A Hebrew Liederabend an Evening of Hebrew Song Tuesday, June 4, 2019
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“Something About the Critic's Taste”: Leah Goldberg's Cultural and Literary Critiques in Davar Leyeladim Ayelet Gil-Rone
“Something about the Critic’s Taste”: Leah young readers of Davar Leyeladim. I will also address the distinctive Goldberg’s Cultural and Literary Critiques in Davar manner in which these critiques were written, which exemplifies Leyeladim Goldberg’s central position as a “tastemaker” in the local field of 2 Ayelet Gil-Ronen children’s culture in Eretz Israel. In her essay, “Something about the Child’s Taste” (1943a), Leah The Eretz Israel literary field in the 1930s-1940s Goldberg claims that most children are inclined toward a sentimental Background: and mawkish taste which she identifies as “kitsch.” However, she In the 1930s and 1940s, the literary field in Eretz Israel was adds that: “The good thing about children’s taste is that it’s flexible; highly polarized, both ideologically and aesthetically. On one 3 the child has an inherent imagination which can be influenced and hand, the political atmosphere in the Yishuv demanded a fervent guided in the right direction” (Goldberg, 1943a, pp. 55-56). In commitment to the Zionist cause (as implemented mainly by the addition, Goldberg states that it is the role of those adults who have Labor Movement), and in the literary context this was translated a fine taste in the arts to guide the child’s taste. into a dictate to publish ideologically-motivated texts. On the Goldberg’s prolific work in the field of children’s literature other hand, and in opposition to the above zealous movement, indicates that she considered herself as belonging to this group of some writers advocated a depoliticized, autonomous writing idiom adults. -
Dead Sea Scrolls Deciphered: Esoteric Code Reveals Ancient Priestly Calendar 21 February 2018, by Charlotte Hempel
Dead Sea Scrolls deciphered: esoteric code reveals ancient priestly calendar 21 February 2018, by Charlotte Hempel here. These fragments, at most, contain parts of three words and often fewer. The text contains parts of a calendar based on a 364-day solar year, which has the benefit of the annual festivals never falling on a Saturday, which would have clashed with the Jewish Sabbath. This calendar is promoted in a number of Dead Sea Scrolls and was probably used instead of the more widespread approximately 354-day lunar calendar. The Hebrew Bible does not present a clear and complete calendar, which is why ancient Jewish groups debated the issue. The Babylonian calendar was luni-solar comprising 12 lunar months. But the Puzzle: fragments of 2,000-year-old scrolls before Dead Sea Scrolls also provide evidence of a reassembly. Credit: Shay Halevi, Israel Antiquities number of texts that attempt to incorporate both the Authority, The Leon Levy Library of the Dead Sea movements of the sun and the moon into more Scrolls complex calendars. About 1,000 Dead Sea Scrolls discovered just over 70 years ago near Khirbet Qumran on the northwestern shore of the Dead Sea have been officially published since the turn of the millennium. But in the case of some, all that was left were poorly preserved remains of texts written in a What the scroll ‘puzzle’ looks like when assembled. Credit: University of Haifa, Shay Halevi, Israel Antiquities cryptic script – and all that had been released to Authority, The Leon Levy Dead Sea Scrolls Digital the world were photos of small pieces of Library manuscript, in a preliminary order. -
National Museum of American Jewish History, Leonard Bernstein
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/public/public-humanities- projects for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Leonard Bernstein: The Power of Music Institution: National Museum of American Jewish History Project Director: Ivy Weingram Grant Program: America's Historical and Cultural Organizations: Planning Grants 1100 Pennsylvania Ave., N.W., Rm. 426, Washington, D.C. 20506 P 202.606.8269 F 202.606.8557 E [email protected] www.neh.gov THE NATURE OF THE REQUEST The National Museum of American Jewish History (NMAJH) respectfully requests a planning grant of $50,000 from the National Endowment for the Humanities to support the development of the special exhibition Leonard Bernstein: The Power of Music (working title), opening in March 2018 to celebrate the centennial year of Bernstein’s birth. -
Lyre of the Levites: Klezmer Music for Biblical Lyre
LYRE OF THE LEVITES: KLEZMER MUSIC FOR BIBLICAL LYRE "Lyre of the Levites: Klezmer Music for Biblical Lyre" is the sequel album to "King David's Lyre; Echoes of Ancient Israel". Both of these albums are dedicated to recreating again, for the first time in almost 2000 years, the mystical, ancient sounds of the "Kinnor"; the Hebrew Temple Lyre, once played by my very own, very ancient Levite ancestors in the Courtyard of the Temple of Jerusalem, to accompany the singing of the Levitical Choir (II Chronicles 5:12)... THE CHOICE OF REPERTOIRE FOR THE ALBUM "Lyre of the Levites" uniquely features arrangements of primarily traditional melodies from the Jewish Klezmer repertoire arranged for solo Levitical Lyre - the concept of the musical performances on this album, are meant to be evocations, not reconstructions, of the sounds & playing techniques that were possible on the ten-stringed Kinnor of the Bible; there are sadly too few unambiguously notated melodies from antiquity to make an album of "note for note" reconstructions of ancient instrumental solo lyre music a feasible reality. However, the traditional Jewish scales/modes in which these pieces are actually written may well have roots which stretch deeply back to these distant, mystically remote Biblical times, according to the fascinating research of the late Suzanne Haik Vantoura, in attempting to reconstruct the original 3000 year old music of the Hebrew Bible. THE TWELVE TRACKS There are 12 tracks to the album - corresponding to the 12 Gems which once adorned the Breastplate of the Levitical Priests of the Temple of Jerusalem. These 12 Gems represented the 12 Tribes of Israel. -
Exodus in the Dead Sea Scrolls
Exodus in the Dead Sea Scrolls Sidnie White Crawford The book of Exodus is a very important text among the Dead Sea Scrolls, especially in the collection found in the eleven caves in the vicinity of Khirbet Qumran (“the Qumran collection”). Because of the variety of texts and the fragmentary nature of the manuscripts, each text (or group of texts) will be treated individually. At the end of this essay, I will draw some conclusions concerning the status and use of Exodus in the Qumran collection. 1 Exodus Manuscripts Eighteen fragmentary manuscripts of the book of Exodus itself were found in caves 1, 2, and 4 at Qumran.1 The oldest, 4QExod-Levf, dates paleographi- cally to c. 250bce, while the latest, 4QExodk, dates between 30–135ce.2 The eighteen manuscripts between them cover parts of all the chapters of Exodus, beginning with 1:1–6 (4QExodb, 4QpaleoGen-Exodl) and ending with 40:8–27 1 D. Barthélemy, “Exode,” in Qumran Cave i (ed. D. Barthélemy and J.T. Milik; djd 1; Oxford: Clarendon, 1955), 50–51; M. Baillet, “Exode (i),” in Les ‘Petites Grottes’ de Qumran (ed. M. Bail- let, J.T. Milik, R. de Vaux; djd 3; Oxford: Clarendon, 1962), 49–52; M. Baillet, “Exode (ii),” in Les ‘Petites Grottes’ de Qumran (ed. M. Baillet, J.T. Milik, and R. de Vaux; djd 3; Oxford: Claren- don, 1962), 52–55; M. Baillet, “Exode (iii),” in Les ‘Petites Grottes’ de Qumran (ed. M. Baillet, J.T. Milik, and R. de Vaux; djd 3; Oxford: Clarendon, 1962), 56; James R. -
Leah Goldberg's Lady of the Castle and Shulamith
Discourses of Mourning and Rebirth in Post- Holocaust Israeli Literature: Leah Goldberg’s Lady Of The Castle and Shulamith Hareven’s “The Witness”* Rachel Feldhay Brenner The University of Wisconsin-Madison Abstract Both Godberg’s play and Hareven’s short story illustrate the failure of the Israeli to come to terms with the Holocaust catastrophe. In Goldberg’s play the characterization of the protagonist runs against the popular myth of the Holocaust victim gratefully embracing the hope of a new future embodied in the heroically idealistic Israeli. Hareven’s story rules out the possibility of a mutually accepted coexistence between the Israeli and the Holocaust survivor. Both works present the treatment of the outsider as a reflection of the emotional insecurity of the majority group, since the arrival of the survivor undermines the Zionist ideological tenets of the “negation of the Diaspora” and the creation of the “new” Jew in Eretz Israel. The events of the Holocaust effected a complicated discourse in Israeli literature. This literature, which had long been preoccupied with the themes of Israeli nation building, was suddenly compelled to search for proper modes of response to the Diaspora destruction. The difficulty of approaching the unspeakable was compounded from the outset by the Yishuv’s powerfully promoted notion of “a new beginning” which posited “an ideological divide” between the Diaspora Jews and the Israeli born sabras (Yudkin 1984: 1-2). In many of their programmatic statements, leading politicians and writers of the Yishuv manifested a tendency to subsume the catastrophe into the triumphant process of Jewish rebirth. Avraham Shlonsky, for instance, “claimed that the most significant act of defiance that the inhabitants of the Yishuv could engage in would be to carry on business as usual and to show that in at least one corner of the world Jews were thriving” (Ezrahi 1985-1986:252). -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
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. -
00 Primeras Paginas Rha5
RHA, Vol. 5, Núm. 5 (2007), 137-148 ISSN 1697-3305 NON-ASHKENAZIC JEWRY AS THE GROUND OF CONTEMPORARY ISRAELI MULTICULTURALISM Zvi Zohar* Recibido: 4 Septiembre 2007 / Revisado: 2 Octubre 2007 / Aceptado: 20 Octubre 2007 1. HISTORICAL AND CULTURAL Sephardic rabbinic authorities branded this deve - BACKGROUND lopment as illegitimate. Later, they realized that In the wake of the Expulsion from Spain not only was such opposition futile, but that many (1492), Sephardic1 Jews gradually settled as Sepharadim were in fact purchasing meat from refugees in many lands, primarily – in areas under Ashkenazic shehita. Thereafter, the Sephardic rab- Ottoman rule. One of these was the Holy Land, bis concentrated on de-legitimizing consumption Eretz Israel, whose Jewish inhabitants until that of such meat by Sepharadim; by and large, this time were mostly indigenous Musta’arabim2. For a campaign also failed, since the “Ashkenazic” pro- variety of reasons, the Musta’arabim gradually duce was less expensive. Ashkenazic influence upon became assimilated to the culture of the Sephardic Sepharadim manifested itself also in other aspects newcomers. From the 16th to the 19th centuries, the of traditional Jewish life – such as recitation of ri - dominant (‘hegemonic’) culture of Jews in Eretz tual benedictions by women, and the adoption by Israel (henceforth: EI) was Sephardic. However, certain Sephardic rabbis of ultra-Orthodox rejec- beginning in the late 18th century, and especially tionism towards, e.g., secular studies. during and after the brief Egyptian rule (1831 In the instances discussed above, various ethni - –1840), increased Jewish immigration from cally Jewish sub-groups interacted and influenced Eastern Europe, North Africa and the Middle East each-other with regard to varieties of Jewish cultu - led to the establishment of non-Sephardic commu- ral norms. -
“A Person Cannot Walk Away from Jerusalem Unchanged….”
“A person cannot walk away from Jerusalem unchanged….” 2000 years ago there was a Jewish Kingdom whose capital Destroyed and .ירושלים ,was Jerusalem, Yerushalayim desecrated for centuries, the Jewish People were finally reunited with the holiest of cities central to our faith, our history and our identity. Join us as we celebrate our origin, our return and our connection to Zion, the City of Gold! Yom Yerushalayim: The Reunification of A People And A Past By Elana Yael Heideman There has been a continuous Jewish presence in Jerusalem, and our connection to and passion for the city has been preserved as a memory by Jewish people around the world. Though the modern state of Israel was born in 1948, for years Jews were cut off from the Old City of Jerusalem and the Kotel, the Western Wall - the heart of the Jewish people, the axis of our collective national and historical identity, the center of our faith, and the focus of the history of the Jewish people for generations. Throughout Israel and around the world, on the 28th of the Hebrew month of Iyar, we celebrate being reunited with the city of Zion, Yerushalayim Shel Zahav, our only Jerusalem. History shows that it was the Jews who have made Jerusalem important to the world. In 1004 BCE, King David established Jerusalem as the capital of the Kingdom of Israel (2 Samuel 5:6). Following the first exile, he proclaimed: "If I forget you Jerusalem, let my right hand lose its strength. Let my tongue cling to my palate if I fail to recall you, if I fail to elevate Jerusalem above my highest joy." Three times a day, or even just twice a year, for thousands of years, Jews turn their faces towards Jerusalem and the Temple Mount and pray for a return to Jerusalem and to Tzion. -
Blood Tide: Design of a 3D Computer Game
Project Number: RL1-P109 Blood Tide: Design of a 3D Computer Game A Major Qualifying Project Report submitted to the Faculty of the Worcester Polytechnic Institute in partial fulfillment of the requirements for the Degree of Bachelor of Science on May 4, 2010 Submitted By: Joseph Alea, Garret Doe, Sarah Gilkey, Chris Willams, Frank Williams Advised By: Professor Jennifer deWinter and Professor Robert Lindeman Abstract Blood Tide: Design of a 3D Computer Game By Joseph Alea, Garret Doe, Sarah Gilkey, Chris Willams, Frank Williams This report discusses the results of the implementation of the game Blood Tide for a joint Interactive Media and Game Development and Professional Writing Major Qualifying Project. Blood Tide is a multiplayer, online, action, real-time strategy game that combines the strategic planning of a real-time strategy game with the fast paced combat of an action game. This report will detail the game‘s vision, the artistic and technical designs, the gameplay features, the successes and shortcomings of the project, and research on effective strategies for providing in-game help. This report will begin by introducing the game features of Blood Tide, then it will discuss the implementation of the game, and finally it will discuss the results. In addition to the results of the implementation, this report includes a post mortem from the project team that discusses lessons that were learned from the hurdles and successes of this project. ii Acknowledgements We would like to acknowledge Robert Lindeman and Jennifer deWinter for their assistance and guidance as our advisors. Additionally, we would like to express our gratitude toward Sean Beck, who helped us during the implementation phase of the project. -
Universiv Micrcsilms International
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