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[‘La Romanina’]

(fl 1582–1620). Italian soprano, lutenist and dancer, wife of Antonio Archilei . Probably a pupil of her husband, whom she married most likely in 1582, she was a protégée of Emilio de' Cavalieri in Rome and was with him in the service of Cardinal Ferdinando de’ Medici before he became Grand Duke of Tuscany in 1587. She participated in the festivities for the wedding of Eleonora de' Medici and Vincenzo Gonzaga in 1584. When Cavalieri was made artistic superintendent at the Medici court in 1588, she went with her husband to Florence, where she became one of the most famous singers of her time. She apparently remained in the service of the Medici until her death.

She had a major part, as soprano soloist and lutenist, in the spectacular ‘intermedii et concerti’ for the comedy La pellegrina during the festivities for the marriage of Ferdinando de' Medici and Christine of Lorraine in ...

(b Big Cove, Qualla Boundary, NC, May 13, 1918; d Big Cove, March 28, 2012). Native American elder, singer, dancer, banjoist, and teacher. A member of the Cherokee tribe, he was introduced to Cherokee music and dance as a child by his uncle Will West Long, an elder in the Big Cove community and co-author of Cherokee Dance and Drama (Berkeley, 1951, 2/1983). He taught and performed Cherokee music and dance and formed the Raven Rock Dancers in the 1980s. Calhoun is the recipient of numerous awards recognizing his work as a teacher and culture bearer including the first Sequoyah Award in 1988, the North Carolina Folk Heritage Award in 1990, and a National Heritage Fellowship from the National Endowment for the Arts in 1992. He may be heard on such albums as Where the Ravens Roost: Cherokee Traditional Songs of Walker Calhoun (Mountain Heritage Center Recording, ...

(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 ...

(b 1718; d Paris, after 1775). French composer, dancer, ?singer and harpsichordist. In his contemporary manuscript, Notices sur les oeuvres de théâtre, the Marquis d'Argenson commented that Duval, ‘une jeune fille de l'Opéra’, was 18 in 1736 when she composed Les Génies, ou Les caractères de l'Amour. Fétis gave 1769 as her death date; Choron identified her as a ‘singer at the Paris Opéra’ and claimed that she was ‘still living in 1770’; the Anecdotes dramatiques for 1775 referred to her as a ‘former actress at the Opéra’ and included a ‘Mlle Duval’ as a supernumerary among the dancers.

Duval was best known as the composer of Les Génies, ou Les caractères de l'Amour (libretto by Fleury [de Lyon]), a ballet-héröique in a prologue and four entrées (printed in Paris about 1736). The dedication page reveals that the Prince of Carignan was her ‘Protecteur’. Les Génies...

(b Hillsborough, NC, April 4, 1929). American Piedmont blues guitarist, singer, dancer, and storyteller. He grew up on a farm in rural Orange County, North Carolina. When he was 13 or 14 years old, he learned acoustic guitar by watching his uncle and cousin. He drew repertoire from the artists he heard on the radio, such as Blind Boy Fuller, Brownie McGhee, and Lightnin’ Hopkins. He played at social gatherings in the community and added buck- and tap-dancing, which he also learned from his uncle and cousin. In 1954 he moved to Durham where he started to play electric guitar and incorporated more modern blues, including songs by Muddy Waters and Jimmy Reed. Teaming up with pianist Quentin “Fris” Holloway (1918–2008), Holeman performed in and around Durham. In 1976 folklorist Glenn Hinson invited Holeman to a local festival that attracted 5000 audience members. Since then he has been playing professionally. During the 1980s, he toured in and outside the United States with Holloway. While his precise finger picking––as heard in “Step It Up and Go” (...

(fl Mantua, 1580–1608). Italian singer, lutenist, dancer and choreographer . He appears in court records from Mantua from about 1580. For the wedding of Duke Vincenzo I and Margherita Farnese, he arranged the dances for Bernardo Pino da Cagli's Ingiusti sdegni, presented in Parma in 1584 by the Jewish theatrical company of Mantua. In 1591–2 he was commissioned to provide the dances for the performance in Mantua of Battista Guarini's Pastor fido, which was postponed until 1598; Massarano planned the dance scheme for the ‘Gioco della cieca’. Other productions on which he collaborated were Leone de' Sommi's Le tre sorelle (1598) and Torquato Tasso's Delli intrighi de amor (1606). In 1608 Massarano appeared, together with Salamone Rossi, in an entertainment at the home of the Paduan nobleman Pietro Priuli.

[Marion Joseph]

(b Indianapolis, July 22, 1912; d after 1975). American trumpeter, singer, and dancer. The birth year quoted is from his 1940 draft registration, which he signed “Joseph Taps Miller”; in the 1950s he told European interviewers he was born in 1915. From 1932 he was featured as a singer and dancer in New York shows, notably Blackbirds of 1939. In 1941 he was a master of ceremonies at Kelly’s Stable and took part in jam sessions as a drummer at Monroe’s Uptown House. He recorded as a singer with Count Basie in May 1942, and he may be seen in the soundie A Song and Dance Man (1943). In 1944–5 he toured North Africa and Asia as a member of a USO unit led by Alberta Hunter; this tour included a month’s residency in Casablanca. In the late 1940s and early 1950s Miller worked around New York; he recorded again as a singer with Basie in ...

[Willis ]

(b Chicago, Dec 10, 1913; d New York, Jan 28, 1976). American trumpeter, cornetist, violinist, singer, and dancer. He learned piano from the age of six, initially taking lessons from his mother. Later he took up violin, taught himself trumpet, and marched as a drum master in high school. From 1932 to 1937 he led a sextet in Chicago, then worked, principally as a trumpeter, with Earl Hines (February 1937 – December 1938) and Horace Henderson (January 1939 – March 1940). In 1940, after spending eight months performing as a solo act – singing, dancing, and playing both trumpet and violin – he joined Duke Ellington, with whom he remained until 1963 apart from a few periods, including nine months’ leave in 1944 to lead his own quartet. While with Ellington, Nance continued to make use of all his talents. He often performed as a singer and dancer, and the full and penetrating tone he obtained on violin was the highlight of many of the band’s recordings, including ...

[Pozo Gonzales, Luciano ]

(b Havana, Cuba, Jan 7, 1915; d New York, NY, Dec 2, 1948). Cuban drummer, singer, and dancer. His drumming and singing were rooted in Santeria, the lucumí faith derived from West African rituals. On 29 September 1947 he and the bongo player Chiquitico performed in a concert at Carnegie Hall with trumpeter Dizzy Gillespie—a landmark event in the history of fusing elements of jazz and Latin music. Pozo was murdered before he could fully develop his ideas with Gillespie, but during his brief career in the United States he provided the starting point for much popular music of the late 1940s and the 50s. The collaboration between the two men, which produced the infectious “Manteca” (1947), supplied the initiative for American musicians, and some of the listening public, to appreciate fully the tradition of Latin music.

(b Chattanooga, TN, 2 June ?1900; d New York, NY, May 30, 1956). American singer, trumpeter, and dancer. Daughter of a mixed-race couple who were both entertainers and musicians, she learned several instruments before deciding to concentrate on trumpet. By the 1920s she was touring the T.O.B.A. circuit with various revues, and in 1926 she visited Shanghai. In 1935, her performance in Blackbirds of 1934 brought her to England, where she began making records that showed her chief instrumental and vocal influence to be Louis Armstrong. After a brief return in 1936 to the United States, where she performed with Earl Hines in Chicago and made films in Hollywood, Snow moved to Europe, where she made more films and recordings. She was incarcerated in a Nazi concentration camp in Denmark in 1940 and was badly injured before being exchanged in 1943. After a recuperation period she continued touring and recording until her death during a comeback appearance at the Palace Theatre. Snow stands out from other women performers of her time in that she was known as much as an instrumentalist as a singer. Her extensive touring probably cost her the name recognition that professional stability might have brought, but her recordings show her to have been a fine, swing-influenced trumpeter and vocalist....

(b Boskovice, 19 Jan 1984).Czech composer and performer (voice, accordion, and tap dance). She studied the accordion (2004–10) and composition (2007–8) at the Brno Conservatory, and composition at the Janáček Academy of Music and Performing Arts (with martin smolka and Peter Graham[1]). She also studied as an exchange student at the Royal Conservatory in The Hague, the California Institute of the Arts (with michael pisaro), the Universität der Künste Berlin (with Marc Sabat), and Columbia University (with george e. lewis).

While she often works with elements outside of music, there is almost always an intense engagement with direct listening, often arrived at through intense focus on very limited material. Sources for her work include Morse code, maps of garments which she turns into scores (Shirt for Harp, Oboe, and Accordion; Jacket for Ensemble), field recordings which she notates descriptively and then asks musicians to interpret the notation (...