bluuebunny/crossref_metadata_2025_split huggingface dataset:
Kayyali, Louay (1934–1978)
Authors: Lenssen Anneka 
Published: September 2018

Louay Kayyali was one of the leading painters of the emergent Syrian art scene during the 1960s and 1970s. His most admired works depict individual laborers as "types," illustrating the tragic humanism of everyday life. Kayyali began his career in Aleppo, exhibiting academic portraits and still life paintings locally. In 1956, he won a fellowship to study at the Academy of Fine Arts in Rome, where he became interested in fresco and other traditional techniques. After completing his studies in 1961, Kayyali settled in Damascus and joined the faculty at the new College of Fine Arts. For a period of five years, he exhibited his portrait types, flowers, and architectural landscapes—rendered in simple lines and color stains on pressed chipboard—regularly, to acclaim from collectors. From 1965 onward, Kayyali began to struggle with mental illness. In this later period, he turned to more overtly politicized themes, including a series of dramatic charcoal drawings of citizens under siege, which was sponsored by the Syrian government as a touring exhibition in support of the Arab liberation cause. He also continued to produce paintings of fishermen, street sellers, and mothers as representations of the social themes then preoccupying him.
Krull, Germaine (1897–1985)
Authors: Long Jonathan 
Published: September 2018

Germaine Krull was one of the major photographers of the interwar European avant-garde, producing work that was highly diverse in both subject matter and technique. Her most characteristic early images include nudes exploring lesbian sexuality and street scenes of Berlin. She is best known for Métal (1928), a portfolio that gathers together sixty-four industrial photographs taken in Holland, France, and Germany. Métal embodies a new kind of industrial aesthetic, in which concentration on decontextualized details and fragments rather than the entirety of machines and buildings seeks to highlight the beauty of modern industrial forms.
Krull lived in Paris from 1926 to 1935, and played a major role in importing the avant-garde photographic techniques of Neues Sehen (New Vision) into France from Central Europe. Her French period is marked by studio work, pioneering photo-reportage, and street photography, the latter of which is partially collected in the book 100 x Paris (1929), in which conventional images of the metropolis are interspersed with street scenes employing avant-garde techniques. During World War II, Krull worked as coordinator of the Free French photographic service in Africa. After 1945, she lived largely in Thailand and India, and her later photographs document the lives of Tibetans in India.
Ku Ponung (구본웅, 具本雄) (1906–1953)
Authors: Lee Jungsil Jenny 
Published: September 2018

Ku Ponung was a modern artist and critic active during the Japanese colonial period and the Korean War. Due to his spine curvature and eccentric personality, Ku was likened to the French painter Henri de Toulouse-Lautrec (1864–1901) and called "The Seoul Lautrec." Ku attended the Taiheiyō School of Fine Arts in Tokyo, where he was introduced to Fauvism, Expressionism, Surrealism, Cubism, and other modern Western art styles. He later pioneered the acceptance of these styles in Korea.
Many of Ku’s oil paintings were lost during the Korean War, but several portraits and still lifes survive. Ku worked closely with contemporaneous writers, and his friendship with the modern poet Yi Sang is well known. Ku also edited and published the literary magazine Ch’ŏngsaekchi. After the liberation of Korea from Japan in 1945, Ku worked to revitalize Korean art by experimenting with various formats and media, including traditional ink painting and newspaper illustration. His attempt at artistic revival continued, even during the turmoil of the Korean War.
Lim, Cheng Hoe (1912–1979)
Authors: Galloway Charlotte 
Published: September 2018

Born in China, Lim Cheng Hoe moved to Singapore with his parents in 1919. Acknowledged as a notable early Singaporean artist, he showed artistic talent at an early age. In contrast to many of his contemporaries, he embraced Western art aesthetics, and was influenced by his early art teacher, the realist painter Richard Walker. Lim was greatly interested in painterly styles, and always strived to improve his own techniques. He is renowned for his excellent drawing skills, works in pastel, and watercolors. In 1969 he became a founding member of the Singapore Watercolour Society. His art practice was a passionate pastime while his work and family took precedence.
Lim’s best-known paintings are of river scenes; he and a group of his contemporaries became known as the Singapore River Artists. Lim is also known as a portraitist. His artworks attract a strong following among collectors and are skillful renditions of Singaporean life, depicting its people going about their daily routines and the natural world around them, and straddling the transition from a traditional society to a modern one. Lim’s works are held in a number of institutional collections including the National Heritage Board Singapore and National University of Singapore Museum.
Mughani, Kamal al (1943–2009)
Authors: Sherwell Tina 
Published: September 2018

Kamal al Mughani was born 1943 in Gaza, and studied Fine Arts at the Academy of Fine Arts in Alexandria. Soon after his return to Palestine, the 1967 war broke out, following which he moved to the city of Ramallah in the West Bank, where he taught in United Nations Relief and Works Agency (UNRWA) schools. He was imprisoned by the occupation forces between 1969–1972. In 1985 he established The Fine Arts School at Al-Najah University in Nablus, and was a member of the Palestinian Association of Artists.
Al Mughani was known for his works that addressed the resistance struggle, using motifs such as the Palestinian map, the rifle, the dove of peace, the kufiyyeh, and the fedayeen (freedom fighters). Many of his works were printed as posters. In the 1980s, his paintings moved to explore Palestinian folklore. He created numerous works that included popular symbols, such as Palestinian traditional dress and handicrafts, where the Palestinian peasant woman was a recurring theme in his work, symbolizing steadfastness on the land and the keeper of traditions.
Al Mughani has received a number of awards during his lifetime, including the Soviet Artists Union Award in 1979; the Dundee Municipality Medal, Scotland, in 1981; and the Second Golden Sail Award, Kuwait, in 1989.
Warashoon, Decha (1945--)
Authors: Galloway Charlotte 
Published: September 2018

Decha Warashoon was a member of the vanguard of Thai artists who brought Southeast Asian art to international attention. After graduating from the Fine Arts program of Silpakorn University in 1969, Warashoon established himself as an artist of note, winning multiple national Thai art competitions. His time at Silpakorn coincided with an overhaul of teaching methods in the arts that saw contemporary Western modernist styles actively incorporated into the curriculum. He experimented with abstraction and Minimalism, incorporating painting, printmaking, watercolors, and mixed media.
Warashoon continues to develop his artistic style, incorporating geometric and sinuous forms created in mixed media. His works are often inspired by emotional responses to life experiences, and bring together texture and muted colors. A retrospective of his works was held at the National Gallery in Bangkok in 2003, and in 2007 he was named National Artist of Thailand in the Graphic Arts, and has since taken up the post of professor at King Mongkut’s Institute of Technology at Lat Krabang.
Zaini, Jassim (1943–2012)
Authors: Touati Samia 
Published: September 2018

Jassim Mohamed Zaini was a leading figure in the development of the fledgling Qatari art scene in the 1960s. Zaini was one of the few artists who witnessed the significant social and economic changes that Qatar underwent during the 1950s and 1960s, especially with the discovery of oil. To document his environment, Zaini resorted to realism to create works that depicted local and Gulf scenes, events and customs. However, Zaini did not confine his creativity to a given style or technique. He engaged with various styles including abstraction, Expressionism, Cubism, Impressionism, and Surrealism to highlight aspects of his subjects and the themes of identity and cultural heritage. Zaini exhibited widely, both locally and in the Middle East and North Africa. He was awarded a certificate of honor in the Arab Artists exhibitions in 1985, the Museum Award for GCC countries Riyadh in 2007, and the Qatar Gratitude Reward in Science, Art and Literacy, Doha. Following his death, a retrospective exhibit titled Jassim Zaini was held at the main activities hall at the Cultural Tower under the auspices and presence of His Excellency Dr Hamad Bin Abdulaziz Al Kuwari, Minister of Culture, Arts and Heritage, on 24 December 2013.
Afrocubanismo in Music
Authors: Rey Mario 
Published: September 2018

Afrocubanismo was an esthetic trend in art music during the first half of the twentieth century focusing on African cultural features in Cuban society. The movement gained expression in the works of a seminal group of composers whose artistic production reflected neo-nationalistic musical concerns, thus emphasizing the manipulation of timbral and rhythmic elements in a modern harmonic vocabulary. These musical experiments marked a significant juncture in the evolution of Cuban concert music and forged an inclusive representation of race in the reformation of national cultural identity.
Responding to a period of political turbulence and financial decline, a group of progressive intellectuals, journalists, and members of the artistic community committed to cultural reconstruction established the Grupo Minorista in Havana in 1923. Well aware of Cuba’s ambivalent attitudes towards its African heritage, the circle sought to explore the roots of Cubanness in order to forge a more inclusive, decolonized revision of Cuban cultural history.
Cardew, Cornelius (1936–1981)
Authors: Venn Edward 
Published: September 2018

Cornelius Cardew was a leading figure in British experimental music in the 1960s and a committed political activist in the 1970s. His earlier music, particularly that inspired by Cage, demonstrates on going concerns with the relationship between composer and performer, not least in the emphasis placed on improvisation. His later politically motivated music abandoned avant-garde and experimental principles in favor of a direct, tonal idiom. He died after a hit-and-run incident in East London.
Cardew’s musical education was conventional; first as a boy chorister at Canterbury Cathedral (1943–50) and then at the Royal Academy of Music (1953–57). He had a philosophical nature too, apparent in his enduring fascination with Wittgenstein’s Tractutus. Cardew familiarized himself early on with early-twentieth-century serialism and increasingly with the continental avant-garde: at nineteen, he gave (together with fellow student Richard Rodney Bennet) the London premiere of Pierre Boulez’s Structures I and taught himself guitar in order to participate in the 1957 London premiere of LeMarteau Sans Maître. Many of Cardew’s compositions of this era reflected such interests, as in his Piano Sonata No. 2 (1956).
Dench, Christopher (1953--)
Authors: Toop Richard 
Published: September 2018

Christopher Dench is one of a group of British composers who emerged in the early 1980s associated with the notion of New Complexity (other composers included Richard Barrett and James Dillon); the term was also applied to slightly older composers, such as Brian Ferneyhough and Michael Finnissy. Typical of their works were extremely intricate rhythms, often exquisite and highly personal calligraphy, use of microtones, and a generally radical approach to instrumental writing that often placed huge demands on performers.
Born in London, Dench is self-taught but, like many of his contemporaries, gained much from his contact with Michael Finnissy, the composer and pianist. In June of 1987, Dench emigrated first to Tuscany and, later, to Berlin on New Year’s Day, 1989, to take up a DAAD residency. Dench ultimately relocated to Australia on Christmas Day of the same year and became an Australian citizen in 1992.
Dance and Writing
Authors: Franko Mark 
Published: September 2018

The centrality of dance to aesthetic modernism led to dance becoming a major preoccupation of modernist literature and a model for the generation of the literary text. Concurrently, given the emergence of dance modernism as a performance field, other forms of writing—critical, philosophical, anthropological, and psychoanalytic—emerged to explore the phenomenon of dance as an important part of the contemporary world of art and culture. Dance artists themselves have produced a significant amount of writing and theorization.
The early twentieth century generated a wealth of textual reflections on dance across a range of disciplines. Recognizing the fundamentally interdisciplinary characteristic of dance as reflected in the textual and visual documents of modernism, it is evident that dance is present in texts not appearing to address it directly, such as Marcel Mauss’s "The Notion of Body Techniques" (1935). In other words, to write of dance is not always to write about dance—dance movement, for instance, played an important role in modernist visual practices of abstraction. As a result, dance writing is not a distinct genre.
Mather, Bruce (1939--)
Authors: Bazin Paul 
Published: September 2018

Bruce Mather is a Canadian composer. He first studied music at the Royal Conservatory of Music in Toronto (1952–57) and at the University of Toronto (1957–59), where he obtained a music degree in 1959, studying piano with Earle Moss, Alexander Uninsky, and Alberto Guerrero, and composition with Godfrey Ridout, Oskar Morawetz, and John Weinzweig.
Early in his career, Mather attended the summer festival of the Aspen Music School (1957–58). The festival became the site of a significant encounter for Mather; it was at the festival that he was introduced to Darius Milhaud, whose composition class he later registered in while studying in Paris. In addition to Milhaud’s class, Mather also enrolled in Olivier Messiaen’s class on music analysis. In 1960, Mather attended the Darmstadt summer courses where he met Pierre Boulez, whose orchestra-conducting classes he attended in Bâle (Switzerland) in 1969. Mather continued to alternate his study periods between France and America, until obtaining a masters degree from Stanford, California, in 1962 and a doctorate from the University of Toronto in 1967.
In 1974, the composer’s encounter with the franco-Russian composer Ivan Wyschnegradsky (1893–1979) marked a turning point in his career. A prominent pianist, Mather recorded the composer’s piano music with his wife, pianist Pierrette Lepage (b. 1939) and adopted Wyschnegradsky’s microtonal system of composition, which continues to mark his personal style.
Maw, (John) Nicholas (1935–2009)
Authors: Venn Edward 
Published: September 2018

Nicholas Maw was one of the leading British composers of his generation. His music balances modernist sensibilities with musical and expressive impulses derived from Late Romanticism, often on a large scale and with reference to traditional genres. In later life he relocated to the United States of America, where he died from heart failure.
Though born into a musical family in Grantham, Lincolnshire, Maw only began composing at the instigation of a school music teacher at the age of 15. Later he studied at the Royal Academy of Music (1955–58) with Lennox Berkeley. Both the Academy and London in general provided an environment in which he could encounter early-twentieth-century modernist music for the first time (in particular that of the Second Viennese School) and more contemporary idioms. Supported by a French Government scholarship, Maw continued his education in France with Nadia Boulanger (who helped him secure the Lili Boulanger Prize, which allowed him to remain in Paris for a further six months) and Max Deutsch. Though Maw’s earliest works, such as the Eight Chinese Lyrics (1956) and Nocturne (1957–58), already demonstrated familiarity with the music of the Second Viennese School (as well as that of Britten), the compositions that Maw produced on his return to England, such as the Six Chinese Songs (1959), revealed a Boulezian influence.
Mitterer, Wolfgang (1958--)
Authors: Cassidy Aaron 
Published: September 2018

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function.
Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.
New Musical Resources
Authors: Nickleson Patrick 
Published: September 2018

New Musical Resources is a book written by Henry Cowell in 1919, unpublished until 1930. In it, Cowell proposes a theory of musical relativity in which pitch, rhythm, and the progress of music history are grounded through reference to the structure of the overtone series: the "living essence from which musicality springs." Ethnomusicologist Charles Seeger encouraged a young Cowell to rationalize the compositional tools he had been developing, which ultimately led to the creation of this book.
In the book’s first section, Cowell presents the development of Western harmony as progressive upward movement through the overtone series. He suggests the continuation of this same logic into chords based on the ratios beyond the minor seconds that he was using to create "cluster chords." His rhythm chapter proposes the whole-note as the basic unit of time, encouraging division beyond the standard multiples of two into the next numbers in the harmonic series—creating third-notes, fifth notes, etc. This method enables the composition of rhythmic patterns that rely on the same ratios as are present between various melodic and harmonic intervals. Many American composers—notably Conlon Nancarrow—have utilized Cowell’s concepts, which predate the development of similar ideas in integral serialism by several decades.
Papineau-Couture, Jean (1916–2000)
Authors: Bazin Paul 
Published: September 2018

Grandson to Quebec’s art music scene pioneer Guillaume Couture (1851–1915), composer Jean Papineau-Couture (1916–2000) played a major role in the development of the province’s musical life throughout the century. A composer, pianist, pedagogue, and administrator, Papineau-Couture’s contributions range from his involvement with the foundation of the Canadian League of composers (Toronto, 1951) to the fulfilment of his academic function as Dean of the music faculty at Université de Montreal (1968–1973). He also participated in the creation of both the Society for Canadian Music (Montreal, 1954) and the Montreal bureau of the Canadian Music Centre (1973)—the former being a music society dedicated to the performance of Canadian music, the latter one of today’s most active institutions in the dissemination of Canadian art music—and acted as an administrator of the Société de musique contemporaine du Quebec, founded in 1966 and for which he served as president starting that very first year up to 1972. His teaching of music is stringed across these many accomplishments.
The catalogue of Jean Papineau-Couture includes many stylistically diverse works. His music evolved throughout his life, moving from a form of neoclassicism most probably influenced by the composer’s many encounters with Igor Stravinsky—some by way of Nadia Boulanger, whom he studied with, along with Quincy Porter, at the Longy School of Music in Cambridge, Massachusetts—to an atonal idiom. Papineau-Couture composed many concertante-style works, as demonstrated in his Clair-obscure (1986), a double concerto for contrabassoon, double bass, and orchestra. The composer also wrote many pieces of chamber music, most often for soloist and piano accompaniment (Caprices, 1962; Discussion animée, 1997), as well as a substantial number of orchestral works.
Scelsi, Giacinto (1905–1988)
Authors: Drott Eric 
Published: September 2018

Giacinto Scelsi was an Italian avant-garde composer best known for the single-note style he developed during the 1950s and 1960s, which minimizes harmonic and melodic activity in order to allow microtonal fluctuations and subtle transformations in timbre, intonation, dynamics, and articulation to come to the fore. Although his works were little known and infrequently performed during his lifetime, they gained considerable acclaim in the 1980s. Scelsi’s œuvre has proven extremely influential, and is generally regarded as a precursor to the spectral movement.
Many of the elements of Scelsi’s biography remain uncertain, due in part to the composer’s penchant for self-mythologization. His family belonged to the southern Italian nobility, and it was in their ancestral chateau in Irpinie that Scelsi’s interest in music first manifested itself. He had little in the way of formal musical training, apart from receiving private piano lessons in his youth. Scelsi spent much of the 1920s and 1930s abroad, principally in France and Switzerland. It was during this period that he composed his first pieces, most notably Rotativa for pianos, strings, brass and percussion (1930). His early music was stylistically eclectic, embracing post-impressionist, neo-classical and twelve-tone idioms at various points in his life.
Bennett, Arnold (1867–1931)
Authors: Peters John 
Published: September 2018

A prolific and popular author, English writer Arnold Bennett was one of the most important Realist/Naturalist writers of the early twentieth century. Strongly influenced by George Moore, Bennett made valuable contributions to this literary tradition, achieving distinction alongside contemporaries H. G. Wells and John Galsworthy.
Enoch Arnold Bennett was born in Burslem, Staffordshire in 1867. Bennett showed promise as a student, but at sixteen left school to work in his father’s law office and then later as a clerk in a London law office. In 1893, Bennett left his job to become assistant editor of the journal Woman, later becoming editor-in-chief. He had been writing occasional pieces for the Staffordshire Sentinel for several years before he published his first story, ‘A Letter Home’ (1895), in The Yellow Book. His first novel, A Man from the North, appeared in 1898. Modelled after the fiction of George Moore, it tells the story of a man from the Potteries district of Bennett’s youth who tries to acclimatize to a life as a clerk in London. Emboldened by his initial literary success, in 1900 Bennett gave up his position with Woman to become a full-time writer.