벤저민 프랭클린
93% 프로필 일치도
Sam Felder, CC BY-SA 2.0, via Wikimedia Commons · Photograph of Yo-Yo Ma by Sam Felder, taken 29 June 2002 at the Smithsonian Folklife Festival, Washington, D.C. (Flickr photo 231060669 'Yo Yo Ma at the folklife festival'); the live Flickr photo page shows the licence CC BY-SA 2.0 and date taken 2002-06-29 (checked 2026-10-24, consistent with the Commons page); Commons file 'Yo-Yo Ma.jpg' is a crop of that photo, tagged cc-by-sa-2.0 with a FlickreviewR pass (8 January 2007) and carries a personality-rights notice. Commons file dimensions 361 x 591 pixels, SHA-1 11d10a6751f4f02ec10e75258b30b10a6248dbd7 (matches the downloaded file); saved unchanged, never resized or upscaled. CAVEATS: low resolution, and parts of other people appear at the picture edges. Rejected: the Wikidata P18 file 'Yo-Yo Ma in 2018 (cropped).jpg' (Joi Ito, CC BY 2.0, 2141 x 2333) because its Flickr source page (photo 43965848294) returned an error page on 2026-10-24, so the licence could not be re-verified live and the only record is the Commons review of 2020 without an archive capture; next step if a better image is wanted: re-check that page or obtain an archive capture. · CC BY-SA 2.0 (photo-level licence on Flickr by Sam Felder; Commons FlickreviewR passed)
음악가 · 현대
요요 마
b. 1955
주요 업적 분야
예술문화교육
아직 성격 매칭에 포함되지 않았습니다 — 기록된 근거가 성격 모델 전체를 다루기에는 충분하지 않습니다. 이 페이지의 다른 모든 내용은 자유롭게 확인하실 수 있습니다.
핵심 특성
주요 업적
그의 세대를 대표하는 첼리스트의 한 사람이 되어 독주 첼로 레퍼토리 대부분을 녹음했고, 1984년부터 1997년 사이에 그래미상을 열 차례 받았다. 또한 동시대 미국 작곡가들의 작품을 위촉하고 초연했다.
바흐의 무반주 첼로 모음곡을 대표 레퍼토리로 삼았다. 1984년 이 녹음으로 그래미상을 받았고, 1990년대에는 춤, 건축, 정원 디자인 등 다른 예술과 모음곡을 결합한 영상 시리즈를 선보였다.
1998년 실크로드 지역 출신 음악가들을 모아 '실크로드'를 구상했다. 이 프로젝트는 앙상블이자 새 음악을 위촉하고 교육 프로그램을 운영하는 비영리 단체로 발전했으며, 비평가들은 그 협업을 칭찬하는 한편 깊이에는 의문을 제기했다.
삶의 장면들
탱고 음반 「소울 오브 더 탱고」를 위해 로스트로포비치가 피아졸라의 「르 그랑 탱고」를 리허설하는 녹음을 연구하고 부에노스아이레스로 가 탱고 클럽을 찾아다녔다.
이는 낯선 전통을 연주하기 전에 그 안에 몰입하는 습관과 부합한다. 호기심
1990년대에 안무가 마크 모리스, 가부키 예술가, 정원 디자이너, 아이스 댄서, 영화감독 등과 함께 바흐 첼로 모음곡의 영상 작품을 선보였다.
이는 핵심 작품을 다른 예술 형식과의 협업으로 시험해 보려는 태도와 부합한다. 분야 횡단성
전환점
1998년 실크로드를 시작하면서 독주와 실내악 연주에서 여러 전통의 음악가들을 모아 함께 작품을 만들고 위촉하는 활동으로 영역을 넓혔다.
이는 독주자로서의 경력을 넘어 장기 프로젝트를 시작하고 이끄는 주도성과 부합한다. 선제적 행동력
비슷한 인물
전체적인 프로필이 이 사람과 닮은 사람들이에요.
출처
- Yo-Yo Ma (Q234891) -- verified live via the Wikidata API (2026-10-24): English label 'Yo-Yo Ma', description 'American cellist (born 1955)', Korean label '요요 마', born 7 October 1955, no death date, P18 'Yo-Yo Ma in 2018 (cropped).jpg'. Orientation only; not used as support for any row.
- Encyclopedia.com, 'Yo-Yo Ma' (encyclopedia.com), page read in full as raw text; it reproduces two reference entries (a Contemporary Musicians-style profile and a longer biographical entry written in the late 1990s). They describe a world-famous cellist who has recorded most of the solo cello repertoire; his Avery Fisher Prize (1978), ten Grammy awards between 1984 and 1997 including Bach's unaccompanied suites, and more than 45 albums; his long partnership with pianist Emanuel Ax and collaborations with artists from Isaac Stern to Bobby McFerrin, Mark O'Connor and Edgar Meyer; commissions and premieres of works by American composers; the MIT hypercello (1991); the 1990s Bach suite films with choreographer Mark Morris, a Kabuki artist, a garden designer and others; the Piazzolla project, for which he studied a Rostropovich rehearsal tape and toured Buenos Aires tango clubs; and educational outreach in his touring. A reviewer-style comment notes his tone is silkier than some rivals'. CANONICAL SIGNIFICANCE SOURCE. Reference compilation drawn largely from interviews and promotional material, admiring; its passages on his childhood, family, surgery and personal life were not used.
- Silkroad, 'About' page (silkroad.org), read in full: the organisation's own account that Yo-Yo Ma conceived Silkroad in 1998, convened musicians from the lands of the Silk Road to co-create new music from the question 'What happens when strangers meet?', and that it now runs as both a touring Grammy-winning ensemble and a nonprofit with educational partnerships, commissions of new music and social-impact programmes under artistic director Rhiannon Giddens. Organisation's self-description (promotional, SELF-SOURCE); used only to establish what the project is and when it began, never as sole support for a trait.
- Georgia Straight (Vancouver) profile of Yo-Yo Ma ahead of a Silk Road Ensemble concert (straight.com, c. 2010), read in full: his willingness to accompany non-classical performers and play across genres (with Bobby McFerrin, Bela Fleck and Jake Shimabukuro), the Silk Road Ensemble described as a loose collective of about 60 musicians, his account that he finds talented 'standard-bearers' of their traditions through connected people, commissions and creates works with them and learns their traditions, and his remark that a professional 'aspires toward the condition of the amateur'. Interview-based press profile; the writer's praise of his 'selflessness' is the journalist's own framing and the self-descriptions are his own. Remarks about political figures he has accompanied were not used.
- Midwest Film Journal, 'The Music of Strangers: Yo-Yo Ma and the Silk Road' (6 July 2015), read in full: review of Morgan Neville's documentary describing the Silk Road Project as colleagues learning from one another across traditions over sixteen years (six albums, 33 nations), Ma shown as 'ready pupil rather than a protean titan', unguarded backstage moments, a performance in which his Bach Suite No. 1 prelude becomes the underscore for a Chinese-language ballad, and the critique, which the film lets stand, that the project's 'cultural tourism' is meant to monetise a wide audience. Film review by an outside writer built on a documentary the project cooperated in; admiring but names the commercialism objection.
- Alan Rich, 'The Slick Road Project', So I've Heard (13 November 2002), read in full: a veteran critic's review of a Silk Road Project concert at UCLA's Royce Hall, saying Ma plays Bach and Beethoven as well as anyone, that the project's program was 'a curiously unsatisfying' sampling of too much in too little time though with strong performances (Kayhan Kalhor, Sandeep Das, Wu Man, Khongorzul Ganbaatar), that he wishes Ma would play the Bach suites more often and dislikes the 'sexy videos' made around them, and that Ma sells out halls like no other cellist. COUNTER-VOICE (critical, 2002, one critic's blog-hosted review reprinted from a newspaper-style column).