|
Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
|
|
Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Chamber and solo instrumental. Yamaguti [Yamaguchi], Osamu. Yamaguti [Yamaguchi], Osamu
Songs for 1v, pf, unless otherwise stated
WRITINGS Kan’i sakkyoku-hō [Composition manual] (Tokyo, 1918) Kinsei buyō no noroshibi [Signal for modern dance] (Tokyo, 1922) Kinsei waseigaku kōwa [Lectures on modern harmony] (Tokyo, 1924) Ongaku no hōetsu-kyō [Paradise of music] (Tokyo, 1924) Kakyoku sakkyoku-hō [How to compose songs] (Tokyo, 1932) Kōsaku gakuwa [Musical anecdotes of Kōsaku] (Tokyo, 1935) Waseigaku oyobi sakkyoku-hō [Harmony and composition] (Tokyo, 1937) Ongaku jūni kō [12 lectures on music] (Tokyo, 1951) Jiden: wakaki hi no kyōshikyoku [Autobiography: a rhapsody of young days] (Tokyo, 1951) BIBLIOGRAPHY Toyama Music Library: Kósçak Yamada: a Descriptive Catalogue of the Musical Manuscripts, Printed Music and Sound Recordings (Tokyo, 1984) MASAKATA KANAZAWA/YO AKIOKA Yamaguti [Yamaguchi], Osamu (b Pusan, South Korea, 21 Sept 1939). Japanese musicologist. He studied musicology and aesthetics at the University of Tokyo (BA 1963) and ethnomusicology at the University of Hawaii (MA 1967), and took the doctorate at Osaka University (1991) with a dissertation on Palau (Belau) music culture in Oceania. He has taught musicology at Osaka University from 1976, and became professor in 1991. He has pursued a wide range of research interests in Asian and Oceanic music, both theoretical and practical in nature. His projects include long- and short-term fieldwork, the training of native musicologists from these regions, and the organization of international symposia in Japan. He has supervised the long-term project Asian Traditional Performing Arts, and organized the Tokyo ICTM (1985) and Osaka IMS (1990) conferences; thus he has contributed to internationalizing musicology and forming networks among musicological divisions around the world. His concern with ‘applied musicology’ (the forming of dialogues between musicologists and societies) led him to start a new project on Vietnamese ethnic minorities in 1998. WRITINGS ‘The Taxonomy of Music in Palau’, EthM, xii (1968), 345–51 ed., with F. Koizumi and Y. Tokumaru: Asian Musics in an Asian Perspective: Tokyo 1976 [incl. ‘Toward a Better Documentation of Music Making’, 12–20] ‘Documenting Vocal Music’, Musical Voices of Asia: Tokyo 1978, 195–202 ed., with others: Dance and Music in South Asian Drama: Tokyo 1981 (Tokyo, 1983) [incl. ‘The Centric and Peripheral Aspects of Expressive Performance: a Review Essay on Previous ATPA Events’, 239–44] ‘An Anthology of Song Texts of Belau, Micronesia: Ethnomusicological Documentation from the Fieldwork in 1965–1966’, Memoirs of the Faculty of Letters, Osaka University, xxv (1985), 87–308 [in Eng., Jap., Palau language] ed., with Y. Tokumaru: The Oral and the Literate in Music: Tokyo 1985 [incl. ‘Music and its Transformations in Direct and Indirect Contexts’, 29–37] ‘Documentation of Various Forms of Sonic Communication among the Mali, Bisis, and Chambri in East Sepik Province, Papua New Guinea’, Philocalia [Osaka], iv (1987), 110–15 ed., with others: Iwanami kōza: Nihon no ongaku, Azia no ongaku [Iwanami series: musics of Japan, Asia and Oceania] (Tokyo, 1988–9) Mizu no yodomi kara: Berau bunka no ongakugakuteki kenkyū [From muddy water: a musicological study of Palau culture] (diss., U. of Osaka, 1991) ‘Performance as a Historical Source in Music Research’, Tradition and its Future in Music: Osaka 1990, 153–7 Ōyō ongakugaku [Applied musicology] (Tokyo, forthcoming) YOSIHIKO TOKUMARU Yamaha. The brand name of musical instruments (and other products) manufactured by Yamaha Kabushiki Kaisha (Yamaha KK, i.e. Yamaha Corporation), Hamamatsu, Japan. The firm was founded in 1887 by Torakusu Yamaha (b Wakayama Prefecture, April 1851; d Hamamatsu, 8 Aug 1916), who built the first Japanese harmonium in that year. In 1888 the firm employed fewer than ten craftsmen; a year later there were 100. In 1897 the company was named Nippon Gakki Seizo KK (Japan Instrument Manufacturing Co.). It expanded steadily through the prosperous period following World War I. The factory base was moved from Tokyo and Yokohama to Hamamatsu in 1922. During World War II production was diverted to the military. After World War II the company began collaboration with the Nippon Kangakki (Japan Band Instrument) company, founded as Egawa in 1892 and renamed in 1920, whose brand name is Nikkan. The companies jointly set up an experimental department for wind instruments in 1965, and merged in 1970. In 1953 the company's fourth president, Gen'ichi Kawakami (b 1912), spent 90 days observing living standards and production methods in Europe and the USA. On his return he introduced technical advances, mass-production methods and new products and began to emphasize the popularization of music; the firm also branched out into the recreation industry. In 1966 Renold Schilke became a consultant. The present factory in Hamamatsu opened in 1970; by the mid-1970s it was making 30% of the world production of both wind instruments and pianos. The Yamaha brand name was applied to all the firm's products from its centenary in 1987. The company, which now produces pianos, wind instruments, electronic instruments, concert and marching percussion, guitars, drums and audio equipment, has developed into a huge complex of diversified interests, with 36 related companies in Japan and 35 in as many countries overseas. The firm made its first upright piano in 1900 (in the early stages a consultant from Bechstein gave advice) and its first grand piano in 1950; by the late 20th century Yamaha was the largest producer of pianos in the world. Annual production slowed from about 200,000 in the late 1970s to about 140,000 in the mid-1990s. The output is of high quality; the firm uses heavily automated production practices, applying what it has learnt in other ventures (e.g. metal-frame casting and electronics) to piano design and using digital recording and playback technology in an impressive computerized reproducing piano, the Disklavier. Piano models range from console uprights to a well-regarded concert grand. Since 1958 Yamaha has produced many models of electronic instruments, beginning with electronic organs (under the name Electone), followed by electric and electronic pianos (including digital models in the Clavinova series), electric guitars, monophonic and polyphonic synthesizers (from 1975), synthesizer modules, string synthesizers, home keyboards (PortaSound and Portatone ranges), remote keyboard controllers, wind controllers (WX series, developed with Sal Gallina), guitar synthesizers, samplers, sequencers and electronic percussion systems. Yamaha's greatest success was the DX7 synthesizer (1983), of which possibly 250,000 were sold. Coinciding with the beginnings of MIDI, Yamaha's DX/TX range of ‘algorithmic’ Frequency Modulation (FM) synthesizers were based on John Chowning's researches at Stanford University (1967–71). The company has continued to develop this significant innovation, but – like other manufacturers – has also adopted sampled timbres and has often combined both, as in the SY series (1990) and the Physical Modeling method (also licensed from Stanford University) used in its Virtual Acoustic synthesizers from 1994. In 1984 Yamaha introduced the first specialized music computer (CX-5M), in which FM synthesis was combined with the shortlived MSX computer standard; the company has subsequently produced home computer music systems featuring a synthesizer module and licensed software. Some of Yamaha's more sophisticated synthesizers have had an optional breath controller. The scale on which the company manufactures electronic instruments enabled it in 1976 to be the first musical instrument manufacturer to develop its own LSI (large-scale integration) chips, each equivalent to millions of transistors and other components. Three ranges of acoustic pianos with MIDI have been produced, including the Disklavier (1986), which contains fibre-optic sensors to register the movement of keys and hammers and solenoids to control their operation, MIDI grand pianos and the recent Silent Piano that can be heard over headphones (part of a series that also includes violin, two models of cello, trumpet, horn, trombone and electronic drumkit). Yamaha maintains its own departments of wood processing (for pianos and guitars), metal processing (for pianos and brass instruments), machine making, electronics and chemicals. There is a research and development division for keyboard, brass and woodwind instruments, and special instruments are made for individual players. The first Yamaha Music School was founded in Tokyo in 1954; by 1993 there were 14,000 Yamaha music school sites in Japan and 2000 in 38 other countries. The Yamaha piano instruction method does for beginners on the piano what the Suzuki method does for the violin. The Yamaha Foundation for Music Education, established in 1966, sponsors concert series and music competitions. For illustration of instruments by Yamaha, see Electronic instruments, fig.9. BIBLIOGRAPHY N.H. Crowhurst: Electronic Organs (Indianapolis, 1960, 3/1975), 123–32 J. Chowning and D. Bristow: FM Theory & Applications by Musicians for Musicians (Tokyo, 1986) S. Trask: ‘Made in Japan: Eastern Intrigue’, Music Technology, ii/3 (1988), 50–53 M. Vail: ‘Yamaha's CS-80: Heavyweight Champion of the Early Polyphonics’, Keyboard, xvii/3 (1991), 116–17; rev. in Vintage Synthesizers: Groundbreaking Instruments and Pioneering Designers of Electronic Music Synthesizers (San Francisco, 1993), 162–7 J. Colbeck: Keyfax Omnibus Edition (Emeryville, CA, 1996), 128–41, 180–88 P. Forrest: The A–Z of Analogue Synthesisers, ii (Crediton, 1996), 214–39 HUGH DAVIES, EDWIN M. GOOD, EDWARD H. TARR Yamashita, Kazuhito (b Nagasaki City, 25 March 1961). Japanese guitarist. He began studying the guitar at the age of eight with his father, Toru Yamashita, at the Nagasaki Guitar Academy, and continued with Kojiro Kobune. He captured international attention while still in his mid-teens, winning the All-Japan Guitar Competition in 1976; in 1977 he won the Ramirez competition in Spain and the Alessandria competition in Italy, and was the youngest person ever to win the Concours International de Guitare in Paris. There quickly followed concert appearances in Tokyo (1978), Amsterdam (1979) and the Toronto Guitar Festival (1984), at which he performed his guitar transcription of Musorgsky’s Pictures at an Exhibition to tumultuous acclaim. He later transcribed, performed and recorded other works, including Stravinsky’s Firebird suite, and Dvořák’s ‘New World’ Symphony for solo guitar. He has also performed and published Beethoven’s Violin Concerto arranged for guitar and orchestra. His own work for solo guitar, Imaginary Forest, was published in 1982. Never reluctant to undertake large-scale projects, Yamashita recorded the complete works of Fernando Sor on 16 CDs and transcriptions of Bach’s sonatas, partitas and suites for unaccompanied flute, violin, cello and lute. He performs with phenomenal concentration, a technique which is as secure as it is virtuosic and a range of sound (in particular a dynamic range) which is arguably without equal. BIBLIOGRAPHY J. Rockwell: ‘Reductios: Absurd or Valuable?’, New York Times (12 March 1989, final edn) H. Reich: ‘One-Man Band: a Japanese Guitarist Tackles Works fit for Orchestras’, Chicago Tribune (26 March 1989, final edn) B. Verdery and J. Gore: ‘Kazuhito Yamashita: the World’s most Controversial Classical Guitarist?’, Guitar Player, xxviii/3 (1994), 21 THOMAS F. HECK Yamash’ta [Yamashita], Stomu [Tsutomu] (b Kyoto, 15 March 1947). Japanese percussionist and composer. He entered the Kyoto Academy of Music in 1960 and in the following year joined both the Kyoto PO and the Osaka PO as a percussionist; at that time he also worked for Tokyo film studios. He made his solo début in Milhaud’s Concerto with the Osaka PO in 1963. In 1964 he went to the Interlochen Arts Academy, Michigan, and then to the Berklee School of Jazz, Boston. He took freelance engagements with various orchestras, played jazz and appeared as a soloist, notably in the première of Heuwell Tircuit’s Concerto with the Chicago SO at Ravinia Park, Chicago, in 1969. By this time his own work, Fox, for solo dancer, percussionist and tape, had received a television broadcast in San Francisco (November 1968). Yamash’ta’s European reputation dates from his fiery, athletic participation in Henze’s El Cimarrón, first performed at the 1970 Aldeburgh Festival. Henze subsequently wrote a solo piece, Prison Song, for Yamash’ta; other composers who have been stimulated by his energies include Takemitsu (Blue Aurora, The Seasons and Cassiopeia), Brouwer (Exaedros II) and Maxwell Davies (Turris campanarum sonantium). In December 1970 he formed the ensemble Come to the Edge, which became the centre of his compositional activities; the group’s performances of ‘floating music’ featured Yamash’ta’s Keep in Lane, One Way and Hiroshima, pieces drawing on various Eastern, South American, pop and avant-garde musics. Come to the Edge were involved in Yamash’ta’s Red Buddha Theatre, which gave highly successful performances in London and Paris in 1973 of The Man from the East, a loud, vigorous collision between kabuki and rock. His other compositions include Prisms (for percussion, 1970), Hito (for any three instruments, 1970), Red Buddha (for chamber ensemble, 1971) and many film scores, including those for Ken Russell’s The Devils (1971, with Maxwell Davies) and Robert Altman’s Images (1972, with John Williams). PAUL GRIFFITHS/R Yampol'sky, Abram Il'ich (b Yekaterinoslav [now Dnepropetrovsk], 11 Oct 1890; d Moscow, 17 Aug 1956). Ukrainian violinist and teacher. He studied the violin with Sergey Korguyev at the St Petersburg Conservatory, and also studied composition with Nikolay Sokolov, Jāzeps Vītols and Maximilian Steinberg. In 1920 he moved to Moscow and was assistant leader of the Bol'shoy Theatre orchestra. In 1922 he was appointed director of the orchestral and violin classes of the Moscow Conservatory, in 1926 he became a professor, and in 1936 head of the violin department. Later he also taught at the Gnesin Institute, and from 1922 until it disbanded in 1936 was one of the directors and a member of the council of Persimfans. Yampol'sky was one of the founders of the modern Russian violin school, which developed from the teaching of Auer. Yampol'sky's teaching was based on a subtle combination of the performer's musical feeling and the all-round development of his mastery of the instrument. A distinctive feature of his method was to take the pupil from the elementary stages up to the completion of his artistic education. Yampol'sky described his methods and aims in his writings. Leonid Kogan, Yulian Sitkovsetsky, Igor' Bezrodnïy, Mikhail Fikhtengol'ts and Mark Lubotsky were among Yampol'sky's pupils. He wrote numerous transcriptions for violin and piano, cadenzas for the concertos of Beethoven, Brahms and Paganini, and edited the studies of Kreutzer, Dont, Paganini and others. He was named Honoured Art Worker of the RSFSR in 1937, and Doctor of Arts in 1940. WRITINGS ‘O metode rabotï s uchenikom’ [On the method of working with a pupil], Trudï gosudarstvennogo Muzïkal'no-pedagogicheskogo instituta im. Gnesinïkh [Writings from the Gnesin Institute of Music Education] (Moscow, 1959) ‘K voprosu o vospitanii kul'turï zvuka u skripacha’ [On the question of training the cultivation of sound in a violinist], Voprosï skripichnogo ispol'nitel'stva i pedagogiki [Questions of violin performance and teaching] (ed. S.R. Sapozhnikov, Moscow, 1968) BIBLIOGRAPHY M. Lubotsky: ‘A.I. Yampol'skiy: muzïkant, pedagog, vospitatel’ [A.I. Yampol'sky: musician, teacher and educationist], SovM (1960), no.11, pp.117–23 I.M. YAMPOL'SKY/R |
Последнее изменение этой страницы: 2019-04-19; Просмотров: 213; Нарушение авторского права страницы