(b Vienna, 9 March 1885; d Vienna, 27 May 1964). Austrian Jewish music historian, educator, and critic. In 1912 he graduated from Vienna’s Imperial Academy of Science with a doctoral dissertation entitled Die indische Musik der vedischen und der klassischen Zeit (‘The Indian Music of the Vedic and the Classical Period’) under the supervision of Leopold Shröder. Felber’s dissertation remains an authoritative source for modern scholars interested in the recitation techniques and ethos of early South Asian music. Prior to his arrival in China, he was active in the Indian community in Vienna and had given lectures on Indian music at the Indian Club. Furthermore, he felt privileged to have met the legendary Nobel laureate Indian poet Rabindranath Tagore who was also a noted musician. During their meeting, Tagore shared his views on the aesthetics of European music and Indian classical music with him. After the Anschluss (...
(b Prague, 20 Jan 1930; d Bratislava, 9 April 2007).Czech philosopher, writer, and poet, and a leading figure of the Czechoslovak underground. Egon Bondy’s legendary career began in 1947, when he briefly joined the Communist Party of Czechoslovakia only to resign immediately after the party’s takeover in February 1948. For the next ten years Bondy freewheeled on the edge of the law, proto-beatnik style. During those years he gained visibility among members of the underground by cofounding the illegal samizdat review Půlnoc (‘Midnight’). With the 1949 Půlnoc collection Jewish Names he started to use the name Egon Bondy. In 1957 he enrolled at Prague’s Charles University on distance study while working as a nighttime security guard. He received the PhD in 1967 with a dissertation entitled Útěcha z ontologie (‘Consolation from Ontology’). From that year Bondy lived on disability while continuing to write, but other than his study ...
(b Shkodër, Albania, 14 June 1920; d Tirana, 12 March 2008). Albanian ethnomusicologist, musician, composer, and writer. He began his musical studies as a boy in Shkodër. In the years between 1940 and 1944 he studied the flute and composition at the Conservatory of Florence, Italy. Back in Albania in the early years of the Hoxha regime, Sokoli was imprisoned, as were other scholars who had studied abroad, and he spent five years in incarceration.
In 1952 he moved to Tirana, where he taught the flute and folklore in the high school. Although he was not qualified to teach at the higher academic level, he played a key role in musical research in Albania. He collaborated on ethnomusicological expeditions carried out in 1957 with East German scholars and in 1958 with Romanian scholars.
He was the author of numerous pioneering books and articles on Albanian musical folklore, employing both descriptive and analytical approaches, as well as surveying important figures of the musical, and wider cultural, Albanian tradition. His writings and ideas shaped the discipline and educated two generations of Albanians ethnomusicologists, including scholars in Kosovo. His many publications include the books ...
(b Brno, 13 March 1966). Czech composer, pedagogue, and writer on music, son of zdeněk zouhar. He studied composition at the Janáček Academy of Music and Performing Arts (JAMU) in Brno (with Miloš Ištván and alois piňos) and musicology at the Masaryk University, followed by post-graduate studies at the Hochschule für Musik und darstellende Kunst Graz (with Herman Markus Preßl and younghi pagh-paan) and JAMU. He remains an external pedagogue at both these institutions, as well as being active as a researcher at the Palacký University Olomouc (vice-dean starting in 2010), Ostrava University, and Masaryk University.
His brand of postmodernism is surprisingly respectful, using disparate materials in a serious manner, and generally staying with a few pieces of material for the duration of a piece or movement. Often composed in an additive, evolutionary structure, his works are sonically reminiscent of New York post-minimalism, but are very European in their approach to expressivity and emotional intensity. This approach includes both the intense rhythms of ...
(b New York, NY, Aug 26, 1894; d Cleveland, OH, Jan 4, 1969). American pianist and writer on music, half-brother of frank Loesser . He studied at City College of New York, Columbia University, and the Institute of Musical Art, New York. He made his debut as a pianist in Berlin in 1913 and in New York in 1916, and thereafter toured the United States, Australia, and the Far East. Loesser joined the piano faculty of the Cleveland Institute in 1926; he was head of the piano department there from 1953 until his death. He also wrote program notes for the Cleveland Orchestra (1927–42) and was music critic of the Cleveland Press (1939–56). During World War II Loesser was an intelligence officer with the US Army; after the war he was posted to Japan, where he performed with the Japan SO (1946) and lectured (in Japanese). He was the author of ...
Ramona H. Matthews
(b Appleton, WI, July 21, 1893; d Neenah, WI, Nov 3, 1975). American pianist, teacher, and writer on music. He was educated at Charleston (South Carolina) College and the University of Wisconsin, and then went to Europe (1920) to study at the University of Madrid and elsewhere, his teachers including the pianist moriz Rosenthal. He settled in Paris to perform, teach, and write, serving as music and drama critic for the Paris Tribune (1921–34) and Paris correspondent for the Musical Digest of New York (1922–9), the Musical Courier of New York (1932–41), the Nuova Italia musicale of Rome, and the Musical Times of London. He was an enthusiastic promoter of concerts of American music in France, and organized the first European festival of American music (Bad Homburg, Germany, 1931). On his return to America (1942) he settled in Appleton to teach and write. He received several honors from the French government for his services to music, and was made a Chevalier of the Légion d’honneur in ...
(b Belgrade, Feb 10, 1927; d Belgrade, Oct 13, 2009). Serbian composer and music critic. He studied composition with Milenko Živković at the Academy of Music in Belgrade, graduating in 1955, and at the Accademia Nazionale di S. Cecilia in Rome (1967–8). He was a conductor of the choral society Napredak (1953–5), and then taught at Stanković music school (1955–66) and at the Music Academy (today Faculty of Music, 1966–96). As a music critic, he collaborated with various newspapers (Borba, Naša borba, Politika, Večernje novosti) and translated several books. He received awards from Udruženje kompozitora Srbije (‘the Association of Serbian composers’) and Yugoslav Radio, and received the Vukova nagrada. He followed the aesthetic of Stevan Mokranjac and his own professor Živković. His lyric music, predominantly choral, is distinguishable by his afinity for humour, both in his choice of lyrics and the musical means. He uses verbal punning (...
(b Portland, OR, June 22, 1965). American music critic. After studies at Yale (BA 1986, Classical Civilization), she spent 12 years in Munich, supporting herself as a translator and freelance writer on opera, concert music, visual art, theater, and dance for Opera News, The Wall Street Journal, Opernwelt, and other publications. Upon her return to the United States, she continued to freelance, contributing frequently to Newsday, The Philadelphia Inquirer, Die Welt, ARTnews, and more. She was the first woman to review classical music regularly for the New York Times (2001–7); a selection is included in Da Capo Best Music Writing 2006. In 2008 she became chief classical music critic of the Washington Post, exploring both local and national issues and events while maintaining a blog, “The Classical Beat.” Midgette has lectured or held guest residencies at Bowling Green State University, Florida State University, the Juilliard School, and the NEA Institute for Classical Music Critics. She is coauthor of two books, ...
(b New York, NY, June 3, 1943). American music critic, journalist, consultant, composer, and educator. He graduated with a BA from Harvard University and a senior diploma in voice from the Longy School before studying composition at the Yale School, where he earned a master’s degree in 1974. He has contributed criticism on classical and popular music to a wide variety of publications, including the Village Voice (1980–86), the Los Angeles Herald-Examiner (1988–9), Entertainment Weekly (1990–92), and the Wall Street Journal (intermittently since 1983). His online columns for
Liliana González Moreno
(b New York, NY, March 16, 1929; d Matanzas, Cuba, July 21, 1977). composer, music critic, and pedagogue, active in Mexico and Cuba. He started his musical studies in Los Angeles. In 1949 he moved to Mexico City where he studied with Blas Galindo, Rodolfo Halffter, José Pablo Moncayo, and Carlos Jiménez Mabarak. In the 1950s he actively composed and promoted new music, organizing concerts and collaborating in theater productions by Alfonso Arau. In the early 1960s he lived in the southwestern Mexican state of Michoacán, where he conducted folk music research and directed folk music groups. In 1962 Smith moved to Havana, Cuba, to collaborate with Alfonso Arau in a project about the reorganization of the Teatro Musical de La Habana and opted to stay in the island. From 1963 to 1966 he taught harmony, analysis, music history, and composition at Havana’s Escuela Nacional de Música. His interest in the use of mathematical models in music composition and analysis was very influential in the development of chance, stochastic, and electroacoustic music in Cuba. He became active as a composer and arranger with the Instituto Cubano de Radio, Cine y Televisión, and later joined the faculty of the Grupo de Experimentación Sonora del ICAIC. In the early 1970s, he moved to Matanzas, Cuba, where he remained until his death, working as a music teacher and conductor....