(b Pisky, near Khar′kiv, 8/Sept 20, 1876; d Paris, Jan 8, 1945). Ukrainian composer and pianist. Aged ten he was sent, along with his brother Yakiv (later known as the composer Stepovy), to sing in the choir of the Imperial Chapel in St Petersburg. It was during his time there (1886–95) that he began to compose under the influence of his teachers Balakirev and Lyapunov. He finished studies with Rimsky-Korsakov and Lyadov at the St Petersburg Conservatory in 1901, the year in which the latter conducted the first performance of the Lyric Poem, op.20. Akimenko then became the director of a music school in Tbilisi (1901–03). He performed widely as a pianist, particularly in France and Switzerland, and lived for a while in Paris (1903–06) before returning to Khar′kiv. In 1914 he was invited to teach composition and theory at the St Petersburg Conservatory, a post he held until ...
revised by Luis Merino
(b Santiago, Sept 2, 1911; d Santiago, Aug 2, 1954). Chilean composer and pianist. He studied with Allende for composition and Renard for the piano at the Santiago National Conservatory (1923–35), where he then held appointments as coach at the opera department (1935), assistant professor of the piano (1937), professor of analysis (1940), and director (1945). At the same time he taught at the Liceo Manuel de Salas in Santiago. He was secretary-general to the Instituto de Extensión Musical (from 1941), a founder-director of the Escuela Moderna de Música, Santiago (1940), and a member of various arts societies. In 1943 he went to the USA as a guest of the Institute of International Education and in 1953 he was in Europe for the performance of his Wind Sextet at the ISCM Festival. His early compositions show the influences of French music and Chilean folklore; from the late 1940s his work became more Expressionist and abstract....
(b Mexico City, Nov 11, 1932). Mexican ethnomusicologist, singer, percussionist and music administrator. She studied at the Colegio Juan de Dios Peza in San Luis Potosí (BA in philosophy and letters), the National Conservatory of Music in Mexico City (singing and percussion, 1959–67) and the Idyllwild School of Music of the University of Southern California, Los Angeles (1965–70). Concurrently she lectured extensively on Mexican folk music in the USA and Europe and pursued a career as a performer. In 1966 she became head of the Sección de Investigaciones Musicales and in 1974 director of the Centro Nacional de Investigación, Documentación e Información Musical of the Instituto Nacional de Bellas Artes and of the instrument museum of the same institute, where she also inaugurated the annual courses in ethnomusicology (1967–72). As an official researcher of the institute, she has studied and published in the areas of Mexican music history, folklore, dance, and ethnomusicology....