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Law(S) and Identities
August 2011, Hebrew University, Jerusalem Law(s) and Identities Photo Assignment Professor Shauna Van Praagh Faculty of Law, McGill University 1 Daniella Zlotnik & Chiara Fish (Photo taken in the Negev, August 2011.) When we see people we often try to identify them as individuals or categorize them as members of a group. The individuals in this photo may or may not “belong” in this desert landscape. On the surface it is impossible to tell. They may or may not be connected by some group affiliation. Which one? An individual’s identity is far too complex and multi-layered for anyone but the individual to understand, assuming they can recognize themselves. לרוב, כשאנו רואים אנשים, אנו מנסים לזהות אותם כיחידים או כחברים בקבוצה. באשר ליחיד בתמונה זו, לא ברור אם הוא אכן ''שייך'' לנוף המדברי. במבט ראשון, נדמה כי זה בלתי אפשרי לדעת. יתכן והוא שייך או מקושר לקבוצה כלשהי, אך איזו? נראה כי זהותו של היחיד היא בעלת רבדים רבים ומורכבת מכדי שמישהו יבין אותה על כל פניה. ויותר מכך, נראה כי גם עבור היחיד עצמו, ההבנה וההכרה בזהותו אינן ברורות מאליה: על היחיד לזהות את עצמו קודם. 2 This photo presents the ''Tentifada'' in the immigrant neighbourhoods of south Tel- Aviv. In setting up the tent, the excluded and somewhat invisible inhabitants of south Tel-Aviv joined the country-wide struggle for social justice. Their tent does more than symbolize their 'Israeli' identity – it creates a platform to express their unique cultural and economic needs, within the greater struggle. Hearing the refugee speak of this protest was especially inspiring. -
Jamd Summer 2012-F.Indd
Highlights 7th Edition Fall 2012 International Board of Governors Meeting - Highlights 2012 Concert Commemorating 80 years of the Academy The meeting of the International working under the supervision of Avi Zehavi. Hagai Rehavia’s arrangement of Board of Governors, which took Abromovich, recipient of the first prize Emanuel Zamir’s song “Bowed Evening” place 4-5.6.2012, opened with a festive in the 2012 Chamber Music Competition, was performed by singer Anna Spitz concert commemorating 80 years of the whose members are violinists Florence and pianist Orel Oshrat. founding of the Jerusalem Academy of von Burg and Anna Kume, violists Dor Later in the evening, an ensemble made Music and Dance. During the evening, Sperber and Nathalie Verdon and cellist up of JAMD faculty members performed Certificates of Inscription from the Elizabeth Cook. The ensemble played a one movement from Haim Alexander’s Academy’s Golden Book were given to movement from Mozart’s Quintet in “Five Movements for Wind Quintet”. devoted teachers. gminor K.516. Playing in the ensemble were Michael The Jerusalem Academy Chamber Choir, Professor Menachem Wiesenberg’s Melzer-flute, Dudu Carmel-oboe, Ilan under the direction of Maestro Stanley Artistic Arrangements class for voice Schul-clarinet, Isaac Leyva-bassoon and Sperber, and joined by baritone Guy and piano was represented by singer Ori Azran-French horn. Pelc, performed the first movement of and arranger Vered Dekel, head of the Also performing in the concert were Paul Ben-Haim’s “Liturgical Cantata” Vocal Division of the Cross-Disciplinary percussionists Yoav Kfir, Li Ye and and the song “White Days”- Shai Hemel’s Music Department, who, together Meir Yaniger; all are students of Alon arrangement of a poem of Leah Goldberg with pianist Guy Frati, performed “I Bor. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
Gala Concert Montreal Museum of Fine Arts
BOURGIE HALL GALA CONCERT MONTREAL MUSEUM OF FINE ARTS FEATURING WORLD PREMIERES BY OCTOBER KEIKO DEVAUX, YOTAM HABER 8 P.M. (ET) & YITZHAK YEDID SPECIAL LIVESTREAM LE NOUVEL ENSEMBLE MODERNE LORRAINE VAILLANCOURT, MEDICI.TV CONDUCTOR FACEBOOK.COM/AZRIELIMUSIC ABOUT THE AZRIELI FOUNDATION Inspired by the values and vision of our founder, David J. Azrieli z”l, the mission of the Azrieli Foundation is to improve the lives of present and future generations through Education, Research, Healthcare and the Arts. We are passionate about the promise and importance of a rigorous yet creative approach to philanthropy. We believe that strategic leadership, collaboration and forward thinking are key to bold discoveries. In addition to making philanthropic investments across our priority areas, the Foundation operates a number of programs, including the Azrieli Music Prizes, the Holocaust Survivor Memoirs Program, the Azrieli Fellows Program, the Azrieli Science Grants Program and the Azrieli Prize in Architecture. Our vision is to remember the past, heal the present and enhance the future of the Jewish people and all humanity. To learn more: www.azrielifoundation.org A Message from SHARON AZRIELI We are thrilled to celebrate with you the third Israeli-born Yitzhak Yedid’s Kadosh Kadosh and shaping cultural identity and educating present Azrieli Music Prizes Gala Concert. Cursed unites contemporary Western music and future generations. The questions, “What is and ancient Mizrahi songs across twenty-four Jewish music?” and “What is Canadian music?” What a remarkable adventure the Prizes musical scenes. Together, they showcase a ask composers to amplify and honour stories have had since we fêted our 2018 Laureates. -
Transdenominational MA in Jewish Music Program, Preparing
THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, Anita Schubert, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to theh azzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Word docu- ment, with a brief biography of the author appended. Musical and/or graphic material should be formatted and inserted within the Word document. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc., Cover design and Printing by Replica. © Copyright 2009 by the Cantors Assembly. ISSN 0449-5128 ii FROM THE EDITOR: The Issue of Niggunim in Worship: Too Much of a Good Thing? ..................................................4 THE NEO-HASIDIC REVIVAL AT 50 Music as a Spiritual Process in the Teachings of Rav Nahman of Bratslav Chani Haran Smith. 8 The Hasidic Niggun: Ethos and Melos of a Folk Liturgy Hanoch Avenary . 48 Carlebach, Neo-Hasidic Music and Liturgical Practice Sam Weiss. -
Israeli Music and Its Study
Music in Israel at Sixty: Processes and Experiences1 Edwin Seroussi (Hebrew University of Jerusalem) Drawing a panoramic assessment of a field of culture that resists clear categorizations and whose readings offer multiple and utterly contrasting options such as Israeli music is a challenge entailing high intellectual risks. For no matter which way your interpretations lean you will always be suspected of aligning with one ideological agenda or another. Untangling the music, and for that matter any field of modern Israeli culture, is a task bound to oversimplification unless one abandons all aspirations to interpret the whole and just focuses on the more humble mission of selecting a few decisive moments which illuminate trends and processes within that whole. Modest perhaps as an interpretative strategy, by concentrating on discrete time, spatial and discursive units (a concert, a band, an album, an obituary, a music store, an academic conference, etc) this paper attempts to draw some meaningful insights as sixty years of music-making in Israel are marked. The periodic marking of the completion of time cycles, such as decades or centuries, is a way for human beings to domesticate and structure the unstoppable stream of consciousness that we call time.2 If one accepts the premise that the specific timing of any given time cycle is pure convention, one may cynically interpret the unusually lavish celebrations of “Israel at Sixty” as a design of Israeli politicians to focus the public attention both within and outside the country on a positive image of the state 1 This paper was read as the keynote address for the conference Hearing Israel: Music, Culture and History at 60, held at the University of Virginia, April 13-14, 2008. -
Integrating Elements of Persian Classical Music with Jazz
Edith Cowan University Research Online Theses : Honours Theses 2013 A transcultural journey : integrating elements of Persian classical music with jazz Kate Pass Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Pass, K. (2013). A transcultural journey : integrating elements of Persian classical music with jazz. https://ro.ecu.edu.au/theses_hons/116 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/116 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute and infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. -
Leonard Cohen Friday Night, September 4, 2009 Rabbi Steve Cohen Congregation B’Nai Brith, Santa Barbara CA
1 Leonard Cohen Friday night, September 4, 2009 Rabbi Steve Cohen Congregation B’nai Brith, Santa Barbara CA It was sometime during my years in high school in the early 1970’s in Rochester New York that I first heard of Leonard Cohen, the singer and songwriter from Montreal. Of course I was interested, since he had the same last name as I did. That meant a number of things. First, on some level it meant that maybe we were distantly related. Secondly, it meant that he was Jewish. And third, that he wasn’t bothered by having a very Jewish last name; he didn’t change his name as most Jewish performers did even in those days. While his name interested me, though, what little I heard of his music really did not. His most famous song back in those days was Suzanne, which basically sounded deeply depressed…..and had lines like “Jesus was a sailor when he walked upon the water.” And I thought to myself, “what kind of Jew writes songs about Jesus?” I was similarly bothered by Paul Simon’s line “Well here’s to you Mrs. Robinson, Jesus loves you more than you will know…..” But there was so much that I loved about Simon and Garfunkle that I could overlook that line. Leonard Cohen, though, just sounded depressed and kind of pretentious when he sang: “You’ve touched her perfect body with your mind.” So I didn’t really pay any attention to him. Then I went to Israel in 1979 as a rabbinic student and in a conversation with my cousin Benny….who is an Israeli about my age, raised in Tel Aviv….Benny asked me if I liked Leonard Cohen, and declared that in his opinion, Cohen was a navi, a prophet. -
“Herstory” of a Journey (Page 17) Ben-Gurion ASSOCIATES ORGANIZATIONS University
WINTER 2 0 0 8 / 9 www.bgu.ac.il “Herstory” of a Journey (page 17) Ben-Gurion ASSOCIATES ORGANIZATIONS University of the Negev ARGENTINA MEXICO NATIONAL AND LONDON REGION Nava Rubenzadeh, President Ing. Pedro Dondisch, ORT House Honorary President 126 Albert Street Roy J. Zuckerberg ASOCIACIÓN ARGENTINA DE Yoje Dondich, President London NW1 7NE Chairman, Board of Governors AMIGOS DE LA UNIVERSIDAD Message from the President 1 Robert H. Arnow BEN GURIÓN DEL NEGUEV ASOCIACIÓN MEXICANA DE AMIGOS BRIGHTON COMMITTEE Chairman Emeritus, Suipacha 531 piso 9 DE LA UNIVERSIDAD BEN GURIÓN c/o Sam Barsam, Chairman C-1008 AAM Ciudad Autónoma EN EL NEGUEV (AMAUBG) 47 Hove Park Road Board of Governors Lord of the Flies 2 de Buenos Aires Río Tiber 78 Hove Lord Weidenfeld of Chelsea Colonia Cuauhtémoc East Sussex BN3 6LH BELGIUM C.P. 06500 México, D.F. On the Seventh Day, They Rested 4 Honorary Chairman, MIDLANDS COMMITTEE FRIENDS OF BGU IN BELGIUM Board of Governors Michael Lavender P.B. 26, Ixelles Louise THE NETHERLANDS 148 All Saints Road A Clinical Approach to Healing 6 Vice-Chairpersons, Lange Leemstraat 12 Willem Deetman, President Kings Heath B-1050 Brussels-Ixelles Board of Governors DUTCH ASSOCIATES BGU Birmingham B14 6AT The Law of Learning 8 Zvi Alon Postbus 488 CONTENTS BRAZIL Eric A. Benhamou 2501 CL The Hague UNITED STATES Dr. Claudio Luiz Lottenberg, President Sir Ronald Cohen Carol Saal, President Biologically Determined 10 Av. Albert Einstein, 627 / 701, 3er andar Dr. Heinz-Horst Deichmann Republic of PANAMA Doron Krakow, 05651-901 Morumbi Sao Paulo SP BGU Now is published by Dame Vivien Duffield Moises A. -
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production Nili Belkind Submitted in partial fulfillment of the Requirements for the degree Of Doctor of Philosophy In the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Nili Belkind All Rights Reserved ABSTRACT Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production Nili Belkind This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel’s Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world. The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups. -
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 . -
C.V.7.2. Israeli Popular Music
1 C.V.7.2. Israeli Popular Music Edwin Seroussi In the early period of Israeli statehood, the means for the support of musical performance, composition, dissemination and education were in the mostly in the hands of governmental agencies and thus controlled by the dominant political and cultural elites. This control by the establishment gradually weakened, particularly following the decentralization of the mass media since the early 1980s. Popular music, a characteristic modern urban phenomenon, and its hallmark, the appeal to heterogenic populations, cosmopolitanism, industrial production and mass distribution in an open market, became then the main mode of music making and consumption in Israel as it did at a global level. From the 1920ies up to the present Popular music defined along these lines first appeared in Israel with the growth of large cities (Tel-Aviv-Jaffa, Haifa, Jerusalem) propelled by the immigration of professional musicians from Poland, Germany and the former Austro-Hungarian Empire in the late 1920s and early 1930s. These musicians developed in Israel new musical venues similar to those of the European cities, such as musical theaters and cabarets where contemporary European songs sung to new Hebrew texts were mixed with new compositions by local composers in genres such as the tango and the fox-trot. The popular music industry in Israel was launched in the mid-1930s when the first commercial record company was founded and a radio station opened in Palestine under the British Mandate that included Hebrew broadcasts. Up to the 1970s, popular music was dominated by tight state-controlled cultural policies and mass media.