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Malcolm Gillies

(b Nagyszentmiklós, Hungary [now Sînnicolau Mare, Romania], March 25, 1881; d New York, Sept 26, 1945). Hungarian composer, ethnomusicologist and pianist. Although he earned his living mainly from teaching and playing the piano and was a relentless collector and analyst of folk music, Bartók is recognized today principally as a composer. His mature works were, however, highly influenced by his ethnomusicological studies, particularly those of Hungarian, Romanian and Slovak peasant musics. Throughout his life he was also receptive to a wide variety of Western musical influences, both contemporary (notably Debussy, Stravinsky, Schoenberg) and historic; he acknowledged a change from a more Beethovenian to a more Bachian aesthetic stance in his works from 1926 onwards. He is now considered, along with Liszt, to be his country’s greatest composer, and, with Kodály and Dohnányi, a founding figure of 20th-century Hungarian musical culture.

At the time of Bartók’s birth, Nagyszentmiklós was part of the northern end of the ethnically diverse southern Hungarian province of Torontál. There, his father, also Béla Bartók (...

Article

Ned Quist

revised by Linda L. Giedl

[Schlossberg, Artur ]

(b Hamm, Germany, Sept 27, 1909; d Aurora, CO, May 28, 2002). Composer, musicologist, conductor, and pianist of German birth; naturalized American. Born Artur Schlossberg, he grew up in an orthodox Jewish family. After the Schlossbergs moved to Mannheim in 1919, he was introduced to German organ and choral literature by Arno Landmann, first Kantor (1911–43) of Christuskirche, and received piano instruction from Landmann’s wife. With Mannheim’s proximity to Strasbourg and Alsace-Lorraine, Schlossberg became fluent in French. Shortly after entering the University of Heidelberg in 1928, he applied for musicological studies with medievalist Heinrich Besseler. At the end of three years of intensive work, he submitted his doctoral dissertation (Die italienische Sonate für mehrere Instrumente im 17ten Jahrhundert, diss., U. of Heidelberg, 1932). Later that year he was engaged as a coach and conducting assistant to Hans Schmidt-Isserstedt at the Darmstadt Opera.

Beaten with guns by Adolf Hitler’s Stormtroopers in early ...

Article

Stanislav Tuksar

(b Dubravka near Dubrovnik, Croatia, June 16, 1934). Croatian musicologist, composer, organist, and choir conductor. He started his theological studies in Split and graduated in 1961 from the Catholic Theological Faculty in Zagreb, where he also attended courses in music at the Institute for Church Music. He gained the PhD in musicology in 1978 at the University of Cologne. From 1959 to 1961, and again from 1970 to 1975, he served in Dubrovnik as organist and choir conductor at the local cathedral. From 1965 until 1969 and from 1980 on he was regens chori at the Zagreb Cathedral. In 1969 he helped in resuming the publication of the oldest Croatian church music journal Sv. Cecilija in Zagreb, which had been interrupted in 1944. His most important scholarly contributions consist of several modern facsimile editions and commentaries on medieval neumatic codices and of musicological activities dealing mostly with Dubrovnik musical history. Among the facsimile editions the most interesting is ...

Article

Martina Bratić

(b Krapinica, Croatia, Sept 11, 1874; d Zagreb, Croatia, Dec 12, 1948). Croatian composer, organist, music educator, theoretician, and writer. Dugan had his first musical experience during his choir lessons in an archiepiscopal secondary school. He then studied theology and took organ lessons with the principal organist of the Zagreb Cathedral, Vatroslav Kolander. In 1893 he started mathematics and physics studies but graduated from the Hochschule für Musik in Berlin in 1908 (composition with Robert Kahn, conducting with Max Bruch, and organ with H. Becker). He became a director of the Croatian Music Institute (1908) and was named Zagreb Cathedral’s principal organist in 1912 (the position which he held until his death). From 1897 to 1920 he also worked as a secondary school teacher, giving lessons in mathematics and physics. At the Zagreb Music Academy he taught music theory, composition, and the organ (1920–1941); here his most important contribution was amplifying the foundation of, and developing the curriculum for, the counterpoint and fugue courses. He was also active as a conductor of, among others, the Croatian Choral Society, Kolo, and he periodically wrote music reviews. He worked as an editor of the music section in the sacral music journal ...

Article

Martina Bratić

(b Kuče, Croatia, March 31, 1889; d Zagreb, Croatia, March 16, 1972). Croatian composer, organist, music theorist, and educator. He finished his education in 1909 at the music school of the Croatian Music Institute in Zagreb, where he acquired compositional and theoretical knowledge in music and developed his organ playing skills; he also simultaneously finished teacher-training school. From 1918 to 1927 Lučić was a district prefect of Turopolje County, where he initiated significant cultural and educational progress. He became an organ professor and taught counterpoint at the Zagreb Music Academy (1921–61) and was appointed a dean (1944–5; 1952–61). On his initiative a private music school, called Polyhymnia, was founded in Zagreb and Lučić was named its head principal (1932–41). He occasionally played the organ at the Zagreb Cathedral. Lučić’s oeuvre comprises orchestral pieces, chamber and vocal music, sacred works, and pedagogical instrumental exercises, but his most notable contribution as a composer lies in his organ music, where he presented his mastery of the laws of counterpoint, composing many fugues, fantasias, preludes, and the like. Lučić is also considered to be one of the first Croatian composers (together with Dora Pejačević) to create larger symphonies in a modern sense (Symphony in f-minor, ...

Article

Florinela Popa

(b Bucharest, Romania, Nov 27, 1966). Romanian musicologist and pianist . She read musicology at the National University of Music Bucharest, where she has been teaching since 1993, and where she currently works as a professor. She has held courses in musicology, stylistics, and theories of musical performance, and has served as doctoral supervisor (since 2010). She has been a Fellow of the Wissenschaftskolleg zu Berlin/Institute for Advanced Study, Berlin, and a permanent Fellow of New Europe College (since 2010). She was later appointed Vice-Rector of New Europe College, and has, since 2014, held the office of Rector of the same institute for advanced study. In 2010 she founded Musicology Today, an online journal, where she serves as editor-in-chief.

One of the major interests of her musicological research has been the Romanian music of recent decades, and she has lucidly traced the interconnected relationship between it and the variegated and variable facets of contemporary European music. Her other major concern has been the different aspects involved in the concept of musical style (with particular reference to mannerism and rhetoric). Valentina Sandu-Dediu is the author of ten books published in Romania and Germany, of over 30 studies and 300 articles, and of several books of university lectures. She has developed a number of radio shows. In addition, she has also worked as a performer, appearing on stage and in recordings (CDs recorded in Romania with Aurelian Octav Popa, in Germany, for Neos, with Dan Dediu, and in Boston, for Albany, with Ray Jackendoff). She has been the distinguished recipient of several national and international awards, among them the Prize of the Romanian Academy (...