Classical guitar making which gives these instruments (lutes, early romantic guitars) a type of "inner" vulnerability, lacking in the modern guitars. (In fact there are people who claim that a performer's interpretational style is psychologically related to the instrument's aesthetic; and that this can even be observed in contemporary recordings, e.g., Bach's lute works as performed on lute(with convincing expressive phrasing), versus the markedly different interpretations of these works on the modern classical guitar. Alternately, the Spanish repertoire such as Moreno Torroba, would be completely unfitting, for a lute or early-guitar sound aesthetic.) Even amongst parlor guitar players, there are some that consider
Classical guitar overall interpretation. Thus over recent decades we have become accustomed to specialist artists with expertise in the art of vihuela (a 16th-century type of guitar popular in Spain), lute, Baroque guitar, 19th-century guitar, etc. Different types of guitars have different sound aesthetics, e.g. different colour-spectrum characteristics (the way the sound energy is spread in the fundamental frequency and the overtones), different response, etc. These differences are due to differences in construction; for example modern classical guitars usually use a different bracing (fan-bracing) from that used in earlier guitars (they had ladder-bracing); and a different voicing was used by the luthier.