(b Županja, March 6, 1905; d Sarajevo, March 28, 1979). Bosnian-Herzegovinian composer, conductor, pianist, and critic. He studied composition in the class of Blagoje Bersa, conducting in the class of Fran Lhotka, and the piano in the class of Svetislav Stančić at the Academy of Music in Zagreb, graduating in 1927. From 1927 to 1928 he studied composition with Vincent d’Indy at the Schola Cantorum de Paris, and from 1928 to 1929 with Joseph Marx in Vienna.
From 1930 he made his mark conducting several choral ensembles in Zagreb, including Oratorijski zbor sv. Marka, Sloga, Lisinski, and Zagrebački madrigalisti. From 1947 he worked in Sarajevo as a conductor at the Sarajevo Opera House and the Sarajevo Philharmonic Orchestra. From 1955 he taught conducting at the Academy of Music in Sarajevo. He was very active as an accompanist, historian, and critic. He wrote the first historical studies of music in Bosnia and Herzegovina, as well as many articles for newspapers, magazines, radio, and TV programmes. His rather modest composing legacy is permeated with folk elements, within formal designs of (neo)-classical orientation. He also made arrangements of the works of other Bosnian-Herzegovinian composers (notably Franjo Maćojevksi and Bogomir Kačerovski) to meet the particular needs of local performance contexts....
Alex Harris Stein
(b Dayton, OH, Oct 14, 1957). American writer, guitarist, and bandleader. He was a staff writer for the Village Voice from 1987 to 2003 (a contributor since 1981) and one of a group of young African Americans writing for the Voice on black culture, politics, and identity. His work focuses on black music and culture from a postmodern, black nationalist perspective and is noteworthy for an unconventional style that Tate describes as blending academic and street culture. One of the first journalists to cover hip hop, he has written about Miles Davis, George Clinton, Jimi Hendrix, Carlos Santana, Bob Dylan, and others. He has contributed to the New York Times, Rolling Stone, VIBE, the Washington Post, Spin, The Nation, Down Beat, and other publications. His books include Flyboy in the Buttermilk (New York, 1992), Midnight Lightning: Jimi Hendrix and the Black Experience (Chicago, 2003), and ...
(b Norwich, Jan 22, 1784; d Brentwood, March 12, 1863). English bass and writer on music. Born into a prominent Unitarian family with literary leanings, he worked as an ironmonger and was active in liberal politics as well as amateur musical life in Norwich. He sang at the Octagon Chapel and the Glee and Catch Club, was principal bass at the Hall Concerts, and played a key role in the founding and organization of the Norwich Triennial Festival in 1824; he was also skilled as a wind player and choir trainer. Among his teachers were the Rev. Charles Smyth, William Fish and J.C. Beckwith.
In 1825 Taylor started an engineering firm in London, but on its failure a year later took up music professionally, as a concert singer and teacher. Still associated with opposition politics, by 1829 he had become music critic for the weekly Spectator. Its didactic, reform-minded tone suited him well, and he wrote there regularly for 14 years, notably on provincial festivals, the relative merits of Spohr (his friend) and Mendelssohn (whom he thought overrated), and on the importance of earlier music and of amateur music-making. In ...