Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Inghilleri, Giovanni

(b Porto Empedocle, Sicily, 9 March 1894; d Milan, 10 Dec 1959). Italian baritone. He was trained first as a pianist and discovered his voice while working as a répétiteur. In 1919 he made his début as Valentin in Faust at the Carcano, Milan, and then went on to sing with considerable success throughout Italy, at the Costanzi in Rome, the S Carlo in Naples (the first of many seasons in 1922, the last being 1948) and La Scala. He was enthusiastically received at his début in Pagliacci at Covent Garden in 1928, and returned there for the next two seasons and again in 1935. A highlight of his career in London was the 1930 Traviata with Ponselle and Gigli where his ‘steadiness of tone, flawless phrasing and ease of manner’ were commended as a model. He sang at Chicago in 1929, and later in France and Spain. In 1936 he appeared in the première of Malipiero’s Giulio Cesare in Genoa. He continued to prove his worth as a musicianly singer (he was also a composer of opera, ballet and songs) until his retirement in 1953, after which he taught singing in Milan. Recordings show the fine voice and authoritative style that distinguished him in the 1920s; when he returned to the studios after the war his style had deteriorated, though his tone remained impressive.

J.B. STEANE

Ingignieri [Ingignero], Marc’Antonio.

See Ingegneri, Marc’Antonio.

Inglott, William [Englitt]

(b 1554; d Norwich, 1621). English organist and composer. A chorister at Norwich Cathedral under his father Edmund Inglott in 1567–8, he was organist there from 1587 to 1591 and again from 1611 or earlier to 1621. In the intervening period, from 1597 to 1609 or later, William Inglott – presumably the same man – was organist of Hereford Cathedral. Inglott’s Short Service for four voices (Ven, TeD, Bs, Ky, Cr, Mag, Nunc) has been reconstructed by M. Walsh and R. Turbet (Wyton, nr Huntingdon, 1989), but for each of three anthems only a single part survives. There are two compositions for keyboard in the Fitzwilliam Virginal Book, GB-Cfm; there is also an untitled piece (a pavan) by ‘Englitt’ in Will Forster’s Virginal Book (GB-Lbl; ed. in MB, lv, 1989).

BIBLIOGRAPHY

R.T. Daniel and P. le Huray: The Sources of English Church Music, 1549–1660, EECM, suppl.i (1972)

W. Shaw: The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c1538 (Oxford, 1991)

JOHN CALDWELL/ALAN BROWN

Ingólfsson, Atli

(b Keflavík, 21 Aug 1962). Icelandic composer. He studied guitar and composition at the Reykjavík College of Music, graduating as a soloist in 1983. He received his degree in theory and composition a year later, and in 1986 he received a BA in philosophy from the University of Iceland. He continued his studies at the Conservatorio G. Verdi, Milan (1985–8), with Davide Anzaghi and Paolo Castaldi. He also studied with Franco Donatoni at the Accademia Chigiana, and privately with Gérard Grisey in Paris, where he also attended courses at the Conservatoire (1988–90) and at IRCAM. His music has been widely performed at European festivals and concert seasons by groups such as the Ensemble InterContemporain, Avanti!, the Arditti Quartet and the Ensemble L’Itinéraire. He has also published a book of poetry, and has written on the development of Icelandic prosody from a musical perspective. His output consists almost entirely of instrumental works, characterized by a brilliant, colourful musical sound. Several of his works reflect his interest in prosody, and rhythm and metrics may be said to occupy a central role in many of them (A verso, Le pas les pentes, Envoi, La métrique du cri). In his recent work he has increasingly explored the point of contact between timbre, harmony and rhythm, which in his String Quartet no.1 ‘HZH’ leads to a constant dissolution between prevalently timbral, harmonic or rhythmic situations, all of them issued from the same structural matrix.

WORKS

(selective list)

Qnt, fl, ob, cl, bn, hn, 1985; Millispil (Intermezzo), chbr ens, 1988; A verso, pf, 1990; Le pas, les pentes, chbr ens, 1991; O versa, chbr orch, 1991; Envoi, MIDI pf, chbr orch, 1995; La métrique du cri, chbr ens, 1996; Donec Vesper, perc trio, 1997; Blast, tpt, 1998; The Elve’s Accent, fl, cl, vn, vc, pf, 1998; Flecte Lapis, sampler kbd, 1998; Post Scriptum, picc, pf, 1998; Str Qt no.1 ‘HZH’, 1999

Principal publishers: Iceland Music Information Centre, Ricordi

BIBLIOGRAPHY

G. Bergendal: New Music in Iceland (Reykjavík, 1991)

M. Podhajski: Dictionary of Icelandic Composers (Warsaw, 1997)

ÁRNI HEIMIR INGÓLFSSON

Inharmonicity.

The deviation of a set of frequencies from an exact harmonic series. The most common musical application of the term is in discussion of the natural mode frequencies (or partials) of a stretched string. For a uniform, completely flexible string, the mode frequencies (or resonance frequencies) are members of the harmonic series represented by the following formula, in which n is the harmonic number (counting the fundamental as the first harmonic) and F is the fundamental frequency:

frequency of n^th harmonic = nF

The stiffness always present in a real string increases the frequency of each mode by an amount which depends on the mode number. The resulting inharmonic series of mode frequencies is given, to a good approximation, by the following formula:

frequency of n^th mode = nF(1 + bn²)

The inharmonicity coefficient b can be calculated if the properties of the string are known. For a string of fixed radius and sounding length, the inharmonicity diminishes as the tension is increased.

For the relatively supple strings normally used on bowed and plucked instruments, the inharmonicity coefficient is very small, and such strings can be treated for most musical purposes as having exactly harmonic natural mode frequencies. The inharmonicity of piano strings, on the other hand, is far from negligible. A typical bass string on an upright piano may have an inharmonicity coefficient b of 0·0002; in this case the stiffness will have an insignificant effect on the frequency of the first string mode, but will increase the frequency of the twentieth mode by nearly 8% (a sharpening of more than a semitone).

Since the frequency spectrum of the sound radiated by a plucked or hammered string consists of the inharmonic natural mode frequencies of the string, the degree of inharmonicity can have a significant effect on the perceived timbre of the sound. String inharmonicity is also generally considered to be one of the causes of the octave stretching found on well-tuned pianos.

BIBLIOGRAPHY

O.H. Shuck and R.W. Young: ‘Observations of the Vibrations of Piano Strings’, JASA, xv (1943), 1–11

D.W. Martin and W.D. Ward: ‘Subjective Evaluation of Musical Scale Temperament in Pianos’, JASA, xxxiii (1961), 582–5

H. Fletcher: ‘Normal Vibration Frequencies of a Stiff Piano String’, JASA, xxxvi (1964), 203–9

C. Carp: ‘The Inharmonicity of Strung Keyboard Instruments’, Acustica, lx (1986), 295–9

P. Barbieri: ‘The Inharmonicity of Musical String Instruments (1543–1993) with an Unpublished Memoir by J.-B. Mercadier (1784)’, Studi musicali, xxvii (1998), 383–419

N.H. Fletcher and T.D. Rossing: The Physics of Musical Instruments (New York, 2/1998)

MURRAY CAMPBELL