Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Hughes, David G(ratton)

(b Norwalk, CT, 14 June 1926). American musicologist. He was educated at Harvard University, receiving the AB in 1949, the MA in 1954 and the PhD in 1956, with a dissertation on line and counterpoint in Gothic music; he studied theory and composition with Irving Fine, Randall Thompson and Walter Piston, and musicology with A. Tillman Merritt, Stephen Tuttle and Otto Gombosi. Except for the academic year 1957–8, spent as visiting assistant professor at Yale, Hughes taught from 1956 until his retirement in 1994 at Harvard, where he was appointed Fanny P. Mason Professor of Music in 1964.

Hughes has worked primarily in the areas of Gregorian and post-Gregorian chant, liturgical music and medieval polyphony, notation, and modal theory. In compiling the Index of Gregorian Chant, he and John Bryden provided an important research tool for students of sacred music; the work, arranged by text incipit and again by musical incipit, is invaluable for scholars working with Gregorian chant and medieval and Renaissance sacred polyphony. He was editor-in-chief of the Journal of the American Musicological Society from 1959 to 1963. A Festschrift was published to mark his 70th birthday (Essays in Medieval Music in Honor of David G. Hughes, ed. G.M. Boone, Cambridge, MA, 1995).


A View of the Passing of Gothic Music: Line and Counterpoint, 1380–1430 (diss., Harvard U., 1956)

ed.: Instrumental Music: Cambridge, MA, 1957

‘Liturgical Polyphony at Beauvais in the Thirteenth Century’, Speculum, xxxiv (1959), 184–200

‘Further Notes on the Grouping of the Aquitanian Tropers’, JAMS, xix (1966), 3–12

‘The Sources of Christus manens’, Aspects of Medieval and Renaissance Music: a Birthday Offering for Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 423–34

with J.R. Bryden: An Index of Gregorian Chant (Cambridge, MA, 1969)

‘Music for St. Stephen at Laon’, Words and Music: the Scholar's View … in Honor of A. Tillman Merritt, ed. L. Berman (Cambridge, MA, 1972), 137–59

A History of European Music: the Art Music Tradition of Western Culture (New York, 1974)

‘Music and Meter in Liturgical Poetry’, Medievalia et humanistica, new ser., vii (1976), 29–43

‘Variants in Antiphon Families: Notation and Tradition’, IMSCR XIII: Strasbourg 1982, ii, 29–47

‘Another Source for the Beauvais Feast of Fools’, Music and Context: Essays for John M. Ward, ed. A.D. Shapiro and P. Benjamin (Cambridge, MA, 1985), 14–31

‘Evidence for the Traditional View of the History of Gregorian Chant’, JAMS, xl (1987), 377–404

‘The Implications of Variants for Chant Transmission’, De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 65–73

‘An Enigmatic Neume’, Themes and Variations: Writings on Music in Honor of Rulan Chao Pian, ed. B. Yung and J.S.C. Lam (Cambridge, MA, 1994), 8–30


Hughes, Edwin

(b Washington DC, 15 Aug 1884; d New York, 17 July 1965). American pianist and teacher. He studied with S.M. Fabian in Washington, DC, Rafael Joseffy in New York and Theodor Leschetizky in Vienna (1907–10), eventually serving as Leschetizky’s assistant (1909–10). After teaching at the Ganapol School of Musical Art in Detroit (1910–12), he made his European début in Vienna in 1912 and spent the next four years teaching in Munich and performing throughout Germany. He then settled in New York where he taught at the Volpe Institute of Music (1916–17) and the Institute of Musical Art (1918–23) and was editor-in-chief of piano music for G. Schirmer (1920–25). He made his New York recital début on 14 March 1917 and thereafter performed extensively in Europe and the USA; he also gave two-piano recitals with his wife, Jewel Bethany Hughes. His memorabilia are held at the University of South Carolina.


Hughes [Hughs, Hues], Francis

(b 1666/7; d London, 16 March 1744). English countertenor. He was a singer at Drury Lane and in concerts from 1700. In 1705 he was the leading man in the first English opera in the Italian style, Clayton's Arsinoe. In 1706 he played the hero in Bononcini's Camilla, and in 1707 he sang in Clayton's Rosamond and Thomyris, arranged by Pepusch, but that year lost his roles to the castrato Valentini. His countertenor voice, reaching up to b' and occasionally c'', was no match for the Italian. He continued to sing English stage music for a while and sang opera arias at the Nottingham races in July 1707. In 1708 he left the stage and joined the Chapel Royal choir. He sang in the choirs of St Paul's Cathedral and Westminster Abbey, and appeared in London concerts for some years. He was named in Handel's manuscripts as a soloist in the Ode for the Birthday of Queen Anne (1713), anthems for George II's coronation (1727) and the Funeral Anthem for Queen Caroline (1737). Hawkins reported that Hughes's strong countertenor voice could ‘with ease’ break a drinking-glass. (BDA; BDECM; BurneyH; HawkinsH; LS)


Hughes, Herbert

(b Belfast, 16 March 1882; d Brighton, 1 May 1937). Irish critic and arranger. He studied at the RCM (from 1901) with Walter Parratt, Herbert Sharpe and Charles Wood, among others. In 1904 he helped to found the Irish Folksong Society, whose stated purpose was to collect and publish traditional Irish airs and ballads; he served as co-editor, with Charlotte Milligan-Fox, of its early journals. He joined the staff of the Daily Telegraph in 1911 as music critic. His most valuable contributions to Irish music are his published collections of folksongs, including Irish Country Songs (4 vols.), Old Irish Melodies and Historical Songs and Ballads of Ireland. His collaboration with the poet Pádraic Colum resulted in the dissemination of old airs such as The Star of County Down, I Know Where I am Going, She Moved through the Fair and O Men from the Fields. While his settings were often criticized for the classical style of their accompanimental writing, his work gained considerable recognition in Britain and the USA through the singers Plunket Greene and John McCormack.


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