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H. Wiley Hitchcock

revised by Tim Carter

[‘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 ...

Article

Margaret M. McGowan

(fl early 17th century). French dancer, violinist and composer. The only known fact in his personal life is that he was married on 27 May 1637 to Antoinette Guibourg, the widow of the painter and costume designer Daniel Rabel. Belleville was in charge of organizing court entertainments for Louis XIII from c1616 to c1637 and contributed to nearly all ballets performed at court during this time. As a dancer he rivalled Louis Constantin and the celebrated dancing-master Jacques Cordier. He wrote all the dance tunes and some of the airs for Etienne Durand's Ballet de la délivrance de Renaud (1617) and for the Ballet de Tancrède (1619). His virtues as a musician were extolled by Michel de Marolles (Mémoires, Amsterdam edn, 1755, iii, pp.207–8), and together with the singer Marais it was said of him by contemporaries that ‘[ils] n'ont besoing que d'estre nommez pour avoir des louanges’. An allemande and a four-part instrumental piece, ...

Article

John-Carlos Perea

(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, ...

Article

Mareia Quintero Rivera

(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 ...

Article

Tes Slominski

(b Knockgrania, Co. Sligo, Ireland, Jan 31, 1891; d New York, NY, Jan 4, 1946). American Traditional Irish music fiddler and stepdancer. The most influential Irish fiddler of the 20th century, he first learned tunes and techniques informally from Philip O’Beirne, John O’Dowd, Richard Brennan, and other local musicians, as well as from family members. He was also an accomplished stepdancer who could fiddle and dance simultaneously. Coleman competed in several nationalist festivals, including the Sligo Feis Ceoil and the 1913 Oireachtas, where he encountered musicians from around Ireland, including Bridget Kenny, the so-called Queen of Irish Fiddlers. Soon thereafter, Coleman traded local respect for international fame: he moved to New York in 1914, and after a brief stint in vaudeville on the Keith theater circuit, he embarked on a broadcasting and recording career that produced 80 commercial 78 rpm sides. He married Marie Fanning in 1917, and their one child, Mary, was born in ...

Article

James R. Anthony

(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...

Article

Mitsutoshi Inaba

(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” (...

Article

Reg Hall

[Bill, Merry ]

(b Headington Quarry, Oxon, 1872; d after 1949). English traditional concertina player and morris dancer. Kimber’s grandfather and father were both central figures in the Headington Quarry Morris team that has danced annually at Whitsuntide since at least the mid-18th century. Kimber, who accompanied the Headington Quarry Morris team from 1888, learnt his concertina technique from his father.

It could be argued that the folkdance movement was founded on Boxing Day 1899, when Cecil Sharp saw the Headington Quarry Morris team perform. Sharp noted morris tunes from Kimber the next day and, when Mary Neil invited Kimber to London to teach the girls at the Esperance Guild, Sharp became reacquainted with him. Kimber subsequently became integral to Sharp’s didactic folkdance programme: Sharp lectured and played the piano; Kimber danced and played the concertina. They taught regularly at Chelsea Polytechnic and the Royal Academy of Music, and played several times at the Queen’s Hall and the Steinway Hall. After Sharp’s death, Kimber continued the same working relationship with Douglas Kennedy, Sharp’s successor in the English Folk Dance Society (...

Article

Margaret M. McGowan

(b c1630; d after 1666). French dancer, instrumentalist and composer. His first name is unknown. He regularly performed in court ballets from 1653, when he was mentioned as playing the role of ‘une assez laide bourgeoise’ in Le ballet de la nuit, to 1666, when he danced as a muse in ...

Article

Jérôme de La Gorce

[Lulli, Giovanni Battista]

Member of Lully family

(b Florence, Nov 28, 1632; d Paris, March 22, 1687). Composer, dancer and instrumentalist of Italian birth.

Lully's origins were modest. His father, Lorenzo (1599–1667), seems to have come from peasant stock; like his ancestors, he was born in Tuscany in the Mugello area and probably at Campestri, where he, his brothers and a cousin owned a chestnut wood. By the age of twenty he was living in Florence, and in 1620 he married a miller's daughter, Catarina del Sera (or del Seta). They had three children: Verginio (1621–38), Giovanni Battista and Margherita (d 1639). Little is known about the education of the younger son. He may have learnt writing and arithmetic at an early age from his father, who became a miller and a businessman, but the boy probably had to turn to the Franciscan friars of the Via Borgo Ognissanti, where his parents lived, for his introduction to music and instruction on the guitar and violin, which he must have learnt in his youth. According to Le Cerf de la Viéville, his first music master was ‘a good Franciscan friar’. It is not known how he came to be chosen to go to France as an Italian tutor to Louis XIV's cousin Anne-Marie-Louise d'Orléans, known as the ‘Grande Mademoiselle’, who was studying the language at the time, but he was engaged by the princess's uncle Roger de Lorraine, the chevalier de Guise, who visited Florence in ...