DOCSLIB.ORG

The Observer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Observer Friday, Moy 4, 1973 The oBseRveR Velum• XV luue 13 THE OFFICIAL NEWSPAPEA OF STERN COLLEGE FOR WOMEN lfene Heskes Shows Evolution 11Moscow 7'' Bring Out letter '4:5f Jewish Musical Forms Af-)f-hird Form Of Arts lecture To Amerkan Jewish Leadership SSSJ-- A desperate appeal to DJ'\kZN_~ by Aileen Pollock American Jewish leadership from Irene Heskes, musicologist and Jewish composers, although not of 109 Soviet Jews not to weaken their director of the National Jewish Jewish subiect matter? Are firm stand in support of the ~:j Music Council, spoke on the music non~Jewish works of American Jackson Amendment has been [ of Israel on April 10 to a large, Ji'wish composers considered a brought out by the seven young enthusiastic audience. This was part of Jewish ethnomusicology? American Jews who sat in at the the third lecture of the English While giving musical '.\loscow OVIR (emigration) office. Department's Forum of the Arts illustrations on the tape recorder, The letter reads as follows-~ series, coordinated by Dr. Morris Mrs. Heskes offered a running Epstein l\.frs: Hes.kes demon­ commentary on the history and To the Leaders of the Jewish strated the various ktnds of music evolution of .Jewish music She rommunities in the United States: to be heard in Israel, using a tape offered an interesting ,sidelight on We have reached the critical recorder, and occasionally her o~n the origin of the melody of llatik­ period where the future of the soprano voice. Her talk included rnh, which is usually thought of as Soviet Aliyah and our very lives insights on the wide spectrum of derived from Smetana's Moldau hang in the balance. Jewish music today She showed how this "wandering You must know: Our situation Ftanked by members and friends ot the Student struggle fer Sovtet We Mrs. Heskes posed the basic melody," as she called it, was also has never been more serious. Jewry, Abraham Zalmanson conducts his eighth hunger strike for bis used among the Basques, have received refusarafter refusal niece, the imprlsoned Sylva Zalmanson. Standing inside a ~·prison cage" We ~::1~9nl~f ~:!\~in~~~i~es l:rf~!~ Bohemians, and in the Rhineland. in our struggle for repatriation. opposite the U.N., Zalmanson urged the releaBe of Che four members of only as music which is Jewish in The melody is an Ashkenazic are followed, harrassed, beaten. his family suffering In Soviet labor camps. <SSSJ) Photo l content'? What of ~ic written by tradition smig in Yigdal. It has \\'e live £rom '1a-y to day in the also entered Spanish-Portuguese maddening uncertainty of Israel or Victor Polsky, Victor Fiermark, professional art poster tradition in the prayer for rain. The prison. Boris Orlov and Eitan Finkelstein. reproductions of paintings by the Key '73 Attacked melody of llatikvah bears very Do not cOJ11promise in your ef- SOVIET JEWRY MATERIALS ''Prisoner of Conscience" artist striking resemblance to a melody forts on our behalf. You haven't the Boris Penson. Free literature on in the Hebrew Union Hymnal, right to accept the treachercms A new "Prisoner of Conscience each may be obtained from t.he By New Federation originally used in Charleston in policy of "selective emigration" Pin" and special Soviet Jewry Student Struggle for Soviet Jewry, 1830. The Hatikvah is a melody that based on the lie of "state security." "turn the Mails Red" envelopes 200 West 72nd Street, suites 3()..31, T9-sk Force has been part of Jewish tradition Do not be comforted with self· are now available, as --Well as New York, N.Y. 10023. for hundreds of years. deceit,ourhi,toryi,repletewith Congress Votes In A"id j - Modern Israeli folk music shows .temporary success bought with the _,/ by Rachel Shapiro influences of cbassidism in its joy, blood of our at)ns and daughters. rhythm, and ~e. It is also in· The Federation of Jewish the Near East, as seen --pJntaflthropies. aroused by nae-by a.!:'."n"~ !:.:· :;. ·~ -~For.CoU§ge Studtmts iri its modl11 quality :The cadenee nd telephone calls and questions from of the rriusic is molded by the f,."r:~~1~"" will be tragic_ a ;ashiniiion, o.c. (a'si:C..Actlng Pres1aent N'OO!II and wiU ·take the Jewish community, has joined Brothers! Be strong! Let your with unusual speed, the House and effect immediately. the battle against Key '73 and the ~~r~ of :e~~rs° HJi~~~:guished Jewish hearts guide you in the Senate have approved funds (pr A total of $895 million. was Jews for Jesus movement. between two streams of tradition in crucial days that will follow. several student financial afa: committed to student aid iD.cludhlg Through its newly formed com­ Jewish music. The liturgical programs for academic 1973--1974, $122.l million for tbe- BOG mittee called The Task Force on tradition is most conservative Among the signers of the letter are including a small amount to program, $210.3 million for SUp­ Key '73, the Federation hopes to musically, very slowly influenced top activists as Dr. Benjamin initiate the Basic Opportunity plemental Education Opportunity combat evangelical efforts and Levich, Vladimir Slepak, Prof. Grant (BOG) program_ The bill Grants (SEOG), and $293 million (Continued on Page 3) increase Jewish consciousness. Alexander Lerner, Kiril Khenkin, has been signed into law by for National Defense Student Formed two months ago, this • Loans <NDSLL task force will consist of college Studies Off er Many Ontnons,· Congress virtually Ignored youth and high school seniors who Jewish Hebrew r President Nixon's proposed will work through Federation sponsored coffee houses and ~~n1~~i·~~··s~= YMHA's in the New York Berman Discusses Requirements, further Study Metropolitan Area. These -----=- on the advanced level. The time, she may also begin graduate ~~:- ~d ~·~ youngsters will also be prepared to language of instruction of these work towards h.er M.A. The programs-· and requested fff2' confront Jews for Jesus people and courses is Hebrew. BA-M.A. programs with Y.U. million for the BOG progtam In­ disrupt their efforts to win con­ The Jewish Studies Major is open graduate schools also available to stead. But Congress has-matched verts. to students on the intermediate and the Hebrew and Jewish Studies to the penny the totalfundlng ie9el Although the task force will not advanced level. Here too, twenty. Major. She may do graduate work. for student ·assistance · sought by begin its program until next· year. four credits above the general in Judaic Studies or her specific the President. it is already recruiting members requirements are needed. At least field of concentration at Stern such The Nixon budget asked for $872 and formulating plans. Day school twelve of the twenty-four credits as literature or history. Jewish million with the lion's share being principals have been asked to send must be taken on the advanced Education and Jewish Community given to BOGs. Congress took this in names of graduates, and level. The areas of possible con­ Service are two other fields the total amount, refunded SEOGs. collegians have been contacted. centration of study for the Jewish CHaenbrewcoannsd1_dJeerwisahftSetrudihe,ie Maujon~ College Work Study and NDSL Several organizations such as Jews Studies Major are Language and ri.e't loans at last year's level, then for Judaism, JACY, and Hinneni Literature ( Hebrew courses dergraduate studies. placed the remaining $122 million have also been notified and asked numbered under 70), Bible It is hoped that after Pesach in BOGs. The $23 million difference to lend their support. {Hebrew courses over 70), Jewish vacation, the majors and the is funds previously appropriated All interested youngsters will be History, Jewish Philosophy faculty will meet. Representatives by Congress for NDSL loans but meeting on May 9 at 7:30 in the Rabbi Saul J. Berman, iCOW'Se9fl,w.nJ1ered between31 and ;~1;t'Jk;*J&~:e J"£j~~;:; impounded by th,e PresidenL Federation ~uilding. At this time Jewish Studies Chairman 69, includil'lg Philosophy 61, and students wHI speak with ex­ JeWish Law and Rabbinic direct reactions and suggestions in ;~~!~es~t t'::;k J~:L mi°~~ af:~ perienced individuals and par- Literature (courses between 71 and· making decision for the academic 1973·1974, bringing the ticipate in rap sessions where next by Judy Altshul 99 l. Two specific areas of con· Hebrew-Jewish Studies Majors. new appropriations for student year's plans will be discussed. On Wednesday, April 4, the centration out of the five are ~ financial aid for next year to $895 materials specific requirements of the required. The 1angllage of in­ Brochures and printed Bulletin! million. Another student aid telling how to combat Key '73 will Jewish Studies Major and Hebrew struction for the majority of these program for next fall, Federally be to this nucleus Studies Major were defined by courses is English. also distributed following students were Insured Student Loans <FISL>. members. Rabbi Saul Berman, Judaic The practical distribution of The group of about 50-80 Stud~t Council office received funds last October. Paul Schulder, ad hoc Studies Department Chairman. credits is left up to each individual. elected to Mr. yesterday: The bill reached the floor of the chairman of the committee, feels The Hebrew Studies Major must She may put particular emphasis House Thursday April 12 as an of President-Sherry Scheinberg that "there are too many young fulfill twenty-four credits above on one of her two chosen areas Adler amendment to the Joint Resolution She may also Vice President-Susan men and women floundering. The the general requireme11ts. These concentration. Corresponding Secretary-Naomi on Emergency Supplemental must be tak-en divide the twenty-four bes!.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • I N T H I S I S S
    Volume 2 ♦ Issue 8 ♦ September 2010 I N T H I S I S S U E KJA Ha’Kol Camp & Swim Team ..........................1 President’s Report…...…….......……..2 AJCC Preschool News.......................3 Jewish Family Services......................4 Friendshippers…….……..…..….....….4 Lillian and Gracie share a cold treat during a Heidi enjoys a swim. Golf Tournament.................................6 Smokin’ Salmon swim meet. Heska Amuna HaShofar From the Rabbi’s Desk…………..12 From the President...…………..….12 HARS News………………..........….14 Among Our Members…………...….15 Kitchen & Kiddush News………......15 Contributions…………………..........15 Temple Beth El Times Sydney and Natalie give their toys Camp Counselor, Sophia Shefner, encourages a bath during Rub-a-dub-dub week the GREEN team during a leap frog competition From the Rabbi’s Study…...………..16 at Camp K’ton ton. at MCDC’s Color Wars. President’s Message…….........…...17 Sisterhood News..............................17 Religious School...............................18 Contributions…………...…..…....18 Community News Hadassah Highlights….………….26 Knoxville Jewish Day School…..30 KJCFF…………….……………….…...7 Calendar……………….....…………..10 Smokin’ Salmon Coach Megan Yates times Ben shows RED team spirit Knoxville Happenings…..……….….8-9 swimmers during practice. during Color Wars. 6800 Deane Hill Drive Knoxville, TN 37919 865.690.6343 www.jewishknoxville.org Knoxville Jewish Alliance Ha’Kol The Low Cost of Being Jewish By Stephen Rosen, President September 2010 Lisa Miller recently published an article in Newsweek’s July 19 issue titled The Cost of Being Jewish. The general point of the KJA Ha’Kol article is that being Jewish in America today costs thousands of Camp & Swim Team ..........................1 dollars and this is a problem. Furthermore, it is causing people to drop out or not even consider dropping in.
    [Show full text]
  • JEWISH JAZZ PART 2: JEWISH JAZZ (Jeff Janeczko and Lorry Black)
    UNIT 9 JEWS, JAZZ, & JEWISH JAZZ PART 2: JEWISH JAZZ (Jeff Janeczko and Lorry Black) A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC UNIT 9: JEWS, JAZZ, & JEWISH JAZZ, PART 2 1 Setting the context—a reminder of the introduction to Part 1 of the lesson: 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.
    [Show full text]
  • Cultural Jewishness in the Third Movement of Mahler's First Symphony
    Sydney Undergraduate Journal of Musicology Vol. 2, December 2012 Beyond the Caricature: Cultural Jewishness in the Third Movement of Mahler’s First Symphony BENJAMIN ADLER The music of Gustav Mahler has been received as “Jewish” in fulfilment of the various hermeneutic biases of its receivers. Over the past century these socio-political agendas have included anti-Semitic delegitimisation of Jewish-born artists, from the time of Mahler to the Nazi era; the “Jewish pride” of the concurrently burgeoning Zionist movement; Jewish attempts to resuscitate that which was lost in the Holocaust; broader “public expiation” for the Holocaust and World War II; “nostalgia and personal identification” on the part of Jewish artists in the latter half of the twentieth century; and the universal modernist tendency to read in art the “alienation of the modern individual” in the late twentieth century and into the twenty-first.1 Indeed, it would not be an overstatement to claim that, as a result of this reception history, Mahler has ascended to the level of “Jewish paragon” in the western canon. This is evidenced by the significant increase in the number of Jewish readings of Mahler that have percolated into mainstream musicology over the past two decades. An unfortunate consequence of this reception history, however, is that in their eagerness to realise their respective socio-political agendas, writers have simplified the identification and analysis of Jewishness in the music itself. This is evident in three of four avenues of inquiry that appear to dominate the discussion of Mahler’s Jewishness. They may be labelled “biographical,” “musical,” and “paratextual” lenses, and have led to the formation of unhelpful reductionist caricatures.
    [Show full text]