(bNew York, Nov 2, 1920; dPoint Pleasant, NJ, Dec 23, 1974). Americanwriter. He studied geology at Columbia University (BS 1942), served as a navigator in the army air corps, and then returned to Columbia, where he gained a master's degree in mineralogy. Although an engineer by profession (PhD, Rutgers, 1964) and a teacher of ceramics engineering at Rutgers (1964-74), he was involved in jazz discography throughout his life, and with his scholarly training he recognized that this subject could be approached with the same rigorous concern for accuracy, weighing of evidence, and documentation of sources that would be expected in traditional fields. He prepared numerous brief discographies and wrote full-length bio-discographies of King Oliver and Fletcher Henderson, the latter being an exhaustive and definitive study. Allen published and distributed these books as part of his own Jazz Monograph series, which also included important works by Samuel B. Charters, Brian Rust, and others. As a further means of disseminating information he produced ...
revised by Barry Kernfeld
revised by Randall Rosenfeld and Peter Loewen
(b Suffolk ?before 1200; d Saxony, ?1272). English Franciscan theologian. He has been falsely identified with Bartholomeus de Glanvilla (fl late 13th century). He studied at Oxford under the guidance of Robert Grosseteste and later at Paris, where, according to Salimbene, he lectured on the entire bible, suggesting he had attained the status of baccalaureus biblicus; he joined the Franciscans around 1224. He taught as a lector at the Franciscan studium in Magdeburg (1231–49), and was subsequently elected minister provincial in Austria (1249), then Bohemia (c1256); he became bishop of Łuków (1257) and was appointed papal legate. In 1262 he was elected minister provincial in Saxony.
Bartholomew might have begun work on De proprietatibus rerum in Paris, but he completed it in Magdeburg some time between 1230 and 1240, and certainly no later than 1247. 240 complete and fragmentary manuscript copies survive. 11 editions appeared between 1472 and 1492, with several others published in the 16th and early 17th centuries; the editio princeps was published in Cologne (see ...
revised by Peter Loewen
(b nr Ilchester, c1214; d Oxford, c1292). English theologian and philosopher, the most immediate successor to the science of Robert Grosseteste and Adam Marsh. Bacon studied in Oxford between 1228 and 1236, then in Paris. Some time between 1245 and 1256 he entered the order of friars minor. In 1247 he gave up his official teaching in Paris, returning some three years later to Oxford. His expertise appears to have concentrated in the quadrivium in general, and geometry in particular. Later critics tended to romanticize his conflict with superiors of his order, turning him into a kind of hero of experimental science and empirical observation.
In a letter dated June 22, 1266, pope Clement IV requested a copy of Bacon's philosophical writings. Bacon’s communication about the project had begun with Raymond de Laon, clerk to Guy le Gros de Foulques, Archbishop of Narbonne and Cardinal-Bishop of St. Sabina before Guy became pope Clement IV. Although the friars had been prohibited since 1260 from publishing new works without the approbation of their superiors, Bacon responded by composing a ...
(b Algiers, Feb 14, 1941). French pianist, arranger, leader, and musicologist. He discovered jazz following a period of classical piano studies. In 1962 he moved to Paris and performed in amateur bands, and in 1966 he became a professional musician. As house pianist at the Jazz O’Maniac he accompanied Albert Nicholas, Bill Coleman (1971–2), and Benny Waters (1971–3), as well as Benny Carter, Jo Jones, Illinois Jacquet, Buddy Tate, Slam Stewart, Stephane Grappelli, Vic Dickenson, Cat Anderson, and others. From 1976 to 1979 he was co-director, with Marc Richard, of the Anachronic Jazz Band, which aimed to present modern jazz themes with a traditional New Orleans jazz orchestration, as may be heard on Anachronic Jazz Band, i–ii (1976, 1978, Open 02, 09). From 1979 to 1983 he led the Happy Feet Quintet, with which he recorded the album Happy Feet and Friends (...
(b Livorno, July 28, 1862; d Florence, Oct 7, 1952). Italian musicologist. He first studied law, then turned to music and joined the staff of the Biblioteca Nazionale Centrale, Florence. He became successively professor of music history, assistant director and finally director and librarian of the Istituto Musicale (Reale Accademia di Musica Luigi Cherubini), Florence, retiring in 1932. His numerous writings (over 900) include regular contributions to newspapers and periodicals, among them the Gazzetta musicale di Milano, La critica musicale and the Rivista musicale italiana.Saggio storico sul teatro musicale italiano (Livorno, 1913) La figura e l’arte di G. Verdi (Livorno, 1919) Bernardo Pasquini (Ascoli Piceno, 1923) Verdi (Paris, 1923) Mefistofele di Arrigo Boito (Milan, 1924) G. Puccini: l’uomo e l’artista (Livorno, 1925) L’opera italiana (Florence, 1928) Rossini (Florence, 1934) Publicazioni di Arnaldo Bonaventura nel cinquantenario, 1880–1930 (Florence, 1930) B. Becherini: ‘Ricordi di Arnaldo Bonaventura (1862–1952)’, RMI...
[Giovanni di Fidanza]
(b c1217; d July 14, 1274). Italian composer, theologian, and minister general of the Order of Friars Minor. According to his 15th-century biographer Mariano of Florence, Bonaventure was born the son of a physician (Giovanni) in the village of Bagnoregio. He entered the faculty of Arts at the University of Paris in 1234, and might have joined the Franciscans there as early as 1238. Under the tutelage of the first four regents master of the Franciscan School, he discovered the writings of Augustine, Anselm of Canterbury, Hugh of St. Victor, and Aristotle, which were essential to his formation as a scholar.
Bonaventure was given license to dispute and preach in the convent as a bachelarius formatus (1252–3) and then as a doctor (1254–7) before being named regent master on August 12, 1257; but that year (February 2, 1257), he was elected minister general of the order, which brought him to Assisi in February of ...
E. Ron Horton
(b San Francisco, CA, March 17, 1953). American percussionist, composer, and scholar. He is a California-based artist and educator whose world travels and ethnic heritage have had a major influence on his musical career. His mother was a native of Tokyo, Japan, and his father was of African American and Choctaw decent. He grew up in a military family, moving between California, Germany, and Japan during his formative years. His career in music began in earnest after he returned to San Francisco in 1980. In 1985 he moved to New York and further developed his career while studying jazz performance at Rutgers University. He subsequently earned a PhD from the University of California, Berkeley, studying ethnomusicology, a field that allowed him to focus on the musical styles that reflected his cultural heritage. He then began an extensive relationship with the Smithsonian Institute working as the curator of American musical culture, director of the Jazz Oral History program, and a performer in the Smithsonian Jazz Trio. In ...
(b 1843–4; d ?1917). English translator . He was a scholar of Oriel College, Oxford (BA 1866), and was ordained in the Church of England in 1868. He was choirmaster and organist of Christ Church, Marylebone, London, from 1878 to 1882.
For the production of Così fan tutte (at that time rarely staged) by the Royal College of Music at the Savoy Theatre in 1890, he wrote an amusing and elegant English version, ‘translated and adapted from the original Italian and the German paraphrase’, in a style Richard Brinsley Sheridan would not have disdained. It was published in vocal score by Novello, with the characters Fiordiligi and Guglielmo renamed Isidora and Gratiano, presumably for the convenience of English tongues. The long survival of this version, with modifications, extended to the ENO production of 1990. Browne also translated Cornelius’s Der Barbier von Bagdad (RCM, Savoy, 1891) and Hermann Goetz’s ...
(b Kensington, London, Nov 20, 1766; d Bristol, May 15, 1821). English composer and theorist. Entering music as a largely self-taught amateur, he became a popular glee composer and a respected authority on music theory.
He was the son of a builder, Thomas Callcott, by his second wife, Charlotte Wall, and was educated at a private school by William Young; he was a brilliant student of classics, Hebrew and philosophy. Until he was 13 it was planned that he should become a surgeon, but he was so disgusted by witnessing an operation that he gave up this idea. He had learnt something of music from Henry Whitney, organist of Kensington parish church, and he began to practise the organ seriously while continuing to pursue, untaught, the study of languages and mathematics. He also learnt to play the clarinet and the oboe, and began to compose. In 1782 he became acquainted with Samuel Arnold and Benjamin Cooke, who encouraged him to enter the profession; the next year he became assistant organist of St George’s, Bloomsbury. Through Cooke he was admitted as a ‘supernumerary hautboy’ at the concerts of the Academy of Ancient Music. From this time onwards his efforts in composition were mainly devoted to the glee. His first glee, ...
(b Moose Jaw, Canada, Oct 27, 1918; d Toronto, Jan 16, 1981). Canadian theorist, teacher, and composer. He led dance bands and played trumpet in Toronto (1939–49) before he ended his career as a performer for reasons of health and turned to teaching (1950). He wrote texts on arranging, harmony, counterpoint, 12-tone music, and melody (New York, 1965–76) that became widely used, and he taught many leading jazz musicians in Canada in the 1950s and 1960s. He also composed several works in the third-stream idiom, of which he was an enthusiastic advocate; these include Collage no.3 and Song and Dance, both of which were recorded by Duke Ellington with the Ron Collier Orchestra on Duke Ellington: North of the Border (1967, Decca 75069). His Three Entertainments for Saxophone Quartet (1969) was recorded by the New York Saxophone Quartet. (EMC2...
(b Durrës, Albania, Jan 20, 1914; d Tirana, Albania, March 30, 1977). Albanian folk music researcher and composer. Born into an intellectual family, he studied music in Bucharest (1936) and later Milan (1939) before returning to Albania during World War II. Initially, Dheri was appointed music instructor at the high school in Shkodra, where he organized small ensembles and choral groups following the war. In 1949, he was transferred to the Committee for the Arts and Culture in Tirana and, in 1953, to Radio Tirana. During this period, Dheri contributed to the Radio’s sound archives, collected and transcribed folk pieces, created pedagogical texts, and composed light popular waltzes, tangos, and foxtrots. His primary contribution followed his appointment to the newly formed Institute of Folk Culture in 1968. As an editor and the founding director of the national archives for folk music, Dheri oversaw the publication of early systematic collections including ...
(b Los Angeles, CA, March 21, 1941). American Gospel music historian, performer, and songwriter. She founded and has served as CEO of the Heritage Music Foundation, which seeks to establish a permanent home and museum for gospel music. Brought up within the Los Angeles public school system, she earned degrees from California State University and the University of Southern California before earning the PhD from the University of Beverly Hills. As a youth she directed and accompanied the children’s choir at Mount Moriah Baptist Church, a church founded in Los Angeles by her father, the Rev. Earl A. Pleasant. Thereafter she became the accompanist for the Sunday School Baptist Training Union and the Young People’s Choir. A prolific arranger and composer, she has composed hundreds of songs performed by some of the best gospel ensembles and artists, including Rev. James Cleveland and the Gospel Music Workshop of America, the Mighty Clouds of Joy, Vanessa Bell Armstrong, and the Sounds of Blackness. Her most well-known songs include “Give me a Clean Heart” (...
Brenda M. Romero
(b Tlaxiaco, Mexico, Sept 9, 1967). Mexican singer, composer, and anthropologist. She was already well known in Mexico when she emerged in the US mainstream with her performance in the film Frida (2002). Her father was Scottish American and her mother is Mixtec from Oaxaca, thus Downs grew up traveling back and forth between the United States and Mexico and between cultures. She began singing at the age of five and began formal classical voice studies at 14 at Bellas Artes in Oaxaca. She subsequently studied in Los Angeles and at the University of Minnesota, where she earned a bachelor’s degree in anthropology, focusing on Oaxacan highland textiles. In addition to crediting African American music in general, and female singers and the music of jazz in particular, for showing her the many ways in which the voice can be used as an instrument to articulate a wide palette of expressiveness, she credits a range of musical influences, including the Grateful Dead, Woody Guthrie, Bob Dylan, Meredith Monk (especially her extended vocal techniques), Thelonious Monk, and John Coltrane. She has conducted most of her work in collaboration with her husband ...
(b San Diego, CA, May 22, 1953). American composer, media artist, performer, and bio-acoustic researcher. After taking violin and viola lessons with Mary Gerard, James Glazebrook, and Howard Hill and pursuing undergraduate studies in music at San Diego State University, Dunn earned the MFA in new media at the Danube University’s Transart Institute in Krems, Austria (2009). He also studied composition with David Ernst, kenneth Gaburo , Norman Lowrey, and Pauline Oliveros, and served as assistant to harry Partch (1970–74), in whose ensemble he performed for a decade. Engaging in both traditional and experimental compositional approaches, Dunn has conceived music for the concert stage, radio, and film, and explored sound art, including sound installations and soundscape recordings. Dunn has also dedicated himself to studies in acoustic ecology and bio-acoustic research. He has taught at the College of Santa Fe and San Diego State University, where he was director of the Electronic Music Studio. He has served as vice-president of the International Synergy Institute in Los Angeles (...
Paul C. Echols
revised by David Music
(b Northampton, MA, May 14, 1752; d New Haven, CT, Jan 11, 1817). American poet and author of hymn texts. He graduated from Yale College in 1769, becoming a tutor there two years later. He served as a chaplain in the Continental Army during the Revolutionary War and wrote the texts of several patriotic songs, one of which (“Columbia, Columbia, to Glory Arise,” 1787) became widely popular. From 1783 to 1795 he was pastor of the Congregational Church in Greenfield Hill, Connecticut, where he rose to eminence as a preacher, educator, and poet. He was elected president of Yale College in 1795. In 1798, at the request of both Congregational and Presbyterian governing bodies in Connecticut, he undertook a revised edition of Isaac Watts’s Psalms and Hymns to replace one by Joel Barlow (1785) that had previously been compiled for the Congregationalists. Issued at Hartford in ...
(b El Carnero, CO, Sept 12, 1880; d Palo Alto, CA, Sept 4, 1958). American folklorist and educator. Born in the San Luis Valley of southern Colorado to a prominent Hispano family with deep roots in New Mexico, Espinosa was one of the first US- born Latinos to earn a teaching post at an American university. Although folklorists without formal training such as Charles Fletcher Lummis and Eleanor Hague studied Spanish-language folksongs of the Southwest, Espinosa made the folksongs of Spanish-speaking peoples a legitimate area for scholarly research at a time when individuals of Hispano, Mexican, or Latino heritage were generally discouraged from pursuing higher education. Like Lummis and Hague, Espinosa viewed this repertory as Spanish American rather than Mexican and believed that New Mexican folksong had more in common with Spanish antecedents than with traditional Mexican song. Espinosa was the New Mexican analogue to Francis James Child. Unlike Child, he collected folk ballads from local people in person, although, like Child, he did not study the music that went with the texts he gathered. Espinosa published more than 175 scholarly articles and about a dozen longer monographs, as well as 30 Spanish textbooks. He served as associate editor of the ...
(b Takoma Park, MD, Feb 28, 1939; d Salem, OR, Feb 22, 2001). American guitarist, folklorist, and record producer. As a teenager, Fahey’s early interest in country music was expanded to include bluegrass and country-blues due to a friendship with richard Spottswood , later a noted folk and ethnic music scholar. With Spottswood and famed collector Joe Bussard, Fahey sought out pre-war 78 r.p.m. records. After taking up the guitar, Fahey’s made his first recordings for Bussard’s private Fonotone label on 78 r.p.m. shellac discs, some of which Fahey claimed to have slipped into boxes of more “authentic,” vintage records at flea markets. In 1959 Fahey founded Takoma Records to distribute his own recordings, beginning with the LP Blind Joe Death; his liner notes also frequently mock the language of then-contemporary blues scholars, the very people he had hoped to fool with the Fonotone 78s.
Despite his sense of humor Fahey was a serious student of American vernacular music. He travelled long distances to find Bukka White and Skip James in the Mississippi Delta in the early 1960s; he relates these events in the memoir, ...
(b Alameda, CA, Jan 7, 1945). American rock journalist, author, and broadcaster. His father, born Fong Kwok Seung, changed his surname to Torres and posed as a Filipino in order to immigrate to the United States and sidestep the Chinese Exclusion Act. The family subsequently adopted the surname Fong-Torres. Ben Fong-Torres studied radio, television and film at San Francisco State University (BA 1966). He worked as a writer and senior editor for Rolling Stone, coming on board in 1969, shortly after the magazine’s inception, and staying until 1981. During his tenure, he conducted interviews with Bob Dylan, the Rolling Stones, Linda Ronstadt, Marvin Gaye, Jefferson Airplane, Sly and the Family Stone, Paul McCartney, Bonnie Raitt, Steve Martin, and many others. His interview with Ray Charles received the Deems Taylor Award for Magazine Writing in 1974. Fong-Torres was also a DJ for San Francisco rock station KSAN-FM from ...
Daphne G. Carr
(b Sussex, England, June 25, 1946). British popular music scholar and critic. Frith is a foundational figure in intellectual inquiry on popular music since his first book, The Sociology of Rock (1978). His scholarly work has influenced the terrain of cultural studies in the study of popular music, beginning with mass culture, media, criticism, consumption, leisure, and youth; moving to questions of “authenticity,” taste, cultural hierarchy, and legitimacy; record production and producers; questions of copyright and public policy; and historical accounts of local scenes and live music. Frith has written a number of influential general texts on popular music, co-edited numerous foundational anthologies, educated several generations of British pop scholars, and served as a prominent public intellectual on popular music as culture. Frith was a founding member of International Association for the Study of Popular Music and a founding editor of the journal Popular Music (...
(b Florence, Dec 19, 1876; d Milan, March 3, 1965). Italian musicologist . He studied at the Milan Conservatory, with Catalani and others, teaching there from 1898 to 1941, and until 1948 holding the chair of Verdi studies, a position created for him. In 1921 he founded the music section of Teatro del Popolo, Milan, which he directed for more than 30 years. He also served as director at La Scala (1941–4) and was music critic of L’illustrazione italiana (1918–48). As a scholar he devoted himself to critical and historical studies of late 19th-century opera: his Verdi, in its original 1931 edition, is one of the most comprehensive and fully documented accounts of the composer and his music. He also composed orchestral and vocal music.Il Teatro alla Scala rinnovato (Milan, 1926) Verdi (Milan, 1931, 2/1951; part Eng. trans., 1955, as Verdi: the Man and his Music...