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PAROLE E MUSICA DELLA MEMORIA EBRAICA a Cura Di CARLO BIANCHI
brescia MUSICA INTERVISTA A ROLANDO ANNI E ALESSANDRO ADAMI DEL GRUPPO “KLEZMORIM” PAROLE E MUSICA DELLA MEMORIA EBRAICA a cura di CARLO BIANCHI n bambino di fronte a dialogo fra ebrei e cristiani, per un albero su un prato un incontro che è stato, credo, circondato da una il nostro primo ‘concerto’. Nel U sconnessa stacciona- corso del tempo i rapporti fra la ta scarna che conduce, voltan- musica e le letture o le mie spie- do, fino a un caseggiato romito. gazioni si è invertito: prima la La copertina del disco che rac- musica accompagnava quello chiude i quindici canti della tra- che avevo da dire, adesso inve- dizione popolare ebraica can- ce sono io a dire delle cose che tati e suonati dal complesso accompagnano la musica. Di- Klezmorim è l’immagine ricreata ciamo che io mi sono preoccu- di Oyfn veg shteyt a boym (“sta, pato di costruire questo proget- lungo la strada, un albero pie- to da un punto vista letterario e gato”), una di queste quindici storico. La nostra particolarità è storie in musica, la ninna-nanna che i nostri non sono dei veri e di un bambino che chiede alla propri concerti, sono ‘incontri’ mamma di potersi arrampicare dove la musica viene inserita in sull’albero per volare verso il un contesto molto preciso per- cielo, anche se fa freddo e la ché siamo convinti ancora oggi mamma gli raccomanda di co- che questa musica pur essendo prirsi, non vuol lasciarlo andare, semplice, popolare, non possa per paura che si smarrisca. essere del tutto compresa senza Sono canti di un popolo – di alcune fondamentali spiegazio- una cultura, di una religione – ni”. -
Table of Contents
Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us. -
Pearls of Wisdom Book & Author Event
Presidents: Marcia Langer, Judy Levine Editor: Kathleen Witkin Co-Editor: Sara Leopold Layout/Graphics: Carolyn Sherris www.brandeisphoenix.org Instagram: bncphoenixchapter Twitter: @bncphx NOVEMBER 2019 www.facebook.com/brandeisphoenix 30th Anniversary! Pearls of Wisdom Book & Author Event Friday, February 21, 2020 The Westin Kierland Resort and Spa Presenting Our 2020 Fantastic Authors! Brad Taylor, Gabriel Bump Jeanine Cummins, Jamie Bernstein Tim Mason Moderator: Stanley Roberts A Bookmark Donor Cocktail Reception with the authors will be held on Thursday, February 20, 2020. For additional information, see page 4. NOVEMBER 2019 BNC PHOENIX CHAPTER PAGE 2 Co-Presidents’ Message Dear Fellow Brandeis Members, Thanksgiving is coming and our Phoenix BNC Chapter has so much to be thankful for. Our BNC Chapter contributed over $135,000 of the almost $1 million in donations raised during BNC's Magnify the Mind Campaign. The Campaign funds have been used to purchase and equip space for a high-speed two-photon microscope. This essential technology allows Brandeis researchers and science students the ability to observe brain activity in real time and will also help to keep Brandeis University at the forefront in research for neurodegenerative diseases. At our BNC Phoenix Fall Opening Event, we were fortunate to have as our guest speaker Joshua Trachtenberg. Dr. Trachtenberg graduated from Brandeis in 1990 and is a leader in studying the living brain in action by using advanced imaging technology. After establishing his research laboratory at UCLA, he founded a company named Neurolabware. It was their two-photon microscope that was purchased for use at Brandeis University. Our sincere thanks to our Program VPs Bonnie Clewans and Judy Krockey and the Programming Committee for creating an informative and enjoyable brunch. -
The Australian
MarchFebruary 2001 2001 Womadelaide Previewed Appeared in - The Adelaide Review Womadelaide 2001 It is February and the “off-year” for the Adelaide Festival, so it must be time for Womadelaide. This is the sixth incarnation -including the Pimba train ride and the McLaren Vale boutique version in 1998- and expectation is now higher than ever. This event has come a long way since its incep- tion as part of the 1992 Festival of Arts. Back then, director Rob Brookman had originally intended to use Belair National Park as the venue but the CFS vetoed the idea for safety reasons. The move to Botanic Park was a last minute stroke of genius and it is now clear that its continued availabil- ity has ensured that Womadelaide has become a significant drawcard for the city, one of those blue chip major events claimed by politicians, tour- ism promoters and various other purveyors of things Sensational. Fortunately, though, Womad is sufficiently idiosyncratic to resist corpo- rate takeover. Amongst the estimated 65,000 visits to the park are repre- sented all generations, many tribes, and most demographics.. Womad is a great big picnic with extraordinary music, high production values, quality amenities and skilfully unobtrusive management. Few events on this scale are as relaxed, amiable and safe for everyone in the perimeter. For all these reasons, the recidivist rate is high. In 1999 it was estimated that 90% had been to Womad before. Which accounts for the ritualised as- pects of the occasion. The layout is reassuringly familiar, the protocols kept scrupulously intact, even the weather somehow manages to be ideal- sunny days and sublimely balmy evenings. -
Klezmer Music, History, and Memory 1St Edition Ebook Free Download
KLEZMER MUSIC, HISTORY, AND MEMORY 1ST EDITION PDF, EPUB, EBOOK Zev Feldman | 9780190244514 | | | | | Klezmer Music, History, and Memory 1st edition PDF Book Its primary venue was the multi-day Jewish wedding, with its many ritual and processional melodies, its table music for listening, and its varied forms of Jewish dance. The second part of the collection examines the klezmer "revival" that began in the s. Krakow is not far from Auschwitz and each year, a March of the Living, which takes visitors on a walk from Auschwitz to the nearby Birkenau death camp, draws tens of thousands of participants. Its organizers did not shy from the topic. But, I continued, we don't celebrate the military victory. Some aspects of these Klezmer- feeling Cohen compositions, as rendered, were surely modern in some of the instruments used, but the distinctive Jewish Klezmer feel shines through, and arguably, these numbers by Cohen are the most widely-heard examples of Klezmer music in the modern era due to Cohen's prolific multi-generational appeal and status as a popular poet-songwriter-singer who was very popular on several continents in the Western World from the s until his death in Ornstein, the director of the Jewish Community Center, said that while the festival celebrates the past, he wants to help restore Jewish life to the city today. All About Jazz needs your support Donate. Until this can be accessed, Feldman's detailed study will remain the go-to work for anyone wishing to understand or explore this endlessly suggestive subject. With Chanukah now past, and the solstice just slipped, I am running out of time to post some thoughts about the holiday. -
Copyright 2010, Michigan Opera Theatre 132Ndseasonums 10111
Copyright 2010, Michigan Opera Theatre 132ndseasonums 10111 Renee Fleming soprano Hartmut Hall piano Sun, Jan 16 I 4 PM HILL AUDITORIUM • ANN ARBOR One of the most beloved and celebrated musical ambassadors of our time, soprano Renee Fleming captivates audiences with her sumptuous voice, consummate artistry, and compelling stage presence. This great American soprano returns to VMS after her 1997 recital and her 2005 appearance in a concert version of R!chard Strauss's Daphne. MEDIA PARTNER W,GTE 91.3 FM. Liebeslieder Waltzes: Songs and Waltzes of Love Genia Kuhmeier soprano Bernarda Fink mezzo-soprano Michael Schade tenor Thomas Quasthoff bass-baritone Malcolm Martineau piano Justus Zeyen piano Sat, Apr 23 I 8 PM HILL AUDITORIUM • ANN ARBOR PROGRAM Schumann Spanische Liebeslieder, Op . 138 (1849) Brahms Liebeslieder Waltzes, Op. 52 (1868- 69) Brahms Four Songs from Quartets for Four Voices and Pianos, Ops. 64 & 92 (1862- 84) Brahms Neue Liebeslieder Waltzes, Op. 65 (1874) MEDIA PARTNER WGTE 91.3 FM . .::i\-J£RS'r)- Call or click for tickets! ~ ums 734.764.2538 I www.ums.org 6'::=::;:;.ti;.. ~ (' ... -f( SOC \ ~'\ HOURS: MONCopyright- FRI : 9 AM TO2010, 5 PM Michigan SAT: 10 AM Opera TO 1 TheatrePM . ='"'- CONTENTS Fall 2010 Th e Official MagaZine WELCPME of the Detroit Opera Hous e L ETTER FROM D AVID DICHIERA ................ ..... .... ... ... .. .. .. ..... 4 BRAVO is a Michigan Opera Theatre publication. ON STAGE Rebekah Johnson, Editor Mitch Carter, Contributing Editor T HE MIKADO ... .... .... .... .. .... .. ..... .. ..... ... ............ ...... ... ...... ... 5 THE DYNA MIC Duo: Two MEN WHO CH ANG ED ENG LI SH OPERA ...... .... 7 Contributors Fred Buchalter Mitch Can er l-A B OHEME .. -
Pomegranates & Figs
CAL PERFORMANCES PRESENTS Sunday, December 5, 2010, 3pm Zellerbach Hall Pomegranates & Figs A Feast of Jewish Music PROGRAM Teslim Kaila Flexer violin, tarhui Gari Hegedus oud, mandocello, divan saz, violin, frame drum Special Guests of Teslim Shira Kammen violin, viola Julian Smedley violin Susu Pampanin frame drum, riqq, doumbek Caleb O’Reilly vocals, cello Sqwonk Jeff Anderle bass clarinet Jonathan Russell bass clarinet INTERMISSION North End Klezmer Project Ben Mink guitar, violin, mandolin Daniel Koulack double bass, guitar, banjo Nicolai Prisacar accordion Myron Schultz clarinet Victor Schultz violin Finale All of the above! Credits Paul Knight House Sound Engineer Kaila Flexer Artistic Director Catherine Rose Crowther & Sara Glaser Pomegranates & Figs Logo Design Cal Performances’ 2010–2011 season is sponsored by Wells Fargo. CAL PERFORMANCES 27 PROGRAM NOTES PROGRAM NOTES A Feast of Jewish Music thing as one “Jewish music” that characterized all Jews living in the far-flung corners of the Earth, ODAY , THE THORNY QUESTION of what and that Jews sang and played a host of musical Tmakes music “Jewish” is often avoided (and traditions, almost all transmitted orally, which feared) by scholars, musicologists and cultural shared their traits more with the host non-Jewish As many of you know, I have been program- historians alike, but it does occasionally spark cultures than among themselves. This diversity ming Jewish music in the Bay Area for a long heated discussions on email lists and gathers the preoccupied Jewish intellectuals, whom in the time, and nothing pleases me more than to bring attention of bloggers worldwide. It is indeed a midst of the Romantic and nationalistic fervors together inspired performers. -
Carmengeorges BIZET
Carmen GEORGES BIZET THEATER 15/16 Five Hundred Twenty-Second Program of the 2015-16 Season _______________________ Indiana University Opera Theater presents as its 447th production Carmen Opéra Comique in Four Acts Music by Georges Bizet Libretto by Henri Meilhac and Lucovic Halévy Based on the novel by Prosper Mérimée David Effron, Conductor Jeffrey Buchman, Stage Director Robert O’Hearn, Set and Costume Designer Dana Tzvetkov, Costumer Patrick Mero, Lighting Designer Walter Huff, Chorus Master Brent Gault, Children’s Chorus Master Rosa Mercedes, Dance Choreographer Matt Herndon, Fight Choreographer Gary Arvin, Diction Coach Daniela Siena, Supertitles Author _________________ Musical Arts Center Friday Evening, February Twenty-Sixth Saturday Evening, February Twenty-Seventh Friday Evening, March Fourth Saturday Evening, March Fifth Seven-Thirty O’Clock music.indiana.edu Cast of Characters Friday, February 26 Saturday, February 27 Saturday, March 5 Friday, March 4 Don José . Trey Smagur Justin Stolz Carmen . Courtney Bray Patricia Illera Micaëla . Yuji Bae Claire Lopatka Escamillo . Ross Coughanour Jianan Huang Zuniga . Andrew Richardson Jeremy Gussin Moralès . Mark Billy Teofil Munteanu Frasquita . Emma Donahue Madeline Ley Mercédès . Marianthi Hatzis Chelsea DeLorenz Le Dancaïre . Benjamin Seiwert Andres Acosta Le Remendado . Max Zander Darian Clonts Supernumeraries . Zach Decker, Kara Dual-Fowler, Norm Holy Antonio Houck, Moses Mayabilo, Ben Monticue Jim Nelson, Andrew Nine, Tod Wicks Opera Chorus Walter Huff, Chorus Master Women Women -
Classical Music and the Hebrew Song Repertoire YOSEF GOLDENBERG
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Classical Music and the Hebrew Song Repertoire YOSEF GOLDENBERG The repertoire of Hebrew folk and popular songs has various links to the tradition of classical music, some of which we will examine here. These links include: occasional textual references, musical quotations, stylistic imitations, biographical relationships of Israeli art music composers to the folk or popular repertoire and vice versa, classical performances of Israeli songs, stylistic features shared with classical music (much more prominent in Israeli songs than in Anglo-American pop-rock music), and occasionally even quasi-classical artistic devices (not necessarily in songs whose style resembles classical music). References to and Use of Classical Music in Hebrew Songs Textual references to classical music appear in many Hebrew songs, especially those that are humoristic in style. Classical music generally serves as a stereotypic symbol of high art, whether it is being praised for being exemplary, or blamed for being arrogant.1 Specific composers mentioned in song texts are usually interchangeable; specific works are hardly ever mentioned, and, when they are, the reference does not 1 For example, Beethoven’s name is mentioned as a symbol of genius in Ata Pele [You are a Miracle] (Chava Alberstein, 1989); a hostile approach appears in Be-Gova ha-‘Einayim [At Eye Level] (Uzi Chitman, 1995). I refer to the names of the composer or lyrics writer (according to context) and year of composition or release. I found many of these details in MOOMA’s listings at http://www.mooma.com, or at ACUM [the Israeli ASCAP] site at http://www.acum.org. -
2019-2020 Season Volume Xxvii • Issue 10
2019-2020 SEASON VOLUME XXVII • ISSUE 10 22......Information 26......Royal Winnipeg Ballet 36......The Klezmatics 44......Miss Nelson has a Field Day 68......Davina & The Vagabonds and Hot Club of Cowtown 73......Wharton Circle CONSUMER ALERT REGARDING TICKET PURCHASING With so many high-profile and popular events coming to Wharton Center, we have found more and more patrons are being exploited by unscrupulous ticket resellers. Often our tickets are being marketed on secondary ticket websites before the operator of the website has even purchased tickets – and they are selling at prices far above the price you will pay through whartoncenter.com. Purchasing tickets to Wharton Center events through another source might result in paying too much for your tickets or paying for tickets that are invalid. If there is a problem with your tickets, you may not be able to receive help from Wharton Center’s Ticket Office as there will be no in-house record of your transaction. In addition, we are unable to contact you if there is a change in performance time, traffic notices, etc. To avoid being ensnared by unscrupulous ticket resellers: • Bookmark our website, whartoncenter.com for ticket and show information. • Sign up for our eClub to receive information directly from Wharton Center. We urge you to protect yourself by purchasing directly from the official source for Wharton Center tickets: at whartoncenter.com; by phone at 1-800-WHARTON (1-800-942-7866); or at the Auto-Owners Insurance Ticket Office at Wharton Center. IN CASE OF EMERGENCY Please observe the lighted exit signs located throughout the building and theatre(s). -
Download the Playbill
TOSCA Composer: Giacomo Puccini Act I — Rome, June 1800;The Church of Sant’Andrea della Valle. Napoleon Bonaparte is advancing with his army. Bonaparte is the political enemy of Scarpia and the hero of Cavaradossi and Angelotti. Angelotti, an escaped political prisoner, takes refuge in a side chapel of the church of Sant’Andrea della Valle in Rome. An elderly sacristan comes to tidy up, followed by Cavaradossi, a painter, who is at work on a portrait of the Madonna. Cavaradossi compares his Madonna’s blonde-haired, blue-eyed charm with the dark beauty of his lover, the famous singer Floria Tosca (“Recondita armonia”). Angelotti emerges from hiding to find Cavaradossi, his political ally,who promises to help his friend escape from Rome. Angelotti hides again at the sound of Tosca’s voice from outside. Tosca jealously demands to know why the door was locked. Cavaradossi reassures her, and they join in a passionate duet (“Non la sospiri”). Once Tosca has gone, Angelotti reappears and he and Cavaradossi plan his flight. A cannon shot from the Castel Sant’Angelo announces the discovery of Angelotti’s escape. They exit. The sacristan enters followed by clerics and choir boys, all excited by rumors of Bonaparte’s defeat (“Tutta qui la cantoria”). Baron Scarpia, the chief of police, arrives with his henchman Spoletta in search of the escaped prisoner. Tosca returns, and Scarpia plays upon Tosca’s jealousy in hopes of discovering Angelotti’s whereabouts (“Tosca divina”). When she leaves to seek her lover, Scarpia has her followed. As the crowd intones the “Te Deum,” Scarpia vows to bring Cavaradossi to the gallows and Tosca into his arms (“Va, Tosca! Nel tuo cuor s’annida Scarpia”). -
FW May-June 03.Qxd
CD REVIEWS • CALENDAR OF EVENTS • INTERVIEWS FREE Volume 3 Number 6 November-December 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY VIVA“Don’t you knowCONJUNTO that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers FLACO JIMENEZ ROCKIN’ THE SKIRBALL BY BETTO ARCOS laco Jimenez knows where ings, of your roots, where you come from. he comes from and he’s My point is ‘life is life’ and everybody’s proud to say it: “I’m just got a heart that feels, and there’s good ones an accordion player from and bad ones. We all struggle to survive. the West side of town.” But still, if I’m a poor musician, I’m a mil- The West side of town is a lionaire in music, but not with money. The F working class area in San heart is the one that’s rich.” Antonio. For a long time, this neigh- Flaco Jimenez has a particular way of borhood carried a stigma and a bad explaining what it is that makes music so reputation, but for Flaco, and many of important in life. Every musician has their the best Tejano musicians, the West own style, their own feeling the way they side is where much of the music we play music, he says. But, “sometimes there now know as Tex-Mex, Conjunto or are musicians that are just mechanical, Tejano was born. they don’t have the ‘crying expression’ of Leonardo “Flaco” Jimenez was born explaining the music, but still they’re good into a legendary musical family.