F E S T I V a L E-Werk FREIBURG
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Curriculum Vitae
Name: Taiseer Elias Date: 08/11/2015 CURRICULUM VITAE 1. Personal Details Permanent Home Address: P.O. Box 686, El-Fawar, 20200 Shefaram, Israel Home Telephone Number: (04) 986-2365 Office Telephone Number: (04) 828-8481 Cellular Phone: (050) 780-5055 Fax Number: (04) 986-2365 Electronic Address: [email protected] 2. Higher Education . A. Undergraduate and Graduate Studies Period of Name of Institution Degree Year of Approval of Study and Department Degree 1974–79 Rubin Conservatory graduated cum 1979 of Music - Haifa laude 1980–83 Jerusalem Academy performance and - of Music and Dance music education 1983–85 Hebrew University B.A. in 1985 of Jerusalem: musicology cum Musicology laude; Department minor in Arabic literature and language, and Theatre. 1986–91 Hebrew University M.A. in 1991 of Jerusalem: musicology cum Musicology laude Department 2001–07 Hebrew University Ph.D. in 2007 of Jerusalem: Musicology Musicology Department 1 B. Post-Doctoral Studies NONE 3. Academic Ranks and Tenure in Institutes of Higher Education Dates Name of Institution and Rank/Position Department 1982-1983 David Yellin Teachers Music Lecturer College, Jerusalem 1993 Oranim College, Tivon Music Lecturer 1993-1995 Arab Teachers Training Music Lecturer Institute - Beit Berl College, Kfar Saba 1996-Present Jerusalem Academy of Music Professor of Violin, and Dance: Eastern Music Oud, Singing and Department Theory - Adjunct Associate Professor (with tenure) 2001– 2011 Bar-Ilan University – Professor of Theory - Department of Music Adjunct Associate Professor -
Hendler, Music for Peace in Jerusalem, Senior Thesis
Music for Peace in Jerusalem A Senior Essay in International Studies Micah Hendler Calhoun College 2012 Music and International Studies December 9, 2011 Hendler 1 TABLE OF CONTENTS I. INTRODUCTION 3 II. THE ISRAELI-PALESTINIAN CONFLICT AND TRACK TWO DIPLOMACY 6 The History Track Two Diplomacy III. STRUCTURING ENCOUNTERS 12 The Contact Hypothesis and its Critiques Interpersonal vs. Intergroup Interaction The Dilemma of Politics Dialogue Skills Measuring Success IV. MUSIC IN THE ISRAELI-PALESTINIAN CONFLICT 20 Music for the Liberation of Palestine Songs of the Land of Israel Challenging the Musical Boundaries of Israel V. MUSIC AS A PEACEMAKING TOOL IN ETHNIC CONFLICT 26 Identity-Transformation and Prejudice-Reduction Music Therapy Techniques in Dialogue Finding Musical Common Ground Empowerment and Self-Expression Hendler 2 VI. SEEDS OF PEACE INTERNATIONAL CAMP FOR COEXISTENCE IN MAINE: AN IDEAL CASE 39 The Structure of Camp Music at Seeds of Peace VII. JERUSALEM FIELDWORK 45 Research Design Jerusalem Case Study #1: Project Harmony Jerusalem Case Study #2: Heartbeat Jerusalem Jerusalem Case Study #3: Seeds of Peace Regional Programming Methodological Difficulties VIII. ANALYSIS 55 Empowerment and Self-Expression Politics, Interpersonal vs. Intergroup Interaction, and Prejudice-Reduction Incentives and Roadblocks: Fun vs. Normalization Cultural Intersections and Tensions: Finding Musical Common Ground IX. DISCUSSION 68 Interaction, Incentives, and Prejudice-Reduction Empowerment and Self-Expression in Context The Importance of Locating Musical Common Ground in Jerusalem X. CONCLUSION 77 Hendler 3 I. INTRODUCTION The Israeli-Palestinian conflict is one of the most intractable ethnic conflicts in the world. A fight over the land of Israel/Palestine that has been compounded by decades of diverging narratives, psychosocial enculturation of fear, and mutual violence, the discord that lies at the heart of this conflict runs deep—so deep that conventional forms of negotiation have thus far proved futile. -
Download Booklet
Jaipur to Cairo 1 Jaunpuri (Morning Song) (Kevin Bishop) 11:36 Love Songs (Reza Vali) 6:46 2 No. 1 Armenian Love Song 1:35 3 No. 2 In Memory of a Lost Beloved 3:21 4 No. 3 Love Drunk 1:49 Afghan Suite No. 2 (Kevin Bishop) 11:09 5 I. Arghawan 3:28 6 II. Merawi Keja Keja Yaraman 3:31 7 III. Sabzina Rang 4:08 Calligraphies (Reza Vali) 12:07 8 No. 1 “Hazin” 4:36 9 No. 2 “Zánd” 3:42 10 No. 3 “Aksak” 3:47 11 The Oldest Song in the World (Sadie Harrison) 6:10 12 Ten Variations for Oboe, Piano and Strings (Gilad Cohen) 14:25 13 Rhapsody for Piano and Strings (Mohamed-Aly Farag) 9:55 Total duration: 72:37 Cuatro Puntos Resident Musicians: Kevin Bishop (viola/zerbaghali) | Aaron Packard (violin) | Annie Trépanier (violin) Steve Larson (viola) | Allan Ballinger (cello) | Andrew O’Connor (contrabass) Charles Huang (oboe) | Mohamed Shams (piano) The Music 1 Jaunpuri (Morning Song) for string quartet Kevin Bishop Jaunpuri (Morning Song) is an originally-composed work that largely follows the rules, style, and mood associated with Raag Jaunpuri, one of the hundreds of ragas from the Hindustani (North Indian) classical music tradition. Hindustani classical music is based entirely around melodic interaction with rhythm. Each raag provides a specific set of notes and rules for how they may be used. By following the given rules a performer, or in this case a composer, may create an original piece while still preserving the mood of the raag. Raag Jaunpuri conveys a contemplative mood, and is meant to be performed in the late morning hours. -
Archive: Enewsletter December 2011 UC Berkeley Department of Music A
Archive: eNewsletter December 2011 UC Berkeley Department of Music A Letter from the Chair ................................................................................................................................. 3 Featured Stories ............................................................................................................................................ 4 A Music Student recently had the opportunity to accompany Chancellor Birgeneau to Shanghai ......... 4 Visiting Postdocs bring unique research interests and popular classes to the Music Department. ........ 4 Graduating student starts a musical theatre tradition ............................................................................. 4 The Music Department offers a wide array of performances on Cal Day ................................................ 4 Collections of the Hargrove Music Library were on display at the invitation of the Antiquarian Bookseller's Association of America ......................................................................................................... 5 Precious instruments donated to the department provide Berkeley students the chance of a lifetime . 5 Student wins second place in national performance competition on a donated instrument—the 19th‐ century Ted Rex cello ................................................................................................................................ 6 Emeritus professors honored for their distinguished contributions to scholarship, and for their cherished activities over the -
2015 South of the Border.Pdf
• • Zamir South of the Border a sizzling concert of music from Latin America Thursday, June 4, 2015 Temple Emanuel, Newton, MA 1320 Centre Street, Suite 306 Joshua R. Jacobson, Artistic Director Newton, MA 02459 www.zamir.org • [email protected] honoring Cantor Elias Rosemberg • Zamir• South of the Border a sizzling concert of music from Latin America Thursday, June 4, 2015 Temple Emanuel, Newton, MA Joshua R. Jacobson, Artistic Director honoring Cantor Elias Rosemberg Cantor Elias Rosemberg Born into a musical family in Buenos Aires, Argentina, Elias Rosemberg began studies in 1991 at Seminario Rabínico Latinoamericano and obtained the degree of Hazzan and Singing Professor in 1994. In addition to his vocal training, he studied music theory and harmony and completed a five-year program in Pathology, Audiology and Speech Therapy at the University of Buenos Aires. A concert and wedding performer in the Buenos Aires area, Cantor Rosemberg won the vocal contest: “Argentina Sings for Israel,” organized by the Israeli Embassy of Argentina in 1998. He served as cantor in Buenos Aires and, after he moved to the US, was cantor at Temple Emeth in Chestnut Hill. He is currently the cantor of Temple Emanuel in Newton, the largest Conservative synagogue in New England. In addition to his cantorial duties at Temple Emanuel, Cantor Rosemberg performs regularly with the Bostonian Opera and Concert Ensemble and the Zamir Chorale of Boston. He serves as the New England Region Chair for the Cantors Assembly, is the immediate past president of the New England Board of Cantors and has served on the faculty of the Cantor-Educator program at Hebrew College as a cantorial coach. -
C.Dergisi Kapak Web Icin 2014.Indd
01 SUNUŞ 2. İSTANBUL CAZ FESTİVALİ Sunuş Presentation Hayata dair iyi şeylerden biri en We aimed to remain as one of olarak kalmak hissiyle, yeniyi the good things about life, to keşfederek, eskiyle özlem gidererek, discover the new and to fulfil our her şeyden önemlisi iyi müzikle, longing for the past through a solid nitelikli konserlerle, ayağı yere festival with good music and top- basan dolu dolu bir festival ortaya quality performances, which surely çıkarmak istedik. Umarız comes first. We hope we made it. başarmışızdır. Birlikte, müzikle, aynı All together, with music, in a hisleri paylaşmak üzere… feel-good mood, until then... pelİn opcİn İstanbul caz Festivali Direktörü Istanbul Jazz Festival Director Sunuş Presentation Evrensel çoksesli müziğin en The Istanbul Jazz Festival is yayılmasına, toplumun her celebrating its 21st year as a vehicle kesiminini kucaklayan cazın that helps the popularization of müzikseverlerle etkileşimine olanak universal polyphonic music and sağlayan İstanbul Caz Festivali, the interaction between music 21. yaşını kutluyor. Uzun yıllardır lovers and jazz which embraces all İKSV’nin çabalarıyla gerçekleştirilen walks of life. We’re happy to have festivali “Garanti Caz Yeşili”mizle been a sponsor for 17 years with 17 yıldır desteklemekten mutluluk our “Garanti Jazz Green” to the duyuyoruz. festival that’s been brought to life eRGUn ÖZen İstanbul Caz Festivali’nin bireye through the endeavours of the Festival Sponsoru ve topluma kattığı artı değeri, yüz IKSV since long ago. Garanti Bankası Genel Müdürü güldüren ve yaz günlerini daha As we think about the value the General Manager of Garanti Bank, aydınlık kılan yanını düşündükçe, Istanbul Jazz Festival adds to Sponsor of the Festival İKSV ile sürdürdüğümüz individuals and society, and how it dostluğun ve yol arkadaşlığının lights up our faces with the extra ne kadar değerli olduğunu bir brilliance it brings to the summer kez daha anlıyoruz. -
International Commissioning and Touring Report Page 53
International Commissioning and Touring Report Page 53 APPENDICES Appendix A - Project Participants Appendix B - Case Study Interview Guide Appendix C - CASE STUDY SUMMARIES Appendix D - Data Collection Technical Appendix Appendix E - Examples of Projects with U.S./Non-U.S. Public/Private Funding Mix International Commissioning and Touring Report A-1 APPENDIX A PROJECT PARTICIPANTS ADVISORY COMMITTEE Alicia Adams Director of Special Programming The John F. Kennedy Center for the Performing Arts Washington,D.C. 20566-0001 Lisa Booth President Lisa Booth Management, Inc. 145 West 45th St., #602 New York, NY 10036 Bau Graves Artistic Director Center for Cultural Exchange One Longfellow Square Portland, ME 04101 Sylvia Sherman Artistic Director La Pena Cultural Center 3105 Shattuck Avenue Berkeley, CA 94705 Roberta Uno Artistic Director New World Theater University of Massachusetts P.O. Box 31810 Amherst, MA 01003 International Commissioning and Touring Report A-2 Miami Focus Group Meeting Miami-Dade Community College, Wolson Campus May 26, 1999 Participants Ed Allen Fantasy Theatre Project, Miami, FL Sheila Austin Miami-Dade Cultural Affairs Council, Miami, FL Elizabeth Boone Miami Light Project, Miami, FL Susan Cataballo INDAMI Intercultural Dance & Music, Miami, FL Ina Dittke Rhythm Foundation, Miami, FL Dr. William Hipp School of Music, University of Miami, Miami, FL Mary Luft Tigertail Productions, Miami, FL Jan Mapou Sosyete Koukouy, Miami, FL Georgianna Pickett Cultural Affairs Department, Miami-Dade Community College, Miami, FL Sydney -
An Evening of Jewish and Israeli Jazz
The Zamir Chorale of Boston Joshua Jacobson, Artistic Director Jazzamir An Evening of Jewish and Israeli Jazz Sunday, June 6, 2010 Sanders Theatre, Cambridge Program I Got Rhythm (from Girl Crazy) George Gershwin (arr. C. Clapham) Deborah Melkin, solo Summertime (from Porgy and Bess) George Gershwin Susan Rubin, solo There’s a Boat (from Porgy and Bess) George Gershwin (arr. R. Solomon) Peter Bronk, Lawrence E. Sandberg, Sarah Boling, Anne Levy, soli Yiddisha Charleston Fred Fisher (arr. A. Bailey & J. Jacobson) Ba Mir Bistu Sheyn Sholom Secunda (arr. A. Bailey & J. Jacobson) Susan Rubin, Deborah Melkin, Deborah West, trio And the Angels Sing Ziggy Elman (arr. A. Bailey & J. Jacobson) Oy Mame, Bin Ikh Farlibt Abe Ellstein (arr. J. Jacobson) Lidiya Yankovskaya, solo Adon Olam (from And David Danced before the Lord) Charles Davidson Susan Rubin, solo Kiddush Kurt Weill Hal Katzman, solo Shout unto the Lord (from Gates of Justice) Dave Brubeck Ron Williams, baritone, guest soloist; David Burns, tenor solo Shir Ahavah Jef Labes Susan Rubin, solo Niga El Ha-Khalom Shalom Hanoch (arr. Tz. Sherf) Anne Levy, solo Venezuela Moshe Wilensky (arr. A. Bailey & J. Jacobson) Richard Lustig, solo Kafe Bekef Ben Oakland (arr. Tz. Sherf) Elana Rome, solo Dem Dry Bones trad. (arr. L. Gearhart) The Zami r Chorale of Boston Soprano Elise Barber • Betty Bauman • Sharon Goldstein • Marilyn J. Jaye Anne Levy • Elana Rome • Susan Rubin • Sharon Shore • Louise Treitman Heather Viola • Deborah West • Lidiya Yankovskaya Alto Sarah Boling • Susan Carp-Nesson • Johanna Ehrmann • Hinda Eisen Alison Fields • Silvia Golijov • Deborah Melkin • Rachel Miller • Jill Sandberg Nancy Sargon-Zarsky • Phyllis Werlin • Phyllis Sogg Wilner Tenor David Burns • Steven Ebstein • Ethan Goldberg • Suzanne Goldman Hal Katzman • Daniel Nesson • Leila Joy Rosenthal • Lawrence E. -
Musical Personae in a Cosmopolitan Society by Merav Singer A
Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society By Merav Singer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Tamara Roberts Professor Paola Bacchetta Professor Edwin Seroussi Fall 2015 Abstract Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society by Merav Singer Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair Israel in the 21 st century is an intensely multicultural society where several types of cosmopolitanism vie with regional and ethnic forms of expression, a phenomenon that plays out in musical life. I propose that such a society offers a variety of possibilities for what a woman is, what she can do, and how she can work. This dissertation is an ethnographic study of four female singer-songwriters that examines the ways they negotiate and sometimes challenge socio-cultural norms in creating their careers and constructing their artistic personae, or the version of themselves that they present as musicians. The artists I focus on straddle four major rifts in Israeli society, between Arabs and Jews, Mizrahim and Ashkenazim, Russian-speaking immigrants and native Israelis, and Orthodox and non-Orthodox communities. In using their ethnic heritage as cultural capital to corner a unique market niche, these artists become enmeshed in social politics that include tensions between ethnic and religious groups, conflicting gender roles, and struggles over belonging. I argue that as they create legible personae to meet the demands of the music industry, their liminality between mainstream society and a minority sector challenges the discourse around those identities. -
The Emergence of New Israeli/Palestinian Musical Competences & Connections1
Beyond Ethnic Tinge or Ethnic Fringe: The Emergence of New Israeli/Palestinian Musical Competences & Connections1 Benjamin Brinner A musical scene emerged in Israel in the 1990s, around unprecedented interaction between Jewish, Christian, Muslim, and Druze musicians in Israel and the West Bank.2 Most frequently marketed at home as musika etnit Yisraelit (Israeli ethnic music), it involves mixing elements of various Middle Eastern and non-Middle Eastern musical practices.3 Little of the music created in this scene is identifiable as specifically Israeli, Palestinian, Jewish, or Arab, but the confluence of people is uniquely Israeli-Palestinian, and much of the music they have produced is also unique to the particular experiences, desires, and understandings developed by these musicians in this milieu. While this scene has attained neither the stature of art music nor the market share of popular music, it has considerable significance within local and international political, social, and cultural frameworks. By contrasting this area of musical activity with “ethnic tinge” and “ethnic fringe,” I aim to position it relative to other local practices and, in so doing, to emphasize its particular sociocultural contributions, both achieved and potential. These contributions have political implications, too, as I shall argue in the conclusion. I use “tinge” to refer to 1 This article is based on research that I initiated in the early 1990s, with roots in the 1980s when I directed the Workshop for Non-Western Music at the Jerusalem Music Center, and taught ethnomusicology at the Hebrew University and Tel Aviv University and first met some of the musicians who became the subjects of this study. -
62 “Sing Us a Mawwal”: the Politics of Culture-Brokering Palestinian
“Sing us a Mawwal”: 1 The Politics of Culture-Brokering Palestinian Israeli Musicians Galeet Dardashti Early one morning during the summer of 2003, I caught a ride to Nazareth from Tel Aviv with Moti,2 the producer of the “Culture of Peace” Festival. Moti was accompanying the Israeli pop singer Sigal3, a singer he managed at the time, for an audition with the Arab Orchestra of Nazareth, which he also managed. I had interviewed Moti on his work, producing performances of Arab music in Israel, and he invited me to come along for the day trip to Nazareth on condition that I only observe and not ask any questions until after the audition. He didn’t want to make Sigal nervous — she was nervous enough. “They know I’m not an Arab, right?” she asked as we drove along the way. “I’m sure that I might make some mistakes in the Arabic or something.” “Yes, they know,” said Moti. “I told them that you are my friend and that you are a well known singer among Israelis.” The Arab Orchestra of Nazareth4 is comprised almost exclusively of Palestinian Israeli5 male musicians from Nazareth. They work with a number of Palestinian Israeli singers, depending on the repertoire they are performing in Israel or abroad. Amidst the recent popularity of Arab and Middle Eastern-infused music in Israel, Sigal, a Jew of Iraqi and Moroccan background, had become interested in performing classical Arab music with the Orchestra, following the path of the more well known Moroccan- descended Jewish Israeli pop sensation Zehava Ben. -
Music and Conflict Resolution
MUSIC AND CONFLICT RESOLUTION: ISRAELI-PALESTINIAN CONFLICT A MASTER’S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY TERESA LEE ENYART IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY April 27, 2018 Copyright April 27, 2018 by Teresa EnYart Acknowledgements First and foremost, I would like to thank Katherine Morehouse at Liberty University for accepting me into the Ethnomusicology program in a few years ago. The acceptance into this program came very timely in my life when I needed to move forward. Next, I would like to thank Harry Anastasiou at Portland State University. Several years ago, during my undergrad at Portland State, I took every one of Harry’s conflict resolution classes; and it’s from those classes that I have formulated and applied those concepts here in this thesis. I would further like to thank Harry for taking the time, twice in the past year, to sit down with me to discuss thoughts and ideas about conflict resolution. Also, to Jeffrey Meyer for being the primary reader of my thesis. Next, I would like to thank all the participants and those involved in my research. Starting with the founders of Ukuleles for Peace, Paul Moore and his wife Daphna Orion for immediately taking me under their wing the first week of my research in Israel. These two very kind individuals invited me into their home and personal lives and made me feel very welcome. I would like to thank every member of Ukuleles for Peace for allowing me to take part of your rehearsals for the two months I was there.