This research provides a systematic, computer-based analysis of interpretive diversity in six renowned recordings of Villa-Lobos’ Etude No. 1 for classical guitar. Addressing the gap in computational performance studies for guitar, the study contrasts the extensive body of work on piano and violin with the relative paucity of quantitative analyses in the guitar repertoire. Building on theoretical frameworks that position performance as both interpretation and transformation, the study employs Sonic Visualiser to extract and compare tempo and intensity data from performances by Segovia, Yepes, Bream, Romero, Parkening, and Vidović. Through the application of structured versus unstructured expressive timing models, the analysis reveals significant individual variation in tempo shaping, use of ritardando, and dynamic articulation. Key findings highlight the balance between fidelity to the score and performer creativity, illuminating how technological tools can yield nuanced insights into musical expression. The research concludes by advocating for the broader application of computer-based analysis in musicology and calls for future studies examining additional works and longitudinal performer trends, thereby advancing both analytical rigor and interpretive understanding in classical guitar performance studies.

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