Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Ioanne a Cruce Clodiensis.

See Croce, Giovanni.

Ioannidis, Yannis

(b Athens, 8 June 1930). Greek composer. He studied piano with Elli and Spiro Farandatos at the Athens Conservatory (1946–55); then at the Vienna Academy of Music he took lessons in organ with Karl Walter (graduating in 1959), composition with Otto Siegl (diploma and prize, 1963) and harpsichord with Eta Harich-Schneider. Having married a Venezuelan pianist, Nilyan Perez, he settled in Caracas and took Venezuelan nationality in 1968. In 1969 he was appointed professor of modern composition at the Institute of Culture and Fine Arts, Caracas, and in 1971 he became professor of harmony and organ at the Caracas Conservatory and was also appointed to teach and direct the choir at Caracas University. While at the Institute of Culture he conducted its chamber orchestra; in 1971 he founded the Caracas Chamber Orchestra, and he also appeared frequently as a guest conductor with Venezuelan symphony orchestras. He has been honoured with the Venezuelan Teresa Carreño National Music Award (1969) for Figuras, and second prize at the Louis Moreau Gottschalk Competition (USA, 1970) for Metaplassis A. In 1976 he returned to Athens, where he became one of the first, after Papaïoannou, to teach contemporary compositional techniques. He taught at the Orpheion Conservatory (1976–81), was choirmaster of the student chorus at the music department of Athens University (1978–82), artistic director and professor at the Nikos Skalkottas Conservatory (1981–9), re-established in 1982 the once prestigious Harodhia Athinon (‘Athens Chorus’) and succeeded Hadjidakis as artistic director of the Kratiki Orchestra Athinon (‘Athens State Orchestra’) (1982–9). He was later appointed art director and professor at the Philippos Nakas Conservatory (1989–93), and professor at the music department of Athens University (1991–3), where he taught counterpoint, form and analysis. In 1993 he founded the Moussiki Etaeria Athinon (‘Athens Music Society’) and established its conservatory, as professor of composition and artistic director. Since the free atonality of his Duo (1962), to which he has always adhered, he has avoided experiment as well as allegiance to any particular school, producing works of elegant structure in which linear writing occasionally evolves towards a style of rich textures (‘Tropic’, 1968). His statements have become increasingly direct and precise, attaining a higher level of musical perception and emotional depth in spite of their clarity and restraint (42 syndoma kommatia, ‘42 Short Pieces’, 1968–9). He has written a series of essays Grafta ya ti moussiki (‘Writings on music’) (Athens, 1981–99) and Music (Athens, 1969), in addition to unpublished texts on harmony and counterpoint.

WORKS

(selective list)

Orch: Symphonic Triptych, 1963; Figuras, str orch, 1968; Projections, 19 insts, 1968, arr. orch, 1971; Tropic, 1968; Metaplassis A, 1969; Metaplassis B, 1970; Transitions, 1971; Orbis, pf, orch, 1975–6; Poem, vn, orch, 1995

Chbr and solo inst: Duo, vn, pf, 1962; Little Fantasia, pf, 1965; Peristrofi [Giros], 8 str, 1965; 3 Pieces, pf, 1965; Arioso, 9 str, 1967; Versi, cl, 1967; Actinia, wind qnt, 1969; Fragmento I, vc, pf, 1969; Fragmento II, fl, 1970; 7 Greek Folk Melodies, rec ens, 1970; Study I, pf, 1970; Fragment, fl, 1971; Str Qt, 1971; Study II, pf, 1971; Fancy for 6, fl, cl, b cl, tpt, vc, perc, 1972; Nocturne, pf, 1972; Study III, pf, 1973; Phasma [Spectrum], fl, pf, 1978; Horeftiko orama [Dance Vision], cl, trbn, vc, pf, perc, 1980; Skolion, pf, 1984; Kéladhos, pf, 1984–5; Plokes, 2 pf, 1985; 42 syrdoma kommatia [42 Short Pieces], pf, 1986–9; Dialogos, vn, pf, 1989; Triptych, pf, 1989; Anthémion, 2 tpt, hn, tbn, tuba, 1990; A-VE, fl, pf, 1990; Toccata, pf, 1990; Oktaedhron, gui, 1991; Prelude, Aria, Finale, fl, gui, 1991; Allegretto, fl, 1992; Diagramma, cl, va, 1992; Toccata and Ricercare, vc, 1992; Cantilena, vc, pf, 1993; 3 Intermezzi, pf, 1993; Prelude and Dance, cl, pf, 1993; Fantasia, vc, pf, 1994; Capriccio, d, fl, pf, 1996; 5 Miniatures, vn, 1996; 6 Monologues, fl, 1996; Scherzo-Notturno, fl, pf, 1996

Vocal: Carmina (Gk. folksongs), chorus, 1965; Europa Cantat III (Gk. folksongs), chorus, 1967; 2 Rilke Poems, chorus, 1967; 7 Songs (C. Cavafy), S/T, pf, 1981–3; 5 Songs (Cavafy, A. Thémos), S, pf, 1993; 12 Songs (Cavafy), Mez, pf, 1993–7; Rhapsody (Y. Voulgarakis), S, pf, 1994; Aesthematikos peripatos [Sentimental Promenade] (C. Liondakis), Mez, pf, 1997

Principal publishers: Gerig, Moeck, Universal, Möseler, Philippos Nakas, Nomos, Athens Music Society

BIBLIOGRAPHY

N. Slonimsky: ‘New Music in Greece’, MQ, li/1 (1965), 225–35

B. Schiffer: ‘Neue griechische Musik’, Orbis musicae, i (1971–2), 193–201, esp. 197

G. Leotsakos: ‘Ioannidis, Yannis’, Pangosmio viografiko lexico [Universal biographical dictionary], iv (Athens, 1988), 179 only

GEORGE LEOTSAKOS

Ioannotus, Camillus.

See Zanotti, Camillo.

Ionian.

The name assigned by Glarean in the Dodecachordon (1547) to the authentic mode on C, which uses the diatonic octave species c'–c'' divided at g' and consisting of a fourth species of 5th (tone–tone–semitone–tone) plus a third species of 4th (tone–tone–semitone), thus c'–d'–e'–f'–g' + g'–a'–b'–c''. With this octave species identical with the C major scale, the Ionian mode, together with its plagal counterpart, the Hypoionian, is essentially the same as the major mode of tonal music (see Tonality), in which the dominant lies a 5th above the tonic, or principal scale degree.

In the Middle Ages liturgical songs with a final written at c' were regarded as mode 6 transposed up a 5th. There were in principle no medieval modal forms with finals on C, but certain late-composed chants in mode 5 (e.g. the Marian antiphon Alma redemptoris mater) were often written a 4th lower in the Guidonian diatonic system, making them into authentic pieces on C. It is said that the C mode was called tonus (or modus) lascivus, the ‘frolicsome’ or ‘wanton’ mode, in the Middle Ages and considered apt only for secular music. However, there seems to be no direct evidence for this expression in theoretical sources. It appears to originate with Glarean's own reference to the ‘lascivam petulantiam’ (‘frivolous wantonness’) that the Ionian mode possessed according to the ancients, and with his use of the terms lasciva and lascivia to designate the ‘wanton’ use of B in chants of modes 5 and 6 (F modes) and 1 and 2 (D modes): this had the effect, in terms of his putatively reconstructed 12-mode system, of converting them from Lydian–Hypolydian and Dorian–Hypodorian to Ionian–Hypoionian and Aeolian–Hypoaeolian transposed, respectively.

Glarean also classified polyphonic music according to 12 rather than eight modes, and regarded pieces composed round a tonal centre of F and set in cantus mollis (i.e. with a one-flat signature) as embodying the transposition of the Ionian or Hypoionian mode; most 16th-century musicians, however, seemed to consider them as embodying modes 5 and 6 of the traditional set of eight, which from the very beginnings of medieval modal theory had required the prevalence of b over b for their fourth degree above the final, f; thus b corresponds to f' in the Ionian mode (see Lydian and Hypolydian).

HAROLD S. POWERS/R