bluuebunny/crossref_metadata_2025 huggingface dataset:
Yokoyama, Taikan [横山大観] (1868–1958)
Authors: Loh Kazuhara Eve
Published: September 2018

The name Yokoyama Taikan is synonymous with Nihonga (Japanese-style painting) and the Japan Art Institute [Nihon Bijutsuin, 日本美術院]. Taikan was among the first batch of students enrolled at the Tokyo School of Fine Arts in 1887 and was closely mentored by the school’s founder, Okakura Tenshin. When Tenshin left to establish the Japan Art Institute in 1898, Taikan followed, one member of an exodus of students from the school. His career became closely associated with the Institute, and in 1914, Taikan revitalized and re-organized the Institute, which had become inactive upon Tenshin’s passing.

Taikan is well known for his repertoire of works which include paintings of customs and manners [fûzoku-ga, 風俗画], historical figures, and landscapes. He is most well known for his paintings of Mount Fuji and the works Eight Views of the Xiao and Xiang Rivers (1912) and The Wheel of Life (1923), which are classified as Important Cultural Properties. Throughout his life, Taikan continued to exhibit at almost every government-sponsored exhibition, in addition to those held by the Japan Art Institute. In 1937, Taikan was awarded the Order of Culture recognizing his achievement as a Nihonga artist.
Yoo, Young Kuk (1916–2002)
Authors: Kyungso Min
Published: September 2018

As one of the pioneers in Korean abstract art, Yoo Young Kuk constructed a unique modernist aesthetic using simplified motifs drawn from Korean nature and abstraction. Yoo was born in Uljin, South Korea, and enrolled in the oil painting department at Tokyo Bunka Gakuin, Japan, at the age of twenty. In Japan, he absorbed European modernist styles and participated in Japanese avant-garde group shows, including Jiyu-ten [自由展] and Neo Beaux-arts Group (NBG) exhibitions, until his return to Korea in 1943. The works of his Japanese period were wide-ranging, from geometrical abstract paintings, to three-dimensional collages, to experimental photographs. In 1947, Yoo created the Neo Realism School [신사실파] with Kim Whanki [김환기] (1913–1974) and Lee Kyusang [이규상] (1918–1964), fellow members of the first generation of Korean abstractionists. From the late 1950s, he organized group exhibitions focusing on modern and contemporary art, such as the Modern Art Society [모던아트협회], the Invitational Exhibition of Contemporary Artists [현대작가초대전], and Sinsang-hoe [신상회]. Although rendered in a highly abstract way, Yoo’s work uses some natural motifs, including mountains, the sea, and the sun. The contrast between submerged dark and rising bright colors, along with the irregular wide lines contouring each shape, add dynamic tension and harmony to the pictorial plane.
Yorozu, Tetsugorô [萬 鉄五郎] (1885–1927)
Authors: Loh Kazuhara Eve
Published: September 2018

Yorozu Tetsugorô was a Yôga [Western-style] painter associated with the avant-garde movement during the Taishô period (1912–1926). His foray into art began when he started studying Ôshita Tôjirô’s A Guide to Watercolors [大下藤次郎]. Prior to enrolling at the Tokyo School of Fine Arts in Western-style painting, he attended meetings and study sessions at the Hakubakai [White Horse Society; 白馬会] (1896–1911). In 1907, he entered the Tokyo School of Fine Arts and graduated in 1912. A Nude Beauty (1912), his graduating work, garnered significant critical attention. The work is considered the pioneering work of Japanese Fauvism, and is now designated an Important Cultural Property in Japan. Yorozu’s works from this period demonstrate the influence of both Fauvism and Cubism upon his craft. His landscapes and portraits were well received at the Nikakai [Second Section Association] (1914–present), which showcased younger and more avant-garde artists’ works. Yorozu left Tokyo following complications with his health, but continued to exhibit at the Nikaten when possible. Although he was unsuccessful at his attempts to exhibit at the government-sponsored Teiten, Yorozu continued artistic explorations in Nanga [literati painting] and Nihonga [Japanese-style painting]. He passed away in 1927, and is often considered the pioneering artist of Japanese Cubism and Fauvism.
Zayyat, Elias (1935--)
Authors: Lenssen Anneka
Published: September 2018

The painter Elias Zayyat (born Damascus, Syria, 1935) has played a leading role in developing a Syrian modern art pedagogy and analysis of Syrian visual culture—particularly traditions of icon painting. He first learned painting as a teenager in the studio of Michel Kurché in Damascus, followed by fellowship study at the Academy of Fine Arts in Sofia, Bulgaria (1956–1960) and a final year at the Faculty of Fine Arts in Cairo, Egypt. Upon his return to Syria, Zayyat took an assistant teaching position at the new College of Fine Arts in Damascus, where he worked with the core faculty to overhaul and update the curriculum to an international standard of open experimentation. He became involved in the Group of Ten in 1970, which was dedicated to encouraging the development of art outside the official ministry framework in Syria. His own art is influenced by religious and popular iconography and often makes use of allegory to express the social, economic, and political plight of Syrians. Zayyat has also worked as a restorer of icons as well as completing new icon commissions. In this work, he seeks to employ a modern visual style and to develop distinctively Syrian features.
Chinese Revolutionary Ballet
Authors: Chen Xiaomei
Published: September 2018

Introduced to China in the 1920s, Western ballet evolved into a significant performance genre in modern and contemporary China. Its popularity grew in the twentieth century when political history, revolutionary wars, the impact of Western cultures, and the artistic visions of a new and modern state all played a significant role in the formation of Chinese revolutionary ballet. The revolutionary ballets took over this Western classical form and transformed its aesthetics, turning an elite spectacle into a socialist realist portrayal of everyday life and its challenges.

The introduction of Western ballet into China can be traced to 1894, when the first Sino-Japanese War broke out. At that time, Yu Rongling (裕容龄) traveled to Japan with her father, a Manchu aristocratic diplomat of the Qing Court. She learned modern Japanese dance before pursuing a formal training in Western ballet in Paris, and her teachers included Isadora Duncan. Yu’s quick rise to stardom on the Western stage brought her into the Qing Court, from 1904 to 1907, as a lady-in-waiting to entertain Empress Dowager Cixi (慈禧太后), who developed an interest in Western modern dance. Yu also initiated a combination of Western modern dance with traditional Chinese folk dance, therefore paving the way for the future development of a unique choreography which blended Western and Chinese tradition.
Adaskin, Murray (1906–2002)
Authors: Strachan Jeremy
Published: September 2018

Born in Toronto, Ontario and passing in Victoria, British Columbia, Murray Adaskin was a violinist, composer, and academic whose music was widely performed in Canada. Adaskin was violinist with the Toronto Symphony Orchestra in 1926–36, and held senior academic and administrative positions at the University of Saskatchewan (1952–73) and the Canada Council for the Arts (1966–69). His compositional style largely avoids allegiance to modern and experimental currents of the twentieth century, balancing conservatism and lyricality with atonal and folk elements. An expedition to Canada’s arctic to record Inuit singing in 1965 proved influential to Adaskin, resulting in several works including Qala and Nilaula of the North (1969, for small orchestra), Rankin Inlet (1978, for piano duo), and Eskimo Melodies (1980, for piano). Adaskin wrote that he hoped his music would "someday be recognized for its Canadian flavor," and much of his programmatic oeuvre dedicates itself to regional and national topics (Canadian Music Centre, Musicanada, 9). His chamber opera based on a Metis fur trader, Grant, Warden of the Plains (1967), was commissioned for Canada’s centenary. The Adaskins, including Murray’s brothers John (1908–1964) and Harry (1901–1994), were significant influences on the cultivation of art music in Canada during the postwar period.
African Hip-Hop
Authors: Klein Tobias Robert
Published: September 2018

There are several features that distinguish African Hip-Hop music from the genre’s American origins. Principal targets of its social critique such as disenfranchisement and social discrimination are obviously based on different grounds in Africa than in the (once) racially separated United States or in Europe. Moreover, certain strata of the continent’s educated youth, with sufficient leisure time and access to foreign media, have played an instrumental role in its rapid spread and development since the 1990s. This decisively urban connection underlines African Hip-Hop’s role as a compelling cultural icon of transnational and socio-political modernity: the adoption and adaptation of a broad conglomerate of music, dance, protest culture, idioms, and fashion trends allowed various generations of young (male) Africans to assume a simultaneously black and cosmopolitan identity.
Branca, Glenn (1948--)
Authors: Nickleson Patrick
Published: September 2018

Glenn Branca (b. Harrisburg, Pennsylvania, 1948) is an American composer noted for his works for massed electric guitars. Branca began his compositional career in New York after working in theatre in Boston. With his first two bands, The Static and Theoretical Girls, he began combining avant-garde art music with the No Wave scene of late 1970s New York. Following these early experiments, Branca started his own ensemble—which over the years included members of the rock bands Sonic Youth, Swans, and Helmet—for his albums Lesson No. 1 and The Ascension. His works are heavily influenced by the esoteric tuning theories of Hermann von Helmholtz, Dane Rudhyar, Hans Kayser, and Harry Partch. From these writers and his own early experiments, Branca developed a compositional style that utilized the clashing of high harmonics at extreme volumes to create an effect that is often described as ecstatic. While his use of the term ‘symphony’ to describe his large-scale works drew criticism earlier in his career, he has become an extremely prolific writer in that genre; his Symphony No. 15: Running Through the World Like an Open Razor (for strange orchestra) premiered at New York’s Le Poisson Rouge in November 2010.
Braxton, Anthony (1945--)
Authors: Garlitz Dustin
Published: September 2018

Anthony Braxton, born 4 June 1945 in Chicago, Illinois, is an avant-garde jazz multi-instrumentalist and composer who performs and records primarily on saxophones. An active musician since the 1960s, Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians)—a Chicago-founded cooperative of African American avant-garde jazz musicians and composers. Braxton is a Professor of Music at Wesleyan University in Middleton, Connecticut, where he has taught since 1990. He was awarded a MacArthur Foundation Fellowship in 1994 and was named a 2014 National Endowment for the Arts Jazz Master in 2013. His compositions have been performed by large-scale orchestras at Lincoln Centre in New York City, as well as other renowned venues that have often been reserved for classical music.

Braxton’s notable early albums include Three Compositions of New Jazz (1968), released on the Chicago-based Delmark record label that released the first albums of many AACM members in the mid—to late 1960s. Braxton’s double album For Alto, a solo recording, was released in 1970. Braxton has performed on many saxophones throughout his career, most notably the alto saxophone, but later soprano, sopranino, C-melody, F mezzo-soprano, baritone, bass, and contrabass saxophones. He has also performed on flute, the E-flat, B-flat, and contrabass clarinets, and the piano.
Cardoso, Lindembergue (1939–1989)
Authors: Nogueira Ilza
Published: September 2018

Lindembergue Cardoso was one of the major representatives of the Composers’ Group of Bahia, a state of Brazil. He was born in Livramento de Nossa Senhora, a small inland village in Bahia on 30 June 1939. There he started his musical life at eleven years old, playing in the philharmonic band. At age seventeen he moved to Salvador, the capital of Bahia, in order to further his studies at college level. While studying bassoon and singing at the Music School of the Federal University of Bahia, he made a living from playing saxophone in pop bands and dance hall orchestras. In 1964 he began to study composition with Ernst Widmer, and two years later he was among the founding members of the Composers’ Group of Bahia. Cardoso became professor of music at the Federal University of Bahia and the Catholic University of Salvador, where he taught composition, improvisation, and theory. Choir singing was his major musical passion. Throughout his professional life he conducted and created community choirs in churches and commercial companies, for which he wrote arrangements and original pieces. Nevertheless, Cardoso was outstanding in all instrumental media. In 1987 he was elected a member of the Brazilian Music Academy; this important national recognition of his musical talent and competence occurred one year before his premature death by heart attack on 23 May 1988.
Dallapiccola, Luigi (1904–1975)
Authors: Roderick Peter
Published: September 2018

Luigi Dallapiccola was the leading Italian composer of the middle half of the twentieth century, contributing much to the development of musical modernism in Italy as well as writing some of the most famous and widely performed music of his era. He was born in Pisino in modern-day Croatia; his Istrian background and the changing political ownership of his hometown are often cited as the root of many of his later musical and esthetic directions. However, it could be claimed that his more crucial relationship with place occurred in Florence, where he re-located in 1922 as a burgeoning compositional talent to study with Ernesto Consolo and later the modernist Vito Frazzi. He never left, finding the city of Dante, Botticelli, and Boccaccio to be a perpetual artistic muse. By the end of the 1930s, Dallapiccola had been firmly established as Italian music’s principal pioneer and was known overseas as a vocal supporter of musical internationalism through the International Society for Contemporary Music.
Davis, Miles Dewey III, (1926–1991)
Authors: Waters Keith
Published: September 2018

Jazz trumpeter, bandleader, and composer Miles Davis is one of the most significant artists in the history of jazz. He stood at the forefront of post-World War II developments in jazz, including bebop, cool jazz, hard bop, modal jazz, postbop, and jazz-rock fusion. His trumpet playing was renowned for a breadth of timbres, unique spatial arrangements, and emphatic use of the middle register. As a bandleader he hired and subsequently launched the careers of some of the most important and innovative jazz artists, including tenor saxophonists Sonny Rollins, Wayne Shorter, and John Coltrane, alto saxophonist Cannonball Adderley, pianists Herbie Hancock and Chick Corea, guitarists John McLaughlin, Mike Stern, and John Scofield, drummer Tony Williams, and bassist Marcus Miller. His 1959 recording Kind of Blue remains one of the best-selling, most critically acclaimed, and iconic jazz albums of all time.
Eno, Brian (1948--)
Authors: Gibson Stephen
Published: September 2018

Brian Eno was one of the foremost producers of electronic music in the latter half of the twentieth century. He is primarily known as the founder of ambient music, for his juxtapositions of rock with avant-garde experimentalism, and for his production of several New Wave bands in the 1970s and ‘80s.

Originally trained as an artist under Roy Ascott, Eno’s career changed abruptly when he joined the glam rock band Roxy Music in 1971 as a synthesizer player, bringing a raw experimental sound to the group. Famously describing himself as a ‘non-musician’ he broke away as a solo performer in 1973, embarking on a series of experimental electronic rock albums, culminating in Another Green World (1975), arguably the peak of his output.
Group of Composers of Bahia (GCB)
Authors: Lima Paulo Costa
Published: September 2018

The Group of Composers of Bahia is a movement of musical creation initiated within the context of the Music Seminars of the Federal University of Bahia, Brazil in 1966, around one of the most succinct and paradoxical of all manifestos: ‘We are mainly against all and every asserted principle’. This creative rebellion reverberates from the cultural context of Bahia with its traditions and vanguards, the political conjuncture, an answer to previous manifestos in Brazil – especially the Música Viva (1946), the Open Letter to Musicians and Critics (1946) and the Música Nova (1963) – and certainly Ernst Widmer’s heterodox teaching, initiated in 1963 and always concerned with the manifestation of singularity. Founding members were: Lindembergue Cardoso, Fernando Cerqueira, Milton Gomes, Nikolau Kokron, Antonio José Martins or Tomzé, Carmen Mettig, Rinaldo Rossi, Carlos Rodrigues, and Ernst Widmer himself. Walter Smetak was an honorary member, the only one who was not Widmer’s student. The movement gained national acknowledgement in the Guanabara Festivals, 1969–70, with awards given to several pieces, and in the following decades it became established in the university institution itself, a significant cultural resistance process involving hundreds of premieres, events, and publications and which has been kept active up to now, through the work of Agnaldo Ribeiro, Ilza Nogueira, Paulo Costa Lima, Wellington Gomes, Ângelo Castro, Fred Dantas, Tuzé de Abreu, Pedro Augusto Dias, Ricardo Bordini, and Pedro Kröger, among others.
Dance Marathons
Authors: Stroik Adrienne
Published: September 2018

In a modernizing society undergoing rapidly increasing mechanization, industrialization, urbanization, commercialism, and consumerism, the dance marathons of the 1920s and 1930s reflected social developments of the era. Initially, competing dancers (working-class women in particular) would dance with and exhaust multiple partners over the course of a day or two. This practice altered the purpose of social dancing from being about the pleasure of the couple to being about the achievements of the individual. These women demonstrated their physical abilities through a leisure endeavor at a time when Prohibition sought to control embodied leisure activities. Later, dance marathons involved male–female couples dancing in competition with other couples. During the Great Depression, dance marathons functioned as a source of financial and symbolic opportunity for contestants and audiences. While dance marathons rewarded endurance, suffering, and survival, they also offered opportunities for financial gain (winners received cash prizes). What’s more, the competing dancers’ struggle to continue dancing mirrored the widespread struggle to survive everyday life. Dance marathons created local and national celebrities as well, thus generating opportunities for promoters to earn profits by commercializing and theatricalizing this new leisure activity. Dance marathons thrived until the U.S. economy began to recover during and after World War II.
Knussen, Oliver (1952--)
Authors: Venn Edward
Published: September 2018

Oliver Knussen is a British composer and conductor. The son of a double bassist in the London Symphony Orchestra, Knussen came to prominence when he conducted the London Symphony Orchestra in the premiere of his (subsequently withdrawn) first symphony, at the age of fourteen. Knussen’s background, combined with the studies he undertook with John Lambert (1963–69) and Gunther Schuller (1970–73), left him with an extensive knowledge of the repertoire. His music represents a refined synthesis of a range of sources, many of which were located in the first half of the twentieth century, as in Symphony No. 2 (1971), which is set to poems by Trakl. Knussen’s early fame came at a cost; his works were often presented as fragments and oftentimes revised thereafter; other times, commissions were left unfulfilled. Nevertheless, in works such as Ophelia Dances Book 1 (1975) and the Symphony No. 3 (1979), both of which were eventually shorter than originally planned, Knussen’s growing technical facility and propensity for the detailed and complex layering of material demonstrated his increasing confidence. The metrical schemes found in the music of Carter, along with the pitch permutations inherited from Krenek and Stravinsky, play important roles in his technical armoury.
Kolisch, Rudolf (1896–1978)
Authors: Bangert Daniel
Published: September 2018

Rudolf Kolisch was an Austrian-born violinist, teacher, and conductor. As leader of the Kolisch Quartet he premiered many important chamber works by the Second Viennese School and other modernist composers of the first half of the twentieth century. He later became leader of the Pro Arte Quartet and taught at the University of Wisconsin in Madison and at the New England Conservatory in Boston.

Kolisch was born in Klamm am Semmering, Austria on 20 July 1896. His father Rudolf was a doctor and his mother Henriette a pianist. Soon after starting violin lessons, an injury to his left hand led him to hold the violin in his right hand and bow left-handed. He attended the Vienna Music Academy and the University of Vienna, but his postgraduate studies were interrupted by three years of service in the Austrian army during World War I. His teachers included the Czech violinist Otakar Ševčík, the composer Franz Schrecker, and the musicologist Guido Adler.
Krenek, Ernst (1900–1991)
Authors: Beard Phillip
Published: September 2018

Ernst Krenek, twentieth-century composer, was born in Vienna in 1900. Krenek composed over 240 works from 1917 until 1989, and his career includes works in many genres, including symphonies, operas, chamber music and music for piano. Krenek was stylistically protean, and indebted at various points to Schubert, Mahler, Bartok, and Schoenberg. In 1974, Glenn Gould called Krenek ‘the most prolific major composer of our time.’ Krenek wrote several symphonies in the 1920s intended to extend the idiom of Mahler (Krenek was briefly married to Anna Mahler, the elder composer’s daughter, in 1922). He wrote an opera titled Jonny Spielt Auf (1927) that mixes jazz motifs in modernist, atonal settings. This work was banned by the Nazis for its reflection of African-American styles. Krenek’s works of the 1920s are atonal but still melodic; he called this music of his early period "rich in dissonant polyphony." Beginning with his opera Karl V (1930) (which engages complex religious and political questions, presenting Karl, a sixteenth-century Hapsburg Emperor, as a Hamlet-like antihero), Krenek began working in music based in twelve-tone rows, derived from the theory and works of Arnold Schoenberg. Throughout the rest of his career, Krenek would return to varieties of serialization, often involving twelve-tone rows, trying to exploit "the dialectical cohabitation of predetermination and chance" inherent in serialism.
Kröpfl, Francisco (1931--)
Authors: Novoa Laura
Published: September 2018

Francisco Kröpfl is an Argentinean composer and researcher. His work as a pedagogue through the development of several generations of Latin American composers is widely recognized, alongside his intense activity in the diffusion of twentieth-century music through the Agrupación Nueva Música (New Music Group), founded by Juan Carlos Paz, of whom Kröpfl was a follower. Specializing in electroacoustic music, Kröpfl has been a pioneer in composition with electronic media. In 1958, he founded the Estudio de Fonología Musical (EFM) at the University of Buenos Aires, the first laboratory of its kind in Latin America. He subscribes to integral serialism (the employment of series for aspects other than pitch, such as duration), an orientation that he has applied in an original and personal manner in his works. Kröpfl has explored the expressive potential of the human voice both in his works for voice and as an instrumental accompaniment. In this vein, Orillas (1988) became a paradigmatic work, earning him the 1988 Magistère Prize in Bourges, France. He was president of the Argentine Federation of Electroacoustic Music and judged international competitions of electroacoustic music.
Kurtág, György (1926--)
Authors: Kinderman William
Published: September 2018

Unlike his friend György Ligeti, who emigrated from Hungary in 1956, György Kurtág remained until after the end of the Cold War in Budapest, where he taught at the Academy of Music. At the time of writing, he remains a key figure in musical modernism, whose vocal and instrumental works have received much attention, and whose opera Fin de partie, based on Samuel Beckett’s play, is eagerly awaited.

Kurtág’s style builds on Bartók and Webern and his formidable mastery of the Western musical legacy. Kurtág was born at Lugos in the Bánát region of Romania. He became a Hungarian citizen in 1948, but moved to France in 2001, assuming dual citizenship in 2002. In 1947, he married the pianist Márta Kinsker, who has contributed importantly to his artistic development. During 1957–58, he took part in courses with Messiaen and Milhaud in Paris, overcoming a creative crisis with the support of the Hungarian psychologist Marianne Stein.
Malipiero, Gian-Francesco (1882–1973)
Authors: Roderick Peter
Published: September 2018

Gian-Francesco Malipiero was an Italian composer whose life spanned an expansive period of Italian history, from the post-Risorgimento years through two disastrous wars and into the turbulent anni di piombo. Remembered as a Venetian tied to his beloved Asolo in the hills of the Veneto, Malipiero in fact spent his formative years in a variety of locations. His cosmopolitan upbringing took him to Trieste, Vienna, Paris, Berlin, and Bologna, where he absorbed a diversity of influences and studied with an array of tutors. Two principal musical spheres influenced his early life: Parisian modernism (he attended the riotous premiere of Stravinsky’s The Rite of Spring in 1913) and the secondaprattica of Claudio Monteverdi, whose renaissance works he studied and later edited in their entirety—antique music would form a thread of meaning that wove through much of his later work. Into the 1920s, Malipiero spent frequent amounts of time in Rome and was (with Casella and the poet Gabriele d’Annunzio) a founding member of the avant-garde group the CorporazionedelleNuoveMusiche. This was the era in which Italian modernism and Italian Fascism formed an uneasy partnership, and this group played its role in the bombastic nationalism of the 1920s. Yet, despite a burgeoning friendship with Mussolini, Malipiero’s career was almost derailed in 1932 when the fascist "Manifesto of Italian Musicians for the tradition of Nineteenth-Century Romantic Art" criticised his music heavily, and in 1934 his opera Il FigliodellaCambiata was banned by the authorities due to its subversive libretto by Pirandello. From the war years onwards, Malipiero retreated from public life and spent longer periods in Asolo, with his influence on Italian musical life felt most keenly in his tutelage of a young Luigi Nono and Bruno Maderna.
Dartington Hall (1925--)
Authors: Nicholas Larraine
Published: September 2018

Dartington Hall (near Totnes, Devon, England) is a country estate centered on a medieval courtyard and Great Hall. In 1925, the newly married Dorothy and Leonard Elmhirst bought and renovated the crumbling buildings with Dorothy’s family fortune. Plans for the Elmhirsts’ ideal community were based upon early twentieth-century progressive notions of education, technology, agriculture, and social justice. Community access to the arts, including music, dance, and theater, was an important principle from the beginning.

The years up to World War II marked the high point of artistic modernism at Dartington. Commissioned houses, including High Cross House, were built in the international style of modernist architecture. There were studios for painters (Mark Tobey, Cecil Collins, Hein Heckroth), pottery (Bernard Leach), theater (Michael Chekhov), and dance (Kurt Jooss, Sigurd Leeder). The estate was a haven for refugee artists from Europe including Chekhov, Heckroth, Jooss, Sigurd Leeder, and Rudolf Laban.

After the war, Dartington became both a regional arts venue and a site for developments in education. With the conviction that potential teachers should also be practising artists, Dartington College of Arts provided teacher training courses in arts subjects, later setting up degree courses. Dartington College of Arts was incorporated into University College Falmouth in 2010.
Orrego-Salas, Juan (1919--)
Authors: Quevedo Marysol
Published: September 2018

Juan Orrego-Salas was a Chilean composer and musicologist. Born in Santiago, Chile on January 1919, he began his music education in Santiago, while also pursuing a career in architecture, obtaining a diploma in architecture in 1943. He studied composition with Humberto Allende and Domingo Santa Cruz, while also teaching music courses at the Universidad de Chile and Universidad Católica de Chile. By 1949 he dedicated himself fully to music composition, abandoning his career as an architect. Under a grant from the Rockefeller Foundation and a fellowship from the Guggenheim Foundation, he studied music composition with Aaron Copland in Tanglewood and with Randall Thompson at the University of Virginia and University of Princeton. Orrego-Salas also studied musicology with Paul Henry Lang and Georg Herzog at Columbia University. He returned to Chile in 1947 joining the faculty of the Universidad de Chile as full professor, and as choral conductor at the Universidad Católica de Chile. During 1949 he traveled through Europe, conducting the world premiere of his Canciones castellanas, Op. 20, selected for the XXIII Festival of the International Society of Contemporary Music (ISCM) in Palermo and Taormina, Sicily. Upon returning to Chile he assumed the editorship of the Revista Musical Chilena. These years were followed by a prolific compositional career, completing commissions for new works for a variety of ensembles including orchestras and chamber groups.
de Mille, Agnes (1905–1993)
Authors: Gennaro Liza
Published: September 2018

Agnes de Mille performed as a self-producing female dance soloist; she choreographed for Ballets Russes and Ballet Theatre (now the AmericanBallet Theatre) and transformed the function of dance in the American musical. Her Americana ballet Rodeo (1942) presents an iconic individualistic American character in her misfit cowgirl; Three Virgins and a Devil (1941) exposes the temptations of lust, greed, and piety rendered in comic dance/pantomime; and Fall River Legend (1948) examines the psychological torment of accused murderess Lizzie Borden. These ballets are important contributions to the canon of American ballet; however, it is in de Mille’s musical theater dances that her modernist methodologies served to transform a genre. Developing her choreographic art in the early days of American modern dance, de Mille was a practitioner of the methods and tenets of the burgeoning form. Making the American musical a medium for modern dance expression, she ushered in an exceptional period of choreography during the prolific era of the ‘‘Golden Age’’ (1943–1964). De Mille’s influence is still apparent in twenty-first-century Broadway.
Patriquin, Donald (1938--)
Authors: Strachan Jeremy
Published: September 2018

Donald Patriquin is a composer known chiefly for contributing to choral repertoire in Canada. Born in Sherbrooke, Quebec, he studied composition as a teenager with Jean Papineau-Couture, and later in Montreal with Istvan Anhalt, as well as in Toronto with John Weinzweig. Patriquin’s prolific catalogue of work includes expanded tonal settings of texts by Shakespeare (A Lover and His Lass, 1968), Henry David Thoreau (Reflections on Walden Pond for choir, violin, cello, and piano, 2000), and William Blake (Songs of Innocence for choirs, harp, and flute, 1984). His main compositional activities have focused on arranging folk songs from around the world, especially various regions of Canada. Representative of these are Six Songs of Early Canada (1980) and Six Noëls Anciens (1982), which are frequently performed. Patriquin’s many compositions for children’s choirs make use of non-lexical sounds in imitating the soundscape, drawing on the timbral, percussive, and expressive possibilities of voices. Of his non-vocal works, Hangman’s Reel for fiddle and string orchestra (1978), commissioned by the Grand Ballets Canadiens, remains one of the most significant, assembling jigs, reels, airs, and other vernacular dances into a thirty-minute suite. Issues of cultural awareness, humanitarianism, and global peace provide thematic foundations for Patriquin’s music around 1985.
Perle, George (1915–2009)
Authors: Headlam David
Published: September 2018

George Perle (1915–2009) was an American composer and scholar, awarded a MacArthur Foundation Fellowship, a Pulitzer Prize (1986) for his Wind Quintet no. 4, and the Otto Kinkeldey Award (AMS) for his books on the operas of Alban Berg. Born in Bayonne, NJ, Perle discovered Alban Berg’s Lyric Suite when studying with Ernst Krenek in 1937 and went on to develop a compositional system called twelve-tone tonality from the implications of Berg’s score. Collaborative work with Paul Lansky expanded on the compositional possibilities of the system (1969) and led eventually to Perle’s mature style, exemplified by the two Piano Concerti (1990, 1992) and Transcendental Modulations for Orchestra (1993). Perle’s dual role as composer and scholar is reflected in his seventy-five compositions, ranging from solo to orchestral pieces, and seven books and numerous articles on analysis and theory issues related mostly to twentieth-century music.
Tello, Aurelio (1951--)
Authors: Junchaya Rafael Leonardo
Published: September 2018

Aurelio Tello is a Peruvian composer, conductor, and musicologist. Since 1982, he has lived in Mexico. Tello has been awarded several prizes and distinctions, not only as a composer but also as a researcher. His main research subject is Latin American colonial music, particularly from Mexico and Peru; it also includes twentieth-century music. He has published analyses, critiques, and historical accounts of composition and composers from Mexico and Peru.

Aurelio Tello was born in Cerro de Pasco, in the central highlands. He studied choral conducting and music education at the National Conservatoire of Peru. He also studied composition with Enrique Iturriaga (1918--), Edgar Valcárcel (1932–2010), and Celso Garrido-Lecca (1926--). Tello began his career in 1973 as a choral conductor, conducting several ensembles in Peru and Mexico. In 1980, he recorded twentieth-century Peruvian choral and vocal compositions with the National Conservatoire’s Choir. Since 1986 he has been guest conductor of the Mexican Coro de Madrigalistas de Bellas Artes. In 1989, he founded the Capilla Virreinal de la Nueva España, a vocal and instrumental ensemble devoted to Latin American colonial music, which has participated in several festivals and concerts and has made some recordings.
Tippett, Sir Michael (1905–1998)
Authors: Venn Edward
Published: September 2018

Michael Tippett was one of the leading British composers of the twentieth century. His music and his writings are characterized by an enduring commitment to humanist values and traditions, mediated by an increasingly ironic and critically self-aware modern subjectivity.

Born into a relatively affluent middle-class family from rural Suffolk, Tippett’s environment at home and at boarding school cultivated his life-long intellectual curiosity and independence, but provided him with a patchy musical education. Adamant that he would be a composer nevertheless, he enrolled twice at the Royal College of Music where he painstakingly sought to develop both compositional technique and a heightened awareness of the Western classical musical tradition.

The experience of the global economic depression in the first half of the 1930s, heightened by working with unemployed musicians and providing musical opportunities at North Yorkshire work camps, politicized Tippett’s nascent left-wing sensibilities, though a brief spell in the British Communist party ended due to the incompatibility of his Trotskyist orientation with prevailing Stalinist thought. A more lasting commitment came through his pacifism, for which he was jailed in 1943; having joined the Peace Pledge Union in 1940, he went on to serve on its council in the 1950s and was Honorary President from 1958 until his death.
Wood, Hugh (1932--)
Authors: Edward Venn
Published: September 2018

Hugh Wood is one of the leading British composers of his generation. In his contributions to all of the major musical genres (with the sole exception of opera), he has focused on the renewal rather than the rejection of tradition. He has taught at Morley College and the Royal Academy of Music, and at Glasgow and Liverpool Universities, and he joined the Music faculty of Cambridge University in 1976. A year later, he was appointed lecturer in Music and Fellow of Churchill College; he retired in 1999.

Hugh Wood was born in 1932 into a music-loving family and, though he ultimately studied Modern History at Oxford, music remained central to his extra-curricular activities both at school and at university. Formal music study commenced in 1954 with lessons from William Lloyd Webber; later, Wood studied with Iain Hamilton, Anthony Milner, and Mátyás Seiber. The Bryanston (later Dartington) Summer School provided numerous opportunities to engage with early- and mid-twentieth century music: above all, the experience of hearing the music of the Second Viennese School proved pivotal. Wood first responded to this encounter in chamber works written in the late 1950s and early 1960s, and labelled his Variations for viola and piano (1957–58) his Op. 1 in recognition that he had discovered his own voice. The presence in this work of a quotation from Beethoven is significant, revealing the extent to which his engagement with twentieth-century modernism was informed by broader musical traditions.
Adams, Henry (1838–1918)
Authors: Yoshikuni Hiroki
Published: September 2018

Although he was known as a historian during his lifetime, the work of Henry Adams—like that of Henry James—is often seen as an American precursor to Modernism. This is mainly due to his autobiography, The Education of Henry Adams. His autobiography not only registers an aristocratic intellectual’s despair at the loss of ideals in the transformation of American society but, written in the third person, it also secures a distance from that despair in order to observe it self-consciously and ironically. After his death, Adams’ literary significance was appreciated by new critics, such as Yvor Winters and R. P. Blackmur.

Adams was a great-grandson of the second president of the USA, John Adams, and a grandson of the sixth president, John Quincy Adams. He was educated at Harvard University and later in Germany. During the American Civil War he served in London as a private secretary for his father. After teaching history at Harvard and editing the North American Review, he settled in Washington DC, researching American history (which led to The Life of Albert Gallatin and History of the United States of America), and making his house a salon of politicians and intellectuals. Works created during this period include two novels, Democracy and Esther, both of which portray the vicissitudes of ideals in contemporary America through the heroines’ adventures.
Vatsyayan, Sachchidanananda (1911–1987)
Authors: Govind Nikhil
Published: September 2018

Sachchidanananda Vatsyayan (1911–1987), better known as Agyeya, was one of the key figures of Hindi modernism. Though known primarily as a poet, he wrote two of the most important Hindi novels, Shekhar: Ek Jeevani [Shekhar: A Life] (Volume 1 in 1941 and Volume 2 in 1944), and Nadi ke Dveep [Islands in the Stream] (1951). His editorship of Tar Saptak (named after a musical term for a higher octave) helped bring many new poets into prominence, most famously Muktibodh (1917–1964), who, in the view of some Hindi literary critics, remains the chief ideological and semiotic counter to Agyeya’s sensibility.

It is tempting to think of Agyeya’s ceaseless experimentation through his life as owing something to his eventful youth. He was imprisoned by the British on charges of revolutionary activity, including bomb-making. His years in prison and under house arrest, which comprised a large part of his twenties, helped him refine his sense of self and politics. Agyeya is often seen as a proponent of an intense, confessional, emotive, and cerebral individualism within the Hindi canon.
Fournier, Henri Alban (1886–1914)
Authors: Sidhu Maya
Published: September 2018

Henri Alban Fournier, writing under the pseudonym Alain-Fournier, was a French novelist most famous for writing the literary classic Le Grand Meaulnes (1913). The title often appears in the original French but has also been translated as The Lost Estate, The Wanderer, and The Lost Domain. Fournier’s promising literary career was cut short by his untimely death in 1914 while fighting for France in Meuse during World War I. Le Grand Meaulnes features a teenage male protagonist struggling with the transition from childhood to adolescence and shares many similarities with events from Fournier’s life. Le Grand Meaulnes is celebrated for its innovation in literary style and narrative. The novel demonstrates characteristics of the symbolist movement in literature as a lyrical study of the French countryside. In addition, Fournier recounts his fantastic adventure story as a medieval allegory. Fournier is also known for his poetry and his literary reviews. In 1924, French writer Jacques Rivière published a collection of these works under the title Miracles. His extensive correspondence with Rivière has become part of French literary criticism.
Allen, Barney (1902–1967)
Authors: Betts G.
Published: September 2018

Barney Allen was the pseudonym of Solomon Allen, a Jewish-Canadian novelist from Toronto, Ontario. His writing combined influences from James Joyce and Sigmund Freud. His 1929 novel They Have Bodies was especially influenced by avant-garde experimentation. The book provoked a sensation in Toronto for its unflattering and hyper-sexualized depiction of the local moneyed class, and the local constabulary seized copies in the city. The book effectively disappeared from public attention. Subsequent titles by Allen, as a result, backed away from such literary radicalism in favour of increasingly populist prose and medical discourse. Allen remained deeply interested in both Freudian psychoanalysis, with its sexual preoccupation, and the physical body. His five novels — which all feature a gynaecologist as protagonist or main character — each advance a central thesis about the importance of directly and forthrightly acknowledging the naturalness of both sexual desires and the physical body. Towards this end, he also organized a ‘couples retreat’ north of Toronto to study psychoanalysis together in a sex-positive environment.
Alterman, Nathan (1910–1970)
Authors: Codish Moria
Published: September 2018

Born in Warsaw, Poland, Nathan Alterman emigrated to Palestine in 1925 at the age of fifteen. One of the most prominent Hebrew poets of his time, he was among those who helped spawn modernist trends in Hebrew poetry. In addition to his work as a poet, he was an influential publicist held as a kind of cultural hero representing the Zionist ethos. His poetry is characterized by symbolism and rich figurative language. Like other modernist poets, he was interested in urbanity and its rhetoric. This led to frequent comparisons with Baudelaire. However, Alterman’s focus on the urban space is accompanied dialectically by his desire for "nature" and "the countryside road." Scholars characterize his poetry as enigmatic, and as requiring decoding. The wide spectrum of Alterman’s poetics—from popular songs with sometimes publicist nature to lyrical poems—may have helped to establish his status as a leading figure in Israeli culture.
Andreev, Leonid Nikolaevich (1871–1919)
Authors: Hinds-Bond Jessica
Published: September 2018

Leonid Nikolaevich Andreev was a prolific Russian author, widely popular in the first decade of the 20th century, whose fictional and dramatic works spanned the divide between realism and symbolism.

Andreev was born in Orel, a provincial capital south of Moscow, and died in Finland. He studied law in St Petersburg and Moscow. After a brief and unsuccessful legal career, he worked as a journalist, prose writer and dramatist, quickly making a name for himself as a successful short-story writer once his stories began to appear in newspapers. His first published volume of stories (1901) was an immediate success, with its first two printings selling out in two weeks. He turned to playwriting five years later, although he continued to write short stories until late in life. Andreev’s creative work sparked much debate from both realist and symbolist writers. He developed a close friendship with realist writer Maxim Gorky, although the two grew to disagree on questions of literary style and politics, as Andreev’s work strayed from its early realist tendencies and revolutionary ideals. Gorky mentored Andreev in his early career and spearheaded a collection of literary reminiscences by famous writers upon the latter’s death. Andreev’s popularity waned, along with his health, during the final decade of his life.
Apocalypse Poets
Authors: Beauchesne Nicholas
Published: September 2018

The Apocalypse Poets (or Apocalyptics) were a network of British writers centred around the largely forgotten Apocalypse poetry movement. Apocalypse poetry, inspired by the notion of Surrealism stripped of its automatism, was a reaction to the poetic dominance of the Auden Generation during the 1930s. Aesthetically, Apocalypticism dealt in nightmarish images, engaged with mythology, and meditated on war. Politically, it tended towards anarchism.

Poets Henry Treece (1912–1966) and J. F. Hendry (1912–1986) became acquainted with one another while contributing to the literary magazine Seven. They developed an Apocalyptic manifesto in 1938 in collaboration with Dorian Cooke (1916–2005). The following year, Treece and Hendry edited an anthology of poetry entitled The New Apocalypse (1939). They later anthologised two more collections of Apocalyptic poetry: The White Horseman (1941) and The Crown and the Sickle (1943). By the time The Crown and the Sickle saw publication, the Apocalypse movement had lost much of its momentum and, along with another short-lived movement, Personalism, was subsumed under an emerging New Romanticism.