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Peter Crossley-Holland, John MacInnes, and James Porter

Among the Celts, a composer of praise poetry (and, on occasion, its counterpart of dispraise or satire). The word is almost certainly of Indo-European origin but has no obvious cognates outside the group of Celtic languages: from a common Celtic bardos are derived the Gaelic, Manx and Irish bard, Welsh bardd, Cornish barth and Breton barz. The basic meaning appears to be ‘praise singer’, even if the professional and social status of such figures varied from age to age and from culture to culture. In Scots Gaelic ‘bard’ became the generic term for poet. (The development of ‘bard’ in English to indicate a poet of lofty imagination, inspired by mysterious powers, is largely a product of Romanticism.)

For an extended use of the term to refer to epic singers of non-Celtic peoples see Aoidos; Epics; Mongol music; and Central Asia, §2.

Bard: Antiquity

Bard: Medieval and post–medieval Wales and Cornwall...


Bard: Antiquity  

Peter Crossley-Holland

Knowledge of the functions of the bards of ancient Gaul derives from passages in Greek and Roman authors. Some of their most valuable evidence depends on material, now lost, by Posidonius of Apamea (c135–51 BCE). Strabo’s version may be taken as representative: ‘The bards [bardoi] are singers and poets, the vates [ouateis] interpreters of sacrifice and natural philosophers, while the druids [druïdai] in addition to the science of nature study moral philosophy’ (Geography, iv.4.4). The distinction between these castes may derive from Posidonius, and the idea of a caste system agrees with later Celtic evidence (see below, §§2–3); there is no reason to doubt that the bards were poets whose function included the singing of panegyrics. Tierney has shown, however, that Posidonius’s ascription to these groups of philosophical studies cannot be taken at its face value. The ancient authorities – several of them apparently dependent on Posidonius – include, besides Strabo quoted above, Diodorus Siculus (v.31), who mentioned the bards’ use of ‘instruments similar to lyres’, Athenaeus (246c–d), Lucan (...


Bard: Medieval and post–medieval Wales and Cornwall  

Peter Crossley-Holland

Throughout the British Isles local kings, princes and chieftains maintained bards, bestowing gifts upon them for their services. The bards played the harp and sang elegies and eulogies on famous men, composed proverbs and recited sagas. Monasteries also sometimes maintained bards as historians and genealogists, as at Aberconway and Strata Florida in Wales.

The high esteem in which the class was held is evident in the early legal codes of both Ireland and Wales. The Laws of Hywel Dda (Howel the Good), surviving in Welsh manuscripts from the 12th century but representing in essence a 10th-century codification of customs rather more ancient, distinguish two classes of bard: the bardd teulu, who was a permanent official of the king’s household, and the pencerdd (‘chief of song’), or head of the bardic fraternity in the district (this term still survives; for details of original sources, see Gwynn Jones, 1913–14). These classes of resident and itinerant bards, also found in Ireland and Scotland, are reminiscent of classes found generally among Indo-European ethnic groups, for example, in Anglo-Saxon England, although they cannot be precisely equated with the ...


Costa, (Maria) Margherita  

Mirosław Perz, Colin Timms, and Nigel Fortune


Member of Costa family (ii)

(b Rome; fl 1629–57). Italian singer and poet, sister of Anna Francesca Costa. Her career as a talented courtesan led her from Rome through Florence (1629), Rome (1644), Turin (1645) and Paris (1647) before returning again to her native city; her patrons included the Medici (in particular, Grand Duke Ferdinando II), the Barberini and Cardinal Mazarin. Her rivalry with another Roman soprano, Cecca del Padule, was reputed to have inspired Domenico Mazzocchi’s La catena d’Adone (1626), although she did not take part in the performance. Costa’s numerous publications include poetry, letters, a comedy (Li buffoni, Florence, 1641), a libretto for a Festa reale per balletto a cavallo (Paris, 1647, with a dedication to Mazarin: it had been offered to Grand Duke Ferdinando II in 1640), and two opera librettos, La Flora feconda...


Favart family  

Bruce Alan Brown and Paulette Letailleur

French family of dramatists, singers, and actors active in musical theatre.

Favart, Charles-Simon (b Paris, Nov 13, 1710; d Belleville [now in Paris], May 12, 1792)

Favart [née Duronceray], Marie-Justine-Benoîte [‘Mlle Chantilly’] (b Avignon, June 14, 1727; d Paris, April 21, 1772)

Favart, Charles Nicolas Joseph Justin (b Paris, March 17, 1749; d Belleville [now in Paris], Feb 2, 1806)

F. and C. Parfaict: Dictionnaire des théâtres de Paris (Paris, 1756/R, 2/1767, with G. d’Abguerbe)Meusnier: Manuscrit trouvé à la Bastille concernant deux lettres-de-cachet lâchées contre Mademoiselle de Chantilly et M. Favart, par le Maréchal de Saxe (Paris, 1789; another edn, Brussels, 1868)A.-P.-C. Favart, ed.: Mémoires et correspondance littéraires, dramatiques et anecdotiques de C.-S. Favart (Paris, 1808/R), esp. 1, pp.lxxiv–lxxx [incl. historical introduction by H.F. Dumolard]A. Le Blanc de Ferrière: Favart à Bruxelles (Paris, 1811)...


Holly, Buddy  

Michael Butler

(b Lubbock, TX, 7 Sept 1936; d Clear Lake, IA, 3 Feb 1959). American rockabilly guitarist, singer, and lyricist.

As a child he took guitar, violin, and piano lessons and was exposed to many musical styles, including country and western, gospel, bluegrass, and rhythm and blues. Each influenced his later recordings. As a teen he became known throughout western Texas for his unique voice, songwriting skills, and live performances. In 1955 he signed a recording contract with Nashville’s Decca, but left within a year because of creative differences. Holly returned to Texas where he opened for acts such as Bill Haley and His Comets and Elvis Presley. After their 15 October 1956 concert, Presley suggested that Holly focus more on rock as his primary style, rather than country and bluegrass. It was a suggestion that changed Buddy Holly’s career.

In 1957 Holly and his band, the Crickets, recorded “That’ll Be the Day” for Brunswick Records. The single, Holly’s first, topped station playlists across the United States and represented his transformation from country crooner to rock and roll pioneer. During the same year Holly and the Crickets recorded “Maybe Baby,” “Not Fade Away,” “Oh Boy,” and “Peggy Sue.” The group became the first all-white band to play Harlem’s Apollo Theater, and in ...


Cover Lin-Manuel Miranda

Lin-Manuel Miranda  


Lin-Manuel Miranda at the Pantages Theatre on August 16, 2017 in Hollywood, California.

(Photo by Matt Winkelmeyer/Getty Images)


Miranda, Lin-Manuel  

Elizabeth Craft

(b New York, Jan 16, 1980). American composer, lyricist, playwright, performer, and producer. Miranda was raised in northern Manhattan and attended the Hunter College public selective-admission elementary and high schools. His parents are from Puerto Rico; growing up, he spent time there each summer.

Miranda studied theatre at Wesleyan College (BA 2002), where he wrote an early version of his first hit musical In the Heights. After graduating, he teamed up with director Thomas Kail, a fellow Wesleyan alumnus, and the show received several readings and an off-Broadway production before its première on Broadway in 2008. Miranda wrote the music and lyrics, working with bookwriter Quiara Alegría Hudes, and he starred in the original cast. Running for over 1000 performances and garnering awards including four Tonys, notably for Best Musical and Best Original Score, the show established Miranda as a major presence on Broadway. Many of the show’s creative team and cast members became his regular collaborators....


Piccinni family  

Mary Hunter, James L. Jackman, Marita Petzoldt McClymonds, David Charlton, Dennis Libby, and Julian Rushton

Italian, later French, family of composers.

Piccinni [Piccini], (Vito) Niccolò [Nicola] (Marcello Antonio Giacomo) (b Bari, Jan 16, 1728; d Passy, nr Paris, May 7, 1800)

Piccinni, Luigi [Lodovico] (b ?Rome or Naples, 1764; d Passy, nr Paris, July 31, 1827)

Piccinni, Louis Alexandre [Luigi Alessandro; Lodovico Alessandro] (b Paris, Sept 10, 1779; d Paris, April 24, 1850)

BurneyFI; FétisB; La BordeE; RosaMJ.A. Hiller: ‘Sechste Fortsetzung des Entwurfs einer musikalischen Bibliothek’, Wöchentliche Nachrichten und Anmerkungen, 3 (1768), 57–64J.F. Marmontel: Essai sur les révolutions de la musique en France (Paris, 1777)G.M. Leblond: Mémoires pour servir à l’histoire de la révolution opérée dans la musique par M. le Chevalier Gluck (Naples and Paris, 1781)P.L. Ginguené: ‘Dessein’, ‘France’, Encyclopédie méthodique: musique, ed. N.E. Framery and P.L. Ginguené, 1 (Paris, 1791)P.L. Ginguené: Notice sur la vie et les ouvrages de Nicolas Piccinni...