In this master's thesis, we present the development of the guitar in Vienna, the capital of the Habsburg Monarchy, which at the time encompassed the territory of present-day Slovenia. We explore a generally lesser-known yet significant aspect of the rich musical life of this then-musical capital, represented by guitar music. Initially, we briefly introduce the main representatives of the Viennese classical period, who are simultaneously central figures in the history of music. We then briefly outline the development of the guitar, which acquired its classical form and tuning, as it is known today, in the second half of the 18th century. The central part of the thesis provides a detailed description of guitar activities in Vienna. We describe the main reasons for the rapid rise in the guitar's popularity, which were conditioned by the Classical style itself, widespread chamber music-making across all social strata, and the popularity of folk and dance music. The Classical guitar, with its character, perfectly suited the taste and needs of the time. This is followed by a presentation of some of the main representatives of Viennese guitar music, both locals and immigrants, especially Italians. We focus more closely on the life and work of Mauro Giuliani, who, alongside Fernando Sor (active in Paris), was the most important Classical guitarist and guitar composer. We also outline supporting activities, music publishing, and instrument making. In terms of publishing, we concentrate on the three main publishing houses: Artaria, Haslinger, and Diabelli & Co. For guitar makers, we provide a detailed presentation of Johann Georg Stauffer as the "inventor" of the modern classical guitar and a teacher to many master guitar makers in Vienna. Finally, we mention the position of the guitar in Ljubljana, a provincial town of the then Habsburg Monarchy, and introduce the beginnings of classical guitar playing in our region from various written sources.
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