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Live in Concert Dany Sanderson Synagogenkonzert Lesung Und
RF DO A IO R REN“ A TO AN M K I E R D E Konzert I D Sandra Kreisler „ Film Der letzte Mentsch Synagogenkonzert Live in Concert Dany Sanderson S A N DR ER A KREISL Lesung und Gespräch Dominique Horwitz E V I L N O S ER R G E R D E AN B S Z NY L DA A S - Z O A I N A F D Z O IT MIN RW Lesung und Gespräch IQUE HO Fania Oz-Salzberger www.juedischekulturwochen2014-frankfurt.de Kulturamt Dr. Dieter Graumann Prof. Dr. Felix Semmelroth Grußwort Sehr geehrte Damen und Herren, die Jüdische Gemeinde Frankfurt veranstaltet jährlich in Zusammenarbeit mit dem Kulturamt der Stadt Frankfurt am Main die Jüdischen Kulturwochen. Unser Bestreben ist es, nicht nur das Vergangene wieder aufleben zu lassen, sondern auch das heutige lebendige jüdische Leben in Frankfurt deutlich zu machen. Wir freuen uns, Ihnen das Judentum, die Religion, die Tradition und Lebensweise, die Philosophie und die Kultur, durch Musik, Lesungen, Vorträge, Filme, Führungen und Ausstellungen transparenter zu machen. Wir möchten darauf hinweisen, wie aktiv die Jüdische Gemeinde Frankfurt ist. Die Jüdische Gemeinde lebt und sie ist mit ihren regel- mäßig stattfindenden Veranstaltungen ein großer und beliebter Bestandteil der kultu- rellen Szene in Frankfurt. „Die rechte Aufgeschlossenheit ist das kostbarste menschliche Gut“ (Martin Buber). Seien Sie aufgeschlossen und neugierig. Wir heißen Sie herzlich willkommen. Dr. Dieter Graumann Prof. Dr. Felix Semmelroth Kulturdezernent der Kulturdezernent der Stadt Jüdischen Gemeinde Frankfurt am Main Frankfurt am Main K.d.ö.R. Eröffnung Sonntag, 7. September 2014, 17.00 Uhr Westend-Synagoge, Freiherr-vom-Stein-Straße 30 Begrüßung: Dr. -
Yoni Rechter
Yoni Rechter Teev Events Inc. 16501 Ventura Blvd, Encino, CA 91436 Tel (818) 483-8818, Fax (818) 482-2708 www.teev.com Biography Composer, pianist, singer and arranger, Yoni Rechter has made a major contribution to Israeli music in a career spanning more than 40 years, and is considered among Israel’s most important musicians. In the dozens of songs that Yoni composed, he created a wide variety of styles, incorporating numerous influences, from Sixties pop (mostly Beatles) to Jazz, Israeli to classical, east and west, into a fascinating personal statement. Rechter always composes with originality, great sensitivity to text, and for the best performers. He is considered the mark of quality and integrity in Israeli music. Yoni’s music is sophisticated and ever unexpected, constantly shifts tones and beats, and his classical piano training is evident. Many of his compositions have become staples of Israeli music, and one has on several occasions been voted the most popular Israeli song of all times. Yoni has worked closely with many of Israel’s top artists, including Arik Einstein, Gidi Gov, and Yehudit Ravitz. Perhaps his two most well-known collaborations are the legendary Kaveret group (a.k.a. Poogy), and Hakeves Ha-16 (The 16th Sheep), released in 1978 and still Israel’s most-popular album of children’s songs. A sought-after musical director, producer and arranger, Yoni has worked on numerous musicals, films, dance and albums. Rechter has also written classical music, and the Israeli Philharmonic Orchestra performed a concert dedicated to his songs and compositions. Hebrew University, Honoris causa Born in Tel Aviv, Yoni started playing piano at the age of 7, and decided to be a musician at age 12 when he discovered the Beatles. -
Yehuda Poliker Is One of Israel’S Premier and Most Important Artist of All Times
Yehuda Poliker is one of Israel’s premier and most important artist of all times. With a career that spans over 40 years, Poliker’s songs became a cornerstone of Israeli music and redefined Israeli contemporary pop/rock with his unique combination of electric guitars and bouzouki with Greek-Mediterranean rhythms and a rock flavor. All of Poliker’s albums achieved gold and platinum status and in 2012 Yehuda Poliker received the Life Time Achievement Award for his contribution to Israeli Culture. In his new show Yehuda Poliker, accompanied by 9 of Israel’s most talented musicians, is performing all the greatest hits from the early days of “Benzin” to the Greek classics from “Enayim Sheli” and to the latest 2014 album “Dreams Museum”. This show is a must see for anyone that loves Israeli music, Rock music and Mediterranean music and especially for those who admire the musical magic of the melting pot of Israel. “For three hours he turned the Caesarea Amphitheatre into a tremendous celebrations, with his world class production. The most Israeli artist is presenting the best most valuable performance in Israel.” Amit Salonim— Mako “From a Greek “Hafla” to a Rock Party, Poliker is one of the few that is blessed with an audience that will run to see him in any version. In this new tour he is sharp, warm and more exciting than ever before”. Amir Schwartz - Yediot Acharont DISCOGRAPHY Biography Yehuda Poliker was born in Kiryat Haim to Holocaust survivors from Salonika, Greece. As a teenager, Poliker played in several bands, such as FBI, HaNamerim (the Leopards), and Bareket. -
Jerusalem Weimar 2015 Es Ist Mir Wichtig, Gerade Mit Den Deutschen in Anbetracht Unserer Geschichte Auf Einer Guten Basis Eine Andere Verbindung Zu Schaffen
Young Philharmonic Orchestra Jerusalem Weimar 2015 Es ist mir wichtig, gerade mit den Deutschen in Anbetracht unserer Geschichte auf einer guten Basis eine andere Verbindung zu schaffen. It is important to me to achieve a different connection to Germans in particular, considering our history, on a good basis. Nitzan Gal Violoncello Jerusalem Academy of Music and Dance 1 Erinnern mit Musik Remembering with Music Geschichte wird lebendig in der Perspektive des From another person’s perspective, history can Anderen. Ihr Musizieren ist eine Verheißung für come alive. Making music together is promising die Zukunft. Junge Musiker aus Israel und Deutsch- for the future. Young musicians from Israel and land bilden ein Orchester. Sie studieren an der Germany form an orchestra. They study at the Jerusalem Academy of Music and Dance und Jerusalem Academy of Music and Dance and in Weimar an der Hochschule für Musik Franz in Weimar at the University of Music Franz Liszt. Liszt. Ihr Repertoire sind Werke, in denen die ge- Their repertoire consists of works that reflect the schichtlichen Brüche und Katastrophen, die sie historic disruptions and catastrophes that separa- trennt und eint, aufscheinen und denen sie über te and unify them, giving them another chance to Leugnen und Vergessen neues Gehör geben. Sie be heard, after denial and forgetting. They play musizieren gemeinsam in einem Orchester. Sie together in one orchestra. They rehearse, give proben, geben Konzerte, diskutieren und feiern. concerts, have discussions and celebrate. During Im Sommer 2011 spielten sie erste Konzerte zum the summer of 2011, they performed their first Gedächtnis Buchenwalds, auf der Wartburg in concerts in memory of Buchenwald at the Wart- Eisenach, in Berlin, im Dezember dann in Sde Bo- burg castle in Eisenach, in Berlin, and then in De- ker, Jerusalem und Tel Aviv. -
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. -
A Foundation for the Future
A FOUNDATION FOR THE FUTURE INVESTORS REPORT 2012–13 NORTHWESTERN UNIVERSITY Dear alumni and friends, As much as this is an Investors Report, it is also living proof that a passion for collaboration continues to define the Kellogg community. Your collective support has powered the forward movement of our ambitious strategic plan, fueled development of our cutting-edge curriculum, enabled our global thought leadership, and helped us attract the highest caliber of students and faculty—all key to solidifying our reputation among the world’s elite business schools. This year, you also helped set a new record for alumni support of Kellogg. Our applications and admissions numbers are up dramatically. We have outpaced our peer schools in career placements for new graduates. And we have broken ground on our new global hub. Your unwavering commitment to everything that Kellogg stands for helps make all that possible. Your continuing support keeps us on our trajectory to transform business education and practice to meet the challenges of the new economy. Thank you for investing in Kellogg today and securing the future for generations of courageous leaders to come. All the best, Sally Blount ’92, Dean 4 KELLOGG.NORTHWESTERN.EDU/INVEST contentS 6 Transforming Together 8 Early Investors 10 Kellogg Leadership Circle 13 Kellogg Investors Leaders Partners Innovators Activators Catalysts who gave $1,000 to $2,499 who gave up to $1,000 99 Corporate Affiliates 101 Kellogg Investors by Class Year 1929 1949 1962 1975 1988 2001 1934 1950 1963 1976 1989 2002 -
University of California, Santa Cruz Music Department
University of California, Santa Cruz Music Department Music 80-i: Music of Modern Israel Instructor: Avi Tchamni ([email protected]) TAs: Nelsen Hutchison ([email protected]) Class meetings: MWF 12:00-1:05PM Music Center room 101 Instructor’s office: Music Center 126 (phone: 459-4238) Office hours: Wed 2:30-4:00PM, and by appointment The course will examine the development of popular music in Israel from the beginning of the 20th century until the present. We will discuss the complexity of national identity inherent in the study of immigrant and refugee societies, and the power struggle between the different forces involved in the process: the state and its institutions, the people, and the outside world. We will review the course of musical history in Israel, from nationalism and “invented” folk music through the emergence of the Other (“Musiqa Mizrahit”) and the arrival of rock and world music. TEXTBOOK Regev, Motti and Edwin Seroussi. Popular Music and National Culture in Israel (Berkeley: University of California Press, 2004) Available as eBook on UCSC library DOCUMENTARIES During the quarter we will watch episodes from “Sof Onat ha-Tapuzim” (“End of the Orange Season”) – a documentary series on the development of Israeli rock music. CLASS CONCERT AND PERFORMANCES There will be a live concert towards the end of the quarter (TBA). Students who would like to perform songs from the repertoire in class during the quarter, are encouraged to do so. RECORDINGS All playlists will be available on the class website: http://artstream.ucsc.edu/music80i OFF-CAMPUS ACCESS TO ONLINE RESOURCES 1. -
LESSON NOTES Basic Bootcamp S1 #1 Self-Introduction: Basic Greetings in Hebrew
LESSON NOTES Basic Bootcamp S1 #1 Self-Introduction: Basic Greetings in Hebrew CONTENTS 2 Hebrew 2 English 2 Romanization 2 Vowelled 3 Vocabulary 3 Sample Sentences 4 Vocabulary Phrase Usage 5 Grammar 6 Cultural Insight # 1 COPYRIGHT © 2013 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. HEBREW ? . . :A .1 . . :B .2 . :A .3 . :B .4 ENGLISH 1. A: Hello. My name is Amir. What's your name? 2. B: Hello, Amir. My name is Shira. 3. A: Nice to meet you. 4. B: Me too. ROMANIZATION 1. A: Shalom. Sh'mi Amir. Mah shmekh? 2. B: Shalom Amir. Sh'mi Shira. 3. A: Na'im me'od. 4. B: Gam li. VOWELLED CONT'D OVER HEBR EW POD1 0 1 . C OM BAS IC BOOTCAMP S 1 #1 - S ELF-INTRODUCTION: BAS IC GREETINGS IN HEBREW 2 ? . . :A .1 . . :B .2 . :A .3 . :B .4 VOCABULARY Hebrew Romanization English Class Gender shalom hello noun ani I or I am pronoun general meod much/great/very adjective li (to) me pronoun none gam also preposition na'im lovely, pleasant adjective SAMPLE SENTENCES ? , ? , Shalom, mah shlomekh Shira? shalom, ma shlomcha? Hello, how are you, Shira? Hello, how are you? (to male listener) . Ani ohev otakh. Ani me'od ohev kafeh. I love you. (male speaker to female I like coffee very much.(male speaker) listener) HEBR EW POD1 0 1 . C OM BAS IC BOOTCAMP S 1 #1 - S ELF-INTRODUCTION: BAS IC GREETINGS IN HEBREW 3 . . ani meod raev. yesh li darcon. I am very hungry. (male speaker) I have a passport. ! . Gam ani ohev kafeh! Hayah nayim. -
Newsletter 12/13 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 12/13 DIGITAL EDITION Nr. 335 - Dezember 2013 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 12/13 (Nr. 335) Dezember 2013 editorial Hallo Laserdisc- und DVD-Fans, erlebnis jedoch nicht schmälern!” liebe Filmfreunde! Das IMAX-Kino in Bradford ist noch Man gönnt sich ja sonst nichts. Das eines der wenigen in Europa, das tat- war vermutlich der Leitspruch unseres sächlich noch mit horizontal laufendem Film-Bloggers Wolfram, als er sich 70mm-Film arbeitet. Viele andere spontan dazu entschloss, den zweiten IMAX-Kinos wurden inzwischen be- Teil der HUNGER GAMES Saga im fer- reits digitalisiert. Dort wird mit einer 2K nen England anzuschauen. “Das war Doppelprojektion gearbeitet, die eine mein ganz persönliches Kino-Highlight Leinwand mit einem Bildseiten- 2013!” kam er freudestrahlend von sei- verhältnis von etwa 1:1.78 füllt. Das nem Kurztrip zurück. Wolfram hatte Seherlebnis in den digitalen IMAX- sich natürlich nicht irgendein beliebi- Kinos ist daher leider nicht derart ges Kino ausgesucht, um den Film an- spektakulär wie bei analoger zuschauen, sondern gleich das beste. Projektionstechnik. Seit zwei Wochen Die Rede ist vom IMAX-Kino in hat auch Karlsruhe ein solches digita- Bradford, das dort schon seit über 20 les IMAX-Kino. Es befindet sich im Jahren fester Bestandteil des National Filmpalast am ZKM und war Ziel eines Media Museums ist. “Regisseur kleinen Betriebsausflugs der Laser Francis Lawrence setzte in CATCHING Hotline. -
ISRAEL PI.Indd
Putumayo Presents: ISRAEL EXIL 90574-2 / LC 08972 / VÖ: 14.9.2007 / DISTRIBUTION: INDIGO 1. Etti Ankri: “Nilkach Meemeni Sad” (Etti Ankri) 2. Itay Pearl: “Chipopo” (Itay Pearl) 3. Hadas Dagul: “Seret Eelem” (Hadas Dagul) 4. Rona Kenan with Gidi Gov: “Ha‘rikud Ha‘muzar Shel Ha‘lev” (Rona Kenan) 5. Mosh Ben Ari: “Eem Rak Na‘iz”(Mosh Ben Ari) 6. Moshav Band: “Bereshit” (Y. Solomon/D. Swirsky/A. Naftali) 7. Zafa: “Tariki” (Naomi Amrani) 8. Sheva: “Ashrey Ha‘ish” (Psalms 1 – The Bible, arranged by Sheva) 9. David Broza: “Srochim” (Yehonathan Geffen/David Broza) 10. Tea Packs: “Vehapa‘am Shir Ahava” (Kobi Oz) 11. Amal Murkus: “Ta‘alu” (Tawfeq Zayad/Amal Murkus) 12. The Idan Raichel Project: “Mi‘ Ma‘amakim” (Idan Raichel) Die täglichen Nachrichten lassen es kaum vermuten, dass in Israel Spielraum und Muße für interkulturelle Experimente bleibt. Wir sind abgestumpft von den jahrzehntelangen Horrormeldungen über den Konflikt zwischen Israelis und Palästinensern. Dass im trendigen Tel Aviv, im historischen Jerusalem, in Haifa und einer ganzen Menge kleinerer Städte eine quirlige Musikszene blüht, bekommen wir allenfalls marginal mit, wenn einmal Namen wie Ofra Haza oder Noa aufs internationale Parkett treten. Immerhin sind Popstars wie Idan Raichel und Mosh Ben Ari oder der Songwriter David Broza auch bei uns keine gänzlich unbeschriebenen Blätter. Putumayo enthüllt um diese bekannteren Persönlichkei- ten herum nun weitere Gesichter. Da sind vielversprechende Newcomer genauso aufgeboten wie Tonkünstler mit Legendenstatus, verschrobene Eurovision Song Contest-Teilnehmer genau wie Experimentatoren zwischen den Kulturräumen. Und diese Vielfalt ist kein Konstrukt, sondern spiegelt nur den Staat Israel als Immigrantenland, eingebettet in eine flirrende Geographie am Kreuzungspunkt zwischen Europa, Afrika und Asien wider – mit jemenitischen, russischen, arabi- schen, asiatischen und äthiopischen Einflüssen. -
Noam Lemish Dissertation Final Submission Truly
Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition by Noam Lemish A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts in Performance Faculty of Music University of Toronto © 2018 Copyright by Noam Lemish ii Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition Noam Lemish Doctor of Musical Arts in Performance Faculty of Music University of Toronto 2018 ABSTRACT This dissertation is a case study of musical transculturation in jazz performance and composition through the examination of the practices of Israeli jazz musicians who began to operate on the international jazz scene starting in the 1990s. An impressive number of Israeli jazz performers have received widespread exposure and acclaim over the last twenty years. Artists such as Omer Avital (bass), Anat Cohen (woodwinds), Avishai Cohen (bass) among many others have successfully established themselves on a global scale, creating music that melds various aspects of American jazz with an array of Israeli, Jewish and Middle-Eastern influences and those from numerous other non- Western musical traditions. While each musician is developing his or her own approach to musical transculturation, common threads connect them all. Unraveling these entangled sounds and related discourses lies at the center of my study. While this is the first comprehensive study of the contributions -
“Around the World in 18 Songs”: a Concert of Languages Elizabeth S. Rickel Senior Honors Project in Music the University
“Around the World in 18 Songs”: A Concert of Languages Elizabeth S. Rickel Senior Honors Project in Music The University of Akron July 24th, 2020 Around the World in 18 Songs An Honors Recital Elizabeth Rickel, soprano Jackson Carruthers, pianist A Note from the Vocalist At the beginning of my research, I began with a few Questions: What makes art and folk songs so important to their respective cultures? How are they similar to each other? How are they different? What is it about this kind of music that makes it so many, no matter the origin of the person or song? The motivation for this project is to shine light on some lesser-known folk songs, build upon my passion for music and language, and to illustrate the power of music, a universal language that we all understand, and in fact rather enjoy, and to illustrate the beauty when culture, language, and music are combined effectively. The goal at the end of my research was to have a full concert set that I can perform for any venue, particularly in schools, where I can talk to young musicians and broaden their horizons in the direction of world music. The songs for this concert were selected on the basis of various factors. Some of these songs were ones that I was already familiar with, either having heard them or performed them previously. Another factor was familiarity with the language, which ranged anywhere from speaking/performing in that language, a language with a similar root, and so on. That being said, I tried to go outside of my comfort zone and pick languages that I was not familiar with.