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JEWS and JAZZ (Lorry Black and Jeff Janeczko)
UNIT 8 JEWS, JAZZ, AND JEWISH JAZZ PART 1: JEWS AND JAZZ (Lorry Black and Jeff Janeczko) A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC UNIT 8: JEWS, JAZZ, AND JEWISH JAZZ, PART 1 1 Since the emergence of jazz in the late 19th century, Jews have helped shape the art form as musicians, bandleaders, songwriters, promoters, record label managers and more. Working alongside African Americans but often with fewer barriers to success, Jews helped jazz gain recognition as a uniquely American art form, symbolic of the melting pot’s potential and a pluralistic society. At the same time that Jews helped establish jazz as America’s art form, they also used it to shape the contours of American Jewish identity. Elements of jazz infiltrated some of America’s earliest secular Jewish music, formed the basis of numerous sacred works, and continue to influence the soundtrack of American Jewish life. As such, jazz has been an important site in which Jews have helped define what it means to be American, as well as Jewish. Enduring Understandings • Jazz has been an important platform through which Jews have helped shape the pluralistic nature of American society, as well as one that has shaped understandings of American Jewish identity. • Jews have played many different roles in the development of jazz, from composers to club owners. • Though Jews have been involved in jazz through virtually all phases of its development, they have only used it to express Jewishness in a relatively small number of circumstances. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
History and Art
Mediterranean, Knowledge, Culture and Heritage 6 Erminio FONZO – Hilary A. HAAKENSON Editors MEDITERRANEAN MOSAIC: HISTORY AND ART 0 - 8 0 - 99662 - 88 - 978 ISBN Online: ISBN Online: Mediterranean, Knowledge, Culture and Heritage 6 Mediterranean, Knowledge, Culture and Heritage Book Series edited by Giuseppe D’Angelo and Emiliana Mangone This Book Series, published in an electronic open access format, serves as a permanent platform for discussion and comparison, experimentation and dissemination, promoting the achievement of research goals related to three key topics: Mediterranean: The study of southern Europe and the Mediterranean world offers a historical perspective that can inform our understanding of the region today. The findings collected in this series speak to the myriad policy debates and challenges – from immigration to economic disparity – facing contemporary societies across the Great Sea. Knowledge: At its core, this series is committed to the social production of knowledge through the cooperation and collaboration between international scholars across geographical, cultural, and disciplinary boundaries. Culture and Heritage: This series respects and encourages sharing multiple perspectives on cultural heritage. It promotes investigating the full scope of the complexity, hybridity, and morphology of cultural heritage within the Mediterranean world. Each manuscript will be submitted to double-blind peer reviewing. Scientific Board Ines Amorin (UP – Portugal), Paolo Buchignani (UNISTRADA – Italy), Rosaria Caldarone (UNIPA -
What Would Google Do?
·G""gl~ i, ""t just a rompany. it is an entirely ""... ...~y oj thh'klng. Jarvi. h.... """" Iklml1hing "'~lIy imlJOrian~ ,-",,,...J that ~pp"""'h tu ~ ........ ;ond <'UltUI\'. ",,,,"'ing iu" how ..... oIutionary it;'" - CHIUS AND(KSQ:-l. au~oI Tlorloolg TMl Jeff Jarvis What Would Google Do? Jeff Jarvis For Tammy, Jake, and Julia Contents WWGD? 1 Google Rules 9 New Relationship 11 • Give the people control and we will use it • Dell hell • Your worst customer is your best friend • Your best customer is your partner New Architecture 24 • The link changes everything • Do what you do best and link to the rest • Join a network • Be a platform • Th ink distributed New Publicness 40 • If you’re not searchable, you won’t be found • Everybody needs Googlejuice • Life is public, so is business • Your customers are your ad agency New Society 48 • E l e g a n t o r g a n i z a t i o n New Economy 54 • Small is the new big • The post-scarcity economy • Join the open- source, gift economy • The mass market is dead—long live the mass of niches iv Contents • Google commodifi es everything • Welcome to the Google economy New Business Reality 70 • Atoms are a drag • Middlemen are doomed • Free is a business model • Decide what business you’re in New Attitude 82 • There is an inverse relationship between control and trust • Trust the people • Listen New Ethic 91 • Make mistakes well • Life is a beta • Be honest • Be transparent • Collaborate • Don’t be evil New Speed 103 • Answers are instantaneous • Life is live • Mobs form in a fl ash New Imperatives 109 -
Society for Ethnomusicology 60Th Annual Meeting, 2015 Abstracts
Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92). -
SEE the Berkshire Jewish Voice Programs Take Place Mondays and Thursdays at 10:45 A.M
Non-Profit Org. U.S. POSTAGE PAID Pittsfield, MA Berkshire Permit No. 19 JEWISHA publication of the Jewish Federation of the Berkshires, serving V the Berkshires and surrounding ICE NY, CT and VT Vol. 23, No. 6 Av/Elul 5775 July 17 to September 3, 2015 jewishberkshires.org World-Famous Maccabeats to Engaging With Israel Headline the Federation’s Berkshire Residents Travel on Missions Summer Concert to Work, Learn, and Connect A cappella group to bring their harmonic song stylings to Lenox for a special all-ages performance Visiting Israel as part of an organized group with a specific purpose – to volunteer, to fundraise, to participate in cross-cultural exchanges – is a particularly enriching way to engage Israel’s culture, people, and society, as well as a way to meet like- minded Diaspora Jews from around the world. This issue of the BJV features the first of an ongoing series of special sections called “Engaging With Israel,” in which we tell the stories of some of the many members of our Jewish community who are participating in these types of outreach programs in the Holy Land. In this issue, a Brandeis professor describes his research on the power of Taglit-Birthright Israel, we report on a group founded in LENOX – On Sunday, August 2, the anniversary, with proceeds to benefit the Berkshires that is bridging cultural divides through music, and also share the Jewish Federation of the Berkshires the Jewish Agency for Israel’s Fund for experiences of diehard Berkshire bicyclists who each year ride in Israel to raise presents the Maccabeats, whose tune- Victims of Terror. -
Introduction to Judaism University of Southern California and Hebrew Union College-Jewish Institute of Religion
JS 180: Introduction to Judaism University of Southern California and Hebrew Union College-Jewish Institute of Religion Fall 2005 Professor Sarah Bunin Benor Tuesdays & Thursdays, 3:30-4:50pm E-mail: [email protected] Classroom: 110 HUC Phone: 213-765-2124 Office: Hebrew Union College, Rm. 8 (basement) Office hours: by appointment This class is an introduction to Jewish beliefs, practices, and history from the biblical period to the present. Students will become familiar with Jewish holidays, lifecycle events, and philosophical issues by reading key texts of the Jewish tradition. The diversity within the Jewish world - according to geography, gender, and modern religious movement - will be represented. Required texts (available at the USC bookstore – please bring the designated texts to class) Tanakh: The Holy Scriptures, The New JPS Translation According to the Traditional Hebrew Text, Jewish Publication Society of America, 1st Special edition, 1985. Back to the Sources: Reading the Classic Jewish Texts, edited by Barry W. Holtz, Simon & Schuster, 1986. The Jewish Way: Living the Holidays, by Rabbi Irving Greenberg, Simon & Schuster, 1988/1993. The Jewish Cultural Tapestry: International Jewish Folk Traditions, by Steven M. Lowenstein, Oxford University Press, 2002. The Life of Judaism, edited by Harvey E. Goldberg, University of California Press, 2001. The Sabbath, by Abraham Joshua Heschel, Farrar, Straus and Giroux, 1975. Course reader. Course Requirements I. Regular attendance and participation are essential for the creation of a stable, stimulating learning environment and are therefore required. You will be held responsible for all material presented in class, as well as the reading assignments. II. Critical comprehension of assigned readings and knowledgeable engagement in class discussions are essential. -
Jewish Music
Jewish Music A Concise Study by Mehmet Okonşar [the appendices, containing copyrighted material are removed in this copy] Released by the author under the terms of the GNU General Public Licence Contents Introduction: What Is Jewish Music? 1 How Many Jewish Musics? 4 The Three Main Streams . 4 Ashkenazi and the Klezmer . 4 Sephardi.............................. 5 Mizrahi . 6 Sephardi or Mizrahi? . 6 Genres of Liturgical Music 8 Music in Jewish Liturgy . 8 Genres, Instruments and Performers . 9 Generalities . 9 Bible Cantillation . 9 The Cantor . 12 Prayer-Chant . 12 Piyyutim .............................. 13 Zemirot .............................. 13 Nigunim .............................. 13 Biblical Instrumentarium . 15 Usage of Musical Terms in Hebrew . 19 The Biblical soggetto cavato ...................... 20 Summary of the Archaeological Aspects of Jewish Music . 21 Some Jewish Composers 22 Salomone Rossi (1570-1630) . 22 Felix Mendelssohn (1809-1847) . 25 Fromental Hal´evy (1799-1862) . 29 Giacomo Meyerbeer (1791-1864) . 32 Ernest Bloch (1880-1959) . 35 Georges Gershwin (1898-1937) . 38 ii Arnold Schoenberg (1874-1951) . 39 Conclusion on Jewish Composers . 43 Jewish Music by non-Jewish Composers 45 Max Bruch and Kol Nidrei ....................... 45 Kol Nidrei . 45 Maurice Ravel (1875-1937) and Kaddish-Deux M´elodies H´ebra¨ıques 50 Sergei Prokofieff and Overture sur des Th`emesJuifs . 54 Dmitri Shostakovich (1906-1975) and Babi Yar . 55 In The Twenty-first Century 60 Diversification . 60 Appendices 62 Radical Jewish Culture by John Zorn . 62 Russian Society for Jewish Music . 64 Jewish Music Research Centre . 66 Wagner and the “Jewness” in Music . 67 The original article of 1850 . 67 Reception of the 1850 article . 69 1850-1869 . 69 The 1869 version and after . -
The Power of Song Q
Q & A with Rita ROTH Author of The Power of Song Q. Why do you think that people are drawn to folktales? A. I believe it is their simple, direct approach to meaningful life experience. Born of the oral tradition, they address issues that are common to all cultures, yet are wrapped in a particular world-view. Jewish folktales are unique in that the Diaspora placed Jews within diverse cultures where their secular tales, tempered with the sounds of the cultures they inhabited, maintain a strong Jewish voice. This could not be more evident than in Sephardic tales. Q. Could you give an example of how these tales reflect Spanish culture? A. In one tale with a strong Spanish feel, a rabbi in training hears that el Cid, Alfonso VI’s famous general, has conquered Valencia. He takes el Cid a gift to assure that Jews, who had been living peacefully with Muslims, would not be harmed by Christian rule. But you need to remember Sephardic Jews are Jews from Spain, but not only Spain. They were expelled during the Inquisition in 1492 and they scattered throughout Europe, North Africa, and the Middle East. As a result, their tales not only reflect a Spanish heritage, but also the various new cultures where they settled. For example, while preserving Hebrew as the language of their faith, they developed secular languages of their own—Judeo-Spanish (Ladino), Judeo-Arabic, Judeo-Greek, Haketia. Q. How did the tales in The Power of Song come together? Where did you find them, what cultures do they represent? A. -
A Framework for Open Source Projects
A Framework for Open Source Projects Master Thesis in Computer Science submitted by Gregor J. Rothfuss [email protected] of Zurich, Switzerland Register No. 97-711-915 Supervisor: Prof. K. Bauknecht Department of Information Technology University of Zurich Zurich, November 12, 2002 Abstract The historical roots of Open Source are outlined. A comparison between Open Source projects and classical projects highlights strengths and weaknesses of both, and defines their attributes. Existing Open Source theories are evaluated, and the requirements for a framework for Open Source projects are determined. The framework introduces the notions of actors, roles, areas, processes and tools, and depicts their interrelationships in a matrix. Each aspect of the framework is then further developed to serve both as a conceptual foundation for Open Source and a help for organizing and managing Open Source projects. Die Geschichte von Open Source wird aufgezeigt. Ein Vergleich zwischen Open Source und klassischen Projekten beleuchtet Stärken und Schwächen beider Ansätze, und definiert deren Atribute. Existierende Open Source Theorien werden evaluiert, und die Anforderungen für ein Rahmenwerk über Open Source ermittelt. Das Rahmenwerk führt die Begriffe Akteur, Rolle, Bereich, Prozess und Werkzeug ein und illustriert deren Zusammenspiel in einer Matrix. Die einzelnen Aspekte des Rahmenwerks werden vertieft und dienen als konzeptuelle Grundlage für Open Source sowie helfen bei der Organisation und dem Management von Open Source Projekten. 2 Acknowledgements I would like to thank Prof. Dr. Kurt Bauknecht, head of the “Information Management” research group at the Department of Information Technology at the University of Zurich who made this master thesis possible. I would like to thank for valuable discussions and suggestions Carl P. -
Torah (/ˈtɔːrəˌˈtoʊrə/; Hebrew: הרָוֹתּ, “Instruction, Teaching”)
Torah Sefer Torah at old Glockengasse Synagogue (reconstruction), Cologne ,Instruction“ ,ּתֹוָרה :Torah (/ˈtɔːrəˌˈtoʊrə/; Hebrew Teaching”), or the Pentateuch (/ˈpɛntəˌtuːk, -ˌtjuːk/), is the central reference of the religious Judaic tradition. It has a range of meanings. It can most specifically mean the first five books of the twenty-four books of the Tanakh, and it usually includes the rabbinic commen- Silver Torah Case, Ottoman Empire Museum of Jewish Art and taries. The term Torah means instruction and offers a way History of life for those who follow it; it can mean the continued narrative from Genesis to the end of the Tanakh, and it can even mean the totality of Jewish teaching, culture and generation to generation and are now embodied in the practice.[1] Common to all these meanings, Torah con- Talmud and Midrash.[2] sists of the foundational narrative of the Jews: their call According to rabbinic tradition, all of the teachings found into being by God, their trials and tribulations, and their in the Torah, both written and oral, were given by God covenant with their God, which involves following a way through Moses, a prophet, some of them at Mount Sinai of life embodied in a set of moral and religious obliga- and others at the Tabernacle, and all the teachings were tions and civil laws (halakha). written down by Moses, which resulted in the Torah we In rabbinic literature the word “Torah” denotes both the have today. According to a Midrash, the Torah was cre- Torah that is ated prior to the creation of the world, and was used as the“ ,תורה שבכתב) five books, Torah Shebichtav -blueprint for Creation.[3] The majority of Biblical schol תורה) written”), and an Oral Torah, Torah Shebe'al Peh Torah that is spoken”). -
Jewish Culture 1 Jewish Culture
Jewish culture 1 Jewish culture Jewish culture is the international culture of the Jews. Since the formation of the Jewish nation in biblical times the international community of Jewish people has been considered a tribe or an ethnoreligious group rather than solely a religion. Judaism guides its adherents in both practice and belief, so that it has been called not only a religion, but an orthopraxy.[1] Not all individuals or all cultural phenomena can be classified as either "secular" or "religious", a distinction native to Enlightenment thinking.[2] Jewish culture in its etymological meaning retains the linkage to the land of origin, the people named for the Kingdom of Judah, study of Jewish texts, practice of community charity, and Jewish history. The term "secular Jewish culture" therefore refers to many aspects, including: Religion and World View, Literature, Media, and Cinema, Art and Architecture, Cuisine and Traditional Dress, attitudes to Gender, Marriage, and Family, Social Customs and Lifestyles, Music and Dance.[3] "Secular Judaism," is a distinct phenomenon related to Jewish secularization - a historical process of divesting all of these elements of [4] culture from their religious beliefs and practices. Sephardi Jewish couple from Sarajevo in traditional clothing. Photo taken in 1900. Secular Judaism, derived from the philosophy of Moses Mendelssohn,[5] arose out of the Haskalah, or Jewish Enlightenment, which was itself driven by the values of the Enlightenment. In recent years, the academic field of study, has encompassed Jewish Studies, History, Literature, Sociology, and Linguistics. Historian David Biale[6] has traced the roots of Jewish secularism back to the pre-modern era.