(b Santiago, Chile, Jan 2, 1963). American composer, guitarist, ethnomusicologist, educator, and producer of Chilean birth. He immigrated to the United States as a child and studied guitar with Joseph Torello, Vincent Bredice, Lou Mowad, and George Aguiar. Amigo enrolled at Florida State University (1980) where he studied classical guitar with Bruce Holzman and William Carter and was active as a performer of popular music. In 1986, he moved to Los Angeles, earning a degree in political science from California State University, Northridge (BA 1995) and degrees in ethnomusicology (MA 1988, PhD 2003) from the University of Calfornia, Los Angeles. He studied in Los Angeles with Kenny Burrell, Gary Pratt, Harihar Rao, and wadada leo Smith. Amigo also performed with African, Arabic, funk, hard rock, free jazz, jazz, and reggae groups, and worked as a session guitarist for Hans Zimmer, Mark Mancina, Jay Rifkin, and Les Hooper, among others....
Robert Paul Kolt
revised by Biancamaria Brumana
(b Rome, Nov 10, 1922; d Florence, Dec 8, 2009). Italian administrator, pianist and musicologist. He was a piano pupil of Casella at the Accademia di S Cecilia, Rome, and of Cortot at the Ecole Normale de Musique, Paris; he also studied composition with Virgilio Mortari and musicology with Luigi Ronga at the University of Rome and P.M. Masson at the Sorbonne. After performing widely in Europe and the USA, he devoted himself to teaching and musicology, holding posts at the Carnegie Institute, Pittsburgh (1948–51), the Pesaro Conservatory (1951–7), the Rome Conservatory (1957–67), and Perugia University (1967–93). In 1978 he founded the periodical Esercizi: arte musica spettacolo. His book L’arte clavicembalistica di Domenico Scarlatti, prompted by his own playing, was one of the first to approach the subject in the context of both historical background and stylistic criticism. In addition to serving as director of ...
(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 Brno, Aug 17, 1891; d Brno, May 12, 1971). Czech musicologist, administrator and pianist. He took state examinations in singing and the piano in Vienna (1910) and later attended Cortot's materclasses in Paris (1925). He also studied Czech and German at Prague University and in 1925 took the doctorate at Brno University with a dissertation on the aesthetic aspects of musical reproduction. As a pianist he performed regularly at home and abroad and was professor of piano and aesthetics at the Brno Conservatory (1922–41) and after the war piano professor at the Brno Academy JAMU (1948–50). As a scholar Kundera's career is especially connected with Janáček. As a young man he wrote analyses of Janáček's style and introductions to new works. These include The Makropulos Affair and the Glagolitic Mass, for which he made the vocal scores. It was Kundera's account of the ...
(b Breslau [now Wrocław], Feb 20, 1914). German musicologist, harpsichordist and administrator . In Breslau he studied keyboard instruments with Bronisław von Pozniak and musicology at the university, and worked as a music teacher and concert soloist (1933–9). After war service he joined the staff of the Musikhochschule in Weimar (1946–50), directed the music department of East German radio (1950–54) and held a leading post in the East German Ministry of Culture (1954–62). He took the doctorate at the Humboldt University in 1961 (Die Harmonielehre Jean-Philippe Rameaus, Leipzig, 1963/R), before becoming Intendant of the Staatsoper in East Berlin (1963). His publications include Musik und Musikerziehung in der Geschichte Weimars (Weimar, 1954), Musik in China (Berlin, 1955) and articles (mainly in programmes and daily papers) on J.S. Bach, Wagner, Brecht, Paul Dessau and the political role of culture. As a harpsichordist he played in many European musical capitals and recorded much of Bach's keyboard music, including the violin sonatas with David Oistrakh. His writings and lectures have been published in the collection, ...
revised by Barry Kernfeld
[William; Wagner, Russell William]
(b Canton, MO, Feb 26, 1905; d New Orleans, Aug 9, 1992). American jazz historian, record producer, violinist, and composer. He played violin from the age of ten, and later studied music in Chicago (1924). After private violin tuition in New York (1927) he attended Columbia University Teachers College (1929), where he took up composition; around 1930 he dropped his surname, Wagner, to avoid comparisons with a rather more famous composer in the field. While touring with a theatrical group, the Red Gate Shadow Players, which staged classical Chinese puppet plays (1934–40), he began collecting early jazz records, reselling many through the Hot Record Exchange that he ran from 1935 with the painter Steve Smith. He contributed articles to the magazine Jazz hot and wrote three chapters of Jazzmen: the Story of Hot Jazz Told in the Lives of the Men who Created it...
(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....