(b Cologne, June 29, 1896; d Garmisch-Partenkirchen, July 23, 1979). German baritone. He studied with Karl Niemann in Cologne and made his début at Mönchengladbach in 1929 as Wolfram. He sang at the Kroll Oper, Berlin (1930–31), at the Hamburg Staatsoper (1931–3 and 1946–61), and at the Dresden Staatsoper (...
Mareia Quintero Rivera
(b San Juan, PR, July 10, 1910; d Carolina, PR, July 21, 1996). American Puerto Rican composer, singer, percussionist, dancer, and drum-maker. A master of traditional bomba and plena, he was one the most prominent figures of Afro-Puerto Rican musical folklore in the 20th century. He is also known for his commitment to passing down these traditions to subsequent generations. Together with his wife, Caridad Brenes, a gifted dancer, he raised a family of skilled practitioners and maintained a lifelong practice of teaching in the community of Villa Palmeras, Santurce, the working-class area where they lived.
Cepeda was a key figure in gaining national and international recognition for Afro-Puerto Rican musical genres. In the 1940s he created an ensemble for radio performances, and he later developed a stage version of bomba, which he presented in San Juan’s major hotels. Several of his compositions were popularized by Ismael Rivera and Rafael Cortijo. Cepeda also developed ties with the Instituto de Cultura Puertorriqueña, founded in ...
J. Bryan Burton
[Goyaałé, Goyathlay, Goyahkla ]
(b New Mexico, 1829; d Fort Sill, OK, Feb 17, 1909). Native American instrument maker, singer, medicine man, prophet, and military leader. He is better known in Western history for his military leadership of Western Apache resistance to reservation life during the 1880s. Goyaałé (“One who yawns”) was given the name Geronimo after an attack on a Mexican village on St. Jerome’s day when terrified Mexican soldiers cried out “Jeronimo” appealing for help from St. Jerome. After his surrender he was held as a prisoner of war, first in St. Augustine, Florida, then in Fort Sill, Oklahoma, until his death. His celebrity was such that he often made public appearances, including at the 1904 St. Louis World’s Fair, rode in Theodore Roosevelt’s inaugural parade in 1904, and wrote an autobiography with S.M. Barrett, the Oklahoma superintendent of education.
As a medicine man (Apache: diyan), Goyaałé performed Apache sacred ceremonies and rituals that required the knowledge of a vast repertoire of traditional songs sung during the ceremonies. A number of the songs he created were collected for Natalie Curtis’s ...
(b Petersfield, Aug 29, 1931). English maker of lutes and viols, lutenist and singer. He received his early musical training as a chorister at Winchester Cathedral, and was later an alto at St Albans Cathedral, New College, Oxford, and Ely Cathedral. He also studied aircraft design (graduate of the Royal Aeronautical Society, 1953). He made his first lute in 1956 and studied with Diana Poulton; in 1958 he set up as an instrument maker in Oxford, then moved in 1960 to Ely, where he was soon joined by John Isaacs, his partner until 1972. He made his début as a professional lutenist in 1960, when he demonstrated as a performer the musical effect of the lighter construction and low-tension stringing which he advocated as a maker. In 1964 he received the Tovey Prize for his research into the sources of English lute music. He founded the Campian Consort in ...
(b Watauga Co., NC, Oct 13, 1911). American Banjoist, folksinger, and instrument maker. He was born into a family of Appalachian folk musicians; his father, Roby Monroe Hicks, taught him to make banjos (the first ofwhich he built when he was 15) and Appalachian dulcimers, and from his father and his mother, Buna Presnell Hicks, he learned Anglo-American ballads and instrumental techniques. His grandfather, a storyteller, taught him “Jack tales,” Appalachian stories of German American origin. Hicks also learned to dance in a flat-footed, “jumping jack” style. His instruments, which are notable for their high level of craftsmanship, are made from cherry and walnut wood grown near his farm in Vilas, North Carolina; the heads of his banjos are made of groundhog hides. He also produces a number of folk toys. Hicks has appeared at the North Carolina Folk Festival, the National Folk Festival, and the Smithsonian Institution’s Festival of American Folklife. Hicks received the Brown-Hudson Award from the North Carolina Folk Society in ...
Robert B. Winans
(b Laurel Bloomery, TN, 1913; d Reese, NC, Nov 24, 1965). American banjo maker and singer. He learned to make banjos and dulcimers from his father, and as an instrument maker became most famous for his banjos, which were typical of those made in the mountains of northwestern North Carolina where he lived. A fine traditional singer (who was also a tobacco farmer and part-time carpenter), he was important in the folk music revival of the late 1950s and early 1960s. He was the source of the song “Tom Dooley.” The song collector and performer Frank Warner recorded this song from Proffitt in 1939, reshaped it over years of performing it himself, and taught his version to Alan Lomax, who published it in 1947 in Folksong USA, giving credit only to Warner. “Tom Dooley” became a commercial hit when the Kingston Trio recorded this version in 1957, giving credit to no one. This recording was largely responsible for initiating the urban folk music boom. Through Warner’s efforts, Proffitt finally became known as the source of the song, which created a demand both for his appearance at folk festivals and for his handmade banjos. These are made out of native hardwoods, and are characterized by a long, fretless neck, a small body with a wide wooden rim into which is set a small skin head, and a wooden back with a small soundhole. Although this style has been taken to be the authentic mountain folk banjo, it is only one of the many varieties of homemade mountain banjos. Proffitt made recordings for Folk Legacy Records and Folkways Records....
(b Belzoni, MS, March 21, 1930; d Chicago, IL, April 24, 1970). American blues pianist and singer. He received instruction as a boy from such local pianists as Frank Spann (his stepfather), Friday Ford, and Little Brother Montgomery, and played piano in church. He worked with various blues bands, performing in bars and clubs in the area around Jackson, Mississippi, then served in the U.S. Army (1946–51). After settling in Chicago in 1951 he led his own group at the Tick Tock Lounge, then in 1953 began to play with Muddy Waters, remaining a key member of the band until the late 1960s. In later years he began singing more frequently, often leading his own groups or performing as a soloist; he appeared at the Newport and Monterey festivals on several occasions and also toured England and France. Spann’s strengths as a blues-band pianist were his aggressive, hard-driving keyboard style (influenced most strongly by Maceo Merriweather, whom he replaced in Muddy Waters’s band) and his highly refined ensemble skills....