(b Évora, Dec 27, 1917). Portuguese musicologist. He studied music at the Évora Seminary and in Rome at the Pontificio Istituto di Musica Sacra, where he obtained the licentiate in 1951. From 1940 he taught music and conducted the choir at the Évora Seminary; he also taught at the Centro de Estudios Gregorianos, Lisbon, where in 1966 he succeeded Mario Sampayo as conductor of the Polyphonia, a choir devoted to the interpretation of early music (particularly Portuguese). In 1974 he resigned from both posts. He was made canon of the Évora Cathedral Chapter, where he was active as mestre da capela, in 1957 and was granted the honorary doctorate by the University of Évora in 1988. He has contributed to the encyclopedia Verbo and to various national journals, and has taken part in many conferences, both national and international. His publications may be divided into three fields: transcriptions of Portuguese polyphonic music, catalogues of Portuguese musical archives, and diverse writings on the history of Portuguese music, particularly in the cathedrals. His transcriptions are always extremely accurate and faithful to the originals and, at the same time, practical for choral use. His catalogues, though seldom including musical incipits, are complete, detailed and clear, and form the greatest list of musical sources in Portugal....
(b Athens, Greece, May 5, 1969). Greek musicologist specialising in Byzantine music, university professor, cantor, and choir conductor. Chaldaeakes studied theology at the University of Athens. Due to his musical talent and vast knowledge of church music, he was employed in 1992 in the newly established music department of the same university, to assist professor Gregorios Stathis, the first teacher of Byzantine music in the department. In 1998 he earned the PhD in musicology there, and in 1999 he was elected a faculty member of the music department.
He is a diligent and ingenious researcher, with over 150 publications in Greek and other languages on Byzantine and post-Byzantine music and musicians. His scientific competence is well represented in the voluminous collection of Stathis’ writings that he edited in 2001. Aiming at closer communication between Greek and Western musicologists, he has collaborated with musicologists in the USA, England, Austria, Denmark, and Russia. As of ...
Bonnie J. Blackburn
(b Lodi, 14 Jan 1451; d Milan, 24 June 1522). Italian theorist, composer, and choirmaster. At home in both speculative and practical music, he was the first theorist to have a substantial number of his writings published, and his influence can be traced for more than a century, both in Italy and abroad.
Much of our knowledge stems from the contemporary biography by Pantaleone Malegolo, printed in the De harmonia: Gaffurius was born in Lodi to the soldier Bettino from Almenno in the territory of Bergamo and to Caterina Fissiraga of Lodi. He began theological studies early, at the Benedictine monastery of S. Pietro in Lodi Vecchio (where he was still present in September 1473) and was ordained priest in late 1473 or 1474. His first instructor in music was Johannes Bonadies (or Godendach); Malegolo implies that this was in Lodi, where he briefly returned to sing in the cathedral on Ascension Day, ...
(b Turrida di Sedegliano, Sept 19, 1945; d Udine, Sept 17, 1997). Italian priest, conductor and musicologist. After a career as a schoolteacher in Codroipo (1970–73) and Udine (1973–80), he gained degrees in theology at the Lateran Pontifical University, Rome (1981) and musicology at Padua University (1986) under Bonfacio Giacomo Baroffio and Giulio Cattin. He then served as maestro di cappella at Udine Cathedral (1980–92) and began teaching choral conducting at Jacopo Tomadini Conservatory, Udine, in 1981. His interests spanned a wide range of sacred and secular repertories, in particular liturgical music in his native province of Friuli, elements of which he attempted to trace back to early Judeo-Christian practices in 1st-century Alexandria. Cognizant of continuing archaeological research on its 4th-century cathedral, he posited Aquileia and its divergent (i.e., non-Roman) musico-liturgical and iconographical practices with a significant role in the preservation of remnants of more ancient (possibly pre-Christian Essene) practices. Among these divergences was the celebration of Pentecost as the paramount feast of the Christian year. Some evidence for his views came from surviving music by Mainerio and transcripts of 16th- and 17th-century witchcraft trials....