Uccelli [née Pazzini], Carolina Uccellini, Marco
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- Uspensky, Nikolay Dmitriyevich
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Usmanbaş, İlhan(b Istanbul, 28 Sept 1921). Turkish composer. He studied the cello as a child. In 1941 he enrolled at the Istanbul Municipal Conservatory where he was a pupil of Cemal Reşit Rey; in the following year he entered the Ankara State Conservatory, studying composition with Hasan Ferit Alnar and piano with Ulvi Cemal Erkin. He left the advanced composition department in 1948, and was appointed a teacher at the same conservatory. In 1952 he went to the USA on a UNESCO grant and continued his studies with Dallapiccola at Tanglewood and at Bennington. Usmanbaş went to the USA again in 1958 and on this occasion some of his works were performed. His String Quartet, which had won the Fromm Prize in 1955, was recorded. In 1963 he was appointed director of the Ankara State Conservatory for a short time; he has continued to teach there. Usmanbaş is the main Turkish advocate of new musical procedures. The influences of Bartók, Stravinsky and Hindemith, seen in his earlier neo-classical works, have given way to an individual style which embraces 12-note and especially aleatory techniques, for instance in the Symphony no.3 (1979), in which performers can choose the order of movements. He has drawn attention abroad, winning prizes in international contests and receiving several commissions. Japanese radio commissioned his Japanese Music (1956), and Music with a Poem (1958) won a prize in the student Koussevitzky Competition at Tanglewood. Further information is given in O. Manav: ‘Venedik oyunlari ve sonrasi’ [Jeux vénitiens and beyond], Müzikoloji dergisi, i/1 (1995), 1–6. WORKS(selective list)
FARUK YENER/MÜNİR NURETTIN BEKEN Uspensky, Nikolay Dmitriyevich(b Polya, Novgorod province, 3/16 Jan 1900; d Leningrad (St Petersburg), 23 July 1987). Russian musicologist and church historian. After attending the Novgorod Seminary he studied theology at the Petrograd Theological Institute (1921–8), taking the Kandidat degree in 1925 with a dissertation on the Russian Orthodox Vespers, and then preparing for a professorial post under the distinguished liturgiologist A. Dmitriyevsky. When the institute closed in 1928, he entered the Leningrad State Academic Chapel School, qualifying in choral conducting and training (1931); he then studied conducting with Mikhail Klimov and theory and polyphony with Khristofor Kushnaryov at the Leningrad Conservatory, graduating in 1937. He became assistant director, and then director of the Leningrad Music Academy, and taught fugue and counterpoint at the conservatory (1937–54). In 1946 he was appointed senior lecturer in the liturgical department of the new Leningrad Divinity Academy, and defended his Kandidat dissertation on north Russian modes at the conservatory; in 1949 he was awarded a magister of divinity degree by the Divinity Academy for his book on the Vespers of the Greek and Russian Churches. He was awarded a doctorate of church history for his work on ancient church chant (1957), and honorary degrees from the Aristotelian University of Salonica (1967) and the Orthodox Theological Academy and Seminary of St Vladimir, New York (1968). Uspensky’s most important works on music deal with the evolution of Russian chant in the 16th and 17th centuries. He wrote a valuable study of ancient Russian chant, Drevnerusskoye pevcheskoye iskusstvo, and edited extensive anthologies of traditional Russian melodies used in liturgical services. WRITINGSChin vsenoshchnogo bdeniya v grecheskoy i russkoy tserkvi [The order of Vespers in the Greek and Russian Churches] (diss., Leningrad Divinity Academy, 1949; Leningrad, 1948) ‘K voprosu o pravoslavnoy liturgii zapadnogo obryada’ [The question of the Orthodox liturgy in the Western rite], Zhurnal moskovskoy patriarkhii (1954), no.8, p.13; no.9, p.9 Istoriya bogosluzhebnogo peniya russkoy tserkvi do seredinï XVII veka [The history of Russian church chant until the middle of the 17th century] (diss., Leningrad Divinity Academy, 1957; Moscow, 1965, 2/1971 as Drevnerusskoye pevcheskoye iskusstvo) ‘Vizantiyskoye peniye v Kiyevskoy Rusi’ [Byzantine chant in Kievan Rus], Akten des XI. internationalen Byzantinistenkongresses: Munich 1958, ed. F. Dölger and H.-G. Beck (Munich, 1960), 643–54 ‘Pravoslavnaya vechernya (istoriko-liturgicheskiy ocherk)’ [Orthodox Vespers: historico-liturgical essay], Bogoslovskiye trudï, i (1960), 7–52 ‘Roman Sladkopevets i yego kondaki’ [Roman Sladkopevets and his kontakion], Zhurnal moskovskoy patriarkhii (1966), no.11; (1967), no.1 Obraztsï drevnerusskogo pevcheskogo iskusstva [Examples of ancient Russian chant] (Leningrad, 1968, enlarged 2/1971) ‘Problema metodologii obucheniya ispolnitel'skomu masterstvu v drevnerusskom pevcheskom iskusstve’ [The problem of teaching the performance of ancient Russian chant], Musica antiqua Europae orientalis II: Bydgoszcz 1969, 467–501 ‘Russkiy muzïkal'nïy fol'klor i znamennïy raspev’ [Russian musical folklore and the znammenïy chant], Narodno stvaralaštvo: folklor, xi–xii (1972–3), 63–74
‘S.W. Rachmaninow: Schöpfer anbetender Hymnen’, Stimme der Orthodoxie (1973), no.8, p.6 ‘Realisticheskiye tendentsii v tvorchestve novgorodskogo mastera peniya XVI veka Opekalova’ [Realistic tendencies in the work of the 16th-century Novgorod singing master Opekalov], Problemï muzïkal'noy nauki, iii (Moscow, 1975), 303–21 ‘Venok na mogilu Dmitriya Stepanovicha Bortnyanskogo: k 150-letiyu so dnya yego konchinï’ [A wreath at the tomb of Bortnyans'ky: on the 150th anniversary of his death], Zhurnal moskovskoy patriarkhii (1975), no.9, p.11 Russkiy khorovoy kontsert kontsa XVII – pervoy polovinï XVIII vekov [The Russian choral concert at the end of the 17th century and first half of the 18th century] (Leningrad, 1976) ‘Opekalow: ein Sangesmeister des 16. Jahrhunderts in Nowgorod’, Beiträge zur Musikgeschichte Osteuropas, ed. E. Arro (Wiesbaden, 1977), 291–311 ‘D.S. Bortniański: problèmes des liens culturels polono-russes’, Musica antiqua V: Bydgoszcz 1978, 607–23 MILOŠ VELIMIROVIĆ Yüklə 3,09 Mb. Dostları ilə paylaş:
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