Texas Tech University hosted the American String Teachers Association's 3rd National Guitar Symposium. The event, sponsored by ASTA's Guitar Division, took place October 24-28, 1979 in Lubbock, Texas. Guitarists and educators came from around the country to help make it one of the finest guitar gatherings ever held. Symposium activities fell into four main categories: 1) lecture-demonstrations; 2) mini-concert series; 3) master-classes; and 4) major concerts by internationally acclaimed artists.
The morning sessions were devoted to the presentation of lectures and workshops on the history, technique and pedagogy of the guitar. It would be impossible here to detail the content of the many fine presentations made, but perhaps a quick overview of topics presented will give an idea of their scope.
Speakers for the first session were Paul Cox, Matanya Ophee and Brian Jeffery. They examined some of the earliest methods for the guitar and were able to demonstrate that many of the current controversial issues in guitar technique were actually raised over 150 years ago by Sor, Aguado and others. Of interest to many was Mr. Ophee's modern version of Aguado's famous tripod, a device designed to hold the guitar securely and allow the performer to assume a more natural sitting position.

Paul O'Dette, Michael Lorimer and Pepe Romero listen a question from the audience during a joined Master Class.

A series of panel discussions offered various approaches to teaching children, the younger beginner, and the older beginner. Panel members included Sonia Michelson, Peter Miller, Margaret Mistak, Douglas Smith, Jim Forrest and Duke Miller. Jerry Lobdill's demonstration and review of the Juan Martin Flamenco Method brought to everyone's attention a well-written, authoritative source for instruction in this important guitar style. Neil Anderson, who teaches at the College of Lowell made an intelligent presentation of the Aim Directed Movement practice concept. Unfortunately, illness prevented Aaron Shearer from attending the Symposium, but his paper on Performance Development was read by Philip Candelaria, a former student of Mr. Shearer. The Ida Presti Approach (i.e., playing off the right side of the nail) was convincingly demonstrated by Alice Artzt to be a viable performance technique. Duke Miller of USC presented An Innovative Approach to Fingerboard Visualization. The novel concepts he put forward have been developed through years of experience as a performer and teacher of studio guitarists. John Schneider used taped performances and a specially designed guitar to illustrate the tremendous possibilities of microtonal music for guitar. His examination of systems of intonation was thoroughly enlightening and thought provoking. The great variety of presentations offered something interesting to all Symposium participants.
A series of seven mini-concerts afforded the opportunity to hear some of today's best young performers. Performers were: Larry Snitzler and Ruth Vinciguerra (guitar-flute duo); Philip Candelaria; Steve Robinson; John Holmquist; and Robert Guthrie and Jeffery Van (guitar duo).
As part of the series, two concerts of new music showcased recent unpublished works. New music performers were: Bradley Bogle; Michael Adamczyk; Gail Littleton; Benjamin Bernstein; Rodney Stuckey; Ron Franklin; Philip Candelaria; Charles Cavanaugh; Steve Waechter; Christoph Harlan; Michael Cedric Smith; Neil Anderson; David McLellan; Richard Provost; Karen Krout; Susan Schoenfeld; and the Texas Tech guitar ensemble. In addition to these programs, there were two half-hour "courtyard concerts" featuring Michael Cedric Smith and the guitar duo of Michael Andriaccio and Joanne Castellani.
Principal artists for the afternoon master classes and evening concerts were Paul O'Dette, lute; Michael Lorimer, baroque and classical guitar; and Pepe Romero and Abel Carlevaro, classical guitar.
The master classes were presented on three successive afternoons. On each day three of the major artists conducted a class. This afforded the performers and auditors an excellent opportunity to observe several different teaching approaches.
O'Dette and Lorimer were quite similar in the way they concentrated on the specific musical and technical problems of each performer. Their precise recommendations often led to an immediate improvement in the student's performance and concept of the music.
Pepe Romero's suggestions were of a general nature and more romantic in character. Carlevaro spoke principally of those elements of his unique technical approach he deemed most important, not always relating it successfully to the specific needs of the student performing for him.

Abel Carlevaro in concert

The relaxed atmosphere of these sessions helped to make them perhaps the most valuable learning experience of the Symposium. Performers selected to play in the master classes were: David Fregonese; Jesse Reyes; David Breaugh; Ron Franklin; Robert Nathanson; Tom Prisloe; Polly Maynard; John Kizzie; Michael Smith; Patricio Contreras;. Larry Hammett; Charles Cavanaugh; and David Nystel.
The opening concert featured Paul O'Dette, an expert in early music and one of the world's finest lutenists. His superb performance and intelligent presentation of historical lute technique made a persuasive case for the thumb-under right hand position in lute performance.
The most entertaining concert of the series was given by Michael Lorimer who displayed proficiency in the handling of musical styles from the Baroque to the present day. His southwest premiere performance of William Aibright's Shadows for solo guitar showcased a major new work for the instrument. Mr. Lorimer infused his concert and master classes with the exuberance, good humor, and sensitivity which are characteristic of his personality.
Friday evening's concert by Pepe Romero was markedly different from the previous presentations. Although a part of the Symposium concert series, Mr. Romero's appearance was sponsored by the University Center Program Board, thus attracting a larger general audience. Consequently, his selection of popular and well-known standards (e.g., Recuerdos de la Alhambra, Capricho Arabe, and Leyenda) was geared toward the less musically sophisticated. The program was, however, well played and enthusiastically received. Mr. Romero responded to a standing ovation by improvising Flamenco variations for an encore.
The last of the major concerts was given Saturday night by Uruguayan guitarist Abel Carlevaro. Despite some minor technical problems and an embarrassing memory slip, Carlevaro's playing was remarkably clean and controlled. His meticulous technical approach made some of the pieces seem a bit sterile, working to best advantage in his stunning performance of Ohana's Estelas. Mr. Carlevaro closed the program with the southwest premiere of his own three movement Concierto del Plata, played with piano accompaniment.
Sunday's awards banquet honored those whose many contributions helped make the Symposium a success. A special thanks was accorded Symposium Director James Bogle for a job well done. An award honoring Vladimir Bobri's contributions to the guitar was accepted on his behalf by Alice Artzt.
Even as participants were saying their goodbyes, preparations for the next Symposium in October, 1981 were underway.