(b Algiers, Feb 14, 1941). French pianist, arranger, leader, and musicologist. He discovered jazz following a period of classical piano studies. In 1962 he moved to Paris and performed in amateur bands, and in 1966 he became a professional musician. As house pianist at the Jazz O’Maniac he accompanied Albert Nicholas, Bill Coleman (1971–2), and Benny Waters (1971–3), as well as Benny Carter, Jo Jones, Illinois Jacquet, Buddy Tate, Slam Stewart, Stephane Grappelli, Vic Dickenson, Cat Anderson, and others. From 1976 to 1979 he was co-director, with Marc Richard, of the Anachronic Jazz Band, which aimed to present modern jazz themes with a traditional New Orleans jazz orchestration, as may be heard on Anachronic Jazz Band, i–ii (1976, 1978, Open 02, 09). From 1979 to 1983 he led the Happy Feet Quintet, with which he recorded the album Happy Feet and Friends (...
(b Livorno, July 28, 1862; d Florence, Oct 7, 1952). Italian musicologist. He first studied law, then turned to music and joined the staff of the Biblioteca Nazionale Centrale, Florence. He became successively professor of music history, assistant director and finally director and librarian of the Istituto Musicale (Reale Accademia di Musica Luigi Cherubini), Florence, retiring in 1932. His numerous writings (over 900) include regular contributions to newspapers and periodicals, among them the Gazzetta musicale di Milano, La critica musicale and the Rivista musicale italiana.Saggio storico sul teatro musicale italiano (Livorno, 1913) La figura e l’arte di G. Verdi (Livorno, 1919) Bernardo Pasquini (Ascoli Piceno, 1923) Verdi (Paris, 1923) Mefistofele di Arrigo Boito (Milan, 1924) G. Puccini: l’uomo e l’artista (Livorno, 1925) L’opera italiana (Florence, 1928) Rossini (Florence, 1934) Publicazioni di Arnaldo Bonaventura nel cinquantenario, 1880–1930 (Florence, 1930) B. Becherini: ‘Ricordi di Arnaldo Bonaventura (1862–1952)’, RMI...
(b 1843–4; d ?1917). English translator . He was a scholar of Oriel College, Oxford (BA 1866), and was ordained in the Church of England in 1868. He was choirmaster and organist of Christ Church, Marylebone, London, from 1878 to 1882.
For the production of Così fan tutte (at that time rarely staged) by the Royal College of Music at the Savoy Theatre in 1890, he wrote an amusing and elegant English version, ‘translated and adapted from the original Italian and the German paraphrase’, in a style Richard Brinsley Sheridan would not have disdained. It was published in vocal score by Novello, with the characters Fiordiligi and Guglielmo renamed Isidora and Gratiano, presumably for the convenience of English tongues. The long survival of this version, with modifications, extended to the ENO production of 1990. Browne also translated Cornelius’s Der Barbier von Bagdad (RCM, Savoy, 1891) and Hermann Goetz’s ...
(b Kensington, London, Nov 20, 1766; d Bristol, May 15, 1821). English composer and theorist. Entering music as a largely self-taught amateur, he became a popular glee composer and a respected authority on music theory.
He was the son of a builder, Thomas Callcott, by his second wife, Charlotte Wall, and was educated at a private school by William Young; he was a brilliant student of classics, Hebrew and philosophy. Until he was 13 it was planned that he should become a surgeon, but he was so disgusted by witnessing an operation that he gave up this idea. He had learnt something of music from Henry Whitney, organist of Kensington parish church, and he began to practise the organ seriously while continuing to pursue, untaught, the study of languages and mathematics. He also learnt to play the clarinet and the oboe, and began to compose. In 1782 he became acquainted with Samuel Arnold and Benjamin Cooke, who encouraged him to enter the profession; the next year he became assistant organist of St George’s, Bloomsbury. Through Cooke he was admitted as a ‘supernumerary hautboy’ at the concerts of the Academy of Ancient Music. From this time onwards his efforts in composition were mainly devoted to the glee. His first glee, ...
(b Durrës, Albania, Jan 20, 1914; d Tirana, Albania, March 30, 1977). Albanian folk music researcher and composer. Born into an intellectual family, he studied music in Bucharest (1936) and later Milan (1939) before returning to Albania during World War II. Initially, Dheri was appointed music instructor at the high school in Shkodra, where he organized small ensembles and choral groups following the war. In 1949, he was transferred to the Committee for the Arts and Culture in Tirana and, in 1953, to Radio Tirana. During this period, Dheri contributed to the Radio’s sound archives, collected and transcribed folk pieces, created pedagogical texts, and composed light popular waltzes, tangos, and foxtrots. His primary contribution followed his appointment to the newly formed Institute of Folk Culture in 1968. As an editor and the founding director of the national archives for folk music, Dheri oversaw the publication of early systematic collections including ...
Brenda M. Romero
(b Tlaxiaco, Mexico, Sept 9, 1967). Mexican singer, composer, and anthropologist. She was already well known in Mexico when she emerged in the US mainstream with her performance in the film Frida (2002). Her father was Scottish American and her mother is Mixtec from Oaxaca, thus Downs grew up traveling back and forth between the United States and Mexico and between cultures. She began singing at the age of five and began formal classical voice studies at 14 at Bellas Artes in Oaxaca. She subsequently studied in Los Angeles and at the University of Minnesota, where she earned a bachelor’s degree in anthropology, focusing on Oaxacan highland textiles. In addition to crediting African American music in general, and female singers and the music of jazz in particular, for showing her the many ways in which the voice can be used as an instrument to articulate a wide palette of expressiveness, she credits a range of musical influences, including the Grateful Dead, Woody Guthrie, Bob Dylan, Meredith Monk (especially her extended vocal techniques), Thelonious Monk, and John Coltrane. She has conducted most of her work in collaboration with her husband ...
Daphne G. Carr
(b Sussex, England, June 25, 1946). British popular music scholar and critic. Frith is a foundational figure in intellectual inquiry on popular music since his first book, The Sociology of Rock (1978). His scholarly work has influenced the terrain of cultural studies in the study of popular music, beginning with mass culture, media, criticism, consumption, leisure, and youth; moving to questions of “authenticity,” taste, cultural hierarchy, and legitimacy; record production and producers; questions of copyright and public policy; and historical accounts of local scenes and live music. Frith has written a number of influential general texts on popular music, co-edited numerous foundational anthologies, educated several generations of British pop scholars, and served as a prominent public intellectual on popular music as culture. Frith was a founding member of International Association for the Study of Popular Music and a founding editor of the journal Popular Music (...
(b Florence, Dec 19, 1876; d Milan, March 3, 1965). Italian musicologist . He studied at the Milan Conservatory, with Catalani and others, teaching there from 1898 to 1941, and until 1948 holding the chair of Verdi studies, a position created for him. In 1921 he founded the music section of Teatro del Popolo, Milan, which he directed for more than 30 years. He also served as director at La Scala (1941–4) and was music critic of L’illustrazione italiana (1918–48). As a scholar he devoted himself to critical and historical studies of late 19th-century opera: his Verdi, in its original 1931 edition, is one of the most comprehensive and fully documented accounts of the composer and his music. He also composed orchestral and vocal music.Il Teatro alla Scala rinnovato (Milan, 1926) Verdi (Milan, 1931, 2/1951; part Eng. trans., 1955, as Verdi: the Man and his Music...
(b Norwich, April 11, 1912). Canadian composer, theorist and conductor of English origin. He moved to Canada in 1928, becoming a Canadian citizen in 1930. His composition teachers have included Alfred Whitehead in Montreal and Paul Hindemith at Yale University (1952–3). He also studied conducting with Willem van Otterloo in Utrecht (1956). From 1946 until his retirement in 1977, he taught at Queen’s University in Kingston, Ontario. He also conducted the Queen’s SO (1946–54), and founded and conducted both the Kingston Choral Society (1953–7) and the New SO of Kingston (1954–7).
George’s music is in a 20th-century idiom characterized by traditional formal structures and modal harmonies, and influenced by his studies of ethnomusicology and the structural aspects of music. His operas are large-scale works based on historical events with librettos adapted from contemporary writing. He has also composed many choral pieces....
(b Romania, 1930; d Copenhagen, 4 April 2015). Romanian-Danish ethnochoreologist. She worked as a researcher at the Institute of Ethnography and Folklore in Bucharest from 1953 to 1979. She contributed to the foundation and development of scientific research on traditional dance in Romania, where she conducted extensive fieldwork, filming dances and rituals in over 200 villages. Her main interests concerned the contextual study of dance, the analysis of dance structure, the processes of dance improvisation, and dance as an identity marker for the Roma minority group. She also investigated the way traditional symbols were manipulated in Romania for national and political power legitimation.
After 1980 she lived in Denmark, where she conducted research on topics such as continuity and change in the traditional culture of the Vlachs (a Romanian speaking ethnic minority of Serbia) living in Denmark, the Romanian healing ritual căluş, and on the theory and methods of field research in contemporary society. She was the Honorary Chairperson of the ICTM Study Group on Ethnochoreology and the leader of the Sub-Study Group on Fieldwork Theory and Methods, a Board member of Danish National Committee for ICTM, and Doctor Honoris Causa of Roehampton University, London. She had a great number of publications and a fruitful activity as a lecturer on an international level. In her last years, she worked with Margaret Beissinger and Speranța Rădulescu on the volume ...
(b Czernowitz [now Chernovtsy, Ukraine], Oct 26, 1888; d Vienna, Oct 12, 1960). Austrian theatre historian and librettist . He went to Vienna in 1907, studying German, philosophy and musicology (under Guido Adler) at the university and practical music at the academy. In 1908 he became a private pupil of Robert Fuchs and also studied operatic production at the Vienna Hofoper. In 1910 he became Max Reinhardt’s assistant for a production of the second part of Goethe’s Faust at the Deutsche Theater, Berlin. After war service he was appointed librarian at the Austrian National Library, where he founded a theatre archive in 1922 and a film archive in 1929; he initiated studies in theatre history at Vienna University in 1947. During the last years of his life he was accorded many national and international awards.
Although Gregor left important monographs on the history of Vienna’s theatres, on Richard Strauss’s operas and on the broad cultural history of theatre and of opera, he is probably best known as the librettist of Richard Strauss’s ...
E. Bradley Strauchen-Scherer
(b New York, NY, 17 March 1922; d London, England, 12 Sept 1990). American ethnomusicologist and curator. Although born and reared in the Bronx, Jenkins portrayed herself as having been brought up in rural Arkansas surrounded by Ozark folk music. As a teenager, she learnt an extensive repertoire of folksongs and became active in American folk music circles. Like many folksingers of the era, Jenkins espoused socialism. She studied anthropology and musicology in Missouri but her support of trade unions and civil rights attracted the scrutiny of the FBI.
Her move to London in 1950 placed Jenkins beyond the reach of McCarthyism. There she continued her studies and secured leave to remain in the UK by marrying Clive Jenkins, a prominent trade union leader. In 1960 she became the first Keeper of Musical Instruments of the Horniman Museum and commenced fieldwork. She traveled in the USSR, Africa, Asia, the Middle East, and southern Europe to record and to build up a comparative collection of instruments for the Horniman. Jenkins organized exhibitions and published as curatorial duties permitted, but recording was her enduring legacy to ethnomusicology. She considered her banjo to be her most important piece of fieldwork equipment and she played to other musicians to encourage them to participate in recordings. Keen to capture music she perceived to be vanishing, she recorded more than 700 field tapes. Her frequent BBC broadcasts and commercially issued recordings introduced music from Asia and Africa to UK audiences and paved the way for the explosion of interest in ‘world music’. Jenkins’s original recordings and an archive of fieldwork photographs are held by the National Museums of Scotland....
(b London, March 13, 1863; d London, May 17, 1933). English translator. He was one of the first British champions of Richard Strauss, with whom he became personally acquainted at the first performance in Berlin of Feuersnot (1912). His translation of Der Rosenkavalier, published in the vocal score and first performed in Birmingham in ...
(b Mikhaylovka, Samara province, 1/Dec 12, 1766; d St Petersburg, 22 May/June 3, 1826). Russian prose writer and historian. As the official court historiographer from 1804, he produced an 11-volume history of Russia to the early 17th-century ‘Time of Troubles’; its authority was not challenged until the 1860s. Many details from it found their way into the libretto of Musorgsky’s Boris Godunov, especially the expanded version of 1872, which cites Karamzin, along with Pushkin, as a direct source.
Karamzin’s other claim to literary fame was the introduction of the sentimental novel into Russia. This aspect of his work found contemporary operatic echo in Natal’ya, boyarskaya doch’ (‘Natalia, the Nobleman’s Daughter’, 1798) by Daniil Nikitich Kashin (1770–1841), a serf musician who was one of the early collector-arrangers of Russian folksong. In his opera after Karamzin, performed in Moscow in 1803, Kashin accommodated the folk idiom to the style of the contemporary sentimental romance, paving the way towards Tchaikovsky’s ...
(b Paris, 1687; d Paris, Oct 13, 1770). French librettist and historian . He was elected to the Académie Française in 1733 and appointed lecteur to Queen Maria Leszczyńska around 1745. He is best known for Les chats (1727), an elegant and witty history of the cat since ancient Egyptian times. As a librettist Moncrif worked exclusively on a small scale, limiting himself to the opéra-ballet, with its separate entrées, and to the independent acte de ballet. A taste for exoticism, first explored in his ‘contes indiens’ Les avantures de Zéloïde et d’Amanzarifdine (1715), is also evident in the librettos. One entrée of L’empire de l’Amour (‘Les génies du feu’) inhabits the enchanted world of Middle Eastern mythology, still a fairly unusual choice in 1733 but soon to become fashionable; his subsequent librettos, notably Zélindor, roi des silphes and Les génies tutélaires, mainly adopt Arabian or Asiatic settings. Most were moderately successful; ...
Laura Otilia Vasiliu
(b Reuseni, Suceava county, Romania, May 2, 1944). Romanian composer, musicologist, and teacher . Rooted in the folklore of Bukovina and in Byzantine liturgical music, furthering the musical environment of his predecessors Ciprian Porumbescu and George Enescu, his works stand at the crossroads of tradition and modernity, having become established through their authentic expression and mastery of form. His personality has been influential in the musical life of Iaşi and the George Enescu University of Arts, which he served as a professor, dean, and rector.
He studied at the George Enescu Conservatory in Iaşi. He graduated in pedagogy and composition under Vasile Spătărelu. He attended composition classes led by Ştefan Niculescu, Aurel Stroe, and Anatol Vieru at the Vacanţele muzicale de la Piatra Neamt (‘Musical Holidays of Piatra Neamţ’, 1972–80), and then he studied with Roman Vlad at the Santa Cecilia Academy in Rome (1980). Up until ...
Michael C. Heller
(b Cardiff, UK, Jan 8, 1948). British jazz journalist and historian. He studied music theory and clarinet at the Welsh College of Music and Drama (1967–71), followed by ten years leading a jazz-rock band under the stage name Nick Stewart. In the early 1980s he began writing on jazz for various magazines and newspapers in the UK. Since then his pieces have appeared in a range of publications in Europe and the United States, including The Western Mail, Gramophone, The Observer, Jazzwise, Jazz Times, and The Wire. His writing expanded to book-length studies in the 1990s, including highly regarded biographies of Ella Fitzgerald, Billie Holiday, and Duke Ellington, as well as broader surveys of jazz in the 1980s and jazz-rock. Since the early 2000s Nicholson has been a key chronicler of the European scene, especially movements blending jazz with local folkloric forms, classical music, and electronica. His controversial ...
(b Constantinople, 1862; d Athens, Greece, Aug 18, 1938). Greek musicologist, and pioneer historian of Greek Orthodox music. He graduated from the prestigious Megalē tou Genous Scholē in Constantinople in 1881, and was employed thereafter as a legal employee of the Patriarchate, reaching the highest rank (Megas prōtekdikos) in 1903.
In 1890 he published his Symbolai eis tēn historian tēs par’ hēmin ekklēsiastikēs mousikēs (‘Contributions to the History of our Church Music’), and in 1904 the Historikē episkopēsis tēs byzantinēs ekklēsiastikēs mousikēs (‘Historical Survey of Byzantine Ecclesiastical Music’). These are the first studies on Greek music history, after Chrysanthos of Madytos’s essay in his 1832 edition Theoretikon Mega tēs Mousikēs. Papadopoulos begins his Symbolai with ancient Greek music, while his Historical survey concentrates on more recent times, giving much information on contemporary persons and institutions. Both books are essentially a series of biographies grouped in periods defined by chapters on notation, theory, forms, music education, and the practice of chanting. They were based on a rich multilingual bibliography and many forgotten manuscripts that Papadopoulos studied during an eight-month research trip in libraries of Constantinople, Chios, Samos, Smyrna, Mutilene, and Cydonia, and in monasteries of Mounts Athos, Patmos, and Lesvos....
David J. Hough
(b Argentan, Jan 28, 1943). French stage designer. He studied sculpture at the Académie de Dessin in Paris, but preferred painting and scenic design. In 1967 he met the director Patrice Chéreau; since 1969 he has designed all Chéreau’s productions, beginning with L’italiana in Algeri (1969) for the Spoleto Festival. They collaborated on Les contes d’Hoffmann in 1974 and Lulu in 1979, both for the Paris Opéra. Lulu was transposed from the late 19th century to the 1920s, and Peduzzi’s split set was an effective metaphor for the femme fatale’s physical and moral journey. Their last opera was Lucio Silla in 1984–5 for La Scala, the Théâtre des Amandiers in Nanterre and the Théâtre de la Monnaie. Their most famous, and controversial, production was the 1976 ‘industrial revolution’ Bayreuth Ring. Greeted at first with a storm of protest, it then generated much scholarly criticism. By 1980...
(b Nottingham, Sept 19, 1944). English folk-rock and neo-traditional singer, fiddle player, songwriter and ethnomusicologist. In the early 1960s she was a resident singer at the Nottingham folk club. From 1964 to 1969, she and her husband Bob Pegg ran the traditional club the Sovereign in Leeds, and performed together on the national folk circuit. She introduced to the folk scene the English fiddle style (comprising short choppy bow strokes, double-stopping, drones and no vibrato), learnt from traditional fiddlers, including Jinky Wells, Peter Beresford and Harry Cox.
The Peggs recorded their interpretations of Sydney Carter's songs on And Now it is So Early (Galliard), and their own songs on He Came from the Mountains (Transatlantic, 1971), by which time they had launched the experimental and controversial folk-rock band Mr Fox . Carole Pegg's singer-songwriter album Carolanne (1973) mixed traditional English influences with rock and country music, and featured the guitarist Albert Lee. She went on to form Magus with Graham Bond while continuing to perform solo....