Y

Yadong
Yakar, Rachel
Yakimenko, Fyodor Stepanovich
Yakovlev, Leonid Georgiyevich
Yakovlev, Mikhail Luk'yanovich
Yakubov, Manashir Abramovich
Yale School of Music.
Yamada, Kazuo
Yamada Kengyō
Yamada, Kōsaku [Kósçak]
Yamaguti [Yamaguchi], Osamu
Yamaha.
Yamashita, Kazuhito
Yamash’ta [Yamashita], Stomu [Tsutomu]
Yampol'sky, Abram Il'ich
Yampol'sky, Izrail' (Markovich)
Yancey, Jimmy [James Edwards]
Yang Liqing
Yangqin.
Yanguas, (Francisco) Antonio
Yang Yinliu
Yang Yuanheng
Yaniewicz, Felix.
Yanks, Byron.
Yannay, Yehuda
Yannidis, Costas.
Yanovs'ky (Siegel), Borys Karlovych
Yanov-Yanovsky, Dmitry Feliksovich
Yanov-Yanovsky, Feliks
Yanowski, Feliks.
Yap.
Yaraví.
Yardbirds, the.
Yardumian, Richard
Yarkov, Pyotr (Glebovich)
Yarustovsky, Boris Mikhaylovich

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 Y

Yashiro, Akio
Yasser, Joseph
Yasukawa, Kazuko
Yatga [yataga, yatuga].
Yatuhasi [Yatsuhashi] Kengyō
Yavorsky, Boleslav Leopol'dovich
Ya-yüeh
Ycart [Hycart, Hycaert, Icart, Ycaert], Bernhard [Bernar, Bernardus]
Ye Dong
Yefimenkova, Borislava Borisovna
Yeghiazarian, Grigor Yeghiai
Yekaterinburg.
Yekimovsky, Viktor Alekseyevich
Yel'cheva, Irina Mikhaylovna
Yellin [née Bentwich], Thelma
Yellin, Victor (Fell)
Yemen, Republic of (Arab. Jumhūriyyat al-Yaman).
Yepes, Narciso (García)
Yerkanian, Yervand Vahani
Yermolenko-Yuzhina [Ermolenko-Yushina; Plugovskaya], Nataliya (Stepanovna)
Yes.
Yesipova, Anna [Annette] Nikolayevna
Yeston, Maury
Yevdokimova, Yuliya Konstantinova
Yevlakhov, Orest Aleksandrovich
Ye Xiaogang
Yiddish music.
Yim, Jay Alan
Yin Falu
Yi Sung-chun
Ylario.
Yodel.
Yoder, Paul V(an Buskirk)
Yokomichi, Mario
Yon, Pietro Alessandro
Yonge [Young, Younge], Nicholas

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 Y

York.
York Buildings.
Yorke, Peter
Yorke Trotter, Thomas Henry
York plays.
Yoruba music.
Yoshida, Hidekazu
Yoshino, Naoko
Yosifov, Aleksandar
Yost, Michel
Youll, Henry
Youmans, Vincent (Millie)
Young.
Young [Youngs], (Basil) Alexander
Young, Douglas
Young, John
Young, La Monte (Thornton)
Young, Lester (Willis) [Pres, Prez]
Young, Neil
Young [Younge], Nicholas.
Young, Percy M(arshall)
Young, Simone
Young, Victor
Young [Joungh], William
Young Chang.
Young Poland.
Youngs, Alexander Basil.
Youth and Music.
Yradier (y Salaverri), Sebastián de.
Yriarte, Tomás de.
Ysaac [Ysac], Henricus [Heinrich].
Ysaÿe, Eugène(-Auguste)
Ysaÿe, Théophile (Antoine)
Ysaÿe Quartet (i).
Ysaÿe Quartet (ii).
Yso, Pierre.

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 Y

Ysoré [Isoré], Guillaume

Yssandon [Issandon], Jean
Yu, Julian (Jing-Jun)
Yuasa, Jōji
Yudina, Mariya (Veniaminovna)
Yueqin.
Yugoslavia, Federal Republic of
Yuhas, Dan
Yulchiyeva, Munadjat
Yun, Isang
Yunluo.
Yuon, Paul.
Yupanqui, Atahualpa [Chavero, Héctor Roberto]
Yurgenson, Pyotr Ivanovich.
Yusupov, Benjamin
Yūsuf, Zakariyyā
Yusupov, Prince Nikolay Borisovich
Yuzhak, Kiralina Iosifovna
Yu Zhenfei
Yvain, Maurice [Paul, Pierre; Sautreuil, Jean]
Yvo.
Yzac, Henricus [Heinrich].
Yzo, Pierre.

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Yadong

Yadong
(b Dêgê county, Kham, eastern Tibet, 1963). Tibetan rock singer. His father was a
businessman who died when Yadong was 12 years old. Yadong grew up close to his
mother, who was known for her beautiful voice. He worked as a physical education instructor
in the army for several years, after which he became unemployed and started teaching
himself how to play the guitar. He found work as a truck driver and sang occasionally at
weddings and festivals. He was asked to join an official performing arts troupe, but he
declined this offer and instead found a job with a construction company in Chengdu, where
he saved enough money to produce his first cassette; 'khyam-pa-kyi sems (‘A
vagabond's soul’) was released in 1991. He performed in bars at night, and in 1995 he
produced a new album with a Chinese title, xiang wang shen ying (‘Desire for the eagle
god’), which comprises traditional songs mostly from Kham, such as the King Gesar epic,
remixed in rock and rap style. In 1996 Yadong's third album, kham-pa'i bu-gsar (‘The
young khampa man’), was released; it features Tibetan music and Chinese lyrics. By the
mid-1990s he had gained widespread popularity in Tibet, especially among young people.
LAETITIA LUZI

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Yakar, Rachel

Yakar, Rachel
(b Lyons, 3 March 1938). French soprano. She studied at the Paris Conservatoire and with
Germaine Lubin, making her début in 1963 at Strasbourg. In 1964 she joined the Deutsche
Oper am Rhein, Düsseldorf, which remained her base for over 20 years. She sang Freia and
Gerhilde at Bayreuth (1976), Donna Elvira at Glyndebourne (1977), First Lady
(Zauberflöte) at Salzburg and Monteverdi’s Poppaea in Edinburgh (1978), and made her
Covent Garden début as Freia. Her wide repertory included Rameau’s Aricia, Handel’s
Cleopatra, Celia (Lucio Silla), Ilia, Fiordiligi, Tatyana, Mimì, Málinka/Etherea/Kunka
(Excursions of Mr Brouček), and the Marschallin, which she sang at Glyndebourne in
1980. An extremely musical as well as dramatic singer, capable of subtle tone colouring,
Yakar was particularly fine in roles such as Mélisande, which she recorded, and Jenůfa. Her
other operatic recordings include several Mozart roles, Climène in Lully’s Phaëton (which
she sang in Lyons in 1993), Madame Lidoine in Dialogues des Carmélites and Diane
in Honegger’s Les aventures du roi Pausole. Yakar also had a notable career as a
recitalist and concert singer, and has recorded works ranging from Bach’s B minor Mass to
mélodies by Hahn.
ELIZABETH FORBES

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Yakimenko, Fyodor Stepanovich

Yakimenko, Fyodor Stepanovich

See Akimenko, Fedir Stepanovych.

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Yakovlev, Leonid Georgiyevich

Yakovlev, Leonid Georgiyevich

(b Kherson govt., 31 March/12 April 1858; d Petrograd, 21 May/2 June 1919). Russian
baritone. Some authorities give his birthplace as St Petersburg. The son of a landowner, he
attended the Nikolayevsky Cadet School and became adjutant to the governor-general of
Kiev. Because of financial difficulties he resigned his commission, took singing lessons with
Ryadnov in Kiev, and decided to make a career on the operatic stage. After further study in
Italy he joined an opera company in Tbilisi. There Tchaikovsky heard him sing and
recommended him to Kondrat'yev at the Mariinsky Theatre. Yakovlev was invited to St
Petersburg as a guest artist, appearing in Gounod’s Faust in April 1887. He was offered a
permanent contract, and soon became very popular with St Petersburg audiences, singing
with great success Wolfram in Tannhäuser, Nevers in Les Huguenots and Escamillo in
Carmen. He was famous as Onegin and in the title role in Rubinstein’s Demon, and
created the part of Yeletsky in The Queen of Spades and Gryaznoy in Rimsky-
Korsakov's The Tsar's Bride. His voice had a beautiful quality, full and resonant
throughout the range. His high notes were unforced, he was excellent in bel canto, and had
outstanding dramatic talents and great stage presence. He failed to recover his voice after a
severe attack of catarrh in 1905, and in the following year retired from the stage. For a time
he supervised provincial opera companies and also taught singing in St Petersburg. In 1918
he became a producer at the Mariinsky Theatre, but he died soon afterwards.
BIBLIOGRAPHY
Biryuch petrogradskikh gosudarstvennïkh teatrov [Herald of the Petrograd
State Theatres] (1918), no.5
E. Stark: Peterburgskaya opera i yeyo mastera, 1890–1910 [The St
Petersburg Opera and its stars] (Leningrad, 1940)
D.I. Pokhitonov: Iz proshlogo russkoy operï [From the past of Russian
opera] (Leningrad,1949), 135–42
JENNIFER SPENCER/EDWARD GARDEN

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Yakovlev, Mikhail Luk'yanovich

Yakovlev, Mikhail Luk'yanovich

(b Moscow, 1798; d St Petersburg, 1868). Russian poet, singer and composer of songs. He
was a contemporary and close friend of Pushkin and Kuchelbecker, both of whom he first
met at the Tsarskoye Selo Lyceum, the school for young noblemen established in 1811 by
Aleksandr I. At the Lyceum Yakovlev took part in theatrical productions and was a member
of the poetical and literary circle. After leaving to take up a post at the Department of Justice
in Moscow, he continued to write poems; an anthology of Russian verse which he prepared
was published in 1828.
Yakovlev’s musical works, of which few survive, display a certain dilettantism and
unimaginative harmonic vocabulary in comparison with music by other Russian composers
of the period. He possessed a good baritone voice and composed a number of songs to
perform himself in the fashionable salons of St Petersburg; he was one of the earliest
composers to set the poems of Pushkin and Delvig to music. Perhaps his best work is the
setting of Del'vig’s Elegiya (‘Elegy’), which was later arranged for two voices by Glinka.
Yakovlev chose his texts chiefly from the works of Lyceum colleagues, though there is one
short song, Pesn' lenosti (‘Song of Laziness’), with a text probably written by the
composer himself. He set two of Pushkin’s poems to music: Zimniy vecher (‘Winter
Evening’) and Sleza (‘The Tear’). The latter was published in a collection of songs called
Mnemozina, produced in 1825 by Kuchelbecker and the Decembrist composer Vladimir
Odoyevsky.
GEOFFREY NORRIS

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Yakubov, Manashir Abramovich

Yakubov, Manashir Abramovich

(b Groznïy, 4 May 1936). Russian musicologist and music critic. In 1960 he graduated from
the Moscow Conservatory having studied theory with Mazel' and became a theory teacher at
the music college in Makhachkala, Daghestan. He was chief editor of the theory department
at the journal Sovetskaya muzïka (1963–6). He was a senior academic officer at the
Daghestan Institute for the History of Language and Literature (1973–98), a branch of the
Soviet Academy of Sciences, and in 1976 was appointed curator of Shostakovich's family
archives. He gained the Kandidat degree in 1986, and was awarded the title Honoured
Representative of the Arts of Daghestan. He became chief editor of the publishing house
DSCH in 1993.
Yakubov has published more than 1000 writings, many of which have been translated. His
main interests are Russian contemporary music, musical ethnography, the problems of
musical performance and the works of Prokofiev, Shostakovich, Schnittke, Boris
Chaykovsky and composers from Daghestan. As a result of his research in the Shostakovich
archives, he has restored a number of the composer's ballet scores and prepared a
scholarly edition of the cantata Antiformalisticheskiy rayok (‘The Antiformalist Rayok’,
Moscow, 1995) and piano scores of the ballets Zolotoy vek (‘The Golden Age’, 1995),
Bolt (‘The Bolt’, 1996) and Svetlïy ruchey (‘The Limpid Stream’, 1997).
WRITINGS
‘Pis'ma iz Dagestana’ [Letters from Daghestan], Muzïkal'naya zhizn' (1958), no.10,
p.3 only
‘Kompozitorï Dagestana (kriticheskiye zametki)’ [The composers of Daghestan (critical
notes)], SovM (1963), no.12, pp.17–21
‘Opernïy debyut Ėyno Tamberga’ [Eyno Tamberg’s operatic début], SovM (1966),
no.1, pp.20–25
Sergey Agababov: 1926–1959: ocherk zhizni i tvorchestva [Agababov:
1926–1959: an outline of his life and work] (Moscow, 1966)
‘Velichayshiy melodist XX veka (k izucheniyu naslediya S.S. Prokof'yeva)’ [The
greatest melodist of the 20th century (studying Prokofiev’s legacy)], SovM (1966),
no.4, pp.39–50
‘Polifonicheskiye chertï melodiki Prokof'yeva’ [Polyphonic features in Prokofiev’s
melodics], Ot Lyulli do nashikh dney, ed. I. Slepnyov (Moscow, 1967), 193–229
‘Severokavkazskiye ėskizï (ocherki nashego vremeni)’ [North Caucasian sketches
(essays of our times)], SovM (1968), no.5, pp.23–35
‘Bolgariya – Dagestan’, Bolgariya – SSSR: dialog o muzïke: Moscow 1969,
ed. I.A. Slepneva and V.I. Zaka (Moscow, 1972), 83–132
‘Kvartet imeni Borodina’ [The Borodin Quartet], Moskovskaya

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Yakubov, Manashir Abramovich

gosudarstvennaya filarmoniya, ed. L. Grigor'ev and I.M. Platek (Moscow, 1973),

212–18
‘Boris Chaykovskiy (tvorcheskiy portret)’ [Chaykovsky (A creative portrait)],
Muzïkal'naya zhizn' (1974), no.21, pp.15–17
‘Simfoniya Al'freda Shnitke’, SovM (1974), no.10, pp.19–22
‘Ansamblï iz Iraka i Shri-Lanki’ [Ensembles from Iraq and Sri Lanka], SovM (1975),
no.10, pp.70–74
‘Ot pesni k opere i simfonii (Shirvani Chalayev)’ [From the song to the opera and
symphony (Chalayev)], Kompozitorï soyuznïkh respublik, i, ed. M.I. Nest'yeva
(Moscow, 1976), 158–213
Otets dagestanskoy muzïki: ocherk zhizni i tvorchestva G.A. Gasanova
[The father of Daghestan music: an outline of the life and work of Gasanov]
(Makhachkala, 1980)
‘Sekventsii Prokof'yeva (k izucheniyu naslediya S.S. Prokof'yeva)’ [Prokofiev’s
sequences (studying Prokofiev’s legacy)], SovM (1988), no.5, pp.81–93
‘O “Soldatakh” B.A. Tsimmermana’, Izvestiya (2 Oct 1989)
‘Sluzhitel' muzïki: shtrikhi k portretu G.I. Litinskogo’ [A servant of music: brushstrokes
for a portrait of Litinsky], SovM (1990), no.5, pp.58–65
‘Galina Vishnevskaya i Mstislav Rostropovich: istoriya lisheniya sovetskogo
grazhdanstva: slovo obvinyayemïkh’ [Vishnevskaya and Rostropovich: the story of how
they were deprived of Soviet citizenship: the word of the accused], Muzïkal'noye
obozreniye (1994), nos.7–8, pp.22–5
‘Opït rekonstruktsii avtorskoy redaktsii baleta “Zolotoy vek”’ [An attempt at
reconstructing the original version of the ballet The Golden Age], ‘“Rayok”
Musorgskogo i “Antiformalisticheskiy rayok” Shostakovicha: traditsii russkoy
muzïkal'noy satirï ot Aleksandra II do Stalina i Brezhneva’ [Musorgsky’s The Gallery
and Shostakovich’s The Antiformalist Rayok: the traditions of Russian musical
satire from the time of Alexander II to Stalin and Brezhnev], MAk (1997), no.4, pp.47–
51, pp.149–54
with I. Shostakovich: ‘Zhivaya klassika’ [A living classic], ibid., pp.4–15 [interview
with the editorial board]
IOSIF GENRIKHOVICH RAYSKIN

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Yale School of Music.

Yale School of Music.

One of two administrative units for the study of music within Yale University in New Haven,
Connecticut (the other being the Department of Music). A musical society was established at
the university by 1812. In 1890 music was added to the formal curriculum, and Gustave J.
Stoeckel was appointed professor of music. By 1894 a music school was created and
degrees in music were awarded. Horatio Parker served as the first dean of the school from
1904 to 1919. The School of Music awarded its first MM in 1932. In 1958 it became
exclusively a graduate professional school, and in 1968 it began a DMA programme, in
which performers and composers must prove themselves as professionals before receiving
the degree. The Institute of Sacred Music was established in 1973 in affiliation with both the
School of Music and the School of Divinity. In the late 1990s the School of Music enrolled
185 students and had 60 faculty members. Performing ensembles include the Yale
Philharmonia Orchestra, one of the best student orchestras in the USA. Concerts are given
in Woolsey Hall (cap. 2695), Morse Recital Hall (720) and Sudler Hall (200). Chamber music
is stressed in the regular programmes and at the Yale Summer School for Music and Art in
Norfolk, Connecticut, first sponsored by Yale in 1941.
BIBLIOGRAPHY
H.E. Samuel: ‘ Yale's DMA: a Progress Report’, College Music Symposium,
xviii (1978), 97–104
L. Noss: A History of the Yale School of Music, 1848–1970 (New Haven,
CT, 1984)
L. Noss: ‘Music Comes to Yale’, American Music, iii (1985), 337–46
PEGGY DAUB (with VICTOR T. CARDELL)/ R

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Yamada, Kazuo

Yamada, Kazuo
(b Tokyo, 19 Oct 1912; d Kanagawa, 13 Aug 1991). Japanese conductor and composer. He
studied the piano at the Tokyo School of Music (now the Tōkyō Geijutsu Daigaku), and in
1937 won first prize in an NHK competition with his Prelude on Japanese Popular Songs for
orchestra; he later won several more prizes for his compositions. After studying conducting
under Joseph Rosenstock he made his conducting début in 1940, becoming assistant
conductor of the New SO (now the NHK SO) in 1941 and principal conductor in 1942.
Yamada was subsequently music director of several Japanese orchestras, and toured in
Europe, the USA and South Africa. His conducting was renowned for its flair and passionate
energy, and his enterprising programmes included the first Japanese performances of such
works as Mahler’s Symphony no.8, The Rite of Spring and Webern’s orchestral music.
From 1965 to 1972 he taught at the Tōkyō Geijutsu Daigaku, where Hiroshi Wakasugi and
Ken'ichiro Kobayashi were among his students.
MASAKATA KANAZAWA

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Yamada Kengyō

Yamada Kengyō
(b ?Edo [Now Tokyo], 28 April 1757; d Edo, 10 April 1817). Japanese blind musician. By the
time he was promoted to the rank of kengyō, the highest title in the guild of professional
blind musicians, he had created his own particular style of koto music. Eventually known as
the Yamada ryū sōkyoku, it became popular among various social classes in Edo. His
own popularity was described in several contemporary novels and essays. A collection of his
song texts was published in 1800 and another in 1809 as well as eight compositions notated
in koto tablature in 1809. All his works still performed today seem to have been written by
1809. Yamada's compositions are characterized by: the adoption of shamisen
(syamisen) music, such as ittyū-busi and katō-busi, into his koto music; the
appearance of the koto part playing melodic patterns in these shamisen styles, with the
vocal part performing the corresponding narrative styles; the predominance of the koto over
the shamisen in the ensemble; the incorporation of musical elements of heikyoku
(narrative style accompanied by biwa) and nō theatre; and the use of literary elements of
Japanese classics and nō. In order to increase the volume of sound of the koto, he
supposedly transformed the koto tsume (plectrum) from the rectangular Ikuta ryū type
into the round Yamada ryū type. The artistic name ‘Yamada Kengyō’ was not adopted by
Yamada's disciples, but his music has been steadily transmitted over the years. His
compositions include: Hatune no kyoku (a koto kumiuta); 35 sakuuta mono (vocal
works of the school founder), including Kogō no kyoku, Yuya, Tyōgonka no kyoku and Aoi
no ue; Enosima no kyoku; Sumiyosi; and Sakuragari.
BIBLIOGRAPHY
E. Kikkawa: disc notes, Sōkyoku to jiuta no rekishi [History of sōkyoku and
jiuta], Victor SLR510–SLR513 (1961; Eng. trans., enlarged, 1997, as A History of
Japanese Koto Music)
M. and S. Kishibe and Y. Kondō: ‘Yamada Kengyō no shōgai to jiseki’ [Life
and works of Yamada kengyō], Tōy ō ongaku kenkyō , xxvi-xxvii (1969), 1–64
S. Kishibe and K. Hirano, eds.: Yamada-ryū sōkyoku si (Tokyo, 1973,
enlarged, 3/1978)
K. Hirano and K. Tanigaito: ‘Ziuta sōkyokuka no kengyō tōkannen’ [Genealogy
of blind musicians in the Edo period], Tōyō ongaku kenkyū, xlv (1980), 23–71 [with
Eng. summary]
G. Tsuge: Anthology of Sōkyoku and Jiuta Song Texts (Tokyo, 1983)
P. Ackermann: Studien zur Koto-Musik von Edo (Kassel, Basle and
London, 1986)
K. Hirano: ‘Yamada kengyō’, Nihon ongaku daijiten [Encyclopedia of
Japanese music], ed. K. Hirano, Y. Kamisangō and S. Gamō (Tokyo, 1989), 760

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Yamada Kengyō

YOSIHIKO TOKUMARU

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Yamada, Kōsaku [Kósçak]

Yamada, Kōsaku [Kósçak]

(b Tokyo, 9 June 1886; d Tokyo, 29 Dec 1965). Japanese composer, conductor and
educationist. He studied at the Tokyo Music School (1904–8) with Tamaki Shibata (or Miura)
for vocal music and Heinrich Werkmeister for the cello and theory. In 1910 he went to the
Berlin Hochschule für Musik, where he studied composition with Leopold Carl Wolff. While
still a student he distinguished himself as a composer of symphonic and chamber music,
and in 1912 completed his first opera, Ochitaru tennyo (‘The Depraved Heavenly
Maiden’). In order to prepare for the performance of this work he returned to Tokyo in
January 1914; the outbreak of World War I prevented him from going back to Germany,
however, and the opera’s première was delayed for more than 15 years. In Japan he formed
the Tokyo Philharmonic Society Orchestra (not identical to the later organization) under the
patronage of Baron Koyata Iwasaki, and conducted its first concert, the first ever by a
Japanese professional orchestra, in May 1915. By this time he was composing prolifically.
The Gotaiten hōshuku zensōkyoku (‘Prelude on the Japanese National Anthem’) for
chorus and orchestra (1915) was written for the coronation of Emperor Taishō, and in 1916
Yamada collaborated with the dancer Bac Ishii in three ‘choreographic tone poems’. In
December 1917 he went to the USA for the first time, and on 16 October 1918 he conducted
an American orchestra at Carnegie Hall in a programme of his compositions; American
publishers, including Fischer and G. Schirmer, began to publish his songs and piano pieces.
He remained active as a guest conductor in the USA until May 1919 and, despite current
anti-German sentiments, did not hesitate to include music by Wagner in his programmes.
Immediately on his return to Japan Yamada began to promote performances of dramatic
music; he organized the Nihon Gakugeki Kyōkai (Japanese Association for Music Drama) in
September 1920 and three months later gave the third act of Tannhäuser and Debussy’s
L’enfant prodigue in Tokyo and Osaka. He was now well recognized for his orchestral
works such as the symphonic poem Meiji shōka (‘Ode to the Meiji’, 1921), which
demonstrates his mastery of orchestral technique in a style drawing on Wagner and Strauss.
At the same time he began to compose numerous vocal pieces with piano, trying to combine
the traditions of the lied from Schubert to Wolf with subtle Japanese melodic features.
Indeed, throughout his career he was concerned to find a musical style which would relate
closely to the melodic and rhythmic elements in Japanese speech intonation. In September
1922 he and his poet friend Hakushū Kitahara started a journal, Shi to ongaku (‘Verse
and music’), with the aim of finding an ideal union between the two arts. Of his more than
100 songs (the exact number is uncertain), the greater part date from the 1920s, when he
was also writing many choral pieces and children’s songs.
In 1921 Yamada went back to Europe and the USA to acquaint himself with the postwar
musical situation. After his return he tried to found an orchestra in Japan, and in 1925 he
formed the Japanese Philharmonic Society, invited 35 Russian musicians from Manchuria,

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Yamada, Kōsaku [Kósçak]

and gave a festival of Russian and Japanese orchestral music in Tokyo and other major
cities in Japan. He had succeeded in organizing an orchestra, but on the formation of the
New SO (later the NHK SO) by Hidemaro Konoe he dissolved his group and devoted himself
to composition. In 1929 The Depraved Heavenly Maiden finally reached the stage at
the Tokyo Kabuki Theatre, and two years later Yamada was invited to Paris to write a new
opera for the Théâtre Pigalle. He promptly fulfilled the commission with Ayamé (‘The Sweet
Flag’), but the opera was not performed. He returned through Russia, where he gave several
successful concerts, conducting his own works. He went to the USSR again as a composer-
conductor in 1933, appearing in various cities, and in 1937 toured Europe under the
auspices of the Japanese government, once more giving performances of his compositions.
In 1936 he was made a Chevalier of the Légion d’Honneur and an honorary member of the
Saint-Saëns and Debussy societies. His most successful opera, Kurofune (‘Black Ships’),
was completed in 1939. In 1941 he received the Asahi Cultural Prize and in 1942 was made
a member of the Japan Academy of Arts. He became less active during and after World War
II, though continuing to write songs. His last opera, Hsìang-Fei, was left in sketch form
and was performed in 1981 after being orchestrated by Ikuma Dan. The honours he
received in later life included an NHK Broadcasting Cultural Prize (1950), the Medal of
Honour with Blue Ribbons (1954) and the Japanese government Cultural Order (1956). Until
his death he served as president of the Nihon Gakugeki Kyōkai and the Nihon Shikisha
Kyōkai (Association of Japanese Conductors).
Yamada was an extremely prolific composer: it has been estimated that he wrote 1600
works. Many of his manuscripts were destroyed in the Tokyo air raid of 25 May 1945; the
rest are in the Yamada Collection of the Nippon Kindai Ongaku-kan (Documentation Centre
of Modern Japanese Music), Tokyo. Three attempts have been made to publish his
complete works: the 15-volume Yamada Kōsaku zenshū (‘The complete works of
Yamada’, Tokyo, 1931) was left incomplete after the publication of nine volumes; a more
comprehensive edition was abandoned after the publication of volumes i–vii, x, xiii and xxvii
(Tokyo, 1963–6); and the third attempt, edited by Nobuko Gotō, was begun in 1989.
Yamada’s works show, in their thematic materials and orchestration, the clear influence of
Wagner and, still more strongly, Strauss, with occasional characteristic features of Skryabin
and French Impressionism; yet he never lost his identity as a Japanese composer. Although
Straussian elements are particularly dominant in the large-scale works, his solo vocal pieces
are in a much lighter style, imbued with emotional sentiments and a lyricism that brought
them to popularity. He was the foremost Japanese advocate of German Romanticism and as
such laid the foundations for modern Japanese music in the European tradition.
WORKS
(selective list)

operas

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 Yamada, Kōsaku [Kósçak]

Ochitaru tennyo [The Depraved Heavenly Maiden], 1912, Tokyo, 3 Dec 1929
Shichinin no Ōjo (Die sieben Prinzessinnen), 1913
Ayamé [The Sweet Flag], 1931
Kurofune (Yoake) [Black Ships/The Dawn], 1939, Tokyo, 28 Nov 1940
Hsìang-Fei, sketch, 1947; orchd Ikuma Dan, 1981, Tokyo, 2 Dec 1981
orchestral
Choreographic tone poems: Maria Magdalena, 1916; Mei an [Light and Dark], 1916; Yajin sōzō [The
Creation of the Rustics], 1922; Aoi honoo [Blue Flame], 1926 [arr. of pf work]
Other works: Aki no utage [The Autumn Festival], chorus, orch, 1912; Sym. ‘Kachidoki to
heiwa’ [Triumph and Peace], 1912; Kurai to [The Dark Gate], sym. poem, 1913; Madara no hana
[Flower of Mandala], sym. poem, 1913; Nihon kumikyoku [Jap. Suite], 1915; Gotaiten hōshuku
zensōkyoku [Prelude on the Jap. National Anthem], chorus, orch, 1915; Meiji shōka [Ode to the Meiji],
1921; Tsuru kame [Crane and Turtle], 1934; Shōwa sanshō [Homage to Shōwa], 1938; Kamikaze,
1940; film scores
choral
Cants.: Chikai no hoshi [The Star of Promise], 1908; Bukkokuji ni sasaguru kyoku [Music Dedicated to
the Bukkokuji Temple] (Bonno-koru), 1930; Tairiku no reimei [The Dawn of the Orient], 1941; Tenrikyō
sanshōfu [Hymn for the Tenrikyō], 1956
With pf acc.: Tōtenkō, 3 female vv, pf, 1909; Nairu-gawa no uta [Song of the Nile], 3 female vv, pf,
1909; Yūyake no uta [Song of Evening Glow], 4vv, pf, 1923; Wagaya no uta [Song of my House], 4vv,
pf, 1926; Ai no megami [Goddess of Love], 3 female vv, pf, 1928; Funaji [Sea Route], 3 female vv, pf,
1931
Other works: Meeres stille, 4vv, 1911; Tsuki no tabi [A Journey of the Moon], vv, vn, pf, 1914; Banka
[Elegy], 4vv, vn, pf, 1927; many other pieces, incl. folksong arrs., see also orchestral (Aki no utage,
1912)
chamber and solo instrumental
Pf: 3 kleine japanische Tanzweisen, 1913; 7 Poems ‘Sie under’, 1914; Petit-poèmes, 1915–17; Aoi
hanoo [Blue Flame], 1916, orchd 1926; Kodomo to ottan, 1916; Reimei no kankyō, 1916; Genji
gakujō, 1917; 2 Poems for Skryabin, 1917; Sonata for Children, 1917
Other works: Romanze, vc, pf, 1909; Kon’in no hibiki [Music for Marriage], pf qnt, 1913; Aishū no
Nihon [Melancholy Japan], vn, pf, 1921; Ireikyoku [Requiem], str qt, org, 1925; Variations on Kono
Michi, fl, pf, 1930; many other pieces
songs
for 1v, pf, unless otherwise stated

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 Yamada, Kōsaku [Kósçak]

Mittsu no shin Nihon kayō [3 Original Jap. Songs], 1910; Rofū no maki [Songs of Rofū Miki], 1910–13;
An die Geliebte, 1915; Uta [A Song], 1916; Chōgetsu shū, 1917; Namida [Tears], 1917; Nobara [Wild
Rose], 1917; Futatsu no kodai nihon no densetsuteki tanshi [2 Ballads on Ancient Jap. Legends],
1918; Waga omoi [My Thoughts], 1919; Yoimachi-gusa, 1919; Yū-in, 1919-22; Aoi uwagi [Blue
Jacket], 1920; Funa-uta [Barcarolle], 1920; Kazaguruma no uta [Song of a Paper Windmill], 1920;
Kaze ni yosete utaeru haru no uta [Song of Spring Sung with Wind], 1920; Aiyan no uta [Song of
Aiyan], 1922; Ganemiso, 1922; Kaya no kiyama no [On the Hill of the Kaya Trees], 1922; Ki no uro [A
Hole in a Tree], 1922; Rokkyū [6 Riders], 1922
Asu no hana [Flowers of Tomorrow], 1923; Haru no yoi [Spring Evening], 1v, vn, 1923; Kane ga
narimasu [The Bell Tolls], 1923; Machibōke [Waiting in Vain], 1923; Pechika, 1923; Uma-uri [Horse
Seller], 1923; Posutomanī, 1923–4; Akai yūhi ni [To Red Evening Sun], 1924; Jōgashima no ame
[Rain on Jōgashima], 1924; Tobira [The Door], 1924; Wakare [Farewell], 1924; Yume no ie [A Dream
House], 1924; Anoko no ouchi [The House of that Child], 1925; Karatachi no hana [Trifoliate Orange
Flowers], 1925; Shinnyūsei [New Student], 1925
Oranda-bune [A Dutch Boat], 1926; Sunayama [Hill of Sands], 1926; Min'yō goshō [5 Folksongs],
1926–7; Aka tonbo [Red Dragonfly], 1927; Awate tokoya [The Confused Barber], 1927; Kono michi
[This Road], 1927; Chūgoku-chihō no komoriuta [Lullaby from the Chūgoku District], 1928;
Matsushima ondo, 1928; Sado no kanayama [Goldmine at Sado], 1928; Hokekyō juryōbon, 1929;
Kanashikumo sayakani [Sad and Clear], 1929; Roshia ningyō no uta [Songs of Russian Dolls], 1931;
Akikaze no uta [Song of Autumn Wind], 1938
Haha o hōmuru no uta [Dirge for the Mother], 1938; Koto no ne [Sound of the Koto], 1938; Renpō no
kumo [Clouds on Mountain Ridges], 1942; Tanka sanshu [3 Jap. Poems], 1946; Aki no uta [Song for
Autumn], 1948; Nanten no hana [Nandin Flower], 1949; Heiwa o tataeru mittsu no uta [3 Songs
Praising Peace], 1950–51; Haru o matsu [Waiting for Spring], 1952; Misa no kane [Mass Bells], 1952;
Furusato no yama [Mountains of Homeland], 1953; Koi no tori [Love-Birds], 1954; A Happy New Year!,
1954; many others

MSS in Nippon Kindai Ongaku-kan (Documentation Centre of Modern Japanese Music), Tokyo

Principal publishers: Daiichi Hōki Shuppan, Kawai-Gakufu, Shunjū-sha

WRITINGS
Kan’i sakkyoku-hō [Composition manual] (Tokyo, 1918)
Kinsei buyō no noroshibi [Signal for modern dance] (Tokyo, 1922)
Kinsei waseigaku kōwa [Lectures on modern harmony] (Tokyo, 1924)
Ongaku no hōetsu-kyō [Paradise of music] (Tokyo, 1924)

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Yamada, Kōsaku [Kósçak]

Kakyoku sakkyoku-hō [How to compose songs] (Tokyo, 1932)

Kōsaku gakuwa [Musical anecdotes of Kōsaku] (Tokyo, 1935)
Waseigaku oyobi sakkyoku-hō [Harmony and composition] (Tokyo, 1937)
Ongaku jūni kō [12 lectures on music] (Tokyo, 1951)
Jiden: wakaki hi no kyōshikyoku [Autobiography: a rhapsody of young days]
(Tokyo, 1951)
BIBLIOGRAPHY
Toyama Music Library: Kósçak Yamada: a Descriptive Catalogue of
the Musical Manuscripts, Printed Music and Sound Recordings (Tokyo,
1984)
MASAKATA KANAZAWA/YO AKIOKA

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Yamaguti [Yamaguchi],Osamu

Yamaguti [Yamaguchi], Osamu

(b Pusan, South Korea, 21 Sept 1939). Japanese musicologist. He studied musicology and
aesthetics at the University of Tokyo (BA 1963) and ethnomusicology at the University of
Hawaii (MA 1967), and took the doctorate at Osaka University (1991) with a dissertation on
Palau (Belau) music culture in Oceania. He has taught musicology at Osaka University from
1976, and became professor in 1991. He has pursued a wide range of research interests in
Asian and Oceanic music, both theoretical and practical in nature. His projects include long-
and short-term fieldwork, the training of native musicologists from these regions, and the
organization of international symposia in Japan. He has supervised the long-term project
Asian Traditional Performing Arts, and organized the Tokyo ICTM (1985) and Osaka IMS
(1990) conferences; thus he has contributed to internationalizing musicology and forming
networks among musicological divisions around the world. His concern with ‘applied
musicology’ (the forming of dialogues between musicologists and societies) led him to start a
new project on Vietnamese ethnic minorities in 1998.
WRITINGS
‘The Taxonomy of Music in Palau’, EthM, xii (1968), 345–51
ed., with F. Koizumi and Y. Tokumaru: Asian Musics in an Asian Perspective:
Tokyo 1976 [incl. ‘Toward a Better Documentation of Music Making’, 12–20]
‘Documenting Vocal Music’, Musical Voices of Asia: Tokyo 1978, 195–202
ed., with others: Dance and Music in South Asian Drama: Tokyo 1981
(Tokyo, 1983) [incl. ‘The Centric and Peripheral Aspects of Expressive Performance: a
Review Essay on Previous ATPA Events’, 239–44]
‘An Anthology of Song Texts of Belau, Micronesia: Ethnomusicological Documentation
from the Fieldwork in 1965–1966’, Memoirs of the Faculty of Letters, Osaka
University, xxv (1985), 87–308 [in Eng., Jap., Palau language]
ed., with Y. Tokumaru: The Oral and the Literate in Music: Tokyo 1985 [incl.
‘Music and its Transformations in Direct and Indirect Contexts’, 29–37]
‘Documentation of Various Forms of Sonic Communication among the Mali, Bisis, and
Chambri in East Sepik Province, Papua New Guinea’, Philocalia [Osaka], iv (1987),
110–15
ed., with others: Iwanami kōza: Nihon no ongaku, Azia no ongaku [Iwanami
series: musics of Japan, Asia and Oceania] (Tokyo, 1988–9)
Mizu no yodomi kara: Berau bunka no ongakugakuteki kenkyū [From
muddy water: a musicological study of Palau culture] (diss., U. of Osaka, 1991)
‘Performance as a Historical Source in Music Research’, Tradition and its Future
in Music: Osaka 1990, 153–7
Ōyō ongakugaku [Applied musicology] (Tokyo, forthcoming)

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Yamaguti [Yamaguchi],Osamu

YOSIHIKO TOKUMARU

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Yamaha.

Yamaha.
The brand name of musical instruments (and other products) manufactured by Yamaha
Kabushiki Kaisha (Yamaha KK, i.e. Yamaha Corporation), Hamamatsu, Japan. The firm was
founded in 1887 by Torakusu Yamaha (b Wakayama Prefecture, April 1851; d Hamamatsu,
8 Aug 1916), who built the first Japanese harmonium in that year. In 1888 the firm employed
fewer than ten craftsmen; a year later there were 100. In 1897 the company was named
Nippon Gakki Seizo KK (Japan Instrument Manufacturing Co.). It expanded steadily through
the prosperous period following World War I. The factory base was moved from Tokyo and
Yokohama to Hamamatsu in 1922. During World War II production was diverted to the
military.
After World War II the company began collaboration with the Nippon Kangakki (Japan Band
Instrument) company, founded as Egawa in 1892 and renamed in 1920, whose brand name
is Nikkan. The companies jointly set up an experimental department for wind instruments in
1965, and merged in 1970. In 1953 the company's fourth president, Gen'ichi Kawakami (b
1912), spent 90 days observing living standards and production methods in Europe and the
USA. On his return he introduced technical advances, mass-production methods and new
products and began to emphasize the popularization of music; the firm also branched out
into the recreation industry. In 1966 Renold Schilke became a consultant. The present
factory in Hamamatsu opened in 1970; by the mid-1970s it was making 30% of the world
production of both wind instruments and pianos. The Yamaha brand name was applied to all
the firm's products from its centenary in 1987. The company, which now produces pianos,
wind instruments, electronic instruments, concert and marching percussion, guitars, drums
and audio equipment, has developed into a huge complex of diversified interests, with 36
related companies in Japan and 35 in as many countries overseas.
The firm made its first upright piano in 1900 (in the early stages a consultant from Bechstein
gave advice) and its first grand piano in 1950; by the late 20th century Yamaha was the
largest producer of pianos in the world. Annual production slowed from about 200,000 in the
late 1970s to about 140,000 in the mid-1990s. The output is of high quality; the firm uses
heavily automated production practices, applying what it has learnt in other ventures (e.g.
metal-frame casting and electronics) to piano design and using digital recording and
playback technology in an impressive computerized reproducing piano, the Disklavier. Piano
models range from console uprights to a well-regarded concert grand.
Since 1958 Yamaha has produced many models of electronic instruments, beginning with
electronic organs (under the name Electone), followed by electric and electronic pianos
(including digital models in the Clavinova series), electric guitars, monophonic and
polyphonic synthesizers (from 1975), synthesizer modules, string synthesizers, home
keyboards (PortaSound and Portatone ranges), remote keyboard controllers, wind

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Yamaha.

controllers (WX series, developed with Sal Gallina), guitar synthesizers, samplers,
sequencers and electronic percussion systems.
Yamaha's greatest success was the DX7 synthesizer (1983), of which possibly 250,000
were sold. Coinciding with the beginnings of MIDI, Yamaha's DX/TX range of ‘algorithmic’
Frequency Modulation (FM) synthesizers were based on John Chowning's researches at
Stanford University (1967–71). The company has continued to develop this significant
innovation, but – like other manufacturers – has also adopted sampled timbres and has
often combined both, as in the SY series (1990) and the Physical Modeling method (also
licensed from Stanford University) used in its Virtual Acoustic synthesizers from 1994. In
1984 Yamaha introduced the first specialized music computer (CX-5M), in which FM
synthesis was combined with the shortlived MSX computer standard; the company has
subsequently produced home computer music systems featuring a synthesizer module and
licensed software. Some of Yamaha's more sophisticated synthesizers have had an optional
breath controller. The scale on which the company manufactures electronic instruments
enabled it in 1976 to be the first musical instrument manufacturer to develop its own LSI
(large-scale integration) chips, each equivalent to millions of transistors and other
components.
Three ranges of acoustic pianos with MIDI have been produced, including the Disklavier
(1986), which contains fibre-optic sensors to register the movement of keys and hammers
and solenoids to control their operation, MIDI grand pianos and the recent Silent Piano that
can be heard over headphones (part of a series that also includes violin, two models of cello,
trumpet, horn, trombone and electronic drumkit).
Yamaha maintains its own departments of wood processing (for pianos and guitars), metal
processing (for pianos and brass instruments), machine making, electronics and chemicals.
There is a research and development division for keyboard, brass and woodwind
instruments, and special instruments are made for individual players.
The first Yamaha Music School was founded in Tokyo in 1954; by 1993 there were 14,000
Yamaha music school sites in Japan and 2000 in 38 other countries. The Yamaha piano
instruction method does for beginners on the piano what the Suzuki method does for the
violin. The Yamaha Foundation for Music Education, established in 1966, sponsors concert
series and music competitions.

For illustration of instruments by Yamaha, see Electronic instruments, fig.9.

BIBLIOGRAPHY
N.H. Crowhurst: Electronic Organs (Indianapolis, 1960, 3/1975), 123–32
J. Chowning and D. Bristow: FM Theory & Applications by Musicians
for Musicians (Tokyo, 1986)

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Yamaha.

S. Trask: ‘Made in Japan: Eastern Intrigue’, Music Technology, ii/3 (1988), 50–
53
M. Vail: ‘Yamaha's CS-80: Heavyweight Champion of the Early Polyphonics’,
Keyboard, xvii/3 (1991), 116–17; rev. in Vintage Synthesizers:
Groundbreaking Instruments and Pioneering Designers of Electronic
Music Synthesizers (San Francisco, 1993), 162–7
J. Colbeck: Keyfax Omnibus Edition (Emeryville, CA, 1996), 128–41, 180–88
P. Forrest: The A–Z of Analogue Synthesisers, ii (Crediton, 1996), 214–39
HUGH DAVIES, EDWIN M. GOOD, EDWARD H. TARR

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Yamashita, Kazuhito

Yamashita, Kazuhito
(b Nagasaki City, 25 March 1961). Japanese guitarist. He began studying the guitar at the
age of eight with his father, Toru Yamashita, at the Nagasaki Guitar Academy, and
continued with Kojiro Kobune. He captured international attention while still in his mid-teens,
winning the All-Japan Guitar Competition in 1976; in 1977 he won the Ramirez competition
in Spain and the Alessandria competition in Italy, and was the youngest person ever to win
the Concours International de Guitare in Paris. There quickly followed concert appearances
in Tokyo (1978), Amsterdam (1979) and the Toronto Guitar Festival (1984), at which he
performed his guitar transcription of Musorgsky’s Pictures at an Exhibition to
tumultuous acclaim. He later transcribed, performed and recorded other works, including
Stravinsky’s Firebird suite, and Dvořák’s ‘New World’ Symphony for solo guitar. He has
also performed and published Beethoven’s Violin Concerto arranged for guitar and
orchestra. His own work for solo guitar, Imaginary Forest, was published in 1982. Never
reluctant to undertake large-scale projects, Yamashita recorded the complete works of
Fernando Sor on 16 CDs and transcriptions of Bach’s sonatas, partitas and suites for
unaccompanied flute, violin, cello and lute. He performs with phenomenal concentration, a
technique which is as secure as it is virtuosic and a range of sound (in particular a dynamic
range) which is arguably without equal.
BIBLIOGRAPHY
J. Rockwell: ‘Reductios: Absurd or Valuable?’, New York Times (12 March
1989, final edn)
H. Reich: ‘One-Man Band: a Japanese Guitarist Tackles Works fit for Orchestras’,
Chicago Tribune (26 March 1989, final edn)
B. Verdery and J. Gore: ‘Kazuhito Yamashita: the World’s most Controversial
Classical Guitarist?’, Guitar Player, xxviii/3 (1994), 21
THOMAS F. HECK

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Yamash’ta [Yamashita],Stomu [Tsutomu]

Yamash’ta [Yamashita], Stomu

[Tsutomu]
(b Kyoto, 15 March 1947). Japanese percussionist and composer. He entered the Kyoto
Academy of Music in 1960 and in the following year joined both the Kyoto PO and the Osaka
PO as a percussionist; at that time he also worked for Tokyo film studios. He made his solo
début in Milhaud’s Concerto with the Osaka PO in 1963. In 1964 he went to the Interlochen
Arts Academy, Michigan, and then to the Berklee School of Jazz, Boston. He took freelance
engagements with various orchestras, played jazz and appeared as a soloist, notably in the
première of Heuwell Tircuit’s Concerto with the Chicago SO at Ravinia Park, Chicago, in
1969. By this time his own work, Fox, for solo dancer, percussionist and tape, had received
a television broadcast in San Francisco (November 1968). Yamash’ta’s European reputation
dates from his fiery, athletic participation in Henze’s El Cimarrón, first performed at the
1970 Aldeburgh Festival. Henze subsequently wrote a solo piece, Prison Song, for
Yamash’ta; other composers who have been stimulated by his energies include Takemitsu
(Blue Aurora, The Seasons and Cassiopeia), Brouwer (Exaedros II) and Maxwell
Davies (Turris campanarum sonantium). In December 1970 he formed the ensemble
Come to the Edge, which became the centre of his compositional activities; the group’s
performances of ‘floating music’ featured Yamash’ta’s Keep in Lane, One Way and
Hiroshima, pieces drawing on various Eastern, South American, pop and avant-garde
musics. Come to the Edge were involved in Yamash’ta’s Red Buddha Theatre, which gave
highly successful performances in London and Paris in 1973 of The Man from the East,
a loud, vigorous collision between kabuki and rock. His other compositions include Prisms
(for percussion, 1970), Hito (for any three instruments, 1970), Red Buddha (for chamber
ensemble, 1971) and many film scores, including those for Ken Russell’s The Devils
(1971, with Maxwell Davies) and Robert Altman’s Images (1972, with John Williams).
PAUL GRIFFITHS/R

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Yampol'sky, Abram Il'ich

Yampol'sky, Abram Il'ich

(b Yekaterinoslav [now Dnepropetrovsk], 11 Oct 1890; d Moscow, 17 Aug 1956). Ukrainian
violinist and teacher. He studied the violin with Sergey Korguyev at the St Petersburg
Conservatory, and also studied composition with Nikolay Sokolov, Jāzeps Vītols and
Maximilian Steinberg. In 1920 he moved to Moscow and was assistant leader of the Bol'shoy
Theatre orchestra. In 1922 he was appointed director of the orchestral and violin classes of
the Moscow Conservatory, in 1926 he became a professor, and in 1936 head of the violin
department. Later he also taught at the Gnesin Institute, and from 1922 until it disbanded in
1936 was one of the directors and a member of the council of Persimfans. Yampol'sky was
one of the founders of the modern Russian violin school, which developed from the teaching
of Auer. Yampol'sky's teaching was based on a subtle combination of the performer's
musical feeling and the all-round development of his mastery of the instrument. A distinctive
feature of his method was to take the pupil from the elementary stages up to the completion
of his artistic education. Yampol'sky described his methods and aims in his writings. Leonid
Kogan, Yulian Sitkovsetsky, Igor' Bezrodnïy, Mikhail Fikhtengol'ts and Mark Lubotsky were
among Yampol'sky's pupils. He wrote numerous transcriptions for violin and piano,
cadenzas for the concertos of Beethoven, Brahms and Paganini, and edited the studies of
Kreutzer, Dont, Paganini and others. He was named Honoured Art Worker of the RSFSR in
1937, and Doctor of Arts in 1940.
WRITINGS
‘O metode rabotï s uchenikom’ [On the method of working with a pupil], Trudï
gosudarstvennogo Muzïkal'no-pedagogicheskogo instituta im.
Gnesinïkh [Writings from the Gnesin Institute of Music Education] (Moscow, 1959)
‘K voprosu o vospitanii kul'turï zvuka u skripacha’ [On the question of training the
cultivation of sound in a violinist], Voprosï skripichnogo ispol'nitel'stva i
pedagogiki [Questions of violin performance and teaching] (ed. S.R. Sapozhnikov,
Moscow, 1968)
BIBLIOGRAPHY
M. Lubotsky: ‘A.I. Yampol'skiy: muzïkant, pedagog, vospitatel’ [A.I. Yampol'sky:
musician, teacher and educationist], SovM (1960), no.11, pp.117–23
I.M. YAMPOL'SKY/R

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Yampol'sky, Izrail' (Markovich)

Yampol'sky, Izrail' (Markovich)

(b Kiev, 8/21 Nov 1905; d Moscow, 20 Sept 1976). Russian musicologist, violinist and
teacher. Son of the cellist Mark Il'ich Yampol'sky (1879–1951), he studied at the Moscow
Conservatory and in 1930 graduated from the violin class of his uncle, Abram Il'ich
Yampol'sky. He took the kandidat degree in 1940 with a dissertation on violin fingering. He
taught the violin at the Music Academy (1931–58), the Central Secondary Music School
(1931–46), and at the Moscow Conservatory (1934–49), where from 1939 he also lectured
on the history and theory of the violin. He was appointed a senior lecturer at the
conservatory in 1940. He held several important editorial posts and in 1953 became a music
critic for the Soviet Information Bureau. Yampol'sky contributed more than 1000 articles to
Russian and foreign journals. He was known particularly for his book on the history of violin
playing in Russia, Russkoye skripichnoye iskusstvo (1951), and for a book on the
history of music in Yugoslavia (1958). He was responsible for compiling and editing a
number of basic reference works, including the Ėntsiklopedicheskiy muzïkal'nïy
slovar' (1959) and the biographical dictionary of Russian and Soviet musicologists, Kto
pisal o muzïke (with G.B. Bernandt, 1971–9).
WRITINGS
Osnovï skripichnoy applikaturï [The principles of violin fingering] (diss., Moscow
Conservatory, 1940; Moscow, 1933, enlarged 3/1955; Eng. trans., 1967)
‘Neopublikovannïye rukopisi Variatsii na temu rokoko Chaykovskogo’ [The unpublished
manuscripts of Tchaikovsky’s Variations on a Rococo Theme], SovM (1945), no.3,
pp.32–44
‘Neopublikovannïy skripichnïy kontsert Lyapunova’ [Lyapunov’s unpublished Violin
Concerto], SovM (1946), no.6, pp.55–61
‘Skripichnoye tvorchestvo I.Ye Khandoshkina’ [The violin works of Khandoshkin],
SovM (1947), no.3, pp.89–98
‘Smïchkovaya muzïka’ [String music], Ocherki sovetskogo muzïkal'nogo
tvorchestva, ed. B.V. Asaf'yev and others (Moscow and Leningrad, 1947), 198–215
Russkoye skripichnoye iskusstvo: ocherki i materialï [Russian violin playing:
essays and materials] (Moscow, 1951)
with K.A. Kuznetsov: Arkandzhelo Korelli (Moscow, 1953)
Genrik Vienianski (Moscow, 1955)
Dzhordzhe Ėnesku (Moscow, 1956)
‘B.V. Asaf'yev o muzïkal'nom ispolnitel'stve’ [Asaf'yev on the performance of music],
Voprosï muzïkal'no-ispolnitel'skogo iskusstva, ii (1958), 508–27
‘Ėzhen Izai’ [Ysaÿe], SovM (1958), no.8, pp.103–6
Muzïka Yugoslavii (Moscow, 1958)

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Yampol'sky, Izrail' (Markovich)

with B.S. Shteynpress: Ėntsiklopedicheskiy muzïkal'nïy

slovar' [Encyclopedia of music] (Moscow, 1959, enlarged 2/1966)
‘Ule Bull’ [Ole Bull], SovM (1960), no.5, pp.117–21
Nikkolo Paganini: zhizn' i tvorchestvo [Life and works] (Moscow, 1961,
enlarged 2/1968)
‘Pervïy skripichnïy kontsert Bela Bartoka’ [Bartók’s first violin concerto], SovM (1961),
no.3, pp.174–9
‘Karol' Lipin'sky i yego russkiye svyazi’ [Karol Lipiński and his Russian contacts],
SovM (1962), no.7, pp.104–7
Sonatï i partitï dlya skripki solo I.S. Bakha [Bach’s sonatas and partitas for
solo violin] (Moscow, 1963)
David Oystrakh (Moscow, 1964, enlarged 2/1968)
Moya shkola igrï na skripke: interpretatsiya proizvedeniy skripichnoy
klassiki (Moscow, 1965) [trans. of L. Auer: Violin Playing as I Teach It (New
York, 1921) and Violin Master Works and their Interpretation (Boston, 1925);
incl. ‘ Auer i sovremennoye skripichnoye iskusstvo’ [Auer and contemporary violin
playing], 3]
‘Sovetskoye muzïkal'no-ispolnitel'skoye iskusstvo’ [Soviet musical performance],
Voprosï muzïkal'no-ispolnitel'skogo iskusstva, v (1969), 5–32
with G.B. Bernandt: Kto pisal o muzïke [Writers on music] (Moscow, 1971–9)
‘Pervïy russkiy muzïkant v Indii’ [The first Russian musician in India: G.S. Lebedev],
Muzïka narodov Azii i Afriki, ed. V.S. Vinogradov, ii (Moscow, 1973), 239–53
Daniil Shafran (Moscow, 1974)
Frits Kreysler: zhizn' i tvorchestvo (Moscow, 1975)
‘Pavel Kokhanskiy v Rossii’ [Pawel Kochański in Russia], Masterstvo muzïkanta-
ispolnitelya, i (Moscow, 1976), 123–46
with G.B. Bernandt: Sovetskiye kompozitorï i muzïkovedï [Soviet
composers and musicologists], i (Moscow, 1978)
LEV GINZBURG/LYUDMILA KORABEL'NIKOVA

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Yancey, Jimmy [JamesEdwards]

Yancey, Jimmy [James Edwards]

(b Chicago, 20 Feb 1898; d Chicago, 17 Sept 1951). American blues pianist. From the age
of six he toured the USA and Europe as a singer and tap-dancer in vaudeville shows. He
gave this up in 1915 to settle in Chicago, where he took up the piano. From around 1919 he
performed in public but also played baseball in the professional African-American leagues,
and from 1925 until just before his death he was groundskeeper at Comiskey Park for the
Chicago White Sox baseball team. He played informally at clubs and rent parties, helping to
establish the style known as boogie woogie and influencing Meade ‘Lux’ Lewis and Albert
Ammons. He received some attention as a result of Lewis’s recording of Yancey Special
in 1936. In 1939–40 Yancey issued a series of his own recordings, including Yancey
Stomp (1939, Victor) and other works composed by him years earlier. These highly
regarded performances reveal a remarkable balance and expressivity despite Yancey’s
unassuming technique and limited harmonic and melodic resources. Unlike other boogie
pianists, Yancey frequently altered his bass patterns in response to the right hand,
producing shifting polyrhythms and varied bass lines. He suffered a stroke in 1941 but
continued to play, even though the use of his left hand was restricted. In later years he
continued to record, sometimes accompanying his own singing or that of his wife Mama
Yancey with whom, in 1948, he appeared at Carnegie Hall.
BIBLIOGRAPHY
GroveJ
G. Hoefer: ‘Yancey Had Three Loves: his Piano, Wife, White Sox’, Down Beat,
xviii/22 (1951), 4 only [incl. discography]
F.S. Driggs: ‘Jimmy Yancey: a Permanent Requiem’, Record Research, ii/1
(1956), 3
M. Harrison: ‘Boogie-woogie’, Jazz: New Perspectives on the History of
Jazz, ed. N. Hentoff and A.J. McCarthy (New York and Toronto, 1959/R), 105–35
E. Kriss: Six Blues-Root Pianists (New York, 1973) [incl. transcrs.]
S. Harris: Blues Who’s Who (New Rochelle, NY, 1979)
J. BRADFORD ROBINSON

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 Yang Liqing

Yang Liqing
(b Qingmuguan, nr Chongqing, Sichuan, 30 April 1942). Chinese composer and writer on
music. He studied composition at the conservatories of Shenyang and Shanghai, from
where he gained the MA. In 1980 Yang was the first Chinese composer to be sent abroad
for study after the Cultural Revolution, taking courses in composition and the piano at the
Hochschule für Musik in Hanover and graduating with honours. He became a teacher at the
Shanghai Conservatory on his return to China in 1983, becoming a professor and Chair of
the Department of Composition and Conducting in 1991 and rising to vice-president in 1996.
In 1990 he was guest professor at the Mozarteum in Salzburg. Yang has received many
grants and commissions from institutions worldwide and his orchestral pieces have been
performed in Asia and Europe. He has also lectured internationally on Chinese
contemporary music. In his large-scale works he combines traditional Chinese instruments
with a colourfully scored Western orchestra. After his years in Germany his compositions
veered stylistically between Romanticism and modernism. A key figure throughout China in
promoting knowledge of international contemporary music repertory and techniques, Yang
has consistently supported and encouraged young Chinese composers.
WORKS
(selective list)

Inst: Grievances at Wujiang, pipa, orch, 1986; Festive Ov., orch, 1987; Wuzi pei, sym. ballet, 1988,
collab. Lu Pei; Elegy, erhu, orch, 1991; Cost of Peace, orch, 1995; Si, dizi, zheng, erhu, yangqing
[hammer dulcimer], dajiyue [percussion], 1996; A Shepherdess on Tianshan Mountain, erhu, orch,
1997; Desert at Dusk, erhu, orch, 1998; Introduction, Chant and Allegro, erhu, orch, 1998; Enter the
New Age, pf, orch, 1999, collab. Wang Jianzhong
Vocal: 4 Poems from the Tang Dynasty, S, pf, perc, 1982; Die Enstehung der Taodejing von Lao-Tze
(B. Brecht), SATB, 1982; 3 Songs (F. García Lorca), S, fl, vc, pf, 1982; The Monument Without
Inscription, dance-drama, SATB, orch, 1989; The Red Cherry, film score, S, orch, 1995

WRITINGS
‘Guanxianyue Peiqi Fenggede Lishi Yianbian Gaishu’ [Stylistic evolution in
orchestration], Yinyueshu, no.24 (1986), 42–7; no.25 (1986), 42–7; no.26 (1986), 25–
36; no.27 (1986), 42–7; no.28 (1987), 39–43; no.29 (1987), 48–57; no.30 (1987), 54–9;
no.31 (1987), 69–86
‘Dangdai Ouzhou Yinyue zhongde Xinlangmanzhuyi yu Huigui Qingxiang’ [Neo-
romanticism in contemporary European music], Fujian Yinyue, no.76 (1987), 30–32;
no.77 (1987), 29–32; no.78 (1987), 27–31
‘Xiandai Yinyue Jipufade Yange Jiqi Fenlei Wenti’ [The evolution and classification of
notation in new music], Zhongguo yinyuexue, no.12 (1988), 76–83

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Yang Liqing

Meixian Zuoqu Jifa Chutan [Compositional techniques of Messiaen] (Fuzhou,

1989)
‘Ligaitide Daqi’ [Atmosphères by Ligeti], Xiandai Yishu Jianshang Cidian
(Beijing, 1990), 493–5
‘Yinyue Chuangzuo Meixue Sixiang Dazhuan’ [My own compositional aesthetic],
Xiandai Yuefeng, nos.13–14 (1994), 1–5
‘Xifang Houxiandaizhuyi Yinyue Sichao Jianshu’ [Postmodernism in contemporary
Western music], Zhongguo Yinyue Nianjian (Beijing, 1995), 244–57
Xiandai Guanxianyue Peiqifa Jiaocheng [Contemporary instrumentation
techniques] (Shanghai, forthcoming)
BIBLIOGRAPHY
F. Kouwenhoven: ‘Mainland China's New Music: the Age of Pluralism’, CHIME,
no.5 (1992), 76–134
M.D. Xu: ‘Wuwo Wujian, Daoyi weiyi: Yang Liqing Jibu Zuopinde Yanjiu
Zongping’ [The study of selected works of Yang], Zhongguo yinyuexue, no.43
(1996), 107–18
JOYCE LINDORFF

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Yangqin.

Yangqin.
Hammered dulcimer of the Han Chinese. The name yang in its original form means
‘foreign’; qin is generic for string instruments. More recently, another character for yang
meaning ‘elevated’ has come into public acceptance. The yangqin is also traditionally
known as hudie qin (‘butterfly qin’, in reference to its double-wing shaped body) and
daqin (‘beaten qin’).
The traditional instrument shell is trapezoidal in shape, with rounded ends and fluted sides of
hardwood, its resonating chamber covered with a thin soundboard of white pine or other
softwood (see illustration). Held against the soundboard by pressure of the strings are two
rows of bridges, each row with seven or eight chessman-shaped bridges. The strings on
older instruments are of copper (more recently of steel) and organized in two groups (left
and right), each traditionally comprising a one-octave range of diatonically tuned pitches,
with double (or more) courses of strings for each pitch position. Strings in the right group run
from their tuning pegs, over a common nut, across their respective bridges (the right row),
between the left row of bridges, across the left nut, and are fastened to pins on the left side
of the instrument. Strings in the left group reverse this arrangement, running between the
right row of bridges and then over the left row. The left row of bridges is positioned on the
soundboard so as to divide its strings in a 2:3 relationship (such as 20 cm on the left side, 30
cm on the right). With this particular division, these strings are capable of sounding two
pitches a 5th apart, one on each side of its bridge (e.g. sol–re, la–mi etc., on right and left
sides respectively). A particularly distinctive characteristic of traditional tuning (especially in
south China) requires that ti and fa be positioned on either side of the same bridge as a
perfect 5th, ti roughly 50 cents flat (from equal temperament) and fa 50 cents sharp.
Placement of the right row of bridges, however, requires no such precise positioning since
only the strings on its left side are utilized (for lower octave pitches). Range on the traditional
instrument is little more than two octaves, depending upon its numbers of bridges. In
performance, it rests on a stand or table and is struck with two slender bamboo beaters
(qinzhu).
The yangqin is an adaptation of the Persian Santūr, which was introduced to coastal areas
of Guangdong province in south China late in the Ming dynasty (1368–1644). Mentioned
frequently in the literature of the 18th to early 20th centuries, it was readily accepted into the
local Cantonese and Chaozhou ensembles, where it remains an important instrument. It is
also used to accompany narrative singing in Sichuan province, and in northern vocal genres
such as Erren tai. In the 20th century it has been accepted into some sizhu (‘silk-and-
bamboo’) ensembles in the Jiangnan area of central-eastern China.
When the new concert-hall music (guoyue) emerged in the mid-20th century, the traditional
yangqin was enlarged in size (to about 100 cm in length for moderate-sized instruments)

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Yangqin.

and given a wider range. On most models, a third row of bridges was added (to the far right
for an extended lower range), bridge numbers were increased from 7 or 8 to 10 or more, and
sliders or rollers were mounted under the strings (on both sides) to facilitate fine tuning and
half-step pitch changes. On some very large present-day models, a fourth (and sometimes a
fifth) row of bridges is present as well. These ‘reformed’ instruments have ranges of between
three and four octaves, many with full chromatic capability.
BIBLIOGRAPHY
A.C. Moule: ‘A List of the Musical and Other Sound-Producing Instruments of the
Chinese’, Journal of the Royal Asiatic Society, North China Branch, xxxix
(1908), 1–160; repr. separately (Buren, 1989), 118–20
Liu Dongsheng and others, eds.: Zhongguo yueqi tuzhi [Pictorial record
of Chinese musical instruments] (Beijing, 1987), 277–9
Liu Dongsheng, ed.: Zhongguo yueqi tujian [Pictorial guide to Chinese
instruments] (Ji'nan, 1992), 276–81
Xu Pingxin: ‘Zhongwai yangqin de fazhan yu bijiao’ [Development and comparison
of Chinese and foreign yangqin], Yueqi (1992), no.1, pp.7–10, no.2, pp.11–15, no.3,
pp.1–5, no.4, pp.8–11
ALAN R. THRASHER

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Yanguas, (Francisco) Antonio

Yanguas, (Francisco) Antonio

(b Medinaceli, 12 April 1682; d Salamanca, 27 Oct 1753).Spanish composer. He was a
choirboy at the collegiate church of Medinaceli from at least 1689. On 14 September 1706
he was appointed choir chaplain at the collegiate church of Alcalá de Henares, and early in
1708 maestro de capilla at S Cayetano, Madrid. At the end of that year he was also
appointed maestro de música at the Colegio del Rey in Madrid, retaining the post at S
Cayetano. On 30 April 1710 he was made maestro de capilla at the metropolitan
cathedral in Santiago de Compostela; on 14 October 1718 he received a similar
appointment at Salamanca Cathedral, and on 2 November that year he became professor of
music at Salamanca University. He remained there for the rest of his life, retiring in 1740.
Yanguas was one of the most distinguished Spanish composers of the first half of the 18th
century. The profound changes in style to be observed between his early and late
compositions – in the use of instruments, in tonal and metrical practices and in the inclusion
of recitatives and arias in villancicos and cantatas – reflect the changes taking place in
Spanish music during the first decades of the century. His music, mostly sacred, shows his
preference for polychoral works, most of them dating from 1710–40. His large-scale
villancicos are among the most elaborate examples of the genre. El señor de Israel (E-
SA 78.31), dated 1722 and probably composed for Corpus Christi Vespers, is for 12 voices
(including four soloists), oboe, two violins and continuo; its 12 sections include an overture,
two choruses and several recitatives and arias for one to four voices.
Yanguas’s only known secular work, a large-scale allegorical cantata A lo amoroso, a lo
dulce (1724) to a libretto by the cathedral harpist Santiago de Roxas, survives incomplete
(E-SA 35.48). Yanguas also participated in the famous controversy surrounding Francesc
Valls’s Missa ‘Scala aretina’.
BIBLIOGRAPHY
A. Yanguas: ‘Paracer de el señor D. Antonio de Yanguas’, Elucidación de la
verdad, ed. J. Martínez (Valladolid, 1717)
F.A. Velasco: Oración fúnebre en las exequias … de el señor Don
Antonio Yanguas (Salamanca, 1754)
M. Pérez Prieto: ‘La capilla de música de la catedral de Salamanca durante el
período 1700–1750: historia y estructura’, RdMc, xviii (1995), 144–73
M. Pérez Prieto: Tres capillas musicales salmantinas: catedralicia,
universitaria e de San Martín en el período 1700–1750 (diss., U. of
Salamanca, 1995)
A. Torrente: The Sacred Villancico in Early Eighteenth-Century Spain:
the Repertory of Salamanca Cathedral (diss., U. of Cambridge, 1997)

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Yanguas, (Francisco) Antonio

ÁLVARO TORRENTE

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Yang Yinliu

Yang Yinliu
(b Wuxi, 10 Nov 1899; d Beijing, 25 Feb 1984). Chinese musicologist. Yang grew up under
the influence of local styles of traditional music in Wuxi, learning instruments from Daoist
priests (including Abing) from the age of six and joining the élite Tianyun she music society.
He was a fine performer of Kunqu vocal music and the pipa (plucked lute). Under the
tuition of the American missionary Louise Strong Hammond, he then studied both
Christianity and Western music theory, attending St John’s University in Shanghai in 1923.
He took up teaching, becoming professor of music at Chongqing, Shanghai and Nanjing
during the troubled 1940s, and publishing many articles.
After the founding of the People’s Republic of China in 1949, Yang’s erudition was much
needed, and he became head of the newly-formed National Music Research Institute of the
Central Conservatory of Music (now the Music Research Institute of the Chinese Academy
of Arts). Until the mid-1960s, in collaboration with other fine scholars (notably his cousin Cao
Anhe), he managed to do remarkable research on both folk and élite traditions, including
Beijing temple music, further work on the ritual ensemble music of his home city Wuxi, a
detailed fieldwork survey in Hunan, and major collections and transcriptions of traditional
notation. Meanwhile his monumental history of Chinese music, first in draft from 1944, was
published, covering the whole of Chinese music history, and élite as well as folk genres, with
unique erudition, though couched in the language of its time.
Punished in the Cultural Revolution (1966–76) like all academics and representatives of the
‘Four Olds’, he lived to see his history printed, and cultural and academic life restored to
normal after the downfall of the Gang of Four. His deep historical knowledge and practical
musicianship assure his seminal influence on Chinese music study today.
WRITINGS
Zhongguo gudai yinyue shi gao [Draft history of ancient Chinese music] (Beijing,
1981)
Yang Yinliu yinyue lunwen xuanji [Selected articles by Yang Yinliu on music]
(Shanghai, 1986)
BIBLIOGRAPHY

and other resources

Han Kuo-huang: ‘Three Chinese Musicologists: Yang Yinliu, Yin Falu, Li Chunyi’,
EthM, xxiv (1980), 483–529

Qiao Jianzhong and Mao Jizeng, eds.: Zhongguo yinyuexue yidai

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Yang Yinliu

zongshi Yang Yinliu (jinian ji) [Yang Yinliu, master of Chinese musicology
(commemorative collection)] (Taipei, 1992)

recordings
Chuancheng: Yang Yinliu bainian danchen jinian zhuanji/Heritage: in
Memory of a Chinese Music Master Yang Yinliu, Wind Records TCD-1023
(2000)
STEPHEN JONES

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Yang Yuanheng

Yang Yuanheng
(b Anping county, Hebei, 1894; d 1959). Chinese guanzi double-reed pipe player. A Daoist
priest, Yang was one of many fine wind players in the ritual ensembles of the Hebei plain
south of Beijing. After his temple was razed by the Japanese invaders in 1938, he supported
himself by agricultural labour and petty trade. In the winters of 1945 and 1946 he was invited
to teach the ‘songs-for-winds’ (chuige) ensemble of Ziwei village in nearby Dingxian
county, itself later to make a national reputation. In 1950 Yang was invited to teach guanzi
at the newly established Central Conservatory of Music, guiding many of the present
generation of conservatory-style guanzi players, including Hu Zhihou.
While still a priest, he made many innovations in the repertory, using the flamboyant large
guanzi which leads the songs-for-winds style rather than the smaller instrument of the
more traditional music associations. Apart from traditional Daoist ceremonial pieces and
classical ‘standards’ (qupai), he also played a more popular layer of folk and local opera
pieces. He is also said to have popularized the ‘opera mimicry’ (kaxi) style.

See also China, §IV, 4(i).

BIBLIOGRAPHY
and other resources
Nie Xizhi: ‘Yang Yuanheng guanzi quji’ [Collected guanzi pieces of Yang
Yuanheng] (Beijing, 1981) [mimeograph, Central Conservatory of Music]
Minzu yueqi chuantong duzouqu zhuanji: guanzi zhuanji [Anthology of
traditional solo pieces for Chinese instruments: guanzi vol.], ed. Zhongyang yinyue
xueyuan and Zhongguo yinyue xueyuan (Beijing, 1985), 23–71
Yuan Jingfang: Minzu qiyue xinshang shouce [Handbook for the
appreciation of Chinese instrumental music] (Beijing, 1986), 151–2
Special Collection of Contemporary Chinese Musicians, Wind Records
TCD 1018 (1996)
STEPHEN JONES

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Yaniewicz, Felix.

Yaniewicz, Felix.
See Janiewicz, Feliks.

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Yanks, Byron.

Yanks, Byron.
See Janis, Byron.

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 Yannay, Yehuda

Yannay, Yehuda
(b Timişoara, 26 May 1937). Israeli-American composer of Romanian birth. He emigrated to
Israel in 1951 where he studied with Boskovitch (1959–64). Soon considered one of Israel's
leading avant-garde composers, a Fulbright Fellowship enabled him to pursue further
studies at Brandeis University (MFA 1966), where his teachers included Arthur Berger and
Ernst Krenek, and the University of Illinois, Urbana-Champaign (DMA 1974) where he
studied with Salvatore Martirano, among others. His doctoral dissertation on the music of
Ligeti and Varèse proved influential to his later compositional style. In 1970 he joined the
composition department at the University of Wisconsin, Milwaukee, and in 1971 founded the
Music from Almost Yesterday concert series, dedicated to the performance of contemporary
music. He has appeared as a guest lecturer, composer and conductor at festivals and
conferences in the USA, Europe and Brazil. While his creative roots are European, by the
early 1980s his music had become increasingly American. His compositions favour a
postmodern synthesis of elements of 20th-century modernism and a concern for the ‘here
and now’.
WORKS
(selective list)

Dramatic and multimedia: Houdini's Ninth (theatre piece), escape artist, db, 1969 [rev. for film, 1973,
collab. E.J. Clark]; Wraphap (theatre piece), female actor, amp aluminium sheet, yannachord, 1969;
Coheleth (Bible: Ecclesiastes), choir, elec processed sound environment, 1970, collab. J. Spek;
American Sonorama (ballet, choreog. A. Nassif), 1975–6; Autopiano (Piano Minus Pianist), actor, pf,
1976; All Our Women (chbr op, Yannay), 1981; Jidyll (film, Yannay, dir. R. Blau), 1990; Celan
Ensembles ‘In Madness there is Order’ (music video), 1992, collab. Fortier [based on Celan
Ensembles, 1988]; I can't fathom it, vc, slide projections, 1993, collab. M. Mellott
Inst ens: 2 Frags., vn, pf, 1966; Mirkamim (Textures of Sound), orch, 1967; Mutatis mutandis, 6 insts,
1968; Per se, conc., vn, 7 insts, 1969; preFIX-FIX-sufFIX, hn, bn, vc, 1971; Bug Piece, any insts, live
insects, 1972; The Hidden Melody (Nigun haganuz), hn, vc, 1977; Concertino, vn, chbr orch, 1980; 3
Jazz Moods, sax, tpt, jazz ens, chbr ens, 1982; Trio, cl, vc, pf, 1982; Im Silberwald, trbn, glass
harmonica, tape, 1983; Nine Branches of the Olive Tree, rec, b cl, gui, perc, 1984; Duo, fl, vc, 1991; 5
Pieces, s sax, cl, mar, 1994; Exit Music at Century's End, orch, 1995; Loose Connections, vn, cl, db,
1996; Marrakesh Bop, fl, gui, 1999

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 Yannay, Yehuda

Vocal: The Chain of Proverbs (cant., J.I. Zabara 1962;), youth chorus, 1962; Spheres (Y. Amichai), S,
10 insts, 1963; Incantations (W.H. Auden), 1v, pf, 1964; Dawn (A. Rimbaud), mixed chorus, 1970;
Departure (Rimbaud), 9vv, 5 insts, 1972; At the End of the Parade (W.C. Williams), Bar, 6 insts, 1974;
A Noiseless Patient Spider (W. Whitman), women's choir, 1975; 5 Songs (Williams), T, orch, 1976–7;
Le campane di Leopardi (G. Leopardi), chorus, glass harmonica, 1979; Eros Reminisced (C.P.
Cavafy), 1v + pf, 1981; Celan Ensembles (P. Celan), T, chbr ens, 1986–92; Geometry of Aloneness
(M. Mellot), 1v, glass harmonica, slide projections, 1996
Solo inst: Music for Pf, 1962; Permutations, perc, 1964; Statement, fl, 1964; Continuum, pf, 1966;
Coloring Book, hp, 1969; 7 Late Spring Pieces, pf, 1973 [orchd 1979]; Pf Portfolio, 1994–;

MSS in Golda Meir Library, US-MAu

Principal publishers: Israel Music Institute, Levana, Mark Foster, Media Press, Smith

BURT J. LEVY

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Yannidis, Costas.

Yannidis, Costas.
See Constantinidis, Yannis.

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 Yanovs'ky (Siegel), Borys Karlovych

Yanovs'ky (Siegel), Borys

Karlovych
(b Moscow, 19/31 Dec 1875; d Kharkiv, 19 Jan 1933). Ukrainian composer, conductor and
critic. A graduate of Kiev University (1903) he studied music privately with E. Ryb and
worked as a conductor and critic in Kiev until 1910. He then continued these activities in St
Petersburg and then Moscow where he conducted at the Zimin Private Opera (1916–17). In
1918 he settled in Kharkiv where he added teaching (at the Musical Dramatic Institute) to his
activities. His opera Vybukh (‘Explosion’) was the first Ukrainian opera on a revolutionary
theme, while his last opera, Duma chornomors'ka (‘Duma of the Black Sea’), is a grand
opera based on Ukrainian folk music and is dedicated to Verdi. Polish and Turkish materials
are also used to characterize the various national elements of the plot.
WORKS
(selective list)

10 ops incl.: Sorochyns'kyy yarmarok [The Fair at Sorochinsky] (after N.V. Gogol'), 1899; Sestra
Beatrysa [Sister Beatrice] (after M. Maeterlinck), 1907, Kiev; Ved'ma [The Witch] (after A.P. Chekov),
1916, Zimin Theatre, Moscow; Vybukh [Explosion], 1927, Khar'kiv; Duma chornomors'ka/Samiylo
kishka [Duma of the Black Sea] (4, after Ukr. folk dumas), 1929, Kiev
Inst: Vostochnaya syuita [Eastern Suite], orch, 1896; Andante, orch, 1899; Viy, poem, orch, 1899;
Favn i pastukha [The Faun and the Shepherdess], orch, 1902; Aria of the Eighteenth Century, vc, pf,
1908; Suite, pf, 1924; Intermezzo on Ukrainian Themes, str qt, 1928; Zazdravnaya, orch, 1931
Other works incl.: 2 ballets, choral works, songs (A. Blok, M. Lermontov and K. Bal'mont), Ukr.
folksong arrs.

BIBLIOGRAPHY
L. Arkhimovych: ‘Nova lyudyna v umovakh novoho zhyttya’ [A new man in
conditions of a new life], Ukraïns'ke muzykoznavstvo (1968), no.3, pp.3–17
L. Arkhimovych: ‘Shlakhy rosvytku ukraïns'koï radyans'koï opery’ [The paths of
development of Ukrainian Soviet opera] (Kiev, 1970)
VIRKO BALEY

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 Yanov-Yanovsky, Dmitry Feliksovich

Yanov-Yanovsky, Dmitry
Feliksovich
(b Tashkent, 24 April 1963). Russian composer. He studied with his father Feliks at the
Tashkent Conservatory, graduating in 1986. During this period he also travelled to European
Russia where he benefited from the advice and support of, among others, Schnittke and
Denisov. It was through the latter's intervention that Dmitry Yanov-Yanovsky's music began
to be heard abroad: in 1991 his Lacrymosa for soprano and string quartet was given
special mention at the 4th International Competition for the Composition of Sacred Music in
Fribourg, Switzerland, where it was performed by the Arditti Quartet and Phyllis Bryn-Julson.
In 1993 he took part in the Summer Academy at IRCAM and since then his music has been
heard in many countries. Of particular importance has been his association with the Kronos
Quartet who, in addition to performing Lacrymosa with Dawn Upshaw, have given the first
performances of four other works including Conjunctions (1995), a concerto for string
quartet, orchestra and tape. A more unusual facet of his musical personality is heard in his
cycle of five pieces utilizing the Central Asian cimbalom called a chang. The composer
taught himself to play this instrument; the last piece in the cycle – Chang-Music V – was
first performed by him and the Kronos Quartet. Other works reflect aspects of his early years
in Tashkent: Awakening (1993) makes evocative use of the Muslim call to prayer, while
Takyr (1995) plays with the sound of traditional Uzbek percussion instruments. Come
and Go (1995) and Hommage à Gustav Mahler (1996) reflect more Western
interests not only in their texts – the former is an ‘étude for the stage’ after Beckett – but in
their respective stylistic allusions to post-Webernian modernism and late German
Romanticism. Broadly speaking, Dmitry Yanov-Yanovsky is a composer of acute sensitivity
who favours a refined beauty of sound and emotional intensity.
WORKS
(selective list)

Stage: Come and Go (étude for stage), 1995, Tashkent, Ilkhom Theatre, 26 April 1996; The Little
Match-Girl (ballet for children), 1996–7
Orch: Conc., pf, chbr orch, 1983; Sotto voce, 1993; Ritual, 1994; Conjunctions, str qt, orch, tape,
1995; Takyr, 6 perc, str, 1995
Vocal: Anno Domini (A. Akhmatova), S, pf, 1985; Autumn Rain in the Darkness … (M. Basho), S, chbr
orch, 1987; Thread (Omar Khayyam), 1v, dancer, 10 musicians, 1989; Lacrymosa, S, str qt, 1991;
Hommage à Gustav Mahler (F. Rückert, 4 songs), S, str qt, 1996; Moon Songs (F. García Lorca), S, 2
pf, 1996; Wiegenlied für Heidelberg, S, fl, gui, vn, perc, 1996

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 Yanov-Yanovsky, Dmitry Feliksovich

Chbr and solo inst: Bagatelles, pf, 1982; Str Qt, 1985; Coda, gijak, chang, 1986; Cadenza, pf, 1988;
Solo, vn, 1988; Epilogue, str qt, pf, 1989; Chang-Music I, chang, 1990; Chang-Music II, 2 pf, 1990;
Madrigal, vc, 1990; Chang-Music III, str trio, 1991; Fragments of Birdlife, rec, 1991; Haiku for Gert
Sorensen, perc, 1992; Presentiment, chbr ens, tape, 1992; Sounding Darkness, fl, ob, glass
harmonica, va, vc, 1992; Awakening, str qt, tape, 1993; Chang-Music IV, str qt, 1993; Chbr Music, 12
pfmrs, 1993; Chang-Music V, chang, str qt, 1994; Facets, org, 1996; Lux aeterna, vn, chbr ens, 1997
Principal publisher: Boosey & Hawkes

GERARD McBURNEY

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 Yanov-Yanovsky, Feliks

Yanov-Yanovsky, Feliks
(b Tashkent, 28 May 1934). Russian composer. Born to Russian-speaking parents of partly
Polish-Jewish extraction, he studied the violin and composition at the Tashkent
Conservatory, graduating in 1957 and 1959 respectively. He pursued a career as a violinist
for a while: firstly in the Uzbek State SO (from 1954) and later as a member of the Uzbek
Radio String Quartet. In 1961 he was appointed to teach at the Tashkent Conservatory and
subsequently became professor of composition there. His works immediately suggest that
he is a composer of Western sympathies – he has written symphonies, string quartets, set
Latin texts from the Catholic tradition and written an opera after Anouilh. But given that he
has spent his life in Asia, this alliance is in fact unusual and not typical of his background.
Although Western music exerted a strong appeal on Soviet composers during the period
during his younger years, Yanov-Yanovsky was doubly isolated by his existence in the then
musically provincial Tashkent. His creative reaction to this political and geographical
isolation was not protest but a patient construction of very personal musical bridges which
reach out towards the European and even Russian traditions to which he felt closest and
from which he might otherwise be separated. The result is a language of subtle culture and
emotional generosity, in which surface modesty and reticence mask impressive strength and
commitment of utterance. His particularly muscular and passionate string writing reflects his
experience of playing the symphonic and chamber music of the Austro-Germanic tradition. It
would, however, be wrong to suggest that he has ignored the Asiatic traditions which
surround him: he has set texts by Asian writers and, more importantly and generally, he has
brought an Eastern perspective to his forays into the Western mind.
WORKS
(selective list)

Ops: Petrushka-inostranets [Petrushka is a Foreigner] (children's op, 1, after S. Marshak), 1979;

Orkestr [The Orchestra] (2, after J. Anouilh), 1991
Inst: Conc. grosso no.1, str qt, chbr orch, 1969; Conc., orch, 1973; Sym. no.1, orch, 1982; Sym. no.2,
orch, 1986; Simple Conc. (Conc. grosso no.2), vn, va, vc, str, 1989; De Profundis (Sym. no.4), orch,
1990; Brass Qnt no.1, 1991; Fabula (Vn Conc. no.3), orch, 1992; Sostenuto, str qt, 1993; Violet Light,
Late Evening, fl, 1993; Brass Qnt no.2, 1994; Music for Fl and Chbr Ens, 1995; Hommage à FGL, 8
vc, 1996; Silhouette, chbr ens, 1996

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 Yanov-Yanovsky, Feliks

Vocal: Elegii (S. Fucao), S, fl, cl, bn, vn, va, vc, pf/hpd, 1974; Triptych (A. Aripov), Bar, fl, vib, vc, 1978;
Sym. no.3 (F. García Lorca), Bar, hpd, str, 1987; Rubaiyat (Omar Khayyam), Bar, orch, 1990; Missa
Brevis, S, str qt, 1992; Dies Irae, S, Mez, T, B, chbr chorus, org, chbr ens, 1994; Tak mnogo lunï
segodnya [So Much Moonlight Today] (triptych, Chin. poets), S, fl, vn, 1994; Ad vitam (Kyrie, Gloria,
Sanctus, Agnus Dei), Mez, perc ens, 1995; Cantate Domino, S, 14 insts, 1995; Ne znayu, gde … [I
Know not Where …] (E. Verkhan, trans. V. Bryusov), S, 2 pf, 1996; Requiem, S, Mez, T, B, chorus,
perc, str, 1996
About 40 film scores, 15 incid music scores, music for children, pieces for Uzbek trad. insts, songs

Principal publishers: Boosey & Hawkes

GERARD McBURNEY

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Yanowski, Feliks.

Yanowski, Feliks.
See Horecki, Feliks.

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Yap.

Yap.
See Micronesia, §II, 6.

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Yaraví.

Yaraví.
Probably a Spanish variant of the Quechua word ‘harawi’ (or harahui) which, in pre-
Conquest times, meant any melody or sung narrative, particularly those chanted by
haravecs, the official rhapsodists of the Inca court. Over the centuries this Andean genre
has taken on a lyrical elegiac character with a principal theme of the anguish of lost or
unrequited love. Frequently set in either a simple two-part (AA') or a rounded binary (ABA')
form with regular phrase structures, the yaraví characteristically exploits the major and
relative minor bimodality inherent in its essentially pentatonic tonal framework; although 3/4
metre occurs regularly, multi-metre schemes reflect the melodic flow of many expressive
examples. Several composers, including Ginastera (Impresiones de la Puna, 1934) and
Luis H. Salgado (Symphony no.1 ‘Ecuatoriana’, 1945–9), have set the yaraví for chamber
ensemble or orchestra. Yaravís were published, in musical score, as early as the 1880s by
Marcos Jiménez de la Espada.
BIBLIOGRAPHY
M.J. de la Espada and D. Marcos: ‘Yaravíes quiteños’, Actas de la cuarta
reunión: 4th International Congress of Americanists (Madrid, 1881), 1–82
JOHN M. SCHECHTER

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Yardbirds, the.

Yardbirds, the.
English rock band. It was formed in London in 1963 by the art school students Keith Relf (22
Mar 1943–76; vocals and harmonica), Jim McCarty (b 25 July 1943; drums), Paul Samwell-
Smith (b 8 May 1943; bass guitar), Chris Dreja (b 11 Nov 1945; rhythm and bass guitars)
and Anthony ‘Top’ Topham (lead guitar) who was replaced by Eric Clapton (b 1945). They
began playing covers of rhythm and blues standards, and replaced the Rolling Stones as the
house band at the Crawdaddy Club in Richmond, where they made a live recording with
Sonny Boy Williamson (i). Their early live performances were distinguished by extreme
volume, quick tempos, energy and raw power, which was captured on Five Live
Yardbirds, recorded at the Marquee in London (1965). Even in the studio their frenetic
style came across, especially in the characteristic climatic point of such songs as I’m a
man, I ain’t done wrong, Lost Woman and Shape of Things, where repeated
quavers, increasing volume and octave leaps in the bass increased the tension.
With the exception of Clapton’s prominence on Got to hurry, Relf’s harmonica was usually
the main solo instrument. When Jeff Beck (b 1944) replaced Clapton (1965) the guitar
became the real focus of the music; Beck’s experimental, extroverted style, along with the
group’s new interest in a wider variety of music, changed their sound. The influence of
Indian music is heard in the riffs to Heart Full of Soul, Over, Under, Sideways,
Down and Happenings Ten Years Time Ago, while Still I’m sad shows traces of
Gregorian chant. With these songs the band pioneered the psychedelic sound; the album
Yardbirds (Columbia 1966) is an important document of this style. Happenings Ten
Years Time Ago, with its heavy use of echo, indecipherable talking and laughing during
the wailing guitar solo and lyrics in which the protagonist is ‘sinking deep into the world of
time’, is the most fully developed example of their psychedelic style, and was made after
Jimmy Page (b 1946) had joined the group in 1966, first on bass guitar, then briefly joining
Beck on lead guitar before eventually replacing him the following year. Page continued the
experimental direction in pieces such as ‘White Summer’ (Little Games, Columbia, 1967)
and ‘I’m confused’ (Yardbirds, Col., 1968); both these songs (the latter as ‘Dazed and
Confused’) became staples in the repertory of the New Yardbirds, later renamed Led
Zeppelin, which Page formed to succeed the Yardbirds after its demise in 1968.
BIBLIOGRAPHY
P. Brown: ‘Yardbirds Inside and Out’, Musician (1982), 88–98ff
J. Platt, C. Dreja and J. McCarty: Yardbirds (London, 1983)
SUSAN FAST

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 Yardumian, Richard

Yardumian, Richard
(b Philadelphia, 5 April 1917; d Bryn Athyn, PA, 15 Aug 1985). American composer of
Armenian descent. Already familiar with Armenian folk music and the classical repertory, he
composed his first piece at the age of 14 and in his late teens studied music independently,
with the encouragement of Stokowski and Iturbi. In 1936 he became a member of the
Swedenborgian Church and later served as music director of the Lord's New Church, Bryn
Athyn; his religion was among the most important influences on his works. He began his
formal training in 1939, studying harmony with William Happich, counterpoint with H.
Alexander Matthews, and the piano with Boyle until 1941. He attended Monteux's
conducting school in 1947 and studied with Virgil Thomson briefly in 1953. He was closely
connected with the Philadelphia Orchestra from 1951 to 1964, during which time the
orchestra gave almost 100 performances and made four recordings of his works.
Throughout his career Yardumian strove to create his own personal compositional language,
influenced by Appalachian ballads and by the sonorities and techniques of Debussy, as well
as by Armenian music. He formulated a system of 12 notes based on superimposed 3rds
built from alternate black and white notes of the keyboard (‘quadrads’). The resulting
homophonic free chromaticism is apparent in the Violin Concerto, the Chromatic Sonata and
other works written between 1943 and 1954. After Cantus animae et cordis (1955) his
work took a new direction, with a period of intense study of medieval and Renaissance
modality and polyphony and of the music of Bach. Works such as the Mass are
characterized by the use of folk melodies and liturgical chants of Armenia.
WORKS
(selective list)

Orch: Armenian Suite, 1937, last movt added 1954; Sym. Suite, 1939; 3 Pictographs of an Ancient
Kingdom, 1941; Desolate City, 1943–4; Vn Conc., 1949, 2nd movt added 1960; Sym. no.1 (Noah),
1950, rev. 1961; Epigram: William M. Kincaid, fl, str/str qt, 1951; Passacaglia, Recitatives and Fugue
(Pf Conc.), 1957; 2 chorale preludes: Jesu meine Freude, Nun komm der heiden Heiland, 1978 [arrs.
of org works]
Chbr and vocal inst: Sym. no.2 ‘Psalms’ (Ps cxxx), Mez/Bar, orch, 1st movt 1947, last movt 1964;
Poem, To Mary in Heaven (R. Burns), Mez/Bar, pf, sketched 1952, orchd 1979; Create in me a Clean
Heart (Ps li, other Old Testament texts), Mez/Bar, SATB, 1962; Magnificat, SSAA, 1965; Mass ‘Come
Creator Spirit’, Mez/Bar, chorus, congregation, orch/org, 1965–6; The Story of Abraham (orat, Bible:
Genesis, trans. P.N. Odhner), S, Mez, T, Bar, SSAATTBB, orch, film, 1968–71, rev. 1973; Der
Asdvahdz (G. Narekatsi), Mez, hn, hp, 1983; Hrashapar, SATB, orch/org, 1984; c100 chorales, SATB,
1944–85

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 Yardumian, Richard

Chbr and solo inst: 3 Preludes, pf: Wind, 1938, Sea, 1936, Sky, 1944, orchd 1945; Dance, pf, 1942;
Chromatic Sonata, pf, 1946; Prelude and Chorale, pf, 1946; Monologue, vn, 1947; Fl Qnt, 1951, arr. fl,
str; Cantus animae et cordis, str qt, 1955, arr. str, 1955; org works

Principal publisher: Elkan-Vogel

BIBLIOGRAPHY
EwenD
L.E. Carroll: ‘Remembering Composer Richard Yardumian’, Choral Journal,
xxvi/8 (1986), 23–7
MARY KINDER LOISELLE

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Yarkov, Pyotr (Glebovich)

Yarkov, Pyotr (Glebovich)

(b Seltso village, Bronnitsïy district, nr Moscow, 1875; d Moscow, 18 Dec 1945). Russian
tenor folk singer and folk choir leader. He was originally a joiner and later became an
agronomist and a journalist. He loved traditional song and knew several hundred Russian
folksongs by heart. In 1919 he organized a choir which improvised Russian village songs in
a traditional manner, singing in parts; his aim was to preserve folksongs as a living art by
staging rather than arranging them. His skill in doing this was acknowledged by many
distinguished Russian composers, writers and ethnomusicologists. During the Soviet period,
small regional choirs such as Yarkov's became state folk choirs and provided models for
other regional ‘folklore’ groups in the northern Russian, Voronezh, Ural' and Don regions.
With Mitrofan Pyatnitsky (1864–1927) and Ol'ga Kovaleva (1881–1962), Yarkov was one of
the leading exponents of staged folksong in Russia.
BIBLIOGRAPHY
A.G. Novikov, ed.: Russkiye narodnïye pesni [Russian folk songs], i–iii
(Moscow, 1936–7) [score; incl. songs recorded from Yarkov]
P. Yarkov: Russkiye narodnïye pesni Podmoskoviya, sobranniye
narodnïm pevtsom-umel'tsem P.G. Yarkovïm s 1890 po 1930 g [Russian
folk songs of the Moscow region collected by the skilled folk singer Yarkov between
1890 and 1930] (Moscow, 1951, 2/1964)
M. Nakhimovsky: Pyotr Glebovich Yarkov (Moscow, 1973)
IZALY ZEMTSOVSKY

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Yarustovsky, Boris Mikhaylovich

Yarustovsky, Boris Mikhaylovich

(b Moscow, 2/15 May 1911; d Moscow, 12 July 1978). Russian musicologist. He graduated
from the history and theory department of the Moscow Conservatory in 1937, and completed
postgraduate studies there under Valentin Ferman in 1941. He took the doctorate in 1952
with a dissertation on the dramaturgy of Russian opera. After serving in the Soviet army
(1941–6), he headed the cultural section of the Central Committee of the Soviet Communist
Party (1946–58). From 1948 he taught at the Moscow Conservatory, where he was
appointed professor in 1956; he joined the Institute for the History of the Arts as director in
1959, becoming senior research fellow in 1961. A member of the Union of Soviet
Composers from 1938, he was its secretary (1968–74). He was also secretary to the
executive committee of UNESCO (1969–73), and a member of the International Music
Council of UNESCO (1972–8).
Yarustovsky wrote primarily on the music of Tchaikovsky, but his interest covered music
from both Russia and abroad. He was especially concerned with opera, and his last book,
Ocherki po dramaturgii operï XX veka (1971–8) can be seen as the summation of
his work in this field. In following Asaf'yev’s intonatsiya theory, Yarustovsky substantiated
the idea of musical drama and the melody–genre conflict in opera. He also undertook work
on the symphony, again with special reference to Tchaikovsky: his book on the
contemporary symphony (1966) was the result of his earlier appreciation of Tchaikovsky’s
symphonies (1961). He was also the initiator and editor-in-chief of Muzïka XX veka:
ocherki, in which he attempted to break down the barrier that had for so long separated
Soviet music from that of other countries, uniting them into a single study.
Yarustovsky did not confine himself to musicology and history in his academic and popular
work; there is invariably an aesthetic and ideological aspect in his writings. Musicality and
the capacity for aesthetic feeling are combined with an attempt to describe the artistic event
within a strict scheme of appraisal dictated by the norms of socialist aesthetics and by the
prevailing conditions of the state ideology. Thus his role in musical life was not limited by his
own status as an academic. As a responsible member of the chief party organ, he came to
wield an influence over the reception of other composers’ works and writings. Yarustovsky
represented Soviet musical thinking abroad at numerous symposia and festivals, and his
activities within UNESCO helped to broaden the international contacts available to Soviet
musicians. Yet in this sphere he remained faithful to his belief in the necessity of an
ideological dimension in response to any event in musical culture.
WRITINGS
‘Oblik Chaykovskogo’ [Tchaikovsky’s temperament], SovM (1938), no.6, pp.32–7
P.I. Chaykovskiy: zhizn' i tvorchestvo [Tchaikovsky: life and works] (Moscow,
1940)

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Yarustovsky, Boris Mikhaylovich

Opernaya dramaturgiya Chaykovskogo [The operas of Tchaikovsky] (Moscow

and Leningrad, 1947)
‘Zametki ob ėstetike russkoy klassicheskoy operï’ [Notes on aesthetics in Russian
Classical opera], SovM (1948), no.2, pp.110–16
‘O dramaticheskom konflikte v sovetskoy opere’ [Dramatic conflict in Soviet opera],
SovM (1951), no.7, 20–30
Nekotorïye chertï dramaturgii russkoy opernoy klassiki [Some
characteristics of the dramaturgy of Russian Classical opera] (diss., Moscow
Conservatory, 1952; Moscow, 1952 as Dramaturgiya russkoy opernoy klassiki
[Drama in Russian Classical opera], 2/1953; Ger. trans., 1957)
‘O muzïkal'nom obraze’ [On musical form], SovM (1953), no.7, pp.23–30; no.8, pp.24–
31; no.9, pp.29–38
‘Desyataya simfoniya Shostakovicha’ [Shostakovich’s Tenth Symphony], SovM
(1954), no.4, pp.4–24
Nekotorïye problemï sovetskogo muzïkal'nogo teatra [Some problems for
Soviet music theatre] (Moscow, 1957)
‘Prokof'yev i teatr: zametki o dramaturgii’ [Prokofiev and the theatre: notes on drama],
SovM (1961), no.4, pp.66–80
Simfonii Chaykovskogo [The symphonies of Tchaikovsky] (Moscow, 1961)
Igor' Stravinskiy: kratkiy ocherk zhizni i tvorchestva [Igor Stravinsky: an
outline of his life and works] (Moscow, 1963, 3/1982; Ger. trans., 1966)
Muzïka novogo mira [Music of the New World] (Moscow, 1964)
ed.: Intonatsiya i muzïkal'nïy obraz [Intonatsiya and musical form] (Moscow,
1965; Ger. trans., 1965) [incl. ‘Kak zhizn' …’ [Like life …], 95–133]
Simfonii voynï i mira [Symphonies of war and peace] (Moscow, 1966)
‘Teoriya v razvitii’ [Theory in development], SovM (1966), no.2, pp.141–3
‘“Igrok”, tragediya-satira: k izucheniyu naslediya S. Prokof'yeva’ [The Gambler,
tragedy-satire: towards a study of Prokofiev’s legacy], SovM (1970), no.4, pp.103–14;
no.6, pp.64–76
Ocherki po dramaturgii operï XX veka [Studies in drama in 20th-century opera]
(Moscow, 1971–8)
‘Yest' sovetskiy intonatsionnïy stroy!’ [There is a Soviet intonatsiya system!], SovM
(1973), no.3, p.28–31
‘Soviet Musicology’, AcM, xlvi (1974), 50–57
‘Opernïy teatr v mezhvoyennïye godï [Opera theatre in the inter-war years], SovM
(1976), no.11, pp.59–71
‘I vnov' “Pikovaya dama”’ [Once again The Queen of Spades], SovM (1977),
no.9, pp.131–5
BIBLIOGRAPHY

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Yarustovsky, Boris Mikhaylovich

V. Bogdanov-Berezovsky: ‘Uchyonnïy, kritik, muzïkal'nïy deyatel'’ [Scholar,

critic and musical figure], SovM (1971), no.9, p.48–54
NELLI GRIGOR'YEVNA SHAKHNAZAROVA

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Yashiro, Akio

Yashiro, Akio
(b Tokyo, 10 Sept 1929; d Yokohama, 9 April 1976). Japanese composer. He studied
composition privately with Saburō Moroi from 1940 and then entered the National University
of Fine Arts and Music, where he was a pupil of Hashimoto, Ifukube and Ikenouchi
(composition) and Kreutzer (piano). In 1949 he graduated and in May 1951 he began to
teach at the university. Within a few months, however, he had left for Paris, where he
studied at the Conservatoire until 1956, his teachers including Boulanger, Aubin, de la
Presle, Noël Gallon and Messiaen; he gained a premier prix for harmony in 1954. On his
return he resumed teaching at the university, while also teaching at the Tōhō Gakuen School
of Music from 1958.
Yashiro’s music distinctly shows the influences of French academicism in the tradition of Les
Six and of his teachers; besides this, his works are often characterized by a sentimental
lyricism. He was primarily a composer of ‘absolute’ instrumental music. In 1956 he won the
Mainichi Music Prize for his String Quartet (1954–5), and he received Otaka prizes in 1960
for his Cello Concerto and in 1967 for his Piano Concerto, which also won the Japanese
government Art Festival prize. Other notable works of his include the Sonata for two flutes
and piano (1957), the Symphony (1958) and the Piano Sonata (1961). Orufeo no shi [The
Death of Orpheus] (Tokyo 1977) is a collection of essays demonstrating his penetrating
insights into contemporary music. His works are published by Ongaku-no-Tomo Sha. (K.
Hori, ed.: Nihon no sakkyoku nijusseiki [Japanese compositions in the 20th century],
Tokyo, 1999, pp.262–3).
MASAKATA KANAZAWA

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Yasser, Joseph

Yasser, Joseph
(b Łódź, 16 April 1893; d New York, 6 Sept 1981). American musicologist of Polish birth.
After studying the piano with Jacob Weinberg in Moscow, he attended the Imperial School of
Commerce (graduating in 1912) and the Moscow Conservatory (MA 1917), where he
studied the piano with Alexander Goedicke, organ with Leonid Sabaneyev and theory with
M. Morozov. While directing the conservatory's organ department (1918–20), he served as
organist for the Bol'shoy and occasionally performed at the Moscow Art Theatre; he then
worked as a lecturer for the Siberian Board of Education (1920–21) and music director of the
Shanghai Songsters’ Choral Society (1921–2). He emigrated to the USA in 1923 and,
following a concert tour, he settled in New York, working as organist at the Free Synagogue
(1927–8), Temple Emanu-El (1928–9) and as organist and choirmaster at Temple Rodeph
Sholem (1929–60) and the Cantor's Institute of the Jewish Theological Seminary of America
(1952–60). He was a founding member and vice-president (1931–42) of the American
Library of Musicology, and chairman of both the musicological committee of Mailamm (the
American Palestine Music Association, 1934–9) and the New York chapter of the American
Musicological Society (1935–7), of which he was a founding member; he also served on the
National Jewish Music Council (1944–60) and the Jewish Music Forum (1945–55). He
retired in 1960, after which he led a rather reclusive life.
From 1930 Yasser wrote on various theoretical and historical aspects of Jewish music,
including an article on the Biblical magrepha (1960), which he interpreted to be a noise-
making signal instrument rather than an organ, as commonly believed. Among his
theoretical works, A Theory of Evolving Tonality (1932) and Medieval Quartal
Harmony (1937–8), which were published by the newly founded American Library of
Musicology and which were considered controversial, remain his most important
contributions.
WRITINGS
‘Rhythmical Structure of Chinese Tunes’, Musical Courier (3 April 1924)
‘Musical Moments in the Shamanistic Rites of the Siberian Pagan Tribes’, Pro
Musica Quarterly, iv (1926), 4–15
‘Saminsky as a Symphonist’, Lazare Saminsky, Composer and Civic
Worker, ed. D. de Paoli (New York, 1930), 21–47
A Theory of Evolving Tonality (New York, 1932/R)
‘A Revised Concept of Tonality’, Music Teachers National Association:
Proceedings, xxx (1935), 100–21
‘Medieval Quartal Harmony (a Plea for Restoration)’, MQ, xxiii (1937), 170–97, 336–
66; xxiv (1938), 351–85; pubd separately (New York, 1938)
‘New Guide-Posts for Jewish Music’, Bulletin of the Jewish Academy of Arts

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Yasser, Joseph

and Sciences, iii (1937), 3–10; pubd separately (New York, 1937)
‘Foundations of Jewish Harmony’, Musica hebraica, i–ii (1938), 8–11
‘Gretchaninoff's “Heterodox” Compositions’, MQ, xxvii (1942), 309–17
‘Jewish Composer, Look Within’, Menorah Journal, xxxiv (1946), 109–15
‘A Letter from Arnold Schoenberg’, JAMS, vi (1953), 53–62
‘The Art of Nicholas Medtner’, Nicholas Medtner, 1879–1951: a Tribute to
His Art and Personality, ed. R. Holt (London, 1955), 46–65
‘My Encounters with Rachmaninoff’, Sergei Rachmaninoff, ed. S. Bertenson and
J. Leyda (New York, 1956), 197 only, 278 only, 281–3
‘The Structural Aspect of Jewish Modality’, Jewish Music Forum Bulletin, x
(1956), 33–5
‘The Musical Heritage of the Bible’, YIVO Annual of Jewish Social Science, xii
(1958–9), 157–75
‘The Magrepha of the Herodian Temple: a Five-Fold Hypothesis’, JAMS, xiii (1960),
24–42
‘The Philosophy of Improvisation’, The Cantorial Art, ed. I. Heskes (New York,
1966), 35
‘The Hebrew Folk Song Society of St. Petersburg: Ideology and Technique’, The
Historic Contribution of Russian Jewry to Jewish Music, ed. I. Heskes and
A. Wolfson (New York, 1967), 31–42
‘The Opening Theme of Rachmaninoff's Third Piano Concerto and its Liturgical
Prototype’, MQ, lv (1969), 313–28
‘Abraham Wolf Binder: in Retrospect’, Studies in Jewish Music: Collected
Writings of A.W. Binder, ed. I. Heskes (New York, 1971), 6–11
BIBLIOGRAPHY
H. Wunderlich: ‘Four Theories of Tonality’, Journal of Musicology, ii (1941),
171–80
G. Saleski: Famous Musicians of Jewish Origin (New York, 1949), 663–4
D.D. Horn: ‘Quartal Harmony in the Pentatonic Folk Hyms of the Sacred Harp’,
Journal of American Folklore, no.282 (1958), 564–81
B. Brook: American Musicological Society Greater New York Chapter:
a Programmatic History 1935–1965 (New York, 1965)
K. Blaukopf: ‘Schönberg, Skrjabin, und Yasser’, 100 Jahre Staatsoper –
Wiener Schule: Almanach der Wiener Festwochen (Vienna, 1969), 103–4
A. Weisser: Selected Writings and Lectures of Joseph Yasser: an
Annotated Bibliography (New York, 1970) [incl. pubns in Russ.]
K. Blaukopf: ‘Musiksoziologie: Bindung und Freiheit bei der Wahl von Tonsystems’,
Texte zur Musiksoziologie, ed. T. Kneif (Cologne, 1975), 140–57
E. Berlinski: ‘Joseph Yasser (1893–1981): a Personal Recollection (with a

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Yasser, Joseph

“Postscript” by Israel J. Katz)’, Musica judaica, iv (1981–2), 113–20

ISRAEL J. KATZ

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Yasukawa, Kazuko

Yasukawa, Kazuko
(b Hyōgo, 24 Feb 1922; d Tokyo, 12 July 1996). Japanese pianist and teacher. While a
baby she was taken to Paris and brought up there. At the age of ten she was admitted to the
Paris Conservatoire and studied with Lazare Levy, receiving the première prix in 1937
and also winning the first prize at the International Competition for Female Musicians in
Paris in the same year. Returning to Japan in 1939, she made a sensational début the
following year, and continued to play frequently until her retirement in 1982. She began to
teach at the Tokyo School of Music (now the Tōkyō Geijutsu Daigaku) in 1946 and was a
professor from 1952 until her retirement in 1989; her students included Kiyoko Tanaka and
Izumi Tateno. In 1980 she was one of the founders of the Japanese International Music
Competition. In a musical culture traditionally dominated by German influence, Yasukawa
was the first musician in Japan to represent the French school, and through her teaching
and editions she successfully promoted the music of Chopin, Debussy and Ravel. After 1971
she served frequently on the juries of various international competitions, including the
Marguerite Long-Jacques Thibaud, the Queen Elisabeth and the Warsaw Chopin
competitions. She received numerous international prizes and in 1967 was admitted to the
Légion d'Honneur.
MASAKATA KANAZAWA

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Yatga [yataga, yatuga].

Yatga [yataga, yatuga].

Mongolian half-tube zither with movable bridges. Traditionally, the instrument varies in size
and tuning even within one ethnic group, as evidenced by two Chahar Mongol instruments
collected by Haslund-Christensen this century: one, now in the National Museum,
Copenhagen, measures 114·5 cm long by 21·6 cm wide; a second, in the Swedish
Ethnographical Museum, Stockholm, measures 153·4 cm long by 22 cm wide. The tuning of
the instrument used by Sünit Mongols was pentatonic in the sequence of the Chinese zhi
mode, using the harmonic series 45·123. Similarly, the ten-string Ordos Mongol zither
described by van Oost (1915–16) lacked the mi and ti of the Western solmization series.
The earliest documentation of the classical Mongolian term yatuga (or yatugan) occurs in
a Mongolian-Chinese dictionary of 1389, where it is paired with the Chinese zheng, an
instrument described in the Yüan shih (1370), a history of the Yüan (Mongol) dynasty, as
having 13 strings. It was also used in the Mughal courts of Central Asia. Persian sources
use the Mongolian word ‘yatugan’ for a zither with movable bridges, and a 15th-century
poem written in old Uzbek (Chagatay) also mentions the yatugan. An 18-century source
refers to a Kalmyk yattagan with gut strings. Mongolian sources of the 19th and early 20th
centuries describe a yatga with 14 strings. During the Qing dynasty (1644–1911), the 12-
string yatga was a court instrument, the number of strings symbolizing the 12 ranks within
the palace. It was used to entertain the aristocracy and also was played by the aristocracy.
The ten-string yatga was played by Living Buddhas and consequently surrounded by ritual.
Three recently discovered 18th- and 19th-century song manuscripts for performance in
Nomyn Khan monasteries contain notations for the yatga. The ten-string yatga was also
used during worship at ritual cairns or oboo and during sports, such as horse racing, held
on such occasions.
The yatga appears in epics and legends in relation to both court and religious contexts. The
Kalmyk heroic epic-cycle Janggar tells how a 16-year-old princess played on the seven
lower bridges of a yatga which had 82 bridges and 8000 strings. It was used for interludes
during recitations of Buryat epics and, as with other Mongolian instruments, was played to
animals to persuade a mother to accept her rejected young.
Traditionally, the musician knelt on the ground to perform, laying the narrower end of the
yatga on his thigh and supporting the wider end on the ground. Some Mongol groups made
strings from a goat's small intestines, after a process of stretching, boiling and drying. Others
used horsehair, as on the Tuvan chadagan and Kazakh zshetïgan. In Inner Mongolia,
horsehair was replaced by silk and, more recently, metal wound around gut or metal. The
Inner Mongolian yatga has two rows of bridges (fig.1). Strings may be plucked by the nails.
In addition, a variety of plectra have been used including leather caps (for thumb and finger)
to which is attached a small piece of horn.

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Yatga [yataga, yatuga].

The yatga was used in ensembles in Urga (now Ulaanbaatar) in 1923. During the early
years after the communist revolution of 1924, the yatga fell into disuse, probably because
of its traditional aristocratic and religious connections. According to Berlinsky (1933) the
instrument almost completely disappeared. It was revived as a ‘national’ instrument of the
Mongolian People's Republic during the 1950s, with Korean-style instruments (see
Kayagum). The 13-string yatga now used to accompany singing and played in instrumental
ensembles has a single row of bridges (fig.2). Seated on a chair rather than on the floor, the
player rests the instrument on the knees with it sloping downwards to the floor on his or her
left, or plays an instrument supported by legs or a stand. The right-hand fingernails are used
to pluck the open strings. The left-hand fingers apply pressure to the strings which pass over
small bridges, each wedged between a string and the soundboard, to produce vibrato, pitch
alterations (accidentals), and other embellishments as well as special plucking effects.
BIBLIOGRAPHY
and other resources
GroveI (A. Nixon)
P.S. Pallas: Sammlungen historischer Nachrichten über die
mongolischen Völkerschaften, i (Frankfurt and Leipzig, 1776)
T.Z. Zhamtsarano: Obraztsï narodnoi slovesnosti mongol'skikh'
plemen': tekstï [Examples of the folk literature of the Mongolian peoples: texts], i
(Petrograd, 1918)
S.A. Kondratyev: ‘O rabotakh po izucheniyu mongol'skoi muziki v oktyabre –
dekabre 1923 g.’ [About work for the study of Mongolian music in October and
December 1923 in Urga], Izvestiya russkovo geograficheskovo
obshchestva, lvi/1 (1924)
P. Berlinsky: Mongol'skiy pevets i muzïkant Ul'dzuy-Lubsan-Khurchi
[The Mongolian singer and musician Ul'dzuy-Lubsan-Hurchi] (Moscow, 1933)
E. Emsheimer: ‘Preliminary Remarks on Mongolian Music and Instruments’, The
Music of the Mongols, i: Eastern Mongolia, ed. H. Haslund-Christensen
(Stockholm, 1943/R), 69–100
U. Zagdsüren: ‘Gür duuny bichig’, Studia mongolica, ii (Ulaanbaatar, 1974)
Xiaoshu minzu yuequ chuantong duzou qu xuanji menggu zu [Selected
traditional instrumental solos of Mongolian minorities] (Beijing, 1979)
T.S. Vizgo: Muzikal'niye instrumentï Srednei Azii [Musical instruments of
Central Asia] (Moscow, 1980)
S. Büted and A. Magnaisüren: Yatgyn Garyn Avlaga [A handbook for the
yatga] (Ulaanbaatar, 1987)
L. Erdenechimeg: The Historical Tradition of the Mongolian Yatga
(Ulaanbaatar, 1995)

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Yatga [yataga, yatuga].

L. Erdenechimeg and T. Shagdarsüren: Chin Süzegt Nomyn Han

Hiidiin gür duuny bichig [Gür song notation from Chinsüzegt Nomyn Khan
Monastery] (Ulaanbaatar, 1995)
C.A. Pegg: Mongolian Music, Dance and Oral Narrative: Performing
Diverse Identities (Seattle and London, forthcoming)
CAROLE PEGG

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Yatuhasi [Yatsuhashi]Kengyō

Yatuhasi [Yatsuhashi] Kengyō

(b Iwaki, Hukusima Prefecture, or Okura, Hukuoka Prefecture, c1614; d Kyoto, 12 June
1685). Japanese composer and koto, shamisen and kokyū player. He inaugurated the
sōkyoku tradition. He was a member of the guild of professional blind musicians, and his
name changed as he ascended in rank there. He was originally called Jōhide (with the rank
of zato), in 1636 he became Yamazumi (with the rank of kōtō) and in 1639 he became
known as Kaminaga Kengyō Zyōdan (Kengyō being the highest-ranked title in the guild).
Finally, some time before 1657 he changed his name to Yatuhasi Kengyō. He began his
career as a shamisen player in Osaka. When he moved to Edo he learnt to play the
tsukushi-goto style of koto music from the master musician Hossui (or Hōsui), a disciple
of Kenjun (?1534–?1623), the founder of this style. The invention of a new koto tuning
system called hira-jōshi, which includes half steps, is attributed to Yatuhasi.
According to a book of koto notation, Sōkyoku taiisyō (Edo, 1792), Yatuhasi composed
a set of 13 koto kumiuta (Huki, Kiritubo, Kokorozukusi, Kumoi no kyoku, Kumo
no ue, Ougi no kyoku, Siki no kyoku, Suma, Tenga taihei, Umegae,
Usugoromo, Usuyuki and Yuki no asita) to texts by his patron, Lord Naito of Iwaki.
These pieces marked a turning-point in the development of the sōkyoku and jiuta
traditions, separating them from the older tsukushi-goto tradition, which maintained a
strong connection with gagaku. They have become the core of the sōkyoku tradition.
Other pieces by Yatuhasi include two other koto kumiuta (Koryu siki genzi (also
attributed to Ikuta) and Otu no kumi), three danmono (Hatidan no sirabe, Midare
and Rokudan no sirabe) and the rōsaimono Kumoi rōsai.
BIBLIOGRAPHY
W. Adriaansz: The Kumiuta and Danmono Traditions of Japanese
Koto Music (Berkeley, 1973)
G. Tsuge: Anthology of Sôkyoku and Jiuta Song Texts (Tokyo, 1983)
K. Hirano and others: ‘Tokusyû: Yatsuhashi kengyô botugo man-
300nen’ [Special issue: 300th anniversary of Yatsuhashi Kengyô's death], Kikan
hôgaku, xlii (1985), 67–86
K. Hirano: Syâmisen to koto no kumiuta: sôkyoku ziuta kenkyû [Kumiuta
for koto and shamisen] (Tokyo, 1987)
K. Hirano: ‘Yatuhashi kengyô’, Nihon ongaku daijiten [Encyclopedia of
Japanese music], ed. K. Hirano, Y. Kamisangō and S. Gamō (Tokyo, 1989), 756c–
757b
P. Ackermann: Kumiuta: Traditional Songs for Certificates, a Study of
their Texts and Implications (Bern and New York, 1990)
E. Kikkawa: A History of Japanese Koto Music and Ziuta, ed. O. Yamaguti

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Yatuhasi [Yatsuhashi]Kengyō

(Tokyo, 1997) [trans. and suppl. by L.C. Holvik]

YOSIHIKO TOKUMARU

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Yavorsky, Boleslav Leopol'dovich

Yavorsky, Boleslav Leopol'dovich

(b Kharkov, 10/22 June 1877; d Saratov, 26 Nov 1942). Russian musicologist, music
educator and pianist of Polish descent. He graduated from the Kiev College of Music, having
specialized in the piano with Pukhal'sky (1894–8); he also studied mathematics at Kiev
University, 1897–8. He then attended the Moscow Conservatory (1898–1903), studying the
piano (with N.Ya. Shishkin) and composition (with Ippolitov-Ivanov and Taneyev) and
attending Smolensky's course in the history of Russian church music. From 1921 to 1931 he
was a member of the State Academy of Artistic Studies (later the State Academy of Arts),
and in 1941 he was awarded an honorary doctorate.
Yavorsky's career embraced an extremely wide variety of activities. From 1903 onwards he
took an active role in the Music-Ethnography Commission, which promoted the collection,
study and teaching of folksong. He took a special interest in music education: he was a
founder of the Moscow (1906) and director (1917–21) of the Kiev narodnïye
konservatorii (‘people's conservatories’), which were created to disseminate knowledge of
music among wide sectors of the population. Together with the singer M.A. Deysha-
Sionitzkaya, he was the organizer of ‘Muzïkal'nïye vïstavki’ (‘Musical Exhibitions’) from 1907
to 1911, concerts programming lesser-known works by Russian and West European
composers. As a pianist he gave many concerts, both as a soloist at concerts organized by
the Association of Contemporary Music, Moscow, in the 1920s and as an ensemble player
(with the soprano Nina Koshetz and with the Stradivari Quartet among others). Between
1921 and 1930 he occupied leading posts in governmental organizations, in which he
contributed to the reform of musical education. From 1932 to 1939 he worked for the
publishing house Muzgiz as an editor. He also composed an opera, orchestral and piano
works and romances, and arranged folksongs.
Yavorsky was an outstanding teacher. During the course of his career he taught the piano,
conducting, composition, the history of performance styles and theoretical subjects. He
worked at a number of institutions, among them the Moscow People's Conservatory (1906–
16), the Kiev State Conservatory and People's Conservatory (1916–21), Kiev University
(1920), Moscow University (1929–30), the opera studio of the Bol'shoy Theatre (1930–31),
the First Moscow Technical College of Music (1921–30) and the Moscow State
Conservatory (1938–42). His many distinguished pupils include the musicologists Al'shvang,
Vladimir Protopopov and Zuckermann, and the composers A. Krein, Leontovych, Melkikh
and Sergey Protopopov.
Yavorsky was also an outstandingly original scholar whose erudition and breadth of vision
made a deep impression on his colleagues. He sought to define the interdependence
between social and historical processes, the evolution of human psychology and the
development of different types of musical thinking. He was equally comfortable writing on

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Yavorsky, Boleslav Leopol'dovich

historical and aesthetic questions (1947, 1987) as he was writing on pure theory. An
example of his work in the latter field is his celebrated ‘theory of key rhythm’ in which he
examined the systems of lad (‘modes’) developed during the 20th century. The study
established for the first time the general principles according to which these systems
function, examining the inner coherence and the ‘objective’ effect of atonal systems built
primarily on augmented and diminished intervals. His work paved the way for V.P. Dernova's
groundbreaking Garmoniya Skryabina, published in 1968 but written in 1950, and
Yavorsky's theories were later expanded by Protopopov to include quarter tones. Messiaen
also studied Yavorsky's writings, and Messiaen's idea of intonation as a first principle of
expressive musical form reflects the writer's influence.
Very few of Yavorsky's writings were published during his lifetime, and publication of the vast
quantity of his extant written material began only recently. His views, however, were well-
known to his contemporaries by word of mouth and were discussed at congresses. His work
was highly valued by Myaskovsky, Shostakovich, Asaf'yev and Gnesin and continues to
attract the attention of modern scholars.
WRITINGS
Stroyeniye muzïkal'noy rechi [The construction of musical speech] (Moscow,
1908)
Uprazhneniya v golosovedenii [Exercises in part-writing] (Moscow, 1913,
2/1928)
‘Tekst i muzïka’ [Text and music], Muzïka, no.163; no.166; no.169 (1914)
Uprazhneniya v obrazovanii ladovogo ritma [Exercises in the formation of
schemes of modal rhythm], i (Moscow, 1915, 2/1928)
with S.N. Belyayeva-Ėkzemplyarskaya: ‘Vospriyatiye ladovïkh
melodicheskikh postroyeniy’ [The perception of tonal melodic structures], Sborniki
eksperimental'no-psikhologicheskikh issledovaniy (Leningrad, 1926), 1
with S.N. Belyayeva-Ėkzemplyarskaya: Struktura melodii (Moscow,
1929) [incl. ‘Konstruktsiya melodicheskogo protessa’ [The construction of the melodic
process], 7–36]
Syuitï Bakha dlya klavira [Bach’s keyboard suites] (Moscow, 1947)
‘Pis'ma’ [Letters], B. Yavorskiy, ed. D. Shostakovich (Moscow, enlarged 2/1972),
247–610
‘Zametki o tvorcheskom mïshlenii russkikh kompozitorov ot Glinki do Skryabina’ [Notes
on creative thinking in Russian composers from Glinka to Skryabin], ‘Vospominaniya o
Sergeye Ivanoviche Taneyeve’ [Reminiscences of Sergey Ivanovich Taneyev], B.
Yavorskiy: izbrannïye trudï, ed. D.D. Shostakovich (Moscow, 1987), 41–235,
241–348
BIBLIOGRAPHY

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Yavorsky, Boleslav Leopol'dovich

G.M. Rimsky-Korsakov: ‘Akusticheskoye obosnovaniye teorii ladovogo

ritma’ [The acoustic basis of the theory of key rhythm], Muzïkoznaniye, iv (1928)
N. Boicenco: Nuovi principi della composizione musicale: teoria ed
esercizi (Rome, 1928)
V. Zuckermann: ‘Teoriya ladovogo ritma i yeyo primeneniye’ [The theory of key
rhythm and its use], Proletarskiy muzïkant (1929), no.7; no.8
I.Ya. Rïzhkin: ‘Teoriya ladovogo ritma (B. Yavorsky)’, in L.A. Mazel' and I.Ya.
Rïzhkin: Ocherki po istorii teoreticheskogo muzïkoznaniya, ii (Moscow,
1939), 105–205
V. Zuckermann and L. Kulakovsky: ‘Yavorskiy: teoretik’ [Yavorsky: the
theorist], SovM (1957), no.12, pp.68–75
D. Shostakovich, ed.: B. Yavorskiy, i (Moscow, 1964, enlarged 2/1972)
Yu.N. Kholopov: ‘Simmetrichnïye ladï v teoreticheskikh sistemakh Yavorskogo i
Messiana’ [Symmetrical modes in the theoretical systems of Yavorsky and Messiaen],
Muzïka i sovremennost', vii (1971), 247–93
I. Nabok: ‘Problemï sotsial'noy prirodï muzïkal'nogo tvorchestva v teoreticheskom
nasledii B. Yavorskogo’ [Problems of the social character of musical composition in the
theoretical work of Yavorsky], in A.A. Farbshteyn, ed. Muzïka v
sotsialisticheskom obshchestve, iii (Leningrad, 1977), 219–32
K. Wiłkomirski: ‘Bołeslaw Jaworski: twórca teorii myślenia musycznego’ [Boleslav
Yavorsky: founder of a theory of musical thought], Ruch muzyczny (1977), no.25,
pp.3–6
B. Bayevsky: ‘Yavorskiy i nekotorïye tendentsii kul'turï yego vremeni’ [Yavorsky
and some trends in the culture of his time], SovM (1978), no.5, pp.83–9
Yu. Kon: ‘Neskol'ko teoreticheskikh paralleley’ [Some theoretical parallels], ibid.,
pp.90–92
N.B.L. Finkel'berg: ‘Yavorsky ob ispolnitel'stve’ [Yavorsky on performance],
Muzïkal'noye ispolnitel'stvo, x (1979), 3–21
M. Aranovsky: ‘Intonatsiya, znak i “novïye metodï”’ [Intonation, symbol and ‘new
methods’], SovM (1980), no.10, pp.99–109
L.B.L. Maslennikova: ‘Yavorsky o vospitanii slukha’ [Yavorsky on the education
of hearing], Kritika i muzïkoznaniye, ii (1980), 198–207
TAT'YANA S. KYUREGIAN

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Ya-yüeh

Ya-yüeh
(Chin.: ‘elegant music’).
A general term for Chinese court music. It also refers to the ritual music of Confucianism.
See China, §II.

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 Ycart [Hycart, Hycaert,Icart, Ycaert], Bernhard [Bernar, Bernardus]

Ycart [Hycart, Hycaert, Icart,

Ycaert], Bernhard [Bernar,
Bernardus]
(fl c1470–1480). Catalan or Spanish composer. He was a singer at the Aragonese court of
Naples, where his presence is first recorded in 1478, although he may have been there from
1476. A papal provision of 27 October 1478, which described Ycart as a clericus from the
diocese of Tortosa, granted him an abbacy ‘in commendam’ at the monastery of S Maria del
Pendino in Basilicata. He is last mentioned in a register of 25 (or 27) October 1480, where
he is listed among 21 singers; his name is given just above that of Tinctoris.
Musical life at the court flourished during the 1470s and 80s, with the presence of
composers such as Vincenet, Villette and Baude Cordier. Pantaleone Malegolo, the
contemporary biographer of Gaffurius, reported that Gaffurius had discussed matters of
music theory with Ycart. But if he was a theorist there is no trace of any treatise that he may
have written. He is, however, cited in Hothby’s Dialogus in arte musica and Gaffurius’s
Tractatus practicabilium proportionum, and it seems likely that he was part of their
circle in northern Italy. His music must have already been known in Italy by the early 1470s,
as he is included in the part of I-FZc 117 that Bonadies completed in 1473. The works
included in this manuscript (the 3 Magnificat settings and the fragmentary setting of the
Ordinary) must date from before his arrival in Naples. The three-voice Magnificat sexti
toni, like the Kyrie and Gloria, sets sections of polyphony with a cantus firmus tenor; the
work is therefore an early forerunner of the ‘parody’ Magnificat, which became more
popular in the 16th century. Ycart’s large-scale setting of the Lamentations almost certainly
dates from his Neapolitan years, since such lavish music would have been stylistically
appropriate for the music of Holy Week at the court. His music remained in circulation for
some time, as witnessed by the fact that two works were published by Petrucci in 1506.
WORKS
Kyrie, 4vv; Gloria, 4vv: I-FZc 117
Magnificat, 3vv, ed. in Atlas (1985); 2 Magnificat, 4vv: FZc 117 (1 also in F-Pn Rés.Vm7676)
Lamentations, 4vv, 15061; ed. G. Massenkeil, Mehrstimmige Lamentationen aus der ersten
Hälfte des 16. Jahrhunderts (Mainz, 1965)
O princeps Pilate, motet, 4vv, I-MC 871, ed. in Pope and Kanazawa
Non touches a moy, chanson, 3vv, F-Pn 15123, ed. G. Haberkamp, Die weltliche Vokalmusik
in Spanien (Tutzing, 1968)
Missa de ‘Amor tu non mi gabasti’, lost
Missa ‘Voltate in qua’, lost

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 Ycart [Hycart, Hycaert,Icart, Ycaert], Bernhard [Bernar, Bernardus]

Pover me mischin dolente, Se io te o dato, 1 textless piece, I-PEc 431, attrib. Isaac by J. Wolf, DTÖ,
xxviii, Jg.xiv/1 (1907/R), but probably by Ycart; see Atlas (1977)
Tarde il mio cor and Amor, both FZc 117, attrib. Ycart by A.W. Ambros, Geschichte der Musik, iii
(Leipzig, 1868, rev. by O. Kade, 2/1893/R), are by John Hothby
BIBLIOGRAPHY
StevensonSM; Vander StraetenMPB
D. Plamenac: ‘Keyboard Music of the Fourteenth Century in Codex Faenza’,
JAMS, iv (1951), 179–201
H. Anglès: La música en la corte de los reyes católicos, MME, i (1941,
2/1960/R) [see also review by D. Plamenac of 1st edn, MQ, xxxiv (1948), 289–93]
C.A. Miller: ‘Early Gaffuriana: New Answers to Old Questions’, MQ, lvi (1970), 367–
88
A. Atlas: ‘On the Neapolitan Provenance of the Manuscript Perugia, Biblioteca
Comunale Augusta, 431 (G 20)’, MD, xxxi (1977), 45–105
I. Pope and M. Kanazawa: The Musical Manuscript Montecassino 871:
a Neapolitan Repertory of Sacred and Secular Music of the Late
Fifteenth Century (Oxford, 1978)
A.W. Atlas: Music at the Aragonese Court of Naples (Cambridge, 1985)
R. Stevenson: ‘Spanish Musical Impact (1200–1500)’, España en la música
de occidente: Salamanca 1985, 115–64
D. Fallows: Catalogue of Polyphonic Songs, 1415–1480 (Oxford, 1999)
ALLAN W. ATLAS/JANE ALDEN

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Ye Dong

Ye Dong
(b Shanghai, 21 July 1930; d Shanghai, 12 July 1989). Chinese musicologist. He studied
composition and music theory at the Shanghai Conservatory of Music under Ding Shande,
Deng Erjing and Sang Tong; after graduating he joined the faculty there in 1956. He became
vice-chair of the Department of Chinese Composition, and director of the Chinese Music
Research programme in the conservatory’s Music Research Institute. His 1983 book on
Chinese instrumental music was one of the earliest and most comprehensive textbooks on
the subject.
In 1964 Ye had become interested in the 10th-century ce musical notation from Dunhuang.
But his work was soon interrupted by the Cultural Revolution, which took a grave toll on his
health. He was only able to resume work early in the 1980s on this and other material
relating to Tang dynasty music. This research, along with that of scholars such as He
Changlin, Chen Yingshi and Xi Zhenguan, as well as that of Laurence Picken, gave a high
profile to the study and recreation of early Chinese music. The publication of Ye's
transnotations was a major event in the Chinese musical life of the 1980s. Discussing
important issues such as metre, musical syntax, performing practice, and lyric settings, his
work sparked off an unprecedented interest in early notation and music, leading to lively
debates. Apart from its scholarly value, his work has also inspired composition, dance and
film music.

See also China, §II, 3.

WRITINGS
‘Dunhuang qupu yanjiu’ [Study of the Dunhuang musical notation], Yinyue yishu
(1982), no.1, pp.1–13
‘Dunhuang Tangren qupu yipu’ [Transnotation of the Tang musical notation from
Dunhuang], Yinyue yishu (1982), no.2, pp.1–5
Minzu qiyue de ticai yu xingshi [The form and structure of Chinese instrumental
music] (Shanghai, 1983)
‘Dunhuang bihua zhongde wuxian pipa jiqi Tangyue’ [The five-string pipa and Tang
music in the Dunhuang frescoes], Yinyue yishu (1984), no.1, pp.24–41
‘Tangchuan wuxian pipapu yipu’ [Transnotation of the five-string pipa notation
transmitted from the Tang], Yinyue yishu (1984), no.2, pp.1–11
Dunhuang pipa qupu [The Dunhuang pipa notation] (Shanghai, 1986)
‘Tangchuan zhengqu yu Tang shengshiqu jieyi: jianlun Tangyue zhongde de jiezou
jiepai’ [Interpretation of zheng and vocal music transmitted from the Tang: rhythm and
metre in Tang music], Yinyue yishu (1986), no.3, pp.1–17

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Ye Dong

‘Dunhuang quzici de yinyue chutan’ [Study of the music of quzici from Dunhuang],
Zhonghua wenshi luncong (1987), no.2, pp.177–202
‘Tangchuan shisanxian zhengqu ershiba shou’ [28 pieces for 13-string zheng
transmitted from the Tang], Jiaoxiang (1987), no.2, pp.20–30; no.3, pp.18–30
‘Tang daqu qushi jiegou’ [Form and structure of the Tang daqu], Zhongguo
yinyuexue (1989), no.3, pp.43–64
BIBLIOGRAPHY
Tansuo zhi ge: Jinian yinyuexuejia Ye Dong jiaoshou [Song of an explorer:
in memory of the musicologist Professor Ye Dong] (Shanghai, 1991)
SU ZHENG

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Yefimenkova, Borislava Borisovna

Yefimenkova, Borislava Borisovna

(b Rostov-na-Donu, 7 Aug 1933; d Moscow, 25 March 1996). Russian musicologist. After
embarking on a degree in geochemistry at Rostov University, she changed her studies to
music, graduating in 1961 from the Gnesin Academy of Music. She subsequently undertook
a postgraduate diploma at the academy, specializing in ethnomusicology with Gippius (1965–
8), and in 1968 began teaching a course there in musical folklore studies. She was awarded
the Kandidat degree in 1973 and was made professor at the academy in 1994. Beginning
in 1956, she participated in many expeditions, principally in the east of the Vologda region.
She was the first to study and write down the early examples of prichtaniye (lamentation
rituals), which are noted for their complex polyphonic texture, and in her collections of these
rituals she introduced the new system of publishing songs systematically by type and
mapping them according to a variety of factors. Her main work, Severnorusskaya
prichet' (‘North Russian Ritual’), holds a central place in Russian musical folklore studies,
alongside the collections of Mel'gunov and Lineva, and the Pesni Pinezh'ya (‘Pinezh'ye
Songs’) of Gippius and Ewald. She later devoted her work to the systematization of verse
set to music in the Russian folksong, showing it to be a system of multiple levels with a
structure founded on the principle of binary opposition.
WRITINGS
‘O muzïkal'nom sklade prichtaniy vostochnïkh rayonov Vologodskogo kraya’ [The
musical mould of the ‘prichtaniye’ of the eastern regions of the Vologda province],
Voprosï muzïkovedeniya, ed. Yu.N. Rags, i (Moscow, 1972–3), 66
‘Dramaturgiya svadeb'noy igrï mezhdurech'ya Sukhonï i Yuga i verkhov'yev Kokshen'gi
(Vologodskaya oblast')’ [The drama of wedding games in the lands between the rivers
Sukhona and Yug and the upper reaches of the Kokshen'ga (Vologda region)],
Problemï muzïkal'noy nauki, ii (1973), 198
Ritmika russkikh traditsionnïkh pesen [Rhythm in Russian traditional songs]
(Moscow, 1993)
FOLKSONG COLLECTIONS
Severnïye bayki: kolïbel'nïye pesni Vologodskoy i Arkhangel'skoy
oblastey [Northern fairy tales: lullaby songs of the Vologda and Arkhangel' regions]
(Moscow, 1977)
Severnorusskaya prichet': mezhdurech'yeyu Sukhonï i Yuga i
verkhov'yev Kokshen'gi (Vologodskaya oblast') [The North Russian ritual:
the lands between the rivers Sukhona and Yug and the upper reaches of the
Kokshen'ga (Vologda region)] (Moscow, 1980)
M.A. LOBANOV

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 Yeghiazarian, Grigor Yeghiai

Yeghiazarian, Grigor Yeghiai

(b Blur, Turkey, 25 Nov/8 Dec 1908; d Yerevan, 4 Nov 1988). Armenian composer and
teacher. He moved to Yerevan in 1918 but later went to study in Moscow at the music
college and the conservatory with Glière, Myaskovsky and Shebalin (1930–36). Back in
Armenia he taught at the Leninakan Music College (1936–8), was head of the Armenian
Composers' Union (1952–5) and rector of the Yerevan Conservatory (1954–60) where, as
professor of composition, he taught many leading Armenian composers including Chitchian,
Hovunts, Israyelian and Hovanesian. He received the titles People's Artist of Armenia
(1960), the State Prize of Armenia (1970) and People’s Artist of the USSR (1977). His major
compositional achievement was in the development of Armenian orchestral music; his works
continue the tradition established by Spendiarian with their programmatic nature, use of
variation and dance forms, their incorporation of eastern folk music and their expressive
handling of colour. His use of harmony and timbre bears comparison with Impressionism,
but this is counterbalanced by an epic, narrative quality which first became evident in the
symphony Hrazdan. He was drawn to ballet by his interest in plastic movement; the first of
these – Sevan – is based on Armenian folklore and has the formal character of a
divertissement, while in the second – Ara Geghetsik yev Shamiram (‘Ara the Beautiful
and Semiramis’) – various aspects of ritual dance and action are generalized in a score
which also utilizes Assyrian orthodox music.
WORKS
(selective list)

Ballets: Sevan (3, I. Arbatov and V. Vardanian), 1955, Yerevan Opera Theatre, 1956, rev. as The
Lake of Dreams, Yerevan Opera Theatre, 1968; Ara Geghetsik yev Shamiram (3, A. Asatrian and V.
Galstian, after M. Khorenatsi: The History of Armenia) [Ara the Beautiful and Shamiram], c1965–
73, Yerevan Opera Theatre, 1982
Orch: Rhapsody, 1939; Hayastan, 1942; Vn Conc., 1943; Ballet Fragments, 1946; Suite on Themes of
Komitas, 1948; Arevatsagin [To the Sunrise], 1952; Hrazdan, sym., 1960
Pf: Sazandar, 1935; In Memory of Komitas, 1936; Preludes, 1962, 1968
Incid music, folksong arrs., mass songs, romances

BIBLIOGRAPHY
G. Tigranov: ‘O balete “Sevan”’, SovM (1956), no.7, pp.17–22
K. Khudabashian: Grigor Yeghiazaryan (Yerevan, 1966)
R. Terteryan: ‘V gostyakh u G. Yeghiazaryana’ [Visiting Yeghiazharian], SovM
(1984), no.5, pp.120–22
K. Khudabashian: ‘Stepen' vernosti originalu: o balete “Ara Prekrasnïy i
Shamiram”’ [The degree of faithfulness to the original: on the ballet Ara the

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Yeghiazarian, Grigor Yeghiai

Beautiful and Semiramis], SovM (1987), no.3, pp.40–44

SVETLANA SARKISYAN

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Yekaterinburg.

Yekaterinburg.
City in western central Russia. Founded in 1723, it was renamed Sverdlovsk from 1924 to
1991. Musical life in Yekaterinburg in the 18th and 19th centuries was dominated by
folksinging and singing in schools and churches, as well as by amateur concerts. The city's
operatic history began in 1843, when a dramatic and musical troupe performed Bellini's La
sonnambula and Verstovsky's Askol'dova mogila (‘Askold's Grave’). The first theatre,
the 800-seat Gorodskoy Teatr (City Theatre), was opened in 1847. For many years operas
were given in theatres belonging to private entrepreneurs (1843–1912) or were produced by
the Yekaterinburg ‘music circles’, which also gave concerts of symphonic, chamber and
choral music. A music school was opened in the city in 1880.
At the start of the 20th century Yekaterinburg entered the mainstream of Russian musical
life. A new concert hall, the Makletskiy Hall, was inaugurated in 1900, a branch of the
Imperial Russian Music Society was founded in 1912, an opera house, the Gorodskoy
Opernïy Teatr (City Opera Theatre) opened in 1912, and a college of music was founded in
1916. Musical life in Yekaterinburg was enhanced by many eminent visiting artists from
Russia and Europe. There were series of chamber, orchestral and choral concerts (the
‘historic’ chamber music concerts of 1908, and the seasons of orchestral music from 1912 to
1915). Concerts of sacred music, given by the choirs of the Voznesenskiy, Kafedral'nïy and
Yekaterininskiy cathedrals, were also popular. In 1918 a new opera troupe was formed as a
Soviet company, and in 1924 the opera house was renamed the Sverdlovskiy
Gosudarstvennïy Teatr Operï i Baleta imeni A.V. Lunacharskogo (Lunacharsky Sverdlovsk
State Theatre of Opera and Ballet) and became one of the principal operatic centres of the
Soviet Union.
In the 1920s and 30s amateur music-making flourished alongside professional music. The
repertory of the opera house was adapted to include the works of Soviet composers on
revolutionary themes, and in 1922 a ballet troupe was formed. Symphony concerts were
given by the orchestras of the opera house and the radio.
The 1930s and 40s saw the opening of new musical institutions: the Teatr Muzïkal'noy
Komedii (Theatre of Musical Comedy, 1933), the conservatory (1934, named after
Musorgsky), the Philharmonia (1936), a branch of the Russian Union of Composers (1939),
the Urals State Russian Folk Choir (1943) and a music college for gifted children attached to
the conservatory (1943). Yekaterinburg became a centre of musical culture and music
education for an enormous tract of Russia. Leading figures in this period include M.P.
Frolov, composer, pianist and first rector of the conservatory; V.N. Trambitsky, who with
Frolov founded the so-called Urals school of composers; and Lev Khristiansen, the first
director of the Urals State Russian Folk Choir. During the war years a number of outstanding
musicians from Moscow and Leningrad worked in Yekaterinburg, notably Shostakovich,

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Yekaterinburg.

Oystrakh, Kabalevsky and Gilel's.

From the 1950s to the 1970s Yekaterinburg was regarded as the third musical centre in
Russia. The theatres and the Philharmonia enjoyed a rich artistic life: in addition to concerts
and opera performances there were festivals of classical and contemporary music, opera
festivals, competitions and festivals of choral music, in which up to 5000 singers took part.
Touring soloists in these years included Oystrakh, Gilel's, Kogan, Rikhter and Rostropovich,
and there were also visits from leading Soviet orchestras under conductors such as
Svetlanov, Sanderling and Rozhdestvensky. In 1966 the opera house was renamed the
Akademicheskiy Teatr Operï i Baleta (Academic Theatre of Opera and Ballet). It is renowned
as a centre for operas by Russian composers, especially those from the Urals, including
Trambitsky and Spadavecchia.
During the 1980s and 90s musical life in Yekaterinburg opened up to the world outside
Russia. In cooperation with musicians from Europe, the USA, Japan and China, large-scale
events were mounted, including international festivals of opera, orchestral music, jazz and
children's music festivals. Folk music and jazz is provided by the Urals State Orchestra of
Folk Instruments, the Urals State Choir and the Urals State Jazz Orchestra. Newer
ensembles in Yekaterinburg include the B-A-C-H Chamber Orchestra, the Domestik choir,
focussing on early music, the Ayuska and Ural folk ensembles, the Municipal Ballet Theatre
for Children, a children's choir and a municipal boys' choir.
The city's principal establishments for music education are the Modest Petrovich Musorgsky
State Conservatory of the Urals, the Theatres Institute, which trains artists for the Theatre of
Musical Comedy, and the Urals State Pedagogical Institute, which trains school music
teachers. Unique recordings of folksongs from the Urals are held in the libraries of the
conservatory and the House of Folklore.
BIBLIOGRAPHY
Yu. Kurochkin: Iz teatral'nogo proshlogo Urala: zametki sobiratelya
[From the history of the theatre in the Urals: the notes of a collector] (Sverdlovsk, 1957)
O muzïke i muzïkantakh Urala [On the music and musicians of the Urals]
(Sverdlovsk, 1959)
Ye. Mayburova: ‘Muzïkal'naya zhizn' Yekaterinburga’ [The musical life of
Yekaterinburg], Iz muzïkal'nogo proshlogo, ed. B.S. Shteynpress, i (Moscow,
1960), 22–67
B. Shteynpress: ‘Muzïkal'naya zhizn' Sverdlovska v 1917–1941’ [The musical life
of Sverdlovsk, 1917–1941], Iz muzïkal'nogo proshlogo [From the musical past], ii
(Moscow, 1965), 5–20
‘Istoriya Urala (v period sotsializma)’ [The history of the Urals (during the period of
socialism)], Teatr i muzïka, ii (1977), 271–6, 497–506
‘Sverdlovsk. Sverdlovskiy teatr operï i baleta’ [Sverdlovsk. The Sverdlovskiy theatre of

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Yekaterinburg.

opera and ballet], Muzïkal'naya ėntsiklopediya, iv (Moscow, 1978), 874–9

‘Istoriya Urala (v period kapitalizma)’ [The history of the Urals (during the period of
capitalism)], Iskusstvo, ii (Moscow, 1990), 401–14
Yekaterinburg: istoriya i sovremennost' [Yekaterinburg: history and modern
times] (Yekaterinburg, 1996)
NINA VOL'PER

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 Yekimovsky, Viktor Alekseyevich

Yekimovsky, Viktor Alekseyevich

(b Moscow, 1947). Russian composer. He graduated from the Gnesin Institute in Moscow in
1971 where he studied composition with Aram Khachaturian and history of music with
Konstantin Rosenshil'd and then undertook postgraduate study at the Leningrad
Conservatory (which he completed in 1978) in music history with Galina Filenko. He was
awarded a kandidat degree in 1983 and is the author of a large number of articles on
contemporary music, including the first monograph on Olivier Messiaen published in Russia
(1987). He edited several volumes of Shostakovich's collected works. Yekimovsky is
generally considered to be a westernizer in Russian music of the latter half of the 20th
century. His method of working is experimental; each new work comes, characteristically,
from a new idea not previously encountered, and the means of expression and
compositional technique conform to this idea. In his constant search for the new the
composer has particular recourse to chamber music forms. Yekimovsky employs most of the
techniques of 20th-century composition, from dodecaphonic and aleatory methods to
intuitive improvisation and instrumental theatre. He has written a series of pieces for puppet
theatre and for cartoon film, working with Aleksandr Fedulov and Feliks Feinstein in the latter
field. Since 1996 he has been head of the Association for Contemporary Music in Moscow
and arranges concerts of new music every year for the Moscow Autumn festival.
WORKS
(selective list)

Music theatre: Balletto, cond., ens, 1974; Posidelki [Youth Gatherings], 2 pf, 1992; Iz kataloga Ėshera
[From Escher's Catalogue], 7 pfmrs, 1994; Lebedinaya pesnya no.1 [Swan-Song no.1], str qt, 1996;
Lebedinaya pesnya no.2 [Swan-Song no.2], cond., str qt, tape, 1996; Lebedinaya pesnya no.3
‘Virtual'naya’ [Swan-Song no.3 ‘Virtual’], wind, 1996; Prizrak teatra [The Ghost of the Theatre], comp.,
10 musicians, 1996
Orch: Liricheskiye otstupleniya [Lyrical Digressions], solo vcs, orch, 1969; Sublimations, 1969; Ave
Maria, 48 vn, 1974; Iyerikhonskiye trubï [Trumpets of Jericho], 30 brass, 1977; Brandenburg Conc., fl,
ob, vn, hpd, str orch, 1979; Sym. Dances, pf, orch, 1993; Ėffekt Dopplera, virtual composition, 100
pfmrs, 1997
Chbr: Composition 1, pf qt, 1969; Composition 2, pf qt, 1969; Composition 7, str qt, 1970; Trio-sonata
da camera, 1971; Chbr Variations, 13 pfmrs, 1974; Noktyurnï, 3 cl, 1974; Kvartet-cantabile, str qt,
1977; Cantus figuralis, 12 sax, 1980; Mandala, 7 pfmrs, 1983; Stansï [Stanzas], 2 vn, 1984;
Composition 43, 2 pf, 1986; V sozvezdii Gonchikh Psov [In the Canes Venatici Constellation], 3 fl,
tape, 1986; Doppelkammervariationen, 12 pfmrs, 1989; Uspeniye [The Dormition], perc ens, 1989;
Tripelkammervariationen, 15 pfmrs, 1991; Polyotï vozdushnïkh zmeyev [Flights of the Kites], 4 s rec,
1992; 27 razrusheniy [27 Destructions], perc ens, 1995; Zerkalo Avitsennï [Avitsenna's Mirror], 14
pfmrs, 1995; Graffiti, 7 pfmrs, 1998

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 Yekimovsky, Viktor Alekseyevich

Solo inst: Composition 4, pf, 1969; Kadentsiya [Cadenza], vc, 1970; Die ewige Wiederkunft, b cl,
1980; Proshchaniye [Farewell], pf, 1980; Sonata s pokhoronnïm marshem [Sonata and Funeral
March], pf, 1981; Prelude and Fugue, org, 1985; Deus ex machina, hpd, 1990; Lunnaya sonata
[Moonlight Sonata], pf, 1993; La favorite–la non favorite, hpd, 1994; Urok muzïki v vizantiyskoy shkole
[A Music Lesson in a Byzantine School], t rec, 1998
Works for puppet theatre, cartoon film scores

BIBLIOGRAPHY
V. Yekimovsky: Avtomonografiya [Automonograph] (Moscow, 1977)
M. Stahnke: ‘Junge Moskauer Komponisten’, NZM, Jg.142 (1981), 146–51
V. Rozhnovsky: ‘Strannïye zamïslï Viktora Yekimovskogo: 4 ėtyuda o
gramzapisyakh kompozitora’ [The curious projects of Yekimovsky: 4 studies of the
composer's works on record], Melodiya (1992), nos.3–4, pp.11–15
V. Barsky: ‘Liricheskoye otstupleniye s kommentariyami’ [A lyrical digression, with
commentaries], Muzïka iz bïvshego SSSR, ed. V. Tsenova, V. Barsky, i
(Moscow, 1994), 241–56
TAT'YANA REXROTH

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 Yel'cheva, Irina Mikhaylovna

Yel'cheva, Irina Mikhaylovna

(b Leningrad [now St Petersburg], 28 Nov 1926). Russian composer and folksong collector.
She was greatly influenced by her mother, the pianist, composer and music theorist,
Nadezhda Bogolyubova. Yel'cheva studied with Sergey Vol'fenson at the Musorgsky
College, Leningrad, during World War II; she then attended the Leningrad Conservatory,
where she studied the piano with Aleksandr Kamensky (graduating in 1950) and
composition with O.S. Chishko (graduating in 1958). In 1953 and 1956 she participated in
folksong expeditions to the Pskov region, to northern Russia and to the lower reaches of the
river Pechora. Since 1965 she has collected songs independently in the Ivanovo region; she
published her edition of collected folksongs in 1968 and in the late 1970s recorded her own
performances of some of these. Most of her original compositions reflect her two main
concerns: impressions of war and Russian folk culture. She writes in a traditional style based
on folk tunes.
WORKS
Stage: Spartak [Spartacus] (op, V. Chulisov, S. Tsenina, after Giovagnoli), 1961; Skazka o lenivom
bobryonke [Tale of the Lazy Beaver] (mini op, Yu. Shestalov), two solo vv, pf, 1980; Riki-Tiki-Tavi
(Yel'cheva, after R. Kipling), 1985; Alen'kiy tsvetochek [The Little Scarlet Flower] (Yel'cheva, after I.
Bazhov), 1996
Orch: Simfoniya pamyati pogibshikh v blokadu Leningrada [Sym. in Memory of Those who Perished in
the Siege of Leningrad], 1965; Pechorskiye starinï [Times of Yore in Pechora], suite, 1963; Pf Conc.,
1968; Zavadskaya uvertyura [A Factory Ov.], 1975; Ivanovskaya uvertyura [Ivanovo Ov.], 1977
Choral: Russkaya svad'ba [A Russian Wedding], 1966; Khorovodnïye pesni [Round Songs] (trad.),
chorus, timp/db col legno, 1967; K novoy zhizni [Towards a New Life] (orat, Yu. Shestakov), spkr, solo
vv, chorus, orch, 1973; Derevenskiye stsenki [Village Scenes], 1974; Vesyolaya maslenitsa [A Merry
Shrovetide] (G. Ufimtseva], cant.-performance, children’s choir, insts, 1986; Vremena goda [The
Seasons], 1989
Chbr and solo inst: Palekhskaya syuita [Palekh Suite], pf, 1966; 24 prelyudii i fugi [24 Preludes and
Fugues], pf, 1969; 5 p'yes [Five Pieces], ww qnt, 1974; pf sonatas, str qts, pieces for organ
Vocal: Ivanovskiye pesni [Ivanovo Songs] (trad.), Mez, pf, 1965; Mï zhivyom na severe [We Live in the
North] (Yu. Shestalov), Bar, pf, 1969; Lebed' belaya [White Swan] (trad.), 1979
WRITINGS
Narodnïye pesni Ivanovskoy oblasti [Folk songs of the Ivanovo region]
(Yaroslavl', 1968)
‘V poiskakh pesen: zapiski kompozitora’ [In search of songs: recordings made by the
composer], Dïkhaniye Volgi [The breath of the river Volga] (Yaroslavl', 1983)
OL'GA MANUL'KINA

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Yellin [née Bentwich],Thelma

Yellin [née Bentwich], Thelma

(b London, 15 March 1895; d Jerusalem, 21 March 1959). Israeli cellist of English birth. She
studied at the RCM from 1911 and privately with Casals. After further studies with Hekking in
Paris in 1915, she made her début later that year in London, and in 1916 formed a trio with
Myra Hess and Jelly d'Arányi. Visiting Palestine in 1920 to recuperate from illness, she
decided to settle in Jerusalem and married Eliezer Yellin in 1921. That year she established
the Jerusalem Musical Society, and in 1922 formed the Jerusalem String Quartet with her
sister Margery, a violinist; it was reorganized in 1933 with Emil Hauser as leader. In 1933
she formed the Jerusalem Trio with her sister and Franz Osborn; she helped Huberman to
form the Palestine Orchestra (later the Israel PO), taking part in its inaugural concert under
Toscanini in 1936. She appeared as a soloist with the orchestra, played in trios with
Schnabel and Huberman, and taught at the Palestine Conservatory. In 1947–8 she gave
many concerts in the USA to benefit the Palestine cause, and returned to the new state of
Israel in 1948 to devote her efforts to the development of its musical life. She established a
new Israel String Quartet in 1951 and helped to establish the Jewish Music Seminar at
Zichron Jacob for Israeli composers, first directed by Aaron Copland. One of her last
achievements was to persuade the city of Tel-Aviv to provide a secondary school for
musically talented children: it was opened in 1962 and named the Thelma Yellin High School
of the Arts. She was considered one of the foremost cellists of her generation, with musical
ideals akin to those of Casals by which her commanding technique was at the service of
artistic purpose. She communicated her vibrant personality and unflagging enthusiasm to
students and listeners alike, and her four decades of pioneering efforts in Israel contributed
decisively to the growth of musical life there. (M. Bentwich: Thelma Yellin: Pioneer
Musician, Jerusalem, 1964)
BORIS SCHWARZ/R

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Yellin, Victor (Fell)

Yellin, Victor (Fell)

(b Boston, 14 Dec 1924). American musicologist. He was educated at Harvard, studying
with Piston, Milhaud, Davison, Gombosi, A.T. Merritt and J.M. Ward; he received the AB in
1949, the AM in 1952 and the PhD in 1957. From 1958 to 1960 he taught and directed the
glee club at Williams College. In 1961, after a year on the faculty of Ohio State University, he
joined the music department of New York University.
A specialist in American music, Yellin has done research on musical activities in the colonial
period, analysed the works of contemporary American composers and written surveys of the
musical development of the USA; he has also prepared the edition of Rayner Taylor's opera
The Aethiop (New York, 1994). His other areas of scholarly activity include Romantic
opera, and since his student days he has maintained an interest in composition.
WRITINGS
The Life and Operatic Works of George Whitefield Chadwick (diss.,
Harvard U., 1957)
‘The Operas of Virgil Thomson’, in V. Thomson: American Music since 1910
(New York, 1971), 91–109
‘Chadwick, American Musical Realist’, MQ, lxi (1975), 77–97
‘Rayner Taylor’, American Music, i/3 (1983), 48–71
‘Rayner Taylor's Music for “The Aethiop”’, American Music, iv/3 (1986), 249–67; vi
(1987), 20–47
Chadwick, Yankee Composer (Washington DC, 1990)
‘Prosodic Syncopation’, A Celebration of American Music: Words and
Music in Honor of H. Wiley Hitchcock, ed. R.A. Crawford, R.A. Lott and C.J.
Ota (Ann Arbor, 1990), 449–59
‘Sullivan and Thomson, Gilbert and Stein’, JM, xi (1993), 478–98
‘Bristow's Divorce’, American Music, xii/3 (1994), 229–54
‘Mrs. Belmont, Matthew Perry, and the “Japanese Minstrels”’, American Music,
xiv/3 (1996), 257–75
The Omnibus Idea (Warren, MI, 1997)
PAULA MORGAN

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

Yemen, Republic of (Arab.

Jumhūriyyat al-Yaman).
Country in the Middle East. Located in southern Arabia, it has an area of 555,000 km2.
Yemen was previously divided into two states but was unified in 1990. Its music is rooted in
an ancient culture (see Arab music, §I, 2(i)) and has features in common with neighbouring
traditions (see Saudi arabia, Oman and Arabian Gulf). Sedentary farmers, Bedouin nomads
(see Bedouin music), fishermen and townspeople make up a complex society, with a huge
variety of musical styles and contexts for performance. The population of 18·2 million (2000
estimate) is predominantly Muslim (both Sunni and Shi‘a). For details of Yemeni Jewish
music in Israel, see Jewish music, §V, 3(i)(a).
I. Popular and village music
II. Urban music
JEAN LAMBERT
Yemen

I. Popular and village music

The highlands and Hadramawt are the main regions and the best known for popular music
(fig.1). The zār ceremony and Sufi music occur in various regions.
1. Main regional musical traditions.
(i) Highland villages.
This region is the historical heart of Yemen. Music is important in all aspects of life. Work-
songs include the mahjal, accompanying the harvests and other collective work. Its lyrics
are chanted on three notes to a simple rhythm. The hādī is an unmetred love song,
performed by women when thinning out sorghum leaves; it is often pentatonic, with a large
ambitus. Other songs accompany solitary tasks: the plougher’s maghrad, camel-driver’s
jammālī and well-digger’s masnā. Some music has magical functions: prayers are
chanted during drought, and there are specific songs to call rain (tasgiya).
The zāmil extols the honour and warlike virtues of tribesmen (gabā’il). It is composed and
performed at local political events and weddings, and during war time. Its form is
responsorial, with a march rhythm and mostly tetratonic melodies. The bara‘ dance
represents tribal solidarity in a suite of three or four sections. The Prophet’s descendants
(sāda) do not dance, whereas the tribesmen dance but do not play instruments. Low-caste
musicians (mzayyinūn) provide the music, beating two kettledrums (tāsa and marfa‘)
with sticks. As many as 50 male dancers form a semicircle, making stylized movements with

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

their daggers.
The mzayyinūn musicians conduct wedding ceremonies, playing in bands of three. They
play mizmār (double clarinet) with a circular breathing technique, tabl (cylindrical drum)
and a sahn mīmiye (gong) (fig.2). The percussionists sing in unison with the mizmār.
Two or three men dance the lu‘ba (‘game’), waving their daggers (fig.3). Women also
perform this dance under another name and without daggers or mizmār accompaniment.
The northern regions around Sa‘da (al-Shām) share the same musical culture, with some
influences from the desert. On the eastern slopes, Bedouins employ few instruments other
than drums. Their collective ‘sung dances’ (e.g. razfa) are closer to styles found elsewhere
in Arabia. East of Sana‘a (San‘ā’), the capital city, weddings are enlivened with poetic
contests (bāla).
(ii) Hadhramaut.
This large green valley crossing the desert presents a musical microcosm. As in the
highlands, music and dance distinguish the various social groups of Hadhramaut
(Hadramawt). There are lullabies and women’s and children's songs. Other music is linked
to traditional activities, such as building and farming, with songs for ploughing, harvesting,
pollinating palm trees and drawing water at wells (sināwa). The annual agricultural cycle is
sung in poems by the legendary figure Sa‘d al-Suwaynī, and there are several types of
camel-driver call (ġadwara).
When returning from the ibex hunt, tribesmen perform the Banī Maghrā songs. Two, four or
six hunters dance, parading the ibex head in a ceremonial procession (zaff) and enacting
the symbolic union between the ibex and the community. In side valleys, tribesmen
(masākīn) perform the dahifa. Two people dance in a circle, accompanied by mizmār
(double clarinet) or qasaba (end-blown flute).
During religious feasts and processions, low-caste du‘afā’ people perform the razīh
dance. Holding sticks, sickles and palm leaves, they simulate a type of sexual pantomime.
Some of them, the baqqāra (‘ploughmen’), make exaggerated head movements, waving
their shoulder-length hair in a style typical of women in the Arabian Gulf.
The dān is a poetic improvised contest performed at night by the Prophet’s descendants
and townspeople (hadar). Two or three poets face one another, taking turns to compose
quatrains based on combinations of the refrain syllables ‘dān, dān’. A scribe repeats the
words and writes them down, while a singer puts them to music. The most famous dān poet
was Sa‘īd Marzūq (d 1981), a mason from Say’un. The dān rayyid takes place indoors; its
variant shabwānī is performed in the open air, after a long sequence of dances
accompanied by the ‘idda drum band comprising several kettledrums (tāsa), cylindrical
drums (tabl) and the double-headed drums (mirwās) also found in the Gulf. On the coast,
the dān is accompanied by an oblique flute (madrūf). For a discussion of dān (or dāna

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

dāna) improvisation as a strophic form using refrains, see Arab music, §II, 3(ii).
At their private ceremonies, the Prophet’s descendants and townspeople perform an
aristocratic dance. It is called zerbādī or Bā-Sālih, also sharh rayyid (‘calm’) because
of its slow rhythms, or zafan (‘jumping, kneeling’). Two or four dancers perform in two main
movements, madkhal (‘introduction’) and makhraj (‘conclusion’), the latter being faster in
tempo. The dance’s generally slow tempo, delicate rubato and varied drum timbres reveal
influences from Java. Accompanying instruments are oblique flute (madrūf), oblong double-
headed drum (hājir) and cylindrical double-headed drum (mirwās). The poetry and
melodies are mainly those of the dān.
Bedouins perform the miraykūz dance to the rhythm of hand-clapping and wooden
castanets (marāqīs). Performed in this region, the habīsh is one of the few remaining
mixed dances in Yemen. The central figure is a woman whose face is veiled by a black
kerchief. Her silver jewellery shakes in rhythm as she dances, guided by a man who
revolves around her, making quick small steps.
In Hadhramaut towns and especially on the coast, ‘idda drum bands lead street
processions for weddings or political events. Men from the different districts confront one
another in theatrical stick dances, which sometimes end in real fighting. In the valley, the
‘idda drum band is called zāhirī.
(iii) The coastal plains.
The Red sea and Indian ocean coasts share certain musical genres linked with fishing, the
zār spirit possession cult (see §2(i) below) and Sufism (see §2(ii) below).
As in the Arabian Gulf, the songs of Yemeni fishermen and sailors use hand-clapping
(tasfīq) and music of the five-string lyre (simsimiyya). Sailors have many work-songs
(ahāzīj) performed in a responsorial manner to a simple binary rhythm. They recount their
sea adventures in recreational songs, e.g. the unmetred muwājahāt (akin to the mawwāl
vocal form). On the Indian ocean, one song to Sōbān, a sea god, sounds like a prayer; it is
performed with dance-like movements of the upper body. accompanying instruments are the
small five-string lyre (simsimiyya), conical drum (hājir), double-headed drum (mirwās),
treble drum (kāsir) and the modern signalling whistle. The various dances, rakla,
darbūka, bambīla, liwā and marjūza, are distinguished by their particular combinations
of polyrhythm (three beats against two), with syncopations and hockets. The scales are
diatonic, close to the Arab modes ‘Ajam, Nihāwand, Hijāz and Kurd. Pentatonic scales
are also used.
(iv) Tihama.
The music of this Red Sea coastal region is little known. Fishermen’s songs are described
immediately above. Countrymen's songs are not known.
The main feature of Tihama is a band of drums (tabbālīn or tunqūra) played by the

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

akhdām (low status people of African origin). In Tuhayta they lead processions to the local
saint’s shrine, and at religious festivals they play and dance in front of shops until given
alms. The band uses a cylindrical drum (tabl), kettledrums of various sizes (tāsa, marfa‘
and mishkal) played with sticks and a kettledrum beaten with the hands (sahfa).
Tihama tribesmen, the Zarānig, perform vigorous dances during pilgrimages to local shrines.
Jumping, dancing and holding two or more daggers, they make a show of stabbing
themselves (khudmī, hanjala), while the saint protects them from injury. They have a
more dignified collective dance (hafka), accompanied by the end-blown flute (qasaba)
played with circular breathing. Farmers use a tall drum of African origin (jabh: ‘hive’) carved
from a tree trunk and played with the hands to accompany a harvest dance (kindū).
At wedding ceremonies in Hodeida (Al-Hudayda) and Zabid, a soloist and chorus of several
men perform religious chanting (inshād) in a style developed by the Sufi poet and
composer Ahmad Jābir Rizq (d 1905).
The rabāb, a traditional single-string quadrangular spike lute (fiddle), was being made in
Ta‘iz (Ta‘izz) in the 13th century, but today it has almost disappeared from Tihama, the only
area in Yemen where it is still played at all.
(v) Middle Yemen.
This region (Ibb, Hugariyya, Dali‘ and Yafi‘) is less influenced by tribal values than the
highlands and Hadhramaut. The southern mountains are irrigated by the monsoon rains and
well cultivated. There are many work-songs, but fewer instruments than in other areas.
Hugariyya is the centre of the Sufi brotherhood of Ibn ‘Alwān (d 1267) and of panegyric
singing for the Prophet Muhammad (madīh nabawī). All over Yemen itinerant minstrels
(maddāh) play the circular frame drum (tār) to accompany the madīh, singing in a giusto
syllabic style. Sometimes they perform at weddings, as do the akhdām from Tihama. In
Ta‘iz rural songs have been modernized by musicians such as Ayyūb Tārish.
Yahyā ‘Umar, the 18th-century poet from Yafi‘, emigrated to India. His poetry is sung in
popular urban music throughout the Arabian peninsula. In Yafi‘, a genre of improvised poetry
called marjūza is also performed.
(vi) Mahra and Socotra.
In these isolated regions, traditional vocal styles have been preserved (as well as archaic
Semitic languages). They are akin to those of Hadhramaut and Dhofar (Zufār) in Oman but
retain many specific features. In Socotra the most characteristic instrument is a pierced shell
(wad‘a) producing a single note used for calling. There are many types of calls to animals.
Work-songs include a women’s song for heating the stone to cook a meal.
In Mahra men perform a magical therapeutic ceremony, the rābūt (see also Oman, fig.4).
A soloist and chorus gather around the sick person, chanting incantations in a simple tune

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

consisting of two or three notes. They use ritual and vocal ‘spitting’ to expel the illness. As
the long ritual progresses, the vocal pitch rises and tempo and volume increase until the
incantations are literally shouted.
2. Musical contexts.
(i) The ‘zār’ ceremony.
The Zār spirit possession cult is found in three main areas: the Red Sea coastal region
(Tihama), the southern region (Aden and Lahej) and the south-east coast (Mukalla). Its
purpose is to cure sickness through establishing a personal relationship between the person
possessed and a specific spirit (jinn. The ritual and music are differentiated according to
their origins in zār cults in Africa (see Sudan, §1). The leading instrument is the large lyre
(tanbūra), which has symbolic value as a living being and receptacle of the spirits. It is
accompanied by drums and the goat-hoof belt rattle (manjūr). The music of the zār is
mainly the līwā, a genre of African origin widespread in the Gulf.
(ii) Sufi music.
The practice of Sufism in Yemen is poorly documented. It was successively forbidden by
Shi‘a Zaydists in Sana‘a and communist officials in Aden, but it remains widespread over the
coastal plains dominated by the Shāfi‘ī branch of Sunni Islam. Some Sufi brotherhoods
originate outside Yemen (e.g. Qādiriyya and Mirghāniyya), while others are associated with
local saints such as al-Saqqāf in Tarim. In Hadhramaut the most famous Sufi songs are the
tahwīda genre, performed during the pilgrimage of the prophet Hūd. The voice is often
accompanied by the frame drum (tār) and flute (shabbāba). The madīh nabawī
(Prophet’s panegyric) is described in §1(v) above.
Yemen

II. Urban music

Yemen has a very ancient tradition of urban music, with recent modern developments. Its
music and poetry have been spreading throughout the Arabian peninsula and Gulf for some
time, especially recently, through star singers such as Abū Bakr Bal-Faqīh.
1. Sana‘a.
The capital city is the centre of Zaydism, a moderate Shi‘a sect that has influenced both
religious and secular music.
(i) Religious chanting.
Sana‘a is famous for its chants (tasbīh) sung from the minarets before the morning call to
prayer. The style is only slightly melodic, with long drawn-out notes and glissandi. Qur’anic
chanting is not musically greatly developed.
Professional hymn-singers (nashshād) enliven social occasions (fig.4) and life-cycle

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

ceremonies with hymns (mashrab). During eclipses of the moon, mashrabs are sung for
the remission of sins. At weddings the hymn-singers also perform non-religious poems in an
unmetred religious vocal style but use melodies that are akin to profane music.
(ii) The song of Sana‘a (al-ghinā’ al-san‘ānī).
This is the most ancient song tradition in Yemen and the Arabian peninsula. The singer
accompanies himself on a short-necked lute. Nowadays the ‘ūd has almost replaced the
ancient local instrument, qanbūs (for illustration see Qanbūs. A gong (sahn mīmiye) is
also played, held horizontally with the two thumbs.
Al-ghinā’ al-san‘ānī emerged alongside the humaynī, a form of lyric poetry originating
from Zabid and Ta‘iz and developed in the highlands by Muhammad Sharaf al-Dīn (d 1607).
Influenced by Muslim Spain, humaynī employs the following verse forms: qasīda (ode),
mubayyit (quatrain) and Muwashshah (three-part stanza). This poetry and music migrated
from the luxurious Rasuli palaces to the simple dwellings of the Zaydi imāms. Puritanical
rulers often forbade performance of this music, which is poorly documented prior to the
period of great 20th-century exponents: Bā-Sharāhīl (d 1952), al-Mās (d c1951), Ahmad
Fāyi‘ (d c1964) and sālih ‘Abdallah al-‘Antarī (d 1965).
San‘ānī melodies are related to the Middle Eastern maqām, but do not carry specific
names. The main scale combines three-quarter and whole tones, rarely semitones. The
melody has a basic structure (qā‘ida) and an improvised variation (kharsha) articulated by
a short coda (lāzima) underlining the rhythm and mode. The lute provides rhythmic and
melodic support and ornamentation. Right-hand techniques are: fard (‘one by one’), sils
(‘chain’, ostinato) and zafāra (‘plaiting’). Most rhythmic cycles have names: das‘a (7 and
11 beats), wastā (binary), sāri‘ (like wastā but faster), wastā mutawwala and
kawkabāniyya (slow 12-beat variants) and saj‘ (a fast march).
The qawma is a fixed succession of pieces linked to dance. It contains atleast three
different pieces: das‘a, wastā and sāri‘. Other forms can be included at the beginning:
these include the saj‘, an instrumental prelude called fartash (‘search’), and a fixed
unmetred form, mutawwal (‘stretched’). No empty space must be left between the
melodies; the transition between two movements (nagla) is characteristic to each musician.
The performance entails a search for intimate union between poetry and music. The
‘monodic unison’ of voice and instruments resembles a symbolic dialogue in which both the
musicians and listeners invest much emotion.
2. Hadhramaut.
The ‘awādī is an urban Hadhramaut style especially practised on the coast (Mukalla and
Shihr). It draws on other genres: the dān (see §I, 1(ii) above), Sufi songs, and the Gulf
sawt. Its most famous representative, Muhammad Jum‘a Khān (d 1963), recorded
hundreds of songs.

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

The voice is accompanied by the ‘ūd (from which the word ‘awādī derives), violin, hājir
and mirwās. Melodies are often in Sikāh mode or diatonic modes (Hijāz, Kurd,
Nihāwand). Rhythms are mostly binary or polyrhythmic, with some use of seven-beat
cycles. Influence from post-1930s Indian film tunes is evident.
3. Aden.
The lahjī style was created by composer and poet Prince Ahmad Fadl ‘Komandān’ (d
1942), modelled on popular tunes from the town of Lahej. His lyric and political songs are
interpreted by Fadl al-Lahjī and Ahmad al-Zabīdī. In the 1980s lahjī spread throughout
Yemen due to the popularity of its light polyrhythmic dance (sharh).
Aden music (‘al-ughniya al-‘adaniyya’) was born in the late 1940s, with the creation of
Khalīl Muhammad Khalīl’s Aden Club, and it grew into a nationalist movement. Like lahjī,
the accompanying instruments are ‘ūd and violin. Since independence (1967), urban style
has drawn on traditional tunes as well as Arabic and Western music. The most important
representative of modern urban music is Muhammad Murshid Nājī.
BIBLIOGRAPHY
and other resources
G. Adler: ‘Sokotri Music’, Südarabische Expedition, vi, ed. D.H. Muller (Vienna,
1906), 377–82
R.B. Serjeant: South Arabian Poetry and Prose of Hadramawt (London,
1951)
A. al-Shāmī: min al-Yaman [About Yemini literature] (Beirut, 1974)
M. ‘Abduh Ghānim: Shi‘r al-ghinā’ al-san‘ānī [The poetry of Sana‘a song]
(Beirut, 2/ 1980)
J.M. al-Saqqaf: Lamahāt ‘an al-aghānī wa-r-raqasāt al-sha‘biyya fī
muhāfazat Hadramawt [Aspects of popular songs and dances of Hadramawt]
(Aden, 1983)
M. Murshid Nājī: Al ghinā al-yamanī al qadīm wa mashāhiruhu [Ancient
Yemeni music and its famous names] (Kuwait, 1984)
A. Bakewell: ‘Music of Tihama’, Studies on the Tihama: the Report of the
Tihama Expedition 1982, ed. F. Stone (London, 1985), 104–8
T. Fari‘: Lamahāt min t’rīkh al-ughniyya al-yamaniyya al-hadītha
[Aspects of the history of modern Yemeni song] (Aden, 1985)
S.O. Farhan: ‘Al-raqs al-sha‘bī fī muhāfazat Hadramawt’ [Popular dance in
Hadramawt], Dirāsāt wa-abhāth fī-l-mūsīqā wa-l-masrah (Aden, 1987), 1–24
‘A.al-Q. Sabbān: Al-shi‘r al-sha‘bī ma‘a -l-muzāri‘īn [Popular poetry with the
Agricultors] (Seyyun, 1987)
K.H. Ali: ‘Al-‘idda Dance in Yemen’, Al-Ma’thūrāt al-sha‘biyya, xii (1988), 8–15

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

J. Elsner: ‘Trommeln und Trommelensemblen in Jemen’, Beiträge zur

traditionellen Musik: Neustrelitz 1989, 18–37
‘A.M. ‘Obayd: ‘Aghānī sayyādī al-samak fī qaryat Shuqrā al-yamaniyya’ [Fishermen
songs of Shuqra], Al-Ma’thūrāt al-sha‘biyya, xiv (1989), 51–66
‘A. al-Rudaynī, ed.: Dīwān zahr al-bustān fī mukhtāri al-gharīb min al-
alhān [Gathering of the rare melodies] (Sana‘a, 1989) [poems of Shaykh Ahmed Jābir
Rizq]
P. Schuyler: ‘Heart and Mind: Three Attitudes towards Performance Practice and
Music Theory in the Yemen Arabic Republic’, EthM, xxxiv (1990), 1–18
S. Caton: Peaks of Yemen I Summon: Poetry as Cultural Practice in a
North Yemen Tribe (Berkeley, 1991)
‘A.al-Q. Sabbān: Al-dān bi-Hadramawt [Dān poetry in Hadramawt] (Seyyun,
1991)
M. Radionov: ‘The Ibex Hunt Ceremony in Hadramawt Today’, New Arabian
Studies, ii (1992), 123–9
N. Adra: ‘Tribal Dancing and Yemeni Nationalism: Steps to Unity’, Revue
d’études du monde Musulman et Méditerranéen, lxvii/1 (1993), 161–8
H.S. Bā-Sādiq: Fīal-turāth al-sha‘bī al-yamanī [About the popular heritage of
Yemen] (Sana‘a, 1993)
A. Bū Mahdi and others: Ghinā‘iyyāt Yahyā ‘Umar, ‘Abū Mu‘jib al-
Yāf‘ī’ [The sung poetry of Yahya Umar] (Aden, 1993)
N. Ghānem: Juzūr al-ughniya al-yamaniyya fī a ‘māq al-Khalīj [The roots
of the Yemeni songs, deep from the Gulf] (Al-Doha, 1993)
J. Lambert: ‘Identité nationale et régionalisme musical’, Revue d’études du
monde Musulman et Méditerranéen, lxvii/1 (1993), 171–86
J. Lambert: ‘Les musiques populaires du Yemen’, Adib, ed. Y. Gonzales-Quijano
and R. Boustani (Paris, 1994) [CD-ROM]
T. Battain: ‘Osservazioni sul rito ‘zār di possessione degli spiriti in Yemen’,
Quaderno di studii arabi, xiii (1995), 17–30
F. Shu‘aybi: Alāt al-mūsīqā al-sha‘biyya wa-istikhdāmuhā fī -l-Yaman
[The use of popular musical instruments in Yemen] (diss., Ma'had Al-Mūsīqa
Al-‘Arabiya, 1995)
M.C. Simeone-Senelle: ‘Incantations thérapeutiques dans la médecine
traditionnelle des Mahra du Yémen’, Quaderno di studii arabi, xiii (1995), 131–57
H. Yammine: Les hommes de tribu et leur musique: hauts plateaux
yéménites, valée d’al-Ahjur (diss., U. of Paris, 1995)
G. Braune: Küstenmusik in Südarabien: die Lieder und Tänze an dem
jemenitischen Küsten des arabischen Meeres (Frankfurt, 1997)
J. Lambert: La médecine de l’âme: le chant de San‘ā dans la société

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Yemen , Republic of (Arab.Jumhūriyyat al-Yaman).

yéménite (Nanterre, 1997)

J. Lambert: ‘The Arabian Peninsula’, Encyclopedia of World Music, ed. T.
Rice and J. Porter (New York, forthcoming)
recordings
Music of South Arabia, Folkways P421 B (1951)
Islamic Liturgy: Song and Dance at a Meeting of Dervishes, Folkways FR
8943 (1960)
North Yemen: Traditional Music, coll. J. Wenzel, EMI Odeon O64 18 352 (1975)
Zaidi and Shaf‘i: Islamic Religious Chanting from North Yemen, coll. C.
Poche and J. Wenzel, Philips 6586 040 (1976) [incl. photographs]
The Afro-Arabian Crossroad: Music of the Tihama on the Red Sea,
North Yemen, coll. A. Bakewell, Lyrichord LLST 7384 (1985) [incl. photographs]
Mohammed al-Hārithī: chant et luth de San‘ā, Media 7 CD 26 (1997)
Yemen: Songs from Hadramawt, Auvidis D 8273 (1998)

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Yepes, Narciso (García)

Yepes, Narciso (García)

(b Lorca, 14 Nov 1927; d Lorca, 3 May 1997). Spanish guitarist. At the age of 13 he began
studying at the Valencia Conservatory under the composer and pianist Vicente Asencio, who
although not a guitarist prompted him to develop his technique. Ataulfo Argenta, director of
the Spanish National Orchestra, encouraged him to move to Madrid, where he made his
début in 1947 playing Rodrigo's Concierto de Aranjuez, a work of which he later made
a highly acclaimed recording. Yepes toured Europe with Argenta soon afterwards and spent
a season (1950) studying interpretation with Gieseking and Enescu in Paris. Further tours
followed and between 1960 and 1970 he visited eastern and western Europe, North and
South America and East Asia. His compositions and arrangements include scores for the
films Jeux interdits (1952) and La fille aux yeux d'or (1961). His research on
neglected music of the 17th and 18th centuries has resulted in many transcriptions for the
guitar. Composers who dedicated works to him include Leo Brouwer, Bruno Maderna,
Maurice Ohana and Rodrigo. His prolific recordings include all Bach's lute music (which he
also recorded on guitar) and many contemporary works, among them concertos by Rodrigo
and Ernesto Halffter. After 1963 Yepes performed on a ten-string guitar for which he claimed
an enhanced resonance, the ability to play more accurate transcriptions and a greater
attraction for composers because of its extended range.
By the 1950s Yepes had an international reputation second only to Segovia. His approach to
technique and interpretation was often controversially different from Segovia and other
leading recitalists. He continued to develop his own characteristic (and extensive) repertory,
forging ahead into many hitherto uncharted areas of guitar culture, at the same time
maintaining a wide-ranging interest in Baroque music. His early advocacy of Rodrigo's
Concierto de Aranjuez can now be seen as a significant landmark in mid-20th-century
guitar history. His overall contribution to the expansion of the repertory and the
establishment of the guitar as a recital instrument has been immense.
BIBLIOGRAPHY
J.M. Gironella: Todos somos fugitivos (Barcelona, 1974)
P. Sensier: ‘Narciso Yepes and the Ten-String Guitar’, Guitar, iii/9 (1975), 27
G. Wade: Traditions of the Classical Guitar (London, 1980)
I. Mairants: ‘Narciso Yepes: A Reappraisal’, Classical Guitar, ii/1 (1983–4), 43–4
M. Summerfield: The Classical Guitar: its Evolution, Players and
Personalities since 1800 (Newcastle upon Tyne, 1991)
C. Cooper: ‘Narciso García Yepes (1927–1997)’, Classical Guitar, xiv/10 (1996–
7), 28
PETER SENSIER/GRAHAM WADE

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 Yerkanian, Yervand Vahani

Yerkanian, Yervand Vahani

(b Leninakan [now Gyumri], 15 Nov 1951). Armenian composer. From 1966 to 1970 he
studied at the Leninakan Music College, and then attended the Yerevan Conservatory where
he studied composition with Grigor Eghiazarian and the violin with Hakob Vardanian, took a
postgraduate course (1975–7) and later taught composition and counterpoint (1975–94). He
was the head of the music department of Armenian Television and Radio (1982–4) and has
directed an early music ensemble ‘Tagharan’ (1987–94), and, in the Lebanon, a choir and a
chamber orchestra. His works have been performed in festivals in Buenos Aires, Jbail,
Moscow, Paris, Tbilisi, Yerevan and Zagreb. His first works displayed his interest in early
music as well as his leanings towards post-Webern serialism; the refined language of the
early, largely instrumental compositions was later combined with a more expressive tone in
programmatic and scenic works such as Orestes and Edip arka (‘Oedipus rex’). The
rhythmic vitality of his own writing and his intellectual compositional approach have allowed
him to individualize various stylistic influences from the works of Stravinsky, Messiaen and
Xenakis. In the second stage of his creative development (1977–87), the rhythmic
ornamentation and melodic formulae of medieval Armenian monodies exerted an influence
on his style, particularly in the stage and large-scale choral compositions, which are notable
for their suppleness of construction. During this period, he honed his instrumental technique
by writing a series of string quartets and concertos. The most recent works have a sacred
orientation and make use of material from Armenian Orthodox music.
WORKS
(selective list)

Stage (all unperf., unless otherwise stated): Orestes (ballet, 2, Yerkanian and A. Arevshatian, after
Aeschylus: Oresteia), chorus, orch, 1975; Edip arka (Oedipus rex) (ballet, 2, Yerkanian and
Arevshatian, after Sophocles), chorus, orch, 1976; Mokats Mirza (folk op-ballet, 1, N. Tahmizian),
1978; Shushanik (op, 2, T. Levonian, after 5th-century Armenian hagiography), 1981; Vahagni dsnund
[The Birth of Vahagn] (choreog. cant., O. Ioannisian), 1987, Yerevan, Erebuni memorial complex, 1987
Vocal: The Lamentations of the Prophet Jeremiah (cant.), solo v, chorus, orch, 1973; The Song of
Songs, S, T, ens, 1973; Mass in Memory of Palestrina (cant.), chorus, 1974; Polyphonic Cant. (G.
Narekatsi, P. Sevak), solo v, chorus, org, 1974; Canticle (N. Shnorhali), 6vv, 6 fl, perc, prep pf, 1975;
Hellenic Songs no.1, S, 15 insts, no.2, T, 15 insts, 1977; The Country of Signs (suite, H. Edoyan and
A. Harutyunian), chorus, 1978; Navasard (choral hymnody, D. Varuzhan), 1979; The Book of Being
(V. Davtian), chorus, org, small orch, 1980; Dsisakan shrjik yerger (folk text), carols, female chorus,
1985; Sirius (vocalization exercise), female chorus, 1985; Kanon Surb Harutyan [Easter Canon]
(liturgical text), S, Bar, chorus, orch, 1994; Avag Shabat [Holy Week] (orat, sacred Armenian hymns),
S, Bar, chorus, orch, 1995; solo cants., vocal cycles, 1v, pf

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 Yerkanian, Yervand Vahani

Orch: Sym. Poem, 1974; Suite, 1975 [from the ballet Orestes]; Sym. Poem, 1975; Sym. no.1
‘Introspection’, 1977; Cl Conc., 1978 [from the ballet Orestes]; Sym. no.2 ‘Hayk and Bel’ (M.
Khorenatsi), spkr, chorus, orch, 1978; Vn Conc., 1983; Gui Conc., 1984; Sym. no.3 ‘The Martyr’s
Voice’ (Varuzhan), solo v, chorus, orch, 1984; Sym. no.4 ‘Nemesis’, 1986; Vn Conc. no.2, 1986
Chbr and solo inst: Spontaneity, inst ens, 1972; Avetum [The Annunciation], pf, 1973; Eclogues I and
2, pf, 1973; Hagiography of Tovma Metsopetsi, 2 tpt, 2 trbn, timp, 1974; Pantomusique, 2 pf, 1974,
rev. solo pf, 1987; Hagiography of Stepanos Sjunetsi, org, pf, perc, 1975; Pf Sonata no.1, 1975; Wind
Qt, 1976; 3 Recitatives, fl, pf, 1977; Pf Sonata no.2, 1980; Sonata, vc, pf, 1981; Intentio (In Memory of
A. Khachaturian), 15 insts, 1983; Str Qt, 1983; Entelecheia, 15 insts, 1985; The Gleams of Sunset, fl,
cl, vn, vc, pf, 1985; Str Qt no.2, 1986
Many arrs. incl.: C. Monteverdi (L'incoronazione di Poppea); sacred Armenian songs, chorus, orch,
1987–96; 350 sacred and national songs

MSS in Armenian Composers’ Union

Principal publishers: Sovetakan Grokh, Sovetskiy Kompozitor, G. Schirmer, H. Sikorski, Leduc

BIBLIOGRAPHY
K. Meyer: ‘Hayastani zhamanakanits compozitorneri steghdsagor-tsutyan shurg’ [On
the work of contemporary Armenian composers], Sovetakan arvest (1980), no.8,
pp.41–2
A. Arevshatian: ‘Muzïka dlya kamerno-orkestrovïkh sostavov 70–80-ye
g.’ [Chamber orchestral music in the 1970s and 80s], Armyanskoye sovetskoye
iskusstvo na sovremennom etape, ed. G. Geodakian (Yerevan, 1987), 155–6
G. Tigranov: Armyanskiy muzïkal'nïy teatr [The Armenian musical theatre], iv
(Yerevan, 1988), 93–104
S. Sarkisian: ‘Yervand Yerkanian’, Azdak [Beirut] (6 March 1996)
SVETLANA SARKISYAN

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file:///H|/seed/The%20New%20Grove%20Dictionary%20of%20Music%20a...cians%20-%20Version%203-%20Version%203/Grove/Entries/S41638.htm

Yermolenko-Yuzhina [Ermolenko-
Yushina; Plugovskaya], Nataliya
(Stepanovna)
(b Kiev, 1881; d after 1924). Russian soprano. She studied in Kiev and Paris and made her
début under the name of Yermolenko as Lisa in The Queen of Spades at Kiev in 1900.
She went to St Petersburg in 1901 and to the Bol'shoy in 1905. There she met the tenor
David Yuzhin, whom she married, adding his name to her own professional name. For two
seasons both singers joined Sergey Zimin’s Private Opera in Moscow. Yermolenko was also
among the most admired members of the distinguished company from Russia that
performed in Paris in 1908, introducing Boris Godunov to the West. From 1915 to 1917
she was with the Mariinsky Theatre opera company, and in 1924 emigrated to Paris, where
all traces of her appear to have been lost. She was considered the leading Russian lyric-
dramatic soprano of her time, with a repertory that included Brünnhilde, Norma, Violetta and
Carmen as well as many Russian operas; among these, one of her greatest successes was
in Serov’s Judith. Her rare recordings show clearly the impressive volume and quality of
her voice and the authority of her style and technique.
J.B. STEANE

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Yes.

Yes.
English rock group. Formed in London by Jon Anderson (b Accrington, 25 Oct 1944; vocals)
and Chris Squire (b Wembley, 4 March 1948; bass) in 1968, Yes became one of the most
commercially successful of the British progressive rock bands between 1970 and 1977. The
group is known for its complicated arrangements, instrumental virtuosity and the ambitious
scope of its music. The Yes Album (Atlantic 1971) was its first successful album and saw
the addition of Steve Howe (guitar). Keyboard player Rick Wakeman joined the group for
Fragile (Atlantic 1971), which featured the U.S. hit single Roundabout. In the years that
followed, Yes released an impressive string of studio albums: Close to the Edge (Atl.
1972), Tales from Topographic Oceans (Atl. 1973) and Relayer (Atl. 1974) each
contain complex and extended tracks, many lasting up to 20 minutes. Critics often dismissed
Yes’ 1970s music as self-indulgent and pretentious, due to the group’s eagerness to adopt
classical music styles and practices; but fans, especially in the USA, celebrated these very
same tendencies. With the rise of punk and new-wave rock at the end of the 1970s, the
group faced waning popularity and disbanded in 1980. It later reformed with South African
Trevor Rabin on guitar and released 90125 (Atl. 1983), which returned to a more
mainstream rock style, and whose track Owner of a Lonely Heart became the group’s
biggest hit single. The group remained active in the 1990s. While Yes’ commercial success
in the 1980s exceeds that of the 70s, the innovative and eclectic earlier music was more
influential, playing a central role in the development of progressive rock.
BIBLIOGRAPHY
S. Turner: ‘The Great Yes Technique Debate’, Rolling Stone (30 March 1972)
C. Welch: ‘Yes Please!’, Melody Maker (16 Feb 1974) [interview]
D. Hedges: Yes: the Authorised Biography (London, 1981)
T. Morse: Yesstories: Yes in Their Own Words (New York, 1996)
J. Covach: ‘Progressive Rock, “Close to the Edge” and the Boundaries of Style’,
Understanding Rock: Essays in Musical Analysis, ed. J. Covach and G.
Boone (New York and London, 1997), 3–31
JOHN COVACH

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Yesipova, Anna [Annette]Nikolayevna

Yesipova, Anna [Annette]

Nikolayevna
(b St Petersburg, 12 Feb 1851; d St Petersburg, 18 Aug 1914). Russian pianist and teacher.
Daughter of a high official, she studied at the St Petersburg Conservatory with Leschetizky,
to whom she was married from 1880 until 1892. From 1871 to 1892 she lived mainly in
western Europe, undertaking several very successful concert tours. She made her London
début in 1874; her lightness of touch and singing tone were highly praised, but some critics
took exception to her often exaggerated interpretations of Classical pieces. In 1875 she
appeared in Paris and in the following year went to the USA. In 1885 she was appointed
pianist to the Russian court. She taught the piano at the St Petersburg Conservatory (1893–
1908), where her pupils included Prokofiev and Borovsky.
BIBLIOGRAPHY
A.D. Alekseyev: Russkiye pianistï (Moscow, 1948)
T. Berkman: A.N. Yesipova: zhizn', deyatel'nost' i pedagogicheskiye
printsipï [Life, work and teaching principles], ed. G.M. Kogan (Moscow, 1948)
N. Bertenson: ‘A.N. Yesipova: k 100-letiyu so dnya rozhdeniya’ [On the centenary
of her birth], SovM (1951), no.3, pp.82–4
N. Bertenson: Anna Nikolayevna Yesipova: ocherk zhizni i
deyatel'nosti (Leningrad, 1960)
JENNIFER SPENCER

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Yeston, Maury

Yeston, Maury
(b Jersey City, NJ, 23 Oct 1945). American composer, lyricist and theorist. A composer
since the age of six, he attended Yale University (1963–7), where he studied with the
musicologist William G. Waite and the theorist Allen Forte, earned the PhD in theory in 1974,
became a professor of theory for the next six years, and occasionally returned as a guest
professor. As a theorist he produced a monograph on Schenkerian analysis and a
provocative new theory on rhythmic stratification. The year before receiving the doctorate he
conceived a musical based on Federico Fellini's autobiographical film 8½ and, after
launching the project for Lehman Engel's BMI Music Theatre Workshop, continued to
develop it over the next nine years. The result, coincidentally named Nine (1982), was an
unusual musical with one male character (the great film director, Guido Contini (Fellini), as
an adult and as a nine-year-old) and 21 women occupying the director's real and imagined
worlds. In the popular and critically acclaimed staging by the director, Tommy Tune, Nine
received Tony Awards for Best Score and Best Musical and ran for 739 performances. Its
score was notable for its successful adaptation and personalization of traditional and popular
Italian, and in one case French, musical idioms.
Yeston's only significant earlier professional theatrical credit was the title song and incidental
music to a 1981 off-Broadway production of Caryl Churchill's farce about sexual confusion,
Cloud 9, directed by Tune. At the end of the 1980s Tune called upon Yeston to contribute
seven new songs for the surprisingly successful Grand Hotel (1989), a considerably
reconceived revival of Wright and Forrest's At the Grand, which had closed in Los
Angeles in 1958. By the time Yeston completed Phantom, begun in 1983 with Nine's
librettist Arthur Kopit, Andrew Lloyd Webber had already mounted his phenomenally
successful The Phantom of the Opera in London and New York. Despite this obstacle,
Yeston's Phantom, a work that explores dramatic areas untapped by the novel or any
stage or filmed realization and contains music that imaginatively evokes Verdi and 19th-
century French opera, has been produced by numerous distinguished American companies
since its première in 1991. In 1997 Titanic, a musical about the famous luxury liner that
sank in 1912, became Yeston's second musical to receive the Tony Award for Best Score
and Best Musical. For further reference, see M. Gottfried: More Broadway Musicals
Since 1980 (New York, 1976).
WORKS
(selective list)

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 Yeston, Maury

Musicals (writers shown as lyricist; book author): Nine (A. Kopit; M. Yeston, after F. Fellini: 8½), orchd
J. Tunick, New York, 46th Street, 9 May 1982; Phantom (Kopit; M. Yeston, after G. Leroux), orchd
Tunick, Houston, Theatre under the Stars, 29 Jan 1991; Titanic (P. Stone; Yeston), orchd Tunick, New
York, Lunt-Fontanne, 23 April 1997
Contribs. to: Cloud 9 (play, C. Churchill), New York, Theater de Lys, 18 May 1981 [title song and incid.
music]; Grand Hotel (musical, Davis), orchd P. Matz, New York, Martin Beck, 12 Nov 1989 [collab. G.
Forrest and R. Wright; rev. of At the Grand, 1958]
Other works: Vc concerto (1977); Goya, a Life in Song (1987); December Songs (1991) [incl. ‘Till I
Loved You’]

WRITINGS
Readings in Schenker Analysis (New Haven, CT, 1975)
The Stratification of Musical Rhythm (New Haven, CT, 1976)
GEOFFREY BLOCK

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Yevdokimova, Yuliya Konstantinova

Yevdokimova, Yuliya
Konstantinova
(b Moscow, 10 Oct 1939). Russian musicologist. She studied at the Moscow Conservatory
under Lev Mazel', graduating in 1966, and undertook postgraduate study with Vladimir
Protopopov. In 1969 she was made a lecturer at the Gnesin Academy of Music in Moscow,
becoming senior lecturer in the department of polyphony in 1975, professor in 1987 and
head of the department the following year. At the Academy, she organized a new
department of research into music education and psychology, developing a concept of
general and special music education. Since 1987 she has been a member of the Georg-
Friedrich-Händel Gesellschaft in Halle and has co-written, with Albert Scheibler, two books
on the composer.
The main subject of Yevdokimova’s research is polyphony. In her work she strives to
ascertain the connections between different kinds of polyphony, in which either melody or
complementary counterpoint is predominant. Her original views on the history and theory of
polyphonic music are elucidated in her Manual of Polyphony, a textbook based on
historical principles of study through the method of style-shaping. Since 1992 Yevdokimova
has been involved with research into old Russian church music, its connection with the
church music of other Slavonic nations and its typological similarities to Western medieval
polyphony, and has prepared some editions of old Russian liturgical music.
WRITINGS
‘Stanovleniye sonatnoy formï v predklassicheskuyu ėpokhu’ [The formation of sonata
form in the pre-Classical era], Voprosï muzïkal'noy formï, ed. V.V. Protopopov, ii
(Moscow, 1972), 98–138
Stanovleniye sonatnoy formï v predklassicheskuyu ėpokhu (diss., Moscow
Conservatory, 1973)
with N.A. Simakova: Muzïka ėpokhi Vozrozhdeniia: cantus prius factus i
rabota s nim [The music of the Renaissance: cantus prius factus and its usage in
history] (Moscow, 1982)
Mnogogolosiye srednevekov'ya X–XIV veka [The polyphony of the Middle
Ages, 10th–14th centuries] (Moscow, 1983)
‘Organnie khoral'nïe obrabotki Bakha’ [The Choral Preludes by J.S. Bach], Russkaya
kniga o Bakhe, ed. T.N. Livanova and V.V. Protopopov (Moscow, 1985), 222–48
‘Händel auf dem Wege zur Wiener Klassik’, Georg Friedrich Händel: Halle
1985, 189–94
‘Merkmale der frühdeutschen Oper in Händels Opernschaffen’, HJb 1988, 135–44
with A. Scheibler: Georg Friedrich Händel: Philosophie und Beredsamkeit

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Yevdokimova, Yuliya Konstantinova

seiner Musik (Graz, 1991)

with A. Scheibler: Georg Friedrich Händel: Oratorien Führer (Cologne, 1993)
The Great Martyr Saint Paraskeva (Moscow, 1999)
The Manual of Polyphony (Moscow, 2000)
NATAL'YA ZABOLOTNAYA

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 Yevlakhov, Orest Aleksandrovich

Yevlakhov, Orest Aleksandrovich

(b Warsaw, 17 Jan 1912; d Leningrad, 15 Dec 1973). Russian composer and teacher. He
graduated from the Leningrad Music Technical School in 1936 as a pupil of Ryazanov, and
from the Leningrad Conservatory in 1941 as a pupil of Shostakovich. In May 1941 he made
his début as a composer with the Piano Concerto, performed by Khal'fin and the Leningrad
PO. He was appointed in 1947 to teach composition and instrumentation at the Leningrad
Conservatory, where he was later made professor (1959) and given a chair in composition
(1960–69, 1971–3); his pupils included Sergey Slonimsky and Boris Tishchenko. He
contributed numerous articles for Izvestiya, Pravda, Sovetskaya muzïka,
Sovetskaya kul'tura and Vecherniy Leningrad; he also wrote a book entitled
Problemï vospitaniya kompozitora (‘The problems of educating the composer’). In
1972 he received the title Honoured Artist of the RSFSR.
WORKS
(selective list)

Ballets: Den' chudes' [Day of Miracles] (A. Shnirman, K. Shneyder), 1946, collab. M. Matveyev;
Ivovaya Vetochka (Ivushka) (L. Brausevich), 1953–5, Leningrad, 1957
3 syms: 1946, 1963, 1968
Other orch: Pf Conc., 1939; Pioneer Suite, 1949; 2 suites from Ivovaya Vetochka, 1953, 1955;
Bronzovaya syuita, ballet suite, perf. 1971; Conc.-poem, vn, orch
Vocal: Nochnoy patrul' [Night Patrol] (G. Trifonov), 1v, orch, perf, 1943; Iz ikri [Of Caviare] (cant.),
1950; songs (A. Grashi, H. Heine, M. Lermontov, N. Yazïkov)
Chbr: Sonata, vn, pf, 1948; Pf Trio, 1959; Pf Qnt, perf. 1965; Ballade, vc, pf, perf. 1966
Pf: 10 Preludes, 1939; Leningradskiy bloknot [Leningrad Notepad], 1943; Sonata, perf. 1969
Other works: incid music, film scores, arrs.

Principal publishers: Muzfond, Sovetskiy Kompozitor

BIBLIOGRAPHY
BDRSC
SKM
I. Gusin: Orest Yevlakhov (Leningrad, 1964)
DETLEF GOJOWY

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 Ye Xiaogang

Ye Xiaogang
(b Shanghai, 23 Sept 1955). Chinese composer. He studied at the Central Conservatory of
Music, Beijing (1978–83), where he attended Alexander Goehr’s masterclass. His early
works hover between overt Western Romanticism and the tranquillity of Chinese elite
traditions. With Xi jiang yue (‘The Moon over the West River’, 1984), a subdued,
contemplative work for chamber orchestra, he became one of the first Chinese avant-garde
composers to attract international attention. Elements of meditation and quietness became
increasingly important to his style as he continued his studies at the Eastman School of
Music (MA 1991). Among his first works written in America are the introspective Threnody
for piano quintet (1988) and a ballet evoking Tibetan ritual music. The Ruin of the
Himalaya (1989), for which he was awarded the Howard Hanson prize (1990), again
shows the influence of Western Romanticism.
In 1989, Ye became a PhD candidate at SUNY, Buffalo, where he studied for a few months
with Louis Andriessen. His music gradually developed greater clarity and became more
economical. The Mask of Sakya, a reflective and mystical piece for shakuhachi and
Chinese orchestra (1990) reflects this new style. In 1994, after working as a freelance
composer in Pittsburgh, he joined the composition department at the Central Conservatory
in Beijing. His many honours include the Alexander Tcherepnin Prize (1982), the Grand
Prize of the First Orchestral Composition Competition, Taiwan (1991), the Masterpiece
Award from the China Cultural Promotion Society (1993) and a Meet the Composer Award
(1996).
WORKS
Juzi shoule [Oranges Ripening] (Bei Dao), 1981; Vn Conc., 1983; Xi jiang yue [The Moon over the
West River], op.16, chbr orch, 1984; Eight Horses, 12 Chin. insts, chbr orch, 1985; Horizon, sym., S,
Bar, orch, 1985; Ballade, pf, 1986; Threnody, pf qnt, 1988; The Ruin of the Himalaya, orch, 1989; The
Silence of Sakyamuni, op.29, shakuhachi, Chin. orch, 1990; other works incl.: Purple Fog and White
Poppy, op.10, S, orch; The Scent of Black Mango, op.11, pf, orch; Strophe, op.12, 16 players; The
Old Man’s Story, op.15, orch; Enchanted Bamboo, op.18, pf qnt; Nine Horses, op.19, 10 players; The
Last Paradise, op.24, vn, orch; Winter, op.28, orch

Principal publisher: Schott

BIBLIOGRAPHY
Dai Qing and Lü Yi: ‘Ye Xiaogang de gushi’ [The Story of Ye Xiaogang],
Wenhui Yuekan, i (1986), 54–62
F. Kouwenhoven: ‘Mainland China’s New Music: the Age of Pluralism’, CHIME,

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Ye Xiaogang

no.5 (1992), 76–133

FRANK KOUWENHOVEN

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Yiddish music.

Yiddish music.
See Jewish music, especially §III, 3, §IV, 2(iv) and 3(ii).

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 Yim, Jay Alan

Yim, Jay Alan

(b St Louis, 24 April 1958). American composer. He studied at Harvard (PhD 1989), where
his teachers included Donald Martino and Maxwell Davies, and at the Dartington Summer
School (1985) with Birtwistle. In 1989 he joined the composition department at Northwestern
University. His music is often inspired by extra-musical sources: Moments of Rising
Mist (1986) derives from a Chinese scroll, while Geometry and Delirium (1989) is
based on a poem by Octavio Paz. His style fuses traditional compositional techniques with
elements from popular and non-Western music. In the early 1980s he began to use a
harmonic vocabulary based on a set of 12-note, all-interval chords; most pieces use a
subset of this chromatic field. Rough Magic (1996–7) for large orchestra, like several
other works, exhibits two opposing processes, one generating perceptible continuity, the
other diversity. Many abrupt shifts between relatively simple and chaotically polyphonic
textures partition the surface. These texturally defined segments return clearly enough to
establish a complex rondo form. A repeating set of chords, along with the repetition of
chordal structures nested within this set, creates a ‘chaconne of chaconnes’ that provides
continuity.
WORKS
Orch: Askesis, 1980–81, rev. 1987; Karénas, double str orch, hp, perc, 1986; Geometry and Delirium,
amp chbr orch, 1989; Rain Palace, ob, eng hn, orch, 1993; Rough Magic, 1996–7
Vocal: Canción de atardecer (P. Neruda), Bar, str qt, 1990; LHOOQ (S. Olds, M. Swenson), S, fl, cl,
perc, pf, hp, vn, vc, 1990
Chbr: Pìak, 2 ob, 2 hn, 2 bn, dbn, 1981; Autumn Rhythm, str qt, 1985; Mille grâces, fl, pf, 1986;
Moments of Rising Mist, fl + a fl, cl, perc, pf + cel, hp, vn, vc, 1986; Vitres de son, amp fl, hn, tpt, trbn,
perc, pf, hp, str qt, db, 1988; Zazanza, fl, ob, cl, pf, hp, str qt, db, 1989; The Blue Voice of Air, str qt,
1990; Radiant Shadows, perc ens, 1991; Jam Karet 1, 2 prep vib, 1994; Broken Prisms, fl + pic, cl + b
cl, 2 perc, pf + cel, vn + va, vc, 1995; Soku, fl, vc, perc, 1995; :dreamin/gField, a fl, cl, hn, perc, pf, str,
1997; Zero Crossings, fl, b cl, pf
Solo inst: Timescreen no.1, pf, 1982–4; Timescreen no.2, pf, 1983; Furiosamente, pic, 1985; Escape
Velocity 1.1a, a sax, 1995; Escape Velocity 1.1b, bar sax, 1995; Escape Velocity 1.1s, s sax, 1995;
Escape Velocity 1.2, cl, 1995; Escape Velocity 1.3, b cl, 1995; Escape Velocity 2.1, fl, prep mar, 1997
El-ac: Shiosai, cptr, 1984; Dreams Wide Awake, fl, ob, cl + b cl, pf, hp, gui, mand, str, live elec, 1991;
Song in Memory of a Circle, a fl, elec, 1992; Orenda, vc, live elec, 1995–7
Arr.: Rachmaninoff: Vocalise, S, 2 vn, 2 vc, pf four hands, orch, 1997

Principal publisher: Shinkyoku Edition

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Yim, Jay Alan

STEVEN JOHNSON

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Yin Falu

Yin Falu
(b Feicheng county, Shandong, 25 July 1915). Chinese musicologist. He graduated from the
Department of Chinese Language and Literature, Beijing University, in 1939 and gained an
advanced degree from the Graduate School for Humanities, also Beijing University, in 1942.
He taught at the Huazhong University in Dali, Yunnan province (1942–6), Beijing University
(1946–51), Beijing College for Political Science and Law (1952–4), and Beijing University
from 1960 until his retirement. He also worked as a correspondent research fellow at the
Research Institute for National Music (1952–66) and vice research fellow at the Institute of
History, Chinese Academy of Sciences (1954–60). In 1982–3 he was invited for a six-month
residency at Columbia University, New York, under the auspices of the Luce Fund for
Chinese Studies.
Yin is a specialist in the history and music of the Tang and Song dynasties, the role of music
in ancient China's relation with her neighbours, particularly with Central Asia and India, and
the interrelationship of poetry, literature, dance and music in ancient Chinese culture. His
extensive articles have appeared in scholarly journals as well as newspapers.
WRITINGS
Tang Song daqu zhi laiyuan jiqi zuzhi [Origin and structure of the daqu in the
Tang and Song dynasties] (Beijing, 1948/R)
with Yang Yinliu: Song Jiang Baishi chuangzuo gequ yanjiu [Study of the
songs created by Jiang Baishi in the Song dynasty] (Beijing, 1957)
‘Gudai Zhongwai yinyue wenhua jiaoliu wenti tantao’ [Investigation of the question of
ancient music culture exchange between China and foreign countries], Zhongguo
yinyuexue (1985), no.1, pp.39–48
‘Kaogu ziliao yu Zhongguo gudai yinyue shi’ [Archaeological material and the history of
ancient Chinese music], Zhongguo lishi bowuguan guankan, xiii–xiv (1989), 18–
21
BIBLIOGRAPHY
Han Kuo-huang: ‘Three Chinese Musicologists: Yang Yinliu, Yin Falu, Li Chunyi’,
EthM, xxiv (1980), 483–529
HAN KUO-HUANG

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 Yi Sung-chun

Yi Sung-chun
(b North Hamgyŏng Province, Korea, 28 May 1936). Korean composer and scholar. Trained
as a composer of Western music, he has risen to become the major spokesman and
apologist for new Korean music using traditional instruments. He has been a professor at
Seoul National University for much of his academic life, and between 1995 and 1997 served
as director of the National Centre for Korean Traditional Performing Arts, the successor to a
long line of court institutes. His first composition to achieve success, and some notoriety,
was Norit'ŏ, a prize-winning suite originally written in 1965 for piano, but adapted for
kayagŭm. Yi sought to find a way to match the versatility of the piano on a Korean
instrument. He created a grammar far removed from either the court or folk traditions, full of
new techniques alien to kayagŭm music of the time such as glissandi, arpeggios, chords
and ostinati. Criticized for not understanding Korean musical language, Yi spent the next 15
years securing his position as a scholar of music history and theory, publishing many books
and articles in Korean periodicals.
In the 1980s, a mature style was firmly established in orchestral works such as Kwanhyŏn
shigok: Naŭi choguk (1981–5) and the lyric song Sasŭm (1986). As he turned his
attention to the development of Korean music, he recovered lost techniques for playing the
three Korean lutes (tang pip'a, hyang pip'a and wŏlgŭm) and encouraged the
composition of children’s songs utilizing traditional instruments, modes and melodic
contours. He also developed new versions of old instruments, notably a small kayagŭm for
children and a larger version with 21 strings, which increased the range towards that of the
piano. Pada (1986) shows how he applied his repertory of new techniques. The first three
movements develop melodies that explore the four-octave range, while quasi-orchestral
textures and solid triadic harmony beneath sustained melodies emerge in the last three.
While later works have programmatic titles, Yi seeks less to depict scenery with any realism
than to take his inspiration from his surroundings, as with poets in Korea’s past.
WORKS
Orch: Ch'ŏngsonyŏnŭl wihan kugak kwanhyŏnak immun [Young Person’s Guide to the Korean Trad.
Orch], 1974; Kwanhyŏn shigok: Naŭi choguk [Poem: My Fatherland]: 1 Koyohan ach'im ŭi nara [Land
of Morning Calm], 1981, 2 Sanhwa [Mountains and Rivers], 1983, 3 Minjok ŭi songga [Ode of the
People], 1985; Prelude, kayagŭm, orch, 1987; Sasŏng chiak [Music of the Four Saints], 1988; Orch
Ens no.6, 1989; Ishine pyŏnjugok [Yi’s Piece], 1990; Chwikumŏnge pyŏldŭrŏssŏdo [Light in the
Mousehole], haegŭm, orch, 1990; Noŭl [Sunset Sky], hyang-pip'a [5-str pip'a], str orch, 1991;
Pohashie wihan taeyŏpkok [About the Time of Poha], 1992

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 Yi Sung-chun

Chbr: Mixed Qnt, 1964; Piece, Korean str ens, 1969; Chbr Piece, Korean wind ens, 1969; Chbr
Variations, wind ens, 1970; Shinawi [Fantastic Dance Suite], cl, pf, 1971; Fantasy, Korean ens, 1975;
Ohyŏn'gŭm [Five-string Lute], hyang-pip'a, kayagŭm, 1975; Pyŏllak, lyric song, arr. ens, 1987; Hahyŏn
ŭi pyŏnyŏng [Variations of Hahyŏn], Korean ens, 1989; Pyŏllo shimgakhajido annŭn iyagi [Not all that
Serious Story], 2 haegŭm, 1993; Ch'ŏlsae, sach'ŏl namu mit'unge tungjidŭl [Migrating Birds nesting at
the Base of the Evergreen Tree], haegŭm, changgo, 1995; Ch'owŏn ŭi chip [House of the Greenfield],
haegŭm, changgo, 1996; Sŏng Kŭmyŏn kayagŭm sanjo [Sanjo, Sŏng Kŭmyŏn School], arr. Korean
ens, 1996; Wŏn kwa chiksŏn sai [Circle and Straight Line], ens, 1996; Sedae ŭi haegŭmŭl wihan sanjo
[New Sanjo for Haegŭm], haegŭm, ens, 1997; Hamgyŏngdo p'unggu sori [Song of the Bellows], 21-str
kayagŭm, cl, fl, 1997; Ppalgan ŭmak [Thorough Music], 3 kayagŭm, 1997; Ŏrŭnidwin agikoyangi
[Childhood Birthplace of the Elders], 2 haegŭm, 1997; Ch'osudaeyŏp, lyric song, arr. taegŭm,
kayagŭm, 1997; P'yŏnsudaeyŏp, lyric song, arr. taegŭm, kayagŭm, 1997
Solo inst: Norit'ŏ [The Playground], pf, rev. kayagŭm, 1965; Salgoji tari [Live and Die], kayagŭm, 1968;
Supsok ŭi iyagi [Talking of the Forest], kayagŭm, 1974; 2 Studies, pf, 1975; Yŏŭl [Whirlpool],
kayagŭm, 1979; Shigol p'unggyŏng [Village Landscapes], perc, 1981; Pada [Sea], 21-str kayagŭm,
1986; Owŏl ui norae [May Song], kayagŭm, 1989; P'yŏnsudaeyŏp, lyric song, arr. pip'a, 1989;
Matpoegi [Taste], kŏmun'go, 1990; Shisang [Poetic Sentiment], 3 movts, 21-str kayagŭm, 1991 [based
on Song of April, anon. student song]; Ch'am arŭmdawŏra [Really Beautiful], 21-str kayagŭm, 1992;
Kaebŏlt'ŏ ŭi pangge kumŏngjiptŭl [Crabholes in the Black Mudfields], 21-str kayagŭm, 1992; Makkuraji
nondurŏnge ppajida [Mudfish falling into a Rice Paddy], 21-str kayagŭm, 1993; Ch'ilgae ŭi moŭmgok
‘Pŏlgŏbŏkkin Sŏul’ [Play of Vowels ‘Naked Seoul’], suite, 21-str kayagŭm, 1994; Koyangi suyŏm [The
Cat’s Beard], haegŭm, 1994; P'ulp'iri, p'iri, 1994; Sasŭmŭn noraehanda [The Deer Sings], kŏmun'go,
1996; Pomi onŭn sori [Song of the coming Spring], taegŭm, 1996; Urinŭn hana 2 [We are One 2],
haegŭm, 1996; Na hana [I, One], 21-str kayagŭm, 1998; Kangmuri hŭrŭnŭn p'unggyŏng [Scenery of
the Flowing River], haegŭm, 1998
Vocal: Iyagi [Talking], 1v, ens, 1975; Samogok, 1v, ens, 1976; Elli, Elli [Eli, Eli], female chorus, ens,
1980; Kyrie, female chorus, ens, 1981; Sasŭm [The Deer], Bar, pf/ens, 1986; Sagye [Four Seasons],
2vv, ens, 1988; Ŏmmaya nunaya [Mother, Older Sister], 1v, ens, 1990, arr. taegŭm, kayagŭm, 1997;
Chŏnyŏk [Evening], 1v, pf, 1994; over 40 children’s songs, vv, ens, 1990–97
Dramatic: Hodong wangja [Prince Hodong] (music for dance), 1973; P'ansori inhyŏnggŭk Hŏsaengjŏn
[Husaeng’s Story] (puppet show), 1975
Arrs. for kayagŭm, incl. 3 collections: Norit'ŏ (1977), Supsok ŭi iyagi (1977), Pada (1987);

Principal publisher: Sumundang

WRITINGS
Ŭmak tongnon-gwa kŭshi sŭp [Theory of Music, with Exercises] (Seoul, 1971)
Shich'anggwa ch'ŏngŭm yŏnsŭp [Ear Training and Sight Singing] (Seoul, 1972–
3)

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Yi Sung-chun

Ŭmak mihak [The Aesthetics of Music] (Seoul, 1974)

Kugasha [History of Korean Music] (Seoul, 1976)
Ŭmak hyonshikkava punsŏk [The Analysis of Musical Form] (Seoul 1976)
Ŭmak ŭi kibon yŏnsŭp [Fundamental Musical Exercises] (Seoul, 1979)
Han'guk, Han'gugin han'guk ŭmak [Koreans, Korean music] (Seoul, 1997)
BIBLIOGRAPHY
CC2 (K. Howard)
A. Hovhaness: ‘Variations by Theme of Chongsunggok’, University News
(Seoul, 1963)
Sŏn Kwangju: ‘The 21-String Zither’, Ŭmak tonga, no.33 (1986)
KEITH HOWARD

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Ylario.

Ylario.
See Illario.

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Yodel.

Yodel.
To sing or call using a rapid alternation of vocal register.
1. Terminology.
The older designation for the contemporary German verb jodeln (to yodel) is without doubt
the Middle High German verb jôlen, which appears in numerous sources from 1540 with the
meaning ‘to call’ or ‘cry’ and ‘to sing’; jôlen remains in use in Alpine dialects to the present.
According to Grimm and Grimm (1877), the verb jo(h)len or jola is derived from the
interjection jo and may have gained the additional ‘d’ for vocal-physiological reasons. Jo(h)
ha, jodle(n), jodeln and jödele are all forms that evolved from so-called jo and ju(c)hui
calls and they are closely related in meaning to other regional expressions such as
juchzen, jutzen, ju(u)zä, juizä in Switzerland; lud(e)ln, dud(e)ln, jorlen, jaudeln,
hegitzen in Austria; johla in the Allgäu region of Germany; and jola, zor(r)en, zauren,
rug(g)us(s)en, länderen in the Appenzell region of Switzerland. Other languages have
created their own derivations from the German jodeln as borrowed translations: in French,
jodler (iouler) or chanter à la manière tyrolienne; in Swedish, joddla; in Japanese,
yōderu etc. The Italian gorgheggiare and the Spanish gargantear refer to the throat
(garga), that is, to the actual larynx technique with glottal stop.
2. Definition and technique.
In most definitions, the following features are generally understood under ‘yodelling’: 1)
singing without text or words, in which the play of timbres and harmonics is emphasized in
the succession of individual, nonsensical vocal-consonant connections (such as ‘jo-hol-di-o-
u-ri-a’), which are also 2) connected in a creative way with the technique of continuous
change of register between the chest voice and the (supported or non-supported) falsetto (or
head) voice. 3) The tones, often performed in relatively large intervallic leaps, are either
connected to one another in a legato fashion during the continuous change of register
(register break), or are additionally broken up in traditional styles with the use of glottal
stops. Well-trained yodellers have available to them a vocal range of three octaves. Through
the change of different yodelling syllables, but also through the change of vocal register, a
continuous transformation of timbre emerges which is a result of the shifting number of
overtones and stress of fundamental tone and overtones. According to Graf (1975) the
falsetto voice that alternates with the chest voice has in almost all cases fewer partials; the
partial row of the chest voice is as a rule richer. Colton's evidence (1972, p.339) shows that
the chest voice usually has a continuous row of (15–20) overtones of relatively strong
intensity. However, the inconsistencies that emerge from sonographic and acoustic-phonetic
investigations of yodelling sounds can be traced, according to Frank and Sparber (1972,
p.165), to a differentiation in yodelling that should be made between a supported and an
unsupported falsetto voice. Of particular significance for the timbral spectrum of individual

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Yodel.

tones in yodelling are the relationships between open (bright) vowels and deep registers as
well as between closed (dark) vowels and high registers.
When yodelling, air is not discharged in spurts, as a rule, but rather gradually released
through abdominal (or diaphragm) breathing, whereby the yodelled tone uses a deeply
positioned larynx (‘yawning position’) and expanded resonance space. There are many
different concepts of ‘register’. Many authors differentiate between not only the falsetto and
chest register but also the middle register of the head voice (as hybridization of chest and
falsetto voice), since both kinds are available in a voice of mature quality. The differences in
quality are often not easy to determine.
3. Yodelling melody, forms and polyphony.
In contemporary Alpine yodelling practice, intervallic leaps are usually performed legato.
This involves above all leaps of a 4th, 6th or a 7th, and more unusually of a 9th or 12th. Also
chords from dominant 7ths to dominant 9ths are broken up in relation to a change of
register. In the Alpine region, the yodeller is predominantly major scale-orientated, building
upon the Western tone system and very rarely yodelling in minor. In the Muotathal and
Appenzell regions of Switzerland, the fourth level of the major scale is still sung as a ‘natural
f’ (Alphorn-fa) and is jokingly called the ‘Alpine blue note’ (with reference to the C major
scale, this tone lies at the fourth level between F and F ).
In his film Jodel und Jüüzli aus dem Muotathal (1987), Zemp examines the issue of
yodelling melody in relation to the neutral third and seventh levels and in his analysis
contrasts the fundamentally different aesthetic interpretations of the traditional regional
yodellers with those of the trained, transregionally active yodelling associations.
Formally, traditional yodel melodies have two to six sections or even more, quite often with
parallel repetitions of phrase (AABB), or else a repeated two-part yodel (ABAB). But AAB
and BAA, as well as AABA forms can be encountered, in addition to other melodic forms.
The slow natural yodel is often metrically free, but it can also be performed more quickly with
a regular or irregular beat.
In the Alpine region one- to five-voice yodels can be heard. The Muotathal Jüüzli has two-
to three-voices. The Zwoarer is a two-voice yodel in the Austrian district of Scheibbs; by
adding a bass voice, a Dreier (three-voice yodel) is created. Canon-like voice-leading or
crossing of voices often occurs. In Austria, a secondary Überschlag (an upper voice) is
added to the main voice and a third voice sings below in harmonic steps to the evolving
melody (Drüber- and Druntersingen).
4. Distribution of yodelling in non-Alpine contexts.
By the beginning of the 19th century, the yodel had gained popularity and had been
introduced to the cities by travelling ‘natural’ and ‘Alpine’ singers and by national singing
societies and singer families from the Tyrol (Zillertal), Styria and Carinthia. Travelling

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Yodel.

entertainers spread the ‘yodelling style’ in presenting a combination of songs and yodels in
popular Viennese theatrical plays. Owing to international cultural contact, the presence of
enthusiasts in different cultures and especially the influence of various forms of
disseminating media, Alpine-like yodelling can be found in the most diverse countries,
including Japan and Korea. In Tokyo the Japanese Jodler-Alpen-Kameraden enthusiastically
cultivate this special vocal technique. In Seoul the first yodelling club was established in
1969, and the Korean Yodel Association was founded in 1979.
(i) Cowboy yodellers.
In America groups of immigrants and their descendents yodel in Bavarian, Austrian or Swiss
fashion. Numerous traditional cowboy songs of the 19th century end with a yodel refrain,
such as the well-known song The Old Chisholm Trail, sung by cowboys as they drove
herds on the trail between Texas and Kansas. The image of the yodelling cowboy was
spread by musical events at rodeos, radio shows (such as ‘Melody Ranch’ featuring the
Oklahoma Yodelling Cowboy, Gene Autry), records and Hollywood westerns. Among these
yodelling cowboys, Jimmie Rodgers (1897–1933) became an important figure. Known as
‘Mississippi Railroad Man’, ‘Yodeling Ranger’ and the ‘Blue Yodeler’, he developed (more
than any other) the fine points of the yodel song: the change of timbre according to register,
abrupt glottal stops and gentle slurring. Accompanying himself on his ‘round-up guitar’,
Rodgers became known as the ‘Father of Country Music’ and his influence stretched from
the West to the East Coast of the United States. Yodelin’ Slim Clark (b 1917), who was born
in Massachusetts and lives today in Maine, regards himself as a direct successor to the
tradition of Rodgers (and Wilf Carter) and calls himself the ‘last real singing cowboy’.
(ii) Yodel-like singing.
This can be found not only in Central European Alpine regions, but also in many
mountainous and forest regions of other geographic areas. In the polyphonic songs of the
Tosks of Albania, two yodel-like voices are accompanied by a sung drone. In Georgia, vocal
polyphony as a harmonic basis to a higher ‘yodelling’ voice is known as krimanchuli (see
Georgia, §II, 1(ii)).
Related vocal techniques can also be found in different African countries such as Ethiopia,
Rwanda, Zaïre, Angola, Burundi, Gabon and others. Among the Khoisan and the ¡Kung,
hunters and gatherers of southern Angola, for example, a canon-like technique of imitation
using one to four yodelling voices is used during which the relative positions of the voices
vary and contrapuntal-like effects are produced. The Aka yodellers stand out in that they
produce four to six or even 13 overtones in the ‘high register’. In the ‘deep register’, on the
other hand, the tones display a sound spectrum of homogeneous overtones with greater
intensity; however the fundamental tone is hardly existent or only very weak (Fürniss, 1992,
pp.79–83)
Yodel-like melodies and songs can also be found in Asiatic countries and in the boundary

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Yodel.

region between Melanesia and Polynesia. In the southern highlands of Papua New Guinea,
the Huli have two kinds of yodel-like songs: the soloistic and alternating falsetto song (u) of
the men and the repetitive and yodel-like singing with fixed timbre (iwa) performed during
work. On Savo in the Solomon Islands, in reference to the solo voice it is said that one takes
the song deep (neo laua) when singing with chest voice and one uses a high voice (taga
laua) when changing register and singing with falsetto. In addition to three-voice polyphony,
the sudden register change of two solo voices is quite characteristic. These are also
supported by a vocal drone (see Melanesia, §5(ii)).
Falsetto and calls, screams and ululation that alternate between the normal register and
falsetto are important among most Indian groups found in North and South America. Among
the Bororo in Brazil, the ‘o-ie o-ie i-go’ vocalization found in hunting songs is characterized
by additional elements of a yodel-like larynx technique. With additional comparative research
in the future, perhaps the concept of yodelling will be extended in its details. It has already
been established that yodel-like singing need not necessarily be tied to large intervals. As
sonographic research has shown, two ‘different’ pitches (one in chest register and the other
in falsetto register) can have a common fundamental tone and still belong to different
registers (Fürniss, 1992, p.90).
BIBLIOGRAPHY
MGG1 (‘Jodel’; W. Wiora)
MGG2 (‘Jodel’; M.P. Baumann)
J. and W. Grimm: ‘Jodeln’, Deutsches Wörterbuch, iv/2 (Leipzig, 1877/R)
A. Tobler: Kühreihen oder Kühreigen, Jodel und Jodellied in Appenzell
(Leipzig and Zürich,1890)
J. Pommer: 444 Jodler und Juchezer aus Steiermark und dem
steirisch-österreichischen Grenzgebiet (Vienna, 1902/R)
E.M. von Hornbostel: ‘Die Entstehung des Jodelns’, Deutsche
Musikgesellschaft: Kongress I: Leipzig 1925, 203–10
T. Lehtisalo: ‘Beobachtungen über die Jodler’, Suomalais-ugrilaisen seuran
aikakauskirja: Journal de la Société finno-ougrienne, xxxviii (1936), 1–35
H. Pommer: Jodeler des deutschen Alpenvolkes (Leipzig, 1936)
W. Sichardt: Der alpenländische Jodler und der Ursprung des Jodelns
(Berlin, 1939)
R. Luchsinger: ‘Die Jodelstimme’, Lehrbuch der Stimm- und
Sprachheilkunde (Vienna, 1949, enlarged 3/1970; Eng. trans., 1965, as Voice,
Speech, Language), 222–6
W. Wiora: ‘Juchschrei, Juchzer und Jodeln’, Zur Frühgeschichte der Musik in
den Alpenländern (Basle, 1949), 20–38
G. Kotek: ‘Über die Jodler und Juchezer in den österreichischen Alpen’, Jb des
österreichischen Alpenvereins, lxxxv (1960), 178–90

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Yodel.

W. Senn: ‘“Jodeln”: eine Beitrag zur Entstehung und Verbreitung des Wortes -
mundartliche Bezeichnungen’, Jb des österreichischen Volksliedwerkes, xi
(1962), 150–66
W. Wiora: ‘Jubilare sine verbis’, In memoriam Jacques Handschin, ed. H.
Anglés and others (Strasbourg, 1962), 39–65
K. Horak: ‘Der Jodler in Tirol’, Jb des österreichischen Volksliedwerkes, xiii
(1964), 78–94
W. Graf: ‘Naturwissenschaftliche Gedanken über das Jodeln: die phonetische
Bedeutung der Jodelsilben’, Schriften des Vereins zur Verbreitung
naturwissenschaftlicher Kenntnisse in Wien, cv (1965), 1–25; repr. in
Ausgewählte Aufsätze, ed. F. Födermayr (Vienna, 1980), 202–10
H. Curjel: Der Jodel in der Schweiz (Zürich, 1970)
W. Deutsch: ‘Der Jodler in Österreich’, Handbuch des Volksliedes, ii, ed. R.
W. Brednich, L. Röhrich and W. Suppan (Munich, 1975), 647–67
W. Graf: ‘Sonographische Untersuchungen’, Handbuch des Volksliedes, ii, ed.
R.W. Brednich, L. Röhrich and W. Suppan (Munich, 1975), 583–622
M.P. Baumann: Musikfolklore und Musikfolklorismus: eine
ethnomusikologische Untersuchung zum Funktionswandel des Jodels
(Winterthur, 1976)
A. Lüderwaldt: Joiken aus Norwegen: Studien zur Charakteristik und
gesellschaftlichen Bedeutung des lappischen Gesanges (Bremen, 1976)
G. Thoma: Die Kunst des Jodelns: Alpenländnische Jodelschule
(Munich, 1977)
H. Hummer: ‘Der Jodeler in Salzburg’, Die Volksmusik im Lande Salzburg,
ed. W. Deutsch and H. Dengg (Vienna, 1979), 136–50
M.P. Baumann: Bibliographie zur ethnomusikologischen Literatur der
Schweiz (Winterthur, 1981)
H.J. Leuthold: Der Naturjodel in der Schweiz: Entstehung,
Charakteristik, Verbreitung (Altdorf, 1981)
C. Luchner-Löscher: Der Jodler: Wesen, Entstehung, Verbreitung und
Gestalt (Munich, 1982)
H. Zemp: ‘Filming Music and Looking at Music Films’, EthM, xxxii (1988), 393–427
H. Zemp: ‘Visualizing Music Structure through Animation: the Making of the Film
“Head Voice, Chest Voice”’, Visual Anthropology, iii (1990), 65–79
S. Fürniss: ‘La technique du jodel chez les Pygmées Aka (Centrafrique): étude
phonétique et acoustique’, Cahiers de musiques traditionelles, iv (1991), 167–
87
S. Fürniss: Die Jodeltechnik der Aka-Pygmäen in Zentralafrika: eine
akustisch-phonetische Untersuchung (Berlin, 1992)

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Yodel.

F. Födermayr: ‘Zur Jodeltechnik von Jimmie Rodgers: the Blue Yodel’, For
Gerhard Kubik: Festschrift, ed. A. Schmidhofer and D. Schuller (Frankfurt, 1994),
381–404
MAX PETER BAUMANN

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 Yoder, Paul V(an Buskirk)

Yoder, Paul V(an Buskirk)

(b Tacoma, WA, 8 Oct 1908; d Hendersonville, NC, 4 April 1990). American composer and
arranger. Raised in Grand Forks, North Dakota, he attended the University of North Dakota
(BA 1930). From 1930 to 1936 he taught music in the public schools of Aurora, Illinois and
Evansville, Indiana. He received the master’s degree in music from Northwestern University
in 1941. In 1964 he became president of the American Bandmasters Association (ABA), and
founded the Journal of Band Research and the ABA Research Center at the University
of Maryland. He appeared frequently as a band conductor in Japan, and made 12 recordings
of Japanese and American folksongs and marches. His over 1400 compositions and
arrangements include Alpha and Omega, Relax, Hurricane! and (with H. Walters)
Bands around the World. He also published theory books, including methods for band,
drum, marimba and vibraphone, and (with C.S. Peters) a six-volume guide to band
arranging; several of these have been translated into German, Dutch, Japanese, Korean
and Indonesian. Some of his works appear under the pseudonyms Max Thomas and James
A. Scott.
WORKS
(selective list)

all for band

Alpha and Omega; American Pioneer; Anacapri; Arabian Nights; Avalanche!; Bands around the World
[collab. H. Walters]; Drumbeat Jamboree; Elbow Room; Glass Slipper; Gypsy Princess; Harvest
Home; Hurricane!; La Fonda; Mantilla; Midnight Sun; Mountain Majesty; Pachinko; Relax; Rumbalita;
Rush Street Tarantella; Southern Cross; Swing Bolero; Westward Ho!; c176 marches; c340 arrs., 31
medleys

Principal publishers: Belwin-Mills, Chappell, Kjos, Rubank

RAOUL F. CAMUS

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Yokomichi, Mario

Yokomichi, Mario
(b Tokyo, 12 Oct 1916). Japanese musicologist. After studying Japanese literature at the
Imperial University of Tokyo (BA 1941) and completing military service, he began research
on nō music. He joined the Tokyo National Research Institute of Cultural Properties (1953),
becoming research director of the music and dance section (1963) and director general of
the performing arts department (1964). He worked at the Tokyo National University of Fine
Arts and Music as professor (1976–84) and was appointed director of the Research Institute
of the Okinawa Prefectural University of Fine Arts and Music (1986). There he founded a
music faculty and established it as the centre of research on Okinawan performing arts. He
has pursued a wide range of research interests on Japanese traditional performing arts. He
clarified the multi-layered structure of nō theatre in terms of dramatic, melodic and rhythmic
aspects; undertook research on shōmyō (Buddhist ritual music) at the temple of the Great
Buddha of Todaiji, Nara, for which his research (1971) remains the comprehensive model for
the genre; and worked on relationships between music and dance. He published a new
notation system for the traditional dance of mainland Japan in 1960.
WRITINGS
Hyōjun Nihon buyōfu [A standard notation for Japanese dance] (Tokyo, 1960)
Yōkyokushū (Tokyo, 1960–63) [Critical edn of texts of nō dramas with literary and
musical commentaries]
Kurokawa nō [Nō theatre in Kurokawa] (Tokyo, 1967)
Tōdaiji shunie kannon keka [Ritual of February in the Tōdaiji temple] (Tokyo,
1971)
Shōmyō jiten [A dictionary of shōmyō] (Kyoto, 1984)
Nōgeki no kenkyū [Studies on nō drama] (Tokyo, 1986)
with H. Koyama and A. Omote, eds.: Iwanami kōza: nō kyōgen [Iwanami series
on nō and kyōgen] (Tokyo, 1987–8)
‘Ryūkyū geinō kenkyū binran’ [A manual for research on the performing arts of
Ryūkyū], Okinawa geijutsu no kagaku, i (1988), 81–139; iii (1990), 1–93
‘Koten Ryūkyū buyōfu no kokoromi’ [An experiment in notating the Classical dances of
Ryūkyū], Okinawa geijutsu no kagaku, ii (1989), 1–57
Nōgaku zusetsu [Illustrated examples of nō theatre] (Tokyo, 1992)
YOSIHIKO TOKUMARU

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Yon, Pietro Alessandro

Yon, Pietro Alessandro

(b Settimo Vittone, nr Turin, 8 Aug 1886; d Huntington, NY, 22 Nov 1943). American
organist and composer of Italian birth. He received his early musical training in Ivrea, Milan,
Turin and Rome. Having graduated with honours from the Accademia di S Cecilia in Rome
in 1905, he stayed in the city to become assistant to Remigio Renzi at S Pietro. In 1907 he
went to New York, where his elder brother, S. Constantino Yon, had a position at the Church
of St Vincent Ferrer. Pietro Yon became the organist and choir director of St Francis Xavier
Church and remained there until his appointment in 1927 as organist (later also choir
director) at St Patrick’s Cathedral on Fifth Avenue; he held that post until his death. He
became an American citizen in 1921. A virtuoso player, Yon is credited with being the first
organist in New York to play complete programmes from memory, and the first to charge
money for admission to his recitals. His long list of compositions includes The Triumph of
St Patrick (an oratorio), 21 masses, various motets, a Concerto gregoriano for organ
and orchestra, chamber music, many organ pieces, piano pieces and songs. His best-known
works are the Christmas song Gesù bambino (1917) and the organ piece Natale in
Sicilia (1912). Yon was a conservative composer who concentrated on traditional forms.
The most important figure in American Catholic church music for many years, he was known
also as a teacher. He wrote an instruction book, Organ Pedal Technic, published
posthumously in 1944.
VERNON GOTWALS/R

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 Yonge [Young, Younge],Nicholas

Yonge [Young, Younge], Nicholas

(b ?Lewes, E. Sussex; d London, bur. 23 Oct 1619). English music editor and singer. He
married about 1586. Between 1594 and 1618 he is mentioned in St Paul’s Cathedral records
as singing in the choir. He made his will on 19 October 1619, and was buried in St Michael
Cornhill, in which parish he had spent most of his life.
Yonge was the editor of two anthologies of Italian madrigals published, with English texts, as
Musica transalpina in 1588 and 1597. The first contains 57 pieces (including an English
version of La verginella by Byrd with a new second part, and four settings of French texts)
by 18 composers, of whom the most liberally represented are the elder Ferrabosco and
Marenzio. In 1583 and 1585 Pierre Phalèse of Antwerp had issued three madrigal
anthologies which not only provided the model for Yonge’s venture, but also afforded him a
quantity of Italian madrigals by minor Flemish composers (19 pieces came from these three
sources). Yonge’s 1588 collection was a direct result of the growing English enthusiasm
during the 1580s for Italian madrigals. He explained that most of the English translations had
been made in 1583 by ‘a Gentleman for his private delight’.
Yonge’s 1588 volume was the most influential of the five volumes of Italian madrigals in
translation to appear in England between 1588 and 1598; it was reprinted, probably in its
year of issue. His volume of 1597 contained only 24 works by 11 composers. Nine lyrics
from his first volume and six from his second were subsequently reset by English
madrigalists.
EDITIONS
Musica transalpina: Madrigales translated … chosen out of Divers Excellent Authors, 4–6vv, 158829/R
Musica transalpina: the Second Booke of Madrigalles … translated out of Sundrie Italian Authors, 5,
6vv, 159724/R
BIBLIOGRAPHY
KermanEM
E.H. Fellowes: English Madrigal Verse, 1588–1632 (Oxford, 1920,
enlarged 3/1967 by D. Greer and F.W. Sternfeld)
A. Einstein: ‘The Elizabethan Madrigal and “Musica transalpina”’, ML, xxv (1944),
66–77
A. Obertello: Madrigali italiani in Inghilterra (Milan, 1949)
J. Kerman: ‘Elizabethan Anthologies of Italian Madrigals’, JAMS, iv (1951), 122–38
D. Scott: ‘Nicholas Yonge and his Transalpine Music’, MT, cxvi (1975), 875–6
L. Macy: ‘The Due Decorum Kept: Elizabethan Translation and the Madrigals
Englished of Nicholas Yonge and Thomas Watson’, JMR, xvii (1997), 1–21
DAVID BROWN

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Yonge [Young, Younge],Nicholas

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York.

York.
Cathedral city in England. The Minster was founded in the 7th century and there has been a
building on its present site since 1079. From the mid-1200s the music was regulated by a
precentor and performed by the vicars choral, who were assisted from about 1500 by lay
singing-men; in 1425 the number of choristers was increased from seven to twelve.
Polyphonic music was first performed at the end of the 15th century. There was an organ in
1236, and there is evidence of organ building and repairs from 1338 onwards.
At the Reformation most of the Minster services were abolished, and polyphonic music was
banned, although it was reintroduced by the 1610s when services by Byrd, Morley, Mundy,
the older Robert Parsons and Sheppard were sung. The number of male voices was raised
to 20 in 1552, and in the 1600s ranged between 12 and 14; there were 12 choristers
between the Reformation and the English Civil War. From the mid-1660s until about 1800
the choir consisted of five vicars choral, seven singing-men and six choristers. James Nares,
organist from 1735 until 1756, was succeeded by three generations of the Camidge family.
The standard of choral singing declined towards the end of the 1700s, but later the influence
of the Oxford Movement improved the musical establishment and in the 20th century, under
Noble and Bairstow, the choir reached a very high standard. An organ built in 1833 by Elliott
& Hill to John Camidge's rather curious design was reconstructed in 1859 by Hill and in 1903
by Walker, with further work by Harrison & Harrison in 1916 and 1931, and by Walker again
in 1960. A major rebuild by Geoffrey M. Coffin followed in 1992.
Part of the plainsong practice of the Benedictine community of St Mary is reflected in an
Ordinal and Customary copied about 1400. Five of the many parish churches in York had
organs before 1600, but in the period between the Restoration and around 1800 there was
only one (St Michael-le-Belfrey). The number of churches with organs and then choirs grew
during the 19th century and declined in the 20th.
The York Waits were civic employees from around 1400 to 1836; they sounded the watch
and performed on ceremonial and festive occasions. Numbers ranged from three to six. In
1561 the city bought for the waits ‘a noyse of iiij Shalmes’, and in the 1660s they were
playing sackbuts and cornetts; oboes and bassoons were in use by 1739. Some waits also
possessed string instruments. Having first played in York Minster in 1600, they were
frequent performers there in the 1660s and 70s. During the 1700s they regularly performed
at the Assembly Rooms concerts and at the Theatre Royal.
The first known public concert in York was held in 1709. In 1730 the Assembly Rooms were
built, and concerts organized by the ‘Music Assembly’ or the ‘Music Society’ (probably
synonymous) were held there every year until 1825, weekly between October and April, in
addition to concerts given during the annual August race-week. Performers comprised the
five York waits and other musicians engaged for the season. John Hebden played between

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York.

1733 and 1742, while Nares was a frequent performer between 1746 and 1756. In the mid-
1700s the race-week concerts attracted virtuoso musicians: Giardini, Noferi and Thomas
Pinto among the violinists, and Curioni, Frasi and Galli among the singers. The weekly
concerts were taken over by Thomas Shaw in 1778, and then until 1842 were run
successively by William Hudson, John Erskine, the younger John Camidge with Philip
Knapton, and then by Camidge alone.
In 1825 the Festival Concert Rooms were built adjacent to the Assembly Rooms and most of
the larger concerts in York were given there until about 1900. Visiting soloists during the first
half of the 1800s included Catalani, Chopin, Liszt, Moscheles, Paganini and Thalberg.
Between 1844 and 1852 concerts were given by the York Philharmonic Society. York did not
again have regular orchestral concerts until 1898 when Noble founded the York SO.
Professional chamber music concerts were sponsored by the York Musical Union, formed by
Canon Thomas Percy Hudson, between 1888 and 1902, and from 1921 by the British Music
Society. The University of York promotes a wide range of concerts.
The York Choral Society, active from 1833 to 1869, frequently attracted audiences of 1500
and above during the 1850s. Programmes usually included choral and orchestral music; only
after 1857 were large oratorios performed without cuts. The York Musical Society, founded
in 1876, is still active; the University of York also has a large choral society. Three smaller
choirs are noteworthy: the Micklegate Singers (founded 1962), the Chapter House Choir
(1965) and the Yorkshire Bach Choir (1979), which has broadcast and recorded widely.
The city's first music festival, promoted by Matthew Camidge and John Ashley, took place in
August 1791; the four Yorkshire Grand Musical Festivals, held in York in 1823, 1825, 1828
and 1835, were much larger. Morning concerts were given in York Minster, mostly made up
of ‘grand selections’; Messiah was the only work to be given complete. They were
conducted by Thomas Greatorex in the first three festivals and William Knyvett in 1835. The
chorus was the largest of any provincial festival: 273 in 1823 and 350 thereafter. The
orchestras were correspondingly large with 180 performers in 1823 and later about 250. A
notable addition to the band in 1835 was the Hibernicon. Among the vocal soloists were
Catalani, Malibran and Grisi. The evening concerts, all led by Nicolas Mori, were given in the
Assembly Rooms in 1823 and afterwards in the specially built and adjoining Festival Concert
Rooms. They included orchestral music and solos, duets, terzettos and glees performed by
the vocal soloists. The next festival of any importance, the York Musical Festival, took place
on two days in July 1910 when Bantock, Elgar and Noble (who also organized the festival)
conducted their own works. The York Festival was first held in 1951 and was most important
musically during the 1950s and 1960s when premières were given of works by Blake,
Alexander Goehr, Richard Hall, Joubert and Sherlaw Johnson.
The York Early Music Festival, Britain's most important festival in the field of historically
informed performance, was founded in 1977 by a group of York musicians, notably John
Bryan, Alan Hacker and Peter Seymour, working with Anthony Rooley, the London-based

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York.

director of the Consort of Musicke. In association with the BBC and overseas radio
networks, particularly WDR, the festival, held in the city's medieval churches, guildhalls and
historic houses, has presented first modern performances of many outstanding works. The
festival has led to the establishment of the Early Music Network International Young Artists
Competition.
York had many organ builders before the Restoration but their activities are obscure. The
Preston family was active immediately thereafter. Thomas Haxby built and repaired organs
in the 18th century, John Donaldson, John Ward and Robert Postill in the 19th, and
Summers & Barnes and Principal Pipe Organs in the 20th. In the 1860s William
Waddington's piano factory employed some 160 people. Samuel Knapton (and Knapton,
White & Knapton) published keyboard music and songs during the early 19th century; music
publishing by Banks & Son was begun in the 1880s and pursued on a large scale until 1972,
when that side of the business was sold to Ramsay Silver who retained the name ‘Banks
Music Publications’ in his imprint.
York was the first of the 1960s ‘new universities’ to support research and teaching in music.
In 1964 the composer and writer Wilfrid Mellers was appointed Professor; he chose the
composers David Blake, Peter Aston and Robert Sherlaw Johnson as his first members of
staff. In the mid-1960s the Amadeus Quartet initiated a resident ensemble scheme.
Subsequent residencies have been held by the Fitzwilliam, Medici, Mistry, Sorrel and Medea
quartets, and by the Capricorn ensemble. In addition to its encouragement of young
composers and new music, the department has gained wide recognition for innovative work
in music technology, music education, ethnomusicology and early music performance
practice. Opened in 1969, the Sir Jack Lyons Concert Hall (with its notable organ by Grant,
Degens & Bradbeer) is at the heart of a music building that includes seminar and rehearsal
rooms, offices and electronic music studios. An extension (1992) contains a recital hall and a
specially designed location for the Javanese gamelan. Others who have worked at the
university include the composers Nicola LeFanu, John Paynter and Bernard Rands, the
conductor Graham Treacher, the conductor and clarinettist Alan Hacker, and the
ethnomusicologist Neil Sorrell.
BIBLIOGRAPHY
J. Crosse: An Account of the Grand Music Festival held in September
1823, in the Cathedral Church of York (York, 1825)
W.H. Frere: York Service Books (London, 1927)
F. Harrison: Life in a Medieval College: the Story of the Vicars-Choral
of York Minster (London, 1952)
P. Aston: The Music of York Minster (London, 1972)
W. Mellers: ‘The Study of Music at University, 2: a Question of Priorities’, MT, cxiv
(1973), 245–9
P. Aston: ‘Music since the Reformation’, A History of York Minster, ed. G.E.

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York.

Aylmer and R. Cant (Oxford, 1977), 395–429

N. Temperley: Jonathan Gray and Church Music in York, 1770–1840
(York, 1977)
D. Haxby and J. Malden: ‘Thomas Haxby of York (1729–1796): an Extraordinary
Musician and Musical Instrument Maker’, York Historian, ii (1978), 43–55
D. Haxby and J. Malden: ‘Thomas Haxby: a Note’, York Historian, iii (1980),
31
A. Fox and A. Hibbins: Mr. Noble's Band: a History of the York
Symphony Orchestra (York, 1988)
N. Thistlethwaite: The Making of the Victorian Organ (Cambridge, 1990)
D. Griffiths: ‘A Musical Place of the First Quality’: a History of
Institutional Music-Making in York, c.1550–1990 (York, 1994)
I. Jones: Brass Bands in York, 1833–1914 (York, 1995)
P. Moore, J.S. Whitely and G. Coffin: The Organs of York Minster
(York, 1997)
D. Griffiths: ‘Music in the Eighteenth-Century York Theatre’, York Historian
(forthcoming)
DAVID GRIFFITHS, JOHN PAYNTER

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York Buildings.

York Buildings.
London concert room built in 1676. See London (i), §V, 2.

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 Yorke, Peter

Yorke, Peter
(b London, 4 Dec 1902; d England, 2 Feb 1966). English arranger, composer and
conductor. Like many of his contemporaries who later achieved recognition for their work in
light music, Yorke began his pre-war career with Britain's leading dance bands, notably
Percival Mackey, Jack Hylton and Louis Levy. In particular his distinctive scores of popular
film songs in the pseudo-symphonic style required by Levy for recordings and broadcasts
became a trademark that would distinguish Yorke for the remainder of his career. After the
war light orchestras were a main element of BBC radio, and he became associated with a
rich, full orchestral sound, often augmented with a strong saxophone section led by Freddy
Gardner (1911–50). Yorke used Gardner in many of his commercial recordings for EMI's
Columbia, notably pieces such as I'm in the Mood for Love and These Foolish
Things, which have become minor classics of their genre. Yorke contributed many original
compositions to the recorded music libraries of leading London publishers (Chappells,
Francis Day & Hunter, Paxton etc.) and for ten years from 1957 his Silks and Satins used
to close the popular ITV series ‘Emergency – Ward Ten’. He broadcast regularly until his
death.
WORKS
(selective list)

all works for orchestra

Highdays and Holidays, 1946; Sapphires and Sables, 1947; Melody of the Stars, 1948; Quiet
Countryside, 1948; In the News, 1950; Silks and Satins, 1952; Oriental Bazaar, 1953; Miss in Mink,
1956; Ladies Night, 1966

DAVID ADES

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Yorke Trotter, Thomas Henry

Yorke Trotter, Thomas Henry

(b London, 6 Nov 1854; d London, 11 March 1934). English teacher and writer. He was
educated at Durham School and at New College, Oxford (MA, DMus). In 1905 he became
principal of the Incorporated London Academy of Music, where he put into practice a
successful system for the musical education of children. This system was based on rhythmic
movement and led to extemporization at a very early stage, the practical application of what
he considered the two main factors in education – reception and creation. In The Making
of Musicians (1914) he formulated a number of principles, six of which adequately
summarize his thinking: education must aim to cultivate artistic instincts, feeling should be
encouraged before intellect, individual personality must be considered, each thing learnt
must lead to the next, all exercises must have musical meaning, and original work should be
encouraged. He also conducted first performances in England of Schumann’s Manfred
and Mendelssohn’s Athalie.
WRITINGS
with K. Bird: The Rhythmic Gradus (London, 1909, 3/1915)
Constructive Harmony, together with a Book on Form (London, 1911,
enlarged 2/1915)
The Making of Musicians (London, 1914, 2/1930)
The Rhythmic Method of Music Teaching (London,1921)
Music and Mind (London, 1924)
with S. Chapple: Yorke Trotter Principles of Musicianship for Teachers
and Students (London, 1933)
FRANK DAWES

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York plays.

York plays.
One of the four principal cycles of medieval English religious plays. The York cycle survives
in the city's official copy (GB-Lbl Add.35290). The manuscript was copied some time in the
period 1463–77, and additions and annotations were made up to the mid-16th century; it
apparently represents a mid-15th-century revision of the cycle's 47 plays (a further three
were never entered). The plays were enacted on wagons in the city streets up until the final
performance some time in the period 1569–75.
Vocal music is required by 30 or more cues spread rather unevenly through the plays. Its
main purpose is to represent heaven and, by extension, God's heavenly messengers and
earthly agents. A second function of the music is structural, marking entrances, exits and the
transition from one scene to another. Where text incipits occur, they can usually be identified
as liturgical items, presumably intended to be sung to chant.
In play 45, the Weavers' pageant of The Assumption of the Blessed Virgin, a
heavenly concert defines the beginning and end of the Assumption itself (achieved with
lifting machinery) and enhances the sumptuous visual effect. This play, unusually, includes
polyphonic settings of three Marian texts, and a second, alternative group of settings of the
same texts at the end of the play. One text, ‘Veni electa mea’, is liturgical, but as the settings
are not chant-based they seem to have been composed specially for the drama. Both sets
are for two boys' voices, but a divisi chord shows that at least four singers were involved;
the 12 speaking angels were probably also the singers. The music is apparently the work of
one composer and probably dates from the 1440s. Modern-day productions in the streets of
York (1992, 1994) have shown the effectiveness of both sets of pieces.
BIBLIOGRAPHY
Grove6 (J. Stevens)
J. Stevens: ‘Music in Mediaeval Drama’, PRMA, lxxxiv (1958), 81–95
A.F. Johnston and M. Rogerson: York, Records of Early English Drama, i
(Toronto, 1979)
J. Dutka: Music in the English Mystery Plays, Early Drama, Art, and Music,
reference ser., ii (Kalamazoo, MI, 1980)
R. Beadle, ed.: The York Plays (London, 1982)
R. Beadle and P. Meredith: The York Play, Medieval Drama Facsimiles, vii
(Leeds, 1983)
R. Rastall: ‘Vocal Range and Tessitura in Music from York Play 45’, MAn, iii (1984),
181–99
R. Rastall: Six Songs from the York Mystery Play ‘The Assumption of
the Virgin’ (Newton Abbot, 1985)
R. Rastall: The Heaven Singing: Music in Early English Religious

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York plays.

Drama, i (Cambridge, 1996)

RICHARD RASTALL

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Yoruba music.

Yoruba music.
The Yoruba people live predominantly in the western state of Nigeria, but there is also a
considerable Yoruba population in the central and southern areas of neighbouring Benin,
and a lesser population in Togo. The Yoruba of the western state, who acknowledge Ile-Ife
as their ancestral and cultural home, are grouped into the subcultures of Oyo, Egba,
Egbado, Ijesha, Ife, Ijebu, Ekiti, Ondo and Akoko. At the height of the Oyo empire in the 18th
century, most of these groups owed allegiance to the Oyo, a unity that was broken with the
collapse of the empire in the 19th century. A more comprehensive and lasting unity
developed under British administration and the term ‘Yoruba’, originally used to refer only to
the Oyo, became the name for all Yoruba-speaking peoples.
1. Traditional music.
Yoruba traditional music is marked by an impressive variety of genres, forms, styles and
instruments. While this variety is partly a result of the diverse subcultures, much of it is
common to Yoruba culture as a whole. The dominant music today is that known as
dundun, its title being taken from the name of the set of double-headed hourglass tension
drums used for its performance. Other important instruments and ensembles are the bata,
a set of double-headed conical drums; the koso, a single-headed hourglass tension drum,
similar to the Hausa kotso; the bembe, a double-headed cylindrical drum, similar to the
Hausa ganga (gàngáá); the sakara or orunsa, a set of circular frame drums with
earthenware bodies; the sekere or aje oba, a set of gourd vessel rattles covered with
cowrie nets; the agogo, an externally struck iron bell, which may also be used in sets; the
agidigbo, a box-resonated lamellophone; and the goje, a single-string bowed lute, similar
to the Hausa goge (gòògè).
Drums are principally used for instrumental performances, but other instruments in addition
to those already mentioned are of fair importance. Yoruba is a tonal language, and, as
instrumental music has a very strong textual basis, almost every instrumental performance,
regardless of the kinds of instruments involved, is based on the tonal patterns of an
unverbalized text.
Vocal music distinguishes between orin (song) and oriki (praise-chant). Orin is
characterized by its use of discrete pitches, balanced melodic lines, and a preponderance of
responsorial forms. Oriki is characterized by its use of a speech-song style of performance,
and its division into ijala, iyere, iwi and rara, four types of praise-chant, each identified
with a particular voice quality and literary style. Ijala is used by hunters, iyere by Ifa priests
concerned with divination, iwi by egungun masqueraders, while rara is a more general
type of chant appropriate to a variety of social occasions.
2. Modern developments.

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Yoruba music.

Since 1900 several new types of music have developed from traditional models, among
them apala, sakara and waka, in which traditional instruments, styles and forms are
used. Apala and sakara are essentially praise-songs, with instrumental accompaniments
that are suitable for dancing. Waka takes its name from ‘wak’a’, the Hausa word for song,
and was originally a type of semi-religious Muslim song, but it is now a more general song
type used increasingly for entertainment. In another prominent new type of music, Jùjú, the
guitar and Western harmonic and melodic patterns are combined with traditional Yoruba
instruments and rhythmic idioms. Jùjú is popular in night-clubs, and at marriages and on
other social occasions among westernized Yoruba.
Music dramas or ‘folk operas’ first appeared in the 1940s and are an important part of
Yoruba musical life. Their style is modelled on that of traditional music, and their dramatic
content is often based on historical traditions. The major innovators and exponents of this
form have been Hubert Ogunde with Yoruba Ronu, the late Kola Ogunmola with The
Palmwine Drunkard and Duro Ladipo with Oba Koso.
BIBLIOGRAPHY
and other resources
E. Phillips: Yoruba Music (Johannesburg, 1953)
K.J.H. Nketia: ‘Yoruba Musicians in Accra’, Odu, no.6 (1958), 35–44
Laoye I. Timi of Ede: ‘Yoruba Drums’, Odu, no.7 (1959), 5–14
A. King: ‘Employments of the “Standard Pattern” in Yoruba Music’, AfM, ii/3 (1960),
51–4
A. King: ‘A Report on the Use of Stone Clappers for the Accompaniment of Sacred
Songs’, AfM, ii/4 (1961), 64–71
A. King: Yoruba Sacred Music from Ekiti (Ibadan, 1961)
S.A. Babalola: The Content and Form of Yoruba Ijala (Oxford, 1966)
M.B. Adebonojo: Text-Setting in Yoruba Secular Music (diss., U. of
California, Berkeley, 1967)
A. Euba: ‘Multiple Pitch Lines in Yoruba Choral Music’, JIFMC, xix (1967), 66–71
D. Thieme: ‘Three Yoruba Members of the Mbira-Sanza Family’, JIFMC, xix
(1967), 42–8
D. Thieme: A Descriptive Catalogue of Yoruba Musical Instruments
(diss., Catholic U. of America, Washington, DC, 1969)
D. Thieme: ‘A Summary Report on the Oral Traditions of Yoruba Musicians’, Africa,
xl (1970), 359–62
A. Euba: ‘Islamic Musical Culture among the Yoruba: a Preliminary Survey’,
Essays on Music and History in Africa, ed. K.P. Wachsmann (Evanston, IL,
1971), 171–81
A. Euba: ‘New Idioms of Music Drama Among the Yoruba: an Introductory Study’,

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Yoruba music.

YIFMC, ii (1970), 92–107

F. Willett: ‘A Contribution to the History of Musical Instruments among the Yoruba’,
Essays for a Humanist: an Offering to Klaus Wachsmann, ed. C. Seegar
and B. Wade (New York, 1977), 350–89
A.M. Abegbite: ‘The Role of Music in Yoruba Traditional Religion’, Odu, xxi
(1981), 17–27
M.A. Omibiyi-Obidike: ‘Islam Influence on Yoruba Music’, African Notes, viii/2
(1981), 37–54
A. Euba: ‘The Music of Yoruba Gods’, Essays on Music in Africa (Bayreuth,
1988), 1–30
A. Euba: ‘Jùjú, Fújì and the Intercultural Aspects of Modern Yoruba Popular Music’,
Essays on Music in Africa: Intercultural Perspectives, ii (1989), 1–30
A. Euba: ‘Yoruba Music in the Church: the Development of a Neo-African Art among
the Yoruba of Nigeria’, African Musicology: Current Trends: a Festschrift
presented to J.H. Kwabena Nketia, ed. J.C. DjeDje and W.G. Carter (Atlanta,
GA, 1989), 45–63
T. Vidal: ‘The Role and Function of Music at Yoruba Festivals’, ibid., 111–27
C.O. Olaniyan: ‘The Dùndún Master-Drummer: Composer, Arranger and Performer
and his Devices’, African Notes, xvii/1–2 (1993), 54–61
B. Olmojola: ‘Contemporary Art Music in Nigeria: an Introductory Note on the
Works of Ayo Bankole (1935–76)’, Africa, lxiv (1994), 533–43
C.A. Waterman: ‘Our Tradition is a Very Modern Tradition: Popular Music and the
Construction of Pan-Yoruba Identity’, Readings in African Popular Culture, ed.
K. Barber (Bloomington, IN, 1997), 48–53
recordings
Yoruba Women of the Drum, Original Music OMCD 036 (1995)
Yoruba Drums from Benin, West Africa, Smithsonian Folkways CD SF 40440
(1996)
AKIN EUBA

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Yoshida, Hidekazu

Yoshida, Hidekazu
(b Tokyo, 23 Sep 1913). Japanese music critic. He studied French literature at Tokyo
University, graduating in 1936. During World War I he published translations of Schumann's
writings (Tokyo, 1942) and of Richard Benz's Ewiger Musikers (Tokyo, 1943). He
founded a ‘Music Classroom for Children’ in collaboration with the conductor Hideo Saito
and the pianist Motonari Iguchi in 1948, which eventually led to the foundation of Tōhō
Gakuen School of Music in 1961. He also co-founded the Institute of 20th-Century Music
with Minao Shibata, Yoshirō Irino and others in 1957, which sponsored a series of summer
festivals of contemporary music. Meanwhile he began to write actively for journals and
newspapers, particularly for the Asahi newspaper. He has published nearly 60 books and
translated many others, including Rostand's La musique française contemporaine
(Tokyo, 1953), Arthur Honneger's Je suis compositeur (Tokyo, 1953, 2/1970),
Bernstein's The Joy of Music (Tokyo, 1966) and Stuckenschmidt's Twentieth
Century Music (Tokyo, 1971). He has been awarded a number of prizes for his writing,
and the Yoshida Hidekazu Prize was inaugurated in 1991 to commend distinguished
journalistic activities in the fields of music, arts and the theatre.
WRITINGS
Yoshida Hidekazu Zenshū [The complete works of Yoshida Hidekazu] (Tokyo,
1975–86)
Sekai no ongaku [Music in the World] (Tokyo, 1950; 2/1953 as Ongakuka no
sekai [World of Musicians])
Shudai to hensō [Theme and variations] (Tokyo, 1953)
Nijusseiki no ongaku [Music in the 20th century] (Tokyo, 1957)
Kagaku gijutsu no jidai to ongaku [Period of scientific technology and music]
(Tokyo, 1964)
Hihyō Sōshi [A book of criticism] (Tokyo, 1965)
Gendai no ensō [Performances today] (Tokyo, 1967)
Mozart (Tokyo, 1970)
Sekai no shikisha [Conductors of the world] (1973/R)
Ongaku o kataru [Talks on music] (Tokyo, 1974–5)
Gendai ongaku o kataru [Talks on contemporary music] (Tokyo, 1975)
Sekai no pianisuto [Pianists of the world] (Tokyo, 1976)
Ongaku tenbō [Musical views] (Tokyo, 1978–85)
Hihyō no komichi [A path of criticism] (Tokyo, 1979)
Ongaku no hikari to kage [Light and shadow of music] (Tokyo, 1980)
Chōwa no gensō [Fantasy of harmony] (Tokyo, 1981)
Bētōven o motomete [In search of Beethoven] (Tokyo, 1984)

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Yoshida, Hidekazu

Ongaku: tenbō to hihyō [Music: views and criticism] (Tokyo, 1986)

Opera nōto [Opera notes] (Tokyo, 1991)
Shin ongaku tenbō [New musical views] (Tokyo, 1991)
MASAKATA KANAZAWA

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Yoshino, Naoko

Yoshino, Naoko
(b London, 10 Dec 1967). Japanese harpist. Her family was living in Los Angeles when, at
the age of six, she began harp lessons with Susann McDonald, who has been her only
teacher. She launched her international career by winning the Israel Harp Contest in 1985,
and made her New York début in 1987 and her London début in 1990, when she performed
the Mozart Flute and Harp Concerto with James Galway. She was awarded the Tokyo Arts
Festival prize in 1988, the year in which she began her recording career. On disc, the cool
elegance of her interpretation of the classical harp repertory has been balanced by her
vividly dramatic performance of contemporary Japanese works by Takemitsu, Toyama and
Takahishi.
BIBLIOGRAPHY
W.N. Govea: Nineteenth and Twentieth-Century Harpists: a Bio-Critical
Sourcebook (Westport, CT, 1995), 303–7
ANN GRIFFITHS

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 Yosifov, Aleksandar

Yosifov, Aleksandar
(b Sofia, 12 Aug 1940). Bulgarian composer. At the Sofia Conservatory he studied
composition with V.P. Vladigerov and conducting with K. Iliyev. From 1969 to 1987 he was
director of the Balkanton recording company. As an active functionary in communist
Bulgaria, he became a representative of the school of socialist realism. His writing, which
was generously supported by the state, is typical of the populist mass art of the 1970s and
80s. His endeavours to strike a popular tone are expressed through politicization and a
musical language in which song, dance and marching rhythms assume the appearance of
extended, through-composed and lavishly orchestrated forms. Yosifov's best-known opera,
Han Krum Yuvigi (1981), is based on an historical subject celebrating the centenary of
Bulgarian liberation from Turkish rule and the 1300th anniversary of the founding of the
nation. Dominated by pathos and a romantic sublimity, the opera is full of striking dramatic
effects and has an abundance of scenic contrasts.
WORKS
(selective list)

Stage: Han Krum Yuvigi (op, after B. Banov), perf. 1981

Orch: 3 syms., 1968, 1971, 1973; Conc. for Orch, 1972; Pf Conc., 1972; Conc., 2 pf, perc, str, 1973;
Prabulgarskr tanz [Ancient Bulgarian Dance], 1995; Ratchenitsa [Folkdance], 1996
Choral orch: 5 cants., 1964, 1966, 1967, 1971, 1972; Golemiyat byal pat [The Great White Way], orat,
1969; Requiem, 1973; songs and children's songs
Solo songs

MARIYA KOSTAKEVA

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 Yost, Michel

Yost, Michel
(b Paris, 1754; d Paris, 5 July 1786). French clarinettist, composer and teacher. He studied
the clarinet with Joseph Beer and made his first public appearance in 1777 at the Concert
Spirituel. One of the earliest French solo clarinettists, Yost was admired for the beauty of his
sound and the precision of his execution. He performed on 38 different occasions at the
Concert Spirituel in 1781 and between 1783 and 1786, often playing his own concertos.
Although he had no formal training in composition, he had a facility for finding agreeable
melodies and brilliant flourishes, which were edited and scored by his friend J.C. Vogel. At
least three of his 14 concertos, his Duos op.10 and all his quartets were signed ‘Michel et
Vogel’. Although his writing emphasized a fluent technique it was criticized by Gradenwitz as
‘virtuosoship [which] has degenerated into a series of empty roulades’. However, the melody
from one concerto was incorporated into one of Cyrille Rose’s 32 Etudes. A clarinet and a
flute method by ‘V. Michel’ published in about 1802 were written not by Michel Yost but
probably by François-Louis Michel, although the duos in these methods may have been by
Yost. His pupils included the influential performer Xavier Lefèvre.
WORKS
Orch: 14 concs, incl. no.9, ed. C. Stevens (Provo, 1963), J. Michaels (Hamburg, 1976); no.10, ed. I.
Chai (Baton Rouge, 1984); no.11, ed. P. West (Lincoln, 1991)
Chbr: 48 duos, 2 cl, incl. nos.2 and 4, ed. J. Michaels (Hamburg, 1967), 6 duos, op.5, ed. H. Voxman
(London, 1979), 12 kleine Duos, ed. F.G. Holy (Lottstetten, 1992); 12 duos, cl, vn; 12 airs variés, 2 cl;
12 airs variés, cl, va; 3 trios, 2 cl, bn, incl. no.1, ed. H. Voxman (Chicago, 1966); Trio, ed. K. Schultz-
Hauser (Mainz, 1968); 27 trios: 3 for 2 cl, vc, 3 for 2 cl, va, 3 for fl, cl, bn, 3 for fl, cl, va, 3 for fl, cl, vc, 3
for cl, hn, bn, 3 for cl, vn, bn, 3 for cl, hn, vc, 3 for cl, vn, vc; 18 qts, cl, vn, va, b; Rondo, 3 cl, bass cl,
ed. J. Lancelot (Paris, 1989); op.1, ed. J. Lancelot (Paris, 1994); 12 airs variés, cl, vn, va, b
BIBLIOGRAPHY
FétisB
PierreH
P. Gradenwitz: ‘The Beginnings of Clarinet Literature’, ML, xvii (1936), 145–50
G. Pound: ‘A Study of Clarinet Solo Concerto Literature Composed Before 1850:
with Selected Items Edited and Arranged for Contemporary Use’, (diss., Florida State
U., 1965)
P. Weston: Clarinet Virtuosi of the Past (London, 1971)
ALBERT R. RICE

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Youll, Henry

Youll, Henry
(b Diss, bap. ? 27 Dec 1573; fl 1608). English composer. Though it is not impossible that he
was the son of a musician, Ezekiel Youel of Newark, Canon George Youell has more
plausibly suggested that he was the Henry Youll who graduated from Magdalene College,
Cambridge, in 1593 and who, on his marriage, became a schoolmaster at Eye, near Diss.
Before this he may have been tutor in the house of Edward Bacon of Coddenham, near
Ipswich, to four of whose sons he dedicated his single publication, Canzonets to Three
Voyces (London, 1608, ed. in EM, xxviii, 1923, 2/1968). A Henry Youll ‘Scholar’ was buried
at St Benet's, Cambridge, in 1661.
Youll had severe limitations as a composer, having no aptitude for sad or pathetic
expression. His models were clearly Morley's three-voice canzonets (1593), although no
piece in the volume is structurally a true canzonet, and the last six pieces are balletts.
Despite its pallid charm his music lacks the wit and inventiveness of Morley's.
BIBLIOGRAPHY
E.H. Fellowes: English Madrigal Verse, 1588–1632 (Oxford, 1920,
enlarged 3/1967 by F.W. Sternfeld and D. Greer)
E.H. Fellowes: The English Madrigal Composers (Oxford, 1921, 2/1948/R)
A. Smith: ‘Parish Church Musicians in England in the Reign of Elizabeth I’,
RMARC, no.4 (1964), 42–93
DAVID BROWN

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 Youmans, Vincent (Millie)

Youmans, Vincent (Millie)

(b New York, 27 Sept 1898; d Denver, 5 April 1946). American composer. He worked as a
piano salesman and music-roll maker at Aeolian, where he came under the tutelage of Felix
Arndt, and later worked as a song plugger for Remick and Harms. He began composing
while in the navy during World War I; Sousa admired one of his marches and orchestrated it
for the Marine Corps band. In 1920, when his first song was published (The Country
Cousin), he was working as a rehearsal pianist for Victor Herbert. He composed his first
Broadway score, Two Little Girls in Blue, in collaboration with Paul Lannin in 1921. The
success of this and his next work, The Wildflower (1923), established his fame. No, No,
Nanette, also of 1923, and including ‘Tea for Two’ and ‘I want to be happy’, was the
biggest musical-comedy success of the 1920s in both Europe and the USA. From 1927
Youmans also produced his own shows. He had another major success with Hit the
Deck! (1927; including ‘Hallelujah’), but his subsequent productions were failures, though
many of their songs remain popular. His last contributions to Broadway were some songs for
Take a Chance (1932).
Youmans’s early songs are remarkable for their economy of melodic material: two-, three- or
four-note phrases are constantly repeated and varied by subtle harmonic or rhythmic
changes. In later years, however, apparently influenced by Kern, he turned to longer musical
sentences and more free-flowing melodic lines. Youmans was forced to retire in 1934, owing
to tuberculosis, after a professional career of only 13 years. More than any of his
contemporaries he made constant re-use of a limited number of melodies; he published
fewer than 100 songs, but 18 of these were considered standards by ASCAP.
WORKS
(selective list)

stage
all are musicals and, unless otherwise stated, dates are those of first New York performance; where different,
writers shown as (lyricist; book author)

Two Little Girls in Blue (A. Francis [I. Gershwin]), George M. Cohan, 3 May 1921; collab. P. Lannin
[incl. Oh me! Oh my!, Dolly]
The Wildflower (O. Harbach and O. Hammerstein), Casino, 7 Feb 1923; collab. H. Stothart [incl.
Bambalina, Wildflower]
Mary Jane McKane (W.C. Duncan and Hammerstein), Imperial, 25 Dec 1923; collab. Stothart
Lollipop (Z. Sears), Knickerbocker, 21 Jan 1924 [incl. Tie a little string around your finger, Take a little
one step]
A Night Out (C. Grey and I. Caesar; G. Grossmith and A. Miller), Philadelphia, Garrick, 7 Sept 1925

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 Youmans, Vincent (Millie)

No, No, Nanette (Caesar and Harbach; Harbach and F. Mandel), Globe, 16 Sept 1925 [incl. Tea for
Two, I want to be happy]
Oh, Please! (Harbach and A. Caldwell), Fulton, 17 Dec 1926 [incl. I know that you know]
Hit the Deck! (L. Robin and Grey; H. Fields), Belasco, 25 April 1927 [incl. Hallelujah, Sometimes I’m
happy]
Rainbow (L. Stallings and Hammerstein), Gallo, 21 Nov 1928
Great Day (E. Eliscu and W. Rose; Duncan and J. Wells), Cosmopolitan, 17 Oct 1929 [incl. More Than
You Know, Without a Song, Great Day]
Smiles (Grey, H. Adamson and R. Lardner; W.A. McGuire), Ziegfeld, 18 Nov 1930 [incl. Time on My
Hands]
Through the Years (E. Heyman; B. Hooker), Manhattan, 28 Jan 1932 [incl. Through the Years, Drums
in my Heart]
Take a Chance (B.G. DeSylva and L. Schwab), Apollo, 26 Nov 1932; collab. R. Whiting, N.H. Brown
[incl. Rise ’n’ Shine]

other works
Film scores: What a Widow!, 1930; Flying Down to Rio, 1933 [incl. Carioca, Orchids in the Moonlight,
Flying Down to Rio]
Songs: Who’s who with you, in From Piccadilly to Broadway, 1918; The Country Cousin (1920); That
Forgotten Melody (W.D. Furber) (1924)

Principal publisher: Harms

BIBLIOGRAPHY
S. Green: The World of Musical Comedy: the Story of the American
Musical Stage as told through the Careers of its Foremost Composers
and Lyricists (New York, 1960, rev. and enlarged 4/1980)
D. Dunn: The Making of No, No, Nanette (Secaucus, NJ, 1972)
G. Bordman: Days to be Happy, Years to be Sad: the Life and Music
of Vincent Youmans (New York, 1982)
GERALD BORDMAN

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Young.

Young.
English family of musicians. Six singers known as ‘Miss Young’ ((3)–(8) below) sang
professionally under their maiden names until their marriages and sometimes afterwards.
(1) Anthony Young
(2) Charles Young
(3) Cecilia Young [Mrs Arne]
(4) Isabella Young (i) [Mrs Lampe]
(5) Esther [Hester] Young [Mrs Jones]
(6) Isabella Young (ii) [Mrs Scott]
(7) Elizabeth Young [Mrs Dorman]
(8) Polly [Mary, Maria] Young [Mrs Barthélemon]
BIBLIOGRAPHY
BDA
BurneyH
DNB(W.B. Squire)
FiskeETM
LS
C. Dibdin: A Complete History of the English Stage, v (London, 1800/R)
F.H. Barthélemon: Jefte in Masfa [incl. a memoir by C.M. Barthélemon]
(London,1827)
Lady Llanover, ed.: The Autobiography and Correspondence of Mary
Granville, Mrs Delany (London,1861–2/R)
C. Higham: Francis Barthélemon (London, 1896)
W.H. Cummings: Dr Arne and ‘Rule Britannia’ (London, 1912)
H. Langley: Dr Arne (Cambridge, 1938)
M. Sands: ‘Francis Barthélemon’, MMR, lxxi (1941), 195–8
H.C.R. Landon, ed.: The Collected Correspondence and London
Notebooks of Joseph Haydn (London,1959)
T.J. Walsh: Opera in Dublin 1705–1797 (Dublin, 1973)
H.C.R. Landon: Haydn in England 1791–1795 (London, 1976)
D. Dawe: Organists of the City of London, 1666–1850 (Padstow, 1983)
B. Boydell: A Dublin Musical Calendar 1700–1760 (Dublin, 1988)
J. Milhous and R.D. Hume: ‘J.F. Lampe and English Opera at the Little
Haymarket in 1732–3’, ML, lxxviii (1997), 502–31
OLIVE BALDWIN/THELMA WILSON

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Young.

Young
(1) Anthony Young
(b c1685; d London, bur. 8 May 1747). Organist and composer. He was organist at St
Clement Danes, London, from 1707 and was probably the Anthony Young who was a
chorister at the Chapel Royal until March 1700, but he was never organist at St Katherine
Cree, as Burney believed. Seven of his songs appeared in The Monthly Mask of Vocal
Music between 1705 and 1709, he published A New Collection of Songs (1707), and
in 1719 Walsh and Hare brought out his Suits of Lessons for the Harpsichord or
Spinnet. In 1739 he was a founder member of the Society of Musicians.
Young
(2) Charles Young
(b London, bap. 11 Feb 1683; d London, 12 Dec 1758). Organist, brother of (1) Anthony
Young. He may have been a chorister at St Paul’s Cathedral in the late 1690s and was
organist of All Hallows, Barking-by-the-Tower, from 1713 until his death. He composed a few
songs. He was the father of (3) Cecilia, (4) Isabella (i), (5) Esther and of Charles, a clerk at
the Treasury, whose daughters were (6) Isabella (ii), (7) Elizabeth and (8) Mary (Polly).
Young
(3) Cecilia Young [Mrs Arne]
(b London, bap. 7 Feb 1712; d London, 6 Oct 1789). Soprano, daughter of (2) Charles
Young. A pupil of Geminiani, she sang in concerts from March 1730 and first appeared on
stage in English operas by Lampe and Smith in 1732–3. According to Burney, she had ‘a
good natural voice and a fine shake [and] had been so well taught, that her style of singing
was infinitely superior to that of any other English woman of her time’. Handel chose her for
the premières of his Ariodante and Alcina (both 1735), Alexander’s Feast (1736) and
Saul (1739), and for the first London performance of Athalia. After marrying Thomas Arne
in 1737 she appeared in his stage works (notably Comus, Rosamond and Alfred) in
London and for two seasons in Dublin (1742–4) and performed his songs at Vauxhall
Gardens. The marriage proved unhappy and she was often ill, making only occasional
appearances after 1746; her last new Arne role was in Eliza (1754). In 1748 she went to
Dublin with her sister and brother-in-law, the Lampes, to sing in the winter concert season
and returned there with Arne in 1755 to perform in his works at Smock Alley Theatre. Here
their marriage broke down and Arne went back to London, leaving her in Ireland with her
young niece Polly, and in 1758 Mrs Delany found her employed as a singing teacher by a
charitable Irish family. She returned to London with Polly in 1762 and seems to have made
only one more public appearance, at a benefit concert for Polly and her husband, F.H.
Barthélemon, in 1774. She was reconciled with Arne shortly before his death in 1778, after
which she lived with the Barthélemons. There were suggestions that she could be unreliable

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Young.

and that she drank too much, but Burney, a pupil of Arne’s, remembered her with affection,
and Charles Dibdin wrote: ‘Mrs Arne was deliciously captivating. She knew nothing in
singing or in nature but sweetness and simplicity’.
Young
(4) Isabella Young (i) [Mrs Lampe]
(b London, ?bap. 3 Jan 1716; d London, 5 Jan 1795). Soprano, sister of (3) Cecilia Young.
She had small singing roles at Drury Lane in 1733–4 but otherwise appeared only in
concerts until she sang the heroine Margery in John Frederick Lampe’s burlesque opera
The Dragon of Wantley in 1737. In the middle of its long run she married the composer
and subsequently created roles in all his stage works, including Thisbe in Pyramus and
Thisbe (1745). The Lampes went to Dublin in 1748 and she appeared for two seasons at
the Smock Alley Theatre, and sang in concerts and at the Marlborough Green pleasure
gardens. In November 1750 they went to Edinburgh and, according to Burney, were soon
‘settled very much to the satisfaction of the patrons of Music in that city’. However, Lampe
died there of a fever in July 1751 and she returned to Covent Garden to sing her old roles
and some new ones in musical afterpieces. She remained in the company until the 1775–6
season, often singing with her sister Esther, although in the later years they were only
members of the chorus. Her son Charles John Frederick Lampe took over as organist at All
Hallows, Barking-by-the-Tower, after the death of his grandfather (1) Charles Young, and
her daughter-in-law sang for a time as Mrs Lampe at the pleasure gardens and Sadler’s
Wells Theatre.
Young
(5) Esther [Hester] Young [Mrs Jones]
(b London, 14 Feb 1717; d London, bur. 6 June 1795). Contralto, sister of (3) Cecilia Young.
She appeared in concerts from 1736 and created the role of Mauxalinda in Lampe’s The
Dragon of Wantley. She had other Lampe roles, played Lucy in John Gay's The
Beggar’s Opera for many years and in 1744 sang Juno and Ino in the première of
Handel’s Semele. It is sometimes stated that she went to Ireland with the Arnes in 1755,
but in fact she sang at Covent Garden throughout the 1755–6 season and in every year after
that until her retirement in 1776. She married the music seller and publisher Charles Jones
on 8 April 1762; by December 1785, a few years after his death, impoverished and seriously
ill, she was being cared for with ‘unremitting Tenderness’ by her sister Mrs Lampe.
Young
(6) Isabella Young (ii) [Mrs Scott]
(d London, 17 Aug 1791). Mezzo-soprano, niece of (3) Cecilia Young. She studied with the
bass Gustavus Waltz, first appearing in a concert with him on 18 March 1751, and sang in

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Young.

Arne’s Alfred, Rosamond and Eliza in 1754. She became a distinguished concert and
oratorio singer in London and the provincial festivals. She sang for Handel in the last few
years of the composer’s life and was Counsel (Truth) in the first performance of The
Triumph of Time and Truth in March 1757. She was a soloist in the Messiah
performances at the Foundling Hospital on a number of occasions. After appearing at Drury
Lane as Titania in J.C. Smith’s opera The Fairies (February 1755), she performed there
regularly until 1777, singing between the acts, in musical interludes and afterpieces. She
created roles in George Rush’s English operas The Royal Shepherd and The
Capricious Lovers. After her marriage to the Hon. John Scott (December 1757) she
usually sang in concerts and oratorios as Mrs Scott, but on stage she continued to describe
herself as Miss Young until 1769.
Young
(7) Elizabeth Young [Mrs Dorman]
(d London, 12 April 1773). Contralto, sister of (6) Isabella Young (ii). She went to Dublin with
the Arnes in 1755, singing Grideline in his Rosamond at the Smock Alley Theatre. She
returned to England with Arne in 1756, and was a shepherdess in his Eliza that December.
After playing Lucy in The Beggar’s Opera in June 1758 (billed as making her first
appearance on any stage) she sang regularly at Drury Lane until 1772 and in some seasons
at Finch’s Grotto Gardens. Her lower voice meant she was given male or older women’s
parts. She created the roles of Agenor in Rush’s The Royal Shepherd (1764) and the
duenna Ursula in Dibdin’s The Padlock (1768). She married the violinist Ridley Dorman in
1762.
Young
(8) Polly [Mary, Maria] Young [Mrs Barthélemon]
(b London, 7 July 1749; d London, 20 Sept 1799). Soprano, composer and keyboard player,
sister of (6) Isabella Young (ii). She went with the Arnes to Ireland and impressed audiences
in Dublin by singing ‘perfectly in Time and Tune’ in Arne’s Eliza at the age of six. She
remained in Ireland with Mrs Arne and in 1758, after hearing her play the harpsichord, Mrs
Delany wrote: ‘the race of Youngs are born songsters and musicians’. She appeared on
stage in Dublin, where O’Keeffe admired her ‘charming face and small figure’ as Ariel in
The Tempest. She returned to London to make her Covent Garden début in September
1762, singing and playing between the acts; the Theatrical Review commented on the
agreeable innocence of her appearance: ‘Her performance on the harpsichord, is equal to
her excellence in singing’. After two seasons she moved to sing minor roles with the Italian
opera company at the King’s Theatre, where the violinist and composer François Hippolyte
Barthélemon was leader of the orchestra. She married him in December 1766 and
afterwards appeared mainly with him, in occasional seasons at the Italian opera, in oratorios

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Young.

and at the pleasure gardens. There were visits to Ireland, and a highly successful tour of the
Continent in 1776–7. She sang in her husband’s oratorio Jefte in Florence and gave
concerts before the Queen of Naples and Marie Antoinette, at which their young daughter
Cecilia Maria also sang. However, their careers did not flourish after this; in an injudicious
letter (Morning Post, 2 November 1784) she complained of being refused engagements,
styling herself ‘an English Woman, of an unblemished reputation’. Haydn visited the
Barthélemons when he was in England and at a concert in May 1792 he accompanied her in
airs by Handel and Sacchini.
Maria Barthélemon published six sonatas for harpsichord or piano and violin (1776) and a
set of six English and Italian songs op.2 (1786). The Barthélemons lived in Vauxhall and
attended the Chapel at the Asylum for Female Orphans, where they came under the
influence of the Swedenborgian preacher, Duché. She composed three hymns and three
anthems op.3 (1795) for use at the Asylum and Magdalen Chapels, The Weaver’s
Prayer for a concert in aid of unemployed weavers and an ode on the preservation of the
king op.5 (1795), with words by another Swedenborgian, Baroness Nolcken.

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Young [Youngs],(Basil) Alexander

Young [Youngs], (Basil) Alexander

(b London, 18 Oct 1920; d Macclesfield, 2 March 2000). English tenor. He studied at the
RCM with Steffan Pollmann and made his début as Scaramuccio (Ariadne auf Naxos) at
the 1950 Edinburgh Festival. In 1953 he sang Tom Rakewell in the English première of The
Rake’s Progress, a BBC studio production; he recorded his classic reading of this role in
1964 under Stravinsky’s direction. He created Charles Darnay in Benjamin’s A Tale of
Two Cities (1953, BBC) and Philippe in Berkeley’s A Dinner Engagement (1954,
Aldeburgh), and sang in the British premières of Searle’s The Diary of a Madman
(1960, Sadler’s Wells) as Poprichin and Henze’s The Bassarids (1968, BBC) as
Dionysus. He appeared at Covent Garden (1955–70), notably as Matteo (Arabella) and
Britten’s Lysander; at Sadler’s Wells, where his roles included a highly amusing Count Ory,
Almaviva, Gluck’s and Monteverdi’s Orpheus, Belmonte and Handel’s Jupiter and Xerxes;
and with the WNO and Scottish Opera, creating Cicero in Hamilton’s The Catiline
Conspiracy (1974, Stirling). He also sang extensively in concert and oratorio, and from
1973 to 1986 was director of singing at the RNCM. Young was a stylish singer with a silvery
tenor which he used with innate musicianship, as can be heard in his many recordings of
operas and oratorios by Handel.
HAROLD ROSENTHAL/ALAN BLYTH

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 Young, Douglas

Young, Douglas
(b London, 18 June 1947). British composer. He won the composition scholarship to the
Royal College of Music, London (1966–70) and continued postgraduate studies with Milner
and Pousseur. He won the Karl Rankl Prize for orchestral composition in 1970, by which
time he was working professionally as a freelance composer. In 1974 he founded the
ensemble Dreamtiger.
His early work The Listeners (1967) holds the key to his later development. It interleaves
two contrasting poems by Walter de la Mare – one set to magical gamelan sonorities, the
other to dynamic music redolent of Stravinsky and Berg. The implicit conflict between East
and West was explored further in Canticle (1970), with its sinuous melodies and Messiaen-
like rhythmic structure. Throughout the 1970s Young aimed to absorb and transcend the
influence of the postwar avant garde. Increasing interest in non-European culture and
popular music (from Irish folk music to rap) progressively transformed his work, and the
driving rhythms and pure melodic energy of Slieve League (1979) announced a decisive
change. His scores for the Royal Ballet led to a commission from the Bayerische Staatsoper
in Munich for a full-length ballet. The result, Ludwig (1986), with its kaleidoscopic fusion of
musical languages, was hailed by the German press as a perfect exemplar of
postmodernism, although it was only later that Young became acquainted with the work of
writers such as Queneau, Calvino and Kundera who then influenced his artistic outlook.
During the 1990s Young concentrated almost exclusively on chamber music. The string
quartet Mr Klee Visits the Botanical Gardens (1990–93) is the first in a series of
works inspired by Klee and other 20th-century painters (in whose work Young finds a
freedom of invention lacking in music). In his collection of piano pieces Herr Schoenberg
Plays Ping-Pong (1992–9) Young widened his scope to encompass jazz, popular dance
music, film scores and even advertising jingles – transformed into a personal musical
universe that has the same sense of fun and daring as Calvino's Cosmicomics.

MSS in GB-Lbl

WORKS
(selective list)

Stage: Ludwig ‘Fragments from a Mystery’ (ballet, 2), DAT tape, Munich, 1986; The Tailor of
Gloucester (op, 4, Young, after B. Potter), London, 1989; The Lost Puzzle of Gondwana (children's
adventure story, M. Blackman), London, 1999

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 Young, Douglas

Orch: Departure, 1970; Aubade, small orch, 1972–3; Circus Band & Other Pieces (after Ives), 1977–
80; Virages, vc, large orch, 1978; Night Journey under the Sea, large orch, 1980–82; Lament, sitar,
orch, 1984
Chorus and orch: Railway Fugue (R.L. Stevenson), spoken chorus, perc ens, 1965; The Listeners
(dramatic cant., W. de la Mare), S, female chorus, perc ens, chbr ens, 1967; The Hunting of the Shark
(dramatic cant., L. Carroll), nar, chorus, pf, small orch, 1982; Actualité (Current Affairs) (cabaret cant.,
various texts), chorus, str, pf, perc, 1997–9
Choral unacc.: Canticle (W.H. Auden: New Year Letter), SATB/SSATBB, 1970; Lullaby of the Nativity
(medieval anon.), SSA, 1978
Other vocal: 4 Nature Songs (R. Herrick, W. Shakespeare, W.B. Yeats), S, pf, 1964–77; Chbr Music
(J. Joyce), S, gui, 1976–82; 2 Cabaret Songs (A. Brownjohn), S, ens, 1987; Cada canción (F. García
Lorca), v, pf, 1987
Inst: Columba, in memoriam Luigi Dallapiccola, pf, 1977; Trajet/inter/lignes, a fl/fl/pic, perc, 1978;
Slieve League, vn, va, 1979; Dreamlandscapes ‘Portrait of Apollinaire’, pf, 1979–85; Symbols of
Longevity (on Korean Paintings), cl, 1983–99; Lines Written on a Sleepless Night, str trio, 1985–99; Mr
Klee Visits the Botanical Gardens, str qt, 1990–93; Wolferl at Berggasse 19, vc, pf, 1991–9; Sir
Edward at Garmisch, vn, 1992–6; Herr Schoenberg Plays Ping-Pong, pf, 1992–9; The Excursions of
Monsieur Jannequin, pf, 1997–; ‘… if, on a Winter's night, Schubert … ’, vc, pf, 1997–9; The Eternal
Waterfall (Microcosmicomics), vc, pf, 1998
Arrs.
MSS in GB-Lbl

BIBLIOGRAPHY
G. Larner: ‘Douglas Young’, MT, cxiv (1973), 787–90
K.-M. Hinz: ‘Verschmelzung des Disparaten: der Komponist Douglas Young’,
MusikTexte, no.19 (1987), 5–16
PETER HILL

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Young, John

Young, John
(b ?London, c1672; d London, c1732). English music printer, publisher and instrument
maker. The researches of Dawe, together with those of Ashbee, have helped clarify the
identification of members of this family. Young's father was also John, but since he was still
alive in 1693, he was evidently not, as earlier surmised, the John Young who was appointed
musician-in-ordinary to the king as a viol player on 23 May 1673 and who had died by 1680
(according to the Lord Chamberlain's records). Young junior was apprenticed to the music
seller and publisher John Clarke, and was established on his own by 1695. His publications
included A Choice Collection of Ayres for the Harpsichord or Spinett by Blow
and others (1700), William Gorton's A Choice Collection of New Ayres, Compos'd
and Contriv'd for Two Bass-Viols (1701), The Flute-Master Compleat
Improv'd (1706), the fifth and sixth editions of Christopher Simpson's Compendium
(1714) and other works. Some were issued in conjunction with other publishers, including
Henry Playford, Thomas Cross, John Cullen, John Walsh and John Hare, so that such works
as Jeremiah Clarke's Choice Lessons for the Harpsichord or Spinett (1711), and
editions of The Dancing Master, Wit and Mirth, or Pills to Purge Melancholy
and Purcell's Orpheus britannicus include his imprint. A number of interesting works
known to have been published by Young are now lost, including John Banister's The
Compleat Tutor to the Violin (1699), Philip Hart's A Choice Set of Lessons for
the Harpsichord or Spinet (1702) and Alex Roathwell's The Compleat Instructor
to the Flute (1699). Young also had a high reputation as a violin maker. His violin-playing
sons, John (b London, 23 Aug 1694) and Talbot (b London, 25 June 1699; d London, bur.
24 Feb 1758), both joined the business. John in turn had a son, yet another John Young (b
London, 1 March 1718; d London, 30 April 1767), who was a violinist and organist. Talbot
Young became the best-known violinist of the family and was a member of the King's Music
from 1717. With his father, Maurice Greene and others, he established a series of weekly
music meetings from about 1715. Held initially at the Youngs' premises, they eventually
moved to nearby taverns, and from the mid-1720s became known as the Castle Society
concerts. Talbot was also organist of All Saints, Bread Street (1729–58), and a Gentleman
of the Chapel Royal from 1719. About 1741 the Youngs' business passed into the hands of
Peter Thompson, who had probably had an association with the firm since about 1731.
BIBLIOGRAPHY
AshbeeR, i, v
BDA (‘Young, Talbot’)
Day-MurrieESB
EitnerQ
HawkinsH
Humphries-SmithMP

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Young, John

KidsonBMP
J. Pulver: A Biographical Dictionary of Old English Music (London, 1927/
R)
M. Tilmouth: A Calendar of References to Music in Newspapers
Published in London and the Provinces (1660–1719), RMARC, no.1 (1961,
repr. 1968)
P.M. Young: The Concert Tradition from the Middle Ages to the
Twentieth Century (London, 1965)
D. Dawe: Organists of the City of London, 1666–1850 (Padstow, 1983)
PETER WARD JONES

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Young, La Monte (Thornton)

Young, La Monte (Thornton)

(b Bern, ID, 14 Oct 1935). American composer and performer. As a child he learned the
guitar and cowboy songs from his aunt Norma before taking up the saxophone at the age of
seven. He studied first with his father Dennis, a sheep-herder, then with his great-uncle
Thornton, a bandleader, and from 1951 to 1954 at the Los Angeles Conservatory with
William Green, who also taught him the clarinet. Young played extensively in blues and jazz
bands in Los Angeles throughout the mid-1950s, as well as in the orchestra, dance band
and jazz combo at Los Angeles City College (1953–6), while studying counterpoint privately
with Leonard Stein (1955–6). He took undergraduate courses at Los Angeles State College
(1956–7) and at UCLA (BA 1958), where he studied with Robert Stevenson, and did
postgraduate work at the University of California in Berkeley (1958–60). Early in his first term
he showed the Trio for Strings (1958) to his composition teacher Seymour Shifrin, who
organized its first performance at his home in an unsuccessful attempt to show Young the
error of his ways. The Trio – composed entirely of long tones and rests, some lasting a
minute or more – is now generally recognized as a defining work in the minimalist
movement, and Young as its founder.
The spaciousness of the piece, which remains a model for Young's output as a whole, is on
one level a reflection of the spaciousness of his upbringing until his teens and, on another, of
his fascination with variegated environmental drones – from the wind blowing through the
logs of the cabin where he was born, to the transformer he would listen to beside his
grandfather's gas station, to the motors he would sing along with in the machine-shop where
he worked after school. Young himself cites gagaku and the static elements of Webern –
which he ‘telescoped’ by extending them exponentially – as the principal musical influences
on the Trio. He encountered another major influence at Stockhausen's (1959) Darmstadt
summer course seminar, which featured the music of Cage, much of it performed live by
David Tudor. Back in Berkeley, Young's performances of Cage-inspired scores drew ridicule
on campus but found a sympathetic ear in the choreographer Ann Halprin, who invited
Young and his fellow student Terry Riley to accompany her troupe with outré friction
sounds, such as tin cans scraped across glass for the duration of a performance.
In 1960 Young went to New York on a Hertz travelling fellowship to study electronic music
with Richard Maxfield at the New School for Social Research. He organized the first loft-
concert series in the city at Yoko Ono's studio shortly after his arrival and edited the proto-
Fluxus An Anthology of avant-garde art (published after numerous delays in 1963),
including his own Compositions 1960. Termed ‘concept art’ by the writer Henry Flynt,
these pieces ranged from the purely abstract (e.g. no.15 ‘This piece is little whirlpools in the
middle of the ocean’) to those with a minimal aural component (e.g. no.2 ‘Build a fire in front
of the audience’). In 1963 Young founded the Theatre of Eternal Music, playing virtuoso
sopranino saxophone with the viol player John Cale, the violinist Tony Conrad, the

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Young, La Monte (Thornton)

percussionist Angus MacLise, and the vocal drone of the calligrapher and light artist Marian
Zazeela, whom he married that year.
It was Riley's In C (1964) which inaugurated the style of modular repetition adapted by
other minimalists. Nonetheless, although Riley's innovation grew out of his own early tape-
loop compositions, Young had himself experimented with radical repetition as early as
arabic numeral (any integer) in 1960, the integer in question being the number of
times a note, chord or sound (in ‘923’ a gong struck with a mallet, in ‘1698’ a forearm piano
cluster) was repeated in a given realization. However, his more profound influence on
minimalism, new age music and rock was in his gradual extension of durations, beginning
with the radical sustenance of the Trio, moving on to the even longer tones of Four
Dreams of China and reaching the fully fledged drones of The Tortoise, his Dreams
and Journeys in 1964. With the departure of MacLise for India, the rhythmic element was
removed and the Theatre, singing and playing over the drone of, first, the aquarium motor of
the eponymous tortoise, and later of sine wave oscillators which could theoretically extend
tones ad infinitum, more closely approximated the ‘eternal music’ of its title. In the same
vein Young and Zazeela began creating Dream Houses – long term installations comprised
of the otherworldly beauty of Zazeela's light art uncannily complementing that of Young's
drones. (A six-storey Dia Art Foundation environment in Tribeca operated from 1979 to
1985; the most recent Dream House, projected to last seven years, opened nearby in 1993.)
By 1964 those drones were tuned in just intonation, and Young's revival of this tuning rivals
in importance that of his extended durations.
His research bore fruit in The Well-Tuned Piano, a riposte to The Well-Tempered
Clavier in its rejection of equal temperament and its compromises. Beginning as a 45-
minute tape piece in 1964, the work has now extended to 384 minutes in performance,
developing from an intriguing experiment to an epic masterpiece. The work explores often
exotically named chordal areas, alternating slow single-note sections with ‘clouds’, in which
the keys are struck in such rapid succession as to create the illusion of a sustained chord
with their haze of harmonics. The slower sections evoke the alap of classical Indian music,
which Young studied with master Kirana vocalist Pandit Pran Nath from 1970 until his death
in 1996. Those studies have also borne fruit in Young's return to his blues roots in the 1990s
with the Forever Bad Blues Band. While his early improvisational performances with the
band were, by Young's standards, short (under an hour) explorations of a standard 12-bar
blues progression in just intonation, more recent performances, prefaced with a slow mode-
establishing section again reminiscent of alap, have extended to nearly three hours. As with
The Well-Tuned Piano, the elaboration has been qualitative as well as quantitative, a
visionary exfoliation of the spirituality of the visceral blues form in a manner hitherto
unimagined.
After several rescorings of the Trio, Young returned to long-tone string writing in Chronos
Kristalla, commissioned by the Kronos Quartet. A constant in all these varied efforts has

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 Young, La Monte (Thornton)

been his desire, as he has put it, to ‘get inside a sound’ – whether a set of computerized
harmonics held for the duration of an installation or the I, IV or V chords of the blues
explored over a pedal for 15 minutes. The same desire to confront the listener on a
neurological level led him earlier in his career to extreme dynamic levels, causing him, in
1964, to withdraw his soundtracks for Andy Warhol films when the management of the
Lincoln Center insisted on lowering the volume. More recently, Young has achieved his aim
more subtly with electronic equipment capable of generating bass frequencies that are felt
as much as heard.
His uncompromising perfectionism has unfortunately restricted recordings and thus, despite
international touring, Young is perhaps more widely heard of than heard. He withdrew from a
Columbia Records contract in 1968 rather than accept an overdub, and remained relatively
obscure while later exponents of minimalism gained notoriety. However, his work has
appeared on Edition X, Shandar, Disques Montaigne, Bridge and most notably Gramavison,
which released a five-disc The Well-Tuned Piano (18-8701-2, 1987), The Second
Dream of the High-Tension Line Stepdown Transformer (R279467, 1991), and a
two-disc recording of the Forever Bad Blues Band entitled Just Stompin' (R279487, 1993).
WORKS
BIBLIOGRAPHY
EDWARD STRICKLAND
Young, La Monte
WORKS
electronic, mixed-media, and sound environments
[untitled], live friction sounds, 1959–60; Poem for Chairs, Tables, Benches, etc., chairs, tables,
benches, unspecified sound sources, 1960; 2 Sounds, pre-recorded friction sounds, 1960; [untitled],
collage of elec and concrete sounds, 1960
[untitled], sopranino sax, vocal drones, various insts, 1962–4; realizations incl.: B Dorian Blues, 1963,
The Overday, 1963, Early Tuesday Morning Blues, 1963; Sunday Morning Blues, 1964
Pre-Tortoise Dream Music, sopranino sax, s sax, vocal drone, vn, va, sine waves, 1964
The Tortoise, His Dreams and Journeys, vv, various insts, elec drones, 1964–; realizations incl.:
Prelude to The Tortoise, 1964; The Tortoise Droning Selected Pitches from The Holy Numbers for The
Two Black Tigers, The Green Tiger and The Hermit, 1964; The Tortoise Recalling The Drone of The
Holy Numbers as They Were Revealed in the Dreams of The Whirlwind and The Obsidian Gong and
Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown
Transformer, 1964

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 Young, La Monte (Thornton)

Sunday Morning Dreams, tunable sustaining insts and/or sine waves, 1965; Map of 49's Dream The
Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery, vv, various insts,
sine wave drones, 1966–; The Two Systems of Eleven Categories, 1966–; More Periodic Irrationals,
1966–7; Chords from The Tortoise, His Dreams and Journeys, sine waves as sound environments,
1967; Claes and Patty Oldenburg Commission, sound and light box, sound environment, 1967; Drift
Studies, sine waves, 1967–; Frequency Environments, sine wave drones, 1967–; Robert C. Scull
Commission, sine waves, 1967; Chords from The Well-Tuned Piano, sound environments, 1981–; The
Big Dream, sound environment, 1984; Orchestral Dreams, orch, 1985
The Big Dream Symmetries nos.1–6, sound environments, 1988; The Symmetries in Prime Time from
144 to 112 with 119, sound environments, 1989; The Lower Map of The Eleven's Division in The
Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119, tunable
sustaining insts in sections of like timbre, sound environment, 1989–90; The Prime Time Twins, sound
environments, 1989–90; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119
with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14; 8:16:14; 18:16:14:8; 9:7:4 or The Empty
Base, sound environments, 1991–
for conventional forces
Rondo, d, pf, c1953; Scherzo, a, pf, c1953; Annod, dance band/jazz ens, 1954; Wind Qnt, c1954;
Young's Blues, 1955–9; Variations, str qt, 1955; Five Small Pieces for String Quartet ‘On
Remembering a Naiad’, 1956; Fugue, d, vn, va, vc, c1956; Op.4, brass, perc, 1956; Canon, any 2
insts, 1957; for Brass, brass octet, 1957; Fugue, a, any 4 insts, 1957; Fugue, c, org/hpd, 1957; Fugue,
e , brass/other insts, 1957; Fugue, f, 2 pf, 1957; Prelude, f, pf, 1957; Variations, a fl, bn, hp, vn, va, vc,
1957; for Guitar, 1958; Trio for Str, 1958, arr. str qt, 1982, arr. str orch, 1983, arr. vn, va, vc, db, 1983,
arr. va, vc, db, 1984; Study, vn, va, c1958–9; Sarabande, any insts, 1959; Studies I, II, inc., III, pf,
1959; [untitled], jazz-drone improvisations, pf, 1959–62; Vision, pf, 2 brass, rec, 4 bn, vn, va, vc, db,
1959; arabic numeral (any integer), to H.F., gong/pf, 1960
Target for Jasper Johns, pf, 1960; Young's Dorian Blues, G, c1960–1; Young's Dorian Blues, B ,
c1960–1; Death Chant, male vv, carillon/large bells, 1961; Young's Aeolian Blues, B , 1961; The Four
Dreams of China, tunable, sustaining insts of like timbre in multiples of 4, 1962; The Second Dream of
The High-Tension Line Stepdown Transformer from The Four Dreams of China, any insts that can
sustain 4-note groups in just intonation, 1962; [improvisations], sopranino sax, vocal drones, insts,
1962–4; Studies in The Bowed Disc, gong, 1963; The Well-Tuned Piano, prepared pf, 1964–; for
Guitar [justly tuned], 1978

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 Young, La Monte (Thornton)

For Guitar Prelude and Postlude, 1 or more gui, 1980; The Subsequent Dreams of China, 1980; Str
Trio ‘Postlude from The Subsequent Dreams of China’, str, c1984; The Melodic Versions of The Four
Dreams of China, tunable sustaining insts of like timbre in multiples of 4, 1984; The Melodic Versions
of The Subsequent Dreams of The Four Dreams of China, tunable sustaining insts of like timbre in
multiples of 10, 1984; Orchestral Dreams, orch, 1985; Chronos Kristalla, str qt, 1990; Annod 92 X 19
Version for Zeitgeist, a sax, vib, pf, cb, drums, 1992; The Subsequent Dreams of China in
Simultaneity, 10 wind insts of like timbre/5 sustaining str, 1993; The Two Subsequent Dreams of The
Four Dreams of China in Perfect Simultaneity, 10 wind insts of like timbre/5 sustaining str, 1993
action and text works
Compositions 1960, nos.2–6, 9, 10, 13, 15, 1960; Invisible Poem Sent to Terry Jennings for him to
Perform, 1960; Pf Pieces for David Tudor, nos.1–3, 1960; Pf Pieces for Terry Riley, nos. 1–2, 1960;
Compositions 1961, nos.1–29, 1961; Response to Henry Flynt Work Such That No One Knows What's
Going On, c1962; Bowed Mortar Relays, 1964 [realization of Composition 1960 no.9]; Composition
1965 $50, 1965; The Gilbert B. Silverman Commission to Write, in 10 Words or Less, a Complete
History of Fluxus Including Philosophy, Attitudes, Influences, Purposes, 1981
film scores
Eat (A. Warhol), tape, 1964; Sleep (Warhol), tape, 1964; Kiss (Warhol), tape, 1964; Haircut (Warhol),
tape, 1964
Young, La Monte
BIBLIOGRAPHY
L.M. Young, ed.: An Anthology (New York, 1963)
J. Johnston: ‘Music: La Monte Young’, Village Voice (19 Nov 1964)
H.W. Hitchcock: ‘Current Chronicle’, MQ, li (1965), 530–40, esp. 538–9
B. Rose: ‘ABC Art’, Art in America, iii/Oct–Nov (1965), 57–69
C. Cardew: ‘One Sound: La Monte Young’, MT, cvii (1966), 959–60
R. Kostelanetz: The Theatre of Mixed Means (New York, 1968)
L.M. Young and M. Zazeela: Selected Writings (Munich, 1969)
R. Rosenbaum: ‘Eternal Music in a Dreamhouse Barn’, Village Voice (12 Feb
1970)
S. Kubota: ‘Art as a New Style Life: Interview with La Monte Young’, Bijutsu
Techō, no.2 (1971)
D. Caux: ‘La Monte Young: créer des états psychologiques précis’, Chroniques
de l'art vivant, no.30 (1972)
J. Rockwell: ‘Boulez and Young: Enormous Gulf or Unwitting Allies?’, Los
Angeles Times (13 Feb 1972)
N. Gligo: ‘Ich sprach mit La Monte Young und Marian Zazeela’, Melos, xl (1973),
338–44

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Young, La Monte (Thornton)

M. Nyman: Experimental Music: Cage and Beyond (London, 1974, 2/1999)

J. Rockwell: ‘La Monte Young Plays at Kitchen’, New York Times (2 May 1974)
S.S. Singh: ‘Interview with La Monte Young and Marian Zazeela’, East-West
Music (Rome, 1974) [festival catalogue]
R. Palmer: ‘La Monte Young: Lost in the Drone Zone’, Rolling Stone (13 Feb
1975)
D. Smith: ‘Following a Straight Line: La Monte Young’, Contact, no.18 (1977–8), 4
M. Nyman: ‘Against Intellectual Complexity in Music’, October, no.13 (1980), 82
R. Pelinski: ‘Upon Hearing a Performance of The Well-Tuned Piano’, Parachute,
no.19 (1980), 4–12; repr. in Interval, iv/3 (1984), 13–20; iv/4 (1985), 16–29
K. Terry: ‘La Monte Young: Avant-Garde Visionary, Composer and Pianist’,
Contemporary Keyboard, vi/8 (1980), 12–18
P. Gena: ‘Freedom in Experimental Music: the New York Revolution’, Tri-
Quarterly, lii (1981), 223–43
P. Griffiths: Modern Music: the Avant-Garde since 1945 (New York, 1981)
R. Palmer: ‘A Father Figure for the Avant-Garde’, The Atlantic, ccxlvii/5 (1981),
48–56
J. Reinhard: ‘A Conversation with La Monte Young and Marian Zazeela’, Ear
Magazine East, vii/5 (1981–3), 4
D.J. Wolf: ‘Living and Listening in Real Time’, Interval, iv (1982–3), no.1, pp.14–
15; no.2, pp.27–32
W. Mertens: American Minimal Music (London, 1983)
R. Palmer: ‘Get Ready for the Music of Harmonics’, New York Times (17 July
1983)
J.M. Reusser: ‘La Monte Young: un musicien bien accordé’, L'autre monde,
no.68 (1983), 60
C. McCardell: ‘Sound Instincts: La Monte Young & his Breakthrough Music’,
Washington Post (15 Oct 1985)
M. Swed: ‘La Monte Young Tunes a Piano his Way’, Los Angeles Herald
Examiner (1 Nov 1985)
M. Feldman and L.M. Young: ‘A Conversation on Composition and
Improvisation’, Res, no.13 (1987), 153
K. Gann: ‘Maximal Spirit’, Village Voice (9 June 1987)
A. Rich: ‘La Monte Young's Minimalist Marathon’, Newsweek (27 July 1987)
J. Schaefer: New Sounds (New York, 1987)
L. Vidic: ‘Meet the Composer’, Ear, xii/3 (1987–8), 24
J. Kim: ‘Interview: La Monte Young’, Umak Tonga (1988) no.2, p.87
T. Johnson: The Voice of New Music (New York, 1989)
D.B. Doty: ‘The La Monte Young Interview’, 1/1 Just Intonation: the Journal

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Young, La Monte (Thornton)

of the Just Intonation Network (1989–90), v/4, 1, 9–15; vi/1, 8–12

D. Caux: ‘John Cage, La Monte Young et la dissidence musicale d’aujourd’hui’, Art
Press, no.150 (1990), 48–52
J. Donguy: ‘Musique pour le rêve’, Art Press, no.150 (1990), 55–8
A. Licht: ‘The History of La Monte Young's Theatre of Eternal Music’, Forced
Exposure, no.16 (1990), 60
E. Strickland: American Composers (Bloomington, IN, 1991)
D. Suzuki: Minimal Music (diss., U. of Southern California, 1991)
C. Gagne: Soundpieces 2 (Metuchen, NJ, 1993)
K. Gann: ‘La Monte Young's The Well-Tuned Piano’, PNM, xxxi/1 (1993) 134–
63
M. Johnson: ‘Randy Weston and La Monte Young, Kinds of Blues’, Pulse! (1993),
Nov
E. Rothstein: ‘La Monte Young Band Explores Sonic Space’, New York Times
(12 Jan 1993)
E. Strickland: Minimalism: Origins (Bloomington, IN, 1993)
K.L. Williams: ‘La Monte Young’, Down Beat, lx/8 (1993), 13 only
P. Carfi: ‘La Monte Young: il ritorno del maestro’, World Music, iv/16 (1994), 22
G. and N.W. Smith: American Originals: Interview with 25
Contemporary Composers (London, 1994/R 1995 as New Voices:
American Composers Talk about their Music)
W. Duckworth: Talking Music (New York, 1995)
T. Miesgang: ‘La Monte Young: ein Interview’, Falter, ix (1995), 26
W. Duckworth and R. Fleming, eds.: Sounds and Light: La Monte
Young and Marian Zazeela, Bucknell Review, xl/1 (1996)
K.R. Schwarz: Minimalists (London, 1996)
K. Gann: American Music in the Twentieth Century (New York, 1997)
K. Potter: Four Musical Minimalists (Cambridge, 2000)

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Young, Lester (Willis) [Pres,Prez]

Young, Lester (Willis) [Pres, Prez]

(b Woodville, MS, 27 Aug 1909; d New York, 15 March 1959). American jazz tenor
saxophonist.
1. Life.
Young grew up in the vicinity of New Orleans and later Minneapolis. His father, Willis Handy
Young, taught all his children instruments and eventually formed a family band that toured
with carnivals and other shows. Young learnt the violin, trumpet and drums, and settled on
the alto saxophone by about the age of 13. After one of many disputes with his father, he left
the family band at the end of 1927 and spent the following years performing with various
groups, including Art Bronson’s Bostonians, with whom he took up the tenor saxophone, and
Walter Page’s Blue Devils. Early in 1932 Young joined the Thirteen Original Blue Devils, and
while on tour in Oklahoma City met Charlie Christian. He then made Kansas City his base,
and played with the Bennie Moten–George E. Lee Band, Clarence Love, King Oliver and, on
one night in December 1933, Fletcher Henderson, then on tour with his star saxophonist,
Coleman Hawkins.
In 1934 Young joined Count Basie, beginning an association that eventually led to national
recognition. He left Basie at the end of March as a provisional replacement for Hawkins in
Henderson’s band. Henderson’s musicians rejected Young’s very different approach to the
saxophone, however, and he left after a few months. For the next year he performed mostly
around Kansas City and Minnesota on a freelance basis. By 1936 Young had resumed his
association with Basie. In November of that year, with a unit from Basie’s band, he made his
first recordings. His solos on Lady be Good and Shoe Shine Boy (Voc.) were
immediately regarded by musicians, many of whom learnt them note for note. During the
next few years, as Basie’s band became more famous, Young was prominently featured on
its recordings (for example, Jumpin’ at the Woodside, 1938, Decca, and Clap hands,
here comes Charlie, 1939, Voc.) and broadcasts. Although he received mixed reviews
from the critical establishment, the younger generation of musicians, including Dexter
Gordon, Illinois Jacquet and others, were enthusiastic about his music. His small-group
performances, particularly Lester leaps in (1939, Voc.) and his many recordings with
Billie Holiday (notably All of me, 1941, OK), were especially influential.
Young left Basie in December 1940 to form his own small band, which performed in New
York. In May 1942 he led a band with his brother Lee (drums), which performed in Los
Angeles and New York. When he rejoined Basie in December 1943 Young came to the
notice of the general public and also a new generation of jazz musicians, among them John
Coltrane, Sonny Rollins and Stan Getz. In 1944 he won first place in the Down Beat poll
for tenor saxophonists, the first of many such honours.
On 30 September 1944 Young was drafted into the army but was court-martialled the

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Young, Lester (Willis) [Pres,Prez]

following February for drug abuse. After serving several months in detention barracks in
Georgia, he was released at the end of 1945 and resumed recording and performing in Los
Angeles. At his first recording session he produced a masterpiece, These Foolish
Things (Phil/Ala.).
Beginning in 1946 Young spent part of almost every year playing with Jazz at the
Philharmonic, touring the rest of the time with his own small groups. From 1947 he
developed and modified his approach successfully – his use of double time and the choice
of repertory showing the influence of bop. However his health was becoming increasingly
affected by an addiction to alcohol, and from about 1953 until his death his recordings were
noticeably less consistent. Still, he was able to produce some of his best work on concert
recordings such as Prez in Europe (1956, Onyx). He made guest appearances with
Basie’s band in 1952–4 and again at the Newport Jazz Festival in 1957 and in early 1959 he
began an engagement at the Blue Note club in Paris. He made his last recordings there in
March, shortly before his death.
2. Music.
Young was one of the most influential musicians in jazz. His style was viewed as
revolutionary when he was first recorded during the late 1930s, and it was a primary force in
the development of modern jazz in general and the music of Charlie Parker in particular. The
only influences to which Young ever admitted were two white saxophonists of the 1920s,
Jimmy Dorsey and Frankie Trumbauer, especially the latter. Both possessed exceptional
technique and a light, dry sound. Dorsey was fond of timbral effects achieved through low
honks and alternative fingerings, and Young carried these further. From Trumbauer, Young
adopted a strong sense of musical form, which was apparent even in his earliest recordings,
such as Lady be Good (ex.1) with its short motivic and rhythmic constructions, each
building upon its predecessor. Young’s beautiful and delicate sound must be heard in order
to appreciate fully the impact of this solo.

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Young, Lester (Willis) [Pres,Prez]

Young’s work of the 1940s and 50s was different in style from that of his early years, but not
necessarily inferior, as many critics have claimed. His tone was much heavier and his
vibrato wider. He was more overtly emotional and filled his solos with wails, honks and blue
notes. He drew more heavily on a small repertory of formulas, especially simple ones such
as the arpeggiation of the tonic triad in first inversion at phrase endings. His solos also
contained astonishing leaps and bold contrasts (ex.2), relying more on the alternation of
repetition and surprise than on motivic development. Significantly, musicians have praised
his recordings of the 1940s alongside his early ones, indicating a clear appreciation of their
musical value.

Young’s impact on the course of jazz was profound. His superb melodic gift and logical
phrasing were the envy of musicians on all instruments, and his long, flowing lines set the
standard for all modern jazz. His personal formulas are now the common property of all jazz
musicians, and recur in countless jazz compositions and improvisations. Sadly, the public,
while familiar with Young’s name, has little awareness of his music and its role in jazz
history. The feature film Round Midnight (1986), which was dedicated to Young and Bud
Powell, was largely based on Young’s life story.
BIBLIOGRAPHY
P. Harris: ‘Pres Talks about Himself, Copycats’, Down Beat, xvi/8 (1949), 15
L. Feather: ‘Here’s Pres!’, Melody Maker (15 July 1950)

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Young, Lester (Willis) [Pres,Prez]

L. Feather: ‘Pres Digs Every Kind of Music’, Down Beat, xviii/22 (1951), 12 only
N. Hentoff: ‘Pres’, Down Beat, xxiii/5 (1956), 9–11
Jazz Monthly, ii/10 (1956) [special issue]
N. Hentoff: ‘Lester Young’, in N. Shapiro and N. Hentoff, eds.: The Jazz Makers
(New York, 1957/R), 243–75
D. Morgenstern: ‘Lester Leaps In’, JJ, xi/8 (1958), 1–3
W. Burckhardt and J. Gerth: Lester Young: ein Porträt (Wetzlar, 1959)
L. Gottlieb: ‘Why so Sad, Pres?’, Jazz: a Quarterly of American Music, no.3
(1959), 185–96
F. Postif: ‘Lester: Paris, 1959’, JR, ii/8 (1959), 6–10; repr. in Jazz Panorama, ed.
M. Williams (New York, 1962/R), 139–44; new transcr., Jazz hot, no.362 (1979), 18–
22; no.363 (1979), 34–7
V. Franchini: Lester Young (Milan, 1961)
D. Heckman: ‘Pres and Hawk: Saxophone Fountainheads’, Down Beat, xxx/1
(1963), 20–22
J. Hammond and H. Woodfin: ‘Two Views of Lester Young: Recollections and
Analysis’, Jazz & Blues, iii/5 (1973), 10 only
G. Colombé: ‘Time and the Tenor: Lester Young in the Fifties’, Into Jazz, i/3
(1974), 32
L. Gushee: ‘Lester Young’s “Shoeshine Boy”’, IMSCR XII: Berkeley 1977, pp.151–
69
S. Dance: The World of Count Basie (New York, 1980), 28–36
R.A. Luckey: A Study of Lester Young and his Influence on his
Contemporaries (diss., U. of Pittsburgh, 1981)
L. Porter: ‘Lester Leaps In: the Early Style of Lester Young’, BPM, ix (1981), 3–24
B. Cash: An Analysis of the Improvisation Technique of Lester Willis
Young, 1936–1942 (thesis, U. of Hull, 1982)
W. Balliett: ‘Pres’, Jelly Roll, Jabbo and Fats (New York, 1983), 119–28
D.H. Daniels: ‘History, Racism, and Jazz: the Case of Lester Young’,
Jazzforschung/Jazz Research, xvi (1984), 87–103
D. Gelly: Lester Young (Tunbridge Wells, 1984)
D.H. Daniels: ‘Lester Young: Master of Jive’, American Music, iii (1985), 313–28
L. Porter: Lester Young (Boston, 1985)
D.H. Daniels: ‘Big Top Blues: Jazz-Minstrel Bands and the Young Family Tradition’,
Jazzforschung/Jazz Research, xviii (1986), 133–53
G. Schuller: ‘Lester Young’, The Swing Era: the Development of Jazz,
1930–1945 (New York, 1989), 547–62
F. Büchmann-Møller: Just Fight for your Life: the Story of Lester
Young (New York, 1990)

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Young, Lester (Willis) [Pres,Prez]

F. Büchmann-Møller: You Got to be Original Man! The Music of Lester

Young (New York, 1990)
L. Porter, ed.: A Lester Young Reader (Washington DC, 1991)
L. Delannoy: Pres: the Story of Lester Young (Fayetteville, AR, 1993)

Oral history material in US-NEij

LEWIS PORTER

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Young, Neil

Young, Neil
(b Toronto, 12 Nov 1945). Canadian singer-songwriter and guitarist. He emerged in the late
1960s as a member of the critically acclaimed, Los Angeles-based rock band Buffalo
Springfield. He subsequently gained mass exposure in the ‘supergroup’ Crosby, Stills, Nash
and Young. This widespread fame co-existed in the late 1960s and early 70s with his
growing reputation as a singer-songwriter and collaborator with bands such as Crazy Horse
and the Stray Gators. His early solo work with Crazy Horse – including the albums
Everybody knows this is Nowhere (1969) and After the Gold Rush (1970) – has
proved particularly enduring. On these albums his fragile, expressive tenor, and jagged,
lyrical lead guitar grace an eclectic mixture of styles, including acoustic ballads, driving rock
and lighter country-rock. He coupled these gifts with a melodic songwriting style and with
pessimistic and occasionally enigmatic lyrics in such early songs as Broken Arrow and
Expecting to Fly (both with Buffalo Springfield), and Cowgirl in the Sand (1969) and
Only love can break your Heart (1970) from the early solo albums. Songs such as
Cowgirl in the Sand and Southern Man (1970) provided ample solo space for his
guitar playing, but the ecstatic one-note solo in Cinnamon Girl (1969) best exemplifies his
minimalist tendencies. The epic narrative Cortez the Killer (from Zuma, 1975) broke
new ground for Young in terms of subject matter and displayed an intense lyricism in the
extended guitar solo. Harvest (1972), featuring predominantly folk and country-styled
material, was his most successful album in commercial terms, but drew mixed critical notices.
Young remained highly productive and commercially successful throughout the 1970s and
continued his occasional collaborations with Stephen Stills (Long May You Run, 1976)
and Crazy Horse (Rust Never Sleeps, 1979). During the 1980s his eclecticism became
even more extreme, ranging through acoustic rock, hard rock, techno-pop, rockabilly,
country and rhythm and blues. The title song from the rhythm and blues album This
Note's for You (1987) criticized pop artists who made TV commercials; the video of the
title song was initially banned by MTV before eventually winning an award for Best Video of
the Year. By the end of the decade Young showed signs of abandoning the almost wilful
eclecticism of the preceding years. Freedom (1989), followed by Ragged Glory (1990)
with Crazy Horse, were both critical successes and his most commercially successful work
for a decade. He was recognized as a predecessor to the grunge bands of the 1990s by
many of the younger musicians, principally for his guitar style (which since the late 1960s
has been characterized by heavy distortion and ringing, open chords) and for his highly
individualistic, anti-commercial stance. This recognition resulted in Mirror Ball (1995), a
collaboration with Pearl Jam.
BIBLIOGRAPHY
J. Rockwell: ‘Rock, Populism & Transcendental Primitivism: Neil Young’, All-

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Young, Neil

American Music: Composition in the Late Twentieth Century (New York,

1983), 221–33
D. Downing: A Dreamer of Pictures: Neil Young, the Man and his
Music (London, 1994)
Neil Young: the Rolling Stone Files (New York, 1994)
DAVID BRACKETT

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Young [Younge],Nicholas.

Young [Younge], Nicholas.

See Yonge, Nicholas.

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Young, Percy M(arshall)

Young, Percy M(arshall)

(b Northwich, Cheshire, 17 May 1912). English writer on music and music educationist. He
was educated at Christ’s Hospital (1924–30) and read English, music and history as an
organ scholar at Selwyn College, Cambridge (1930–34; MusB 1933). He was director of
music at Stranmillis Teachers Training College, Belfast, from 1934 until 1937, when he took
the MusD at Trinity College, Dublin. From 1937 to 1944 he was music adviser to the city of
Stoke on Trent. In 1944 he became director of music at Wolverhampton College of
Technology; there he also formed a choir which gave many performances, particularly of
lesser-known works by Handel. Since 1970 he has been a visiting scholar and lecturer at
numerous colleges in the USA.
Young is an exceptionally fluent and prolific writer. His books include short popular
biographies and several volumes for younger readers. Many of his more substantial writings
are based on a lively, fresh and industrious, if not always highly discriminating, examination
of source material; these include original research on Elgar and useful surveys of the British
choral tradition and British music generally. As a composer Young has been equally prolific:
his works include a Fugal Concerto for two pianos and strings (1954), a Festival Te
Deum for massed voices, semichorus and organ (1961) and much unpublished music for
brass ensembles. He has edited Handel’s Saul for the Hallische Händel-Ausgabe (Leipzig,
1972), Arne’s cantata The Lover’s Recantation (Leipzig, 1988), and Elgar’s The
Spanish Lady, for the Elgar complete edition (London, 1991).
WRITINGS
‘The Royal Music’, ML, xviii (1937), 119–27
Samuel Pepys’ Music Book (London, 1942)
Handel (London, 1947, 3/1979)
The Oratorios of Handel (London, 1949)
Messiah: a Study in Interpretation (London, 1951)
Vaughan Williams (London, 1953)
Elgar O.M. (London, 1955, 2/1973)
ed.: Letters of Edward Elgar and Other Writings (London, 1956/R)
Tragic Muse: the Life and Works of Robert Schumann (London, 1957,
2/1961)
The Choral Tradition (London, 1962, 2/1981)
Zoltán Kodály (London, 1964)
ed.: Letters to Nimrod: Edward Elgar to August Jaeger, 1897–1908
(London, 1965)
A History of British Music (London, 1967)
ed.: Elgar: a Future for English Music and Other Lectures (London, 1968)

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Young, Percy M(arshall)

The Bachs 1500–1850 (London, 1970; Ger. trans., 1978; Jap. trans., 1985)
Sir Arthur Sullivan (London, 1971)
‘Vocal Music in England in an Age of Change’, Festschrift für Ernst Hermann
Meyer, ed. G. Knepler (Leipzig, 1973), 197–203
A Concise History of Music from Primitive Times to the Present Day
(New York and London, 1974)
Beethoven: a Victorian Tribute based on the Papers of Sir George
Smart (London, 1976)
Alice Elgar: Enigma of a Victorian Lady (London, 1978)
George Grove 1820–1900 (London, 1980)
‘Classics of Music Library Literature’, Modern Music Librarianship: Essays in
Honor of Ruth Watanabe, ed. A. Mann (Stuyvesant, NY, 1989), 159–72
‘Leipzig and Dresden: the Protestant Legacy’, American Choral Review, xxxii/3–4
(1990), 7–76
Lichfield Cathedral Library: a Catalogue of Music (Birmingham, 1993)
Elgar, Newman and the Dream of Gerontius: in the Tradition of English
Catholicism (Aldershot, 1995)
DAVID SCOTT/R

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Young, Simone

Young, Simone
(b Sydney, 21 March 1961). Australian conductor. She studied composition and piano at the
NSW Conservatorium and made her conducting début at the Sydney Opera House in 1985.
In 1987 she was engaged as an assistant conductor at the Cologne Opera, and in 1993 was
appointed Kapellmeister at the Berlin Staatsoper. Young has been the first woman to
conduct at the Vienna Volksoper (1992) and Staatsoper (1993), the Opéra-Bastille (1993)
and the Staatsoper in Munich (1995). Other important débuts have included Covent Garden
(1993), the Metropolitan Opera (1995), both in La bohème, and the Munich PO (1996).
Her repertory extends from Mozart to contemporary music, with special emphasis on
Wagner and Strauss, and her performances have been acclaimed for their exciting
theatricality. In 1997 Young embarked on a Ring cycle at the Vienna Staatsoper.
CAROL NEULS-BATES

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 Young, Victor

Young, Victor
(b Chicago, 8 Aug 1900; d Palm Springs, CA, 10 Nov 1956). American composer, conductor
and violinist. He began to play the violin at the age of six, and four years later went to live
with his grandfather in Warsaw, where he studied at the conservatory. He made his début as
a soloist with the Warsaw PO in 1917. In 1920 he returned to the USA, and the following
year made his American début at Orchestra Hall in Chicago. Between 1922 and 1929 he
was a leader in movie theatres, a musical supervisor of vaudeville productions, a violinist
and arranger for Ted Fiorito’s orchestra, and the assistant musical director of the Balaban
and Katz theatre chain.
He first worked for radio in 1929, and in 1931 became musical director for Brunswick
Records, where in 1932 he arranged and conducted several selections from Show Boat
with soloists, chorus and orchestra; released on four discs, it was the first American album
ever made from the score of a Broadway musical. In 1935 he moved to Hollywood, where he
formed his own orchestra and joined the staff of Paramount Pictures.
During the next 20 years Young composed and conducted music for many television and
radio shows and record albums, and wrote scores (some with collaborators) for over 225
films. He also composed instrumental pieces (some of which originated in film scores), two
Broadway shows and a number of popular songs. He had a gift for writing pleasing melodies
but his music for the most part is conventional. His film scores are often overwrought and
incorporate excessively sentimental string writing, but they are dramatically adequate and
occasionally even eloquent. He won an Academy Award (posthumously) for his score to
Around the World in 80 Days.
WORKS
(selective list)

film scores
Ebb Tide, 1937; Maid of Salem, 1937; Golden Boy, 1939; Gulliver’s Travels, 1939; North West
Mounted Police, 1940; The Light That Failed, 1940; Hold Back the Dawn, 1941; I Wanted Wings,
1941; Reap the Wild Wind, 1942; The Palm Beach Story, 1942; For Whom the Bell Tolls, 1943;
Frenchman’s Creek, 1944; Kitty, 1945; The Blue Dahlia, 1946; To Each his Own, 1946;
Unconquered, 1947; The Big Clock, 1948; The Night has a Thousand Eyes, 1948; Sands of Iwo
Jima, 1949; Samson and Delilah, 1949; Rio Grande, 1950; Payment on Demand, 1951;
Scaramouche, 1952; The Quiet Man, 1952; Shane, 1953; The Country Girl, 1954; Three Coins in the
Fountain, 1954; The Left Hand of God, 1955; Around the World in 80 Days, 1956
stage
Pardon our French (revue, E. Heyman), New York, 5 Oct 1950

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 Young, Victor

Seventh Heaven (musical, V. Wolfson, S. Unger; lyrics, Unger), New York, 26 May 1955
songs
Sweet Sue (W.J. Harris), 1928; 9 songs, incl. A Hundred Years from Today, in Blackbirds of 1933
(revue); Sweet Madness, in Murder at the Vanities (musical play), 1933; Stella by Starlight (N.
Washington; from the film: The Uninvited, 1944); Love Letters (E. Heyman; from the film, 1945); The
Searching Wind (Heyman; from the film, 1946); Golden Earrings (J. Livingston and R. Evans; from the
film, 1947); My Foolish Heart (Washington; from the film, 1949); Our Very Own (J. Elliot; from the film,
1949); Alone at Last (B. Hilliard; from the film: Something to Live For, 1952); When I Fall in Love
(Heyman; from the film: One Minute to Zero, 1952); Wintertime of Love (Heyman; from the film:
Thunderbirds, 1952)
Bon Soir (Heyman; from the film: A Perilous Journey, 1953); Call of the Faraway Hills (M. David; from
the film: Shane, 1953); Change of Heart (Heyman; from the film: Forever Female, 1953); The world is
mine (S. Adams; from the film: Strategic Air Command, 1955); Around the World in 80 Days (H.
Adamson; from the film, 1956); I only live to love you (M. Gordon; from the film: The Proud and
Profane, 1956); Written on the Wind (S. Cahn; from the film, 1956)
instrumental
for orchestra unless otherwise indicated – most composed 1935–52

Arizona Sketches; Columbia Square; Elegy to F. D. R.; For Whom the Bell Tolls; Hollywood
Panorama; In a November Garden; Leaves of Grass (after W. Whitman); Overnight; Travelin’
Light; Manhattan Concerto, pf, orch [based on the film scores]; Pearls on Velvet, pf, orch; Stella by
Starlight, pf, orch [based on the film score The Uninvited]; Stephen Foster, str qt

Principal publishers: Famous, Joy, Northern, Paramount

BIBLIOGRAPHY
V. Young: ‘Confessions of a Film Composer’, Music Journal, xiv/7 (1956), 16, 38
C. McCarty: ‘Victor Young’, Film and TV Music, xvi/5 (1957), 21
T. Thomas: Music for the Movies (South Brunswick, NJ, and New York, 1973),
43–8
CLIFFORD McCARTY

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Young [Joungh],William

Young [Joungh], William

(d Innsbruck, 23 April 1662). English composer and viol player. He was among the 17th-
century English musicians who served at continental courts and carried to them a knowledge
of the then much admired English manner of performance on the viol. Jean Rousseau, in his
Traité de la viole (Paris, 1687/R), referred to the European reputations of some of these
players and mentioned three in particular, among them ‘Joung auprès du Comte d’Insbruck’.
Nothing is known of Young’s early life, though the presence of five-part dances in a
manuscript associated with Worcester in the 1640s (GB-Ob Mus.Sch.E.415–18) suggests
that he was already an established composer before he left England, and possibly that he
came from the West Country.
The spelling ‘Joungh’ found in some sources of his music suggests that he may already
have been with Ferdinand Karl when the latter was Governor of the Netherlands before
becoming archduke of Innsbruck in 1646. He had certainly entered the archduke’s service
by 1652. Between February and May of that year Ferdinand Karl and his wife Anna de’
Medici undertook an Italian journey on which Young accompanied them as one of their
valets to Mantua, Parma, Modena, Florence and Ferrara. Subsequently he was one of those
who accompanied the court from Innsbruck to Milan and in 1654 was probably the English
musician referred to in the court records as having received 100 ducats from the Emperor
Ferdinand III when Ferdinand Karl’s musicians, among whom was Antonio Cesti, visited
Regensburg.
In 1655, after her abdication from the Swedish throne, Queen Christina was received into
the Catholic Church at Innsbruck. She was entertained there for ten days and recorded the
great pleasure Young’s viol playing gave her. At this time he was regarded as one of the
finest viol players in Europe, a judgment echoed by other guests on that occasion. A year
later the English merchant Robert Bargrave visited Innsbruck and heard Young, whom he
described as ‘groom of the bedchamber and chief violist to the archduke’. On 26 August
1660 Young travelled to England but soon returned to Innsbruck, where his death was
recorded in the register of St Jakob. The William Young who served in London from 1660 to
1670 as a violinist in the royal music of Charles II has often been confused with the
composer, but does not seem to have been related to him; he came from Ripon.
Young’s compositions for the viol played lyra-way are important; a few were published, but
many others remain in manuscript. He continued to employ the technique in Innsbruck, for
Bargrave stated that he had developed there an eight-string viol to be played lyra-way. The
fantasias for viols represent Young working in the mid-century style of consort music akin to
that of Locke. The sonatas, on the other hand, show strong Italian and German influences.
The journey through Italy in 1652 must have brought Young into direct contact with the
developing sonata style there, a contact reinforced by the presence of Italian musicians

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 Young [Joungh],William

working in Innsbruck. The pattern of his 1653 collection is similar to that of many Italian
publications of the time, and such features as the use of the title ‘canzona’ for imitative
movements and, on occasion, of the rhythmic metamorphosis of themes reflect the same
influence. The disposition of instruments, however, such as the preference for three or four
violins in the published sonatas and the combination of violin, bass viol and continuo that
occurs in several unpublished sonatas, is more in line with Germanic usage. Young’s 1653
collection is the earliest set of works entitled ‘sonata’ by an English composer, and his use of
the term canzona was a precedent followed by Purcell. A copy of the collection was in
Thomas Britton’s library, and items from it are in a Restoration manuscript in Oxford.
WORKS
[11] Sonate à 3, 4, 5 con alcune [19] allemand, correnti e balletti à 3 (Innsbruck, 1653/R); 3 sonatas,
19 dances, 2 vn, b, bc, 7 sonatas, 3 vn, b, bc, 1 sonata, 4 vn, b, bc; ed. in DTÖ, cxxxv (1983)
3 sonatas (d, C, D), vn, b viol, bc, GB-DRc; 2 (d, C) ed. D. Beecher and B. Gillingham (Ottawa,
1983); 1 (D) ed. P. Evans (London, 1956)
9 fantasias, tr, t, b, bc, Lbl, Lgc; ed. R. Morey (London, 1984–6) [possibly the ‘Fantasias for viols of
three parts’ announced in 16695]

39 pieces, lyra viol, 16516, A-ETgoëss, D-Kl, F-Pc, GB-Cu, Cheshire County Record Office,
Chester, LBl, Mp, Ob, US-LAuc
23 pieces, 2 b viols, A-ETgoëss, GB-DRc, Ob
3 pieces, b viol, bc, A-ETgoëss, GB-DRc, Lcm
30 pieces, b viol; A-ETgoëss, HAdolmetsch, Ob, PL-Wtm; 29 ed. U. Rappen (Hannacroix, nr
Ravena, NY, 1989)

5 dances, a 5, GB-Ob (inc.)

6 dances, 2 tr, b, Ob; ed. W.G. Whittaker (London, 1930)
2 dances, tr, t, b, US-NH
Mr Young’s [8] Sharp Airs, tr, b, bc, GB-Ob
Mr Younges [11 dances] for two Lyra Viols, tr, b, bc [? 2 lyra viol pts missing], Ob
2 dances, tr, b, US-NH
Almain, vn, GB-Ob
BIBLIOGRAPHY
AshbeeR
BDA
DoddI
GoovaertsH
HawkinsH
NewmanSBE

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Young [Joungh],William

SennMT
W.G. Whittaker: ‘William Young’, Collected Essays (London, 1940/R), 90–98
P. Evans: ‘Seventeenth-Century Chamber Music Manuscripts at Durham’, ML, xxxvi
(1955), 205–23
M. Tilmouth: ‘Music on the Travels of an English Merchant: Robert Bargrave (1628–
61)’, ML, liii (1972), 143–59
M. Caudle: ‘The English Repertory for Violin, Bass Viol and Continuo’, Chelys, vi
(1975–6), 69–75
G. Dodd: ‘William Young: Airs for Solo Viol’, Chelys, ix (1980), 33–5
J. Irving: ‘Consort Playing in mid-17th-Century Worcester’, EMc, xii (1984), 337–44
MICHAEL TILMOUTH/PETER HOLMAN

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Young Chang.

Young Chang.
South Korean firm of instrument makers. Founded in 1956 to assemble upright pianos from
imported components, the company began its own manufacture in 1968 and profited from
the country’s booming economy. Though pianos imported to the USA in early years were
reported as having insufficiently seasoned lumber, improved methods have overcome these
difficulties. Manufacturing and shipping systems are sophisticated and automated, and in
1996 the company opened a huge factory in Tianjin, China. The quality of recent instruments
is high. The concert grand has attracted favourable notice, and the uprights are sturdy and
sonorous. The company has subsidiaries in Canada, the USA and Europe. In 1985 Young
Chang purchased the Weber name at the dissolution of the Aeolian Corporation and in 1990
bought Kurzweil Musical Systems, which produces very sophisticated electronic pianos and
MIDI controllers. Production in the mid-1990s was about 120,000 annually, with the opening
of the Tianjin factory expected to raise the figure substantially.
EDWIN M. GOOD

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Young Poland.

Young Poland.
A group of 20th-century Polish composers, including Fitelberg, Różycki, Szymanowski and
Szeluto. The term ‘Young Poland’ was proposed in 1898 by Artur Górski with reference to
literature; his aim was to postulate the idea of rebirth in that medium. In music a similar plea
was made by Feliks Jasieński in 1901. The revolutionary events that occurred in Russia in
1905 brought a heightened degree of expectation of political and artistic change in the Polish
territories. It was expected that the musical spirit of Young Poland would assume an
important role in concerts of contemporary music at the Warsaw Philharmonic Hall, and
there, on 6 February 1906, a concert was given presenting works by all of the above named
composers. The following concert reviews labelled them as ‘Młoda Polska w
muzyce’ (‘Young Poland in music’). Although this term was later used in a much wider
context, referring also to other contemporary Polish composers, generally the label became
synonymous with these four composers. There were also, however, other reasons for
regarding these composers as constituting a recognizable group. In the autumn of 1905
Fitelberg, Różycki, Szymanowski and Szeluto founded the Spółka Nakładowa
Młodych Kompozytorów Polskich (Young Polish Composers’ Publishing Company)
under the financial patronage of Prince Władysław Lubomirski. The publishing house
appointed to represent their company was Albert Stahl in Berlin. The group did not formulate
mottos or aim to present a collective view regarding creative or artistic ideas. They did,
however, share the same broad views on art and the role of the creative artist; they claimed
the right to artistic freedom and respect towards their chosen path. The group aimed to
achieve support for new Polish music through the publication of works by its members, but it
was also open to other composers; concerts were organized abroad as well as in Poland.
(There is a clear analogy here with Belyayev’s publishing company in Russia and
Koussevitsky and Rakhmaninov’s joint project in Berlin.) Contrary to the views held by some,
Karłowicz did not formally belong to this group; he was nevertheless a supportive observer,
and gave them his permission to publish his song Pod jaworem (‘Under the Sycamore
Tree’). The publishing company lasted until about 1912 when Różycki joined Hansen, a
Danish firm, and Szymanowski, the true exponent of Young Poland, signed with Universal
Edition, Vienna. From this point the artistic paths of the founding members of the company
diverged.
BIBLIOGRAPHY
A. Chybiński: ‘Jungpolen in der Musik’, Polnische Post (Vienna, 1908), no.36
A. Chybiński: ‘Młoda Polska w muzyce’, Museion, iii (1911), 17–39
M. Gliński: ‘Młoda Polska w muzyce’, Muzyka, iv/6 [Warsaw] (1931), 189–201
S. Łobaczewska: ‘Twórczość kompozytorów Młodej Polski’ [The works of the
composers of Young Poland], Z dziejów polskiej kultury muzycznej, ii (Kraków,
1966), 553–642

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Young Poland.

T. Chylińska: ‘Młoda Polska: mit czy rzeczywistość?’ [Young Poland: myth or

reality?], Muzyka polska a modernizm: Kraków, 1981, 41–54
S. Jarociński: ‘Młoda Polska w muzyce na tle twórczości artystycznej rodzimej i
obcej’ [Young Poland in music against the background of artistic creativity at home and
abroad], ibid., 93–100
TERESA CHYLIŃSKA

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Youngs, Alexander Basil.

Youngs, Alexander Basil.

See Young, Alexander.

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Youth and Music.

Youth and Music.

An organization founded in London in 1954 by Robert Mayer, after the model of the
continental Jeunesses Musicales (to which it is affiliated), to bridge the gap between his
concerts for children and ordinary concert and opera performances particularly by organizing
block attendance at performances. It is supported by a number of trusts, the Arts Council
and by commercial sponsorship.
HENRY RAYNOR/R

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Yradier (y Salaverri), Sebastián de.

Yradier (y Salaverri), Sebastián de.

See Iradier sebastián de.

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Yriarte, Tomás de.

Yriarte, Tomás de.

See Iriarte, Tomás de.

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Ysaac [Ysac],Henricus [Heinrich].

Ysaac [Ysac], Henricus [Heinrich].

See Isaac, Henricus.

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Ysaÿe, Eugène(-Auguste)

Ysaÿe, Eugène(-Auguste)
(b Liège, 16 July 1858; d Brussels, 12 May 1931). Belgian violinist, conductor and
composer. His first music teacher was his father, a violinist (a pupil of François Prume) and
conductor of amateur music societies. Ysaÿe began studying with Désiré Heynberg at the
Liège Conservatory in 1865, but he was an unsettled child and his attendance irregular, so
that the lessons with Heynberg were discontinued in 1869. However, he returned to the
Conservatory in 1872 and joined Rodolphe Massart's class. He was unanimously adjudged
co-winner with Guillaume Remy of the Conservatory's silver medal in 1874, and also won a
bursary which enabled him to take lessons with Henryk Wieniawski in Brussels and then
study with Henry Vieuxtemps in Paris. Four years spent attending lectures and concerts in
the French capital helped him to make useful artistic contacts. In 1879 he became leader of
the Bilse orchestra in Berlin and he stayed there until 1882.
At this time the patronage of Anton Rubinstein brought him his first important contracts as a
soloist (in Scandinavia, Russia and Hungary). He returned to Paris in autumn 1883, and
soon had many European engagements. He maintained close links both with the great
French masters of the day – Saint-Saëns, Franck and Fauré – and with rising composers
such as d'Indy and Chausson. His first appearances at the Concerts Colonne were
triumphantly successful, and Belgium reclaimed him; on the departure of Jenő Hubay,
Vieuxtemps' successor at the Brussels Conservatory, Gevaert appointed Ysaÿe to teach the
prestigious violin class there. His career was flourishing: besides performing as a soloist he
composed a quartet which immediately created a stir, making it a point of honour for him to
participate in concerts of avant-garde chamber music in Paris and Brussels. He played in the
first performances of many outstanding works which are dedicated to him: Franck's Violin
Sonata (1886), Chausson's Concert (1889–91) and Poème (1896), d'Indy's First String
Quartet (1890), Debussy's String Quartet (1893) and Lekeu's Violin Sonata (1892).
Ysaÿe's career was at its height from his first American tour in 1894 to the outbreak of World
War I in 1914. He played in the most famous concert halls and his talent was universally
acknowledged. He used his fame as a virtuoso to launch new ventures: in 1895 he and
Maurice Kufferath founded the Société Symphonique des Concerts Ysaÿe, managing and
conducting a large orchestra which gave concerts mainly of modern music, and which
became a feature of Belgian musical life. A few months later he and Raoul Pugno formed a
duo which continued until Pugno's death in 1914. Although Ysaÿe collaborated with other
notable pianists such as Anton Rubinstein, Busoni, Ziloti, Nat and his own brother Théophile
Ysaÿe, his partnership with Pugno was of exceptional renown. Their programmes set a new
standard in that they most often consisted exclusively of sonatas, which was unusual at the
time.
Having turned to orchestral conducting of his own volition, Ysaÿe was increasingly obliged to

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Ysaÿe, Eugène(-Auguste)

take refuge in it: his playing was being impaired by problems arising from neuritis and
diabetes, and by his loss of bow control. (The last was exacerbated by his unorthodox grip,
which had not, however, prevented him from developing one of the most immaculate
techniques of the time.) His health had been failing since the beginning of the century, and
his playing deteriorated rapidly during the war. He accepted the post of conductor of the
Cincinnati SO in 1918 and remained there until 1922, giving precedence to modern French
music. On returning to Belgium he resumed several of his former activities – including the
Concerts Ysaÿe and the giving of private lessons – and up to 1928 he continued to perform
in notable concerts in Europe. (They included all Beethovan's sonatas with Clara Haskil and
the Violin Concerto conducted by Pablo Casals, for the Beethoven centenary in 1927.) His
right foot was amputated in 1929. He gave his last concert in November 1930 and finished
writing an opera (on a popular Belgian subject), which was given its première at the Théâtre
Royal in Liège a few weeks before his death.
Ysaÿe's playing influenced three generations of violinists. He abandoned the old style of
Joachim, Wieniawski, Sarasate and Auer for one that combined rigorous technique and
forceful sound with creative freedom on the part of the interpreter. To younger players such
as Enescu, Flesch, Huberman, Kreisler, Szigeti and Thibaud he was an example of absolute
devotion to his art, and the virtuosos of his own generation – César Thomson, Hubay and
Remy – always had to suffer comparison with him. At the turn of the century, he was
regarded as supreme among violinists and when he gave the first performance in Berlin of
Elgar's Violin Concerto (5 January 1912) the greatest contemporary violinists (including
Kreisler, Flesch, Elman and Marteau) were in the audience. As many eyewitness accounts
show, they were not disappointed: the wonderful sound, his technique (including the variety
of his vibrato) and his interpretation were captivating; he was also well liked for his
personality, which was marked by generosity, a sense of solidarity with other musicians and
an unquenchable appetite for life.
Ysaÿe was long regarded as important in the development of the modern style of violin
playing. He also represented a synthesis of the qualities of Franco-Belgian violin playing
before virtuosity became an end in itself. To Ysaÿe, virtuosity was indispensable (he admired
Paganini and Vieuxtemps), but as a means to re-create the music, rather than mere
exhibitionism (in this he agreed with Busoni, with whom he shared a liking for transcriptions).
This ideal, reinforced by his choice of high quality works for his concerts (eloquently
illustrated in the programmes of the Ysaÿe Quartet and the Ysaÿe-Pugno duo), was not
wholly realized by the next generation: Thibaud, Kreisler, Enescu and others were
influenced to some extent, but between the wars their recitals only rarely equalled those of
Ysaÿe in choice of programmes and in their interpretation. Ysaÿe's recordings, most of them
made in 1912 in difficult circumstances, reveal an exceptionally refined interpretative art.
From adolescence, and seemingly spontaneously, Ysaÿe joined the ranks of virtuosos who
were also composers, following the tradition of his compatriots C.-A. de Bériot, Hubert

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 Ysaÿe, Eugène(-Auguste)

Léonard and Henry Vieuxtemps. Some early salon pieces and concertos made little mark at
the time, but after he became acquainted with French composers (Saint-Saëns, Fauré and
the school of Franck) he abandoned decorative virtuosity for an improvisatory, passionate
character; his scoring sometimes lacks subtlety, but the works are full of harmonic originality.
His Poème élégiaque preceded and inspired Chausson's Poème, and expressionist
anxieties can be heard in pieces such as Exil for string orchestra. Ysaÿe was modest about
his own compositions and rarely played or conducted them. However, his witty Caprice
d'après l'Étude en forme de valse de Saint-Saëns, a piece of sustained virtuosity,
became famous. His Six Sonatas op.27 for violin solo and solo cello sonata (op.28), written
after his return from the USA, bear fascinating witness to Ysaÿe's art; in their harmonic
originality and their virtuosity, he was composing for posterity and the younger generation of
violinists. Increasing attention is paid to these pieces today, and they have entered the solo
violin repertory.
Of Ysaÿe's various ideas for the organization of musical life (he had hoped to be appointed
director of the Brussels Conservatory in 1912), two came into being after his death, thanks
to his friendship with Queen Elisabeth of Belgium, to whom he gave violin lessons over a
long period. One was the Concours Eugène Ysaÿe, a competition intended to reward
virtuoso players and initiated in 1937 (after World War II it became the Concours Musical
Reine Elisabeth. The other was the Queen Elisabeth Chapelle Musicale (1939), set up to
give further training to graduates of the Belgian conservatories.
WORKS
(selective list)

for a complete list, see Ysaÿe and Ratcliffe (1947); unless otherwise stated, works published in Brussels

Piére li houïeu [Peter the Miner] (drame lyrique, 1, Ysaÿe), Liège, 4 March 1931, unpubd
Vn, orch: Poème élégiaque, op.12 (Leipzig, c1895); Scène au rouet, op.14; Caprice d'après l'Étude en
forme de valse de Saint-Saëns (Paris, c1900); Chant d'hiver, op.15 (London, 1902); Extase, op.18;
Berceuse, op.20; Les neiges d'antan, op.23; Divertimento, op.24; Fantasia, op.32; Concerto d'après
deux poèmes, op. posth., ed. J. Ysaÿe; 8 concs., Suite, inc.: unpubd
Other orch: Méditation, vc, orch, op.16 (Paris, c1910); Sérénade, vc, orch, op.22; Exil, str, op.25;
Amitié, 2 vn, orch, op.26; Poème nocturne, vn, vc, orch, op.29; Harmonies du soir, str qt, str orch,
op.31
Vn, pf: 2 Mazurkas, op.10 (c1893); Etude-poème, op. posth.; Saltarelle carnavalesque, 2 polonaises,
Mazurka, Waltz, Berceuse, other works: unpubd
Other chbr: Trio de concert, 2 vn, va, op.19; 6 Sonatas, vn solo, op.27 (1924); Sonata, vc solo, op.28;
Qnt, 2 vn, 2 va, vc, op. posth.; Variations, on Paganini's Caprice no.24, vn solo, ed. (London, 1960);
10 Preludes, vn solo, op. posth.; Exercises et gammes, vn solo, op. posth.; Sonata, a, 2 vn, 1915, US-
R

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Ysaÿe, Eugène(-Auguste)

BIBLIOGRAPHY
J. Quitin: Eugène Ysaÿe: étude biographique et critique (Brussels, 1938,
2/1958)
F. Rasse: ‘Eugène Ysaije’, Académie royale de Belgique: bulletin de la
classe des beaux-arts, xxvi (1944), 85–115
E. Christen: Ysaÿe (Geneva, 1947)
A. Ysaÿe: Eugène Ysaÿe: sa vie, son oeuvre, son influence (Brussels,
1947; Eng. trans., 1947/R, as Ysaÿe, rev. B. Ratcliffe)
J. Quitin, ed.: Centenaire de la naissance de Eugène Ysaÿe (Liège,
1958)
L. Ginzburg: Ezhen Izai [Eugène Ysaÿe] (Moscow, 1959; Eng. trans., 1980, ed. H.
R. Axelrod)
M. Brunfaut: Jules Laforgue, les Ysaÿe et leur temps (Brussels, 1961)
A. vander Linden: ‘Eugène Ysaÿe et Octave Maus’, Académie royale de
Belgique: bulletin de la classe des beaux-arts, lii (1970), 214–32
J. Maillard, ed.: ‘Lettres inédites d'Eugène Ysaÿe à Guy Ropartz’,RBM, xxv
(1971), 98–102
A. Ysaÿe: Eugène Ysaÿe, 1858–1931 (Brussels, 1972)
J. Quitin: ‘Eugène Ysaÿe et sa conception de la virtuosité instrumentale’,Bulletin
de la Société liégeoise de musicologie, no.39 (1982), 19
M. Stockhem: ‘Lettres d'Ernest Chausson à Eugène Ysaÿe’, RBM, xlii (1988), 241–
72
M. Stockhem: Eugène Ysaÿe et la musique de chambre (Liège, 1990)
MICHEL STOCKHEM

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 Ysaÿe, Théophile (Antoine)

Ysaÿe, Théophile (Antoine)

(b Verviers, 2 March 1865; d Nice, 24 March 1918). Belgian composer, pianist and
conductor, younger brother of Eugène Ysaÿe. He studied at the Liège Conservatoire from
1876 to 1880, and in 1881 joined his brother in Berlin, where he studied wilh Kullak at the
Neue Akademie der Tonkunst, and where he became acquainted with Laforgue. In 1885 the
Ysaÿe brothers settled in Paris, and there Théophile studied composition with Franck. His
brother’s accompanist, he began a career as a virtuoso in 1886 and was professor of the
piano at the Geneva Académie de Musique (1889–1900). Back in Belgium he took an active
part in his brother’s Concerts Ysaÿe, principally as the rehearsal conductor. His own music is
close to Debussy in detail and to Franck in conception. His symphonic poem Les abeilles
was inspired by Maeterlinck’s La vie des abeilles. Its style is Impressionist in the flowing
melodic lines, the play of sonorities and the poetic atmosphere that predominates in all three
movements.
WORKS
(selective list; all dates of first performance)

Orch: Vie d’un héros, 1889, unpubd; Fantaisie sur un thème populaire wallon, op.13 (1903); Pf Conc.,
E , op.9, 1904; Sym. no.1, F, op.14 (1904); Les abeilles, op.17, 1910; Le cygne, op.15, 1911; La forêt
et l’oiseau, op.18, 1911; Ouverture sur un thème d’Atala, unpubd; Sym. no.2, 1914–15, unfinished
Inst: Variations, op.10, 2 pf, c1910; Pf Qnt, b, op.5, 1913; Str Qt, b , other pf pieces
Vocal: Requiem, solo vv, chorus, orch, c1906, unpubd; choral works, songs with pf and with orch

MSS in B-Bsp

Principal publishers: Breitkopf & Härtel, Durand, Schirmer, Schott, Senart

BIBLIOGRAPHY
BNB (M. Kunel)
M. Schoemaker: ‘Souvenirs sur Théo Ysaÿe’, Syrinx II (1938), no.308, pp.8–11
A. Ysaÿe: César Franck et son époque (Brussels, 1942), 50ff
M. Brunfaut: Jules Laforgue, les Ysaÿe et leur temps (Brussels, 1961)
M. Kunel: ‘Théo Ysaÿe (1865–1918)’, Vie wallonne, xxxviii (1964), 239–53
M. Stockhem: Eugène Ysaÿe et la musique de chambre (Liège, 1990)

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Ysaÿe, Théophile (Antoine)

HENRI VANHULST

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Ysaÿe Quartet (i).

Ysaÿe Quartet (i).

Belgian string ensemble, founded in Brussels in 1886 by the violinist Eugène Ysaÿe with
Mathieu Crickboom, Léon van Hout and Joseph Jacob. It gave the premières of works by
Franck, Fauré, d’Indy and Debussy and all its members, in addition to their careers as
soloists, made important contributions to the teaching of string playing at the Brussels
Conservatory.
TULLY POTTER

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Ysaÿe Quartet (ii).

Ysaÿe Quartet (ii).

French string quartet, founded at the Paris Conservatoire in 1984 by Christophe
Giovaninetti, Romano Tommasini, Miguel Da Silva and Carlos Dourthe. In 1985 Luc-Marie
Aguera became the second violinist and in 1986 Michel Poulet became the cellist. From
1986 to 1989 the ensemble studied in Cologne with members of the Amadeus Quartet; it
also worked with Walter Levin and with Hatto Beyerle – who recorded the Mozart G minor
Quintet with it. In 1987 it won the second prize at the Trapani competition in Italy and in 1988
the second prize at Portsmouth and the first prize at Evian. While its beauty of tone and
perfection of ensemble were much admired, both its interpretations and its platform
deportment were mildly eccentric. A reorganization in 1995 saw Aguera and Da Silva joined
by Guillaume Sutre as leader and Marc Coppey as cellist. This formation proved no less
inspired but more orthodox in its interpretative outlook. The group has given the premières of
works dedicated to it by André Boucou and Franck Krawczyk. Among its recordings are
outstanding accounts of the string quartets by Debussy and Ravel and the piano quartets
and quintets by Fauré, with Pascal Rogé.
TULLY POTTER

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Yso, Pierre.

Yso, Pierre.
See Iso, Pierre.

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 Ysoré [Isoré],Guillaume

Ysoré [Isoré], Guillaume

(b early 16th century; d Paris, 11 March 1563). French composer. The records of the Ste
Chapelle du Palais in Paris reveal his appointment as a singer there on 13 September 1522.
Having served as church warden for several years, he took clerical vows on 19 September
1526. On 1 July 1543 he assumed the post of distributeur and by 29 August 1556 had
become permanent chaplain of St Louis, succeeding Noel Cybot.
Eight chansons survive ascribed to Ysoré – all but two of them for four voices and all but one
appearing in the 1530s. As a group, the four-voice pieces do not conform to Parisian
chanson style; rather, they show a variety of stylistic techniques, including the pervasive yet
flexible counterpoint of Endurer fault, le temps, the ubiquitous employment of a unifying
motif in En revenant de jouer, and the indecisive harmony and phrase structure of Ce
qui me tient. The three-voice chansons differ from these in that they are based on
borrowed material. Si j’ay eu du mal ou du bien borrows the superius of Sermisy’s
setting, using it as its tenor, and Trop dur m’est relies on Jacotin’s setting.
WORKS
Ce qui me tient en merveilleux esmoy, 4vv, 153411; Endurer fault, le temps le veult ainsy, 4vv,
153411; En revenant de jouer trouvay m’amye, 4vv, 153411; Je languiray si de vous n’ay secours,
4vv, 153413; Joye et douleur, 4vv, 15311, ed. A. Seay, Thirty Chansons for Three and Four
Voices from Attaingnant’s Collections (New Haven, 1960), 70; Sans vous changer, 4vv,
15305; Si j’ay eu du mal, 3vv, attrib. Gosse in P. Attaingnant: Trente et une chansons musicales a
troys (Paris, 1535), attrib. Janequin in 154113, attrib. Ysoré in 154218; Trop dure m’est la longue
demourée, 3vv, Trente et une chansons musicales (Paris, 1535)
BIBLIOGRAPHY
BrenetM
LabordeMP
MGG1 (F. Lesure)
D. Heartz: ‘Au pres de vous: Claudin’s Chansons and the Commerce of
Publishers’ Arrangements’, JAMS, xxiv (1971), 193–225
LAWRENCE F. BERNSTEIN

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Yssandon [Issandon],Jean

Yssandon [Issandon], Jean

(b Lezat-sur-Lèze; fl Avignon, c1555–1582). French musician and author. He wrote a short
didactic work on practical music, Traité de la musique pratique … le tout extraict
de plusieurs auteurs latins et mis en langue françoise (Paris, 1582/R). He
dedicated the treatise to the humanist Georges d’Armagnac, Archbishop of Avignon, his
patron for 25 years or more. The layout follows that of similar treatises by Bourgeois, Martin,
Guilliaud and Menehou published in the 1550s, although Yssandon admitted only to Latin
models and quoted Boethius, Tinctoris, Faber Stapulensis and Listenius. Like his more
immediate predecessor, Cornelius Blockland (Instruction, Lyons, 1573, 2/1587/R), he
included many musical examples.
BIBLIOGRAPHY
F. Lesure and G. Thibault: Bibliographie des éditions d’Adrian le Roy
et Robert Ballard (1551–1598) (Paris, 1955), 43 [transcr. of ded.], 208
A. Seay: ‘French Renaissance Theory and Jean Yssandon’, JMT, xv (1971), 254–
72
FRANK DOBBINS

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 Yu, Julian (Jing-Jun)

Yu, Julian (Jing-Jun)

(b Beijing, 2 Sept 1957). Chinese composer, active in Australia. After studying Chinese and
Western composition at the Central Conservatory of Music in Beijing, Yu joined the staff
there (1977–80), then studied with Jōji Yuasa at the Tokyo College of Music (1980–82). In
1985 he moved to Australia, studying and then teaching at the Queensland Conservatorium
before studying with Henze and Knussen at Tanglewood through an Australia Council
Fellowship, where he received the Koussevitzky Tanglewood Prize. His awards include the
Irino Prize (1989), two Paul Lowin Orchestral Prizes (1991, 1994) and the Vienna Modern
Masters Recording Award for Wu-Yu (1992); his works have been widely performed. Yu’s
music is fastidiously crafted, displaying a rigorous control of complex texture and
orchestration. Central to his technique is a principle derived from traditional Chinese
improvisation involving building up layers of elaboration. He applies this both to traditional
Chinese models and to Western works. In Reclaimed Prefu (1989), for example, the
arpeggiated chords of the first prelude of Bach’s Das wohltemperirte Clavier are
expanded across a brilliant and massively sonorous keyboard range, while Brahms’s music
is reworked in the Piano Quartet (1992).
WORKS
(selective list)

Stage: The White Snake (puppet op), op.19, 1989; Fresh Ghosts (op, 7 scenes, G. Perry, after Lu
Xun), 1997
Orch: Wu-Yu, op.14, 1987; Great Ornamented Fuga Canonica, op.17, 1988; First Australian Suite,
op.22, chbr orch, 1990; Hsiang-Wen [Filigree Clouds], op.23, 1991; Ballad, op.24, zheng, str, 1991; 3
Sym. Poems, op.31, 1994; Philpentatonia, op.32, chbr orch, 1994; Oasis, 1995; Sinfonia
passacaglissima, op.35, 1995; Conc., mar, small orch, 1996; Lyrical Conc., op.39, fl, orch, 1997
Chbr: 4 Pieces, op.7, wind qnt, 1981; Scintillation II, op.12, pf, 2 vib, glock, 1987; Scintillation III,
op.13, fl, pf, 1987; Medium Ornamented Fuga Canonica, op.16, wind qnt, 1988; Reclaimed Prefu, 2 pf,
1989; Let me Sing Sonya’s Lullaby, op.25, fl, gui, va, db, 1991; Pf Qt, op.26, 1992; Qt, op.28, 2 mar,
xyl, timp, 1992; Passacaglissima, fl, cl, str qt, 1994; Pentatonicophilia, op.32, fl, db, ens, 1995; Atonos,
op.36, fl, cl, str trio, 1995; Variations on a Theme by Paganini, op.37, fl, cl, str qt, 1995
Solo inst: 4 Pieces based on Tajik Folk Songs, op.4, pf, 1979; 3 Pieces based on Tartar Folk Songs,
op.5, pf, 1980; Impromptu, op.9, pf, 1982, rev. 1986; Crossing, op.10, fl, 1985; Scintillation I, op.11, pf,
1987; Dovetailing, op.29, vc, 1993; The Magic Bamboo Flute, op.30, pf, 1993
Choral: In the Sunshine of Bach, SATB, 1989; 4 Haiku (Matsuo Basho), S, pf, 1992; Ode to the Plum-
Blossom (Mao Tse-Tung), SATB, fl, cl perc, hp, vn, vc, db, 1995

Principal publisher: Universal

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Yu, Julian (Jing-Jun)

BIBLIOGRAPHY
CC1 (L. Whiffin)
J. Yu: ‘Tradition, Ethnic Integration and Contemporary Composition’, Sounds
Australian, no.30 (1991), 25
B. Broadstock, ed: Sound Ideas: Australian Composers Born Since
1950 (Sydney, 1995), 239–40
PETER McCALLUM

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Yuasa, Jōji

Yuasa, Jōji
(b Kōriyama, 12 Aug 1929). Japanese composer. He studied medicine at Keio University,
Tokyo (1949–51), abandoning this course for composition. From 1951 to 1957 he was active
as a member of the Jikken Kōbō (Experimental Workshop), together with Takemitsu and
others. In composition he is self-taught, yet his music shows an exceptional sensitivity to
sonority and an intellectual approach to the handling of materials. His compositional attitude
is, however, quite unconventional, which may be due in part to his medical interest in
auditory physiology as well as his experience with nō music; he is particularly skilled in
distributing sounds of various tone-colours in a ‘space’ without attempting any logical formal
arrangement.
The early works Yuasa wrote for the Jikken Kōbō were mainly for small forces, such as
Three Score Set (1953) for piano and the 12-note Projection for Seven
Performers (1955). He was one of the first Japanese composers to take an interest in
musique concrète, which he attempted to combine with visual performance in several
examples of ‘musique concrète with auto-slides’, among them Mishiranu sekai no
hanashi (‘The Story of an Unknown World’, 1953). In 1964 he began to work frequently at
NHK’s Electronic Music Studio, producing such pieces as Comet Ikeya and Ai to shura
(‘Love and Asura’), both of which won Italia prizes, and Mandala, which won the Grand
Prize at the Japanese government Arts Festival. His Voices Coming (1969), utilizing
recorded telephone conversations and speech as its materials, provoked a dispute as to
whether it is music or not; Projection (1970), for string quartet, makes effective use of
noises as its principal texture. In Utterance (1971), for mixed chorus, Yuasa uses
onomatopoeic sounds, with no text. Chronoplastic (1972), for orchestra, with its varied
use of clusters, won both the Otaka and the Art Festival prizes. Constantly seeking new
means of sonic expression, his experiments include a theatre piece (Yobikawashi, 1973),
a dance piece (Ceremony for Delphi, 1979), recitations with action (Observations on
Weather Forecasts, 1983) and what he calls a ‘computer-controlled live theatrical
performance’ (Futurity, 1989). Further possibilities for the creation of new sonorities
appeared with his first work for computer, A Study in White I (1987). In 1968 he received
a Japan Society Fellowship, which enabled him to make a lecture tour of the USA and
Europe. Since 1970 he has often been invited as a guest composer and lecturer to
international festivals. In 1981 he was invited to be professor of composition at the University
of California in San Diego, and in the following years became a professor at Nihon University
and also a guest professor at the Tokyo College of Music.
WORKS
(selective list)

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 Yuasa, Jōji

Orch: Projection for Koto and Orch ‘Hana, tori, kaze, tsuki’ [Flower, Bird, Wind, Moon], 1967; Music for
Space Projection, orch, tapes, 1970; Chronoplastic, 1972; Ōkesutora no toki no toki [Time of the Time
for Orch], 1976; Bashō ni yoru jōkei [Scenes from Bashō], 1980; Requiem, 1980; Toshizuhō
[Perspective], 1983; Hirakareta toki [Revealed Time], va, orch, 1986; Nine Levels by Ze-ami, orch,
quadraphonic tape, 1988; Bashō no jōkei II [Scenes from Bashō II], 1989; Hommage à Sibelius, 1991;
Shigen eno gansa II [Eye on Genesis II], 1992; Concertino, pf, orch, 1994; Oku no hosomichi [The
Narrow Road into the Deep North], suite, 1995; Vn Conc., 1996; Cosmic Solitude, 1997
Chbr: Projection for 7 Performers, fl, ob, cl, hn, tpt, pf, vc, 1955; Sō soku sō nyū [Interpenetration], 2 fl,
1963; Projection for Vc and Pf, 1967; Projection for Str Qt, 1970; Inter-posi-play-tion I, fl, pf, 2 perc,
1971; Inter-posi-play-tion II, fl, hp, perc, 1973; Ryō-iki, mar, fl, cl, perc, db, 1974; My Blue Sky no.3,
str, 1977; Fuyu no hi: Bashō san [A Winter Day: Homage to Bashō], fl, cl, hp, pf, perc, 1981; Fushi
Yukigumo, Jap. insts, 1988; Nai-shokkakuteki uchū III: Kokū [Cosmos Haptic III: Empty Space],
nijūgen, shakuhachi, 1989; Jo, fl, vn, vc, pf, perc, 1994; Jo ha kyū, fl, vn, vc, pf, perc, 1996; Projection
for Str Qt II, 1996; Solitude in Memorial T.T., vn, vc, pf, 1997
Solo inst: 2 Pastorales, pf, 1952; 3 Score Set, pf, 1953; Nai-shokkakuteki uchū [Cosmos Haptic], pf,
1957; Projection Topologic, pf, 1959; Projection Esemplastic, pf, 1961; Projection, elec gui, 1968;
Triplicity, db, 1970; On the Keyboard, pf, 1972; Not I, but the Wind, a sax, 1976; Clarinet Solitude, cl,
1980; Nai-shokkakuteki uchū II: Hen'yō [Cosmos Haptic II: Transfiguration], pf, 1986; Maibataraki,
nōkan/a fl, 1987; To the Genesis, sho, 1988; Terms of Temporal Detailing, b fl, 1989; Kokū: shigen e
[Empty Space: Towards the Genesis], accdn, 1993; Viola locus, va, 1995
Tape and cptr: Mishiranu sekai no hanashi [The Story of an Unknown World], 1953; Projection
Esemplastic with White Noise, 1964; Comet Ikeya, 1966; Ai to shura [Love and Asura], 1967; Icon on
the Source of White Noise, 1967; Mandala, 1967; Voices Coming, 1969; Music for Space Projection,
1970; The Midnight Sun, pf, tape, 1984; Studies in White, I–II, tape, cptr, 1987; A Study in White, cptr,
1989; Shigen eno gansa I [Eye on Genesis I], cptr, 1991
Vocal: Toi [Questions], chorus, 1971; Utterance, chorus, 1971; Projection on Bashō’s Poems, chorus,
vib, 1974; Bashō goku [Poems by Bashō], 1v, jūshichigen, koto, 1978; Giseion ni yoru Projection
[Projection for Onomatopoeic Sounds], chorus, 1979; Furusato eishō [Songs for Homeland], female
chorus, pf, 1982; Tenkiyohō shoken [Observations on Weather Forecasts], Bar, tpt, 1983; Natsukashii
Amerika no uta [Dear Old America Songs], chorus, 1984; Shin kiyari: Kanda sanka [New Kiyari: a
Praise of Kanda], male chorus, 1984; Compositions of Nine Vectors, male chorus, 1984; Giseion ni
yoru uta-asobi [Play Songs on Onomatopoeia], chorus, 1985; Mutterings (R.D. Laing), S, fl + a fl, cl +
b cl, vn + va, vc, amp gui, perc, pf, 1988; Phonomatopoeia, chorus, 1991; Kyōka sanka, chorus, brass
ens, 1993; Responsorium, S, A, T, B, chorus, orch, 1995 [movt 13 of Requiem der Versöhnung,
collab. Berio, Cerha, Dittrich and others]
Stage: Circus Variation (ballet), 1954; Aya no tsuzumi (music for nō), str qt, 1955; Carmen (ballet),
band, 1956; Aoi no ue (music for nō), tape, 1961; Kiguchi Kohei wa inujini [Kohei Kiguchi Died in Vain]
(music for drama), 1963; Yobikawashi [Calling Each Other] (theatre piece), vv, 1973; Derufi no tameno
gishiki [Ceremony for Delphi], tape, chorus, shakuhachi, perc, dancers, 1979; Futurity (cptr-controlled
theatre), 1989

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 Yuasa, Jōji

Film scores: Shiroi nagai sen no kiroku [The Record of a White Long Line], 1960; Haha-tachi
[Mothers], 1967; Autonomy, 1972; Shijin no shōgai [A Poet’s Life] (music for animation), 1974; Akuryō-
tō [Island of Evil Spirits], 1982; O-sōshiki [A Funeral], 1985

Principal publisher: Schott (Japan), Zen-on Music Co. Ltd, Ongaku-no-Tomo Sha

WRITINGS
Gendai ongaku: toki no toki [Modern music: time of the time] (Tokyo, 1978)
Taidanshū: ongaku no kosumorojīe [Towards a musical cosmology: a
collection of talks] (Tokyo, 1982)
‘Gendai ongaku to nō’ [Modern music and nō], Kokubungaku, xxxi/10 (1986), 51–5
BIBLIOGRAPHY
KdG (L. Galliano)
K. Akiyama: ‘Yuasa Jōji’, Record geijutsu (1972), June, 112ff
T. Kakinuma: ‘Yuasa Jōji to gengo toiu sōchi’ [Yuasa and words as devices],
Ongaku geijutsu, xlii (1984), no.10, pp.100–03; no.11, pp.105–9; no.12, pp.96–101
K. Hori, ed.: Nihon no sakkyoku nijusseiki [Japanese compositions in the 20th
century] (Tokyo, 1999), 267–9
MASAKATA KANAZAWA

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Yudina, Mariya (Veniaminovna)

Yudina, Mariya (Veniaminovna)

(b Nevel', 29 Aug/10 Sept 1899; d Moscow, 19/20 Nov 1970). Russian pianist. Her first
teacher was Frida Teitelbaum-Levinson, with whom she had lessons for six years. In 1912
she entered the Petrograd Conservatory, where, aside from studying the piano with
Yesipova, Drozdov, Blumenfeld and later Nikolayev, she also undertook a wide range of
other courses. She joined the faculty of the conservatory in 1921 (and remained there until
1930), whilst the same year making her formal début with the Petrograd PO under Emil
Kuper. Her first solo recital in Moscow took place in 1929. Following two years from 1932
spent teaching at the Tbilisi Conservatory, she moved permanently to the Russian capital,
serving as a professor at the conservatory from 1936 to 1951, where she also gave classes
in singing, and teaching concurrently at the Gnesin Institute from 1944 to 1960. She
produced Taneyev's Orestes at the conservatory in 1939, repeating it in 1946, and gave
her final recital in May 1969.
A renowned Bach player, whose ability to master and to project details of counterpoint won
unanimous admiration, Yudina had a serious interest also in promoting 20th-century music,
and gave several performances of works by Stravinsky, Hindemith and Shostakovich. Also
noted as an effective Beethoven interpreter, among her many recordings are versions of the
Fourth Concerto, the Choral Fantasy, the Hammerklavier Sonata and Diabelli Variations. All
are played with a fine mastery of pianism. The eccentricities of Yudina's personality were to
some extent reflected in her interpretations, most particularly in the freedom she took with
regard to tempo markings.
BIBLIOGRAPHY
M. Yudina: ‘Mïsli o muzïkal'nom ispolnitel'stve’ [Thoughts on musical performance],
Muzïka i muzïkantï Leningrada (Leningrad and Moscow, 1972), 202 [transcript
of conversation of 30 Oct 1970]
JAMES METHUEN-CAMPBELL

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Yueqin.

Yueqin.
Short-necked lute of the Han Chinese. Literally ‘moon qin’, the name is often popularly
translated as ‘moon lute’. The yueqin is constructed of a short fingerboard inserted into a
large circular resonating chamber (about 60 cm in total length). Distinguishing features
include four long tuning pegs inserted laterally into the pegbox, soundboards of softwood
(commonly wutong) covering the top and bottom of the resonating chamber, and between
eight and 12 bamboo frets glued to the neck and upper part of the soundboard. On
traditional lutes, four silk strings are grouped in two double courses and tuned a 5th apart.
The yueqin is historically related to several Han Chinese lutes, especially the qinqin,
shuangqing and ruan. The qinqin (‘Qin [kingdom] qin’) has a long fretted neck, often
only two or three strings (pitched about one octave lower than the yueqin) and a scalloped
or ‘plum blossom’ shaped resonating chamber (about 90 cm in total length). The
shuangqing (literally ‘double clear’) or shuangqin, a lute known since the 18th century,
resembles the qinqin in size, though it has four strings and an octagonal resonating
chamber. These instruments can all be traced back to the ancient ruan, a lute which was
described by different names in the literature of the Han dynasty (206 bce–220 ce). During
the Tang dynasty (618–907), the instrument was most commonly known as ruanxian after
the name of a famous 3rd century ce performer. The Shōsōin repository in Japan is in
possession of two beautifully decorated ruanxian (Jap. genkan) from the Tang period,
each about 100 cm in length, with four evenly distributed strings (not in double courses). In
the music treatise Yueshu (c1100), the same lute is described as having a round
soundbox, long neck, four strings and 13 frets, but it is called yueqin rather than
ruanxian. While the artwork of this period shows the ruanxian to have been present in
instrumental ensembles, its popularity faded over time and it survived but marginally into the
20th century.
The yueqin (essentially a ruanxian with short neck) and qinqin (a ruanxian with small
scalloped soundbox) are both still in use. The qinqin is especially common in Chaozhou
and Cantonese traditions of south China, and the yueqin is most frequently employed in
Beijing opera ensembles. Yueqin variants are also used in accompaniment of dance-songs
and other genres of the Yi and other minority peoples of south-west China.
When the modern concert-hall ensembles were formed during the mid-20th century, the
ruanxian (popularly known as ruan) was revived, and it and the yueqin were ‘improved’
at the state-owned instrument factories, both given many more frets (up to 24) for increased
range and chromatic capability, and repositioned to accommodate the Western ideal of
equal temperament. The new ruan is now constructed in various sizes, tenor (zhongruan)
and bass (daruan) being especially effective support instruments within large ensembles.
The new yueqin retains its former size, but its string numbers are usually reduced from four

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Yueqin.

to three, and tuned to separate pitches for an extended range. In spite of this change, the
new yueqin has not won wide acceptance into the modern Chinese orchestra.
BIBLIOGRAPHY
K. Hayashi and others: Shōsōin no gakki [Musical instruments in the
Shōsōin] (Tokyo, 1967) [with Eng. summary]
Yuan Bingchang and Mao Jizeng, eds.: Zhongguo shaoshu minzu
yueqi zhi [Dictionary of musical instruments of the Chinese minorities] (Beijing,
1986), 229–40
Liu Dongsheng and others, eds.: Zhongguo yueqi tuzhi [Pictorial record
of Chinese musical instruments] (Beijing, 1987)
A. Thrasher: La-Li-Luo Dance-Songs of the Chuxiong Yi, Yunnan
Province, China (Danbury, CT, 1990), 43–51
Liu Dongsheng, ed.: Zhongguo yueqi tujian [Pictorial guide to Chinese
musical instruments] (Ji'nan, 1992), 210–15
Zheng Ruzhong: ‘Musical Instruments in the Wall Paintings of Dunhuang’,
CHIME, no.7 (1993), 4–56
ALAN R. THRASHER

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Yugoslavia , FederalRepublic of

Yugoslavia, Federal Republic of

(Serb. Savezna Republika Jugoslavija).
Country in eastern Europe. Yugoslavia consists of the republics of Serbia and Montenegro
and the autonomous provinces within Serbia of Kosovo, Metohija and Vojvodina. It has a
population of about 10·5 million people (2000 estimate) and was formed in April 1992
following the break up of the socialist republic, which had also included Bosnia-Hercegovina,
Croatia, Macedonia and Slovenia. The official language is Serbian, written in Cyrillic. The
majority of the population is Orthodox Christian, but there are large Muslim minorities,
especially in Kosovo and Metohija. Ethnically Kosovo and Metohija are 80% Albanian, and
there is a large Hungarian minority in Vojvodina. Gypsies are present in almost every region
of Yugoslavia.
I. Historical background
II. Art music
III. Traditional music
DRAGOSLAV DEVIĆ (I; III, 1–2), ROKSANDA PEJOVIĆ (II), JANE SUGARMAN (III, 3)
Yugoslavia

I. Historical background
In the 5th–7th centuries ce parts of south-eastern Europe were settled by Slavonic tribes
arriving from the north. Orthodox Christianity was adopted by the south Slavs in the 9th
century, and the medieval Serbian state established close relations with Byzantium and its
culture (manifest in liturgical music). The medieval state was destroyed by the Turks at the
battle of Kosovo in 1389; there then followed five centuries of Ottoman rule. This period of
Turkish domination particularly influenced urban musics, in instrumentation and melodics,
and also the rural musics of Muslim populations. Following Venetian conquests in the
Mediterranean, western European musical influences, especially from Italy, increased along
the Montenegrin coast and in the Bay of Kotor.
At the end of the 17th century, contact was re-established with central European culture.
Gradually, during the 18th century, cultural influence from the Austro-Hungarian monarchy
spread among the Serbian population of Vojvodina. This influence spread southwards into
the central regions of Serbia and contributed to the uprisings against the Turks and the
liberation of Serbia in 1867. From then onwards urban populations became increasingly
open to influence from western Europe, unlike people in the mountainous regions of Serbia
and Montenegro who continued to maintain their traditional instruments and music.
Yugoslavia

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Yugoslavia , FederalRepublic of

II. Art music

1. Before 1800.
The history of art music in the region began after the arrival and Christianization of Serbs
and other Slav tribes in the 9th century. Under Byzantine influence, they developed church
music in their own language, and from the 12th century onwards they had an independent
state, which under Emperor Stefan Dušan (1331–55) held territory from the Sava and the
Danube down to the Gulf of Corinth.
Serbian chant followed the Byzantine system of eight modes and included both syllabic and
melismatic settings of hirmos, troparions, kontakions and other hymns. Some were
composed as text and music together (idiomela); some melodies were taken as models
(automela) for settings of other texts (prosomoia). After the defeat of the Serbs by the Turks
at the Battle of Kosovo in 1389, manuscripts were made to preserve Serbian chant —
including compositions by Stephen the Serb, Nicholas the Serb and Isaiah the Serb — in
middle Byzantine neumatic notation.
During the Turkish occupation, which lasted until the 19th century, Serbian church music
had to continue largely in secret. Many manuscripts were kept at the monastery of Chilandar
on Mount Athos, which had been established by Emperor Stefan Nemanjić (1166–1196),
founder of the ruling dynasty. These manuscripts have late Byzantine neumes and texts in
Greek, Greek Slavonic, Russian and Church Slavonic, including texts from the liturgies of
Serbian saints (St Simeon, St Sava etc.). The manuscripts are from the 18th century
(sticherons from the oktōēchos) and are akin to Greek, Bulgarian and Russian sources of
the period.
Secular music was cultivated at the courts of the emperors and noblemen. Stefan
Prvovenčani, the son of Nemanjić, had musicians playing the gusle and kettledrum in his
service and Stefan Dušan's musicians were the trumpeter Dragan of Prizren, Preda and the
blind Hrusa. Musicians from the courts of Serbia, Bosnia (where King Tvrtko II, d 1443, had
a band of dancers, instrumentalists and actors), Hercegovina and Montenegro all played in
Dubrovnik. Some indication of their activities may perhaps be gleaned from frescoes in
Serbian churches and monasteries (Bogorodica Ljeviška, Nagoričane, Dečani), miniatures,
icons in Byzantine style and reliefs (at Dečani and Kalenić).
The Great Migration of Serbs under Patriarch Arsenije III Čarnojević in 1690, and later
migrations into southern Hungary, led to changes in church music. Greek and Russian chant
schools were founded — Greek from 1721 in Belgrade and other towns, Russian from 1726
in Sremski Karlovci and elsewhere — and the Serbs accepted Church Slavonic in their
liturgy. Also, Ukrainian teachers introduced the Baroque style of western Europe in songs
and incidental music. Four songs in Russian square notation were copied into a luxury
manuscript, Pozdrav Mojseju Putniku (‘Respect to Mojsej the traveller’), whose author,
the engraver Zaharije Orfelin (1726–85), may well have been their composer. During the

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Yugoslavia , FederalRepublic of

same period, Serbian dramas and oratorio-like works were performed with music in Boka
Kotorska.
2. 1800–1914.
The Classical and Romantic styles had their Serbian representatives. Kornelije Stanković
(1831–65) was the first to use traditional music and the first to transcribe Serbian chant into
staff notation in his Pravoslavno crkveno pojanje u srpskoga naroda (‘The
Orthodox Church chant of the Serbian people’, 1862–4).
From the 1880s onwards, Serbian composers, especially those living on the borders of
Austria-Hungary, wrote music for Serbian plays and choral societies, employing traditional
music and expressing a nationalist ideology. The most original of them was Stevan
Mokranjac (1856–1914), who studied in Munich, Rome and Leipzig. His works include choral
pieces (Rukoveti, ‘Handfuls’, 1883–1909), church music and editions of traditional music
and chant. With the Beogradsko Pevačko Društvo (Belgrade Choral Society) he gave
concerts all over Europe between 1894 and 1899. His contemporary Josif Marinković (1851–
1931) studied at the Prague Conservatory, conducted the Obilić choir, and wrote songs,
choral pieces and church music. Among many Czech musicians who espoused the Serbian
cause, Robert Tolinger (1859–1911) was editor-in-chief of the first Serbian musical
magazine, Gudalo (‘The bow’, 1886–7). The Slovenian Davorin Jenko (1835–1914) also
contributed to the development of Serbian music with his choruses and incidental music.
The leaders of the next generation were Stanislav Binički (1872–1942) and Isidor Bajić
(1878–1915). Binički conducted the first Belgrade performances of major choral works
(Haydn’s Creation in 1908, Beethoven's Ninth in 1910) and directed the choir of the
Muzičko Društvo Stanković (Stanković Music Society) and the Muzika Kraljeve Garde (Music
of the Royal Guard). His opera Na uranku (‘At Dawn’) shows the influence of verismo,
Serbian and Asian traditional song; he also wrote songs and choral pieces. Bajić was editor
of the Srpski muzički list (‘Serbian music magazine’, founded 1903), published the music
of Serbian composers in his Srpska Muzička Biblioteka (Serbian Music Library, 1903–4) and
founded a music school in Novi Sad in 1909. His works, showing similar influences to
Binički's, include the opera Knez Ivo od Semberije (‘Prince Ivo of Semberia’, 1910),
songs and piano miniatures.
3. Since 1914.
Between the two world wars Belgrade's musical culture, as represented by its opera house,
concert season and music magazine (Zvuk), was thriving and there were composers to
match. Those continuing a late Romantic style included Petar Stojanović (1877–1957) and
Milenko Paunović (1889–1924); among those who used traditional elements within the same
tradition were Petar Kristić (1877–1957) and Kosta Manojlović (1890–1949).
Other composers of this period developed the national style in more modern directions.
Petar Konjović (1883–1970) studied in Prague, and followed Janáček in the brilliant

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Yugoslavia , FederalRepublic of

orchestration and speech-like melody of his operas. Miloje Milojević (1884–1946) studied in
Munich and France as well as Prague, so that Impressionist and Expressionist tendencies
emerged in his music, the former in his much loved song collection Pred veličanstvom
prirode (‘Before the Magnificence of Nature’, 1982), piano and orchestral pieces. Stevan
Hristić (1885–1958) was also a Romantic Impressionist in his opera Suton (‘The Dawn’,
1925) and his ballet Ohridska legenda (‘The Legend of Ohrid’, 1947) is a classic of the
national school. Josip Slavenski (1896–1955), a Croat who lived in Belgrade from 1924
onwards, used Balkan (Balkanofonija, ‘Balkanophy’ 1927) and Asian traditional music in his
best works. Younger composers who remained within the national tradition included Marko
Tajčević (1900–84), Mihailo Vukdragović (1900–86), Milenko Živković (1901–64), Predrag
Milošević (1904–88) and Vojislav Vučković (1910–42).
Musical life took another step forward after World War II. Certain singers, instrumentalists,
ensembles and choirs began to gain a reputation outside Yugoslavia, and a new creative
spirit emerged in the works of Stanojlo Rajičić (b 1910), Milan Ristić (1908–82), Dragutin
Čolić (1907–87), Ljubica Marić (b 1909) and Nikola Hercigonja (b 1911). Ristić's much
awaited nine symphonies (1941–76) broke with the national style and took on neo-
classicism; Čolić more radical than his colleagues, composed quarter-tone music and used
12-note methods in combination with tonality; Marić found inspiration for her primeval
expressions in the Serbian past (cantata Pesme prostora, ‘Songs of Space’; the cycle for
various settings Muzika oktoiha, ‘The Music of Octoëhos). But national Romanticism
continued to thrive, alongside more contemporary styles (neo-classicism, serialism and later
the colour-field music of the Polish school). Composers of a more conservative persuasion
included Vojislav Ilić (b 1912–99), Dragutin Gostuški (b 1923–98), Kosta Babić (b 1927),
Dušan Kostić (b 1925), Vasilije Mokranjac (1923–84) and Vlastimir Peričić (b 1927). Enriko
Josif (b 1924), Dušan Radić (b 1929) and Dejan Despić (b 1930) embraced neo-classicism
in various ways, while Vitomir Trifunović (b 1916) and Aleksandar Obradović (b 1927)
moved from national Romanticism to 12-note and electronic music.
Younger composers who have similarly interested themselves in new techniques include
Petar Ozgijan (1932–79), Slobodan Atanacković (b 1937), Zoran Hristić (b 1938) and Vuk
Kulenović (b 1946). Rajko Maksimović (b 1935) evokes ancient Serbia by means of archaic
modality; Milan Mihajlović (b 1945) works with Skryabinesque and other modes; and
Vlastimir Trajković (b 1947) has used modes from other traditions and from Messiaen.
Vladan Raovanović (b 1932), Srđan Hofman (b 1947) and Zoran Erić (b 1950) made
electronic music.
BIBLIOGRAPHY
MGG2(Z. Blažeković)
P. Konjović: Ličnosti [Personalities] (Zagreb, 1920)
M. Milojević: Muzičke studije i članci [Musical studies and articles] (Belgrade,

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1926–53)
P. Konjović: Knjiga o muzici srpskoj i slovenskoj [A book of Serbian and
Slavonic music] (Novi Sad, 1947)
P. Konjović: Ogledi o muzici [Essays on music] (Belgrade, 1965)
D. Stefanović: ‘The Serbian Chant from the 15th to 18th Centuries’, Musica
antiqua Europae orientalis: Bydgoszcz and Toruń 1966, 140–63
V. Peričić,D. Kostić and D. Skovran: Muzički stvaraoci u Srbiji [Musical
creators in Serbia] (Belgrade, 1969) [with Eng. summary]
S. Đurić-Klajn: A Survey of Serbian Music through the Ages (Belgrade,
1972)
D. Stefanović: Stara srpska muzika: primeri crkvenih pesama iz XV
veka [Old Serbian music: examples of church songs from the 15th century] (Belgrade,
1974–5) [in Eng., Serbo-Croat]
Z. Kučukalić: Romantična solo-pjesma u Srbiji [Romantic song in Serbia]
(Sarajevo, 1975) [with Eng. summary]
D. Stefanović: ‘Serbian Church Music through the Centuries’, Beiträge zur
Musikkultur des Balkans, ed. R. Flotzinger (Graz, 1975), 128–38
M. Bergamo: Elementi ekspresionističke orijentacije u srpskoj muzici
do 1945 [Elements of expressionistic orientation in Serbian music before 1945]
(Belgrade, 1980) [with Ger. summary]
Kornelije Stanković i njegovo doba: Belgrade 1981 [summaries in Eng.,
Ger.]
D. Petrović: Osmoglasnik u muzičkoj tradiciji Južnih Slovena
[Oktōēchos in the musical tradition of southern Slavs] (Belgrade, 1982) [with Eng.
summary]
D. Petrović: ‘Crkveni elementi u srpskom narodnom obrednom pevanju’ [Church
elements in Serbian ritual folksongs], Balcanica, xiii–xiv (1982–3), 463–78
R. Pejović: Predstave muzičkih instrumenata u srednjovekovnoj Srbiji
[Musical instruments in medieval Serbia] (Belgrade, 1984) [with Eng. summary]
Folklor i njegova umetničke transpozicija [I]: Belgrade 1987 [summaries in
Eng., Fr., Ger., Russ.]
Folklor i njegova umetnička transpozicija II: Belgrade 1989
Folklor i njegova umetnička transpozicija III: Belgrade 1991
Srpska muzička scena: Belgrade 1993 [summaries in Eng., Fr., Ger.]
M. Veselinović: Stvaralačka prisutnost evropske avangarde u nas [The
European avant garde in our country] (Belgrade, 1993)
Folklor i njegova umetnička transpozicija IV: Belgrade 1997
R. Pejović and others: Srpska muzika od naseljavanja slovenskih
plemana na Balkansko poluostrvo do kraja XVIII veka [Serbian Music from

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the settling of Slavonic tribes at the Balkan Peninsula to the end of the XVIII century]
(Belgrade, 1998) [with Eng. summary]
Yugoslavia

III. Traditional music

1. Serbia.
2. Montenegro.
3. Kosovo and related Albanian musical traditions.
BIBLIOGRAPHY
Yugoslavia, §III: Traditional music
1. Serbia.
(i) Vocal music.
(ii) Musical instruments.
(iii) Instrumental ensembles.
(iv) Dance.
Yugoslavia, §III, 1: Traditional music: Serbia
(i) Vocal music.
Traditionally songs are sung by girls and women without instrumental accompaniment. The
playing and making of musical instruments is largely the work of men. Songs are performed
in two ways: monophonically and polyphonically, the latter mostly diaphonic. Songs may be
divided into three categories: traditional (or rural), ‘new’ and urban. The most frequently
performed songs today are love songs. Religious and traditional songs are gradually dying
out because of rapidly changing social and economic conditions in rural areas.
(a) Traditional song.
Songs of a religious nature were usually sung to ensure the well-being of the community.
They included Christmas carols (koledarske), songs sung on the eve of Lazar's Saturday
(lazaričke), Pentecostal (kraljičke) and rain songs (dodolske), and they were sung to
accompany simple, ritual dances. According to popular belief, these songs would ensure
fertility and the renewal of the flora and fauna. They were sung in a specific order, during the
first half of the year, from the winter to the summer solstice. Until recent times, these songs
and dances continued to be performed in many villages, especially in the eastern and
southern parts of Serbia.
During the winter, around Christmas, singers and masked dancers called koledari would
for several days go from house to house in a village, singing Christmas (koledarske)
songs to ensure the health and prosperity of the household. The masked dancers, with their
characteristic dances and zoomorphic masks, symbolized the struggle between good and

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evil and the triumph of light over darkness that heralded the beginning of the new calendar
year. Meanwhile groups of male singers, a shepherd and then a ploughman, would sing
antiphonal lyrics. The dancers would usually perform in the house around the fireplace.
The week before Easter, on Lazar's Saturday (Willow Day), a group of village girls (singers
and dancers) would visit each house, singing Easter songs (lazaričke) to invoke a bountiful
harvest and good health for the head of the household and all its members. A similar custom
of song and dance called kraljičke would be performed by girls of marriageable age. They
would visit each village in their area during Pentecost and sing ritual songs.
If the summer has been very dry, girls gather together to summon up rain. They walk slowly
through the village, stopping at each house to sing a set song. The smallest and youngest
girl (called a dodola, ‘rainmaker’), adorned in greenery, constantly dances on the spot. The
villagers will pour water over her in the belief that it will rain soon afterwards. In return for the
ritual, the woman in charge of the household usually presents the participants with food and
a variety of the fruits that are in need of rain.
The many other kinds of songs, which were not strictly associated with any particular time of
the year, were performed mainly by girls. Of these, the most well known are wedding songs,
followed by those that are sung during funerals. Wedding songs (svadbene pesme) were
usually sung in the bridegroom's and bride's houses, for a few days before, during and after
the wedding. The songs would vary according to their subjects and purpose and also
according to the singers, who were called pevice, svadbarice or endje depending on
whether they were related to the bridegroom or were friends of the bride. During the wedding
ceremony, songs called svatovske were popular. They would be sung on the way to
bride's house or as the bride was being taken back by the bridegroom's parents to their
house. Similar wedding songs were intended primarily for the newlyweds, but also for other
prominent people present at the wedding (the godfather, brother-in-law, wedding witness or
the parents). The melodies were either monophonic or polyphonic and varied by region
(ex.1, ex.2 and ex.3) .
When somebody dies, it is still traditional in many parts of Serbia to ‘wail’ (kukati),
‘cry’ (plakati), ‘lament’ (naricati) or sing laments (tužiti) for the deceased. The mourning
of the deceased is the responsibility of the women members of the family or of the closest
relatives. During the funeral songs, called tužbalice (‘laments’), a simple melody and
suitable content are improvised according to an established model. In Serbia they are not
called songs, they are known as ‘keening’ (kukanje) and ‘crying’ (plakanje) for the
deceased.
The strižba, also known as šišano kumstvo, is a family celebration and ritual for a
newborn child's first haircut. This is an ancient rite carried out by the child's godfather, the
šišani kum. The striženje (‘shearing’) consists of the godfather smearing the child's locks
with wax, cutting them off and presenting them to the parents for safekeeping. When he is

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finished, the godfather immediately places a new cap on the child's head. It is believed that
in this way the child will be protected throughout its future life from evil spells and the Devil.
Throughout the ritual, girls sing a shearing song (strižbarska pesma). Another common
type of family song are lullabies (uspavanke), with simple melodies and improvised
subject matter and form.
Girls would also sing while looking after the livestock, especially during the summer. In those
parts where the population worked the soil, songs were sung during the harvest. The melody
was usually sung with long drawn-out tones, and the song would unfold slowly with pauses.
When two or three girls completed a verse with a cry, they would be echoed by the cries of
the other girls. The songs were ballads that lasted a long time, during which the young men
gathering the harvest would be allowed to rest (ex.4 and ex.5).
Song texts about many different subjects may be sung to a common melody or ‘voice’.
‘Voices’ are groups of notes that combine to form a melody in a particular verse form. Voices
may be manipulated to derive related melodies from the original. Different texts, performed u
glas or na glas (a loud, full-voiced melody sung in the open air), of the same genre and
with the same metric structure may be fitted to these melodies. Wedding songs may also be
sung like this (ex.1, ex.2 and ex.3). A voice can be identified by its geographical origins
(zlatiborski, moravski, dragačevski), and its basic type can be determined according
to whether it is ‘long’ (dugačak) or ‘short’ (kratak). When long tones predominate in the
individual syllables of the text (usually in diaphonic singing), the song is performed na
dugački glas (ex.1, ex.4 and ex.5), and when the syllables of the text are sung with short
note-values, then the song is sung na kratak glas.
In order to start singing u glas, the singers assemble in pairs of the same gender and
usually of the same age and height. In the western regions, two women or two men sing
together, or in groups of three. In the eastern regions only two or three women ever sing
together in order to achieve a uniform timbre of voice which is especially valued, known as
‘beautiful singing’ (lepo pevanje).
Songs sung alone are called samačke pesme (‘songs for a single person’). In Southern
Pomoravlje, as well as in Kosovo and Metohija, all songs are sung monophonically,
sometimes in a group (ex.2, ex.8 and ex.9). In western and eastern regions, where
diaphonic singing is more widespread (ex.2, ex.4 and ex.5), the role of the singer is
restricted and defined. The leading voice is defined by a special terminology. It can either
‘recite’ (izgovoriti), ‘pronounce’ (izreći), ‘cut in’ (usjeći) or ‘carry’ (zanositi). It is said that
the accompaniment ‘chases’ (goni), ‘interrupts’ (presjeca) or ‘deepens’ (dube). These
terms distinguish between the leading and accompanying parts in a polyphonic structure. In
order to sing these songs polyphonically and in unison, the singers practise them from
childhood. The posture of the singers differs with gender. For example, while singing,
women join hands, held at chin height, and nod their heads towards each other. Men prefer

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to put their arms across each other's shoulders or to hook their thumbs into their waistcoats.
A stylistic feature of two-part singing is the dominance of the 2nd. The 2nd most frequently
occurs at the intersection of voices, and is especially emphasized towards the end of the
song, before the cry (ex.4 and ex.5) and in the cadence (ex.1). In practice a particular
singing technique, exclusive to women, is used. They squeeze their throat or clench their
front teeth, leaving their mouths half open, boosting the timbre, dynamism and volume of the
sound. Other common characteristics of traditional singing are: heterophony, often with a
drone (ex.1 and ex.5); an indeterminate beginning; and, in the case of wedding and harvest
songs, ‘shouting’.

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(b) ‘New’ songs.

The main difference between traditional songs (which played an important and significant
role in the rural community) and the ‘new’, predominantly love songs, is in the emphasis
given to the individual. In keeping with this is the genre of two-part ‘bass’ singing. It is
thought that this form of singing originated in the Serbian areas of Vojvodina towards the
end of the 19th century, and by the beginning of the 20th century it was being heard in other
Serbian regions. Although today songs are sung in the new two-part form in many villages,
the form does not exist at all in Kosovo and Metohija.
Instead of the above-mentioned predominant 2nd or drone, the ‘new’ singing style
emphasizes the bass part, introducing elements of western European harmony, and adopts
the term pevanje na bas or ‘singing in bass’ (ex.3 and ex.6). The new stylistic feature of
this form lies in the fact that the melodic and bass parts start in parallel 3rds and finish on a
5th. Because the accompanying voice is less mobile, this gives rise to transient harmonies in
2nds and 4ths. Further harmonies are formed when a middle voice is separated from the
accompaniment (ex.6). The concept of ‘voice’ has been retained, defining a fixed melody
(designated by the term ‘aria’), with the rule that it can only be used with verses that possess
the same metric structure. Singing ‘in bass’ allows the song to be started by a single singer,
with the others or the accompaniment joining in after two or three bars, or one verse. The
bass part, which is sung by five, six or more people, frequently overpowers the melody of the
soloist, to the extent that only the bass part is heard (ex.7). Women and men separately sing

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‘in bass’ in the same way. Antiphony between groups of men and women is also common,
usually at gatherings called sedeljke.
(c) Urban song (gradska pesma).
A characteristic of urban songs (gradske pesme) is that they may be sung to instrumental
accompaniment. Certain songs are the work of well-known singers and composers. They
are characterized by their wide melodic scope (of an octave or more) and a melody
consisting of similar rhythmic-melodic models and disassembled trozvuka with clearly
noticeable harmonic functions (tonic–subdominant–dominant–tonic). The form of the songs
is more complex and is based on a melodic stanza of four verses. Some songs sung in cities
of the southern regions possess elements (e.g. augmented 2nds and aksak ifranji rhythm)
akin to the Turkish makam (ex.8 and ex.9).

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(d) Accompanied song.

Epic poems accompanied by the gusle are found in Serbia and Montenegro. The singing of
epic poems is traditional throughout many parts of Serbia, especially in western regions
inhabited by people of Dinaric origin. The singer, also the player, called a guslar, plays in
unison with the song. Following a short instrumental introduction the guslar begins to sing,
reciting the melodic verses, interspacing them from time to time with short instrumental
interludes (ex.10). The songs are tetrachordal and have a single melodic formula which is
continuously varied. The main verse is the ‘epic’ or ‘heroic’ asymmetric decasyllable (4 – 6)
with parlando rubato rhythm. At one time songs were sung by joining non-rhyming
decasyllables. However, modern singers tend to use a rhyming decasyllabic or octosyllabic
distich. Equally, the old vocal technique and intonation used to have an irregularly tempered
chromaticism, whereas more modern epic poetry has a more diatonic recitation. Medieval
subjects and subject matter are greatly cherished by older guslars. The most common
themes are those about the struggle for liberation from the Turks and those regarding events
from the recent national past. Alongside epic poems, in certain parts of Serbia (around
Kosovska Mitrovica and Ivanjica), women perform wedding songs while turning a copper
pan.

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(e) Structure.
Rural and urban songs are based primarily on different types of verseline and rarely on text.
The basic verse of Serbian traditional song has ten syllables. Its metric structure (4–6) is
most often asymmetric (ex.1, ex.2, ex.4, ex.5, ex.6 and ex.7). However, songs of eight
syllables also occur, usually as a symmetric octosyllable (4 – 4). Verses and stanzas are
formed through the repetition of verses or their parts. Units are frequently formed by
combining identical or contrasting musical sections, i.e. either AA or AB. ABA form is not
at all common and any greater complexity depends on the way the text is repeated (ex.1,
ex.4 and ex.7). Most religious and traditional songs are structured from a single verse with
no rhyme (ex.2 and ex.3). A refrain is also common. The rhyming distich is a recent
occurrence, adopted under the influence of artistic poetry. Songs of urban origin usually
have a complex form (AABBBB), based on a rhyming quatrain.
Rhythmically, Serbian traditional song falls into two broad categories, either parlando rubato
or giusto syllabic rhythm. The first is characteristic of songs in which words are freely linked
to the melody (ex.1, ex.2, ex.3, ex.4 and ex.5), while the other is characteristic of songs
accompanied by dance. A particular asymmetric rhythm (aksak ifranji) is sometimes
initiated by the tempo or is a remainder of Turkish influence (ex.8).
In vocal music the melodic structure of Serbian song is formed by a group of several tones,
of which the tonic is usually the second degree. It is theoretically possible to define two basic
tetrachords: f–g–a –a (ex.1, ex.4 and ex.5); and f–g–a–b (ex.2, ex.3 and ex.7). The first
is characteristic of the older type of songs with intervals that have irregular temperament.
Otherwise, the majority of Serbian songs usually has a small ambitus, and they are sung in
accordance with the diatonic scale.
Traditional melodies in Serbia also possess other tonal formations, ‘scales’, which can be

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found in urban songs and are considered to be of foreign origin: e.g. g–a –b–c–d–e
(ex.8), g–a–b –c–d–e–f , g–a –b –c–d–e –f (ex.9). The majority of melodies have
gradually descending intervals (na korak or ‘in steps’), but urban songs have greater
intervallic jumps, which favours their western European harmonization (ex.9). In urban areas
with Muslim populations (Sandžak, Kosovo and Metohija), an augmented second is used in
the melody as the nucleus of the ‘oriental tetrachord’ (ex.9).
Yugoslavia, §III, 1: Traditional music: Serbia
(ii) Musical instruments.
(a) Aerophones.
Today the most numerous group of instruments in Serbia is that of aerophones. The frula is
a short, cylindrical shepherd's flute (25–30 cm), with six holes and, as the most popular
instrument in Serbia, it can be found in (almost) every region and even in cities. Another
flute, the duduk, has a longer pipe (40–50 cm), six holes and is more usually found in
mountainous areas. The cevara is similar to the duduk (c80 cm) and is well known as a
shepherd's instrument. It has seven holes on the front and an eighth hole on the back. The
cevara also has four additional holes (glasnici) in the lower end to amplify sound. All
these single-pipe flutes are made by village craftsmen from different woods (e.g. plum, ash,
dogwood). The dvojnica is a double flute made from a single piece of wood and can be
short or long (30–45 cm). The holes are arranged with three on the left and four on the right
pipe. They are played in a style similar to traditional two-part singing. The kolo, a traditional
dance, is usually performed to the music of a frula or similar instrument (ex.11), while songs
and improvisations are played on the dvojnica (ex.12). The dvojnice, which used to be
found in eastern regions of Serbia and further afield in the mountainous areas of the Balkans
and Carpathians, had six holes in one pipe, while the other pipe served as a drone.
Single reed aerophones are less common. Those instruments that are handcrafted (e.g. the
karabica, a kind of frula made from cane or elder wood) are used mostly by children in
Serbian villages, who often make them themselves. They also make somewhat different
kinds (paljka, surla, karabe), fashioned from elder wood or long pumpkins, with several
holes on the front. These instruments are used to entertain the villagers during autumn
celebrations (sedeljke), where the young people sing and dance.
The gajde is a bagpipe used to play polyphonic songs and dances (see illustration.). Two-
part gajde have a single chanter, eight holes and a longer drone. Different types are found
in different regions: the small gajde in eastern areas; the middle-sized gajde in southern
areas (ex.13); and the smallest gajde found in the south-west. A distinguishing feature of
the two-part gajda is that the chanter has five holes and is the same length as the drone.
On three-part gajde the chanter consists of two pipes. There are five holes on the first pipe

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and a single hole on the second, which permits two-part playing; another large, long pipe
produces a deep drone (ex.14). There are two types of three-part gajde: a middle-range
gajda from eastern and western Serbia and a large gajda from Vojvodina. Large gajde
use manual bellows to fill the wind-bag, instead of a mouth-pipe. The gajda player is called
gajdaš or gajdar; in the Banat area they are called svirac (‘player’). The player may also
sing to the accompaniment of the gajde, which is often done at weddings. Today gajde
serve as accompaniment to dances, though they were once used during wedding
ceremonies in those areas where they are commonly found.
Shawms (oboes) have a double reed and conical bore. Some are made from bark spirally
wound in the shape of an elongated cone and are used in Serbian villages as seasonal
instruments. During spring nights shepherds play these instruments by the sheepfold, in the
belief that their music will protect their flock from disease. More complex shawms, called
zurle (similar to the Turkish zurna), are used by ethnic Albanians in Kosovo and Metohija.
The bark trumpet is also seasonal and is made by shepherds from the bark of the lime tree,
forming two hollowed-out hemispheres 2·5–3·5 m long. A copper and wooden mouth-piece
(mundstuck) is then plugged into the narrow end. Every year, on St George's Day
(Djurdjevdan), the shepherds fashion their wooden trumpets, which they call rikalo or
bušen. They then play signals and melodies in the belief that this will influence the fertility
of their sheep and cattle and protect their herd from disease (ex.15).
(b) Chordophones.
The gusle is a single-stringed chordophone that is used to accompany epic or heroic
poetry. It is thought they were used by singers of epics at the feudal courts of medieval
Serbian kings. Nowadays each player, called a guslar, crafts his own instrument, usually
from maple wood. By comparing the resonating chambers, called varjače (lit. ‘ladles’), of
different gusle, a number of types can be identified: the Serbian gusle, with a chamber
shaped like an elongated rhombus; the Montenegrin gusle; and the Hercegovinian gusle
with a similar pear-shaped resonant chamber. The gusle has a skin with a number of
apertures stretched across the resonant chamber. A single string runs across a wooden
bridge and along the entire length of the body, which merges into the back. The string of the
gusle is made from approximately 40 thin strands of horsehair. The headstock of the gusle
is characteristically fashioned in the likeness of a horned animal and has a wooden peg
located in the lower part. The bow is short and arched. Before beginning to play, the guslar
tunes his instrument to his voice; he sings sitting on a chair with his legs crossed, holding
the gusle at an angle across his knee. In the 19th century every household in Serbia
possessed its own gusle and singer.
The ćemane is another chordophone similar to related instruments (e.g. the lira) in
Bulgaria, Macedonia and Greece. The ćemane can be found in south-eastern parts of
Serbia. The earliest representation of this instrument is portrayed on a fresco from the 14th

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century in the monastery of Dečani. Modern players fashion ćemane from a single piece of
wood. They have a pear-shaped body and a short neck with a number of pegs. The
resonating chamber is covered with a thin board made from the wood of a fir tree and has
two semicircular holes in the middle. The bridge can accommodate three or four metal
strings and is supported from below by a small column. The bow is similar to that of a
doublebass. The first string is stopped with the finger-nail. Ćemane are used to
accompany lyric songs, though more often as accompaniment to folk dances.
The violin and tambura are also used in Serbian traditional music. The earliest historical
records show that Gypsies used the violin in the 18th century in certain places in north-
western Serbia, while the tambura as it is today was used in Vojvodina no earlier than the
19th century. These instruments are now used mainly by urban ensembles and orchestras.
(c) Membranophones and idiophones.
A number of membranophones (the snare drum, daff, tambourine and darabukkah) are
commonly found in Kosovo and Metohija. Included among the membranophones is the
ćupa. This is a type of friction drum made from a clay cup covered on one side with a
membrane. In the centre of the membrane there is a narrow opening through which passes
a narrow reed or leather strap that the player rubs to generate sound. The role of this
instrument was to make noise during carnivals. Idiophones of a variety of shapes and names
are made and used by village children (e.g. the ergtalka, a button on a string).

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Yugoslavia, §III, 1: Traditional music: Serbia

(iii) Instrumental ensembles.
Many musical instruments, especially the various types of flutes, are not absolutely tuned
and their tone ranges often have an irregular temperament. However, because of a
tendency to use such instruments, especially the smaller flutes (frule), in folk orchestras,
they are now tuned alike during the manufacturing process. Many instruments such as the
trumpet, clarinet, flute, saxophone, guitar and violin are used in a variety of combinations in
so-called ‘folk orchestras’.
Instrumental ensembles appeared at the beginning of the 20th century. Their evolution and
composition depended on the number of players, the availability of different instruments and
on inherited traditions. Up until the 1960s and 70s, many small village orchestras
(Šumadija, Pomoravlje) existed, which were composed exclusively of stringed
instruments (two or three violins, viola and doublebass). In some parts of Vojvodina, there

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are four-part tambura orchestras (of prim, bas-prim, terc-prim and veliki bas), with
up to ten members. Popular village brass bands existed in a number of Serbian regions,
formed from a variety of trumpets (often Flügelhorns) and the later addition of a drum with
bells and a small drum called doboš. Such village orchestras in eastern, western and
southern Serbia have been encouraged by the competitive Dragačev Trumpeters’ Fair in
Guča (Dragačevski sabor trubača u Guči). From the 1950s to the present day, numerous
orchestras of a heterogeneous composition have sprung up in many urban centres,
including not only amateurs but also professional musicians.
Yugoslavia, §III, 1: Traditional music: Serbia
(iv) Dance.
Ethnochoreographers have recorded a large number of folk dances in Serbia. These include
regionally differing kolos with different choreography, with odd or even beats. Their names
usually relate to the manner of dance, origin or region where they are to be found (e.g.
banatsko kolo, moravac, banjski čačak, sverkvino kolo, pop-Marinkovo kolo,
leskovačka četvorka).
Ritual dances used always to be accompanied by song. Gradually, however, songs are
being replaced by instrumental accompaniment. The main function of instruments in Serbia
today is to accompany traditional dances. As is the case with songs, instrumental
accompaniment can be provided by a single player or by a group. Until recently, the musical
accompaniment of dances was provided by flutes (frula, duduk, cevara and dvojnica)
or by the gajda, when they were available.
Yugoslavia, §III: Traditional music
2. Montenegro.
(i) Vocal music.
The Montenegrin vocal tradition is based principally on single-part and polyphonic singing.
Single-part forms are widespread and include laments for the deceased, called tužilice or
tužbarice. These are usually the responsibility of women, although men also take part on
certain occasions. The verse melody is called a tužbalica, through which the living address
the deceased. There are many forms of laments, from the melodically simple octosyllabic
verse (4 – 4), to the ornamented 12 syllable verse (4 – 4 – 4). Basing her performance on a
traditional melodic model, the tužilica creates a ‘story’ about the deceased. The deceased
is mourned from the time of death until burial; also after 40 days, six months, a year and
during subsequent years on the day of the person's death. Women can sing laments
individually, one after the other, or as a pair taking turns. A solely male form of expressing
grief is known among Montenegrins as lelek, a kind of condensed story recited in prose
about the deceased person and their life. The remaining genres of single-part songs are
lullabies, songs for kolos, wedding songs and love songs.

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Two forms of polyphonic, mainly diaphonic, singing exist in Montenegro, which might be
termed old and new. While the old form predominates across a greater area, the newer form
is encountered usually in the Bay of Kotor and along the Montenegrin coast. The old style
(‘out of the voice’ or iza glasa, ‘vocal’ or glasački and ‘shouting’ or izvika) is
characterized by melodic elements of small ambitus with irregular temperament, and
sometimes with ornamentation, which is more suited to the female voice and therefore
occurs more frequently in songs performed by women (ex.16). A particular tremolo
ornamentation occurs in male singing (ex.17). Most older songs use heterophony. In these
the soloist and the accompaniment seem to begin both the melody and its ornamented
version simultaneously, resulting in characteristic 2nds (ex.18). A large number of
Montenegrin songs are similar in terms of melody and singing style to those in western
Serbia. This is not surprising, since Montenegro and upper Hercegovina have supplied
Serbia with new populations for centuries. Apart from melodic similarities and a method of
heterophonic singing, these songs also share similar lyrics.
New forms of singing are found in urban areas, especially in the larger towns. These single-
part songs usually have a wide ambitus (particularly love songs, Podgorica and Kotor,
which differ from rural songs in their rhythm) as well as having western European harmonic
characteristics. The new two-part singing style with its homophonous structure is related to
songs that are sung ‘in bass’ in Serbia. Where the soloist and accompaniment are clearly
separated, the singing is in parallel 3rds with a cadential 5th (ex.19). Three-part singing is
very similar to the polyphonic singing found in coastal and island towns in Dalmatia.
Song forms in Montenegro mainly have a two-part structure (ex.18). The complex songs
characteristic of urban environments have greater repetition of verse lines. The structure of
Montenegrin traditional song is very similar to Serbian song.
The rhythm of a song depends on the metric complexity of the verses, which generally use
(as do Serbian songs) the symmetric octosyllable (4 – 4; ex.16) or the asymmetric
decasyllable (4 – 6; ex.17 and ex.18). If the melopoetic structure is restricted by a dance
(oro, songs for kolo) then the giusto syllabic rhythm predominates. In songs of different
genres, for example in laments, the performance is mainly parlando rubato. Traditional
Montenegrin singing, especially two-part singing, has irregular temperament and is based on
small tonal groupings. Intonation in a song can be stable, but more commonly individual
tones are varied by up to 1/4 of a degree. Sometimes the entire ambitus of a two-part song
with four tones falls into a major 3rd. The division of singers according to gender continues
to be respected. If young men and women take part together, which is most frequently the
case in songs for the kolo, then singing is antiphonal. Such songs are sung as
accompaniment to dancing during communal outdoor celebrations (sjednik) at which
village youths gather during the winter months.

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(ii) Instrumental traditions.

In the mountainous parts of Montenegro, where the people's main livelihood is cattle-raising,
the most common instruments are flutes that closely resemble the Serbian frula or
dvojnice. The six-hole frula is widespread, ranging from 15–20 cm to 60 cm in length. In
the northern mountainous regions of Montenegro, towards the border with Serbia, double
flutes, dvojnice, are also in use, and although they are very similar to Serbian dvojnice
they are considerably larger. When an improvised shepherd's tune is played on them, it is
reminiscent of the old form of Montenegrin and Serbian singing, with a two-part heterophony
and drone structure (ex.20).
In the mountainous region of old Montenegro, the diple, a kind of double flute, is most

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commonly used. The diple is a shepherd's instrument with a single reed and consists of a
wind-bag attached to a double chanter and a set of bellows. A chanter similar to the double
flute is made from a single piece of wood and has six holes in each pipe, set parallel to each
other. There also exists a type of diple without the wind-bag, called zumara, made from
canes fastened together with a short piece of horn at the lower end. The players, called
diplari, play in the mountains while looking after their flocks, sometimes for two or three
hours without interruption. The diple also served as a means of communication between
shepherds in the mountains, who would send each other messages (dojave).
Traditionally, the use of aerophones in Montenegro has been limited to the shepherds, as in
Albania. The Albanians have adopted another shepherd's instrument, the kaval. This is a
long flute without a mouthpiece, identical to the instrument of the same name used by
Albanians in Kosovo and Metohija. Montenegrin children make simple single-reed
instruments from pieces of straw or cane (in the vicinity of Lake Skadar). In the spring, the
children make a kind of shepherd's pipe, called svičak, from thin twigs of willow or ash.
The only chordophone in Montenegro is the gusle (see §1(ii)(6) above). Nowadays they are
found in every household, both in the countryside and in towns. Even today the singing of
epic poems is an everyday occurrence; guslars are greatly respected and frequently invited
to celebrations, where they are treated as honorary guests. A gusle is ‘struck’ or ‘bowed’; it
is also said that one sings to a gusle, but plays a flute, duduk or diple.

(iii) Dance.
Montenegrins have always danced the oro without musical accompaniment. The basic
types of Old Montenegrin kolos are known as: crnogorsko (the Montenegrin), zetsko
(from the old name for Montenegro, Zeta) and crmničko kolo. They are most frequently
performed with alternate parts sung in dialogue. There are also different kinds of dances,
called skoke (without musical accompaniment), mlado momče (with singing) or dances
from Piva, as well as ‘songs for kolos'. The kolo Bokeljske mornarice, (lit. ‘the Fleet of
the Bay of Kotor’) is performed every year in Kotor on the day of St Tripun, on 14 February,
and is accompanied by the city orchestra.
Yugoslavia, §III: Traditional music
3. Kosovo and related Albanian musical traditions.
Albanians comprise approximately 6% of the population of Montenegro and roughly 90% of
that of Kosovo (Albanian: Kosova), an autonomous province within Serbia. Over 90% of
Yugoslav Albanians are Muslim, while the rest are Roman Catholic; virtually all are north

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Albanians.
In Montenegro and western Kosovo, rural communities have maintained musical practices
much like those in the northernmost regions of Albania. Young girls have been among the
most active vocalists in these mountain districts, singing specific songs for each stage of the
wedding ceremony, as well as for seasonal holidays such as Shingjergj (St George’s Day).
Frequently they accompany their singing on frame drum (def or daire). One musical genre
unique to this region is the kângë çobaneshave (‘song of the sheperdesses’), sung by
girls in the Podgur and Rugovë districts of Kosovo. These songs are executed in a style
known as me gisht në fyt (‘with finger on throat’), where each girl uses her thumb to
vibrate her larynx while singing. A second local style is the narrow-range, two-part polyphony
of girls’ songs from the Opojë district of Kosovo.
Throughout Kosovo links to Ottoman musical practices are evident in newer styles of rural
music, and a few songs are sung to well-known Turkish tunes. The most popular men’s
instruments in lowland areas have been long-necked lutes such as the two-string çifteli and
the larger sharki, which generally has five to seven strings tuned in three courses. Families
hosting weddings have often hired semi-professional ensembles of men who sing and play
these two instruments, perhaps supplemented by violin, fyell (short end-blown flute) and
accordion. These ensembles have customarily alternated long, formulaic historical songs
with dance tunes and shorter love songs
For weddings and major religious holidays, families of Roma (Gypsy) musicians have also
been contracted to perform. Roma women have sometimes been asked to sing, and
perhaps also dance, for women’s wedding gatherings. More frequently, Roma men have
been hired to play zurle (double-reed pipe) and lodër (or tupan, two-headed bass drum).
In addition to dance melodies, zurle-lodër ensembles have performed medleys of listening
music called nibet (from Arabic nawbah) for male wedding guests, as well as lively
melodies for Turkish wrestling and other men’s athletic contests.
As in Albania, urban musicians in past decades incorporated features of Ottoman and
western European music into their repertories. Songs from Kosovo as well as northern and
central Albania have been performed frequently, accompanied by a small acoustic ensemble
(çallgi) or its amplified counterpart. In the early 20th century, musicians in Gjakovë
(Serbian: Đakovica) developed a distinctive repertory of songs, accompanied by an
ensemble of violin, accordion, bugari (four-string lute), mandoll (mandola), 12-string
sharki and def. In recent decades the most celebrated singers in this style have been
Qamili i Vogël and Mazallom Mejzini.
In the decades following World War II, Albanians in newly socialist Yugoslavia gained
considerable cultural autonomy. Priština, (Albanian: Prishtinë), the capital of Kosovo,
became home to both an institute of Albanian studies (Instituti Albanoligjik) and the
professional ensemble Shota, which showcased folk music and dance of all ethnic groups in

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the province. Amateur folklore ensembles participated in festivals throughout Yugoslavia,

including the Gllogovc festival of village folklore held each year outside Priština. Many hours
of folk music (muzika popullore) were broadcast by radio and television stations, while
cassettes recorded in Priština were widely distributed in Albanian areas. Recordings of
songs in rural style, accompanied by a large ensemble of more than one çifteli, sharki and
def, plus other instruments, came to define a distinctive Kosovo sound that was also
popular in Macedonia and Albania. As a strong sense of national identity increased among
Yugoslav Albanians, singers popularized a number of highly evocative patriotic songs that
served as rallying points for the expression of communal sentiments. By the mid-1980s,
young Kosovo musicians were also recording albums of Western-influenced rock music.
Beginning in 1989, Kosovo’s autonomous status was rescinded, leading to the closing or
dissolution of schools, institutes and other cultural organizations. Recordings of folk and
popular music in Albanian were no longer produced or broadcast by the state media, leading
to the development of a private recording industry funded largely by the Kosovar Albanian
diaspora. As a result of these events, a number of Kosovo musicians have emigrated to
western Europe or North America, where they now perform for large expatriate communities.
Any re-emergence of a fully public Albanian musical life in Kosovo awaits a resolution of the
political situation there.
Yugoslavia, §III: Traditional music
BIBLIOGRAPHY
and other resources

general texts
F. Kyhač: Južnoslovenske narodne popijevke, 5 vols [South-Slavic folk
songs] (Zagreb, 1878–1941)
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(Belgrade, 1951)
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Sandžak] (Belgrade, 1953)

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S.S. Mokranjac: Zapisi narodnih melodija [Notes on folk melodies] (Belgrade,

1966)
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narodnogo pevca Hamdii Shahinpashicha [Yugoslav folk songs from the
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serbia
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D. Dević: ‘Typen serbischer Sackpfeifen’, Bürgerliche Musikkultur im 19.
Jahrhundert in Salzburg: Salzburg 1980, 59–82

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D. Golemović and O. Vasić: Narodne pesme i igre u okolini Bujanovca

[Folk songs and dance from the vicinity of Bujanovac] (Belgrade, 1980)
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1992)
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montenagro
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kosovo and albanian tradition
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the Museum of Kosova, Prishtinë], x (1970), 355–60
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A. Lorenc: Folklori muzikuer Shqiptar [Albanian traditional music], vi (Priština,
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Forksning [Copenhagen], iii (1977), 76–94
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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)

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Yugoslavia , FederalRepublic of

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

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 Yuhas, Dan

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

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 Yulchiyeva, Munadjat

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

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Yun, Isang

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

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 Yun, Isang

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

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 Yun, Isang

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

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Yunluo.

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

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Yuon, Paul.

Yuon, Paul.
See Juon, Paul.

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Yupanqui, Atahualpa [Chavero,Héctor Roberto]

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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Yurgenson, Pyotr Ivanovich.

Yurgenson, Pyotr Ivanovich.

See Jürgenson, Pyotr Ivanovich.

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 Yusupov, Benjamin

Yusupov, Benjamin
(b Tajikistan, 1962). Tajik composer. Born into a family of musicians, he attended the
Dushanbe Music College (1977–81) before studying composition with Ledyonov and
conducting with Kitayenko at the Moscow Conservatory (1981–90). He worked as a
conductor with the Dushanbe PO (1988–90) before emigrating to Israel in 1990; he began
doctoral studies in Bar-Ilan University in the late 1990s. He has explored the possibilities
offered by the modern orchestra in the areas of developing the timbres and rhythms inherent
in Central Asian folk music; his skilful instrumentation has allowed him to reproduce the
sounds of Tajik instruments in an orchestral setting. He has won the prize of the Association
of Young Soviet Composers (1989), the Clone Prize of the Israeli League of Composers
(1993) and in 1999 was granted the Israel Prime Minister Award.
WORKS
(selective list)

Kasyda on Mourning (after F. García Lorca), 4 va, cel, pf, 1982; Shiru Shakar [Milk and Sugar]
(Lohuty), 1v, Tajik folk orch, 1984; Shukrnoma [Glorificatino], vns, pf, 1984; Sadoi kuhsor [Melody of
Beloved], brass qnt, 1985; Falak, poem, orch, 1988; Shirinjon [Delightful], pf, 1990; Gabriel, sym.
poem, orch, 1991; Haifa, fl, cl, orch, 1993 [from suite Views of Israel]; Jerusalem, Heart of the World,
recs, perc, pf, 1993; Nola-Conc., fls, str orch, 1994; Tanovar [Dance], fl, chbr orch, 1994; Pot-Pourri of
Yiddish Songs, 1995; Qnt, mar, str qt, 1996; Segoh, fl, oud, perc, 1997

BIBLIOGRAPHY
Ye. Dolinskaya: ‘Neotlozhno reshat' ostrïye voprosï’ [Hard questions have to be
solved urgently], SovM (1987), no.3, pp.19–22
V. Sadïkova: Kompozïtorskaya molodyyozh' Uzbekistana [Young Uzbek
composers] (Dushanbe, 1987)
Ye. Vlasova: ‘Neizvestnoye pokoleniye’ [The unknown generation], SovM (1988),
no.7, pp.23–31
RAZIA SULTANOVA

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Yūsuf, Zakariyyā

Yūsuf, Zakariyyā
(b Mosul, 1911; d 24 June 1977). Iraqi musicologist. He studied music in his native country
and later in London. His work was first noticed at the Festival of Ibn Sīnā, Baghdad (1952),
and in 1964 he was appointed general secretary of the International Conference for Arab
Music held in Baghdad. He is a pioneer of musicological studies in Iraq. His speciality is
manuscripts and he has published the writings of al-Kindī and has edited and annotated the
treatises of Ibn Sīnā, Ibn al-Munajjim, Ibn Zayla, al-Tūsī and ‘Alī al-Kātib.
WRITINGS
al-Mūsīqā al-‘Arabiyya [Arab music] (Baghdad, 1951, 2/1952)
Mūsīqā Ibn Sīnā [The music of Ibn Sīnā] (Baghdad, 1952)
Jawāmi‘ ‘ilm al-Mūsīqā min Kitāb al-Shifā' li-Ibn Sīnā [The writings on the
science of music in The Book of Healing by Ibn Sīnā] (Cairo, 1956)
Mabādi' al-Mūsīqā al-Nazariyya [Principles of the theory of music] (Baghdad,
1957)
ed.: Mu'allafāt al-Kindī al-Mūsīqiyya [al-Kindī's writings on music] (Baghdad,
1962)
ed.: Mūsīqā al-Kindī [The music of al-Kindī] (Baghdad, 1962)
Tamrīn lil-Darb ‘alā al-‘ūd, ta'līf al-Kindī [Exercises on the ‘ud according to al-
Kindī] (Baghdad, 1962)
ed.: al-Kāfī fī al-Mūsīqā Ta'līf Abī Mansūr al-Husayn Ibn Zayla [Kitāb al-
Kāfī Fīl-Mūsīqā by Ibn Zayla] (Cairo, 1964)
ed.: Risāla Nāsir al-Dīn al-Tūsī fī ‘Ilm al-Mūsīqā [al-Tūsī’s treatise on music]
(Cairo, 1964)
ed.: Risāla Yahyā Ibn al-Munajjim fī al-Mūsīqā [Ibn Al-Munajjim's treatise on
music] (Cairo, 1964)
ed.: Risāla al-Kindī fī al-Luhūn wa-al-Naghm [al-Kindī’s treatise on melodies]
(Baghdad, 1965)
al-Takhtīt al-Mūsīqī lil-Bilād al-‘Arabiyya [Musical planning for Arab countries]
(Baghdad, 1965)
Makhtūtāt al-Mūsīqā al-‘Arabiyya fī al-‘Ālam: Makhtūtāt Īrān [Arabic
musical manuscripts throughout the world 1: manuscripts of Iran] (Baghdad, 1966)
Makhtūtāt al-Mūsīqā al-‘Arabiyya fī al-‘Ālam: Makhtūtāt Aqtār al-
Maghrib [Arabic musical manuscripts throughout the world 2: manuscripts of
Morocco, Algeria, Tunisia, Libya] (Baghdad, 1967)
Makhtūtāt al-Mūsīqā al-‘Arabiyya fī al-‘Ālam (Makhtūtāt al-Hind,
Bākistān, Afghānistān) [Arabic musical manuscripts throughout the world 3:
manuscripts of India, Pakistan, Afghanistan] (Baghdad, 1967)

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Yūsuf, Zakariyyā

ed.: ‘Kamāl Adab al-Ghinā' Ta'līf al-Hasan Ibn Ahmad Ibn ‘Alī al-Kātib’, al-Mawrid,
ii/2 (1973), 101–54
CHRISTIAN POCHÉ

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Yusupov, PrinceNikolay Borisovich

Yusupov, Prince Nikolay

Borisovich
(b St Petersburg, 1827; d Baden-Baden, 19/31 July 1891). Russian violinist, composer and
writer on music. He was a pupil of Vieuxtemps. In his palace at St Petersburg he maintained
an orchestra and a folk ensemble, though he spent many years away in western Europe,
collecting books on music and involving himself in musical activities. In 1856 he published in
Frankfurt Luthmonographie, historique et raisonnée: essai sur l'histoire du
violon et sur les ouvrages des anciens luthiers célèbres du temps de la
Renaissance, par un amateur (written in French), which, while containing some
valuable full-sized drawings, is full of inaccuracies. He began to write a comprehensive
history of music in Russia, but only the first volume, Musique sacrée suivie d'une
choix de morceaux de chants d'église, appeared in print (St Petersburg, 1862). He
also published Sistematicheskiy katalog knig na russkom yazïke
Imperatorskoy publichnoy biblioteki (‘A systematic catalogue of Russian books in the
Imperial Public Library’, St Petersburg, 1863).
Yusupov performed much of his own music with his private orchestra. His compositions
include a programme symphony with violin obbligato, Gonzalo de Córdova, and a
Concerto symphonique for violin and orchestra. His Ballet d'Espagnol achieved
some popularity. The title-page of later editions of Luthmonographie describes him as
‘Maître-compositeur de la Société Philharmonique de Bologne, et Membre Honoraire de
l'Académie Philharmonique de St Cécile à Rome’.
BIBLIOGRAPHY
I.M. Yampol'sky: Russkoye skripichnoye iskusstvo: ocherki i materialï
[Russian violin playing: essays and materials], i (Moscow, 1951)
JENNIFER SPENCER

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Yuzhak, Kiralina Iosifovna

Yuzhak, Kiralina Iosifovna

(b Leningrad [now St Petersburg], 3 Dec 1934). Russian musicologist. She studied
musicology with A.N. Dolzhansky at the Leningrad Conservatory (graduating in 1960), and
subsequently undertook postgraduate studies at the Russian Institute for the History of the
Arts with M.K. Mikhaylov (1966–70). She was appointed to teach at the Petrozavodsk
Conservatory in 1972, and was later made professor at the Leningrad Conservatory in 1992.
She became a member of the Leipzig International Bach Society in 1987. Her chief area of
interest is the theory and history of polyphony. In her doctoral dissertation (1990) she
considers the historical types of polyphony as a reflection of the stages of development in
European musical culture. This has led to a study of mode and the evolution of modal
structures, and in particular she has examined the music of J.S. Bach, especially the
structure of his fugues. She has also written on composers of the 19th and 20th centuries
(Glazunov, Dargomïzhsky, Nielsen, Rautavaara, Sibelius, Shostakovich and Ustvol'skaya)
and has discussed the work of various musicologists, such as Dolzhansky. She is editor of a
number of collections of essays and has organized many conferences, including, from 1991,
a series of Bach seminars at the Petrozavodsk Conservatory.
WRITINGS
Nekotorïye osobennosti stroyeniya fugi I.S. Bakha: stretta v fugakh
‘Khorosho temperirovannogo klavira’ [Some particulars of structure of the
fugue of J.S. Bach: the stretto in the fugues of Das wohltemperirte Clavier]
(Moscow, 1965)
ed.: Polifoniya (Moscow, 1975) [incl. ‘O prirode i spetsifike polifonicheskogo
mïshleniya’ [The nature and specifics of polyphonic thinking], 6–62]
‘Iz nablyudenii nad stilyem G. Ustvol'skoy’ [From an observation of the style of
Ustvol'skaya], Stilevïye tendentsii v sovetskoy muzïke 1960–1970-kh
godov, ed. A.N. Kryukov (Leningrad, 1979), 85–102
‘Ob ėvolyutsii khudozhestvennogo smïsla’ [On the evolution of an artistic sense],
SovM (1986), no.1, pp.112–15
‘Kontrapunkt i polifoniya’ [Counterpoint and polyphony], SovM (1989), no.8, pp.101–5
‘Lad: tip poryadka, dinamicheskaya i ėvolyusioniruyushchaya sistema’ [Mode: a model
of order and a dynamic evolving system], Traditsii muzïkal'noy nauki, ed. L.
Kovnatskaya (Leningrad, 1989), 45–69
‘O ladovom i melodicheskom stroyenii runicheskikh napevov’ [The modal and melodic
structure of runic melodies], Russkaya i finskaya muzïkal'nïye kul'turï, ed. V.I.
Nilova (Petrozavodsk, 1989), 30–48
Teoreticheskiye osnovï polifonii v svete ėvolyutsii muzïkal'noy sistemï
[The theoretical foundations of polyphony in the light of the evolution of a musical
system] (diss., Kiev Conservatory, 1990); partially pubd as Teoreticheskiy ocherk

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Yuzhak, Kiralina Iosifovna

polifonii svobodnogo pis'ma [A theoretical study of polyphony in free writing]

(Petrozavodsk, 1990)
‘Shostakovich Dolzhanskogo: opus 87, izmenyayushchiisya vo vremeni’ [Dolzhansky's
Shostakovich: opus 87, changing with time], D.D. Shostakovich: sbornik statey
k 90-letiyu so dnya rozhdeniya, ed. L. Kovnatskaya (St Petersburg, 1996), 194–
227
IRINA BARANOVA

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Yu Zhenfei

Yu Zhenfei
(b Suzhou, 1902; d 1992). Chinese Kunqu opera performer. Undoubtedly the 20th
century’s most distinguished performer of Kunqu, Yu Zhenfei was most noted for his
performance of xiaosheng (young scholar-lover) roles. He also performed in Beijing opera,
belonging to troupes headed by such notable performers as Mei Lanfang and Cheng
Yanqiu, and was an accomplished player of the dizi, the transverse flute which is so
essential to the musical accompaniment of Kunqu. He wrote a treatise on Kunqu acting
and several other works.
Yu Zhenfei was the son of the Kunqu specialist Yu Zonghai (1847–1930). After early
training, in 1923 he gained a major opportunity when the great dan performer Cheng
Yanqiu visited Shanghai and invited him to share the stage with him in the role of the scholar-
lover in the centrepiece scene of the famous ‘Peony Pavilion’ (Mudan ting) by Tang
Xianzu (1550–1617). This item, entitled Youyuan jingmeng (‘Wandering in a Garden,
Startled from a Dream’) became one for which Yu was particularly well regarded. In 1960
this scene was made into a film, with Yu Zhenfei and Mei Lanfang in the central roles.
Other than during the Cultural Revolution, Yu Zhenfei did well under the Chinese Communist
Party, which he joined in 1959, serving the regime actively as a Kunqu performer,
educationist and administrator. In 1958 he made a major visit to Europe, performing Kunqu
there, and in 1980 his 60th anniversary on the stage was commemorated with much fanfare.
WRITINGS
Zhenfei qupu [Musical scores of Yu Zhenfei] (Shanghai, 1982)
BIBLIOGRAPHY
and other resources
Su Yi and others: Zhongguo jingju shi [The history of Beijing opera in China],
ii (Beijing, 1990), 625–31
Recordings
Changsheng dian [The Palace of Long Life], Zhongguo changpian chang M-108
(c1960)
Kunju: Qiangtou mashang [Kunqu: ‘The Top of a Wall, on Horseback’],
Zhongguo changpian chang M-290 to M-295 (c1960)
Zhongguo xiqu yishujia changqiang xuan, 52: Kunqu, Yu Zhenfei
[Selected vocal melodies of Chinese opera artists, 52: Kunqu, Yu Zhenfei], ed.
Zhongguo yishu yanjiuyuan Xiqu yanjiusuo, China Record Co. HD-152 (1984)
COLIN MACKERRAS

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 Yvain, Maurice [Paul,Pierre; Sautreuil, Jean]

Yvain, Maurice [Paul, Pierre;

Sautreuil, Jean]
(b Paris, 12 Feb 1891, d Suresnes, 28 July 1965). French composer. He studied at the
Paris Conservatoire, and began his career as an accompanist and orchestral player,
appearing in many Paris music halls. After World War I he contributed many songs to a
series of revues at the Casino de Paris (Cach’ ton piano, 1920, Paris quie jazz, 1920,
Avec le sourire, 1921 and En douce, 1922); among them was his worldwide success
Mon homme, first sung and danced by Mistinguett and Max Dearly, then sung in America
by Fanny Brice and later by Billie Holiday as My Man. The lyrics were by Albert Willemetz,
who provided the text for Yvain’s first operetta, Ta bouche (1922), which proved a major
success as did its successor, Là-haut, a vehicle for Maurice Chevalier (1923).
Yvain’s music was elegant and tuneful and went against the contemporary trend to take
elements from American popular dance styles. The small-scale shows he produced in the
1920s having gone out of fashion, in 1935 he had an enormous success with Au soleil du
Mexique, a spectacular operetta with bullfights and earthquakes, that starred André Baugé
and Fanély Revoil. During the 1930s he also wrote several film scores (La belle équipe,
1935, Le duel, 1938, and Lumières de Paris, 1938). For a while he took the
pseudonym Jean Sautreuil, working with Joseph Szulc and others. Yvain’s last major
success was Chanson gitane (1946), another large-scale romantic operetta set in the
1820s.
WORKS
(selective list)

Stage, all first produced in Paris (where different, writers shown as lyricist; librettist): Ta bouche (A.
Willemetz; Y. Mirande and G. Quinson), Daunou, 1 April 1922; Là-haut (Willemetz; Mirande and
Quinson), Bouffes-Parisiens, 31 March 1923; La dame en décolleté (Mirande and L. Boyer), Bouffes-
Parisiens, 23 Dec 1923; Gosse de riche (J. Bousquet and H. Falk), Daunou, 2 May 1924; Pas sur la
bouche (A. Barde), Nouveauté, 17 Feb 1925; Bouche à bouche (Barde), Apollo, 8 Oct 1925; Un bon
garçon (Barde), Nouveautés, 13 Nov 1926; Yes (Willemetz; P. Soulaine and R. Pujol), Capucines, 26
Jan 1928; Elle est à vous (Barde), Nouveautés, 22 Jan 1929
Jean V (Bousquet and Falk), Daunou, 2 March 1929; Kadubec (Barde), Daunou, 25 Oct 1930; Encore
cinquante centimes (H. Christiné and M. Yvain; Barde), Nouveautés, 17 Sept 1931; Oh! Papa …
(Barde), Nouveautés, 2 Feb 1933; La belle histoire (H.-G. Clouzot), Madeleine, 25 April 1934; Un,
deux, trois (R. Bizet and J. Barreyre), Moulin de la chanson, 1934; Vacances (H. Duvernois and
Barde), Nouveautés, 20 Dec 1934; Un coup de veine (Willemetz and A. Mouëzy-Éon), Porte-St-
Martin, 11 Oct 1935

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 Yvain, Maurice [Paul,Pierre; Sautreuil, Jean]

Au soleil du Mexique (Mouëzy-Éon and Willemetz), Châtelet, 18 Dec 1935; [as J. Sautreuil] Le coffre-
fort vivant (H. Wernert; G. Berr and L. Verneuil), Châtelet, 17 Dec 1938, collab. J. Szulc; [as Sautreuil]
Le beau voyage d’un enfant de Paris (Wernert and E. Morel), Châtelet, 15 Jan 1944; Monseigneur,
Daunou, 1945; Chanson gitane (Mouëzy-Éon and L. Poterat), Gaité-Lyrique, 13 Dec 1946; Le corsaire
noir (J. Valmy), Marseilles, 24 Feb 1958
Songs: Cach’ ton piano (Willemetz), 1920; Mon homme (Willemetz), 1920; Une femme qui passe
(Willemetz), 1920; Avec le sourire (A. Arnould), 1921; En douce (Willemetz and J. Charles), 1922; Le
gri-gri d’amour (Willemetz and Arnould), 1922; La java (Willemetz and Charles), 1922; J’en ai marre
(Willemetz and Arnould), 1922; Le premier rendez-vous (Willemetz), 1923; La belote (Willemetz and
Carpentier), 1924; J’ai pas su y faire (Cartoux and Costil), 1925; Dans la rue (S. Weber), 1930; La
môme Caoutchouc (Weber), 1930; A travers les barreaux de l’escalier (H. Varna, L. Lelièvre and P.
De Lima), 1931
Film scores, incl. La belle équipe, 1935; Le duel, 1938; Lumières de Paris, 1938

BIBLIOGRAPHY
GänzlEMT
M. Yvain: Ma belle opérette (Paris, 1962)
G. Brunschwig, L.-C. Calvert and J.-C. Klein: 100 ans de chanson
française (Paris, 1972)
R. Traubner: Operetta (London, 1984)
PATRICK O’CONNOR

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Yvo.

Yvo.
See Ivo Barry and Vento, Ivo de.

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Yzac, Henricus [Heinrich].

Yzac, Henricus [Heinrich].

See Isaac, Henricus.

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Yzo, Pierre.

Yzo, Pierre.
See Iso, Pierre.

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