Nabokov, Nicolas [Nikolay]
Ninth (Fr. neuvième; Ger. Nona; It. nona). The interval of a compound Second, i.e. the sum of an octave and a 2nd. Ninth chord
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Ninth(Fr. neuvième; Ger. Nona; It. nona). The interval of a compound Second, i.e. the sum of an octave and a 2nd. Ninth chord.A chord which, when arranged in close position with its fundamental (or Root) in the bass, encompasses the interval of a 9th (ex.1a). The common functions of 9th chords and 11th and 13th chords reflect their construction and interpretation as upward extensions of triads and 7th chords. In the 20th century (especially in jazz and popular music) 9th chords are used as elaborations of simpler chords, particularly as substitutes for a tonic triad at the end of a piece; the ‘piling up’ of 3rds above the tonic to make a 7th, 9th, 11th or even 13th chord is one of the most important characteristics of jazz harmony. In tonal music up to about 1900, however, the 7th seems to have been the upper limit in chordal consonance; that is, while composers often used 9th and 11th chords for extra power, particularly at climaxes or final cadences, they invariably treated one or more notes in the chord as appoggiaturas (ex.1b). The thickness of a complete 9th, 11th or 13th chord in close position was also generally avoided, either by leaving out one or more of its notes (ex.1c) or by using a wider spacing (ex.1d). 
For an 18th-century interpretation of 9th and 11th chords as downward extensions of 7th chords, see Supposition. JULIAN RUSHTON
Name given in 1897 to the firm later called Yamaha. Nirvana.American grunge band. Formed in 1987, it consisted of Kurt (Donald) Cobain (b Aberdeen, Washington, 20 Feb 1967; d Seattle, 5 April 1994; guitar and vocals), Krist [Chris] Novoselic (b Compton, California, 16 May 1965; bass) and from 1990 Dave Grohl (b Warren, Ohio, 14 Jan 1969; drums). They brought the sound and spirit of punk to an unprecedentedly large audience, making alternative music mainstream. Their lyrics were often sarcastic and alienated, and their music relied on heavy, distorted guitar riffs but eschewed the guitar virtuosity of most heavy metal in favour of punk's unpretentious directness. It also featured catchy pop melodies and memorable riffs, along with Cobain's intense, often rage- or pain-filled vocals. They achieved some college radio popularity by the end of the 1980s, but their breakthrough in 1992 was a surprise: the single ‘Smells like teen spirit’ led their album Nevermind (DGC, 1991) to sell over ten million copies. With such success, the band worried that its fans were missing the point of its anti-establishment message, and the contradictions of their stardom weighed particularly heavy on Cobain; the group disbanded after his suicide. Nirvana was widely credited with articulating the desires and frustrations of ‘Generation X’, the first cohort of American youth that could not expect to be better off than their parents. Their popularity brought heavy metal and alternative audiences together, playing a major part in realigning the genre categories of popular music and establishing influential precedents for the 1990s. (M. Azerrad: Come As You Are: the Story of Nirvana, New York, 1993) ROBERT WALSER Nisard, Théodore [Normand, Théodule Elzéar Xavier](b Quaregnon, 27 Jan 1812; d Jacqueville, Seine-et-Marne, 29 Feb 1888). Belgian organist and editor. He was a chorister at Cambrai Cathedral, and received his musical education there and at Douai; after attending a seminary at Cambrai he was ordained in 1835. He held a position at a Gymnasium in Enghien until 1842, when he became second organist at St Germain-des-Prés in Paris; there he was employed by an ecclesiastical bookseller to edit books of plainchant. He published many pamphlets on questions of liturgical music, as well as monographs on Lully, Ockeghem, Odo, Palestrina, Pergolesi, Rameau and others, though his most important work was probably the revision and annotation of Jumilhac’s La science et la pratique du plain-chant (Paris, 1847). After some years he resigned his organist’s post to live entirely on his writings. WRITINGSManuel des organistes de la campagne (Brussels, 1839) Du plain-chant parisien (Paris, 1846) with J. d’Ortigue: Dictionnaire liturgique, historique et théorique de plain-chant et de musique d’église au moyen âge et dans les temps modernes (Paris, 1853/R) Etudes sur la restauration du chant grégorien au XIXe siècle (Rennes, 1856) Méthode de plain-chant à l’usage des écoles primaires (Rennes, 1856) with J. d’Ortigue: Du rythme dans le plain-chant (Rennes, 1857) Méthode populaire du plain-chant romain (Paris, 1857) L’accompagnement de plain-chant sur l’orgue ensigné en quelques lignes de musique (Paris, 1860) Les vrais principes de l’accompagnement du plain-chant sur l’orgue, d’après les maîtres des XVe et XVIe siècles (Paris, 1860) L’archéologie musicale et le vrai chant grégorien (Paris, 1897) BIBLIOGRAPHYFétisB J. Combarieu: Etudes de philologie musicale (Paris, 1896, 2/1897), chap.2 SARAH HIBBERD Nishimura, Akira(b Osaka, 8 Sept 1953). Japanese composer. He studied composition and theory to postgraduate level at Tokyo National University of Fine Arts and Music. In 1977 he won the first of his numerous prizes, winning both the Queen Elizabeth International Music Competition with Heterophony for string quartet (1975) and the Luigi Dallapiccola Composition Award with Mutazioni (1977). In 1980 Kecak (1979) was selected as the best work at the International Rostrum of Composers, and he won awards at the ISCM World Music Days with Ode for Ekstasis (1981) in 1982, then in 1984, 1988 and 1990. The Otaka Prize was awarded to him in 1988 for Heterophony for two pianos and orchestra (1987), and in 1992 and 1993. He was composer-in-residence of the Orchestra Ensemble Kanazawa (1993–4) and of the Tokyo SO (1994–7). Nishimura principally employs heterophony, a characteristic device of Asian traditional music, thereby subtly transforming the intervals, rhythm and melody of his dense multi-layered textures. Though similar to the ‘micropolyphony’ of Ligeti, an Asian perspective informs his technique. Some works are heterophonic melodically, such as Heterophony (1975), and some rhythmically, as in Kecak; the superimposition of trills, tremolos and harmonics contributes to the more complex texture of his later works. Further information is given in K.-M. Hinz: ‘Alle Töne sind die Stimme Buddhas: Akira Nishimura – ein Porträt’, MusikTexte, no.60 (1995), 43–8 and in K. Hori, ed.: Nihon no sakkyoku nijusseiki [Japanese compositions in the 20th century] (Tokyo, 1999), 194–6. WORKS(selective list)
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