See Hoyoul, Balduin.
See Chamber organ.
Huitième de soupir
A demisemiquaver Rest; demi-quart de soupir is also used.
Huízar (García de la Cadena), Candelario
(b Jérez, Zacatecas, 2 Feb 1883; d Mexico City, 3 May 1970). Mexican composer. In 1892 he joined the Jérez municipal band as a saxophonist, taking lessons from its director, Narciso Arriaga. He played the viola in a string quartet (1906–7), then became a horn player in the State Band in Zacatecas, learning with its director Candelario Rivas. After military service Huízar settled in Mexico City and in 1918 entered the Conservatorio Nacional as a composition pupil of Campa. He eked out a precarious living in the capital until 1928, when Chávez invited him to join the Orquesta Sinfónica de México as a horn player (1929–37) and librarian (1929–48). All his major works were first performed by this orchestra. The première of Imágenes (1927), a prizewinning four-movement impression of his home town, was given in 1929, the fresh carnival piece Pueblerinas in 1931 and the bucolic symphonic poem Surco in 1935; four symphonies in Classical sonata form but incorporating nationalist Amerindian or pseudo-Amerindian pentatonic themes were first performed in 1930, 1936, 1938 and 1942 respectively. His Symphony no.2 is subtitled ‘Oxpaniztli’ after the 11th month in the Aztec calendar; no.4 is named ‘Cora’ after the tribe that gave Chávez the main theme in his Sinfoniá india. Moving away from the Debussian transparency instilled in him by Campa, Huízar became a pillar of uncompromising Mexican nationalism in his later works. He was remembered after his death as a hero who rose from humble provincial origins to artistic pre-eminence. His orchestral works are published by Ediciones Mexicanas de Música.
J.C. Romero: La música en Zacatecas (Mexico City, 1963), 57–76 [incl. biography and complete work-list]
D. Malmström: Introduction to Twentieth Century Mexican Music (Uppsala, 1974), 47–8, 75ff
See Hoyoul, Balduin.
Generic name for Hawaiian dance, sometimes applied loosely to other dances of the Pacific Islands. In Hawaiian hula, gestures of the upper torso and limbs interpret the semantic content of poetic texts called mele, the mood and feeling being conveyed through facial expressions, eye contact and with the hands; named patterned dance steps are coordinated closely with hula-percussion beats. Hula categories reflect combinations of subject matter, choreographic motif and accompanying instruments, mostly played by separate musicians. Seated dances are classified by the name of hand-held implements dancers use in self-accompaniment, e.g. hula pū‘īli, hula ‘ulī‘ulī.
See also Polynesia, §I, 3, fig.3
BARBARA B. SMITH/AMY STILLMAN
(b Oddernes, 15 Jan 1917; d Oslo, 24 Dec 1995). Norwegian musicologist. He studied the piano (with Halfdan Cleve) and theory (with Bjarne Brustad and Trygve Lindeman) at Oslo Conservatory (début 1947) and musicology at Oslo University (MA 1953), where he took the doctorate in 1966 with a dissertation on the national character of certain musical motifs, based on an analysis of a group of Norwegian and Swedish folkdances. After teaching music history at the Oslo Conservatory (1943–50) he joined the music staff of Norwegian Radio (1950–63), and then served on the faculty of music at Oslo University (1963–6). From 1966 to 1984 he was professor of musicology at the University of Trondheim, where his valuable study of the Trondheim-born composer T.D.A. Tellefsen provided a natural background for the organization of a more systematic investigation of the musical life of that ancient cultural centre. His Fra munkekor til symfoniorkester, which surveys the musical life of Oslo with particular emphasis on concerts, was commissioned by the Oslo PO in celebration of its 50th anniversary in 1969. He was a member of the committee responsible for the complete edition of the works of Grieg (1962–95).
‘Thomas Dyke Acland Tellefsen’, NMÅ 1956–8, 80–198
Det nasjonale tonefall: studier av motiv og motivkombinasjoner, saerlig i norsk springar og svensk polska (diss., U. of Oslo, 1966; Oslo, 1966)
Musikkens historie (Oslo, 1967) [trans. of P. Hamburger: Musikens historie, Copenhagen, 1936–7, 4/1966, incl. ‘Musikken i Norden’]
‘En “Musiquens elsker” i Risør omkring 1750: “De musicalske grund regler” av Hans Henrik Bøcher (1712–1777)’, Festskrift til Olav Gurvin, ed. F. Benestad and P. Krømer (Drammen and Oslo, 1968), 117–33 [incl. Eng. summary]
‘Norges eldste koralbok’, SMN, i (1968), 80–99
Fra munkekor til symfoniorkester: musikkliv i det gamle Christiania og i Oslo (Oslo, 1969)
‘Et hittil ukjent koralarrangement av Melchior Borchgrevink, kapellmester hos Christian IV’, SMN, viii (1982), 89–107
Hull, Arthur Eaglefield
(b Market Harborough, 10 March 1876; d Huddersfield, 4 Nov 1928). English editor and writer on music. He studied in London under C.W. Pearce and Tobias Matthay and took the DMus at Oxford in 1903. He settled at Huddersfield and did much for music in Yorkshire, founding the Huddersfield Chamber Music Society in 1900 and a college of music there in 1908. A wider public service was the foundation of the British Music Society in 1918; he was its honorary director until 1921. He was editor of the Monthly Musical Record from 1912 until his death, and edited the International Library of Books on Music for J.M. Dent, and the Music Lover’s Library and Library of Music and Musicians for Kegan Paul. His Dictionary of Modern Music and Musicians admirably served its purpose at the time, and his Modern Harmony was an enterprising and sympathetic attempt to find a logical basis for the practice of composers of his time.
Modern Harmony: its Explanation and Application (London, 1914/R)
A Great Russian Tone-Poet: Scriabin (London,1916/R, 2/1920/R)
Handel (London, 1916) [trans. of R. Rolland: Haendel, Paris, 1910]
‘A Survey of the Pianoforte Works of Scriabin’, MQ, ii (1916), 601–14
‘The Symphonies’, ‘The Piano Sonatas’, ‘The Piano and Violin Sonatas’, ‘The String Quartets’, in R. Rolland: Beethoven (London, 1917), 109–30, 133–66, 169–76, 179–91 [analyses]
‘Scriabin’s Scientific Derivation of Harmony versus Empirical Methods’, PMA, xliii (1916–17), 17–28
Cyril Scott, Composer, Poet and Philosopher (London, 1918, 3/1921)
Harmony for Students (London, 1918)
A Dictionary of Modern Music and Musicians (London, 1924/R; Ger. trans., 1926 as Das neue Musiklexikon)
ed.: Beethoven’s Letters (London, 1926/R) [translations by J.S. Shedlock]
Music: Classical, Romantic and Modern (London,1927/R)
Bach’s Organ Works (London, 1929)
‘The Earliest Known String Quartets’, MQ, xv (1929), 72–6
‘Arthur Eaglefield Hull’, MMR, lviii (1928), 357 only
H.C. COLLES/PETER PLATT