Relevant bibliographies by topics / Jewish Music Alliance (New York)

Academic literature on the topic 'Jewish Music Alliance (New York)'

Author: Grafiati
Published: 25 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Jewish Music Alliance (New York)"

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BARZEL, TAMAR. "An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene." Journal of the Society for American Music 4, no. 2 (April 15, 2010): 215–50. http://dx.doi.org/10.1017/s1752196310000039.

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AbstractIn April 1993 the Knitting Factory, a small nightclub in Lower Manhattan, hosted a five-day music festival titled “Radical New Jewish Culture.” This event was part of a multifaceted creative endeavor undertaken during the 1990s by composer/improvisers on New York City's downtown music scene and dubbed “Radical Jewish Culture” by its main protagonist, saxophonist John Zorn. RJC brought Jewish music and heritage into the purview of a polycultural experimentalist scene shaped by jazz, rock, free improvisation, and avant-garde concert music. Artists downtown also engaged in an animated “conversational community” that spilled over into interviews, program notes, liner notes, and essays. RJC was especially productive as a conceptual framework from which to interrogate the relationship between musical language and the semiotics of sound. Two pieces serve here as case studies: “¡Bnai!” an Israeli “pioneer song” as interpreted by the No Wave band G-d Is My Co-Pilot, and “The Mooche,” a Duke Ellington/Bubber Miley composition as interpreted by pianist Anthony Coleman's Selfhaters Orchestra.
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Conway, David. "Greeted with smiles. Bukharian Jewish music and musicians in New York." Journal of Modern Jewish Studies 16, no. 1 (October 11, 2016): 171–72. http://dx.doi.org/10.1080/14725886.2016.1242320.

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Rogachevsky, Neil, Yusri Hazran, Inbal Ben Asher Gitler, Eran Kaplan, and Motti Inbari. "Book Reviews." Israel Studies Review 38, no. 2 (June 1, 2023): 165–78. http://dx.doi.org/10.3167/isr.2023.380211.

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David Tal, The Making of an Alliance: The Origins and Development of the US–Israel Relationship (Cambridge: Cambridge University Press, 2021), 320 pp., $ 89.99 (hardback). Amal Jamal, Reconstructing the Civic: Palestinian Civil Activism in Israel (New York: State University of New York Press, 2021), 316 pp., $32.95 (paperback). Ayala Levin, Architecture and Development: Israeli Construction in Sub-Saharan Africa and the Settler Colonial Imagination, 1958–1973 (Durham, NC: Duke University Press, 2022), 320 pp., $89.99 (hardback). Tony Shaw and Giora Goodman, Hollywood and Israel: A History (New York: Columbia University Press, 2022), 368 pp., $105.89 (hardback). Arieh Saposnik, Zionism's Redemption: Images of the Past and Visions of the Future in Jewish Nationalism (New York: Cambridge University Press, 2021), 300 pp., $99.99 (hardback).
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OJA, CAROL J., and KAY KAUFMAN SHELEMAY. "Leonard Bernstein's Jewish Boston: Cross-Disciplinary Research in the Classroom." Journal of the Society for American Music 3, no. 1 (January 15, 2009): 3–33. http://dx.doi.org/10.1017/s1752196309090026.

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AbstractLeonard Bernstein is most often perceived as the quintessential New Yorker—music director of the New York Philharmonic from 1958 to 1969 and composer of Broadway shows that made New York their focus. Yet his grounding in the greater Boston area was powerful. He was born in 1918 in Lawrence, Massachusetts, and raised in various Jewish neighborhoods within Boston. The young Leonard went to Boston Latin, a prestigious public prep school, and graduated from Harvard in 1939.This article explores a team research project, made up of Harvard graduate students and undergraduates, which delved into the urban subcultures and post-immigrant experiences that shaped Bernstein's youth and early adulthood. It considers the synergy between an individual and a community, and it examines the complexities of blending pedagogy with research, analyzing the multilayered methodologies and theoretical strategies that were employed.Given Bernstein's iconic status, his life and career illuminate a broad range of questions about the nature of music in American society. Fusing the techniques of ethnographic and archival research, our team probed Bernstein's formative connections to Jewish traditions through his family synagogue (Congregation Mishkan Tefila), the ethnic geography that defined the Boston neighborhoods of his immigrant family, the network of young people involved in Bernstein's summer theatrical productions in Sharon, Massachusetts, during the 1930s, and the formative role of the city's musical venues and institutions in shaping Bernstein's lifelong campaign to collapse traditional distinctions between high and low culture.
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Jenkins, Chadwick. "New York Noise: Radical Jewish Music and the Downtown Scene by Tamar Barzel." Notes 72, no. 4 (2016): 744–46. http://dx.doi.org/10.1353/not.2016.0054.

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BARZEL, TAMAR. "An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene—Corrigendum." Journal of the Society for American Music 4, no. 3 (July 15, 2010): 393. http://dx.doi.org/10.1017/s1752196310000325.

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In JSAM 4(2), on page 220, note 17, and on 246, the citation for John Brackett's book is given incorrectly. It should read as follows:John Brackett, John Zorn: Tradition and Transgression. Bloomington: Indiana University Press, 2008.The author apologizes for this error.
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Walden, Joshua S. "The ‘Yidishe Paganini’: Sholem Aleichem's Stempenyu, the Music of Yiddish Theatre and the Character of the Shtetl Fiddler." Journal of the Royal Musical Association 139, no. 1 (2014): 89–136. http://dx.doi.org/10.1080/02690403.2014.886428.

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ABSTRACTThis article explores the music of Yiddish theatre in early twentieth-century New York by considering multiple adaptations of Russian Jewish author Sholem Aleichem's 1888 novel Stempenyu, about a klezmer violinist, which was transformed into two theatrical productions in 1907 and 1929, and finally inspired a three-movement recital work for accompanied violin by Joseph Achron. The multiple versions of Stempenyu present the eponymous musician as an allegory for the ambivalent role of the shtetl – the predominantly Jewish small town of Eastern Europe – in defining diasporic Jewish life in Europe and America, and as a medium for the sonic representation of shtetl culture as it was reformulated in the memories of the first generations of Jewish immigrants. The variations in the evocations of Eastern European klezmer in these renderings of Stempenyu indicate complex changes in the ways Jewish immigrants and their children conceived of their connection to Eastern Europe over four decades. The paper concludes by viewing changes in the symbolic character type of the shtetl fiddler in its most famous and recent manifestation, in the stage and screen musical Fiddler on the Roof.
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Naroditskaya, Inna. "Greeted with Smiles: Bukharian Jewish Music and Musicians in New York by Evan Rapport." Asian Music 49, no. 2 (2018): 166–68. http://dx.doi.org/10.1353/amu.2018.0021.

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Stauffer, Suzanne M. "Subject Headings for Jewish Liturgical Sheet Music, Used in the Music Catalog of the Klau Library, Hebrew Union College-Jewish Institute of Religion, New York." Judaica Librarianship 6, no. 1-2 (December 31, 1992): 94–104. http://dx.doi.org/10.14263/6/1992/1317.

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Cohen, Judah M. "Ruth Katz. “The Lachmann Problem”: An Unsung Chapter in Comparative Musicology. Jerusalem: The Hebrew University Magnes Press, 2003. 415 pp. CD encl.; David M. Schiller. Bloch, Schoenberg & Bernstein: Assimilating Jewish Music. New York: Oxford University Press, 2003. x, 199 pp.; Marsha Bryan Edelman. Discovering Jewish Music. Philadelphia: Jewish Publication Society, 2003. xii, 396 pp. CD encl." AJS Review 28, no. 2 (November 2004): 398–403. http://dx.doi.org/10.1017/s036400940440021x.

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Jewish music study is a loosely unified field that brings together strands from several scholarly traditions. Researchers trained in historical musicology typically use document study, note analysis, and contemporary aesthetic writings to examine how questions of “Jewishness” manifest themselves in the works of selected composers. Ethnomusicologists frequently utilize ethnographic fieldwork methods developed for studying musical practices of Jewish communities within a broad cultural and symbolic system. Jewish music researchers in Israel commonly focus on comparative cultural projects intended to illuminate stylistic or song-based pathways of transmission from one age or culture to the next. Cultural theorists tend to situate music as a medium for negotiating the borders between Jews and other groups. And with the lay public in mind, specialists and nonspecialists alike have generated numerous popular textbooks claiming to cover “Jewish music.” Each of these disciplines asks different questions about the nature of sound within Jewish contexts; yet central to all is the question of how the sound itself reflects concepts of Jewish life—providing researchers with a richly evocative common ground for substantive and interdisciplinary study.
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Dissertations / Theses on the topic "Jewish Music Alliance (New York)"

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Loeffler, James Benjamin. "A gilgul fun a nigun Jewish musicians in New York, 1881-1945 /." Cambridge, Mass. : Harvard College Library, 1997. http://catalog.hathitrust.org/api/volumes/oclc/37797078.html.

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Books on the topic "Jewish Music Alliance (New York)"

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What went wrong?: The creation and collapse of the Black-Jewish Alliance. New York: Free Press, 1995.

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Loeffler, James Benjamin. A gilgul fun a nigun: Jewish musicians in New York, 1881-1945. Cambridge, Mass: Harvard College Library, 1997.

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Bauer, Susan. Von der Khupe zum Klezkamp: Klezmer-Musik in New York. Berlin: Piranha, 1999.

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L, Kleeblatt Norman, Chevlowe Susan, and Jewish Museum (New York, N.Y.), eds. Painting a place in America: Jewish artists in New York, 1900-1945 : a tribute to the Educational Alliance Art School. New York: Jewish Museum, 1991.

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Sapoznik, Henry. Klezmer!: Jewish music from old world to our world. New York: Schirmer Books, 1999.

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The making of a Reform Jewish cantor: Musical authority, cultural investment. Bloomington: Indiana University Press, 2009.

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Barzel, Tamar. New York Noise: Radical Jewish Music and the Downtown Scene. Indiana University Press, 2015.

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Barzel, Tamar. New York Noise: Radical Jewish Music and the Downtown Scene. Indiana University Press, 2015.

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Rapport, Evan. Greeted with Smiles: Bukharian Jewish Music and Musicians in New York. Oxford University Press, Incorporated, 2014.

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Rapport, Evan. Greeted with Smiles: Bukharian Jewish Music and Musicians in New York. Oxford University Press, Incorporated, 2014.

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Book chapters on the topic "Jewish Music Alliance (New York)"

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Cohen, Judah M. "54 Jewish Sacred Music. New York, 1869/1875." In Jews Across the Americas, 231–37. New York University Press, 2023. http://dx.doi.org/10.18574/nyu/9781479819331.003.0060.

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Cohen, Judah M. "54. Jewish Sacred Music (New York, 1869/1875)." In Jews Across the Americas, 231–37. New York University Press, 2023. http://dx.doi.org/10.18574/nyu/9781479819348.003.0064.

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Lapidus, Benjamin. "“Where’s Barry?”." In New York and the International Sound of Latin Music, 1940-1990, 231–78. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0006.

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This chapter analyzes the understudied, multidimensional relationship of New York Jews with Latin music. Jewish engagement with Latin music took place throughout New York beyond the Palladium Ballroom, and the chapter presents the dance announcements in New York newspapers from 1947 to 1961 in order to show the extent of activities. It also details the historical depth of Jewish New Yorkers' involvement in Spanish Caribbean music by examining performance venues and events beyond the Catskills as well as the specific contributions of Eydie Gormé, Abbe Lane, Barry Rogers, and the dancer Ira Goldwasser. Ultimately, the chapter explores Jewish self-representations in Latin music and portrayals of Jews by non-Jews in Latin music. While there have been Jewish performers of Latin music throughout the Americas, Jewish New Yorkers' ongoing and nuanced relationship to Latin music has been unique and distinct.
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Lapidus, Benjamin. "Strings and Skins." In New York and the International Sound of Latin Music, 1940-1990, 54–81. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0002.

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This chapter outlines the important history and role of craftsmen based in New York City who produced and repaired traditional instruments used in the performance of Latin music. It introduces individuals who came from Cuban, Puerto Rican, Dominican, and Jewish communities, and examines how their instruments physically represented the actual sound of Latin Music to New York and the world on widely disseminated recordings. Many of these instrument makers also sold their instruments beyond New York City and the United States. The chapter also discusses the work of builders and musicians in New York City to create and modify the tools used to forge the sound of Latin music and diffuse both the instruments and their aesthetic throughout the world. Ultimately, the chapter seeks to unify into one coherent narrative, the efforts of folklorists, journalists, and authors who paid attention to the origins of hand percussion instruments in New York, their subsequent mass production, and the people who built the instruments used to play Latin music in New York City.
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"8 Roberto Juan Rodriguez’ Timba Talmud: Diasporic Cuban-Jewish Musical Convergences in New York." In Mazal Tov, Amigos! Jews and Popular Music in the Americas, 122–41. BRILL, 2016. http://dx.doi.org/10.1163/9789004204775_010.

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"Patrizia Guarnieri, Italian Psychology and Jewish Emigration under Fascism: From Florence to Jerusalem and New York. Basingstoke: Palgrave Macmillan, 2016. xv + 275 pp." In Textual Transmission in Contemporary Jewish Cultures, edited by Avriel Bar-Levav, 263–65. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516485.003.0020.

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Fascism exerted multiple, complex, and often perverse influences on Italian society and on the lives of Italian Jews in particular. The better-known outcomes of Italian Fascism are the development of a dictatorial regime grounded on the cult of personality, the bloody repression of political opposition, delirious imperialist adventures, the legal codification of anti-Jewish persecution, the late military alliance with Nazi Germany, and a catastrophic defeat in the Second World War. But Fascism also played a paramount role in conceiving new patterns of rural and urban development, industrial management, state and church relations, and educational reform, some of whose legacies have long outlasted the pernicious regime. Some public works, among them the embankments of the Tiber River and other aspects of urban renovation in Rome, and land reclamation in the central-southern regions of Italy, quite amazingly were not much developed beyond the regime’s endeavors in the 1920s and 1930s. Likewise, at least until recently, much of the public education system in the country—compulsory as well as academic—was regulated by principles laid down during “the infamous twenty years.” Those far-reaching influences have deeply affected Italy’s university ...
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Biezunski, Eléonore. "The YIVO Sound Archive as a Living Space." In The Oxford Handbook of Jewish Music Studies, 383–407. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.2.

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Abstract This chapter seeks to uncover the links between the establishment of the Max and Frieda Weinstein Archive of YIVO Sound Recordings in New York and the phenomenon of klezmer music’s revitalization by focusing on distinct moments in the 1970s and 1980s, when the Sound Archive was created. It approaches the Sound Archive not only as a repository of documents and sources, but as a social and musical phenomenon and as a living space. As such, the YIVO Sound Archive emerges as a product of dynamics generated by a group of individuals whose creativity is entangled in a web of social and cultural, intellectual and scientific, as well as institutional and artistic contexts. The small group of activists created the YIVO Sound Archive to gain access to the music—for the most part Yiddish song and klezmer—and to simultaneously revitalize it. This process reveals the archive as a space where objects and people circulate, and as a living space in which practices and usages evolve.
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Feldman, Walter Zev. "Klezmer Music in Eastern Europe and in America." In The Oxford Handbook of Slavic and East European Folklore, C28.P1—C28.N3. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.28.

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Abstract From the sixteenth until the earlier twentieth century, the Yiddish term “klezmer” referred to a largely hereditary Ashkenazic Jewish musicians’ guild that played for Jewish weddings through most of northeastern Europe. The klezmer musicians created a largely unified series of musical genres for listening and for dancing. By the later nineteenth century klezmer families transplanted this repertoire to North America. The first scholarship on this music was created by scholars in the tsarist empire and then in the Soviet Union. After the Holocaust, most of what survived from the klezmer repertoire and performance style was located in the United States. It was in New York that a serious revitalization movement began in the later 1970s, largely through apprenticeships with the remaining master klezmorim. By the early decades of the twenty-first century klezmer music had become a worldwide phenomenon, also taking in new generations of Russian and Ukrainian-Jewish performers, along with many non-Jewish musicians, from Berlin to Tokyo.
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Newton, Adam Zachary. "Interchapter V Bildung and Built-ins." In Jewish Studies as Counterlife, 161–64. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283958.003.0010.

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Hebrew school from the childhood years in New York City. Dickens and Tolkien, the social protests of 1968, experienced at eleven years of age in the Bronx. In the 1970s, liberal arts college, where mentors in music theory and composition and, later, literary studies, were teaching. Friendship with peers and teachers who were adolescents at the time of the Rosenberg affair, a vision, dazzling for a newcomer, of a fellowship that professes the Humanities and of a vocation to which one can attach oneself by spirit and heart as much as by training. A stay in the 1980s on the West Coast, and an apprenticeship in teaching composition. Harvard, Stanley Cavell. The theoretical ...
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Gilbert, Shirli. "Vilna: Politicians and Partisans." In Music in the Holocaust, 55–98. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199277971.003.0003.

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Abstract In 1939 the Vilna resident A. I. Grodzenski was preparing an almanac documenting Jewish life in the city. The articles he had assembled included reports about literary organizations, sport, religious activities, social institutions, and musical life; many proudly emphasized the glowing reputation that the Vilna community enjoyed among Jews not only in the local area, but also in major Polish cities, and as far away as Paris and New York. The sudden outbreak of war in September prevented publication of the book, but it was recovered after the war by a former community member, Isaac Kowalski. The progress reports that made up the almanac would, in different circumstances, probably have enjoyed no more auspicious a fate than gathering dust along with others of their predictable and prosaic kind.
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