, harmony, form, and scale from the ground up to give new meaning to the stuff we call music.

Drawing on extensive research and previously untapped archival materials, Lynn Edwards Butler explores Scheibe's professional relationships and the full range of his projects. These assignments included the three-manual organ for St. Paul’s Church, renovations of the organs in the important churches of St. Thomas and St. Nicholas, and the lone surviving example of Scheibe's craft, a small organ in the nearby village of Zschortau. Viewing Scheibe within the context of the era, Butler illuminates the music scene of Bach's time as she follows the life of a gifted craftsman and his essential work on an instrument that anchored religious musical practice and community.

Long a symbol of American culture, the banjo actually originated in Africa before European-Americans adopted it. Karen Linn shows how the banjo--despite design innovations and several modernizing agendas--has failed to escape its image as a "half-barbaric" instrument symbolic of antimodernism and sentimentalism. 

Caught in the morass of American racial attitudes and often used to express ambivalence toward modern industrial society, the banjo stood in opposition to the "official" values of rationalism, modernism, and belief in the beneficence of material progress. Linn uses popular literature, visual arts, advertisements, film, performance practices, instrument construction and decoration, and song lyrics to illustrate how notions about the banjo have changed. 

Linn also traces the instrument from its African origins through the 1980s, alternating between themes of urban modernization and rural nostalgia. She examines the banjo fad of bourgeois Northerners during the late nineteenth century; the African-American banjo tradition and the commercially popular cultural image of the southern black banjo player; the banjo's use in ragtime and early jazz; and the image of the white Southerner and mountaineer as banjo player.

This rich collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the exotic-sounding South American bandoneon and the sanfoninha. Capturing the instrument's spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia and the Dominican Republic, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde.

Contributors are María Susana Azzi, Egberto Bermúdez, Mark DeWitt, Joshua Horowitz, Sydney Hutchinson, Marion Jacobson, James P. Leary, Megwen Loveless, Richard March, Cathy Ragland, Helena Simonett, Jared Snyder, Janet L. Sturman, and Christine F. Zinni.

In The Amateur Wind Instrument Maker, Trevor Robinson provides clear, practical instructions for building a wide variety of wind instruments using materials and tools accessible to the dedicated amateur. Beginning with an introduction to the principles of wind instrument design and the basic woodworking materials required, Robinson proceeds through detailed plans and step-by-step guidance for constructing instruments including flutes and fifes, recorders, clarinets, shawms, and oboes, among others. Each chapter combines historical context with hands-on instruction, offering dimensions, bore specifications, tone hole placement, and finishing techniques that allow the builder to produce genuinely playable instruments. 

Compact and accessibly written, the revised edition of The Amateur Wind Instrument Maker remains a foundational reference in the field of amateur instrument building, enabling generations of amateur builders to craft their own instruments, from straightforward projects suitable for beginners to more demanding undertakings for experienced woodworkers.

The rich history of the acoustic guitar and its impact on the music world.

In 2020, guitar expert John Stubbings released a limited-edition book on the American acoustic guitar that sold out in days. Now, The Devil Is in It returns with additional research and subject matter for a new generation of readers. Stubbings traveled the country and met with guitar makers, players, collectors, and historians to unravel the long and rich history of the acoustic guitar, its evolution, and the music it has made over the last hundred years.

Starting with the eighteenth-century European classical guitar, luthiers altered the instrument, changing the way musicians played them, and in turn the music they made. This slow but steady transformation created the iconic American flat-top that became influential across genres and rooted itself in cultural significance. The guitar developed from an obscure instrument into a superstar of the musical world, rivaling then overshadowing its competition. Tied to artists from Gillian Welch and Tracy Chapman to Taylor Swift and Ed Sheeran, the acoustic guitar maintains its eminence in American music and culture. The story of an alluring instrument that shaped the music of the twentieth century, The Devil Is in It is a must-read for lovers of the acoustic guitar and the music it has made.

Guitars inspire cult-like devotion: an aficionado can tell you precisely when and where their favorite instrument was made, the wood it is made from, and that wood’s unique effect on the instrument’s sound. In The Guitar, Chris Gibson and Andrew Warren follow that fascination around the globe as they trace guitars all the way back to the tree. The authors take us to guitar factories, port cities, log booms, remote sawmills, Indigenous lands, and distant rainforests, on a quest for behind-the-scenes stories and insights into how guitars are made, where the much-cherished guitar timbers ultimately come from, and the people and skills that craft those timbers along the way.

Gibson and Warren interview hundreds of people to give us a first-hand account of the ins and outs of production methods, timber milling, and forest custodianship in diverse corners of the world, including the Pacific Northwest, Madagascar, Spain, Brazil, Germany, Japan, China, Hawaii, and Australia. They unlock surprising insights into longer arcs of world history: on the human exploitation of nature, colonialism, industrial capitalism, cultural tensions, and seismic upheavals. But the authors also strike a hopeful note, offering a parable of wider resonance—of the incredible but underappreciated skill and care that goes into growing forests and felling trees, milling timber, and making enchanting musical instruments, set against the human tendency to reform our use (and abuse) of natural resources only when it may be too late. The Guitar promises to resonate with anyone who has ever fallen in love with a guitar. 

A creative genius and prolific inventor, Leon Theremin almost single-handedly launched the field of electronic music in 1920. The theremin--the only musical instrument that is played without being touched--created a sensation worldwide and paved the way for the modern synthesizer. But the otherworldly sound that entranced millions was only part of Theremin's epic life. 

As a Soviet scientist, Theremin surrendered his life and work to the service of State espionage. On assignment in Depression-era America, he worked the engines of capitalist commerce while passing data on US industrial technology to the Soviet apparat. Following his sudden disappearance in 1938, Theremin vanished into the top-secret Soviet intelligence machine and was presumed dead for nearly thirty years. Using the same technology that spawned the theremin, he designed bugging devices and a host of other electronic wonders, including an early television and multimedia devices that anticipated performance art and virtual reality by decades. 

Albert Glinsky's biography places the inventor at world events stretching from the Russian Revolution through the Cold War to perestroika. Throughout, he spins whimsy and treachery into an astonishing drama of one man's hidden loyalties, mixed motivations, and irrepressibly creative spirit.