Association of Jewish Libraries N E W S L E T T E R February/March 2008 Volume XXVII, No
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February 2017 (Shevat-Adar 5777)
A Monthly Publication for Temple Beth-El, Las Cruces, New Mexico FEBRUARY 2017 (SHEVAT-ADAR 5777) Shabbat Services (See Page 2) On Sunday, February 12, 2017 Friday, February 3- Family at 2:00 pm at Temple Beth-El, Shabbat Service at 6 pm—Potluck Dinner following Daniel Chejfec will speak on Friday, February 10-Shabbat Service at 7 pm “A Journey from Argentina to Texas" Friday, February 17-Shabbat Service at 7pm Daniel Chejfec, Director of The Jewish Federation Friday, February 24-Shabbat Service for of Greater El Paso, was born Renewal of Spirit at 7 pm in Buenos Aires, Argentina. Saturdays He attended the public school Talmud Study at 9:00 am, Shabbat Service at and the Jewish Day school 10:15 am, followed by a potluck Kiddush which was a secular Zionist oriented school run by the American Values, Religious Voices” Labor Party. A Local Discussion His first trip to Israel was at On Tuesday, February 7, at 6:00-7:15 pm, at Temple Beth-El, Rabbi Larry Karol will host an initial com- the age of 15, where he fell in munity conversation on the new project, “American Val- love with the country and people. After graduating ues, Religious Voices.” As part of this campaign, schol- high school, he attended the teachers seminary and ars of religion from around the country are sending a let- college. ter a day to our newly elected and appointed national While in college, he worked in the Argentine leaders to highlight the role of values in guiding both citi- Jewish community as Youth director, Adult Educa- zens and leaders. -
Volume XV Fall 2008 Issue 4
The JournalHALAPID of the Society for Crypto-Judaic Studies Volume XV Fall 2008 Issue 4 Table of Contents From the Editor’s Desk 3 Meetings and Events Sephardic Voices 4 Phoenix Meetings 6 Members Reports Roger Martinez 14 Yvonne Garcia 20 Invited Artist Isabelle Medina Sandoval 22 A Tribute to Cary Herz Mona Hernandez 26 Articles ü Abraham Ben Samuel Zacuto 31 Harry A. Ezratty ü Rodrigo Cota 37 Elaine Wertheimer Book Review 47 2 Winter, 2008, Issue 4 HaLapid: The Journal of the Society for Crypto Judaic Studies ISSN: 1945-4996 Editor: Ron Duncan-Hart Co-Editor: Editorial/Technology: Arthur Benveniste Co-Editor: Scholarly Articles: Abraham D. Lavender Co-Editors: Personal Stories: Kathleen J. Alcalá and Sonya A. Loya Editorial Policy of HaLapid Halapid contributors come from all over the world. The editors respect different national writing styles and, where possible, have left each item in the author’s style. We edit for grammar, spelling and typo- graphical error. Many contributions are memoirs or retelling or family stories and legends. They may or may not be historically accurate although they are indeed valid, sacred memories that have been passed along through time. We do not attempt to change individual perceptions as long as they are reported as such, but we do change obvious misstatements or historical error. We reserve the right to edit material. Opinions expressed are those of the authors and not necessarily of the Society for Crypto Judaic Stud- ies or HaLapid. Articles from HaLapid may not be reprinted without permission. Submission of Articles HaLapid invites the submission of articles related to the mission of the Society for Crypto Judaic Studies. -
Singing the Memory of Sepharad: Traditional Sephardic Song and Its Interpretation
Singing the Memory of Sepharad: Traditional Sephardic Song and its Interpretation Katerina Garcia Abstract The transmission and interpretation of Sephardic songs is inextricably linked to Sephardic culture, and to this day represents a powerful marker of identity. It is the aim of this article to first contextualise traditional Sephardic song by outlining a brief introduction into the cultural background of the Sephardic Diaspora. Subsequently, I will introduce the various secular forms and genres of Sephardic traditional song, focusing on the modes of their interpretation by both contemporary Sephardic and non-Sephardic musicians. In doing so, I will propose a typology of performance approaches, with regards to the role that the re-imagining of Sepharad as a mythical land of the past plays in this process. Keywords: Sephardic music, Judeo-Spanish song, interpretation Introduction The Sephardic Jews, or Sephardim1, represent the second largest ethnic division within Judaism, the first one being the Ashkenazim, or German and Eastern-European Jews. In the narrowest sense of the term, Sephardim are the descendants of the Jews expelled from the Iberian Peninsula at the end of the 15th century (Spain, 1492; Portugal, 1496), and those who assimilated culturally to them in the main areas of Sephardic settlement post-1492 The areas of the Sephardic diaspora are indicated in Figure 1: Figure 1 – The Sephardic Diaspora (Sephiha and Weinstock 1997) Ethnomusicology Ireland 5 (2017) Garcia 172 For the present discussion of traditional Sephardic music, only the areas of the Eastern Mediterranean (incl. the present-day state of Israel), the Balkan Peninsula and North Africa (the former Ottoman Empire) are relevant, as it is here that a specific Sephardic language and culture develop. -
A QUARTERLY of WOMEN's STUDIES RESOURCES WOMEN's STUDIES LIBRARIAN University of Wisconsin System
WOMEN’S STUDIES LIBRARIAN FEMINIST COLLECTIONS A QUARTERLY OF WOMEN’S STUDIES RESOURCES Volume 33 Number 1 Winter 2012 University of Wisconsin System Feminist Collections A Quarterly of Women’s Studies Resources Women’s Studies Librarian University of Wisconsin System 430 Memorial Library 728 State St. Madison, WI 53706 Phone: 608-263-5754 Fax: 608-265-2754 Email: [email protected] Website: http://womenst.library.wisc.edu Editors: Phyllis Holman Weisbard, JoAnne Lehman Cover drawing: Miriam Greenwald Drawings, pp. 15, 16, 17: Miriam Greenwald Graphic design assistance: Daniel Joe Staff assistance: Linda Fain, Beth Huang, Michelle Preston, Heather Shimon, Kelsey Wallner Subscriptions: Wisconsin subscriptions: $10.00 (individuals affiliated with the UW System), $20.00 (organizations affili- ated with the UW System), $20.00 (individuals or non-profit women’s programs), $30.00 (institutions). Out-of-state sub- scriptions: $35.00 (individuals & women’s programs in the U.S.), $65.00 (institutions in the U.S.), $50.00 (individuals & women's programs in Canada/Mexico), $80.00 (institutions in Canada/Mexico), $55.00 (individuals & women's programs elsewhere outside the U.S.), $85.00 (institutions elsewhere outside the U.S.) Subscriptions include Feminist Collections, Feminist Periodicals, and New Books on Women, Gender, & Feminism. Wisconsin subscriber amounts include state tax (except UW organizations amount). All subscription rates include postage. Feminist Collections is indexed by Alternative Press Index, Women’s Studies International, and Library, Information Science, & Technology Abstracts. It is available in full text in Contemporary Women’s Issues and in Genderwatch. All back issues of Feminist Collections, beginning with Volume 1, Number 1 (February 1980), are archived in full text in the Minds@UW institutional repository: http://minds.wisconsin.edu/handle/1793/254. -
Table of Contents
Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us. -
The Israel Philharmonic Orchestra
January 1987 Festive Events celebrating the Centenary of the birth of Arthur Rubinstein Under the Patronage of H.E. The President of Israel Series of 7 Concerts Zubin Mehta conductor Tel-Aviv, The Fredric R. Mann Auditorium The Israel Philharmonic Orchestra Founded in 1936 by Bronislaw Huberman Music Director : Zubin Mehta FESTIVE JUBILEE SEASON THE ISRAEL PHILHARMONIC ORCHESTRA Founded in 1936 by Bronislaw Huberman • Music Director: Zubin Mehta The Fredric R. Mann Auditorium • P.O.Box 11292, 61112 Tel-Aviv; Telephone (03) 295092 The 51st Season / 1986-7 Festive Jubilee Season Festive Events celebrating the Centenary of the birth of Arthur Rubinstein Under the Patronage of H.E. The President of Israel, Mr. Chaim Herzog Series of 7 Concerts Zubin Mehta conductor Tel-Aviv, The Fredric R. Mann Auditorium January 1987 At 8.30 p.m. PUBLIC MANAGEMENT BOARD: Mr. D. Ben-Meir, Mr. A. Duizin Mr. Y. Ettinger, Mr. B. Gal-Ed, Mr. M.B. Gitter, Dr. A. Goldenberg, Mrs. A. Harris, Mr. P. Jacobi, Judge A.F. Landau (Chm'n), Mr. A. Levinsky, Mr. Z. Litwak*, Mr. Y. Mishori*, Mr. M. Neudorfer, Mr. Y. Oren, Mr. Y. Pasternak*, Mr. J. Pecker, Judge L.A. Rabinowitz, Mr. A. Shalev, Mr. N. Wolloch. (• IPO Management members) THE IPO FOUNDATION - Founding Members: Abba Eban (Chairman), David Blass, Yona Ettinger, Dr. Amnon Goldenberg, M.B. Gitter, Lewis Harris, Ernst Japhet, Y. Macht, Joseph Pecker, Raphael Recanati. Dr. Dapnna Schachner (Dir. Gen.) AMERICAN FRIENDS OF THE IPO: Zubin Mehta (Hon. Ch'mn); Fredric R. Mann (Pres.); Norman Bernstein, Itzhak Perlman (Vice Pres.); Susan B. -
How a United Church Congregation Articulates Its Choices from the 41St General Council's
“What Language Shall I Borrow?” How a United Church Congregation Articulates its Choices from the 41st General Council’s Recommendations Regarding Peacebuilding in Israel/Palestine by Donna Patricia Kerrigan A Thesis submitted to the Faculty of Emmanuel College and the Toronto School of Theology In partial fulfillment of the requirements for the degree of Doctor of Ministry awarded by Emmanuel College and the University of Toronto © Copyright by Donna Patricia Kerrigan 2016 “What Language Shall I Borrow?” How a United Church Congregation Articulates its Choices from the 41st General Council’s Recommendations Regarding Peacebuilding in Israel/Palestine Donna Patricia Kerrigan Doctor of Ministry Emmanuel College and the University of Toronto 2016 Abstract The thesis of this dissertation is that members of the United Church of Canada who respond to the Report on Israel/Palestine Policy select from its peacebuilding recommendations according to their attitudes to theological contextualizing. Two attitudes give rise to two different methods, which are seldom articulated but underlie choices regarding peace initiatives such as boycotting or ecumenical/multifaith cooperation. The dissertation includes five parts: an investigation of contextual theologies for peacebuilders; a history of the UCC and ecumenical partners who have struggled to assist peace in Israel/Palestine; strategies for peace-minded ministers; a case-study of one congregation choosing peace strategies; and recommendations for denominational communications and peacebuilding. This thesis poses a taxonomy for theologizing in context, moving from initial interaction with the other by translating local systems of thought into terms of the Gospel message. Contextualizers proceed either to immerse in the local culture (anthropological) or to engage with locals in mutual learning (synthesis). -
UNVERISTY of CALIFORNIA Los Angeles Spiritual Narrative In
UNVERISTY OF CALIFORNIA Los Angeles Spiritual Narrative in Sound and Structure of Chabad Nigunim A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Zachary Alexander Klein 2019 © Copyright by Zachary Alexander Klein 2019 ABSTRACT OF THE DISSERTATION Spiritual Narrative in Sound and Structure of Chabad Nigunim by Zachary Alexander Klein Doctor of Philosophy in Music University of California, Los Angeles, 2019 Professor Richard Dane Danielpour , Co-Chair Professor David Samuel Lefkowitz, Co-Chair In the Chabad-Lubavitch chasidic community, the singing of religious folksongs called nigunim holds a fundamental place in communal and individual life. There is a well-known saying in Chabad circles that while words are the pen of the heart, music is the pen of the soul. The implication of this statement is that music is able to express thoughts and emotions in a deeper way than words could on their own could. In chasidic thought, there are various spiritual narratives that may be expressed through nigunim. These narratives are fundamental in understanding what is being experienced and performed through singing nigunim. At times, the narrative has already been established in Chabad chasidic literature and knowing the particular aspects of this narrative is indispensible in understanding how the nigun unfolds in musical time. ii In other cases, the particular details of this narrative are unknown. In such a case, understanding how melodic construction, mode, ornamentation, and form function to create a musical syntax can inform our understanding of how a nigun can reflect a particular spiritual narrative. This dissertation examines the ways in which musical syntax and spiritual parameters work together to express these various spiritual narratives in sound and structure of nigunim. -
On Being a Jewish Author: the Trace of the Messiah in Elie Wiesel's Novels
On Being a Jewish Author: The Trace of the Messiah in Elie Wiesel’s Novels David Patterson University of Texas at Dallas n Somewhere a Master (1982), Elie Wiesel invokes a teaching from Pinchas of Koretz, a disciple of the Baal Shem Tov, founder Iof Hasidism: “To be Jewish is to link one’s fate to that of the Messiah—to that of all who are waiting for the Messiah” (23). To link one’s fate to that of the Messiah is not only to await but also to work for the coming of the Messiah, even though he may tarry— even though, if one may speak such words, he may never come. To be sure: the Messiah is the one who has forever yet to come , so that to be Jewish is to forever be engaged with an eternal yet to be . To live is to live on the edge of the yet to be . Or, for Wiesel, to live is to live in the midst of the and yet . There abides the Messiah: in the and yet . For Wiesel, to link one’s fate to that of the Messiah is to link one’s fate to the and yet , particularly after the Shoah. The Shoah al - tered forever the meaning of the Twelfth of Maimonides’ Thirteen Principles of Faith, the belief in the coming of the Messiah, even though he may tarry—a belief that would recur throughout the works and the life of Elie Wiesel. Bearing witness to the truth and the wisdom of the Jewish mes - sianic tradition was, for Wiesel, the tie that most profoundly bound L&B 38.1 2018 2 / Literature and Belief him to the Jewish tradition and therefore to Jewish life: for Wiesel the tie to Jewish tradition was his post-Holocaust connection to life, and that bond lay most profoundly in his link to the Messiah. -
The Jewish Experience in the Catskills
Union College Union | Digital Works Honors Theses Student Work 6-2011 A Lost Land: The ewJ ish Experience in the Catskills Briana H. Mark Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Jewish Studies Commons, and the United States History Commons Recommended Citation Mark, Briana H., "A Lost Land: The eJ wish Experience in the Catskills" (2011). Honors Theses. 1029. https://digitalworks.union.edu/theses/1029 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. A Lost Land: The Jewish Experience in The Catskill Mountains By Briana Mark *********** Submitted in partial fulfillment of the requirements for Honors in the Department of History Union College June 2011 1 Chapter One: Secondary Literature Review: The Rise and Fall of the Catskill Resorts When thinking of the great resort destinations of the world, New York City’s Catskill region may not come immediately to mind. It should. By the early twentieth century, the fruitful farmlands of Sullivan and Ulster Counties became home to hundreds of hotels and bungalow colonies that served the Jews of New York City. Yet these hotels were unlike most in America, for they not only represented an escape from the confines of the ghetto of the Lower East Side, but they also retained a distinct religious nature. The Jewish dietary laws were followed in most of the colonies and resorts, and religious services were also a part of daily life. -
Victor Stanislavsky Is Hailed As One of the Most Outstanding Young Israeli Pianists Today
Victor Stanislavsky is hailed as one of the most outstanding young Israeli pianists today. His international career has taken him to many countries in Europe, north and south America, China, South Korea and Australia. In the past concert season, he has given over 70 performances as a soloist, recitalist and a chamber musician to critical acclaim. As an avid chamber musician he has collaborated with such artists as violinists Christian Tetzlaff and David Garrett, cellist Gary Hoffman and Soprano Chen Reis. His major festival appearances include “Ravinia” (Chicago), “Meet in Beijing”, “Shanghai piano Festival” and the “Israel Festival”. Mr. Stanislavsky has performed in prestigious venues including Carnegie Hall and the 92Y in New-York, Chicago Arts Center, Bass performance hall in Fort Worth, Berlin Philharmonie, the Concertgebouw in Amsterdam, St. Martin in the Fields Church in London, “Tsarytsino” Palace in Moscow, National Performing Arts Center in Beijing, Forbidden City concert hall in Beijing, Shanghai Conservatory, Qintai Grand Theater in Wuhan, Harbin Opera House and the Seoul Arts Center to name a few. In addition he regularly performs in all the major concert halls in Israel. He performed as a soloist with Milan’s Symphony Orchestra, China’s National Symphony Orchestra, China’s national Ballet Symphony Orchestra, KBS Symphony orchestra of South Korea and others as well as with leading orchestras in Israel collaborating with such conductors as Yoel Levi, Jose Maria Florencio, Kainen Johns, Li Xincao, Uri Segal, Gil Shohat and many others. Mr. Stanislavsky holds both bachelors and masters degrees summa cum laude, in music performance from the Buchmann-Mehta School of Music at Tel-Aviv University, where he studied with Mr. -
Review Tri-C Classical Piano Series: Daniel Gortler at CMA
Review Tri-C Classical Piano Series: Daniel Gortler at CMA (October 27) by Robert Rollin When Israeli pianist Daniel Gortler entered the stage for his Sunday afternoon recital at the Cleveland Art Museum’ s Gartner Auditorium, he radiated poise and concentration. Jet setter Gortler is on faculty at the Buchman-Mehta School of Music at Tel Aviv University and is guest piano studies pro- fessor at New York University’s Steinhardt School Depart- ment of Music. He regularly plays piano concertos and con- certizes in solo and chamber music recitals around the world. His program concentrated on the genre of piano fantasy and fantasia, and featured works by Mozart and Schumann. This was a clever choice because both composers are noted for their ability to string many themes together in a manner that makes their pieces seem structured and beautifully organized. Fantasiestücke, Op. 12,,1("6+!-%&&5+"$",1,'/*",!*,*("+,+/",!0- ,*%-+"$'&&,"'&+!" !,%'.%&,++%%'*"&,*",&'%($0,!& most. Gortler played the relatively slow Evening,,!6*+,("/",! '* '-++"& "& tone that made the oddly-grouped cross rhythms stand out. He also stressed dovetailed +'(*&'&++$"&+/!&((*'(*",0(*++"& ,!++&'!-%&&5+*,!* limited dynamic markings. He tossed off the dashing, quicksilver Soaring/",!('/*&6&$&!,,!, imitative lines between the two hands stood out from the rest of the music did not stop him from highlighting a growling low register passage when needed. The slow and deli- cate Why was lovely, as Gortler emphasized crystalline grace notes and other dramatic '&,*+,+$+'#(,,!"&,*%",,&,',," !,!&+"0,&,!(,,*&*"+(& lively. Whims,*("&(*""'-+0,&%'.%&,/",!$,*&,"& ,!%+&"& &"'-+ modal harmonies, was absolutely breathtaking. In the Night, marked appassionato, was $+'+,& '*,$**'- !,'-,.*1&,&1&%"!& 0(*++".$1 ,* inserting a slower and more delicate theme, he faithfully followed Schumann’s “faster and faster” marking to a rousing conclusion.