Yampol'sky, Izrail' (Markovich)

(b Kiev, 8/21 Nov 1905; d Moscow, 20 Sept 1976). Russian musicologist, violinist and teacher. Son of the cellist Mark Il'ich Yampol'sky (1879–1951), he studied at the Moscow Conservatory and in 1930 graduated from the violin class of his uncle, Abram Il'ich Yampol'sky. He took the kandidat degree in 1940 with a dissertation on violin fingering. He taught the violin at the Music Academy (1931–58), the Central Secondary Music School (1931–46), and at the Moscow Conservatory (1934–49), where from 1939 he also lectured on the history and theory of the violin. He was appointed a senior lecturer at the conservatory in 1940. He held several important editorial posts and in 1953 became a music critic for the Soviet Information Bureau. Yampol'sky contributed more than 1000 articles to Russian and foreign journals. He was known particularly for his book on the history of violin playing in Russia, Russkoye skripichnoye iskusstvo (1951), and for a book on the history of music in Yugoslavia (1958). He was responsible for compiling and editing a number of basic reference works, including the Ėntsiklopedicheskiy muzïkal'nïy slovar' (1959) and the biographical dictionary of Russian and Soviet musicologists, Kto pisal o muzïke (with G.B. Bernandt, 1971–9).

WRITINGS

Osnovï skripichnoy applikaturï [The principles of violin fingering] (diss., Moscow Conservatory, 1940; Moscow, 1933, enlarged 3/1955; Eng. trans., 1967)

‘Neopublikovannïye rukopisi Variatsii na temu rokoko Chaykovskogo’ [The unpublished manuscripts of Tchaikovsky’s Variations on a Rococo Theme], SovM (1945), no.3, pp.32–44

‘Neopublikovannïy skripichnïy kontsert Lyapunova’ [Lyapunov’s unpublished Violin Concerto], SovM (1946), no.6, pp.55–61

‘Skripichnoye tvorchestvo I.Ye Khandoshkina’ [The violin works of Khandoshkin], SovM (1947), no.3, pp.89–98

‘Smïchkovaya muzïka’ [String music], Ocherki sovetskogo muzïkal'nogo tvorchestva, ed. B.V. Asaf'yev and others (Moscow and Leningrad, 1947), 198–215

Russkoye skripichnoye iskusstvo: ocherki i materialï [Russian violin playing: essays and materials] (Moscow, 1951)

with K.A. Kuznetsov: Arkandzhelo Korelli (Moscow, 1953)

Genrik Vienianski (Moscow, 1955)

Dzhordzhe Ėnesku (Moscow, 1956)

‘B.V. Asaf'yev o muzïkal'nom ispolnitel'stve’ [Asaf'yev on the performance of music], Voprosï muzïkal'no-ispolnitel'skogo iskusstva, ii (1958), 508–27

‘Ėzhen Izai’ [Ysaÿe], SovM (1958), no.8, pp.103–6

Muzïka Yugoslavii (Moscow, 1958)

with B.S. Shteynpress: Ėntsiklopedicheskiy muzïkal'nïy slovar' [Encyclopedia of music] (Moscow, 1959, enlarged 2/1966)

‘Ule Bull’ [Ole Bull], SovM (1960), no.5, pp.117–21

Nikkolo Paganini: zhizn' i tvorchestvo [Life and works] (Moscow, 1961, enlarged 2/1968)

‘Pervïy skripichnïy kontsert Bela Bartoka’ [Bartók’s first violin concerto], SovM (1961), no.3, pp.174–9

‘Karol' Lipin'sky i yego russkiye svyazi’ [Karol Lipiński and his Russian contacts], SovM (1962), no.7, pp.104–7

Sonatï i partitï dlya skripki solo I.S. Bakha [Bach’s sonatas and partitas for solo violin] (Moscow, 1963)

David Oystrakh (Moscow, 1964, enlarged 2/1968)

Moya shkola igrï na skripke: interpretatsiya proizvedeniy skripichnoy klassiki (Moscow, 1965) [trans. of L. Auer: Violin Playing as I Teach It (New York, 1921) and Violin Master Works and their Interpretation (Boston, 1925); incl. ‘ Auer i sovremennoye skripichnoye iskusstvo’ [Auer and contemporary violin playing], 3]

‘Sovetskoye muzïkal'no-ispolnitel'skoye iskusstvo’ [Soviet musical performance], Voprosï muzïkal'no-ispolnitel'skogo iskusstva, v (1969), 5–32

with G.B. Bernandt: Kto pisal o muzïke [Writers on music] (Moscow, 1971–9)

‘Pervïy russkiy muzïkant v Indii’ [The first Russian musician in India: G.S. Lebedev], Muzïka narodov Azii i Afriki, ed. V.S. Vinogradov, ii (Moscow, 1973), 239–53

Daniil Shafran (Moscow, 1974)

Frits Kreysler: zhizn' i tvorchestvo (Moscow, 1975)

‘Pavel Kokhanskiy v Rossii’ [Pawel Kochański in Russia], Masterstvo muzïkanta-ispolnitelya, i (Moscow, 1976), 123–46

with G.B. Bernandt: Sovetskiye kompozitorï i muzïkovedï [Soviet composers and musicologists], i (Moscow, 1978)

LEV GINZBURG/LYUDMILA KORABEL'NIKOVA

Yancey, Jimmy [James Edwards]

(b Chicago, 20 Feb 1898; d Chicago, 17 Sept 1951). American blues pianist. From the age of six he toured the USA and Europe as a singer and tap-dancer in vaudeville shows. He gave this up in 1915 to settle in Chicago, where he took up the piano. From around 1919 he performed in public but also played baseball in the professional African-American leagues, and from 1925 until just before his death he was groundskeeper at Comiskey Park for the Chicago White Sox baseball team. He played informally at clubs and rent parties, helping to establish the style known as boogie woogie and influencing Meade ‘Lux’ Lewis and Albert Ammons. He received some attention as a result of Lewis’s recording of Yancey Special in 1936. In 1939–40 Yancey issued a series of his own recordings, including Yancey Stomp (1939, Victor) and other works composed by him years earlier. These highly regarded performances reveal a remarkable balance and expressivity despite Yancey’s unassuming technique and limited harmonic and melodic resources. Unlike other boogie pianists, Yancey frequently altered his bass patterns in response to the right hand, producing shifting polyrhythms and varied bass lines. He suffered a stroke in 1941 but continued to play, even though the use of his left hand was restricted. In later years he continued to record, sometimes accompanying his own singing or that of his wife Mama Yancey with whom, in 1948, he appeared at Carnegie Hall.

BIBLIOGRAPHY

GroveJ

G. Hoefer: ‘Yancey Had Three Loves: his Piano, Wife, White Sox’, Down Beat, xviii/22 (1951), 4 only [incl. discography]

F.S. Driggs: ‘Jimmy Yancey: a Permanent Requiem’, Record Research, ii/1 (1956), 3

M. Harrison: ‘Boogie-woogie’, Jazz: New Perspectives on the History of Jazz, ed. N. Hentoff and A.J. McCarthy (New York and Toronto, 1959/R), 105–35

E. Kriss: Six Blues-Root Pianists (New York, 1973) [incl. transcrs.]

S. Harris: Blues Who’s Who (New Rochelle, NY, 1979)

J. BRADFORD ROBINSON

Yang Liqing

(b Qingmuguan, nr Chongqing, Sichuan, 30 April 1942). Chinese composer and writer on music. He studied composition at the conservatories of Shenyang and Shanghai, from where he gained the MA. In 1980 Yang was the first Chinese composer to be sent abroad for study after the Cultural Revolution, taking courses in composition and the piano at the Hochschule für Musik in Hanover and graduating with honours. He became a teacher at the Shanghai Conservatory on his return to China in 1983, becoming a professor and Chair of the Department of Composition and Conducting in 1991 and rising to vice-president in 1996. In 1990 he was guest professor at the Mozarteum in Salzburg. Yang has received many grants and commissions from institutions worldwide and his orchestral pieces have been performed in Asia and Europe. He has also lectured internationally on Chinese contemporary music. In his large-scale works he combines traditional Chinese instruments with a colourfully scored Western orchestra. After his years in Germany his compositions veered stylistically between Romanticism and modernism. A key figure throughout China in promoting knowledge of international contemporary music repertory and techniques, Yang has consistently supported and encouraged young Chinese composers.

WORKS

(selective list)

Inst: Grievances at Wujiang, pipa, orch, 1986; Festive Ov., orch, 1987; Wuzi pei, sym. ballet, 1988, collab. Lu Pei; Elegy, erhu, orch, 1991; Cost of Peace, orch, 1995; Si, dizi, zheng, erhu, yangqing [hammer dulcimer], dajiyue [percussion], 1996; A Shepherdess on Tianshan Mountain, erhu, orch, 1997; Desert at Dusk, erhu, orch, 1998; Introduction, Chant and Allegro, erhu, orch, 1998; Enter the New Age, pf, orch, 1999, collab. Wang Jianzhong

Vocal: 4 Poems from the Tang Dynasty, S, pf, perc, 1982; Die Enstehung der Taodejing von Lao-Tze (B. Brecht), SATB, 1982; 3 Songs (F. García Lorca), S, fl, vc, pf, 1982; The Monument Without Inscription, dance-drama, SATB, orch, 1989; The Red Cherry, film score, S, orch, 1995

WRITINGS

‘Guanxianyue Peiqi Fenggede Lishi Yianbian Gaishu’ [Stylistic evolution in orchestration], Yinyueshu, no.24 (1986), 42–7; no.25 (1986), 42–7; no.26 (1986), 25–36; no.27 (1986), 42–7; no.28 (1987), 39–43; no.29 (1987), 48–57; no.30 (1987), 54–9; no.31 (1987), 69–86

‘Dangdai Ouzhou Yinyue zhongde Xinlangmanzhuyi yu Huigui Qingxiang’ [Neo-romanticism in contemporary European music], Fujian Yinyue, no.76 (1987), 30–32; no.77 (1987), 29–32; no.78 (1987), 27–31

‘Xiandai Yinyue Jipufade Yange Jiqi Fenlei Wenti’ [The evolution and classification of notation in new music], Zhongguo yinyuexue, no.12 (1988), 76–83

Meixian Zuoqu Jifa Chutan [Compositional techniques of Messiaen] (Fuzhou, 1989)

‘Ligaitide Daqi’ [Atmosphères by Ligeti], Xiandai Yishu Jianshang Cidian (Beijing, 1990), 493–5

‘Yinyue Chuangzuo Meixue Sixiang Dazhuan’ [My own compositional aesthetic], Xiandai Yuefeng, nos.13–14 (1994), 1–5

‘Xifang Houxiandaizhuyi Yinyue Sichao Jianshu’ [Postmodernism in contemporary Western music], Zhongguo Yinyue Nianjian (Beijing, 1995), 244–57

Xiandai Guanxianyue Peiqifa Jiaocheng [Contemporary instrumentation techniques] (Shanghai, forthcoming)

BIBLIOGRAPHY

F. Kouwenhoven: ‘Mainland China's New Music: the Age of Pluralism’, CHIME, no.5 (1992), 76–134

M.D. Xu: ‘Wuwo Wujian, Daoyi weiyi: Yang Liqing Jibu Zuopinde Yanjiu Zongping’ [The study of selected works of Yang], Zhongguo yinyuexue, no.43 (1996), 107–18

JOYCE LINDORFF

Yangqin.

Hammered dulcimer of the Han Chinese. The name yang in its original form means ‘foreign’; qin is generic for string instruments. More recently, another character for yang meaning ‘elevated’ has come into public acceptance. The yangqin is also traditionally known as hudie qin (‘butterfly qin’, in reference to its double-wing shaped body) and daqin (‘beaten qin’).

The traditional instrument shell is trapezoidal in shape, with rounded ends and fluted sides of hardwood, its resonating chamber covered with a thin soundboard of white pine or other softwood (see illustration). Held against the soundboard by pressure of the strings are two rows of bridges, each row with seven or eight chessman-shaped bridges. The strings on older instruments are of copper (more recently of steel) and organized in two groups (left and right), each traditionally comprising a one-octave range of diatonically tuned pitches, with double (or more) courses of strings for each pitch position. Strings in the right group run from their tuning pegs, over a common nut, across their respective bridges (the right row), between the left row of bridges, across the left nut, and are fastened to pins on the left side of the instrument. Strings in the left group reverse this arrangement, running between the right row of bridges and then over the left row. The left row of bridges is positioned on the soundboard so as to divide its strings in a 2:3 relationship (such as 20 cm on the left side, 30 cm on the right). With this particular division, these strings are capable of sounding two pitches a 5th apart, one on each side of its bridge (e.g. sol–re, la–mi etc., on right and left sides respectively). A particularly distinctive characteristic of traditional tuning (especially in south China) requires that ti and fa be positioned on either side of the same bridge as a perfect 5th, ti roughly 50 cents flat (from equal temperament) and fa 50 cents sharp. Placement of the right row of bridges, however, requires no such precise positioning since only the strings on its left side are utilized (for lower octave pitches). Range on the traditional instrument is little more than two octaves, depending upon its numbers of bridges. In performance, it rests on a stand or table and is struck with two slender bamboo beaters (qinzhu).

The yangqin is an adaptation of the Persian Santūr, which was introduced to coastal areas of Guangdong province in south China late in the Ming dynasty (1368–1644). Mentioned frequently in the literature of the 18th to early 20th centuries, it was readily accepted into the local Cantonese and Chaozhou ensembles, where it remains an important instrument. It is also used to accompany narrative singing in Sichuan province, and in northern vocal genres such as Erren tai. In the 20th century it has been accepted into some sizhu (‘silk-and-bamboo’) ensembles in the Jiangnan area of central-eastern China.

When the new concert-hall music (guoyue) emerged in the mid-20th century, the traditional yangqin was enlarged in size (to about 100 cm in length for moderate-sized instruments) and given a wider range. On most models, a third row of bridges was added (to the far right for an extended lower range), bridge numbers were increased from 7 or 8 to 10 or more, and sliders or rollers were mounted under the strings (on both sides) to facilitate fine tuning and half-step pitch changes. On some very large present-day models, a fourth (and sometimes a fifth) row of bridges is present as well. These ‘reformed’ instruments have ranges of between three and four octaves, many with full chromatic capability.

BIBLIOGRAPHY

A.C. Moule: ‘A List of the Musical and Other Sound-Producing Instruments of the Chinese’, Journal of the Royal Asiatic Society, North China Branch, xxxix (1908), 1–160; repr. separately (Buren, 1989), 118–20

Liu Dongsheng and others, eds.: Zhongguo yueqi tuzhi [Pictorial record of Chinese musical instruments] (Beijing, 1987), 277–9

Liu Dongsheng, ed.: Zhongguo yueqi tujian [Pictorial guide to Chinese instruments] (Ji'nan, 1992), 276–81

Xu Pingxin: ‘Zhongwai yangqin de fazhan yu bijiao’ [Development and comparison of Chinese and foreign yangqin], Yueqi (1992), no.1, pp.7–10, no.2, pp.11–15, no.3, pp.1–5, no.4, pp.8–11

ALAN R. THRASHER

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