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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 |
Yanguas, (Francisco) Antonio
(b Medinaceli, 12 April 1682; d Salamanca, 27 Oct 1753).Spanish composer. He was a choirboy at the collegiate church of Medinaceli from at least 1689. On 14 September 1706 he was appointed choir chaplain at the collegiate church of Alcalá de Henares, and early in 1708 maestro de capilla at S Cayetano, Madrid. At the end of that year he was also appointed maestro de música at the Colegio del Rey in Madrid, retaining the post at S Cayetano. On 30 April 1710 he was made maestro de capilla at the metropolitan cathedral in Santiago de Compostela; on 14 October 1718 he received a similar appointment at Salamanca Cathedral, and on 2 November that year he became professor of music at Salamanca University. He remained there for the rest of his life, retiring in 1740. Yanguas was one of the most distinguished Spanish composers of the first half of the 18th century. The profound changes in style to be observed between his early and late compositions – in the use of instruments, in tonal and metrical practices and in the inclusion of recitatives and arias in villancicos and cantatas – reflect the changes taking place in Spanish music during the first decades of the century. His music, mostly sacred, shows his preference for polychoral works, most of them dating from 1710–40. His large-scale villancicos are among the most elaborate examples of the genre. El señor de Israel (E-SA 78.31), dated 1722 and probably composed for Corpus Christi Vespers, is for 12 voices (including four soloists), oboe, two violins and continuo; its 12 sections include an overture, two choruses and several recitatives and arias for one to four voices. Yanguas’s only known secular work, a large-scale allegorical cantata A lo amoroso, a lo dulce (1724) to a libretto by the cathedral harpist Santiago de Roxas, survives incomplete (E-SA 35.48). Yanguas also participated in the famous controversy surrounding Francesc Valls’s Missa ‘Scala aretina’. BIBLIOGRAPHY A. Yanguas: ‘Paracer de el señor D. Antonio de Yanguas’, Elucidación de la verdad, ed. J. Martínez (Valladolid, 1717) F.A. Velasco: Oración fúnebre en las exequias … de el señor Don Antonio Yanguas (Salamanca, 1754) M. Pérez Prieto: ‘La capilla de música de la catedral de Salamanca durante el período 1700–1750: historia y estructura’, RdMc, xviii (1995), 144–73 M. Pérez Prieto: Tres capillas musicales salmantinas: catedralicia, universitaria e de San Martín en el período 1700–1750 (diss., U. of Salamanca, 1995) A. Torrente: The Sacred Villancico in Early Eighteenth-Century Spain: the Repertory of Salamanca Cathedral (diss., U. of Cambridge, 1997) ÁLVARO TORRENTE Yang Yinliu (b Wuxi, 10 Nov 1899; d Beijing, 25 Feb 1984). Chinese musicologist. Yang grew up under the influence of local styles of traditional music in Wuxi, learning instruments from Daoist priests (including Abing) from the age of six and joining the élite Tianyun she music society. He was a fine performer of Kunqu vocal music and the pipa (plucked lute). Under the tuition of the American missionary Louise Strong Hammond, he then studied both Christianity and Western music theory, attending St John’s University in Shanghai in 1923. He took up teaching, becoming professor of music at Chongqing, Shanghai and Nanjing during the troubled 1940s, and publishing many articles. After the founding of the People’s Republic of China in 1949, Yang’s erudition was much needed, and he became head of the newly-formed National Music Research Institute of the Central Conservatory of Music (now the Music Research Institute of the Chinese Academy of Arts). Until the mid-1960s, in collaboration with other fine scholars (notably his cousin Cao Anhe), he managed to do remarkable research on both folk and élite traditions, including Beijing temple music, further work on the ritual ensemble music of his home city Wuxi, a detailed fieldwork survey in Hunan, and major collections and transcriptions of traditional notation. Meanwhile his monumental history of Chinese music, first in draft from 1944, was published, covering the whole of Chinese music history, and élite as well as folk genres, with unique erudition, though couched in the language of its time. Punished in the Cultural Revolution (1966–76) like all academics and representatives of the ‘Four Olds’, he lived to see his history printed, and cultural and academic life restored to normal after the downfall of the Gang of Four. His deep historical knowledge and practical musicianship assure his seminal influence on Chinese music study today. WRITINGS Zhongguo gudai yinyue shi gao [Draft history of ancient Chinese music] (Beijing, 1981) Yang Yinliu yinyue lunwen xuanji [Selected articles by Yang Yinliu on music] (Shanghai, 1986) BIBLIOGRAPHY and other resources Han Kuo-huang: ‘Three Chinese Musicologists: Yang Yinliu, Yin Falu, Li Chunyi’, EthM, xxiv (1980), 483–529 Qiao Jianzhong and Mao Jizeng, eds.: Zhongguo yinyuexue yidai zongshi Yang Yinliu (jinian ji) [Yang Yinliu, master of Chinese musicology (commemorative collection)] (Taipei, 1992) Recordings Chuancheng: Yang Yinliu bainian danchen jinian zhuanji/Heritage: in Memory of a Chinese Music Master Yang Yinliu, Wind Records TCD-1023 (2000) STEPHEN JONES Yang Yuanheng (b Anping county, Hebei, 1894; d 1959). Chinese guanzi double-reed pipe player. A Daoist priest, Yang was one of many fine wind players in the ritual ensembles of the Hebei plain south of Beijing. After his temple was razed by the Japanese invaders in 1938, he supported himself by agricultural labour and petty trade. In the winters of 1945 and 1946 he was invited to teach the ‘songs-for-winds’ (chuige) ensemble of Ziwei village in nearby Dingxian county, itself later to make a national reputation. In 1950 Yang was invited to teach guanzi at the newly established Central Conservatory of Music, guiding many of the present generation of conservatory-style guanzi players, including Hu Zhihou. While still a priest, he made many innovations in the repertory, using the flamboyant large guanzi which leads the songs-for-winds style rather than the smaller instrument of the more traditional music associations. Apart from traditional Daoist ceremonial pieces and classical ‘standards’ (qupai), he also played a more popular layer of folk and local opera pieces. He is also said to have popularized the ‘opera mimicry’ (kaxi) style. See also China, §IV, 4(i). BIBLIOGRAPHY And other resources Nie Xizhi: ‘Yang Yuanheng guanzi quji’ [Collected guanzi pieces of Yang Yuanheng] (Beijing, 1981) [mimeograph, Central Conservatory of Music] Minzu yueqi chuantong duzouqu zhuanji: guanzi zhuanji [Anthology of traditional solo pieces for Chinese instruments: guanzi vol.], ed. Zhongyang yinyue xueyuan and Zhongguo yinyue xueyuan (Beijing, 1985), 23–71 Yuan Jingfang: Minzu qiyue xinshang shouce [Handbook for the appreciation of Chinese instrumental music] (Beijing, 1986), 151–2 Special Collection of Contemporary Chinese Musicians, Wind Records TCD 1018 (1996) STEPHEN JONES Yaniewicz, Felix. See Janiewicz, Feliks. Yanks, Byron. See Janis, Byron. Yannay, Yehuda (b Timişoara, 26 May 1937). Israeli-American composer of Romanian birth. He emigrated to Israel in 1951 where he studied with Boskovitch (1959–64). Soon considered one of Israel's leading avant-garde composers, a Fulbright Fellowship enabled him to pursue further studies at Brandeis University (MFA 1966), where his teachers included Arthur Berger and Ernst Krenek, and the University of Illinois, Urbana-Champaign (DMA 1974) where he studied with Salvatore Martirano, among others. His doctoral dissertation on the music of Ligeti and Varèse proved influential to his later compositional style. In 1970 he joined the composition department at the University of Wisconsin, Milwaukee, and in 1971 founded the Music from Almost Yesterday concert series, dedicated to the performance of contemporary music. He has appeared as a guest lecturer, composer and conductor at festivals and conferences in the USA, Europe and Brazil. While his creative roots are European, by the early 1980s his music had become increasingly American. His compositions favour a postmodern synthesis of elements of 20th-century modernism and a concern for the ‘here and now’. WORKS (selective list)
BURT J. LEVY Yannidis, Costas. See Constantinidis, Yannis. |
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