Nabokov, Nicolas [Nikolay]
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- Nazaykinsky, Yevgeny Vladimirovich
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Nazario, Lelo(b São Paulo, 15 July 1956). Brazilian composer and pianist. He began his piano studies at the age of four, later studying with Menininha Lobo. He worked as a musical assistant for Radio e TV Cultura in São Paulo (1974–5). At that time, he joined the Hermeto Pascoal group, also playing with such jazz musicians as Marcio Montarroyos, Roberto Sion, Mauro Senise and Hector Costita. In 1977 he formed and made three recordings with Grupo Um, one of the first ensembles to combine traditional Brazilian and contemporary styles. At the same time, he led the Symetric Ensemble (two pianos and bass). He toured Europe in 1980 with Symetric and in 1983 with Grupo Um. Nazario has written avant-garde works and music for different formations, including music for piano, ensembles and orchestras, as well as electroacoustic, film and dance music. In 1988 he joined the group Pau Brasil, touring Europe and the United States several times, recording three albums and winning the Sharp Prize (for the best instrumental group) in 1996. For the same group in 1992, he composed an opera in collaboration with other composers, Opera dos 500, sponsored by the city of São Paulo to celebrate the 500 years since the discovery of America. In 1989 he formed the Duo Nazario with the drummer Zé Eduardo Nazario. For this group he wrote Limite and Aurora, both performed with the Banda Sinfonica do Estado de São Paulo in Brazil and abroad. WORKS(selective list)
IRATI ANTONIO Nazaykinsky, Yevgeny Vladimirovich(b Novaya Malïkla, Ulyanovsk province, 12 Aug 1926). Russian musicologist. He studied at the Gnesin Music Teachers’ Training College (1950–55) and graduated in musicology under Skrebkov; he also completed his postgraduate studies there in 1958 and obtained the Kandidat degree in 1967 with a dissertation on tempo. After working in the acoustics laboratory of the Moscow Conservatory (1952–62), he began teaching music analysis in 1962 at the conservatory, where he became a senior lecturer in 1970 and professor in 1976. In 1970 he also organized and headed a department for music teachers at higher educational institutes and he was head of the music theory department, 1974–96. He took the doctorate in 1973 with a study on the psychology of music perception. Besides traditional music theory, Nazaykinsky's diverse scholarly publications include writings on music psychology, axiology and acoustics. On the basis of precisely defined tempos and rubatos in performances by well known performers, he suggests solutions to questions of tempo in various works; he examines how rubato segments can unify a composition, the specific features of rubato and tempo in different sections of a musical form, and the interaction of rubato with other musical elements. In his later writings Nazaykinsky has examined the general principles that govern the unfolding of a musical composition in time and how these principles relate to theories in psychology (1982); he has also investigated the properties of musical sounds by contrasting sounds in speech, nature and the environment, and he has examined aesthetic problems in the perception of music (1988). The author of more than 100 publications, Nazaykinsky is known as editor of the series Muzïkal'noye iskusstvo i nauka (‘Musical Art and Science’). He has taken part in conferences world-wide and lectured at Russian conservatories, the Cologne Hochschule für Musik and the Mozarteum, Salzburg. As a member of the ISME, he has delivered reports in Japan and Canada; he has also long been involved with examination boards for higher education in Russia and is co-chairman of the commission for the history of art and culture and chairman of the commission for doctoral students at the Moscow Conservatory. WRITINGS‘O primenenii akusticheskikh metodov issledovaniya v muzïkoznanii’ [On using acoustic methods in musicological studies], ‘O dinamicheskikh vozmozhnostyakh sovremennogo simfonicheskogo orkestra’ [On the dynamic capabilities of the modern symphony orchestra], Primeneniye akusticheskikh metodov issledovaniya v muzïkoznanii (Moscow, 1964), 3–17, 101–30 [with Yu. N. Rags] O muzïkal'nom tempe [On tempo in music] (Moscow, 1965) ed.: Muzïkal'noye iskusstvo i nauka [Musical art and science], i–ii (Moscow, 1970–73) [incl. article on Schumann's Träumerei, i ‘O konstantnosti v vospriyatii muzïki’ [On constant values in the perception of music], ii, 59–98; ‘Iskusstvo i nauka v deyatel'nosti muzïkoveda’ [Art and science in the activities of the musicologist], ii] O psikhologii muzïkal'nogo vospriyatiya [On the psychology of musical perception] (diss., Moscow Conservatory, 1973; Moscow, 1972) ‘Muzïkal'noye vospriyatiye kak problema muzïkoznaniya’ [Musical perception as a problem for musicology], ‘Ostenochnaya deyatel'nost' pri vospriyatii muzïki’ [Evaluation in the perception of music], Vospriyatiye muzïki, ed. V. Maksimov (Moscow, 1980), 91–111, 195–228 Logika muzïkal'noy kompozitsii [The logic of musical composition] (Moscow, 1982) ‘Nastroyka i nastroyeniye v muzïkye’ [Tuning and mood in music], Vospitaniye muzïkal'nogo slukha, ii (Moscow, 1982), 28–42 ‘Slukh Asaf'yeva’ [Asaf'yev's ear for music], SovM (1983), no.7, pp.81–94 ‘Terminï, metaforï, ponyatiya’ [Terms, metaphors and concepts], SovM (1984), no.10, pp.70–81 ‘Printsip yedinovremennogo kontrasta’ [The principle of one-off contrast], Russkaya kniga o Bakhe, ed. T. Livanova and V. Protopopov (Moscow, 1985), 265–94 ‘Shostakovich i khudozhestvennïye tendentsii v muzïkye XX veka’ [Shostakovich and artistic tendencies in the music of the 20th century], Dmitry Shostakovich: Cologne 1985, 439–94 [in Ger. and Russ.] ‘Stil' kak predmet teorii muzïki’ [Style as a topic in the theory of music], Muzïkal'nïy yazïk, zhanr; stil': problemï teorii i istorii, ed. V. Protopopov (Moscow, 1987), 175–85
‘Muzïkal'nïye liki istorii’ [The musical faces of history] in T.N. Livanova: Stat'i i vospominaniya, ed. D. Arutyunov and V. Protopopov (Moscow, 1989), 388–412 “‘Kogta-to” (E. Grig, op.71, no.1)’ [‘Some time’ (E. Grieg, op.71, no.1)], Problemï romanticheskoy muzïk XIX veka, ed. E.M. Tsareva and K.V. Zenkin (Moscow, 1992), 125–40 ‘Simvolika skorbi v muzikye Rakhmaninova (k prochteniyu Vtoroy simfonii)’ [The symbolism of grief in Rachmaninov's music (towards a reading of the Second Symphony)], S.V. Rakhmaninov: Moscow 1993, 29–41 ‘Piano i forte v muzïke D. Shostakovicha’ [Piano and forte in the music of Shostakovich] Shostakovichu posvyashchayetsya: sbornik statey k 90-letiyu kompozitora (Moscow, 1997), 102–9
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