(b Santiago, June 29, 1885; d Santiago, Aug 17, 1959). Chilean composer and ethnomusicologist. He studied the violin, music theory and composition at the Santiago Conservatorio National de Música (1899–1908). The Chilean government then sent him to France and Spain for further study (1910–11). On returning to Chile he was elected to the Folklore Society and worked for the Ministry of Education in improving the teaching of music in the state schools (1924–8). He travelled again to Europe in 1922 and was one of the founders of the International Academy of Fine Arts in Paris (1923). In 1928 he was appointed professor of composition at the Conservatorio National, which had recently become part of the arts faculty of the University of Chile. There, until his retirement in 1946, he taught many Chilean composers who later came to international prominence. On another visit to Europe, also in ...
Carolyn Gianturco and Teresa M. Gialdroni
(b Mosso Santa Maria, nr Biella, Jan 31, 1921). Italian musicologist. He took diplomas in piano at the Parma Conservatory (1942) and in choral music at the Turin Conservatory (1948), and studied music history with Della Corte at Turin University, where he took an arts degree (1946). He subsequently taught music history in the conservatories of Bolzano (1950–51), Parma (1951–5) and Milan (1954–88); he has edited the journals Almanacco musicale italiano (1954–5), Ricordiana (1955–7) and Musica d’oggi (1958–63) and has been vice-director of Enciclopedia della musica Ricordi (1960–64). He has been a consulting editor for Ricordi since 1964. Music education is one of his major interests: he became director of the series Manuali di Didattica Musicale and Canti nel Mondo (Ricordi) in 1965, and editor of Educazione musicale...
revised by Howard Hotson
(b Ballersbach, nr Herborn, March 1588; d Gyulafehérvár [Weissenburg, Transylvania; [now Alba Julia, Romania], Nov 9, 1638). German theologian, encyclopedist and music theorist. From 1608 he taught at the Calvinist academy, Herborn, where J.A. Komenský was among his pupils. Following the disruptions of the Thirty Years War, he transferred to Gyulafehérvár in Transylvania in 1629–30. His liberal strand of Calvinist thought is reflected in his theological understanding of music: he tolerated secular music (both polyphonic and instrumental) alongside strictly regulated church music as long as it was committed to the spiritual purpose of all music. Classifying music among the mathematical disciplines, he treated it briefly in a series of mathematical textbooks and most extensively in his masterwork, the largest, most comprehensive and systematic encyclopedia assembled to that time (1630). Like that of most of the 37 disciplines handled in the work, his treatment of music is derivative, and its chief importance lies in its comprehensiveness, systematic presentation, wide distribution and easy accessibility within the encyclopedia as a whole. Like Erycius Puteanus and David Mostart, he favoured seven-syllable solmization series (...
revised by Malcolm Turner
(b Adelnau, Poznań, April 4, 1862; d Hildesheim, March 25, 1951). German musicologist. He received lessons in the violin and music theory from Otto Lüstner while at school in Breslau, and studied medieval history and classical philology at Marburg and Berlin (1882–5). After training as a librarian at the Royal University Library, Breslau (now Wrocław), he moved in 1889 to Greifswald University where in addition to his library duties he held the post of lecturer in medieval history and in librarianship from 1893. In 1900 he obtained a post at the Royal Library in Berlin, where he was instrumental in founding the Deutsche Musik Sammlung, and where he finally became director of the music section in 1915 in succession to Albert Kopfermann. He held this position until his retirement in 1927. The energetic cultivation of his dual interests, music and librarianship, both during his professional career and after his retirement to Hildesheim, resulted in the production of an invaluable series of catalogues of published works for various instruments or combinations of instruments....
Hans Heinrich Eggebrecht
(b Neuss, July 6, 1899; d Lüdenscheid, Sept 1, 1994). German musicologist and choir director. He studied musicology with Ludwig at Göttingen University (1919–21) and subsequently with Gurlitt at Freiburg University, where he received the doctorate in 1924 with a dissertation on the melodies Innsbruck, ich muss dich lassen and Ach Gott, vom Himmel sieh' darein. He was a lecturer at the Bauernhochschule in Rendsburg (1924–5) and at the Volkshochschule in Kassel (1925–6). He then acted as music consultant to the Central Office for General Librarianship in Leipzig (1926–8) and lectured in Protestant church music at the University of Münster (1930–39). After the war he lectured at the Landeskirchenmusikschulen of Hanover (1947–8) and the Rhineland (1949–57).
In the early 1920s Ameln embarked on a fruitful career as a choral and orchestral conductor and director of choral courses. His object was the authentic performance of old music, and this was coupled with considerable editorial work. He edited the journal of the Finkenstein League, ...
(b Detroit, MI, Sept 24, 1951). American composer, theorist, and jazz saxophonist. He attended public schools in Detroit, including Cass Technical High School, where he studied jazz and led his own band, the Seven Sounds. He continued his education at the University of Michigan (BMEd 1973, MA 1974) and at Yale University (MDiv 1977, PhD music theory 1993). Andrews was ordained as a minister in 1978, serving as Yale University campus chaplain and as faculty member in the Music Department and Department of African American Studies for more than a decade. During that period he met Lloyd Richards, director of the Yale Repertory Theatre, and playwright August Wilson. Andrews became resident music director (1979–86) for the company and contributed original music scores to a number of Wilson’s plays, including Ma Rainey’s Black Bottom, Joe Turner’s Come and Gone, Fences, The Piano Lesson, and Seven Guitars...
(b Comber, Co. Down, Aug 10, 1904; d Oxford, Oct 10, 1965). Northern Irish music scholar, teacher, organist, composer and editor. He went to Bedford School, and studied at the RCM in London, Trinity College, Dublin, and New College, Oxford, gaining doctorates of music at both universities. In 1938, after four years as organist and choirmaster at Beverley Minster, he moved to a similar position at New College. Thereafter, he lived and worked in Oxford, where he was a university lecturer in music and a Fellow of New College, and later of Balliol. He also taught at the RCM.
Andrews's published work consists of three books, various articles (including contributions to the fifth edition of Grove's Dictionary of Music), reviews, and several motets, services and songs. The Oxford Harmony, vol.ii, traces the development of chromatic harmony through standard repertory works and relates this to techniques of composition. The opening chapters of ...
Paula Morgan, Jon Stroop and Paula Matthews
(b Providence, RI, Feb 18, 1922; d Tucson, AZ, April 6, 2001). American musicologist. He attended Columbia University (BS 1946, MA 1948), the University of Paris (diploma 1951) and the University of Southern California, where he took his doctorate in 1964 with a dissertation on André Campra’s opéra-ballets. After serving on the faculty of the University of Montana (1948–50) he became a professor at the University of Arizona (1952); he retired in 1992. Anthony’s particular area of study was French music of the 17th and 18th centuries, and he concentrated on opéra-ballet of the French Baroque in many of his writings. His book on French Baroque music is valuable as an introduction to a vast body of instrumental and vocal music which has not been thoroughly explored; the volume has been cited as the classic study of its subject. Anthony was also known as a harpsichordist. He was named Chevalier de l’Ordre des Arts et des Lettres by the French Government in ...
(b Skopje, Macedonia, Sept 23, 1909; d Pristina, Kosovo, Oct 21, 1991). Albanian composer, music pedagogue, conductor, and ethnomusicologist. He learned music by analysing the works of other composers and by attending private lessons with professors in Belgrade. During his secondary education he learned to play the violin, the cello, and the piano. He arrived in Kosovo to pursue a career as a music pedagogue. He spent a decade in Prizren (1946–56), which was typified by intense musical activity and during which time he directed the choir SH.K.A. ‘Agimi’ (1944) and was a professor and director of the School of Music (1948). (See E. Berisha: Studime dhe vështrime për muzikën, Pristina, 2004, 209–14).
His familiarity with folk music is evidenced by his analyses of Albanian folk songs, which he summarized in a seven volume work called Albanian Folk Music. As a result of this work, he became known as the first ethnomusicologist specializing in Albanian folklore....
(b Vladikavkaz, Feb 23, 1878; d Tbilisi, Aug 13, 1953). Georgian composer, musicologist and teacher. An academician of the Georgian Academy of Sciences and Laureate of the USSR State Prize (1950), Arakishvili is one of the founders of the Georgian School of composition. In the period 1894–1901 he attended the school of music and drama (attached to the Moscow Philharmonic Society) where he studied composition with A. Il′insky, and theory with S. Kruglikov (1894–1901), later improving his compositional technique with Grechaninov (1910–11). In 1917 he graduated from the Moscow Institute of Archaeology. In 1897 he had started writing for the Russian and the Georgian press on musical matters, in 1901 became a member of the musico-ethnological commission at Moscow University, and in 1907 a member of the Georgian Society for Literature and Art in Moscow. He was an associate of the foremost Russian composers of the day – such as Taneyev, Ippolitov-Ivanov, Arensky and Pyatnitsky – and was one of the organizers of the People’s Conservatory in Moscow (...
(b Budapest, Oct 22, 1905; d Paris, Nov 28, 1987). French composer, pianist and ethnomusicologist of Hungarian birth. He studied the piano at the Budapest Academy of Music with Bartók (1921–4), whose advice on composition he often sought in later years and who kindled his love for folksong and collection. (In a lecture given at Harvard in 1943, Bartók spoke of Arma’s textless song for solo voice on one pitch with variations of vowel sound, dynamic and rhythm.) Arma began his career as a member of the Budapest Piano Trio (1925–6). Between 1924 and 1930 he gave many recitals in Europe and the USA and lectured on contemporary music at American universities. He settled in Germany in 1931, and for a time he led the musical activities at the Dessau Bauhaus, lecturing on modern music and experimenting with electronic music produced on gramophone records. Later he lived in Berlin and Leipzig, where he conducted several smaller choirs and orchestras. The advent of the Nazi regime in Germany forced his move to Paris, where he made his permanent home. At first he was associated with the RTF, notably as founder-director of the Loisirs Musicaux de la Jeunesse (...
Larisa Georgievna Danko
(b St Petersburg, 17/July 29, 1884; d Moscow, Jan 27, 1949). Russian musicologist, composer and critic. He studied at the St Petersburg Conservatory from 1904 to 1910 with Rimsky-Korsakov and Lyadov, and graduated in 1908 from the faculty of history and philology of the University of St Petersburg. From 1910 he worked as a repetiteur; from 1916 edited and composed ballet music and from 1919 was a member of the board of directors and repertory consultant at the Mariinsky and Mikhaylovsky Theatres. In 1919 he became head of the Central Library for State Musical Theatres. In the same year, in association with Lyapunov and Bulich, he organized the music department at the Petrograd Institute for the History of the Arts (now the Zubov Institute for the History of the Arts); he was its director from 1921. Between 1922 and 1925 he was responsible for the organization there of concerts of contemporary music. He was made a professor at the Leningrad Conservatory in ...
Michael B. Bakan
(b Kaliungu Kaja, Denpasar, 1955). Balinese composer, performer, teacher and musicologist. Born into a musical family, he is the brother of I Komang Astita and the cousin of Wayan Sadra and I Wayan Yudana, all well-known composers. He has taught composition and gamelan performance at the Sekolah Menengah Karawitan Indonesia and Sekolah Tinggi Seni Indonesia in Bali since 1981. He is a graduate of these same institutions (1974 and 1980 respectively) and also holds a graduate degree (SSKar) from the Institut Seni Indonesia in Yogyakarta, as well as an MA in ethnomusicology from the University of Maryland, Baltimore County, where he wrote his thesis on Balinese gambuh drumming under the direction of Mantle Hood (1991). He directed the Balinese gamelan programme at the University of Maryland while a student there (1988–91), and since that time has taught gamelan at the University of Montreal (...
(b Tonnedorf, nr Erfurt; d Eisenberg, nr Gera, Jan 22, 1617). German writer on music, composer and schoolmaster. In 1579 he was teaching at the Lateinschule at Ronneburg, near Gera, and in 1591 he was Rektor of the Lateinschule at Gera. Later he was a preacher at Bernsdorf, near Torgau, at Munich and at Krossen, near Gera, and from ...
(b nr Ilchester, c1214; d Oxford, c1292). English theologian and philosopher. He studied first under Grosseteste in Oxford, then in Paris. In 1247 he gave up his official teaching in Paris, returning some three years later to Oxford. In about 1255 he entered the order of friars minor. Guy de Foulques (later Pope Clement IV), then Archbishop of Narbonne, wrote about 1265 asking him to outline a syllabus for the reform of learning – a sign of the high esteem in which Bacon and his teaching were held. Bacon responded by composing the three summaries known as the Opus maius, the Opus minor and the Opus tertium, submitting them to the pope in 1268. Clement died, however, that same year, before he had had time to study or implement them. During the next decade Bacon produced further writings on mathematics, science and language, including Greek and Hebrew grammars and a ...
(b Flint, MI, June 21, 1937; d Naples, FL, July 6, 2012). American musicologist. He received the BA from Dartmouth College in 1959. Following a year of study at the Staatliche Hochschule für Musik in Munich, he began graduate work in musicology at Princeton University. He studied piano with Eduard Steuermann during this time, and his Princeton professors included Oliver Strunk and Milton Babbitt; he received the MFA from Princeton in 1962 and the PhD in 1969. Bailey taught at Yale University from 1964 to 1977. He was on the faculty of the Eastman School of Music, first as associate professor (1977–85) and then as professor (1985–6); in 1986 he was appointed Carroll and Milton Petrie Professor of Music at New York University and a member of the graduate faculty of the Juilliard School.
In his research, Bailey concentrated on German music of the 19th and 20th centuries, particularly Wagner, Brahms and Mahler, and on 19th-century musical autographs. In addition to his more strictly academic activities, he lectured on Wagner at the Bayreuth Festival (...
revised by Florinela Popa
(b Turnu-Măgurele, March 11, 1929). Romanian musicologist. He studied at the Bucharest Conservatory (1950–55) and later pursued a doctorate in musical aesthetics in Moscow (1957–61), where he defended his thesis Despre conținutul filosofic al muzicii (‘On the Philosophic Content of Music’), which was published in Russian (Moscow, 1962). He was musical editor at the Contemporanul magazine in Bucharest (1951–7, 1961–3) and taught at the Bucharest Conservatory (1955–75) and the Faculty of Theology in Sibiu (1975–7). In 1977 he moved to Germany, where he later founded and ran Musicosophia International School in Sankt-Peter/Schwarzwald (1979), an aesthetic movement based on the technique of creative music listening. He has given lectures in Romania, Germany, Spain, France, England, Italy, Switzerland, Belgium, and the USA. Many of his writings engage directly with his understanding of Musicosophia.
Ada Benediktovna Schnitke
(b Odessa, 18/Jan 31, 1906; d Leningrad, June 25, 1985). Russian musicologist, pianist and teacher. He studied the piano with G.M. Biber and composition with V.A. Zolotaryov at the Odessa Conservatory (1920–25) and mathematics at Odessa University (1922–5). He later completed his musical studies with F. Blumenfel′d at the Moscow Conservatory (1925–30). He taught in a music school in Odessa (1923–5), and worked at the Moscow Central School of Music from 1930 and in the Moscow Music Department of the Commissariat for Public Education (1930–31). Concurrently he was deputy chairman of the piano and methodology section of the State Institute for Musical Sciences in Moscow. From 1931 to 1939 he taught at the Moscow Conservatory, where he ran a class for the piano and the methodology of piano teaching. He was appointed senior scientific officer at the Science Research Institute for Music attached to the Moscow Conservatory in ...
(b Bálványos-Váralja, Nov 23, 1821; d Budapest, Feb 9, 1899). Hungarian musicologist, teacher and composer. He studied theology and law, and the piano, horn, and music theory at the conservatory in Kolozsvar, starting his musical career in 1846 as a piano teacher in provincial towns. In 1851 he settled in Pest as a teacher and concert pianist, and began to work as a musicologist and journalist (late 1850s); with Kornél Ábrányi and Mihály Mosonyi he was co-editor (1860–63) of the first Hungarian musical weekly, Zenészeti lapok. Subsequently he made two study trips to monasteries in Upper Austria and compiled a catalogue of their manuscripts and prints which related to Hungary. In 1869 he was appointed professor of music at the Pest teacher-training college. A member of the Kisfaludy Society of Literature and Science (1867) and a corresponding member of the Hungarian Academy of Sciences (...
(b Tarnopol′, 8/Feb 20, 1888; d L′viv, June 9, 1963). Ukrainian composer, musicologist, pianist and teacher. He took piano lessons first at the K. Mikuli Music School (1895–1905) and with W. Kurtz (1905–06) at the conservatory in L′viv. During the same period he studied jurisprudence at Lemberg University, and from 1907, philosophy at the University of Prague. In Prague Barvyns′ky studied musicology with Z. Nejedly and O. Hostinsky, the piano with I. Holfeld and composition with Vítězsláv Novák (1908–14), who exerted a powerful influence on him. From 1915 to 1939 Barvyns′ky taught at, and was director of, the Lysenko Music Institute in L′viv, and also taught at the conservatory there (1939–41 and 1944–8). A prolific organizer, he initiated and took part in many musical activities in L′viv and became a member of the editorial board of the journal ...