A modest thread diversion (and reconvergence) about domestic spaces and their names.
There are interesting socio-economic and regional angles to how we arrange our homes and name the spaces. In modern (post-WW1) American English, the usual term for the place where the family relaxes and entertains guests is probably the "living room," though when I was growing up in 1950s NYS, it might also be the "front room" (reflecting the physical layout of a single-family home). Older folk might call that space a parlor, and by the 1960s, newer houses further divided that function into a "family room" and a (more formal) "living room." My observation from our house-hunting days is that in many pre-WW1 houses the parlor was divided from the dining room by pocket doors, and that division signalled functional/formal divides: the parlor was preserved for meeting guests, while informal-family activities might focus on the kitchen. (Thus phrases like "kitchen-table issues" in politics.)
In the UK, there's an interesting range of terms for rooms, also signalling socio-economic divides. Upscale homes could have not only parlours (for conversation--*parler*) but sitting rooms and drawing (from "withdrawing") rooms where non-family members might be entertained (or wait to be met, having been admitted by a servant). Sometime after WW1, the middle-class living room became the "lounge." There's also the phrase "best room," which suggests a divide between ordinary living space and that which is felt to be presentable to outsiders and/or one's social betters.
Now, finally, connecting all this to guitars. There was a branch of domestic music-making that included with middle-class folk but crossed social levels to include the well-to-do, and some of it involved the guitar, which was an instrument appropriate for educated women and manageable for private home performance. (See also "piano bench musc.") People well-off enough to have a parlor (even if not big enough to hold a piano) were the target market for such music, and the guitar was considered a genteel enough instrument for ladies to play at home--in the parlor. (A much more intimate space than those used for "chamber music.")
John Renbourn did degree-research work in American parlor music for guitar--at an American Fingerstyle Guitar Festivals in Milwaukee, he distributed copies of the sheet music for Henry Worrall's arrangements of "Spanish Fandango" and "The Battle of Sebastapol" (published in the 1850s). These tunes entered the folk world as "Spanish Flang Dang" and "Vastapol"--along with their open tunings.
See
https://www.kansasmemory.org/blog/post/105123157.
The guitars on which this music was played were the standard guitars of the second half of the 19th century--what can be properly be called "parlor guitars," though the same instruments (or less expensive models) were also played by working people of all kinds, as documented by any number of period photos of lumberjacks, miners, and country folk. (I can spot Washburn models in seconds.)