Writings

Books

Behind The ‘Scenes’ - Lou Harrison’s Last Composition [book + CD]. Los Angeles, MicroFest Records. (forthcoming 2024)

Harry Partch, 1942 [book + CD]. Los Angeles, MicroFest Records, 2022. Grammy®Award nomination for BEST ALBUM NOTES

The Contemporary Guitar. Revised & Enlarged Edition. Rowman & Littlefield, 2015: 364 pages + 98 audio examples.

The Contemporary Guitar. Berkeley: University of California Press, 1985; 237 pages + 2 soundpages.

 Compositions

String Trio (1974)

Voyage (1976) Electric Guitar & Tape
Recorded: J.S., Sonic Voyage El Maestro LP 8804, 1981

TBA for solo Bass Instrument (1976). Birmingham (UK): Arts Lab Press, 1980.

Lament (1981) for solo guitar fretted in Pythagorean Tuning (Bb–D#) Recorded: JS, Just Guitars, Bridge Records 9041, 2003

Rondo Fugato (1986) for solo guitar fretted in Well Temperament

Prelude & Fugato (1986) = Lament + Rondo Fugato
Recorded: Lily Afshar, Hemispheres Archer Records ARR-31926, 2006

On Listening to Lu Tzu (2002), voice + Partch Adapted Guitar II
Other Minds Festival 14 Concert 3 (scroll down to Part 3)

Tombeau for Lou Harrison (2006) for National ‘Harmonic’ Guitar — Score — Youtube video

Men are Men & Mountains are Mountains (2007), solo electric guitar (preferred)
WNYC's New Sounds, 10/27/2011

 Editions

Lou Harrison, Serenade for Guitar & Percussion. New York: Peer International, 1981.

Lou Harrison, Por Gitaro: Works for Solo Guitar. New York: Peermusic, 2003.

Lou Harrison, Ditone Set. New York: Peermusic, 2004.

Lou Harrison, Scenes from Nek Chand. Lebanon: Frog Peak Music, 2005.

James Tenney, Harmonium 2. Baltimore: Smith Publications, 2008.

 Articles

“Global Guitar Music of Lou Harrison.” Mikrotöne: Small is Beautiful V, edited by Á. Castilla-Ávila (Salzburg: Mackinverlag, 2024), 125-134.

“The Well-Tuned Guitar.” 21st Century Guitar: Evolutions & Augmentations, edited by Richard Perks & John McGrath (New York: Bloomsbury Academic, 2023), 9-23.

“Essay: Ben Johnston.” Interviews with American Composers: Barney Childs in Conversation, edited by Virginia Anderson (Chicago: University of Illinois Press, 2022), 167-169.

"An Interview with Hopkinson Smith," Soundboard, Volume 42, No.4 (2016)

“Magnus Andersson: Extreme Guitarist—Part 1,” Soundboard, Vol. 41, No.4 (2016)

“Magnus Andersson: Extreme Guitarist—Part 2,” Soundboard, Vol. 42, No.1 (2016)

“The Microtonal Guitars of Harry Partch,” Soundboard Scholar #1, (2015).

“Tampering with Nature: Playing in Unequal Temperaments,“ & “Pure Magic: Composing & Performing in Just Intonation,” 1001 Microtones (ed. Sarvenaz, S. & Stahnke, M.). Neumünster: Bockel-Verlag, 2014.

“Partch: Re-Genesis of a Music,”  Kongressbericht “Mikrotonalität: Praxis & Utopie,” Stuttgart 2011. Mainz: Schott Verlag, 2014.

“Organ Transplants: Recreating Partch’s Chromelodeons,” Reed Organ Society Quarterly 2012, Vol. XXXI, No. 2.

“Adam del Monte: Classical Duende,” Soundboard, Vol. XXXVII, No.3, (2011)

“Tim Brady: Electric,” Soundboard Vol XXXVI, No.3 (2010); pp. 71–76.

“Ben Johnston at Eighty,” Schneider, J. (ed.). 1/1: The Journal of the Just Intonation Network 12, no. 3 (2007).

“The Persian Passion of Lily Afshar,” Classical Guitar [UK]. Vol. 23, No.7 (March, 2005); pp. 16–19.

“Just Lou Harrison,” Guitar Review #128, (New York,2004), pp.13–23.

“Just Guitar,”  Guitart International #6, April/June 2004; pp.42–50.

“Lou Harrison’s Guitars,” Classical Guitar [UK]. Vol. 21, No.10 (June, 2003); pp. 20–23.

“Radio Soundboard (1978–1997),” Soundboard, Volume XXVI, No.2 (1999)

“Adam del Monte: Duende in Bach and Albeniz,” Soundboard, Vol. XXV, No.4 (1997)

“Fine Tuning,” ACOUSTIC GUITAR. May/June, No.24 (1994); pp. 30–38.

“Bringing Back Barstow,” GUITAR REVIEW. No.95 (Winter 1993); pp. 1–14.

“A History of the JUST GUITAR,” 1/1. Vol. VII, No.3 (1992); pp. 11–15.

“David Starobin at Forty,” GUITAR REVIEW No. 90, Summer 1992: pp.18–22.

“TOD MACHOVER: Hypercomposer,” GUITAR REVIEW No. 86, Summer 1991.

“The Divine Giuliani,” Gendai Guitar [Tokyo] Winter 1990.

“The Divine Giuliani,” Soundboard. Vol. XVI, No.3 (1989); pp. 38–48.

“Pierre Boulez: a conversation,” GUITAR REVIEW No. 75, 1988: pp.28–31.

“Peter Maxwell Davies: a conversation,” GUITAR REVIEW No. 64, 1985.

“Alois Hába,” Soundboard. Vol. XII, No.2 (1985); pp. 154–158.

“Julian Carrillo,” Soundboard. Vol. XII, No.1 (1985); pp. 36–39.

“Igor Stravinsky,” Soundboard. Vol. XI, No.2 (1984); pp. 152–157.

“SOUNDBOARD ON THE AIR,” Soundboard. Vol. XI, No.1 (1984); pp. 36–39.

“The Guitar Works of Ned Rorem,” Soundboard. Vol. XI, No.1 (1984); pp. 28–32.

“Where do you find the Music?,” Soundboard. Vol. X, No.4 (1983); pp. 376–79.

“Interview: John Schneider Talks with William Kanengiser,” Soundboard. Volume X, No.4 (1983)

“Conversation with Narciso Yepes,” Soundboard. Volume X, No.1 (1983)

“David Tanenbaum on Hans Werner Henze: An Interview,” Soundboard. Volume X, No.3 (1983)

“Harry Partch,” Soundboard. Vol. X, No.3 (1983); pp. 260–264.

“Bruno Bartolozzi,” Soundboard. Vol. X, No.2 (1983); pp. 138–41.

“Peter Maxwell Davies,” Soundboard. Vol. X, No.1 (1983); pp. 43–45.

“Guitar & Tape: New Horizons,” ASTA National Guitar Symposium 1981. New Jersey: American String Teacher's Ass. 1982.

“The Microtonal Guitar,” [Parts I–V] Guitar & Lute : Nos. 10 –24, (1981–82).

“Interview: Sharon Isbin,” Soundboard. Volume IX, No.3 (1982)

“A Conversation with Ernst Krenek,” Soundboard. Vol. VIII, No.4 (1981); pp. 262–65.

“Toru Takemitsu,” Soundboard. Vol. VIII, No.3 (1981); pp. 169–71.

“A Conversation with David Leisner,” Soundboard. Volume 8 (1981) No. 2

“Goffredo Petrassi,” Soundboard. Vol. VIII, No.2 (1981); pp. 92–94.

“Conversation with Eliot Fisk,” Soundboard. Volume 8 (1981) No. 1

“Hans Werner Henze,” Soundboard. Vol. VII, No.4 (1980); pp. 173–77.

“20th Century Guitar Music,” Soundboard. Vol. VII, No.4 (1980); pp. 175–76.

“Pierre Boulez,” Soundboard. Vol. VII, No.3 (1980); pp. 126–7.

“20th Century Guitar: The 2nd Golden Age,” Guitar & Lute : Nos. 10 & 12, (1979–1980).

“The Contemporary Guitar,” Soundboard. Vol. VII, No.2 (1980); p.69.

“Conversation with Julian Bream,” Soundboard Vol. VII, No.1(1979); pp.108–111.

“The Well–Tempered Guitar,” Soundboard Vol. V, No.4 (1978); pp.108–111.

“The Rational Method of Tone Production,” ASTA National Guitar Symposium 1977. New Jersey: American String Teacher's Ass. 1978.

“New Instruments Through Frequency Division,” Contact. [London] No.15 (1976).

 Reviews

“Sonata No.2 : Dusan Bogdonavic,” Notes , Fall 1985.

“Editions Orphée & Chanterelle: A Feature Review” Soundboard. Vol. IX, No.1 (1982); pp. 70–72.

“Complete Works for Guitar by Fernando Sor,” Soundboard. Vol. XII, No.3 (1985); p. 333.

“Complete Works for Guitar by Giulio Regondi,” Soundboard. Vol. IX, No.4 (1981); pp. 395–6.

“Just For The Record”, Record Reviews, Soundboard. Vols. XXI–XXXIV (1994–97)

 Biographies

Ferguson, R. + Small, M. “GFA Presidents: John Schneider,” Soundboard, Vol.49 No.4 (December 2023), 23–14.

“John Schneider: Guitar Maverick,” Classical Guitar Magazine, No. 382 (Summer 2016), 32–35.

“John Schneider: 13 Questions,” Prepared Guitar Blog, December 20, 2015

Cooper, Colin. “John Schneider: Polymath,” Classical Guitar [London] Vol.2, No.6 (1984); pp.17–22.

Taylor, John. “The Well-Tempered Guitar,” Guitar [London] Vol.12, No.4; pp.11–13.

Jewanski, Jorg. “John Schneider: Die Reine Stimmung Klingt Viel Schoner,” Staccato Marz/Apr 1998, No.2.

Jewanski, Jorg. “John Schneider: Uber seine Radiosendungen mit Gitarremusik,” Staccato Mai/Juni 1998, No.3.

Josel, Seth. “John Schneider talks with Seth Josel about Tunings, Temperaments, and Other Matters,” Soundboard Vol XXX, No.2, 2004; pp. 73–81.