Kosovo and albanian tradition

Y. Arbatsky: ‘Proben aus der albanischen Volksmusikkultur’, Südostdeutsche Forschungen viii (1943), 228–55

Y. Arbatsky: Beating the Tupan in the Central Balkans (Chicago, 1953)

L. Antoni: Folklori muzikuer shqiptar [Albanian musical folklore] (Prishtinë, 1956–77)

Sh. Pllana: ‘Uloga individualnih stvaralaca u razvitku savremenog albanskog narodnog pevanja na Kosovu i Metohiji putem štampe, radija i gramofona’ [The role of the individual creator in the development of contemporary Albanian folk singing in Kosova and Metohija by means of the press, the radio, and the gramophone], Yugoslav Folklore Association: Congress XIII: Dojran 1966, 229–37

A. Linin: ‘Šarkija kod albanaca na Kosovu’ [The sharki among the Albanians of Kosova], Glasnik Muzeja Kosova/Buletini i Muzeut të Kosovës [Annual of the Museum of Kosova, Prishtinë], x (1970), 355–60

A. Schmaus: Gesammelte slavistische und balkanologische Abhandlungen (Munich, 1971)

B. Traerup: ‘Rhythm and Metre in Albanian Historical Folk Songs from Kosovo (Drenica) Compared with the Epic Folk Songs of Other Balkan Countries’, Makedonski Folklor [Macedonian folklore, Skopje], iv/7–8 (1971), 247–59

A. Lorenc: Folklori muzikuer Shqiptar [Albanian traditional music], vi (Priština, 1974)

B. Traerup: ‘Albanian Singers in Kosovo: Notes on the Song Repertoire of a Mohammedan Country Wedding in Jugoslavia’, Studia instrumentorum musicae popularis, iii (1974), 244–51

F. Födermayr and W.A. Deutsch: ‘Zur Akustik des “tepsijanje”’, Neue etnomusikologische Forschungen: Festschrift Felix Hoerburger, ed. P. Baumann, R.M. Brandl and K. Reinhard (Laaber, 1977), 97–112

B. Traerup: ‘Wedding Musicians in Prizrenska Gora, Jugoslavia’, Musik og Forksning [Copenhagen], iii (1977), 76–94

R. Munishi: Këndimi i femrave të Podgurit [Girls' and women's singing in Podgur, Kosova] (Prishtinë, 1979)

J. Reineck: ‘The Place of the Dance Event in Social Organization and Social Change among Albanians in Kosovo, Yugoslavia’, UCLA Journal of Dance Ethnology, x (1986), 27–38

F. Hoerburger: Volksmusikforschung: Aufsätze und Vorträge 1953–1984 über Volkstanz und instrumentale Volksmusik (Laaber, 1986)

R. Munishi: Këngët malësorce shqiptare [Albanian songs from Malësi] (Prishtinë, 1987)

J. Kolsti: The Bi-Lingual Singer: A Study in Albanian and Serbo-Croatian Oral Epic Traditions (New York, 1990)

F. Hoerburger: Valle popullore: Tanz und Tanzmusik der Albaner in Kosovo und in Makedonien, (Frankfurt, 1994)

J. Sugarman: ‘Mediated Albanian Musics and the Imagining of Modernity’, New Countries, Old Sounds? Cultural Identity and Social Change in Southeastern Europe, ed. B.B. Rener (Munich, 1999)

Recordings

Jugoslavija: muzika i tradicija [Yugoslavia: music and tradition], coll. D. Dević, Radio-Televizija Beograd RTB LPV 190 (1971)

Srbija: muzika i tradicija [Serbia: music and tradition], coll. D. Devic, Radio-Televizija Beograd RTB LPV 192 (1974)

Narodna muzička tradicija: Srbija (instrumenti) [The tradition of folk music: Serbia (instruments)], coll. D. Devic, Radio-Televizija Beograd RTB 2110030 (1978)

Narodna muzička tradicija: Srbija (instrumentalni ansambli) [The tradition of folk music: Serbia (instrumental ensembles)], coll. D. Dević, Radio-Televizija Beograd RTB 2110049 (1978)

Narodna muzička tradicija: Srbija (pesme i igre Kosova) [The tradition of folk music: Serbia (songs and dances of Kosovo)], coll. D. Dević, Radio-Televizija Beograd RTB 2110073 (1981)

Srpska narodna muzika [Serbian folk music], coll. R. Petrović, RTB LP 2510057 (1981)

Sve devojke na sedenjku dosle [All the girls have come to the celebration], coll. R. Petrović, DISKOS LPD 001 (1985)

20 godina smotre narodnog stvaralastva ‘Homoljski motivi’: Kučevo [A 20- year review of national creativity, ‘Motifs of Homolje’: Kučevo], coll. D. Dević, Radio-Televizija Beograd RTB NL 0069 (1987)

‘Sve je sveto i čestito bilo’: guslerske pesme po zapisima Vuka St Karadžiča [‘All was holy and honourable’: songs for the Gusle as recorded by Vuk St Karadžič], coll. D. Devic, Radio-Televizija Beograd RTB LP 201103 (1987)

Pevačice iz Ribaševine [Women singers of Ribasevina], coll. D. Golemović, Radio-Televizija Beograd RTB NL 0046 (1989)

Podjo’niz polje, ne znam niz koje … : muzička tradicija Podrinja [I set off down the field, I know not which ... : the musical tradition of Podrinje], coll. D. Golemovic, Radio-Televizija Beograd RTB NL 0043 (1989)

Dobrodošli na Rudnik: tradicionalna narodna muzika iz sela Crnuća na Rudniku [Welcome to the mine: traditional folk music from the village Crnuć na Rudniku], coll. R. Petrović, Radio-Televizija Beograd RTB LP 004 (1990)

The Balkans and its Musical Roots: Serbian Folk Music, coll. D. Golemović and D. Dević, ITV Melomarket CD 3004 (1995)

Muzička tradicija Crne Gore [The musical tradition of Montenegro], coll. D. Golemović, Pergamena (1996)

Kosova këndon dhe vallëzon [Kosova sings and dances], Radio-Televizija Beograd LPV 1251

Kosovarja këndon [The Kosova woman sings], Radio-Televizija Beograd 2110296

Vaj moj lule [Alas, oh flowers], Jugoton LPY-V-853

Bilbili i Kosovës: Nexhmie Pagarusha [The nightingale of Kosova: Nexhmie Pagarusha], Rozafa 021

Bilbili i Kosovës: Shyhrete Behluli [The nightingale of Kosova: Shyhrete Behluli], Albanota CD-019

Këndojnë Bilbila: Qamili i Vogël e Mazllom Mejzini [The nightingales sing: Qamili i Vogël and Mazllom Mejzini], EuroLiza CD-029

Yuhas, Dan

(b Hungary, 16 Aug 1947). Israeli composer of Hungarian birth. He studied at the Rubin Academy of Music, Tel-Aviv (graduated 1968) with Seter, Boskovitch, Partos and others, and at the Guildhall School of Music, London (1978–9). A lecturer at the Rubin Academy, he has also directed the Israel Contemporary Players. His style can be described as atonal, saturated with sharp chromaticism and using serial and post-serial techniques that echo the European avant garde. In early orchestral works, such as Prelude (1978), textural and formal elements show an affinity with Penderecki's ‘cluster’ pieces; later, he adopted a more motivic and transparent style sometimes alluding to Central European early Expressionism. Works such as Four Poems of David Vogel (1986) and the String Quartet (1989) balance chromatic writing with the suggestion of tonal centres and strict forms. His music has been performed by leading orchestras and ensembles in Israel and Europe. Monologue for flute (1997) has been recorded.

WORKS

(selective list)

3 Pieces, pf, 1974; Prelude, orch, 1978; The Fire and the Mountains (cant.), solo vv, chorus, orch, 1979; Entities, 12 players, 1983; 4 Poems (D. Vogel), mez, chbr orch, 1986; Str Qt, 1989; Havayot, 10 players, 1992; Ov., orch, 1996; Monologue, fl, 1997; Elegy, orch, 1998; Trio, vn, cl, pf, 1998; Duo, cl, pf, 1999

ODED ASSAF

Yulchiyeva, Munadjat

(b Andizhan, Fergana Basin, 26 Nov 1960). Uzbek singer. From 1978 to 1985 she studied Uzbek classical music at the Tashkent State Conservatory with shavkat Mirzaev, who became her spiritual teacher as well as her musical instructor. From 1980 to 1982 she performed with the makom ensemble at Uzbek State Radio, and in 1982 she began to work with the Uzbek State Philharmonia. She has appeared widely in concerts and festivals, but unlike many other Uzbek professional singers, she has chosen not to perform at weddings. During the last decade of the 20th century she toured the USA, Europe, Asia and Latin America. She was awarded the titles of Honoured Artist of Uzbekistan (1991) and People’s Artist of Uzbekistan (1994), and gained first prize and the accolade ‘Golden Nightingale’ in the Samarkand International Festival in 1997.

Her repertory includes Uzbek classical music and the music of the bastoqor composers, who create music in the traditional Uzbek style. Her mezzo-soprano voice has a range of two and a half octaves, and she has often performed songs from the traditional male repertory as well as the female. She has specialized in Uzbek Sufi music, performing settings of the poetry of Alisher Navai (15th century), Fisuli (16th century), Mashrab (16th century) and Huvaido (18th century).

RECORDINGS

Ouzbekistan: Monajat Yultchieva, Ocora C560060 (1994)

Munadjat Yulchieva and Ensemble Shavkat Mirzaev: a Haunting Voice, World Network 38 (1997)

RAZIA SULTANOVA

Yun, Isang

(b Duk San, San Chun Gun, Tongyong [now Chung Mu], 17 Sept 1917; d Berlin, 3 Nov 1995). Korean-German composer. Son of the poet Yun Ki Hyon, he began to write music at the age of 14 and went on to study at the Osaka Conservatory and in Tokyo with Ikenouchi. During World War II he participated in underground activities against the Japanese, was imprisoned (1943) and lived in hiding until the liberation. In 1945 he helped in the reconstruction of Korean cultural life. From 1946 he taught music in Tongyong (now Chung Mu), Pusan, and, after the Korean War (1953), in Seoul. As the recipient of the 1955 Seoul City Award, he travelled to Europe for further study. He was a pupil of Pierre Revel at the Paris Conservatoire (1956–7) and of Boris Blacher, Josef Rufer and Reinhard Schwarz-Schilling at the Berlin Hochschule für Musik (1958–9); he also attended several Darmstadt summer courses. After spending the period 1960–63 in Krefeld, Freiburg and Cologne, he returned to Berlin in 1964 at the invitation of the Ford Foundation. In 1967 he was abducted from Germany to Seoul by Chung Hee Park's regime, charged as a communist and imprisoned; after international pressure resulted in his release two years later, he was taken back to Berlin where he was granted amnesty in 1970. He taught at the Hanover Hochschule für Musik (1970–71) and the Berlin Hochschule (from 1970). His honours include the Kiel culture prize (1970), the Federal German Republic's distinguished service cross (1988), the medal of the Hamburg Academy (1992), the medal of the Goethe Institute (1994), and membership of the Hamburg and Berlin academies. The Isang Yun Music Institute opened in P'yŏngyang, North Korea, in 1984 and the International Isang Yun Society was established in Berlin in 1996.

Yun's fundamental aim as a composer was to develop Korean music through Western means, combining East Asian performing practice with European instruments, and expressing an Asian imagination in contemporary Western musical terms. His works of 1959 and 1960 reflect the 12-note serialism associated with Darmstadt. After 1961, however, a more individual style began to develop in compositions such as Loyang (1962), Gasa (1963), Garak (1963), Om mani padme hum (1964) and Réak (1966). In these works, glissandos, pizzicatos and vibratos provide a certain exoticism, while traditional Chinese court music ornamentation emphasizes the highly differentiated character of multiple melodic lines. In works written after 1964, Yun employed numerous melodic strands; these ‘Haupttöne’, as he called them, constitute centres of gravity through which the musical form is generated. Contrasting elements, derived from the Taoist concept of unity as the balance of Yin and Yang, influence instrumentation, dynamics, harmony, intensity and other musical parameters, finally uniting in a single sound stream, as suggested by Taoist philosophy. Yun's operas draw on similar principles. The two-part work Träume, for example, is made up of a serious drama, Der Traum des Liu-Tung (1965), paired with the burlesque comedy Die Witwe des Schmetterlings (1968). Other scores mirror the mood of temple ceremonies (Bara, 1960; Konzertante Figuren, 1972; Muak, 1978; Festlicher Tanz, 1988) or employ programmes based on Asian fairy tales (Flute Concerto, 1977; Double Concerto for Oboe and Harp, 1977), antique mural paintings (Images, 1968) and Korean history (Silla, 1992). After 1980 Yun's works reflect his political beliefs and desires: Korean unification, democracy, peace and freedom; these include Exemplum in memoriam kwangju (1981), the second movement of the Violin Concerto no.2 ‘Dialog Schmetterling und Atombombe’ (1983–6), Engel in Flammen (1994) and the five symphonies (1983–7), among others.

WORKS

Operas

Der Traum des Liu-Tung (1, H. Rudelsberger and W. Bauernfeind, after Ma Chi Yuan), 1965, Berlin, 25 Sept 1965; Die Witwe des Schmetterlings (1, H. Kunz, after Ma Chi Yuan), 1968, Nuremberg, 23 Feb 1969; Geisterliebe (2, Kunz), 1970, Kiel, 20 June, 1971; Sim Tjong (prol, 2, epilogue, Kunz), 1972, Munich, 1 Aug 1972

Instrumental

Orch: Bara, small orch, 1960; Sym. Szene, 1960; Colloïdes sonores, str, 1961; Fluktuationen, 1964; Réak, 1966; Dimensionen, org, orch, 1971; Konzertante Figuren, small orch, 1972; Ov., 1973; Harmonia, 16 wind, hp, perc, 1974; Vc Conc., 1976; Conc., fl, chbr orch, 1977; Double Conc., ob, hp, chbr orch, 1977; Muak, 1978; Fanfare & Memorial, hp, orch, 1979; Conc., cl, small orch, 1981; Exemplum in memoriam Kwangju, 1981; Vn Conc. no.1, 1981; Sym. no.1, 1983; Vn Conc. no.2, 1983–6; Gong-Hu, hp, str, 1984; Sym. no.2, 1984; Sym. no.3, 1985; Impression, small orch, 1986; Mugung-Dong (Invocation), wind, perc, db, 1986; Sym. no.4 ‘Im dunkelen singen’, 1986; Duetto concertante, ob + eng hn, vc, str, 1987; Kammersinfonie no.1, 2 ob, 2 hn, str, 1987; Sym. no.5 (N. Sachs), Bar, orch, 1987; Kammersinfonie no.2 ‘Den Opfern der Freiheit’, small orch, 1989; Konturen, 1989; Conc., ob + ob d'amore, orch, 1990; Silla, 1992; Vn Conc. no.3, vn, small orch, 1992

Chbr: Musik, wind qnt, vn, vc, 1959; Str Qt no.3, 1959; Loyang, fl, ob, cl, bn, hp, 2 perc, vn, vc, 1962; Garak, fl, pf, 1963; Gasa, vn, pf, 1963; Nore, vc, pf, 1964; Images, fl, ob, vn, vc, 1968; Riul, cl, pf, 1968; Trio, vn, vc, pf, 1972–5; Trio, fl, ob, vn, 1973; Rondell, ob, cl, bn, 1975; Duo, va, pf, 1976; Pièce concertante, fl, cl, pf, perc, str qt, 1976; Octet, cl + b cl, bn, hn, str qnt, 1978; Sonata, ob + ob d'amore, hp, va/vc, 1979; Novellette, fl + a fl, vn, vc/va ad lib, hp, 1980; Concertino, accdn, str qt, 1983; Inventionen, 2 ob, 1983; Sonatina, 2 vn, 1983; Cl Qnt, 1984; Duo, vc, hp, 1984; Inventionen, 2 fl, 1984; Qnt, fl, str qt, 1986; Qt, 4 fl, 1986; Rencontre, cl, vc, hp, 1986; Tapis, str qnt/str orch, 1987; Contemplation, 2 va, 1988; Distanzen, ww qnt, str qnt, 1988; Festlicher Tanz, wind qnt, 1988; Intermezzo, vc, accdn, 1988; Pezzo fantasioso, 3 insts, 1988; Qt, fl, vn, vc, pf, 1988; Str Qt no.4, 1988; Rufe, ob, hp, 1989; Together, vn, db, 1989; Kammerkonzert no.1, large ens, 1990; Kammerkonzert no.2, large ens, 1990; Str Qt no.5, 1990; Sonata, vn, pf, 1991; Wind Qnt, 1991; Espace I, vc, pf, 1992; Qt, hn, tpt, trbn, pf, 1992; Str Qt no.6, 1992; Trio, cl, bn, hn, 1992; Espace II, ob, vc, hp, 1993; Cl Qnt no.2, 1994; Ost-West-Miniaturen, ob, vc, 1994; Qt, ob, str trio, 1994; Wind Octet, 1994

Solo: 5 Pf Pieces, 1958; Shao Yang Yin, hpd/pf, 1966; Tuyaux sonores, org, 1967; Glissées, vc, 1970; Piri, ob, 1971; 5 Etudes, fl, 1974; Frag., org, 1975; Königliches Thema, vn, 1976 [after J.S. Bach: Musikalischen Opfer]; Salomo, fl/a fl, 1978; Interludium A, pf, 1982; Monolog, b cl, 1983; Monolog, bn, 1984; Li-Na im Garten, vn, 1985; In Balance, hp, 1987; Kontraste, 1987; Sori, fl, 1988; Chinesische Bilder, rec/fl, 1993; 7 Etudes, vc, 1993

Vocal

Choral: Om mani padme hum (orat, W.D. Rogosky, after Buddha, trans. K.E. Neumann), S, Bar, chorus, orch, 1964; Ein Schmetterlingstraum (Ma Chi Yuan), mixed chorus, perc, 1968; An der Schwelle (A. Haushofer), sonnets, Bar, female vv, org, insts, 1975; Der weise Mann (cant., P. Salomo, Laotse), Bar, mixed chorus, chbr orch, 1977; Der Herr ist mein Hirte (Ps xxiii, N. Sachs), chorus, trbn, 1981; O Licht (Sachs, Buddhist prayer), chorus, vn, perc, 1981; Naui Dang, Naui Minjokiyo! [My Land, My People] (cant., after Korean poems), S, A, T, B, chorus, orch, 1987; Engel in Flammen (Phoneme), S, female vv, 5 insts, 1994; Epilog, vocalises, S, female vv, 5 insts, 1994

Solo: Namo [Prayer] (Sanskrit), 3 S, orch, 1971 [rev. S, orch, 1975]; Gagok, 1v, gui, perc, 1972; Memory, 3vv, perc, 1974; Teile dich Nacht (Sachs), S, chbr ens, 1980

Principal publisher: Bote & Bock

BIBLIOGRAPHY

KdG (W.W. Sparrer) [incl. discography, further bibliography]

H. Kunz: ‘Bewegtheit in der Unbewegtheit: die Musik des Koreaners Isang Yun’, Münchner Festspiele 1972, Bayerische Staatsoper, ed. Gesellschaft zur Förderung der Münchner Opernfestspiele und Bayerischen Staatsoper (Munich, 1972)

K.J. Müller: ‘Taoismus und Atonalität: zur Musik von Isang Yun’, Musik und Bildung, lxx (1979), 463–8

H.W. Heister and W.W. Sparrer, eds.: Der Komponist Isang Yun (Munich, 1987, enlarged 2/1997)

H. Bergmeier, ed.: Isang Yun: Festschrift (Berlin, 1992) [incl. articles on compositions, work-list, discography, bibliography]

Musiktexte, lxii–lxiii (1996) [special issue]

H. KUNZ

Yunluo.

Chinese frame of small pitched gongs suspended vertically from a wooden frame. The frame is held by a handle or rested on a stand on a table, and struck with a tipped beater. An ensemble may use one frame or two, played by one player or two.

The yunluo (lit. ‘cloud gongs’) has been considered as a portable descendant of the ancient sets of bells or lithophones (see Zhong, Qing) and the Tang dynasty fangxiang. The Yuan dynastic history refers to a similar instrument called yun'ao, with 13 gongs. Part of temple and court ensembles since the Yuan dynasty (see China, §II, 4, fig.1), it is still common in northern ritual ensembles today.

The common form of yunluo has ten gongs (though frames of 7, 9, 14 are also found), each suspended by four cords in an individual cubicle within the frame. They are usually arranged in rows of three with one central gong at the top, though in the ceremonial music of Xi'an (see also An Laixu) the gongs are in a pyramid shape of 4 3 2 1. The gongs, of equal size but different thickness, are tuned to a heptatonic scale, with a range of a 10th; they belong to the melodic section of an ensemble. The ‘improved’ chromatic yunluo sometimes featured in the modern ‘national music’ orchestra may have over 40 gongs.

A related instrument is the Korean ulla. The Tibetan mkhar-rnga, also a ceremonial instrument, seems to be borrowed from Chinese temple ensembles.

BIBLIOGRAPHY

And other resources

Yuan Jingfang: Minzu qiyue xinshang shouce [Handbook for the appreciation of Chinese instrumental music] (Beijing, 1986), 93

Liu Dongsheng and Yuan Quanyou, eds.: Zhongguo yinyue shi tujian [Pictorial guide to the history of Chinese music] (Beijing, 1988) [YYS pubn]

Liu Dongsheng, ed.: Zhongguo yueqi tujian [Pictorial guide to Chinese musical instruments] (Ji'nan, 1992), 52–5

China: Folk Instrumental Traditions, AIMP VDE 822–823 (1995)

S. Jones: Folk Music of China: Living Instrumental Traditions (Oxford, 1995, 2/1998 with CD), 181–225

STEPHEN JONES

Yuon, Paul.

See Juon, Paul.

Yupanqui, Atahualpa [Chavero, Héctor Roberto]

(b Pergamino, Buenos Aires province, 31 Jan 1908; d Nîmes, France, 23 May 1992). Argentine composer, poet, guitarist and singer. He and the Chilean folklorist Violeta Parra are considered the founders of the folk music and subsequent nueva canción (new song) movement in Latin America, rooted in the rediscovery of rural folk music. For more than 30 years Yupanqui travelled the entire Argentine landscape collecting popular songs, sayings and poetry which later entered into his own compositions. His goal was cantar artes olvidadas (to sing forgotten arts): by living a very humble life among his paisanos (poor people from the countryside), he experienced what they experienced. He wrote his first song, Caminito del Indio, in 1926, the beginning of a wealth of compositions today considered classics; many of them use the poetic forms and rhythms of rural Argentina, interpreted in definitive fashion by his distinctive guitar style. At different points in his life (1932, 1949, 1967) he was forced into exile because of his political activities: his songs were considered ‘protest songs’ well before the term was coined in the USA: rather than ‘protest’ they showed a committed perspective to the life and experiences of ordinary people. In 1950 he went to Europe and captivated Edith Piaf, who encouraged his concerts and success in Paris. In 1967, owing to problems with the Argentine military dictatorship, Yupanqui moved to Paris, which became his regular residence for part of each year and from whence he toured all of Europe until his death. In France he is much admired, with some of his poems and songs becoming part of the primary school curriculum. In Latin America he is considered one of the seminal folklorists and guitarists of the century: a whole generation has followed in his footsteps.

WRITINGS

Piedra sola: poemas del cerro (Jujuy, 1941/R)

Aires indios (Montevideo, 1947/R)

Cerro Bayo: vidas y costumbres montanesas (Buenos Aires, 1953/R)

Guitarra: poemas y cantares Argentinas (Buenos Aires, 1954/R)

El canto del viento (Buenos Aires, 1965/R)

El payador perseguido (Buenos Aires, 1972/R)

La capataza (Buenos Aires, 1992)

Recordings

30 ans de chansons, Le Chant du Monde LDX 274 750 (c1985)

Magia de Atahualpa Yupanqui, Toshiba EMI,

PABLO VILA

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