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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 -
Chapter 1: Introduction 1
TATE STREET, THAT GREAT STREET: CULTURE, COMMUNITY, AND MEMORY IN GREENSBORO, NORTH CAROLINA by Ian Christian Pasquini A thesis submitted to the faculty of The University of North Carolina at Charlotte in partial fulfillment of the requirements for the degree of Master of Arts in History Charlotte 2015 Approved by: ____________________________ Dr. Aaron Shapiro ____________________________ Dr. John Cox ____________________________ Dr. Dan Dupre ii ©2015 Ian Pasquini ALL RIGHTS RESERVED iii ABSTRACT IAN CHRISTIAN PASQUINI. Tate Street, That Great Street: Culture, Community, and Memory in Greensboro, North Carolina (Under the direction of DR. AARON SHAPIRO) Tate Street represents a cultural center in Greensboro, North Carolina. This work outlines the varying social groups, organizations, and institutions that defined Tate Street’s cultural identity between 1960 and 1990. Tate’s venues and spaces acted as backdrops to the cultural shifts on Tate Street. Three venues act as subjects through which to research Tate Street. Through a collection of interviews, art, video, magazines, newspapers, and pictures, this work connects with historical memory to outline Tate’s local and national historical significance. The work connects with a historical documentary made up of interviews as well as primary source materials to engage with Tate’s historical actors. iv DEDICATION Engaging with Tate’s history required the dedication of a small village of interested parties. I would be remiss in not thanking Tate’s community at large – many people have offered both their time and energy to assisting this project and will remain unheralded. This work is a reflection of the strength of Tate’s community which has both inspired and welcomed my inquiries. -
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. -
Bongwater Double Bummer Mp3, Flac, Wma
Bongwater Double Bummer mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Double Bummer Country: US Released: 1988 Style: Art Rock, Parody, Punk, Glam MP3 version RAR size: 1572 mb FLAC version RAR size: 1880 mb WMA version RAR size: 1778 mb Rating: 4.2 Votes: 233 Other Formats: MP2 DXD MP1 AU VQF AA MMF Tracklist Hide Credits Lesbians Of Russia A1 Written-By – Magnuson*, Licht*, Kramer Frank A2 Written-By – Magnuson*, Kramer We Did It Again A3 Written-By – Ayers* Homer A4 Written-By – Kramer Joy Ride A5 Written-By – Magnuson*, Rick*, Kramer Decadent Iranian Country Club A6 Written-By – Magnuson*, Rick*, Kramer David Bowie Wants Ideas A7 Written-By – Magnuson*, Kramer Rock & Roll Part 2 A8 Written-By – Glitter* Just May Be The One B1 Written-By – Nesmith* There You Go B2 Written-By – Cash* Shark B3 Written-By – Kramer Jimmy B4 Written-By – Magnuson*, Kramer Crime B5 Written-By – Kramer Pornography B6 Written-By – Rick*, Kramer Pew B7 Written-By – Kramer Dazed & Chinese C1 Translated By – Tseng Kwong ChiWritten-By – Page* Bullaby C2 Written-By – Magnuson*, Kramer So Help Me God C3 Written-By – Rick*, Kramer His Old Look C4 Written-By – Magnuson*, Kramer Stone C5 Written-By – Batty*, Kramer Number C6 Written-By – Batty*, Kramer Love You Too D1 Written-By – Harrison* Reaganation D2 Written-By – Kupferberg* Double Birth D3 Written-By – Kramer Bruce D4 Written-By – Magnuson* Pool D5 Written-By – Kramer Rain D6 Written-By – Lennon* Companies, etc. Recorded At – Noise New York Credits Featuring – Ann Magnuson, Coby Barry, Dave Rick, David Licht, Don Cherry, Gary Windo, Kramer Photography By – Macioce Producer, Engineer – Kramer Notes Includes Shimmy Disc Catalog insert. -
International Concert Series Spring 2007
HOFSTRA CULTURAL CENTER presents the JOSEPH G. ASTMAN International Concert Series Spring 2007 HOFSTRA CULTURAL CENTER PRESENTS THE JOSEPH G. ASTMAN INTERNATIONAL CONCERT SERIES SPRING 2007 ROBERT T. SPIOTTO Director DEBORAH LOM Assistant to the Director For tickets: JOHN CRANFORD ADAMS PLAYHOUSE BOX OFFICE (516) 463-6644 Monday through Friday, 11 a.m. to 3:45 p.m. For further information: HOFSTRA CULTURAL CENTER (516) 463-5669 Monday through Friday, 9 a.m. to 5 p.m. E-mail: [email protected] www.hofstra.edu/culture Cover image: “Keeping the Beat,” c. 2005 Beth S. Goldberg. Used with the artist’s permission. Hofstra University continues its commitment to extending equal opportunity to all qualified individuals without regard to race, color, religion, sex, sexual orientation, age, national or ethnic origin, physical or mental disabili- ty, marital or veteran status in the conduct and operation of its educational programs and activities, including admission and employment. This statement of nondiscrimination is in compliance with Title IX of the Education Amendments of 1972, Section 504 of the Rehabilitation Act of 1973 and other federal, state and local laws. The Americans with Disabilities Act compliance officer in the Plant Department (516) 463-6641 is designated by the University to coordinate its efforts to comply with Section 504. The Equal Rights and Opportunity Officer is the University’s official responsible for coordinating its adherence to Title IX and other equal opportunity regulations and laws. Questions or concerns regarding Title IX or other aspects of this policy (other than Section 504) should be directed to the Equal Rights and Opportunity Officer at (516) 463-6775, C/O Office of Legal Affairs and General Counsel, 101 Hofstra University, Hempstead, NY 11549. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
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.