541-560 of 57,401 results


M. Rusty Jones

(b Tehran, Iran, March 9, 1960). American guitarist and educator of Iranian birth. She took up the guitar at the age of ten, later moving to the United States. She received BM and MM degrees in guitar from the Boston Conservatory and the New England Conservatory of Music. In 1986, she was among 12 guitarists selected by Andrés Segovia to perform in his masterclasses held at the University of Southern California. In 1989, she earned a Doctorate of Music degree in guitar performance from Florida State University, under the direction of Bruce Holzman. She was the first woman worldwide to receive this degree. She studied with Oscar Ghiglia at the Banff School of Fine Arts, Aspen Music Festival, and Siena (Accademia Musicale Chigiana). Among her awards are a Grand Prize in the 1986 Aspen Music Festival Guitar Competition, Top Prize in the 1988 Guitar Foundation of America Competition, a NEA recording award, and selection by the United States Information Agency to Africa as an Artistic Ambassador in ...


Howard Schott and Martin Elste





Kathleen Dale

revised by Axel Helmer

(b Hornborga, Västergötland, May 6, 1785; d Enköping, Sept 25, 1871). Swedish pastor and folksong collector. After studying theology, he took a clerical post in Stockholm from 1809 to 1820, and from 1820 was pastor in Enköping. In 1811 he became a member of the Götiska Förbund and was deeply involved in the collecting of early folk tales, poems and melodies. He was an amateur flautist, but had little training in music; his friends helped him notate the melodies he heard.

Afzelius was the first to notate and publish the folksong Näckens polska, which he heard sung by a peasant girl in Småland in 1810, and to which he later wrote the poem Djupt i havet; the melody and text were printed in the journal Iduna in 1812. He collaborated with Erik Gustaf Geijer in the three-volume collection, Svenska folkvisor (1814–17), and supplied a number of melodies for Olof Åhlström’s anthology, ...


Elizabeth Forbes

(b Cluj, Aug 16, 1955). Romanian baritone. After studying in Cluj, he made his début there in 1979 as Silvano (Ballo in maschera), followed in 1980 by Sharpless. During the next decade he sang Don Giovanni, Malatesta, Germont, Luna, Posa (Don Carlos), the title role of ...


Thérèse Radic

Opera in one act by Felix Werder to his own libretto after Aeschylus’ play, translated by Gilbert Murray; Melbourne, Grant Street Theatre, 1 June 1977 (broadcast of earlier version, The Agamemnon of Aeschylus, ABC, 1967).

The plot follows precisely the words of Gilbert Murray’s translation of Aeschylus’ Agamemnon. On his return from the Trojan wars, King Agamemnon of Mycenae (bass) is greeted by his wife Clytemnestra (soprano) and her lover, Aegisthus (countertenor), who together plot the king’s murder. Warned of the plot against him by the prophetess Cassandra (soprano), a princess of Troy and concubine of Agamemnon, the king ignores all advice. The lovers kill him, fulfilling the destiny predicted not only for themselves but for their doomed House of Atreus.

Composed in 1967, the opera, then titled The Agamemnon of Aeschylus, was performed for a radio broadcast in the same year; the composer reworked and retitled the piece shortly thereafter. Through-composed in 25 sections and serially constructed, with the first 12-note row having strong tonal implications, ...


John Whenham

(b 1623–8; d Bologna, 1699, before 28 Jan). Italian singer, composer and instrument maker. He was an Augustinian monk who was employed from about 1649 as a soprano castrato at the Este court at Modena. On 13 November 1660 he was appointed to the choir of S Petronio, Bologna, with a stipend of 50 lire a month; he was discharged on 24 April 1662 but rejoined on 25 July 1663. In October 1665 he returned to Modena, where he succeeded Marco Uccellini as choirmaster of the cathedral. He vacated this post in November 1673 and by early 1674 was again living at Bologna. Between 1677 and 1681 he served as a singer in the cappella of Duke Francesco II of Modena. In 1685 he was made a member of the Accademia Filarmonica, Bologna, and seems to have spent his last years in or near that city. He wrote to the Duke of Modena in ...



Umberto Pineschi

Italian family of organ builders . Pietro Agati (b Pistoia, 15 Feb 1735; d Pistoia, 10 Dec 1806) served apprenticeships in the Tronci workshop in Pistoia, and later with Filippo Gatti in Bologna. He opened his own workshop in Pistoia, where he built his ‘secundum opus’ for the church of S Vitale (1760) with a case that bears a striking resemblance to that belonging to the organ by Willem Hermans in Spirito Santo, Pistoia (1664). From this Hermans instrument Agati copied the stopped flute 8′, Cornetto, Trombe, Voce umana (or Violoncello – a bass 4′ regal) and Mosetto (treble 8′ regal 8′) to his organ at Vignole di Quarrata (1797). Another outstanding instrument is at Tréppio, Pistoia (1794).

Pietro’s son Giosuè (b Pistoia, 21 Jan 1770; d Pistoia, 10 Dec 1806) built many fine instruments, including those at Serravalle Pistoiese (...


Paula Morgan

(b Hohoe, Sept 28, 1956). American musicologist and music theorist, of Ghanaian birth. He studied at Reading University (1974–7) and with Arnold Whittall at King’s College, London (1977–8), where he took the MMus in analysis. He took the doctorate under Leonard Ratner at Stanford University (1978–82), with a dissertation on structure and form in 19th-century music. He began his academic career at Haverford College (1982–4), and subsequently taught at Duke University (1984–6), King’s College, London (1986–9), Cornell University (1989–95; professor from 1992), and Yale University (professor, 1995–8). In 1998 he was made professor at Princeton University. Agawu’s interests cover many areas of musicological research. His theoretical studies include music analysis and theory, semiotics, and post-colonial theory. He has written on the music of the 19th century and particularly on Mahler, and his research on West African music has primarily dealt with the relationship between language and music....


Colleen Reardon

(b c1580; d Siena, Jan 1642). Italian composer and theorist.

Agazzari’s parents were evidently of Sienese origin, and he himself settled in Siena as a boy and received his training there, perhaps from Francesco Bianciardi. He was organist at Siena Cathedral from 1597 to 1602, when he left to direct the music at the Collegio Germanico, Rome (1602–3). In 1604 he attended the celebrations marking the centenary of Siena’s Accademia degli Intronati. By 1606 he was maestro di cappella at the Seminario Romano, but returned to Siena in 1607 after being blacklisted by the Cappella Sistina. In the following years he was organist at Siena Cathedral on three different occasions: in 1609, 1611–17, and 1629–33; he also served for two short periods as music director at S Maria di Provenzano, Siena, 1617–19 and 1620–?1622. Not until February 1641 was he appointed maestro di cappella...



Jeremy Montagu



[ággüe, aggüé, chekeré]

Afro-Cuban rattle. It is a large gourd with a net of beads or seeds on cords around the outside acting as external strikers. It can be shaken or struck with the palm of the hand and might be played in groups of three different sizes, the largest about 50 cm long. Nowadays a tin sphere sometimes substitutes for the gourd; it is distinct from the ...


J. Gansemans, K.A. Gourlay and Ferdinand J. de Hen

[abongboya, magbomboyo]

Lamellaphone of the Rubi-Haut-Uele area of the Democratic Republic of the Congo. It has a box-shaped bark resonator and six to eight wooden tongues fastened to the soundboard by raffia fibre. According to de Hen a lamellaphone of this type, with wooden or metal tongues, is known by the Badjande people as ...



John M. Schechter

Double-headed drum of Cuba. It is 30 to 50 cm long and 15 to 25 cm in diameter at its ends, slightly wider in the middle. Initially constructed from a single piece of wood, it was sometimes made of staves, with its heads nailed on. For private religious rituals of the Yoruba-associated Egguado people, its function was to call and greet the female deity Obbá. The calls on the ...


Joseph A. Brown

(b Knoxville, Nov 27, 1909; d New York, May 16, 1955). American novelist, screenwriter, journalist, poet, and film critic. Son of Laura Tyler Agee and Hugh James (Jay) Agee, James Agee graduated from Exeter Academy and Harvard University (1932), before becoming a staff writer for Fortune magazine, eventually writing film reviews for both Time (1939) and The Nation (1942). On assignment from Fortune, Agee worked in collaboration with the photographer Walker Evans on the study of Alabama tenant farmers, Let Us Now Praise Famous Men (Boston, 1941). His book of poetry, Permit Me Voyage, was published by the Yale Series of Younger Poets (New Haven, CT, 1934). In 1951, Agee published the novella, The Morning Watch(Boston). He was the principal author of the screenplay for The African Queen (1950) and The Night of the Hunter (1954...



Robert Barclay

Term for changes in materials and characteristics over time, often causing deterioration of appearance as well as of acoustical and mechanical behaviours of musical instruments. Almost all materials degrade over time, and most deterioration can only be slowed, not arrested completely, much less reversed. Arguably, some instruments improve tonally with age, at least initially during a ‘breaking-in’ period, for reasons that are not always clear or convincing. However, this article focuses on six basic agents of deterioration, which normally work in combination.

During repair and restoration these effects of ageing are addressed by treatments such as consolidation, cleaning, adjustment, or replacement.

Mass-produced and synthetic materials dating from 19th-century industrialization are highly prone to deterioration because their long-term properties were insufficiently understood at the time of their development. For example, ebonite, a substitute for ebony in woodwind instruments, is a highly vulcanized natural rubber that emits sulphuric acid upon degradation. Other materials prone to rapid deterioration include celluloid and artificial leathers. Plastics, such as used in modern harpsichord jacks, can warp and their polymers break down, causing brittleness....


Sigrid Wiesmann

(b Salzburg, May 10, 1946). Austrian composer. He studied at the Salzburg Mozarteum (piano, conducting, composition), Salzburg University (musicology) and the Paris Conservatoire (composition), where his teachers included Pierre Schaeffer and Olivier Messiaen. In 1973 he worked with Radio France in Paris and was appointed assistant lecturer at the Salzburg Mozarteum, where he became chair of the department of music analysis in 1979. A co-founder of the Edition 7 self-publishing association, he has also founded and directed (1975–86) the Österreichisches Ensemble für Neue Musik. He has served as chair and artistic director of the Aspekte festival in Salzburg (from 1977) and as professor of composition at the Bregenz Conservatory (1981–6). He was appointed rector of the Salzburg Mozarteum in 1995.

Ager’s compositions before 1975 explore new performance techniques and the full sound potential of instruments, interests most obvious in silences VI for harp (...


Samuel S. Brylawski

(b Chicago, Oct 6, 1893; d Los Angeles, May 6, 1979). American composer. He began his career as a song plugger and arranger for the publishing companies of George M. Cohan and Irving Berlin, and had his first success as a songwriter (in collaboration with the composer George W. Meyer) with Everything's peaches down in Georgia (G. Clarke, 1918), introduced by Al Jolson. He wrote many songs to lyrics by Jack Yellen (with whom he founded the publishing firm Ager, Yellen & Bornstein in 1922), including I wonder what's become of Sally (1924), Ain't she sweet? (1927) and Happy days are here again (1930); the last became closely associated with the presidential campaigns of Franklin D. Roosevelt. Other well-known songs by Ager are I'm nobody's baby (lyrics by B. Davis; 1921), Auf Wiedersehen, my dear (A. Hoffman, E.G. Nelson, A. Goodhart; ...


Marita P. McClymonds

(‘Agesilaus, King of Sparta’)

Opera seria in three acts by Gaetano Andreozzi to a libretto by Francesco Ballani; Venice, Teatro S Benedetto, Carnival 1788.

Leucade [Leotychidas] (soprano castrato) is taken prisoner in an uprising against Agesilaus (soprano castrato), initiated by the Congiutati under the leadership of Leotychidas’ father, Lisandro [Lysander] (tenor), a military hero and supposed friend of the king. Outraged by his perfidy, Erissa (soprano), Queen of Paphlagonia and Leotychidas’ betrothed, condemns him to death and offers her hand to the king, much to the dismay of Lysander’s daughter, Aglatide (soprano), who loves the king. When Lysander attempts to take power Leotychidas interposes himself between his father’s sword and the king, thereby earning clemency for both of them. Based on a new libretto by the young Roman author Ballani, the opera enjoyed half a dozen revivals in the years before the Republic. Though still an ‘aria’ opera, with ensembles to end Acts 1 and 2 and a chorus in each act, it contains a few novelties: an aria interrupted by a second character, and a short quartet (‘cavatina a quattro’) when the captured Leotychidas is brought in. When it was revised for Florence in the autumn of ...