Résumé
Among contemporary woodcrafts, guitar-making is particularly ubiquitous and diversified. This work aimed at providing an extensive landscape of woods used by guitar-makers and mapping this worldwide biodiversity according to functions, reputation, conservation status, floristic composition, and wood features. A specific database was built through a meta-analysis of academic and professional sources. Detailed information was obtained by original surveys with guitar-makers and analysis of specialised wood trade. Specimens of 90 species were collected. In total, nearly 450 species cited in guitar-making were surveyed. Analyses of the results allow the categorisation of which species are in "main", "common", "occasional" or "rare" uses. Some functions are more focused on the number of species ("commonly" used diversity ranks as: acoustic top-plates < necks < bridges and fingerboards < electric bodies << acoustic back and sides) and/or regions of origin, and some are widely diversified and ubiquitous. Species or regions can concern rather specialised functions, or multifunctional woods. The total and regional biodiversity is analysed in terms of floristic composition: all cited woods belong to 234 genera in 64 families, "common" ones to 43 genera in 23 families, but 6 families concentrate many citations of uses. This study also allows to examine the issue of threatened species (which is of high concern in guitar-making communities and literature) with greater details and points of comparison. Both the proportions, and the levels, of threats on employed woods vary greatly depending on the regions of origin, the reputation or frequency of use, and the trade value. A visual mapping of collected wood specimens was built to highlight the links between wood reputation, origin (geographic and botanic), quantitative trade value, and wood characteristics that are most esteemed. These semi-quantitative results are set into perspective with artisanal values and relation with wood expressed by artisan guitar-makers, and with literature on the craft culture of guitar-makers. Future publications will extend this including material properties.