Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

IITM.

See International institute for traditional music.

Ikenouchi, Tomojirō

(b Tokyo, 21 Oct 1906; d Tokyo, 9 March 1991). Japanese composer and teacher. The second son of Kyoshi Takahama, a leading haiku poet, he spent two years at Keiō University and then decided on a musical career. He went to Paris in 1927 to study at the Conservatoire with Fauchet (harmony), Caussade (fugue) and Büsser (composition). Returning to Japan in 1933 he joined the Shinkō Sakkyokuka Renmei (later the Japanese Society for Contemporary Music) and in 1934 he presented a successful concert of his own works. In 1934–6 he was again in Paris, completing his studies with Büsser and taking a first prize in harmony. He was appointed lecturer at Nihon University, Tokyo, in 1936 and professor of composition at the Tokyo National University of Fine Arts and Music in 1947. He has served as president of the Japanese-French Music Society and of the Japanese Musicians’ Club. He was admitted to the Légion d’Honneur (1962) and his achievements were recognized by the Japanese government (1986).

As a composer he is a perfectionist: his pieces are few and compact. Of all Japanese composers he is most clearly descended from the French school, from Impressionism and from the Conservatoire tradition, and his music shows his admiration for Mozart, Saint-Saëns and, above all, Ravel. At the same time he has been one of the most influential composition teachers in Japan; his pupils include Ichiyanagi, Ishii, Mayuzumi and Shinohara. With several of his students he formed the Shinshin Kai group in 1955. Ikenouchi is also a haiku poet, belonging to the Hototogisu group founded by his father.

WORKS

(selective list)

Tanshō kumikyoku [A Suite of Short Movts], orch, 1937; Str Qt no.1, 1937; Shiki [4 Seasons], orch, 1938; Nihon koyō ni yoru gensōkyoku [Fantasy on a Japanese Folksong], vc, pf, 1940; Yuya (after Nō), S, chbr orch, 1942; Sonata, fl, pf, 1945; Str Qt no.2, 1945; Sonata, vn, pf, 1946; Str Qt no.3, 1946; S Sonatine, 1948; Kōkyōteki nishō [Sym. in 2 Movts], 1951; Pf Sonatine, 1954, rev. 1974; Sonatine, vn, pf, 1956; Sonatine, vc, pf, 1957; Reisō [Ceremonial Music], 2 pf, 1958; Koi no omoni [Burden of Love], Bar, timp, chorus, 1974

Principal publisher: Ongaku-no-Tomo Sha

WRITINGS

Taiihō [Counterpoint] (Tokyo, 1941, 2/1949)

Waseihō kōgi [Lecture on harmony] (Tokyo, 1950)

Nisei taiihō [Counterpoint in 2 parts] (Tokyo, 1965)

Waon kōseion [Chordal analysis] (Tokyo, 1966–70)

Sansei-hassei taiihō [Counterpoint in 3 to 8 parts] (Tokyo, 1975)

Gakushū tonsōkyoku [Study on fugue] (Tokyo, 1977)

MASAKATA KANAZAWA

Ikhwān al-Safā’ [‘Brethren of Purity’].

A 10th-century group of Islamic encyclopedists of Ismaili tendencies centred on Basra, one of whose epistles (Rasā’il) deals with music. Unlike most other music theorists of the 10th and 11th centuries, the Ikhwān al-Safā’ were chiefly concerned with the neo-Platonic and Hermetic aspects of the Greek heritage. Their work is of some interest for its scientific aspects (in particular the theory of the spherical propagation of sound) and for its treatment of musical practice: for example, following al-Kindī, the discussion of the lute gives, in addition to a (simple Pythagorean) fretting, details of proportions and construction. But the most characteristic features of their work, again following al-Kindī, are to be found in their study of cosmology, where the notion of cosmic harmony (based on the Pythagorean concept of the primacy of number and numerical relationships) is the unifying principle in the discussion of such topics as the music of the spheres, the moral and medical effects of music, and the sets of natural phenomena (including the elements, winds, humours, colours and perfumes) to which the rhythms and the four strings of the lute could be related.

WRITINGS

Rasā’il [The epistles] (MS, GB-Ob Hunt 296); Ger. trans. in F. Dieterici: Die Propaedeutik der Araber im zehnten Jahrhundert (Berlin, 1865/R), 100–153; Fr. trans. with commentary by A. Shiloah: ‘L’épître sur la musique des Ikhwān al-Safa’’, Revue des études islamiques, xxxii (1964), 125–62; xxxiv (1966), 159–93

BIBLIOGRAPHY

EI2 (Y. Marquet)

H.G. Farmer: A History of Arabian Music (London, 1929/R)

F. Shehadi: Philosophies of Music in Medieval Islam (Leiden, 1995)

OWEN WRIGHT

Ikil [ikel].

Two-string box or bowl spike fiddle played by Western Mongol groups, such as Baits, Torguts, Zakchins and Altai Urianghais. Use of this term by Western Mongols suggests connections with neighbouring Turkic groups: it may, for instance, be related to the Tuvan igil, Turkish iqliq, and Anatolean Turk iki kili (‘with two hairs’). It may also be that the Mongolian name sometimes used for two- and four-string fiddles hiil (kigili) was more widespread before standardization of the term huur during the communist era. In 1933 Berlinskiy noted that the instrument was called khil in Khalkha Mongolia.

The instrument has rear-inserted tuning-pegs and deeply arched bow, indicating that it is an archaic instrument (see illustration). Sagittal pegs are sometimes found. The ikil and two-string plucked lute Topshuur are closely related: unlike the huur, the bass string is on the left in frontal aspect on both ikil and topshuur and both instruments are tuned to an interval of a 4th. Similarly, Bachmann noted that the Altai ikili and topschur are identical in every respect, though the former is played with horsehair bow and the latter plucked.

Different groups have their own methods, measurements and rules of construction for the instrument. Among Baits and Dörbets, the peg box was often traditionally decorated with a representation of the wish-granting jewel of Buddhist mythology chandman’. Neck and pegs must be made from different woods, dried birch and willow, so that wear does not occur, and the neck should be made so that the root points downwards, as a sign of respect. The frame of the body is made from poplar. Frames of both ikil and topshuur are traditionally covered by the stomach, bladder and ventricles of ruminants, as well as mares' udders. Resonators of some ikil are now made completely from wood but, when trapezoidal in shape, are more elongated than huur. Players stop the string at the lower end of the fiddle's neck by wrapping over it the fingers of the left hand and pulling the string towards its palm, away from the body.

The ikil is used to lead or accompany biy-dances (see Mongol music, §3(i)), for which there is a special repertory of melodies (biyelgeenii tatlaga). A prelude to the dance is sometimes performed (ehledeg tatlaga) which, together with the biy-dance tune repertory, varies according to ethnic group. When the ikil is used to accompany satirical songs, ‘teaching’ songs, epics (tuul'), praise-songs (magtaal) and legends (domog tatlaga), melodies from a different repertory are selected. As with the huur, ikil melodies often imitate natural phenomena as in Eeviin Golyn Ursgal (‘Flow of the River Eev’), and the movements, vocalizations and sounds of birds and animals as in Morny Joroo (‘Ambler’), they are also used to attract birds in springtime (shuvuuny dallaga) and to ‘call’ deer (bugyn duudlaga).

BIBLIOGRAPHY

and other resources

Grove6 (‘Khuur’; A. Nixon)

P.M. Berlinskiy: Mongolskiy pevets-muzykant Ul'dzui-Lubsan-Khurchi [The Mongol singer-musician Uldzui-Luvsan-Hurchi] (Moscow, 1933)

W. Bachmann: The Origins of Bowing and the Development of Bowed Instruments up to the Thirteenth Century (Oxford, 1969)

J. Badraa: Mongol ardyn högjim [Mongolian folk music] (Ulaanbaatar, 1998)

C.A. Pegg: Mongolian Music, Dance and Oral Narrative: Performing Diverse Identities (Seattle and London, 2001) [with CD]

CAROLE PEGG