(b Detroit, MI, Sept 24, 1951). American composer, theorist, and jazz saxophonist. He attended public schools in Detroit, including Cass Technical High School, where he studied jazz and led his own band, the Seven Sounds. He continued his education at the University of Michigan (BMEd 1973, MA 1974) and at Yale University (MDiv 1977, PhD music theory 1993). Andrews was ordained as a minister in 1978, serving as Yale University campus chaplain and as faculty member in the Music Department and Department of African American Studies for more than a decade. During that period he met Lloyd Richards, director of the Yale Repertory Theatre, and playwright August Wilson. Andrews became resident music director (1979–86) for the company and contributed original music scores to a number of Wilson’s plays, including Ma Rainey’s Black Bottom, Joe Turner’s Come and Gone, Fences, The Piano Lesson, and Seven Guitars...
(b Budapest, Oct 22, 1905; d Paris, Nov 28, 1987). French composer, pianist and ethnomusicologist of Hungarian birth. He studied the piano at the Budapest Academy of Music with Bartók (1921–4), whose advice on composition he often sought in later years and who kindled his love for folksong and collection. (In a lecture given at Harvard in 1943, Bartók spoke of Arma’s textless song for solo voice on one pitch with variations of vowel sound, dynamic and rhythm.) Arma began his career as a member of the Budapest Piano Trio (1925–6). Between 1924 and 1930 he gave many recitals in Europe and the USA and lectured on contemporary music at American universities. He settled in Germany in 1931, and for a time he led the musical activities at the Dessau Bauhaus, lecturing on modern music and experimenting with electronic music produced on gramophone records. Later he lived in Berlin and Leipzig, where he conducted several smaller choirs and orchestras. The advent of the Nazi regime in Germany forced his move to Paris, where he made his permanent home. At first he was associated with the RTF, notably as founder-director of the Loisirs Musicaux de la Jeunesse (...
(b Tarnopol′, 8/Feb 20, 1888; d L′viv, June 9, 1963). Ukrainian composer, musicologist, pianist and teacher. He took piano lessons first at the K. Mikuli Music School (1895–1905) and with W. Kurtz (1905–06) at the conservatory in L′viv. During the same period he studied jurisprudence at Lemberg University, and from 1907, philosophy at the University of Prague. In Prague Barvyns′ky studied musicology with Z. Nejedly and O. Hostinsky, the piano with I. Holfeld and composition with Vítězsláv Novák (1908–14), who exerted a powerful influence on him. From 1915 to 1939 Barvyns′ky taught at, and was director of, the Lysenko Music Institute in L′viv, and also taught at the conservatory there (1939–41 and 1944–8). A prolific organizer, he initiated and took part in many musical activities in L′viv and became a member of the editorial board of the journal ...
(b Mantes-la-Jolie, 5/June 6, 1665; d Paris, July 6, 1734). French composer, harpsichordist, theorist and teacher. He probably learnt music in the maîtrise of the collegiate church of Notre Dame, Mantes, and in that of Evreux Cathedral. According to the Etat actuel de la Musique du Roi (1773) he then studied with Caldara in Rome. In 1692 Bernier was living in the rue Tiquetonne in Paris and was teaching the harpsichord. On 20 November 1693 he failed to win the post of maître de musique at Rouen Cathedral in competition with Jean-François Lalouette. He was appointed head of the maîtrise of Chartres Cathedral on 17 September 1694 and remained there until 18 March 1698, when he obtained a similar position at St Germain-l'Auxerrois, Paris. A Te Deum performed before the king at Fontainebleau on 24 October 1700 was very successful, and was sung again in several Parisian churches in ...
(b Memphis, Jan 21, 1944). American composer, pianist, conductor and musicologist. He studied the piano with Roy McAllister at the University of Alabama (BM 1965), with Sophia Rosoff, and with Soulima Stravinsky at the University of Illinois (MM 1966), where he also studied composition with Ben Johnson (DMA, 1971) and had contact with Hamm, Hiller, Kessler and Brün. He served on the music faculty at Illinois (1968–74) before joining the staff at Wesleyan University. He was a member of the editorial committee of New World Records (1974–8), founding chairman of New England Sacred Harp Singing (1976) and has held visiting professorships at Middlebury College, Bucknell University and the University of Michigan. In 1980 he was Senior Research Fellow at the Institute for Studies in American Music at Brooklyn College.
In 1968 Bruce founded the American Music Group (AMG), an ensemble innovative in its dedication to American music of all eras. AMG recorded the music of Anthony Philip Heinrich for Vanguard, toured widely in the United States and, under Bruce’s direction, gave the 20th-century première of Bristow’s ...
(b Skopje, Aug 8, 1952). Macedonian composer, pianist and scholar. He studied piano and composition at Ss. Cyril and Methodius University, Faculty of Music, in Skopje before attending the Faculty of Music of Belgrade (MA in composition, 1976); he defended his doctoral dissertation on the aesthetics of music at UKIM Faculty of Philosophy in 1984. He has twice been a Fulbright Scholar in the USA (1985–6 and 1999–2000).
His catalogue includes symphonies, concertos, oratorios, operas, ballets, song cycles, and sonatas for different instruments. He defines his compositional approach as polystylistic: using mainly multi-movement orchestral forms in the manner of the European music tradition from the 17th century to the 20th and incorporating elements of folk, jazz, and rock. He is among Balkan pioneers in the use of electronic music instruments – live synthesizer performances (in the ballet Vozovi [Trains], 1984); music notation software (Third Piano Sonata, ...
Gerald R. Benjamin
(b Ahualulco, San Luis Potosí, Jan 28, 1875; d San Angél, Sept 9, 1965). Mexican composer, theorist, conductor, violinist, inventor and teacher. Born to an American family during a seemingly peaceful period of Mexico’s history, he received his early musical education at the National Conservatory in Mexico City, where he studied the violin with Pedro Manzano, composition with Melesio Morales and acoustics with Francisco Ortega y Fonseca. Between 1899 and 1905 he was in Europe, where he divided his time between the conservatories of Ghent and Leipzig; at Ghent he studied the violin with Albert Zimmer, and at Leipzig he was a pupil of Jadassohn (composition), Becker (violin) and Sitt (conducting), and led the Gewandhaus Orchestra under Nikisch. During these formative years he shaped his critical philosophy of the practical application and examination of all theoretical precepts. The results were revolutionary, and led him to a lifelong attempt at effecting greater accuracy among the discrepant postulates of physicists, mathematicians and music theorists, and at helping performers to apply, or at least understand, them (see his ...
Stephan D. Lindeman and George Barth
(b Vienna, Feb 21, 1791; d Vienna, July 15, 1857). Austrian piano teacher, composer, pianist, theorist and historian. As the pre-eminent pupil of Beethoven and the teacher of many important pupils, including Liszt, Czerny was a central figure in the transmission of Beethoven's legacy. Many of his technical exercises remain an essential part of nearly every pianist's training, but most of his compositions – in nearly every genre, sacred and secular, with opus numbers totalling 861, and an even greater number of works published without opus – are largely forgotten. A large number of theoretical works are of great importance for the insight they offer into contemporary musical genres and performance practice.
The primary source of information about Czerny is his autobiographical sketch entitled Erinnerungen aus meinem Leben (1842). In it, he describes his paternal grandfather as a good amateur violinist, employed as a city official in Nimburg (Nymburk), near Prague. Czerny's father, Wenzel, a pianist, organist, oboist and singer, was born there in ...
(b London, June 29, 1895; d Woking, March 3, 1984). English musicologist, composer and pianist. Her music studies were pursued privately with York Bowen and Fanny Davies for piano and with Benjamin Dale (whom she later married) for composition. Active as a pianist in the early part of her career, she broadcast frequently during the period 1927–31. From 1926 to 1928 she studied Swedish language and literature at University College, London, and later published translations from that and other languages (e.g. Redlich's Claudio Monteverdi and Reifling's Piano Pedalling). She taught theoretical subjects at the Matthay School (1925–31) and taught and lectured for the Workers' Educational Association (1945–50, 1957). She served on the council of the Society of Women Musicians (1920–25, 1946–9) and acted as Ethel Smyth's musical executor in 1944. Kathleen Dale's work was mainly in the field of keyboard music, though she also wrote a biography of Brahms and personal reminiscences of Ethel Smyth and Marion Scott. She edited Schubert's E minor Piano Sonata ...
(b Krapinica, Croatia, Sept 11, 1874; d Zagreb, Croatia, Dec 12, 1948). Croatian composer, organist, music educator, theoretician, and writer. Dugan had his first musical experience during his choir lessons in an archiepiscopal secondary school. He then studied theology and took organ lessons with the principal organist of the Zagreb Cathedral, Vatroslav Kolander. In 1893 he started mathematics and physics studies but graduated from the Hochschule für Musik in Berlin in 1908 (composition with Robert Kahn, conducting with Max Bruch, and organ with H. Becker). He became a director of the Croatian Music Institute (1908) and was named Zagreb Cathedral’s principal organist in 1912 (the position which he held until his death). From 1897 to 1920 he also worked as a secondary school teacher, giving lessons in mathematics and physics. At the Zagreb Music Academy he taught music theory, composition, and the organ (1920–1941); here his most important contribution was amplifying the foundation of, and developing the curriculum for, the counterpoint and fugue courses. He was also active as a conductor of, among others, the Croatian Choral Society, Kolo, and he periodically wrote music reviews. He worked as an editor of the music section in the sacral music journal ...