“Antonio Torres Jurado Biography.” Antonio Torres Jurado Facts – Guitar Maker, www.guitarhistoryfacts.com/guitar-inventor/antonio-torres-jurado/.
“Antonio Torres Guitar.” Wilson Burnham Guitars, www.wilsonburnhamguitars.net/2017/06/antonio-de-torres-guitar-maker-carpenter.html.
Britannica, The Editors of Encyclopaedia. “Guitar.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 9 Feb. 2018, www.britannica.com/art/guitar.
ChinoTenshi. “Save Me – BTS Guitar Tabs.” MuseScore.com, MuseScore, 9 July 2016, musescore.com/user/2115806/scores/2375506.
Dore, Gustave. A Gypsy Dancing in the Sorongo. Mid-19th c., www.sothebys.com/en/auctions/ecatalogue/2016/19th-century-european-art-n09499/lot.80.html.
Lorenz, Dennis. “Spectacled Warbler.” Bird Photography: Switzerland, Liechtenstein, and Europe, www.birdsofswitzerland.ch/en/2013-10-05-15-04-55/newest-images.
Martin, Darryl. “Innovation and the Development of the Modern Six-String Guitar.” The Galpin Society Journal, vol. 51, 1998, pp. 86–109. JSTOR, JSTOR, www.jstor.org/stable/842762.
Page, Christopher. “Being a Guitarist in the Time of Byron and Shelley.” YouTube, YouTube, 28 Nov. 2014, www.youtube.com/watch?v=qRJV0x8_7Tk.
Piotrowska, Anna G. “Expressing the Inexpressible: The Issue of Improvisation and the European Fascination with Gypsy Music in the 19th Century.” International Review of the Aesthetics and Sociology of Music, vol. 43, no. 2, 2012, pp. 325–341. JSTOR, JSTOR, www.jstor.org/stable/23342825.
Rothwell, Richard. “Mary Shelley.” National Portrait Gallery, 1840, National Portrait Gallery, London, www.npg.org.uk/collections/search/portrait/mw05761/Mary-Wollstonecraft-Shelley.
Shelley, Mary Wollstonecraft. Frankenstein: the 1818 Text, Contexts, Criticism. Edited by J. Paul Hunter, W.W. Norton & Co., 2012.
“Torres Guitar 1890.” Guitar Salon International, www.guitarsalon.com/store/p4390-1890-antonio-de-torres-pimp.html.
Von Holst, Theodor. “Frontispiece.” Wikimedia Commons, commons.wikimedia.org/wiki/File:Frankenstein_engraved.jpg.
Whittock, Nathaniel, and Thomas Charles Wageman. “Frankenstein.” Wikimedia Commons, commons.wikimedia.org/wiki/File:Frankenstein_Cooke_1823.jpg.
Wierzbicki, James. “How Frankenstein’s Monster Became a Music Lover.” Journal of the Fantastic in the Arts, vol. 24, no. 2 (88), 2013, pp. 246–263. JSTOR, JSTOR, www.jstor.org/stable/24353201.
Frankenstein, Nathaniel Whittock and Thomas Charles Wageman, 1823 (Wikimedia Commons). This image shows the monster, proud and wild, as Victor (not pictured) cowers below him. A historic depiction as well, this piece of art ultimately shows the power of the Monster as well as the ultimate power and potency of the entire novel. We should not underestimate the gravity of the Monster’s plight, nor should we underestimate Mary Shelley’s power in offering commentary on not just scientific revolutions, but also class and politics through such an unexpected lens as music.
