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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 |
Yevdokimova, Yuliya Konstantinova
(b Moscow, 10 Oct 1939). Russian musicologist. She studied at the Moscow Conservatory under Lev Mazel', graduating in 1966, and undertook postgraduate study with Vladimir Protopopov. In 1969 she was made a lecturer at the Gnesin Academy of Music in Moscow, becoming senior lecturer in the department of polyphony in 1975, professor in 1987 and head of the department the following year. At the Academy, she organized a new department of research into music education and psychology, developing a concept of general and special music education. Since 1987 she has been a member of the Georg-Friedrich-Händel Gesellschaft in Halle and has co-written, with Albert Scheibler, two books on the composer. The main subject of Yevdokimova’s research is polyphony. In her work she strives to ascertain the connections between different kinds of polyphony, in which either melody or complementary counterpoint is predominant. Her original views on the history and theory of polyphonic music are elucidated in her Manual of Polyphony, a textbook based on historical principles of study through the method of style-shaping. Since 1992 Yevdokimova has been involved with research into old Russian church music, its connection with the church music of other Slavonic nations and its typological similarities to Western medieval polyphony, and has prepared some editions of old Russian liturgical music. WRITINGS ‘Stanovleniye sonatnoy formï v predklassicheskuyu ėpokhu’ [The formation of sonata form in the pre-Classical era], Voprosï muzïkal'noy formï, ed. V.V. Protopopov, ii (Moscow, 1972), 98–138 Stanovleniye sonatnoy formï v predklassicheskuyu ėpokhu (diss., Moscow Conservatory, 1973) with N.A. Simakova: Muzïka ėpokhi Vozrozhdeniia: cantus prius factus i rabota s nim [The music of the Renaissance: cantus prius factus and its usage in history] (Moscow, 1982) Mnogogolosiye srednevekov'ya X–XIV veka [The polyphony of the Middle Ages, 10th–14th centuries] (Moscow, 1983) ‘Organnie khoral'nïe obrabotki Bakha’ [The Choral Preludes by J.S. Bach], Russkaya kniga o Bakhe, ed. T.N. Livanova and V.V. Protopopov (Moscow, 1985), 222–48 ‘Händel auf dem Wege zur Wiener Klassik’, Georg Friedrich Händel: Halle 1985, 189–94 ‘Merkmale der frühdeutschen Oper in Händels Opernschaffen’, HJb 1988, 135–44 with A. Scheibler: Georg Friedrich Händel: Philosophie und Beredsamkeit seiner Musik (Graz, 1991) with A. Scheibler: Georg Friedrich Händel: Oratorien Führer (Cologne, 1993) The Great Martyr Saint Paraskeva (Moscow, 1999) The Manual of Polyphony (Moscow, 2000) NATAL'YA ZABOLOTNAYA Yevlakhov, Orest Aleksandrovich (b Warsaw, 17 Jan 1912; d Leningrad, 15 Dec 1973). Russian composer and teacher. He graduated from the Leningrad Music Technical School in 1936 as a pupil of Ryazanov, and from the Leningrad Conservatory in 1941 as a pupil of Shostakovich. In May 1941 he made his début as a composer with the Piano Concerto, performed by Khal'fin and the Leningrad PO. He was appointed in 1947 to teach composition and instrumentation at the Leningrad Conservatory, where he was later made professor (1959) and given a chair in composition (1960–69, 1971–3); his pupils included Sergey Slonimsky and Boris Tishchenko. He contributed numerous articles for Izvestiya, Pravda, Sovetskaya muzïka, Sovetskaya kul'tura and Vecherniy Leningrad; he also wrote a book entitled Problemï vospitaniya kompozitora (‘The problems of educating the composer’). In 1972 he received the title Honoured Artist of the RSFSR. WORKS (selective list)
BIBLIOGRAPHY BDRSC SKM I. Gusin: Orest Yevlakhov (Leningrad, 1964) DETLEF GOJOWY Ye Xiaogang (b Shanghai, 23 Sept 1955). Chinese composer. He studied at the Central Conservatory of Music, Beijing (1978–83), where he attended Alexander Goehr’s masterclass. His early works hover between overt Western Romanticism and the tranquillity of Chinese elite traditions. With Xi jiang yue (‘The Moon over the West River’, 1984), a subdued, contemplative work for chamber orchestra, he became one of the first Chinese avant-garde composers to attract international attention. Elements of meditation and quietness became increasingly important to his style as he continued his studies at the Eastman School of Music (MA 1991). Among his first works written in America are the introspective Threnody for piano quintet (1988) and a ballet evoking Tibetan ritual music. The Ruin of the Himalaya (1989), for which he was awarded the Howard Hanson prize (1990), again shows the influence of Western Romanticism. In 1989, Ye became a PhD candidate at SUNY, Buffalo, where he studied for a few months with Louis Andriessen. His music gradually developed greater clarity and became more economical. The Mask of Sakya, a reflective and mystical piece for shakuhachi and Chinese orchestra (1990) reflects this new style. In 1994, after working as a freelance composer in Pittsburgh, he joined the composition department at the Central Conservatory in Beijing. His many honours include the Alexander Tcherepnin Prize (1982), the Grand Prize of the First Orchestral Composition Competition, Taiwan (1991), the Masterpiece Award from the China Cultural Promotion Society (1993) and a Meet the Composer Award (1996). WORKS
BIBLIOGRAPHY Dai Qing and Lü Yi: ‘Ye Xiaogang de gushi’ [The Story of Ye Xiaogang], Wenhui Yuekan, i (1986), 54–62 F. Kouwenhoven: ‘Mainland China’s New Music: the Age of Pluralism’, CHIME, no.5 (1992), 76–133 FRANK KOUWENHOVEN Yiddish music. See Jewish music, especially §III, 3, §IV, 2(iv) and 3(ii). Yim, Jay Alan (b St Louis, 24 April 1958). American composer. He studied at Harvard (PhD 1989), where his teachers included Donald Martino and Maxwell Davies, and at the Dartington Summer School (1985) with Birtwistle. In 1989 he joined the composition department at Northwestern University. His music is often inspired by extra-musical sources: Moments of Rising Mist (1986) derives from a Chinese scroll, while Geometry and Delirium (1989) is based on a poem by Octavio Paz. His style fuses traditional compositional techniques with elements from popular and non-Western music. In the early 1980s he began to use a harmonic vocabulary based on a set of 12-note, all-interval chords; most pieces use a subset of this chromatic field. Rough Magic (1996–7) for large orchestra, like several other works, exhibits two opposing processes, one generating perceptible continuity, the other diversity. Many abrupt shifts between relatively simple and chaotically polyphonic textures partition the surface. These texturally defined segments return clearly enough to establish a complex rondo form. A repeating set of chords, along with the repetition of chordal structures nested within this set, creates a ‘chaconne of chaconnes’ that provides continuity. WORKS
STEVEN JOHNSON Yin Falu (b Feicheng county, Shandong, 25 July 1915). Chinese musicologist. He graduated from the Department of Chinese Language and Literature, Beijing University, in 1939 and gained an advanced degree from the Graduate School for Humanities, also Beijing University, in 1942. He taught at the Huazhong University in Dali, Yunnan province (1942–6), Beijing University (1946–51), Beijing College for Political Science and Law (1952–4), and Beijing University from 1960 until his retirement. He also worked as a correspondent research fellow at the Research Institute for National Music (1952–66) and vice research fellow at the Institute of History, Chinese Academy of Sciences (1954–60). In 1982–3 he was invited for a six-month residency at Columbia University, New York, under the auspices of the Luce Fund for Chinese Studies. Yin is a specialist in the history and music of the Tang and Song dynasties, the role of music in ancient China's relation with her neighbours, particularly with Central Asia and India, and the interrelationship of poetry, literature, dance and music in ancient Chinese culture. His extensive articles have appeared in scholarly journals as well as newspapers. WRITINGS Tang Song daqu zhi laiyuan jiqi zuzhi [Origin and structure of the daqu in the Tang and Song dynasties] (Beijing, 1948/R) with Yang Yinliu: Song Jiang Baishi chuangzuo gequ yanjiu [Study of the songs created by Jiang Baishi in the Song dynasty] (Beijing, 1957) ‘Gudai Zhongwai yinyue wenhua jiaoliu wenti tantao’ [Investigation of the question of ancient music culture exchange between China and foreign countries], Zhongguo yinyuexue (1985), no.1, pp.39–48 ‘Kaogu ziliao yu Zhongguo gudai yinyue shi’ [Archaeological material and the history of ancient Chinese music], Zhongguo lishi bowuguan guankan, xiii–xiv (1989), 18–21 BIBLIOGRAPHY Han Kuo-huang: ‘Three Chinese Musicologists: Yang Yinliu, Yin Falu, Li Chunyi’, EthM, xxiv (1980), 483–529 HAN KUO-HUANG Yi Sung-chun (b North Hamgyŏng Province, Korea, 28 May 1936). Korean composer and scholar. Trained as a composer of Western music, he has risen to become the major spokesman and apologist for new Korean music using traditional instruments. He has been a professor at Seoul National University for much of his academic life, and between 1995 and 1997 served as director of the National Centre for Korean Traditional Performing Arts, the successor to a long line of court institutes. His first composition to achieve success, and some notoriety, was Norit'ŏ, a prize-winning suite originally written in 1965 for piano, but adapted for kayagŭm. Yi sought to find a way to match the versatility of the piano on a Korean instrument. He created a grammar far removed from either the court or folk traditions, full of new techniques alien to kayagŭm music of the time such as glissandi, arpeggios, chords and ostinati. Criticized for not understanding Korean musical language, Yi spent the next 15 years securing his position as a scholar of music history and theory, publishing many books and articles in Korean periodicals. In the 1980s, a mature style was firmly established in orchestral works such as Kwanhyŏn shigok: Naŭi choguk (1981–5) and the lyric song Sasŭm (1986). As he turned his attention to the development of Korean music, he recovered lost techniques for playing the three Korean lutes (tang pip'a, hyang pip'a and wŏlgŭm) and encouraged the composition of children’s songs utilizing traditional instruments, modes and melodic contours. He also developed new versions of old instruments, notably a small kayagŭm for children and a larger version with 21 strings, which increased the range towards that of the piano. Pada (1986) shows how he applied his repertory of new techniques. The first three movements develop melodies that explore the four-octave range, while quasi-orchestral textures and solid triadic harmony beneath sustained melodies emerge in the last three. While later works have programmatic titles, Yi seeks less to depict scenery with any realism than to take his inspiration from his surroundings, as with poets in Korea’s past. WORKS
WRITINGS Ŭmak tongnon-gwa kŭshi sŭp [Theory of Music, with Exercises] (Seoul, 1971) Shich'anggwa ch'ŏngŭm yŏnsŭp [Ear Training and Sight Singing] (Seoul, 1972–3) Ŭmak mihak [The Aesthetics of Music] (Seoul, 1974) Kugasha [History of Korean Music] (Seoul, 1976) Ŭmak hyonshikkava punsŏk [The Analysis of Musical Form] (Seoul 1976) Ŭmak ŭi kibon yŏnsŭp [Fundamental Musical Exercises] (Seoul, 1979) Han'guk, Han'gugin han'guk ŭmak [Koreans, Korean music] (Seoul, 1997) BIBLIOGRAPHY CC2 (K. Howard) A. Hovhaness: ‘Variations by Theme of Chongsunggok’, University News (Seoul, 1963) Sŏn Kwangju: ‘The 21-String Zither’, Ŭmak tonga, no.33 (1986) KEITH HOWARD Ylario. See Illario. Yodel. To sing or call using a rapid alternation of vocal register. Terminology. The older designation for the contemporary German verb jodeln (to yodel) is without doubt the Middle High German verb jôlen, which appears in numerous sources from 1540 with the meaning ‘to call’ or ‘cry’ and ‘to sing’; jôlen remains in use in Alpine dialects to the present. According to Grimm and Grimm (1877), the verb jo(h)len or jola is derived from the interjection jo and may have gained the additional ‘d’ for vocal-physiological reasons. Jo(h)ha, jodle(n), jodeln and jödele are all forms that evolved from so-called jo and ju(c)hui calls and they are closely related in meaning to other regional expressions such as juchzen, jutzen, ju(u)zä, juizä in Switzerland; lud(e)ln, dud(e)ln, jorlen, jaudeln, hegitzen in Austria; johla in the Allgäu region of Germany; and jola, zor(r)en, zauren, rug(g)us(s)en, länderen in the Appenzell region of Switzerland. Other languages have created their own derivations from the German jodeln as borrowed translations: in French, jodler (iouler) or chanter à la manière tyrolienne; in Swedish, joddla; in Japanese, yōderu etc. The Italian gorgheggiare and the Spanish gargantear refer to the throat (garga), that is, to the actual larynx technique with glottal stop. |
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