Uccelli [née Pazzini], Carolina Uccellini, Marco
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- BIBLIOGRAPHY
- Underlay. See Text underlay . Underworld.
- Undezime (Ger.; It. undicesima ). See Eleventh . UNESCO
- Unferdorfer, Marx.
- Ung, Chinary
Una corda(Ger. Verschiebung). A name often used for the left or ‘soft’ pedal on the piano, or, in piano music, a direction to play with this pedal depressed. In a modern grand piano this pedal shifts the action sideways so that the hammers strike only two of the three strings provided for each note in the treble and only one of the two strings provided for each note in the bass, while continuing to strike the single strings of the extreme bass. In pianos of the 18th and early 19th centuries, the una corda pedal caused the action to be shifted so far that the hammers struck only one string throughout the entire range of the instrument, giving the pianist a choice between ‘tre corde’ (when the pedal was not depressed), ‘due corde’ (partly depressed) and ‘una corda’ (depressed completely). In some instruments a stop could be set to limit the shifting of the action to the ‘due corde’ position, but several composers, most notably Beethoven, wrote explicitly for both ‘due corde’ and ‘una corda’. The effect produced by depressing the una corda pedal on a grand piano is not merely one of reduced volume, but also of a change in timbre, so that the sound is not only softer but less brilliant than that from all three strings. (On an upright piano the corresponding pedal merely moves the hammers closer to the strings, so as to shorten their stroke, and the resulting reduction in volume is not accompanied by any change in timbre.) The una corda is found on two of the three surviving Cristofori pianos (1722, 1726), but is incompatible with the design of the first (1720). It has been a feature of most grand pianos since the latter part of the 18th century, becoming standard on English instruments rather earlier than on German or Austrian ones. BIBLIOGRAPHYD. Rowland: A History of Pianoforte Pedalling (Cambridge, 1993) S. Pollens: The Early Pianoforte (Cambridge, 1995) EDWIN M. RIPIN/DAVID ROWLAND Unda maris(Lat.). See under Organ stop. Underholtzer, Rupert.See Unterholtzer, Rupert. Underlay.See Text underlay. Underworld.British techno group. It was originally formed as a duo in 1988 by Karl Hyde (vocals and technology) and Rick Smith (guitars and technology), who had performed together as a 1980s synth-pop band, Freuer. A début album Underneath the Radar (Sire, 1988) and the subsequent Change the Weather (Sire, 1989) fared badly, and the pair temporarily disbanded. After the advent of acid house, they began working with the London DJ Darren Emmerson as Lemon Interrupt, and the Underworld name was resurrected for the single Rez which became a seminal post-rave anthem. They developed largely instrumental techno and ‘big beat’ music with trademark rhythm and processed vocal effects, a combination that has been recreated live to acclaim. They released two singles as Lemon Interrupt on the influential Junior Boys Own label (Dirty/Minneapolis and Bigmouth/Eclipse). The band's three albums – Dubnobasswithmyheadman (JBO 1993), Second Toughest in the Infants (JBO 1995) and Beaucoup Fish (JBO 1999) – explored ambient and chill-out territories and saw them gain commercial success, not least through many festival and concert appearances and the massive exposure gained when the director Danny Boyle chose Born Slippy as the main theme for his film Trainspotting. Like many bands of their era, some of their greatest moments can also be heard in their remixes of other artists, most notably Björk, Sven Väth and Leftfield. IAN PEEL
Undezime(Ger.; It. undicesima). See Eleventh. UNESCO[United Nations Educational, Scientific and Cultural Organization]. International organization, the musical activities of which are supervised by the International Music Council. Unferdorfer, Marx.See Unverdorben, Marx. Unfolding(Ger. Ausfaltung). In Schenkerian analysis (see Analysis, §II), a method of Prolongation whereby the separate voices of a contrapuntal idea are amalgamated as a single line. Ex.1 shows the derivation by unfolding of the opening bars of the first theme from the finale of Beethoven's Cello Sonata in A op.69. 
WILLIAM DRABKIN Ung, Chinary(b Takeo, 24 Nov 1942). American composer of Cambodian birth. Having heard no Western classical music until his late teens, he was first attracted to 19th-century Romanticism and then to a wider spectrum of Western music. One of the first graduates of the Ecole de Musique, Phnom Penh, he received a diploma in clarinet performance (1963) before emigrating to the USA on an Asia Foundation scholarship the following year. He continued his studies at the Manhattan School and received a DMA with distinction from Columbia University (1974), where his principal composition teacher was Chou Wen-chung. During a hiatus from composing (1974–85), he assisted family members in escaping from Cambodia, and turned his attention to the study of Khmer cultural and musical traditions. He has taught at the University of Pennsylvania, Arizona State University and the University of California, San Diego, among others. His numerous honours include awards from such institutions as the American Academy of Arts and Letters, the NEA, and the Guggenheim, Koussevitzky, Ford, Rockefeller and Barlow foundations. The 1989 University of Louisville Grawemeyer Award for composition (Inner Voices, 1986), brought him international recognition. Ung's music is a blend of Asian aesthetics and contemporary Western techniques. He has remarked, ‘If East is yellow, and West is blue, then my music is green’. His works are often influenced by mental images of geometrical shapes, past events or natural phenomena. A skilled orchestrator, he combines instrumental timbres in a unique and colourful way. In 1987 he began a series of compositions employing a musical spiral concept. In these works, groups of notes or extended phrases are continually expanded to create ‘new and newer’ forms. WORKS
BIBLIOGRAPHYC. McCurdy: ‘East Meets West in Chamber Music’, Chamber Music, v (1988), 20–21 M. Swed: ‘American Composer: Chinary Ung’, Chamber Music, xiii (1996), 14–15 JOHN KAYS Yüklə 3,09 Mb. Dostları ilə paylaş:
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