Contemporary Jewish Music and Culture Spring 2013 Judaic Studies Special Topics 563:225:01 Tuesday and Thursdays 6:10-7:30pm Dr. Mark Kligman ([email protected]) Office Hours Tuesday 5:00-6:00, Room 203
12 College Ave, Rm 107
Course Description This course will look at Contemporary Jewish Music. “Contemporary” for this class is defined as music created from the 1950s to the present. The thrust of this investigation will be Jewish music in America and Israel since the 1970s. In order to contextualize Jewish music in America the music prior to this period, the music of Jews with roots in Europe, will begin our discussion. Issues such as Jewish identity, authenticity, religion and culture will be ongoing in our discussion. One overarching topic is the ongoing nature of tradition and innovation. An ethnographic approach will inform the issues to see your culture plays a role in shaping, informing and intrinsically a part of music in Jewish life. Contemporary music in Israel will also be examined and will highlight some similarities to music in America as well as illustrate key differences. The course will be divided into three almost equal sections: contemporary Jewish music in America in Religious contexts (Orthodox, Conservative and Reform); klezmer music; and, Israeli music. The readings assigned for each course will provide a good deal of historical and contextual information as related to musicians and musical genres. At each class sessionsmusical examples (both audio and video) will demonstrate key musical selections. Historical, informational and cultural background of Jewish life will be part of the readings for each session. For each session prepare the indicated reading and bring the material to class.
Learning Goals: Students will acquire an overview of Jewish music in America since 1970s and situate the music in a broader cultural context. Through analysis of the music students will learn to make connections to issues of identity, revival and innovation. Ethnographic approaches to contemporary culture will be the main approach, emphasis will be given to the ethnographic experience.
There will be three books used in this class that are available for purchase at the Rutgers Bookstore: Marsha Bryan Edelman, Discovering Jewish Music (Philadelphia, The Jewish Publication Society, 2003). This book has a CD in the book which will be used throughout the semester [referred to below as DJM]—ISBN: 082760727X Motti Regev and Edwin Seroussi, Popular Music & National Culture in Israel (Berkeley: University of California Press, 2004) [referred to below as PMNCI]—ISBN: 0520236548 Seth Rogovoy, Essential Klezmer: a Music Lover’s Guide to Jewish Roots and Soul Music, from the Old World to the Jazz Age to the Downtown Avant-Garde (Chapel Hill: Algonquin Books of Chapel Hill, 2000) [referred to below as EK]—ISBN: 1565122445 Harvey Goldberg, ed. The Life of Judaism (Berkely: University of California Press, 2001) [referred to as LJ] ISBN:9780520227538
A few additional readings, various articles, will be provided.
I also provide further readings. If a topic pique’s our interest these readings are to aid your investigation. One study I refer to is: Emanuel Rubin and John H. Baron, Music in Jewish History and Culture (Sterling Heights, MI: Harmonie Park Press, 2006). [referred to below as MJHC]
Grading: There will be five components to the final grade: 1) Essay #1 (3-4 pages) covering the first half of the class material (music of religious communities)—ESSAY #1 DUE MARCH 8 at 6PM 2) An Ethnographic Report (3-4 pages) on the celebration of a Jewish holiday (Purim or Pesach seder or life cycle event). Ethnographic guidelines will be handed out several weeks prior to the assignment due date—ESSAY #2 APRIL 12 at 6PM 3) report (2 pages) on attendance of Jewish music event (concert or program)—DUE May 2 at 6PM 4) final essay (8 pages) on contemporary trends in Jewish music, a essay comparing different styles of Jewish music—FINAL DUE on MAY 10 at 6PM 5) class participation, this includes one posting during the semester of musical material and questions the class should consider. This will be posted to sakai, more information below
Calculation of Final Grade: 1) Essay #1 20% 2) Essay #2 20% 3) Report 10% 4) Final Essay 30% 5) Class participation 20%
ALL essays will be posted to Sakai, LATE ASSIGNMENTS WILL NOT BE ACCEPTED Attendance is required. Since the course meets once a week attendance is important.
Class participation is expected and makes the learning experience rich and interesting. Students are required to come to class on-time and expected to complete the readings and assignments. Use of cell phones and checking email and website is a distraction to all members of the class. Students with three unexcused absences during the semester will have the grade reducaed by one full letter grade (from an A to a B). Students with six or more unexcused absences will receive an F for the course. Students who are unable to attend class regularly for some pressing reason must notify their dean as well as the instructo CLASS SCHEDULE
1) Jan. 22 Introduction to Jewish Music and Jewish Culture Topics: Origins and Developing Traditions Reading: DJM: Ch. 1 and Ch. 2;
2) Jan. 24 Eastern Europe Music and History Topics: Tradition and Innovations Reading: DJM: Ch. 4; LJ Ch, 1 Further Reading: JMHC, Chapter 11, “The History and Development of Jewish Liturgical Music in America”, pp. 231-266
3) Jan. 29 American Liturgical Music Topics: Innovations in a New Context Reading: DJM: Ch. 7
4) Jan. 31 Understanding the Present: Ethnographic Approaches Topics: How to Look at Jewish Culture Reading: Barbara Myerhoff, Number Our Days
5-6) Feb. 5,7 Jewish Music in the Concert Hall Topics: Art Music and Identity Reading: DJM: Chapter 8 and then 6 Further Reading: DJM: chap. 5; David Schiller, Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music (New York: Oxford University Press, 2003)
7-9) Feb. 12-19 Yiddish Theatre and Early American Jewish Pop Music Topics: Retaining the Old Way and Adapting to the New Reading: DJM Ch. 6; Mark Kligman, “Contemporary Jewish Music in America,” American Jewish Yearbook, volume 101: 88-104; Henry Sapoznik, Klezmer! Jewish Music From Old World To Our World (New York: Schirmer Trade Books, 1999), ch 3 & 4. View film: Yidl Mitn Fidl
10-12) Feb. 21-28 Carlebach and Orthodox Music Topics: Bold New Steps, Innovating in America Readings: Yitta Halberstam Mandelbaum, “Biography Rabbi Shlomo Carlebach (1925- 1994),” Holy Brother: Inspiring Stories and Enchanted Tales About Rabbi Shlomo Carlebach (Northvale: Jason Aronson Inc., 1997), pp. xxiii-xxxv; Kligman CJM, pp. 104-129, 133-147; (these readings will be posted to Sakai) DJM Ch. 7, Ch. 11; LJ: Chapters 4-7.
13-14) Mar. 5-7 Sephardic Communities in America Topics: Alternative Experiences from Asheknazic European Jews Readings: Kay Kaufman Shelemay “Prelude Ani Ashir Lakh” and Chapter 3 “A Judeo-Arab Musical Tradition” in Let Jasmine Rain Down: Song and Remembrance (University of Chicago Press, 1998):92-138;
Mark Kligman, “Overall Design of the Syrian Sabbath morning Service” ch 9 & “The Maqamt and the Weekly Biblical Reading” ch. 10 in Maqam and Liturgy: Ritual, Music and Aesthetics of Syrian Jews in Brooklyn (Wayne State University Press, 2009);
Marc Angel, La America: the Sephardic Experience in the United States (New York: Jewish Publication Society, 1982), chapters 4 and 5.
(these readings will be posted to Sakai)
MARCH 8—ESSAY #1 DUE at 6PM (POST TO SAKAI)
15-16) Mar. 12-14 Klezmer Music Reading: EK: Introduction, Ch. 1, Ch. 2, Ch. 3 75-82. Film: Jumpin Night in the Garden of Eden
March 16-24 SPRING BREAK
March 16- April 2 ***PASSOVER NO CLASSES***
17-18) Apr. 4-9 Klezmer: Renaissance and the New Klezmer Reading: EK: Ch. 3, pp. 83-105, Ch. 4 and Ch. 5, view film Further Reading: Mark Slobin, Fiddler on the Move: Exploring the Klezmer World ((Oxford: Oxford University Press, 2000)
APRIL 12--ESSAY #2 DUE at 6PM (POST TO SAKAI)
19-22) Apr. 11-23 Israeli Music: Classical Music in the Jewish State, the Early Settlers Songs of the Land of Israel [Shire Eretz Israel]; folk songs, rock, pop and musika mizrachit Reading: DJM: Ch. 9 & 10 (portions); PMNCI: Introduction, Ch. 3, 7, 8, 9 LJ: 12,13 Various films and clips of Israeli Music Further Reading: DJM Ch. 9; PMNCI: Chapter 1 and 2
23-24) Apr. 25-30 New Trends in Jewish Music; Radical Jewish Culture Readings: DJM Ch. 11: last section; Kligman, “Contemporary Jewish Music.” pp. 129-141; LJ. Ch 10. Tamar Barzel, “An Interrogation of Language: ‘Radical Jewish Culture’ on New York City’s Downtown Music Scene,” Journal of the Society for American Music, vol. 4, no. 2 (2010):215-250.
25) May 2 FINAL PRESENTATIONS
MAY 2 CONCERT REPORT DUE (POST TO SAKAI)
May 10 FINAL ESSAY DUE by 6pm (POST TO SAKAI)
POSTING OF MUSIC MATERIAL: In preparation for each class I will ask you to listen to one or two musical example (audio clip or youtube/online video). We will coordinate through the semester for each of you to post one clip on the Monday prior to a class for everyone to view prior to our Wednesday class. This will be submitted in the discussion tool on Sakai. In addition to posting the clip you will also submit a question for us to think about when viewing the clip.
Academic integrity. Please see the following link Rutgers' current academic integrity policy: http://academicintegrity.rutgers.edu/integrity.shtml
Students with disabilities. students with disabilities who request accommodations must follow the procedures outlined at: http://disabilityservices.rutgers.edu/request.html