Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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See Verbunkos.

Honky tonk music.

A style of popular music first played by country-music bands in Texas during the 1930s and 40s. It was loud and had a heavy beat, the bands using electric instruments. The music was associated with uprooted rural people, and the lyrics dealt chiefly with the social problems of their newly adopted urban life: job insecurity, marital stress and family dissolution. Among the earliest honky-tonk performers were Al Dexter, whose Honky Tonk Blues (1936) is the first known country song to have used the term, Rex Griffin, Ted Daffan, and Ernest Tubb, who did much to make honky tonk the predominant country-music style for a time after World War II. Since then, although such musicians as Hank Williams, Ray Price, George Jones, Moe Bandy and George Strait have preserved the honky-tonk style, it is no longer as popular. A recording of 40 representative honky-tonk songs was issued by Time-Life Records in 1983 (Honky-tonkin’, TL CW-12; with liner notes by B.C. Malone).

See also Country music.


Honnys, William.

See Hunnis, William.


Capital of Hawaii.

Honorio [Onori], Romualdo

(fl 1638–49). Italian composer and monk. He may have worked at Faenza, for he signed the dedication of his Concerti of 1638 from there. This publication, of sacred music like all his others, contains 24 pieces, some of which are psalms: it is interesting that the latter are in four or five parts, affording more variety in the setting of long, fixed texts, whereas the motets are scored for the more intimate duet and trio textures as well. His other collections, of masses, psalms and litanies, display larger concertato textures, and the one of 1645 includes violin parts in an up-to-date manner.


all except anthologies published in Venice

Concerti, 2–4vv, bc, con alcuni salmi, 4–5vv, bc, libro I (1638)

Messa, salmi, et litanie, 4vv, op.2 (1640)

Il primo libro di [3] messe, 5–6vv, bc, op.4 (1642)

Il secondo libro di messe, 5, 7–8vv, vns, bc, op.5 (1645)

Letanie de Beata Virgine, 4–6, 8vv, in concerto, con un motetto, 8vv pieno, op.7 (1649)

3 motets, 16424, 16464

1 motet, S, S, bc (org), S-Uu


Honterus [Honter], Johannes

(b Braşov, 1498; d Braşov, 23 Feb 1549). Romanian printer. He was educated at the Dominican school at Braşov and at the University of Vienna (1515–25), and after working as a teacher, Protestant preacher and professor in Regensburg, Kraków, Wittenberg and Basle (1529–33) and establishing friendships with the greatest European humanists of his time (including Erasmus), he settled in Braşov. Having brought a printing press from Switzerland (1533), he printed scientific, religious and art books. Some of his textbooks were used at the Braşov Gymnasium (Schola Coronensis, founded 1544), the first humanist school of south-east Europe. In 1548 he printed a selection for teaching music to young people, Odae cum harmoniis e diversis poetis in usum ludi literarij Coronensis decerptae (ed. G. Nussbächer and A. Philippi, Bucharest, 1983). The 21 four-part polyphonic songs to texts by classical Latin and medieval writers is the oldest publication of secular music in Transylvania; the music was by Braşov composers (Lucillus, Ostermaier etc.). Honterus’s printing press became known throughout eastern Europe; in the 17th century Braşov was considered the main centre of Saxon printing (Valentin Wagner, Martin Wolffgang and Michael Hermann continued the traditions of Honterus’s press to 1689) and of Romanian printing (Gheorghe Coressi, his successor, continued and perfected his printing technique).


R. Ghircoiaşiu: ‘O colecţie de piese corale din secolul XVI: Odae cum harmoniis de Johannes Honterus’, Muzica, x/10 (1960), 22

K. Göllner: Johann Honterus (Bucharest, 1960)

G. Nussbächer: Johannes Honterus: sein Leben und Werk in Bild (Bucharest, 1973, 3/1978)

E. Antoni: ‘Ein Honterus-Druck in Mensuralnotenschrift “Odae cum harmoniis” ’, Volk und Kultur, iv (1977), 42–3

E. Antoni: ‘Johannes Honterus “Odae cum harmoniis” ’,Forschungen zur Volks- und Landeskunde, xxv/1–2 (1982), 53–9

F. László: ‘Huszonegy óda: a köziró unnepe’, Brassói Lapok, xiii (1984), 5

L. Binder with G. Nussbächer: Johannes Honterus: Schriften, Briefe, Zeugnisse (Bucharest, 1996)


Hood, Basil

(b nr Croydon, Surrey, 5 April 1864; d London, 7 Aug 1917). English librettist. He studied at Wellington College and the Royal Military College at Sandhurst and was an army officer until his retirement in 1898. He provided librettos for more than a dozen comic operas and musical comedies performed in London, particularly at the Prince of Wales Theatre. With his first important musical partner, Walter Slaughter, he wrote musical comedies including Gentleman Joe, the Hansom Cabby (1895), The French Maid and Dandy Dan the Lifeguardsman (both 1897). Hood was introduced to Sullivan by the composer Wilfred Bendall, with whom he had collaborated on The Gypsies (1890). For the Savoy Theatre, Hood and Sullivan produced The Rose of Persia, or The Story-Teller and the Slave (1899) and The Emerald Isle, or The Caves of Carig-Cleena (1901, music completed by Edward German). After Sullivan’s death in 1900 Hood began a successful partnership with German, providing librettos for Merrie England (1902) and A Princess of Kensington (1903), both produced at the Savoy.

Hood was second only to Gilbert as a collaborator of Sullivan’s. Like most comic-opera librettists, he was widely perceived as an imitator of Gilbert; yet he had a talent for picturesque verse and colourful dialogue, and many of his pieces met with popular success.


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