Mestizo music and instruments.

The European contribution to music culture has posed problems arising from the complex issues surrounding colonialism. The particular history of the river Plate region has led to the perception of the Uruguayan intelligentsia of Uruguay as a country inhabited by ‘white’ people, posing a challenge to creative musicians who wish to assume a mestizo identity.

With indigenous resistance to the European practice of genocide (particularly of the Chaná-Charrúa), postponing the colonization of the eastern coast of both the Uruguay and Plate rivers, and with no stable European settlements until the 18th century, the process of European acculturation was inhibited. At the same time there were constant cultural influences from the north (from Asunción and later the Jesuit missions), the west (Buenos Aires and other settlements) and the north-east, where Portugal tried to force a permanent demarcation line with Spain in order to dominate navigation in the river Plate area.

By the time Montevideo was finally taken by Spain around 1726, the territory had already been influenced by rural mestizo inhabitants, urban migrants and acculturated Guaranís dispersed from the Jesuit missions, thereby creating a well-defined musical mestizo identity which survives in children’s songs and games and other traditional forms. Ayestarán found that these were linked to similar traditions elsewhere on the continent, with more than 100 different examples of monodic, unaccompanied melodies used as lullabies, rounds, romances (ballads), villancicos and children’s songs and games.

The guitar is the main instrument of both rural and urban mestizo society. While standard western tuning is the most common (E–A–d–g–b'–e') there is evidence of at least another five older tunings, including the temple del Diablo tuning, which has a tritone between the second and the third string and is still found in some rural or semi-rural areas.

The second most popular instrument is the accordion, usually the diatonic form with one or two rows of keys, which first appeared in the mid-19th century, when many social dances were adapted into its repertory. Accordions with ten melodic keys and four bass buttons which produce tonic, dominant and sub-dominant harmonies are generally tuned in D although some use C. A type of accordion preferred for social dances has 21 buttons and eight bass keys.

The bandoneon, pre-eminent in tango culture in Argentina, has relatively few virtuoso players in Uruguay. A number of areas bordering with Brazil use the cavaquinho (retaining the Portuguese name), a small guitar with four strings. Cavaquinhos are played in some places in an ensemble with guitars and ebony side-blown flutes which survive from military and town bands. Drums and cymbals play a large part in Carnival while the tamboril has its own aforementioned traditions, principally in Montevideo. Since the 1960s composer-performers have incorporated a bass guitar called the guitarron, occasionally substituted in groups by a plucked double bass. Drum kit, electric bass, electric guitar, assorted percussion and many wind or string instruments, mainly borrowed from the European orchestra, are found in various popular ensembles.

The preferred vocal aesthetic for men in mainstream popular music in the second half of the 20th century involved a low register, avoiding high and middle registers favoured by women. A former male tradition, which gradually diminished in popularity in live performance during the 1930s, involved a smooth singing style moving to falsetto. This was particularly evident in the ‘high’ art version of a form called estilo, a genre influential in the art of tango singing, as heard in the voice of Argentine tango singer Carlos Gardel. Traditions such as the payada which demand strong vocal projection for open-air performance developed a ‘crying’ vocal style. In the 1980s a style of male falsetto reappeared following the reappraisal of 1960s metropolitan rock music.

The musical craft of the payador survives with surprising historic continuity on the American continent in former Spanish and Portuguese colonies (including Chile, Cuba and Brazil). The payador sings improvised poetry to his own guitar accompaniment according to strict stanzaic rules of versification, based on the octosyllabic, ten-line verse décima form. The décima criolla is the most familiar but other copla (couplet) and verso (verse) forms, with stanzas of four, six and eight lines, are also frequent, on the basis of a repeated musical structure accompanied by the guitar. The present Uruguayan tradition is related to that of neighbouring areas of Argentina and part of the state of Rio Grande do Sul, Brazil. The principal musical genres used in contemporary payadas (song sessions) are the cifra and the milonga. For the singer, solo improvisation on a subject usually given by the audience may be of secondary importance to actual participation in a payada de contrapunto, a challenge between two singers, in which they can fully show their virtuosity. Stanzas are alternated, while both guitars maintain repeated rhythm, with a final flourish in the final stanzas when alternating couplets are exchanged, often resulting in an atmosphere of breathtaking public contest.

The most common song type in Uruguay is the milonga (also found in southern Brazil, central-eastern Argentina and southern Chile). Ayestarán’s unsuccessful attempts to establish its origin arose from a history of 18th- and 19th-century racism and social taboo concerning the music of African immigrants, resulting in a lack of written documentation about the milonga and related genres. A fast, danceable version, usually without words, had disappeared by the turn of the 19th century, with surviving elements captured in some early tango and the tango-milonga, a more rapid form than common tango and full of striking rhythmic patterns (ex.2). The slower milonga, often used as accompaniment for the improvised verse traditions of the payadas of payadores, as well as for songs, has different characteristics. The most common rhythmic pattern is 3 + 3 + 2 in duple time (ex.3). Despite the accompaniment with tonic and dominant chords, 19th-century milonga singing style used non-equal tuning (of unknown origin) outside the tonal system. At the end of the 20th century two main tendencies could be recognized on opposite sides of the river Plate: a Uruguayan milonga, called oriental or orientala, in a heavy style which contrasts with the softer and delicate style of the Argentine pampeana.

The cielito form, which emerged as the most prestigious musical and choreographic genre some time between 1800 and 1820 when it was popular with revolutionary patriots, is still found. In a lively tempo, its metrical pattern was binary with ternary subdivision (6/8 or equivalent), with a general ABABAB structure. The formula for the refrain ‘Cielito, cielo, que si, / cielito’ or ‘Cielo, cielito, que si, / cielo’ or variants, appears as the first phrase of B and at the beginning of the second phrase B (ex.4). The cielito became popular throughout the whole river Plate area as did the popular dances, the media caña and pericón. Both use a similar metrical pattern with texts often expressing political struggle (the media caña by 1830, the pericón later), and are still performed.

The estilo (occasionally called triste), which became popular in the late 18th century, was recognized by the end of the 19th century as a ‘folkloric survival’ and ‘revitalized’, remaining commercially popular until the beginning of the 1930s. Usually sung by men, with the singer accompanying himself on guitar, the subjects of its lyrics were most often ‘transcendental’, lyrical or dramatic; it is regarded as one of the most ‘refined’ popular genres. With an ABA' structure (in Vega’s terminology: tema, kimba, final), it begins with a punteo, an introductory instrumental prelude, whose structure contrasts with those of the A and B melodies while relating to the tempo of the B section. The metre for both A and A' is in either duple or triple time or a combination of both. The B section is called cielito, recalling the aforementioned cielito dance. According to unpublished work by Ayestarán, the structure of the cielito falls into three formal groups: the principal one has two sections of four phrases, a slow section A, followed by a quicker, danceable section B, concluding with a slow A' section of two phrases. Its verse pattern is that of the décima criolla or décima espinela, a widespread Latin American popular poetic tradition, a Spanish-derived octosyllabic ten-line rhyming stanza form (usually patterned ABBAACCDDC), in which one the challenges is shifting the verse punctuation to coincide with the rhythms of the music.

The cifra, a non-danceable song genre which had probably originated by 1830, is also based on the décima form, sharing non-tonal melodic behaviour with the sung milonga. It survives in the repertory of music used in the contemporary payada. A solo voice alternates with guitar sections, with sung phrases in a declamative recitative style, ‘commented on’ by brief instrumental interludes, except for the final passage between the last sung phrases, when the musician may conclude with a surprise improvisation on the original musical theme. The range of subjects covered in verse includes sucedidos (dramatic stories), memorable deeds and (more recently) humorous themes.

The vidalita, noted in documents by 1880, is apparently the last south-eastern genre derived from musical and poetic material which came originally from Peru, the centre of the Spanish colonial empire. Generally reserved for expressing the pain of love or love sickness, it is structured in quatrains, with alternate lines followed by a refrain on the word vidalita. The chimarrita (also chamarrita, cimarrita or shimarrita), linked to the Portuguese-Brazilian colonial period, is still found in the northern half of the country and neighbouring territories. Emerging in the 1820s and widespread by 1850, its popularity peaked around 1880. With an octosyllabic ABAB structure, and lyrics in Portuguese or a particular frontier dialect of Portuguese and Spanish, it was danced with polca steps. The tirana and carangueyo (carangueija in Portuguese), dance-songs related to the southern territories of present-day Brazil (mainly the state of Rio Grande do Sul), survive only as songs, with lyrics in Spanish, Portuguese or the frontier dialect.

As a reaction to the arrival of enormous numbers of European immigrants at the end of the 19th century in the river Plate area, a movement led by progressive intellectuals emerged in Montevideo and Buenos Aires, which attempted to affirm a criollo cultural profile. This involved the revival of certain musical genres including the pericón and estilo. During the same period, dances brought originally from Europe evolved new creole forms. They included the polca (polka), known in its new southern version as the polca canaria; the vals or valse (waltz); the chotis, shotis, siotis or chote (schottische); the danza or habanera (from the French and English country dance); and the mazurca (mazurka) or ranchera. Adaptation to a criollo aesthetic often meant these dances lost characteristic European features, such as choreographic jumps, due to a preference for keeping feet close to the ground, which resulted in corresponding musical changes.

By 1880 the beginnings of Tango, one of the most influential musics and dances of the 20th century, emerged in both Montevideo and Buenos Aires (see Argentina). The etymology of ‘tango’ is thought to be of African origin, as the term was used historically in various countries of the Americas to describe the practices of black communities. Its choreography emerged independently of any previous traditions. Its success in Europe just before World War I enhanced its reputation at home, where local society had initially regarded it as ‘indecent’. Although Uruguay played a significant role in the development of tango in the first 50 years of its life, Montevideo gradually relinquished the role of ‘tango-capital’ to Buenos Aires.

During the final decades of the 20th century candombe became fashionable, mostly as a song. As a term it has had various contrasting but related meanings over time. During the colonial period it described the practices of the black communities, while in modern times it has designated a song whose rhythm is compatible with the drummed llamada, so that it can be superimposed over it. In the 1940s it had two meanings: the first as a form conserved in the conjuntos lubolos, the societies of black people in the official Carnival festivities in Montevideo (together with other genres such as the milongón); the second, introduced by tango orchestras (orquestas típicas), related to the danceable milonga, a form which had already been used by tango composers. At the end of the 1950s, when the popularity of tango was in decline, a third candombe emerged in the repertory of dance bands strongly influenced by Afro-Cuban dance music. From the mid-1960s to the early 1970s candombe further evolved: one group of creators and performers attempted to ‘fuse’ the candombe of the conjuntos lubolos and of orchestras of ‘tropical’ Latin music with elements of first jazz and then rock. Another group created a new way of playing candombe with guitar (with or without plectrum and percussive tapping on the guitar body). These groups were part of a new Uruguayan ‘folksong’ movement searching for their musical roots which briefly became a mass phenomenon in 1967–8. From the mid-1970s this candombe became part of a young song movement, which blended together previous musical developments.

The murga is a dramatic form used traditionally during the long Carnival festivities. Although its origins are unclear (in Spanish the word was originally used to describe groups of non-professional musicians asking for money), by 1920 the name was given to societies practising this style, formed in the main by poor people. During its ‘golden age’ in the 1940s certain characteristics emerged and were consolidated. These included free use of fashionable tunes, with satirical lyrics composed annually on a wide range of subjects from critiques of daily life to obscene jokes; delivery with a strong nasal voice; use of rhythms regarded as mestizo, supported by a bass, snare drum set and cymbals; and a repertory of gestures and choreographic movements performed by musicians with painted faces wearing colourful clothes. Until the 1970s murgas were found only as part of Carnival. However, during the 1960s, the murga developed as a number of popular musicians began to build songs based on the marcha camión, one of its rhythmic patterns (ex.5). During the 1970s murga, particularly the marcha camión and other variations, gradually became accepted by new social groups (ex,6), and by the 1990s murga was a successful part of the repertory of popular singer-composers. The northern area of Uruguay, related historically to the culture of Rio Grande do Sul, Brazil, has preserved a number of religious polyphonic forms, including the recital of the Rosario de cinco misterios (the Rosary of the Five Mysteries) or Tercio. The folías del Divino are prayers sung during processions at times of crisis.

BIBLIOGRAPHY

Uruguay, §II, 3: Traditional and popular music: Mestizo music and instruments

BIBLIOGRAPHY

And other resources

L. Ayestarán: La música en el Uruguay, i (Montevideo, 1953)

I. Moya: El arte de los payadores (Buenos Aires, 1959)

P. De Carvalho Neto: ‘The Candombe, a Dramatic Dance Form from Afro-Uruguayan Folklore’, EthM, vi (1962), 164–74

C. Vega: ‘Las canciones folklóricas argentinas’, Gran manual de folklore, ed. Hamlet Lima Quintana (Buenos Aires, 1964), 191–320

L. Ayestarán and F. de M. Rodriguez de Ayestarán: El minué montonero (Montevideo, 1965) [incl. disc]

A.D. Plácido: Carnaval: evocación de Montevideo en la historia y la tradición (Montevideo, 1966)

L. Ayestarán: El folklore musical uruguayo (Montevideo, 1967, 4/1985)

L. Ayestarán and F. de M. Rodríguez de Ayestarán: ‘Juegos y rondas tradicionales del Uruguay’, Clave, no.55 (1967), 16–19

L. Ayestarán: ‘El tamboril afro-uruguayo’, Music in the Americas, ed. G. List and J. Orrego Salas (Bloomington, IN, 1967), 23–40; repr. in Boletín Interamericano de Música, no.68 (Nov 1968), 3–14

L. Ayestarán: Cinco canciones folklóricas infantiles (Montevideo, 1968)

L. Ayestarán: Teoría y practica del folklore (Montevideo, 1968)

A. Soriano: Tres rezos augúricos y otros cantares de liturgia negra (Montevideo, 1968)

C. Viglietti: Folklore musical del Uruguay (Montevideo, 1968)

L. Maslíah: Un detective privado ante algunos problemas no del todo ajenos a la llamada ‘música popular’ (Rosario de Santa Fe, 1984)

J. Bonaldi: ‘El canto popular uruguayo’, La Revista del Sur, i/3 (1984); repr. in Boletín de Música de Casa de las Américas, no.106 (7 Dec 1985), 5–12

C.A. Martins: ‘Popular Music as Alternative Communication: Uruguay, 1973–82’, Popular Music, vii/1 (1988), 77–94

C. Aharonián: ‘¿De dónde viene la murga?’, Brecha (2 March1990)

C. Aharonián: ‘¿Y qué pasó con el tango?’, Brecha (9 Nov 1990)

C. Aharonián: ‘Un hecho históricamente dinámico: la música del tamboril afro-uruguayo’, Brecha (8 Feb 1991)

M. Alfaro: Carnaval: una historia social de Montevideo desde la perspectiva de la fiesta (Montevideo, 1991–8)

C. Aharonián: ‘¿Pero qué es un candombe?’, Brecha (10 and 17 July 1992)

F. de M. Rodríguez de Ayestarán: La danza popular en el Uruguay, desde los orígenes a 1900 (Montevideo, 1994)

Recordings

Carnaval uruguayo, Macondo GAM 538, GAM 539, GAM 540 and GAM 555 (1971–3)

Ayestarán y su verdad folklórica, coll. L. Ayestarán, Conae 002 (1974)

El arte del payador, perf. C. Molina and G. Sosa, i, Ayui A-E 37 (1982–3) [incl. notes by C. Aharonián]

Antología del candombe, Orfeo O 005–2 (1991) [incl. notes by C. Ahoranián]

Antología del carnaval, Orfeo O 038–2 (1993)

Usandizaga [Soraluce], José Maria

(b San Sebastián, 31 March 1887; d San Sebastián, 5 Oct 1915). Basque composer. He began studies at an early age in San Sebastián with German Cendoya (piano) and Beltran Pagola (harmony). Later he played the piano at a private audition for Planté, who recommended him to d'Indy, and accordingly he went to the Schola Cantorum in Paris at the age of 14 to study with Grovlez (piano), Tricon (counterpoint) and Séré. His family wanted him to concentrate on the piano, but an arterial disease in the hand obliged him to give his attention instead to composition. He returned to San Sebastián in 1906, and shortly thereafter his first works based on Basque folk music – Irurak bat for orchestra, Bidasoa for band and Euskal festara for band – were performed. Usandizaga now became a prolific composer in all genres, but it was in the theatre that he had his greatest popular successes. The triumphal reception accorded his first work for the stage, Mendi mendiyan (‘High in the Mountains’), at San Sebastián in 1911 encouraged him to search for another opera subject. He found it in Martinez Sierra's play Teatro del ensueño. In September 1913 the dramatist sent him an adaptation entitled Las golondrinas and two months later the work was complete. After the Madrid première in 1914 Usandizaga was established as a national figure. He asked Martinez Sierra for another libretto and spent his last months in Yanci, Navarre, composing La llama. On his death the work was finished by his brother, Ramón. Usandizaga's orchestration was Puccinian and there was a French influence in his music, but despite these links he was a Basque musician par excellence and, together with Guridi, he laid the foundations of Basque art music.

WORKS

(selective list)

Stage: Mendi mendiyan [High in the Mountains] (pastoral lírica vasca, 3, epilogue, J. Power), 1909–10, Bilbao, Campos Elíseos, 21 May 1910; Costa brava, 1912; Las golondrinas (drama lírico, 3, G. Martinez Sierra after his Teatro del ensueño), 1913, Madrid, Price, 5 Feb 1914, rev. as op by R. Usandizaga, Barcelona, 1929; La llama (drama lírico, 3, Martinez Sierra), 1915, inc., completed by R. Usandizaga, San Sebastián, 1918

Orch: Suite, A, c1904; Dans la mer, sym. poem, 1904; Ouverture symphonique sur un thème de plain-chant, 1904–5; Irurak bat, rapsodia popular vasca, c1906; several other pieces for orch and band

Vocal: Mass, 4vv; Euskal herri maitiari, rapsodia vasco-francesca, 4vv; several other choral pieces, songs, folksong arrs.

Inst: Cuarteto sobre temas populares vascos, str qt; Str Qt, A; pieces for vn/vc, pf; many pf and org works

Principal publisher: Unión Musical Española

BIBLIOGRAPHY

P.L. Villalbe Muñoz: Ultimos músicos españoles: José M. de Usandizaga (Madrid, 1918)

H. Collet: L'essor de la musiqe espagnole au XXe siècle (Paris, 1929)

J.M. Arozamena: Joshemari y la bella epoca donostiarra (San Sebastián, 1969)

A. Fernández Cid: La música español en el siglo XX (Madrid, 1973)

T. Marco: Historia de la música español: sigla XX (Madrid, 1983; Eng. trans., 1993)

J. Montero: Usandizaga (Madrid, 1985)

ANTONIO RUIZ-PIPÓ

Usiglio, Emilio

(b Parma, 8 Jan 1841; d Milan, 8 July 1910). Italian composer and conductor. He began piano lessons at the age of five and later moved to Borgo S Donnino (now Fidenza) to study harmony with Giovanni Rossi (ii). He completed his piano studies with Gustavo Romani in Pisa, where his family had settled, and studied harmony and counterpoint in Florence with Teodulo Mabellini. At the age of 19, Usiglio composed his first opera, La locandiera (from Goldoni’s comedy), which was favourably reviewed by F. D’Arcais on its début in Turin in 1861. After a second comic opera, L’eredità in Corsica (1864), there followed Usiglio’s most successful work, Le educande di Sorrento (1868), expressly written for the Teatro Alfieri in Florence. The opera had a wide circulation in Italy and was also performed in Malta, as La figlia del generale (Manoel, 1875), and in Berlin (Volksoper, 18 February 1911, sung in German). After La scommessa (1870), he again borrowed from Goldoni for Le donne curiose (1879). The libretto was by A. Zanardini, who later adapted Labiche’s La mariée du mardis gras for Usiglio’s last opera, Le nozze in prigione (1881).

Usiglio also composed ballets, chamber music and songs, but his prestige came mostly from his intense activity as a conductor, even though excessive drinking was eventually to mar his career. Usiglio took Aida on tour in Italy after its La Scala première was conducted by Franco Faccio in 1872. He was responsible for the first Italian performances of Thomas’s Hamlet (1876, Venice) and Carmen (1879, Naples), and won the critics’ favour to Boito’s revised Mefistofele, conducting it at Bologna’s Teatro Communale on 4 October 1875. In 1882 he conducted a successful revival of Lohengrin at La Fenice. He was widely appreciated for his intelligence, sense of balance and secure conducting style. In later years he grew deaf and retired to Milan with his wife, the singer Clementina Brusa; she died three months after him, on 2 October 1910, leaving a legacy to the Parma Conservatory to found a competition for Italian composers of comic opera.

Among minor composers of late 19th-century Italian opera, Usiglio had a particular inclination for opera buffa, which he cultivated through the unabashed revival of Rossinian and Donizettian formulas. Like his older colleagues Lauro Rossi or Nicola De Giosa, he was the epigone of a tradition that had long lost its vitality; but in his best operas, Le educande di Sorrento and Le donne curiose, Usiglio could strike a personal note in some brilliant ensemble writing. Le educande also shows, along with typical devices of the old style – for example the buffo mannerism of Don Democrito rector of a girls’ college – parodies of contemporary Verdian highlights, including a rataplan (Act 1), a brindisi (Act 2) and a sentimental romanza (Act 3).

WORKS

Stage

La locandiera (melodramma giocoso, 4, G. Barilli, after C. Goldoni), Turin, Emanuele, 5 Sept 1861

Un’eredità in Corsica (dramma buffo, 3, R. Berninzone), Milan, Radegonda, 17 June 1864

Le educande di Sorrento (melodramma giocoso, 3, R. Berninzone), Florence, Alfieri, 1 May 1868

La scommessa (melodramma buffo, 3, B. Prado), Florence, Principe Umberto, 6 July 1870

La secchia rapita (ob, A. Anelli, after A. Tassoni), Florence, Goldoni, 6 April 1872, collab. C. Bacchini, E. de Champs, R. Felici, G. Gialdini and G. Tacchinardi

Le donne curiose (melodramma giocoso, 3, A. Zanardini, after C. Goldoni), Madrid, Real, 11 Feb 1879

Le nozze in prigione (ob, 1, A. Zanardini, after E. Labiche: La mariée du mardis gras), Milan, Manzoni, 23 March 1881

La guardia notturna, ossia La notte di San Silvestro (ob, R. Berninzone), unpubd

Other works

Ballets, chbr music and songs.

BIBLIOGRAPHY

P. Bettoli: I nostri fasti musicali (Parma, 1875)

‘Le donne curiose del maestro Emilio Usiglio al Teatro Dal Verme di Milano’, Teatro illustrato, i (1881)

A. Galli: ‘Emilio Usiglio’, Teatro illustrato, xii (1881)

G. Monaldi: Ricordi viventi di artisti scomparsi (Campobasso, 1927)

U. Manferrari: Dizionario universale delle opere melodrammatiche (Florence, 1955)

MATTEO SANSONE

Usmanbaş, İlhan

(b Istanbul, 28 Sept 1921). Turkish composer. He studied the cello as a child. In 1941 he enrolled at the Istanbul Municipal Conservatory where he was a pupil of Cemal Reşit Rey; in the following year he entered the Ankara State Conservatory, studying composition with Hasan Ferit Alnar and piano with Ulvi Cemal Erkin. He left the advanced composition department in 1948, and was appointed a teacher at the same conservatory. In 1952 he went to the USA on a UNESCO grant and continued his studies with Dallapiccola at Tanglewood and at Bennington. Usmanbaş went to the USA again in 1958 and on this occasion some of his works were performed. His String Quartet, which had won the Fromm Prize in 1955, was recorded. In 1963 he was appointed director of the Ankara State Conservatory for a short time; he has continued to teach there.

Usmanbaş is the main Turkish advocate of new musical procedures. The influences of Bartók, Stravinsky and Hindemith, seen in his earlier neo-classical works, have given way to an individual style which embraces 12-note and especially aleatory techniques, for instance in the Symphony no.3 (1979), in which performers can choose the order of movements. He has drawn attention abroad, winning prizes in international contests and receiving several commissions. Japanese radio commissioned his Japanese Music (1956), and Music with a Poem (1958) won a prize in the student Koussevitzky Competition at Tanglewood. Further information is given in O. Manav: ‘Venedik oyunlari ve sonrasi’ [Jeux vénitiens and beyond], Müzikoloji dergisi, i/1 (1995), 1–6.

WORKS

(selective list)

Orch: Sym., 1948; Sym., str, 1950; On 3 Paintings of Salvador Dali, str, 1953; Gölgeler [Shadows], orch, 1964; Sym. Movt, 1972; Little Night Music, 1972; Vn Conc., 1973; Sym. no.3, 1979; Peace in the World, Peace at Home, ballet suite, 1981; Concert Aria, hp, str, 1983; Viva la musica, 3 tpt, perc, str, 1986; Perpetuum immobile – perpetuum mobile, wind, perc, 1988; Music for Wind and Str ’94; Homage to Uğur Mumcu, 1996

Chbr and solo inst: Str Qt, 1947; Sax Qt, 1978; Monoritmica, 4 cl, 1980; Saxmarim, sax, mar, 1982–5; Partita ‘alcoarci’, hpd, 1983–5; Partita, vc, 1985; Partita, vn, 1985; Çizgiler, cl, gui, pf, perc, 1986; Partita, va, 1989; Trio di 3 soli, str trio, 1990; Solo Pf and 12 Insts, 1990–92; Trioptic, str trio, 1991; Çizgi ve noktalar, hp, 1992; Music for Cl and Pf ’94; Music for Pf ’94; Music for Str Qt ’94; Music for Vc ’94; Music for Vn and Pf ’94; Music for A Sax and Mar ’95; Pf Trio ’95; Music for Str Qt ’96; Music for Vc ’97; Music for 2 Vc ’97

Vocal: Japanese Music, female chorus, orch, 1956; Music with a Poem, Mez, fl, cl, bn, 2 vn, 1958; Un coup de dès (S. Mallarmé), chorus, orch, 1959

Principal publishers: Ankara State Conservatory; Boosey & Hawkes; Polskie Wydawnictwo Muzyczne, Presser, SCA Foundation, Suvini Zerboni

FARUK YENER/MÜNİR NURETTIN BEKEN

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