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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 |
Zhubanova, Gaziza Akhmetovna
(b Aktyubinsk region, Kazakhstan, 2 Dec 1927). Kazakh composer. She was the daughter of the composer and scholar Akhmet Zhubanov, who was the organizer and conductor of the Kazakh Instruments Orchestra. She studied composition with Gnesin and Streicher at the Gnesin Institute, Moscow, and with Shaporin at the Moscow Conservatory, from which she graduated in 1954, continuing with postgraduate work until 1957. Between 1962 and 1968 she was chairwoman of the Kazakh Composers’ Union. She taught composition at the Alma-Ata Conservatory from 1967 and was its director from 1975 to 1987. A significant part of Zhubanova’s output consists of large-scale works, in which a blurring of generic boundaries is evident: traits of oratorio appear in her operas, such as Enlik-Kebek and Dvadtsat' vosem' (‘Twenty-Eight’), as do operatic traits in oratorios, including Pesnya Tat'yanï (‘Tat'yana’s Song’). She has perpetuated the Eastern tradition of writing dedications; for example her ‘Zhiger’ Symphony is dedicated to the folk composer Dauletkerei, and the opera Kurmangazï to a famous exponent of the Kazakh instrumental genre, the küi. In both its meditative and its dynamic forms, the küi is often the basis of Zhubanova’s music; authentic küis act as cultural symbols where they appear in her compositions, but the versions she herself has written, even those that occur, paradoxically, in choral textures, still remain within the nature of the genre. WORKS (selective list)
BIBLIOGRAPHY L. Uzkikh: ‘Teoreticheskiye zametki o simfonii G. Zhubanovoi “Zhiger”’ [Theoretical notes on Zhubanova’s Symphony ‘Zhiger’], Muzïkoznaniye [Alma-Ata], viii–ix (1976), 103 Interviews, SovM (1985), no.4, pp.21–6 S. Shubina: ‘Poysk obshchechelovecheskikh tsennostei’ [A search for universal values], SovM (1989), no.1, pp.23–9 L.S. Ajazbekova: ‘Muzïkal'naya traditsiya ėtnosa i yrego rol' v formirovanii kompozitorskogo mïshleniya (na primere opernogo tvorchestva G. Zhubanovoi)’ [Ethnic musical tradition and its role in the formation of composers’ thought (based on the operatic works of Zhubanova)] (diss., All-Union Scientific Institute of History of Arts, Moscow, 1990) OL'GA MANULKINA Zhu Jian'er [Zhu Rongshi] (b Tianjin, 18 Oct 1922). Chinese composer. A self-taught musician, he began his musical career conducting an army brass band in the 1940s. In 1949 he started working in the Shanghai film industry, before studying at the Tchaikovsky Conservatory in Moscow (1955–60). He worked for the Shanghai Opera House on his return, becoming composer-in-residence of the Shanghai Symphony Orchestra in 1975. Zhu is exceptional among Chinese composers of his generation for his remarkable capacity to adapt himself to the changing political climate. After his studies in Moscow his brazenly Romantic music was criticized in China for its revisionist spirit and he stopped composing for a while. In the late 1960s he was swept along by the revolutionary ardour of the Maoists and began to compose choral cantatas on texts of Mao Zedong. By the end of the Cultural Revolution he had lost faith in his political music and in himself, but in the 1980s he embarked on an astonishing second career as an orchestral composer. His Symphony no.1, completed in 1986, is musically indebted to Britten and Shostakovich and took him nine years to write. In subsequent explorations in this genre he paid tribute to many Western models, from Bartók to Ligeti and beyond. His moving Symphony no.4 (1990) for dizi and strings, which won the Queen Marie José prize in Geneva, shows that true musical innovation in China is not the exclusive domain of younger composers. Of the nine symphonies Zhu had composed by 1998, three were completed in 1994 during a stay in the USA. WORKS (selective list)
BIBLIOGRAPHY Wang Guowei: ‘Wuxing, xunxing, gexing: zuoqujia Zhu Jian'er fangtan lu’ [Insight, wit and personality: an interview with composer Zhu], Yinyue aihaozhe (1995), no.3, pp.30–33 Sun Guozhong: Zhu Jian'er's Symphonies: Context, Style, Significance (diss., U. of California, Los Angeles, 1997) Wang Yuhe: ‘Ziwo fouding, ziwo chaoyue, bu duan qianjin: ji zuoqujia Zhu Jian'er’ [Negating himself, surpassing himself, making constant progress: composer Zhu], Renmin yinyue (1997), no.5, pp.6–10 FRANK KOUWENHOVEN Zhu Jingqing. See Sang Tong. |
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