Obscure drum, presumably of African origin, of the Babasué (Babassuê) syncretic sect of Belem, Pará, Brazil. It might be related to the atabaque. The body is slightly conical and the single head is secured by a hoop that is laced to four iron hooks that jut from the body below the upper rim. ...
John M. Schechter
Alfred E. Lemmon
(fl 1890–95). Guatemalan musical educator and band director. He was the first director of the Guatemalan banda marcial and was appointed director of the National Conservatory of Music in 1890. His initial task in this post was the upgrading of the conservatory's facilities. He acquired a variety of musical instruments and enlarged the institution's library with music primarily from Germany. His tenure as director was marked by particular emphasis on the teaching of stringed instruments, especially the violin. Aberle also worked to establish a new plan of studies, which was accredited by the secretary of public education. If a student failed a course, he or she was given only one opportunity to repeat it successfully, while advanced students were excused courses where appropriate. Scholarships were awarded to exceptional students between the ages of nine and 15, and from 1893 select students were eligible for government scholarships for further studies in Europe....
Charles Barber and José A. Bowen
(b Thessaloniki, Jan 6, 1903; d Salt Lake City, Sept 22, 1993). American conductor of Spanish-Portuguese descent. He was taken to Switzerland at the age of six and studied medicine at the University of Lausanne before, on Busoni’s recommendation, he moved to Berlin in 1922 to study with Weill. He conducted in provincial German theatres and finally in Berlin until 1933, when he moved to Paris to conduct the Balanchine ballet company and the première of Weill’s ballet Die sieben Todsünden. The following year he toured Australia with the British National Opera Company. On the recommendation of Walter and Furtwängler, he was hired by the Metropolitan Opera, making his début with Samson et Dalila in 1936. In an era of specialization, the mainly negative reviews for his mixed repertory of French opera and Wagner forced him out in 1938. He turned to Broadway, where he renewed his association with Weill, conducting the premières in New York of ...
Ronald C. Purcell
(b c1750; fl Salamanca; d c1820). Portuguese guitarist (or of Portuguese descent). He provided the rules and music to his guitar method, Escuela para tocar con perfección la guitarra de cinco y seis órdenes con reglas generales de mano izquierda y derecha. P.F. Victor Prieto (organist at the Royal Monastery in Salamanca) discovered Abreu's manuscript and published it under the original title in Salamanca in 1799 with supplementary material concerning the origins of the guitar and a historical view of the aesthetics of music. Abreu's method offers a systematic approach to pedagogy, and is one of the first to treat the guitar having six double courses, the precursor to the 19th-century guitar with six single strings. It also discusses guitar accompaniment in the orchestra and, of special note, describes in detail the preparation of right-hand fingernails.SubiráHME B. Saldoni: Diccionario biográfico-bibliográfico de efemérides de músicos españoles...
Carmen Helena Téllez
(b Valera, May 7, 1939). Venezuelan cultural administrator. He founded the Venezuelan youth orchestra system. He earned degrees in economics from the Central University of Venezuela (1961) and composition and organ from the José Angel Lamas School of Music, Caracas (1964, 1966). From 1966 to 1974 he occupied various political and administrative positions, was a member of the Venezuelan parliament and worked for the Instituto Nacional de Cultura y Bellas Artes.
In the mid-1970s Abreu proposed a new system of youth orchestras coupling the needs of music education with the aim of national affirmation and social assistance for underprivileged young people. This network of orchestras, comprising students of all ages in all regions of the country, revolutionized the training of orchestra musicians but caused controversy among conservatory teachers and established professionals, some of whom questioned the project's empirical emphasis and criticized an arguably insufficient academic support. In spite of controversy and changing political and economic circumstances, the Simón Bolívar Orchestra in Caracas, the flagship ensemble of the movement, gradually attained professional status, outranking the traditional orchestras in Venezuela and earning a reputation as the best in Latin America during the 1990s....
(b Santiago, 1863; d Santiago, May 29, 1911). Chilean composer. He studied theory and singing at the National Conservatory, and the organ and composition privately. He was organist at Santiago Cathedral, and occasionally conducted zarzuelas. In 1902 he composed the first act of his opera-ballet Caupolicán; based on the 16th-century poem La araucana by Alonso de Ercilla, the libretto is by Pedro Antonio Pérez and Adolfo Urzúa Rozas. The première of Act 1 took place at the Teatro Municipal, Santiago, in June 1902. Acevedo then received an award that enabled him to study in Milan, where he composed the last two acts of Caupolicán. The complete work, comprising three acts and 11 scenes, was given its first performance at the Teatro Municipal, Santiago, on 8 December 1942, more than 30 years after the composer’s death. Acevedo also composed masses and other religious works, but the public, devoted to Italian opera at that time, never accepted his music....
Enrique Cordero Rodríguez
(b San José, Aug 24, 1943). Costa Rican composer, ethnomusicologist and baritone. He obtained a teaching diploma and the BA at the University of Costa Rica Conservatory, with singing as his special subject. During 1975–6 he lived in Paris, where he studied singing at the Ecole Normale Supérieure de Musique, Gregorian chant and choral conducting at the Catholic University and ethnomusicology at the Sorbonne. He taught at the Escuela de Artes Musicales of the University of Costa Rica (1976–90; director of the Escuela, 1983–7; dean of the fine arts faculty of the university, 1987–91). In 1994, with the painter Ronald Mills, he co-founded the Centro de Investigaciones y Documentación de Musica y de Artes Plásticas, researching the traditional music of Guanacaste and Limón provinces and of the Costa Rican indigenous people, conducting field studies in Costa Rica, Guatemala and Mexico, making recordings, publishing books and articles, and holding lectures and seminars....
José López-Calo and Andrew Lamb
(b La Granja de S Ildefonso, Segovia, March 20, 1837; d Madrid, Feb 21, 1876). Spanish composer. In 1853 he entered the Madrid Conservatory, where his composition teacher was Emilio Arrieta, and in 1858 he won a gold medal for composition. For an opera competition in 1869 he composed, in collaboration with Antonio Llanos (1841–1906), the prize-winning El puñal de misericordia; he also wrote some religious music, most notably a Stabat mater. However, he was influenced mainly by Arrieta towards the composition of zarzuelas. His works in this genre were well received in his time, particularly Sensitiva (1870), but his fame has now been eclipsed by that of contemporaries such as Barbieri and Oudrid (in collaboration with whom he composed El testamento azul) and Caballero (with whom he composed El trono de Escocia).
zarzuelas unless otherwise stated; for more detailed list see GroveO...
(b Bilbao, Spain, Nov 1, 1932). Spanish pianist, active in the United States. He began music studies at an early age at the Bilbao Conservatory and later studied with Nikita Magaloff, Walter Gieseking and Bruno Seidlhofer. After winning awards and international competitions in France, Italy, and Switzerland during his years as a student, Achucarro scored a triumph at the 1959 Liverpool International Piano Concerto Competition. This led to his debut with the London SO, marking the beginning of an extensive career as concert performer that has taken him to over sixty countries where he has performed with over two hundred orchestras, including the Berlin PO, London PO, Tokyo PO, Sydney SO, and La Scala PO. Achucarro made his US debut in 1968 with the Chicago SO under Seiji Ozawa. Since then, Achucarro has performed frequently in recitals and concerts with the premiere American orchestras. Since 1989, Achucarro has held the Joel Estes Chair at Southern Methodist University in Dallas. He also teaches master classes at the Accademia Musicale Chigiana of Siena while continuing to maintain a full touring schedule....
revised by Barry Kernfeld
(bPativilca, Peru, Dec 12, 1944). Peruviandrummer and percussionist. He learned trumpet and piano with his father, but was self-taught as a drummer. At the age of 16 he became a studio musician in Lima and in 1964 he was engaged by the dance-band leader Perez Prado to work in Las Vegas. From 1966 to 1974 he played in bands and worked as a studio musician in Puerto Rico. After moving to Las Vegas in 1975 he joined Weather Report, first as a percussionist (October 1975 to April 1976), then as the drummer (April 1976 to October 1977); he recorded two albums with the group, one of which was the highly successful Heavy Weather (1976, Col. PC34418). He also worked with Al Jarreau and Lee Ritenour, joined the Christian fusion group Koinonia (1980), and recorded with (among others) Clare Fischer (...
(b Danlí, 1872; d Tegucigalpa, 1947). Honduran composer and concert bandleader. He studied at the Honduran National Conservatory and was active as an organist in Guatemala City and in Danlí. Trained also as a civil engineer, he invented an organ of bamboo pipes he named the orquestrofono. In 1895 he formed a municipal band and orchestra in Danlí, from whose success he was promoted to supervise all military bands, the salient performance ensembles of classical music at the time. Under his leadership, the band of the Supremos Poderes achieved regional prominence. His output of polkas, waltzes, mazurkas and marches all scored for concert band reflects the musical environment of the Honduran middle class in the first decades of the 20th century. Two of his major compositions received international exposure: La suita tropical in Seville, Spain; and Los funerales de un conejito, which was performed by the US Service Orchestra in Washington, DC, in ...
(b La Coruña, Aug 24, 1826; d Lóngora, nr La Coruña, Oct 16, 1881). Spanish composer. He studied the piano with Moscheles in London from 1840 to 1844, and possibly also had lessons from Chopin in Paris. On his return to Spain he lived in La Coruña and Madrid, where some of his compositions were performed, and then at his palace of Lóngora, where he dedicated himself wholly to composition. The influence of Moscheles and, particularly, Chopin was decisive throughout his creative life. He composed one opera, Inese e Bianca, which, in spite of his efforts, was never staged. More important are his piano works and songs, the latter clearly influenced by lieder. In his Cantares nuevos y viejos de Galicia (1877) he united the folklore of Galicia with the technique and spirit of Romantic piano music. He also promoted the musical culture of his native province, developing courses and competitions in music....
Alicia Valdés Cantero
(b Camagüey" country="Cuba, Sept 24, 1873; d Madrid, October 20, 1957). Cuban composer resident in Spain. After moving to Spain with her family at the age of nine, she began her musical training under Joaquín Zuazagoitia in Santiago de Compostela, continuing at the Real Conservatorio, Madrid, where she studied piano (receiving first prize in 1888), harmony, composition, ensemble playing and organ. Later, in Paris, she was a member of Louis(-Joseph) Diémer’s piano class and Jules Massenet’s instrumentation and composition classes; she also studied with Vincent d’ Indy. Her music was performed in Paris, and in Spain she gave recitals and took part in chamber concerts with Pablo Casals. Although resident in Europe, she nevertheless maintained professional and personal links with Cuba and several of her works were performed there, notably by the Havana SO and Havana PO, including, in 1933, the Serenata española, La peregrinación de Childe Harold...
(b Algemesí, province of Valencia; fl 1775–87). Spanish composer and teacher. According to early biographers, he was organist at the Madrid royal chapel and the Convento de los Desamparados. He is best known for a small treatise, Documentos para instrucción de músicos y aficionados que intentan saber el arte de la composición (Madrid, 1786), whose stated purpose was to compensate for the lack of teaching materials on secular music in Spain. Quite elementary, it consists mostly of examples of counterpoint and free composition, and also gives the instrumental ranges. It was attacked in a satirical Carta laudatoria a don Vicente Adán (Madrid, 1786), to which Adán replied in Respuesta gratulatoria de la carta laudatoria (Madrid, 1787). Various 18th-century publishers’ lists and bibliographies indicate that many volumes of his compositions were printed in Madrid in the 1780s. Most of these were for the psaltery, which experienced a strong revival in the 18th century, although it had been known in Spain since the Moorish occupation. Adán’s compositions for this instrument include preludes, sonatas, divertimentos and fandangos as well as an instruction book; there is also evidence that he published organ works and vocal music, both sacred and secular. None of these other publications are extant, although one untitled piece of his for psaltery survives (in ...
John M. Schechter
revised by Alice L. Satomi
Term for several aerophones of the Carajá and Savajé Indians of Brazil. Izikowitz documents it as a ribbon-reed aerophone made from a narrow blade of burity plant fibre that is twisted spirally into a tube and then somewhat flattened. Harcourt calls it an ocarina (vessel flute) with five fingerholes. Krautze calls it a gourd vessel flute having a narrow rectangular opening for an embouchure and two fingerholes on the opposite side, and also gives it the Savajé name ...
Albert T. Luper
revised by Manuel Pedro Ferreira
(fl 1440–71). Portuguese court musician. He was a singer in the royal chapel sometime between 1440 and 1446. A letter of 1452 identifies him as mestre de capela of Afonso V. At an uncertain date, but certainly before 1461, King Afonso V (ruled 1446–81) sent him to England to obtain the Chapel Ordinance in use at the court of Henry VI, to serve as a model for the Portuguese court; this document, the most detailed surviving account of any medieval royal chapel, is still in the Biblioteca Pública in Évora under the title Forma siue ordinaçõ capelle illustrissimi et xtianissimi principis Henrici sexti Regis Anglie et ffrancie ac dni hibernie, descripta Serenissimo principi Alfonso Regi Portuigalie illustri, per humilem servitore[m] suu[m], Willi'u Say, Decanu[m] capelle supradicte (William Say was dean of the royal chapel between 1449 and 1468...
J. Richard Haefer
Single-headed cylindrical drum of Suriname. It is played with the tumao and apinti drums and is the lowest sounding of the three. It is made from a hollow log commonly 2 to 3 metres long and about 15 to 20 cm in diameter, though drums vary in size. The head is fastened by cords with tuning wedges. The drum is laid on the ground, the performer kneeling beside it and playing with one stick and one hand. A steady beat is played against which the other two drums improvise. Two tones are achieved by striking either the centre or edge of the head. The ...
James W. McKinnon
(b Spain, 769; d Lyons, 840). Frankish ecclesiastic. He came as a youth to Gaul, taking up residence in the monastery of St Polycarp near Narbonne. He was ordained in 804 and named bishop of Lyons in 816, where he remained for the rest of his life, except for a period of exile in Italy during the years 835–8 because he had sided with the sons of the emperor Louis the Pious against their father; his temporary replacement as administrator of Lyons was his rival Amalarius.
Agobard was a vigorous controversialist of conservative bent. He was outspoken in his opposition to Frankish folk religious practices, to trial by ordeal, to royal interference in church affairs and to Jewish influence at court. In the liturgical realm he was against the employment of images in worship, the use of non-biblical texts and the allegorical interpretation of the liturgy, the two latter positions being directly contrary to those of Amalarius. After his reinstatement as archbishop of Lyons in 838, he and his deacon Florus sought to undo the liturgical innovations of Amalarius, particularly by revising his Office antiphoner. The principal change was the replacement of non-biblical texts. The opposition of Agobard to non-biblical texts may account for the longstanding absence of hymns and tropes in the liturgy of Lyons....
(from Afro-Brazilian agogô). Percussion instrument. It consists of two conical bells mounted on a sprung steel hoop (it is classified as a percussion idiophone) and is used in samba bands. The player holds the instrument in one hand and strikes the bells with a wooden or metal stick held in the other. A variety of sounds and rhythmic patterns is produced by striking the bells in different spots and squeezing them together. There are also variations on the original, in the form of triple and quattro agogos and a blade agogo, which has a small metal blade between the two bells. There are also wooden agogos: in this case the ‘bells’ are side by side and not on a sprung steel hoop....
Thomas F. Heck
(b Madrid, April 8, 1784; d Madrid, Dec 29, 1849). Spanish guitarist and composer. ‘Padre Basilio’ of Madrid, possibly Miguel Garcia, gave him his first instruction in the guitar, an instrument for which tablature notation was still commonly used in Spain. In about 1800 Aguado, like Fernando Sor, was influenced by the Italian Federico Moretti and adopted the conventional staff notation for the guitar; thereafter both Spaniards published their music in the improved manner championed by Moretti, distinguishing the musical parts by the direction of note stems, use of rests, etc. Aguado's artistic career unfolded slowly, owing to the Napoleonic invasion of Spain and its aftermath. He retreated to the village of Fuenlabrada in 1803, teaching and perfecting his technique there until 1824, the year his mother died; his Colección de estudios para guitarra appeared in Madrid in 1820. He moved to Paris in 1825 (while Sor was in Russia) and immediately gained an enviable reputation as a virtuoso and teacher; a revised version of his ...