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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zeydman, Boris Isaakovich
(b St Petersburg, 28 Jan/10 Feb 1908; d Tashkent, 30 Dec 1981). Russian composer and teacher. He studied with Steinberg at the St Petersburg Conservatory (1927–31) and then taught there (1933–9) before moving to Central Asia and the Caucasus where he spent the rest of his life helping to establish and develop professional composition in Azerbaijan and Uzbekistan. Zeydman instilled in Uzbek traditional musicians a feeling for and understanding of the principles of Western genres. After a spell in the Baku Conservatory, he was appointed in 1957 to teach at Tashkent Conservatory where he remained until his death. His creativity includes compositions from many different genres, including chamber pieces, opera and ballet. He was a co-founder of Uzbek's composer's school. His students included Amirov, Kazhlayev, Mukhatov, Khalilov, Kurbanov and Saydaminova. He has received numerous awards including that of People's Artist of Uzbekistan. WORKS (selective list)
RAZIA SULTANOVA Žganec, Vinko (b Vratišinec, Međimurje, Croatia, 22 Jan 1890; d Zagreb, 12 Dec 1976). Croatian folksong collector. At Zagreb he graduated from the Theological Faculty (1914) and took a doctorate in law in 1919; he studied music privately, and until World War II practised law and published many legal studies. Subsequently he was the curator of the Zagreb Ethnographic Museum (1945–8), then worked for the Institute for Traditional Arts (1948–64; director 1948–52), and also lectured on traditional music at the Zagreb Academy of Music (1949–68). He first collected folksongs in Međimurje (then Muraköz, Hungary) in 1908, more intensively after 1920. The important collection published in 1924–5 led to correspondence with Bartók concerning archaic Hungarian song types and Yugoslav folk music in general (Béla Bartók: Letters, ed. J. Demény, Budapest, 1971). From the 1940s Žganec devoted his full energies to folk music collecting and research (chiefly for the Institute of Folk Art in Zagreb), using a tape recorder from 1952. His collection of more than 15,000 folksongs with melodies includes about 4000 from Međimurje. A full edition of the Međimurje collection is underway. From his other chief area of collection, Croatian Zagorje (north and northeast of Zagreb), he published over 750 songs, collected in 1947–8, and from Koprivnica (east of Zagorje) over 400 songs. He also collected across northern Croatia, along the Croatian coast, in Istria, in Dalmatia and its islands, and among the Croats in the Gradišće (Burgenland) province of Austria, as well as among Croatian enclaves in Hungary. His articles on the music of regions (Dalmatia, Međimurje, Istria, Slavonia, Susac island) provide valuable information about the survival of traditional genres and instruments. His manuscripts, transcriptions and recordings are kept in the Institute of Ethnology and Folklore, Zagreb. Žganec’s writings include a volume of lectures (1962), which serves as a basic textbook on Croatian folk music, and an article on the ‘Istrian scale’ (his theory concerning a special characteristic of Croatian folk music). His numerous compositions are chiefly choral arrangements of folksongs. He was president of the Yugoslav IFMC National Committee (1952–66); in 1966 he became a full member of the Yugoslav (later Croatian) Academy of Sciences and Arts, Zagreb. WRITINGS Kroatische Volksweisen und Volkstänze (Zagreb, 1944) ‘Istarski muzički folklor’, Istra i slovensko primorje, ed. V. Holjevac (Belgrade, 1952), 35–7 ‘Orijentalizmi u jugoslavenskom muzičkom folkloru’, Tkalčićev zbornik, i, ed. I. Bach (Zagreb, 1955), 81–90 ‘Die Elemente der jugoslawischen Folklore-Tonleitern im serbischen liturgischen Gesänge’, Studia memoriae Belae Bartok sacra, ed. B. Rajeczky and L. Vargyas (Budapest, 1956, 2/1957; Eng. trans., 1959), 349–63 ‘Folklore Elements in the Yugoslav Orthodox and Roman Catholic Liturgical Chant’, JIMFC, viii (1956), 19–22 ‘Muzički folklor’, Otok Susak [Folk music on the island of Susac] (Zagreb, 1957), 333–48 ed.: Yugoslav Folklore Association: [Congress IV]: Varaždin 1957 [incl. ‘Die Musikfolklore der Bevölkerung des pannonischen Bassins’, 71–6] ‘The Tonal and Modal Structure of Yugoslav Folk Music’, JIFMC, x (1958), 18–21 Muzički folklor, i: Uvodne teme i tonske osnove [Introduction and basic scales] (Zagreb, 1962) ‘Kuhačev rad, život i značenje za našu muzičku kulturu’ [The work, life and importance for our musical culture of Franjo Kuhač], Zvuk, no.54 (1962), 435–46 ‘La gamme istrienne dans la musique populaire yougoslave’, SM, iv (1963), 101–28 ‘Metrika i ritmika u versifikaciji narodnog deseterca’ [Metrics and rhythm in versification of the folk decasyllabic line], Narodna umjetnost, ii (1963), 3–37 [with Ger. summary] ‘Muzičke skale i ritmovi u gradišćanskim narodnim pjesmama’ [Musical scales and rhythms in the folksongs of Croatians in Burgenland, Austria], Narodna umjetnost, iii (1964–5), 149–62 ‘Govor varijanata’ [What variants say], Zbornik za narodni život i običaje Južnih Slavena, xlv (1971), 725–42 [Study of musical variants of a ballad] ‘Muzički folklor Poljica u Dalmaciji’, Zbornik radova o Stevanu Mokranjcu, ed. M. Vukdragović (Belgrade, 1971), 221–44 [with Fr. summary] ‘Neki narodni plesovi iz Hrvatskog Zagorja’ [Some folkdances from Croatian Zagorje], Narodno stvaralaštvo, nos.41–3 (1972), 45–56 ‘Der glagolitische Gesang als kostbares kulturhistorisches Erbgut der Kroaten’, Musikethnologische Sammelbände, vi (1983), 169–73 FOLKSONG EDITIONS Hrvatske pučke popijevke iz Međumurja [Croatian folksongs from Međimurje], i: Svjetovne [Secular]; ii: Crkvene [Religious] (Zagreb, 1924–5) [vol.i incl. introduction on region and music] Hrvatske narodne pjesme: Kajkavske [Croatian folksongs in Kajkavian dialect] (Zagreb, 1950) [texts and melodies of 376 songs] Narodne popijevke Hrvatskog zagorja [Folksongs of the Croatian Zagorje], i: Napjevi [Melodies]; ii: Tekstovi (Zagreb, 1950–52); iii: ‘Etnomuzikološka studija za knjigu Narodne popijevke Hrvatskog zagorja’, Zbornik za narodni život i običaje JAZU, xliv (1971) with N. Sremec: Hrvatske narodne pjesme i plesovi [Croatian folksongs and folkdances] (Zagreb, 1951) [incl. ‘Osnovni stilovi hrvatskih narodnih pjesama’ (The basic styles of Croatian traditional melodies), 5–9; with Eng. trans., 228–31] Međimurje u svojim pjesmama [Međimurje in its songs] (Zagreb, 1957) Hrvatske narodne popijevke iz Koprivnice i okoline [Croatian folksongs from Koprivnica and the surroundings] (Zagreb, 1962) [with comments and musical analysis] Jačkar: hrvatske narodne jačke iz Gradišća (Austrije) [Croatian folksongs from Burgenland (Austria)] (Čakovec, 1964) [collected by M. Meršić, with commentary by Žganec] Pučke popijevke Hrvata iz okolice Velike Kaniže u Mađarskoj [Croatian folksongs from the Nagykanizsa area in Hungary] (Čakovec, 1974) Hrvatske pučke popijevke iz Zeline i okolice [Croatian traditional songs from Zelina and its environs] (Zelina, 1979) Hrvatske pučke popijevke iz Međimurja [Croatian traditional songs from Međimurje], ed. J. Bezić, G. Marošević and R. Bonifačić (Zagreb, 1990–92) [402 songs with comments and musical analysis] BIBLIOGRAPHY J. Bezić: ‘Etnomuzikološki rad akademika Vinka Žganca’, Narodno stvaralaštvo, vii (1968), 1–10 O. Delorko: ‘Vinko Žganec i naša narodna poezija’ [Žganec and our folk poetry], Narodno stvaralaštvo, vii (1968), 16–19 I. Ivančan: ‘Vinko Žganec zapisivač narodnih plesova’ [Collector of folkdances], Narodno stvaralaštvo, vii (1968), 11–15 J. Bezić, ed.: ‘Rasprave i prilozi uz stogodišnjicu rođenja Vinka Žganca’ [Studies and contributions for the one hundredth anniversary of Žganec's birth], Narodna umjetnost, iii (1991) [Žganec issue; incl. 23 essays and complete lists of writings, manuscripts and field recordings] F. Hrg: ‘O Žgančevim harmonizacijama međimurskih crkvenih napjeva’ [Žganec's harmonizations of Međimurje church hymns], Sv. Cecilija, lxi (1991), 6–9 BARBARA KRADER/ZDRAVKO BLAŽEKOVIĆ Zgureanu, Teodor (b Condrăteşti, Ungheni, 24 May 1939). Moldovan composer and choral conductor. He graduated from the Kishinev Institute of Arts where he studied choral conducting with L. Aksyonova. He has since conducted the leading choral ensembles of Moldova such as the Doina chorus (1967–76) and state radio and television choir (1976–87). In 1988 he founded the Renaissance choir which, under his direction, has won a number of awards and performed internationally. Zgureanu won the ‘best conductor’ prize at competitions in Varna, Bulgaria (1995), and Debrecen, Hungary (1996). He has headed the choral conducting department of the Chişinău Institute of Arts and in 1992 was appointed professor. He was awarded first prize by UNESCO for the Trei madrigale (‘Three Madrigals’) in 1995; he has also received many official awards. His output is associated with most choral genres. In stylistic terms, he combines techniques prevalent in post-World War II composition with ancient Moldovan folklore and Byzantine chant. Miniatures such as Ninge (‘It is Snowing’) and Peisaj de iarnă (‘Winter Landscape’) are notable for their colouristic choral writing and new effects. WORKS (selective list)
BIBLIOGRAPHY E. Moraru: ‘Muzică celestă’, Literatura şi arta (8 Dec 1994) T. Zgureanu: ‘În “Clopotele astrale” am încercat să prind ecoul unor lumi paralele’, Momentul (22 July 1995) I. Nechit: ‘Un cor, îndrăgostit de Renaştere’, Literatura şi arta (19 Oct 1995) VICTORIA TCACENCO Zha Fuxi (b Yongshun, Hunan, 1895; d 1976). Chinese performer and scholar of the qin plucked seven-string zither. Brought up in Hunan, he studied the qin, and qin songs, from 1908. Moving to Shanghai, he helped found the celebrated Jin Yu qinshe qin society in 1936, while maintaining the amateur tradition of the qin. He made a lecture tour of the USA in 1945. Having taken part in a revolt against the Nationalist airline for which he worked, he moved to Beijing after the People's Republic of China was established in 1949. There he founded the Beijing Qin Research Association and joined the Chinese Music Research Institute, in whose intense scholarly atmosphere he thrived in the 1950s, working alongside eminent musician-scholars such as Yang Yinliu and Guan Pinghu. In 1956 Zha Fuxi led a major project to document qin players over the whole of China; the recordings and transcriptions of this project form the basis for our understanding of qin styles today. He further undertook painstaking historical work on qin scores, initiating the major project of facsimiles Qinqu jicheng, a series of historical biographies of qin players, and writing many articles. His historical work was also manifest in his interpretations of qin songs and vocal music from other early collections of notation. See also China, §IV, 4(ii)(a). WRITINGS ed.: Cunjian guqin qupu jilan [Index of extant qin pieces and scores] (Beijing, 1957) with Xu Jian and Wang Di: ‘1956 nian guqin caifang gongzuo baogao’ [1956 fieldwork report on the qin], Minzu yinyue yanjiu lunwenji, no.3 (Beijing, 1957), 1–8 ed. Huang Xudong and others: Zha Fuxi qinxue wencui [Collected works of qin scholarship of Zha Fuxi] (Hangzhou, 1995) BIBLIOGRAPHY And other resources Qinqu jicheng [Anthology of qin pieces], ed. YYS and Beijing guqin yanjiuhui (Shanghai, 1981–) Zhongguo yinyue daquan: guqin juan/An Anthology of Chinese Traditional and Folk Music: a Collection of Music Played on the Qin, China Record Co. CCD-342 to CCD-349 (1994); reissued as Zhongguo yinyue daquan: qindao chanyun, Xueding chuban youxian gongsi CRCD703 to CRCD710 (1996) STEPHEN JONES Zhang Jianting (b Wuxi, Jiangsu province, 23 Feb 1909; d 24 April 1984). Chinese Suzhou tanci ballad singer. Zhang’s career began at the age of nine as a religious ballad singer travelling with his uncle from one village to another. Reaching Hangzhou in 1921, Zhang joined the Hongqingtang Shaoxing daban troupe. Over the next five years he performed in a number of operatic and ballad genres, including Beijing opera. Zhang took Zhu Yongjun as his Suzhou pingtan (tanci) balladry teacher in 1926, improving his skills as a singer-instrumentalist in this important Chinese narrative genre. Zhang used his knowledge of the repertory of other ballad styles to develop new pingtan texts, and began to perform in this style across Jiangsu and Zhejiang provinces. From 1929 he became a successful singer in Shanghai, his reputation increasing over the following two decades. In 1951 Zhang was assigned to the newly established Shanghai People’s Pingtan Troupe (Shanghai Shi Renmin Pingtan Gongzuotuan). Zhang’s style, developed continuously throughout his career, has become one of the primary ‘schools’ of pingtan performance. Influenced initially by the singer Ma Rufei, Zhang later adapted elements of the performance style of Xia Hesheng and Jiang Yuequan, adding his own rhythmic and melodic innovations and the results of his early encounters with such forms as Beijing opera. For instance, in his version of The White-Haired Girl (Baimao nü) (1958) Zhang extends the standard vocal range upwards a minor 3rd. See also China, §IV, 1(ii). BIBLIOGRAPHY Zhongguo yinyue cidian, xubian [Dictionary of Chinese music, supplementary vol.], YYS pubn (Beijing, 1992), 250 PENG BENLE Zhang Ziqian (b Yangzhou, 1899; d Tianjin, 1991). Chinese qin zither master. Born in the historical site of the Guangling school, Zhang studied qin as a teenager with Sun Shaotao. By his early twenties he was already an accomplished performer, though remaining true to the amateur ideal of the qin. In the 1930s Zhang moved to Shanghai, acquainting himself with the qin players Zha Fuxi and Peng Zhiqing; their regular meetings led in 1936 to the founding of the Jin Yu qinshe (Qin Society of Contemporary Yu Region) in Suzhou. After the founding of the People’s Republic, Zhang was enlisted to the state-sponsored Shanghai Folk Music Troupe (Shanghai minzu yuetuan), and in 1957 he was appointed a teacher of qin at the Shanghai Conservatory. Zhang promoted the Guangling style through his performances, teaching and publications. His distinctive style of rhapsodic rhythm and flexible phrasing can be heard in his recordings of pieces such as Meihua sannong (‘Three Variations of Plum Blossom’), Pingsha luoyan (‘Geese Descending on the Sandbank’) and Longxiang cao (‘Soaring Dragon’). See also Qin; China, §IV, 4(ii)(a). BIBLIOGRAPHY and other resources Ancient Qin Music: Guangling Qin Music, vol.1, Zhang Ziqian, Hugo HRP 7139-2 (1987) Dai Xiaolian: ‘In Memory of a Great Guqin Player, Master Zhang Ziqian’, CHIME, no.3 (1991), 76–87 Gong Yi and Xu Guohua: ‘Weijun yi huishou, ru ting wanhe song: guqinjia Zhang Ziqian’ [A simple stroke of his hand was like hearing pines in myriad ravines: the qin player Zhang Ziqian], Zhongguo jinxiandai yinyuejia zhuan [Biographies of modern Chinese musicians], ed. Xiang Yansheng (Shenyang, 1994), 361–70 JOSEPH S.C. LAM Zhao Songting (b Dongyang county, Zhejiang province, 29 Aug 1924). Chinese dizi bamboo flute player. He trained as a teacher in Zhejiang, following this with an education in both Western and Chinese music and a course of legal study in Shanghai (1949). During the 1940s he was active as a music teacher in his home county, joining the Zhejiang Song and Dance Troupe (Zhejiang Sheng Gewutuan) as dizi soloist in 1956. At this time he was already active as a composer and arranger of music for the dizi, and taught pupils at both the Zhejiang College of Arts (Zhejiang sheng yishu xuexiao) and the Shanghai Conservatory of Music. Employment of such techniques as circular breathing in compositions such as Sanwuqi (‘Three-Five-Seven’), based on a melody from Zhejiang traditional wuju opera, illustrates Zhao’s attempts to contribute to the new solo repertory for his instrument. However, Zhao’s middle-class background implicated him in the anti-rightist campaign of 1958, and five years of imprisonment ensued. Further periods of captivity and victimization followed during the Cultural Revolution (1966–76); not permitted to perform during this phase, Zhao concentrated on the development of refinements in dizi design and on teaching a succession of pupils, many of them now leading professionals. Since 1976 Zhao has resumed his former posts and interests, also publishing two sets of essays and teaching materials for his instrument. WRITINGS ed.: Zhao Songting de dizi [The dizi of Zhao Songting] (Hangzhou, 1957) Dizi yanzou jiqiao guangbo jiangzuo [Broadcast lectures on dizi performance technique] (Beijing, 1983) Diyi chunqiu [A lifetime of dizi art] (Hangzhou, 1985) BIBLIOGRAPHY F.C. Lau: Music and Musicians of the Traditional Chinese Dizi in the People’s Republic of China (DMA diss., U. of Illinois, Urbana-Champaign, 1991), 58–61 Zhongguo yinyue cidian, xubian [Dictionary of Chinese music, supplementary vol.], YYS pubn (Beijing, 1992), 254–5 Shanghai yinyue chubanshe, ed.: Zhongguo zhudi mingqu huicui [Special selection of famous pieces for Chinese bamboo flute] (Shanghai, 1994), 71–91, 503–4 JONATHAN P.J. STOCK Zhao Yuzhai (b Yuncheng, Shandong province, 2 Feb 1924). Chinese zheng zither player. He is noted as a leading exponent of the zheng zither and the two-string fiddle leiqin. A member of the Shandong school of performance, Zhao is also composer of the highly influential zheng piece Qingfeng nian (‘Celebrating the Harvest’, 1955), one of the first compositions for this instrument in which left- and right-handed plucking techniques are used simultaneously, a notion probably inspired by piano performance technique. This composition, which reworks Shandong folk tunes including xiaoxi liushui (‘The Flowing Brook’), was intended for use by zheng performers in the new traditional music programmes then being opened at conservatories across China. In other works Zhao introduces aspects of pipa four-string lute technique and blends fingering techniques from several different schools of zheng performance. He also draws on the repertory of the local narrative singing tradition Shandong qinshu. Until the early 1950s, Zhao was active mostly as a performer, visiting many parts of China; thereafter he worked in a number of educational institutions, including the Shenyang Conservatory of Music. WRITINGS ed.: Zhengqu xuanji [Selected anthology of zheng pieces] (Beijing, 1960) ed.: Guzheng quji [Collection of pieces for guzheng] (Shanghai, 1963) ‘Lu zheng Lao baban chuantong liupai yuequ yanjiu: diyi dataoqu gaishuo’ [Survey of the first suite of Old Eight-Beat, a traditional piece of the Shandong zheng school], Yuefu xinsheng (1983), no.1, pp.34–8 BIBLIOGRAPHY Jiao Jinhai, ed.: Zheng yanzoufa [Zheng performance technique] (Beijing, 1987), 130–34 Cheng Te-yuan: Zheng Tradition and Change, (diss., U. of Maryland, 1991), 126–7, 313–14, 318–25 Zhongguo yinyue cidian xubian [Dictionary of Chinese music, supplementary vol.] (Beijing, 1992), 255 Shanghai yinyue chubanshe, ed.: Zhongguo guzheng mingqu huicui [Special collection of famous pieces for the Chinese guzheng] (Shanghai, 1993), 1–10 Special Collection of Contemporary Chinese Musicians, Wind Records CB-07 (1996) JONATHAN P.J. STOCK |
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