south-east asia and the pacific

R. Shelford: ‘An Illustrated Catalogue of the Ethnographical Collection of the Sarawak Museum: Musical Instruments’, Journal of the Royal Asiatic Society, xl (1904), 3–59

C. Sachs: Die Musikinstrumente Indiens und Indonesiens (Berlin, 1915, 2/1923/R)

W. Kaudern: Musical Instruments in Celebes (Göteborg, 1927)

J. Kunst: Hindoe-Javaansche muziek-instrumenten (Weltevreden, 1927; Eng. trans., enlarged 2/1968)

J. Kunst: A Study on Papuan Music (Weltevreden, 1931/R)

J. Kunst: De toonkunst van Java (’s-Gravenhage, 1934; Eng. trans., enlarged 3/1973)

N.J. Lan: ‘Chinese Songs and Plays in Batavia’, China Journal, xxiii/4 (1935), 198

H. Fisher: Schallgeräte in Ozeanien (Strasbourg and Baden-Baden, 1958)

P. Collaer: Ozeanien, Musikgeschichte in Bildern, i/1 (Leipzig, 1965)

J. Maceda: ‘Classification and Distribution of Musical Instruments in the Philippines’, The Musics of Asia: Manila 1966, 24–37 [summary in EthM, xi (1967), 107–13]

K.A. Gourlay: A Bibliography of Traditional Music in Papua New Guinea (Port Moresby, 1974)

E.A. Manuel: ‘Toward an Inventory of Philippine Musical Instruments’, Asian Studies, xiv (1976), 1–72

M. McLean: An Annotated Bibliography of Oceanic Music and Dance (Wellington, 1977, 2/1995)

W. Chen: Qing shi yue zhi zhi yanjiu [Studies on the music section of the Qing history] (Taipei, 1978)

P. Collaer: Südostasien, Musikgeschichte in Bildern, i/3 (Leipzig, 1979)

E.M. Frame: ‘The Musical Instruments of Sabah, Malaysia’, EthM, xxvi (1982), 247–74

M. Tenzer: Balinese Music (Singapore, 1991)

Latin america

V. Chenoweth: The Marimbas of Guatemala (Lexington, KY, 1964)

L. O’Brien: ‘Marimbas of Guatemala: the African Connection’, World of Music, xxiv/2 (1982), 99–104

R. Garfias: ‘The Marimba of Mexico and Central America’, LAMR, iv (1983), 203–32

L. Kaptain: Maderas que cantan (Tuxtla Gutiérrez, 1991)

J.B. Camposeco Mateo: Te’ son, chiab’ o k’ojom: la marimba de Guatemala (Guatemala City, 2/1994)

Xylorimba [xylo-marimba, marimba-xylophone].

Name given to an instrument of the Xylophone family with a compass sufficiently large to embrace the low-sounding bars of the Marimba and the highest-sounding bars of the xylophone (it is classified as an idiophone: set of percussion plaques). The normal compass of the xylorimba is five octaves: C to c''''. As the marimba-xylophone it was a popular instrument in the 1920s and 30s, particularly in vaudeville. The lower notes of the xylorimba sound more like a xylophone than a marimba on account of the bars being thicker and narrower than those of a modern marimba (the bars of the xylophone and the marimba are shaped differently to emphasize different overtones; see Acoustics, §V, 2).

The terms have been a source of confusion. Many composers have called for ‘xylorimba’, including Berg (Three Orchestral Pieces, op.6, 1914–15), Boulez (e.g. Le marteau sans maître, 1953–5, rev. 1957) and Messiaen, but invariably the parts were written for a four-octave xylophone. Stravinsky’s The Flood (1961–2) includes a part for ‘marimba-xylophone’, but a marimba was intended. The parts in Roberto Gerhard’s Hymnody (1963; with two players at one instrument) were originally labelled ‘xylorimba’, but this was later changed to ‘marimba’. Boulez wrote for two true xylorimbas (each of five octaves) in Pli selon pli (1957–62); the parts have sometimes been played on two xylophones and two marimbas.

JAMES BLADES/JAMES HOLLAND

Xylosistron.

A 19th-century Xylophone.

Xyndas [Xyntas, Xinda(s), Xinta(s)], Spyridon

(b Corfu, 8 June 1812/14; d Athens, 11 Nov 1896). Greek composer and guitarist. He studied in Corfu with Mantzaros and in Naples with Zingarelli at the Conservatorio di S Pietro a Majella (1834–7). On his return to Corfu he taught singing at the Corfu Philharmonic Society for nearly 20 years. As a virtuoso guitarist he toured extensively in Italy and around the eastern Mediterranean. He settled in Athens in about 1886 and died blind and in dire poverty. In his lifetime he was one of the most popular composers of the Ionian school founded by Mantazros. His most notable work, and the only one of his operas to survive, is O ypopsifios vouleftis (‘The Parliamentary Candidate’), the first Greek opera to a Greek libretto. It is a fresh work revealing the dichotomy between corrupt politicians and destitute peasants on the eve of the union of the Ionian Islands with Greece (1864). Its première in Athens, by the Elliniko Melodrama company on 14 March 1888, is generally considered to represent the birth of Greek lyric theatre. The opera's realistic subject matter, unusual for comic opera, is enhanced by language rich in colourful idiomatic expressions. Some charming and unpretentious orchestral writing, suggesting the folk music of the Ionian Islands, differentiates the work from the Italian buffo archetype.

Most of his works were posthumously destroyed, but several of his songs are extant, and some published. They show a gift for unaffected melodic invention, some with a flavour of Ionian folk music (such as Nani-nani, ‘Lullaby’). Others, extended and in bel canto style, are full-length arias, whose dramatic qualities give an invaluable hint not only to the nature of Xyndas's lost operas, but also to the language of other Ionian composers in the 1850s, for example Edouardos Lambelet.

WORKS

(selective list)

Operas

Anna Winter (4, after A. Dumas père: Les trois mousquetaires), Corfu, S Giacomo, carn. 1855, lost; trans. by S. Callos as I tris somatofylakes [The Three Musketeers], Corfu, S Giacomo, ?1885, lost

Il conte Giuliano (3, Y. Markoras), Corfu, S Giacomo, carn. 1857, GR-An, Motsenigos archive (without vocal parts)

O ypopsifios [The Candidate] (1, N. Makris/?Xyndas), 1857, lost

O odhyrmos tou Kerkyraeou horikou [Woes of a Corfu Peasant] (1, Makris/?Xyndas, 1857, lost

O ypopsifios vouleftis [The Parliamentary Candidate] (3, I. Rinopoulos, after libs of O ypopsifios and O odhyrmos tou Kerkyraeou), Corfu, S Giacomo, Sept/Oct 1867, lib in Yennadheios Library, Athens, vs (Act 1 only) in GR-Aleotsakos, complete vs in private collections

Arkadion, Corfu, ?1867, lost

O neogambros [The Bridegroom] (comic op), 1877, lost

I due pretendenti, excerpts perf. Milan, 1877, lost

Galatea (5, after drama by S. Vassiliadis), ?1887–96, inc., lost

O prikothiras [The Dowry Hunter] (Gk. vaudeville, 1, after comedy by A. Nikolaras), Athens, Omonoia, 9 Aug 1890, collab. D. Rhodhios, aria Z

To filima (To filaki) [The Kiss], Athens, Tsoha, 22 Sept 1893, lost

Other works

Choral: Hymnos dhia ton en Kriti agona [Hymn for the Cretan Uprising], G, 3vv chorus, pf, c1866–7; San ti spitha krymméni stin stahti [Like a Spark among the Ashes] (A. Koutouvalis), G, 3vv male chorus, pf, before March 1875; Xypnate Ellinopaedha [Arise, ye Sons of Greece], F, 2vv chorus, pf; Ta dhyo adhelfia [The Two Siblings] (D. Solomos), F, 2vv chorus, a cappella

Solo vocal: 12 asmata ellinika [12 Greek Songs], 1/2/3vv, pf, ?1856 (Athens, c1882); To orfano [The Organ] (A. Paraschos), 1875 (Athens, c1888–9); I athlia psychi kathimeri [The Poor Soul Sat Sighing] (D. Solomos, after W. Shakespeare: Othello, act 4, scene iii), 1v, pf (Corfu, n.d.); Glykeia nychta [Sweet Night] (P.D. Heliopoulos), C, n.d.; Nani-nani [Lullaby] (A. Valaoritis), a, in Asty, no.106 (27 Sept 1887); To fili [The Kiss] (G. Martinellis), C, n.d.); To mnima [The Grave], F, 1v, ?orch, lost; To oneiron [The Dream] (A. Paraschos); O patrikos tafos [Father’s Grave] (Solomos), 1v, pf, str qt; Lemvodhia [Barcarolla], g (Athens, after 1896)

La Meditazione, B , pf, c1876, MS in private collection, Corfu

Principal publishers: Zacharias Velondhios, J.G. Lupis, Georghios Filippou Nakas

BIBLIOGRAPHY

MGG1 (John G. Papaïoannou)

‘S. Xyntas’, Asty, no.105 (20 Sept 1887)

D.G. Thémelis: ‘I moussiki sylloghi apo tin idhiotiki vivliothiki tov Othona tis Elladhos’ [The music collection in King Otto's private library], Ellinika, xxxi (1979), 453–83

T. Hadjipandazis: To komidhyllio [The (Greek) Vaudeville] (Athens, 1981)

G. Leotsakos: ‘Spyridon, Xyndas’, Pangosmio viografiko lexiko [Universal biographical dictionary], vii (Athens, 1987), 414–15

K. Baroutas: I moussiki zoi stin Athina to 19o aeona [Musical life in Athens during the 19th century] (Athens, 1992)

G. Leotsakos: ‘I haménes ellinikés operes, i o afanismos tou moussikou mas politismou’ [The lost Greek operas, or the destruction of our musical civilization], Epilogos '92 (Athens, 1992), 398–428

GEORGE LEOTSAKOS

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