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Journal articles on the topic 'MUSIC / Religious / Jewish'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.

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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying professi

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2

Brautbar, Shirli, Peter La Chapelle, and Jessica Hutchings. "The Valley of the Dry Bones." Journal of Popular Music Studies 32, no. 2 (2020): 191–213. http://dx.doi.org/10.1525/jpms.2020.32.2.191.

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This article explores Jewish contributions to, and influence on, the country music and bluegrass genres, arguing that there have been four key phases of Jewish-country interaction and that in recent years country and bluegrass Jews have taken a largely religious and liturgical turn as singer-songwriters in these genres. The first sections of this article identify several important stages of interaction, beginning with a phase between the 1940s and 1960s when Jews challenged antisemitism and sought assimilation and acceptance, a period in the 1970s when iconoclasts such as Kinky Friedman and Sh

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Kelman, Ari Y., and Jeremiah Lockwood. "From Aesthetics to Experience: How Changing Conceptions of Prayer Changed the Sound of Jewish Worship." Religion and American Culture 30, no. 1 (2020): 26–62. http://dx.doi.org/10.1017/rac.2020.4.

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ABSTRACTThis article tracks changes in conceptions of American Jewish congregational prayer music during the second half of the twentieth century, paying specific attention to the late 1960s and early 1970s. During those years, more than fifty albums of new American Jewish synagogue music were released. These drew on the sounds of folk and rock music, and they represented a shift from the sounds of classical cantorial synagogue music. These changes have largely been understood as a shift away from cantorial styles, which emphasized performance and virtuosity, and toward more accessible and mor

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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 (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 intende

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Davis, Ruth. "Pizmon: Syrian-Jewish Religious and Social Song." Yearbook for Traditional Music 19 (1987): 141. http://dx.doi.org/10.2307/767903.

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Pivoda, Ondřej. "Žalmové kompozice Pavla Haase." Musicologica Brunensia, no. 2 (2023): 69–77. http://dx.doi.org/10.5817/mb2023-2-6.

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Pavel Haas's psalm compositions, or fragments of them, represent the only three works that relate more closely to the Jewish faith and that set to music the religious text used in Jewish liturgy. Haas was educated in the Jewish religion at both the grammar school and the secondary school, and his father was involved in Czech-Jewish associations and in the Brno Jewish religious community. However, it is difficult to determine what role the Jewish faith played in the composer's life. The setting of the 19th Psalm for tenor and organ to a German text dates from 1916 and may have been somehow rela

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Beck, Guy L. "Shared Religious Soundscapes: Indian Rāga Music in Jewish, Christian, and Islamic Devotion in South Asia." Religions 14, no. 11 (2023): 1406. http://dx.doi.org/10.3390/rel14111406.

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Music has played a central role in Indian religious experience for millennia. The origins of Indian music include the recitation of the sacred syllable OM and Sanskrit Mantras in ancient Vedic fire sacrifices. The notion of Sound Absolute, first in the Upanishads as Śabda-Brahman and later as Nāda-Brahman, formed the theological background for music, Sangīta, designed as a vehicle of liberation founded upon the worship of Hindu deities expressed in rāgas, or specific melodic formulas. Nearly all genres of music in India, classical or devotional, share this theoretical and practical understandi

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Marks, Essica. "Music, History, and Culture in Sephardi Jewish Prayer Chanting." Religions 12, no. 9 (2021): 700. http://dx.doi.org/10.3390/rel12090700.

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This article presents the study of a Jewish liturgical genre that is performed in main sections of Jewish prayer services. This liturgical genre is called “prayer chanting”. The term refers to the musical performance by the cantor of the prose texts in Jewish prayer services. The genre of prayer chanting characterizes most Jewish liturgical traditions, and its central characteristic is a close attachment of the musical structure to the structure of the text. The article will examine musical, cultural, and historical characteristics of prayer chanting of two Sephardi Jewish traditions and will

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Friedheim, Emmanuel. "Jewish Society in the Land of Israel and the Challenge of Music in the Roman Period." Review of Rabbinic Judaism 15, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/157007012x622926.

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Abstract During the Second Temple period, music had an important role in Jewish society. Alongside it was Greek music, which at times made inroads into Jewish cultural life. However, the Jewish institutions of the time managed to filter out the religious and cultural influences of this foreign musical tradition. After the destruction of the Temple, by contrast, Hebrew sources point to pagan ritual music that had significant, damaging influence on Jewish society. The sages tried to counter this influence through sermons, but, surprisingly, not by absolute prohibition. The influences of pagan mu

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Cohen, Judah M. "Whither Jewish Music? Jewish Studies, Music Scholarship, and the Tilt Between Seminary and University." AJS Review 32, no. 1 (2008): 29–48. http://dx.doi.org/10.1017/s0364009408000020.

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In this essay, I explore the history of what has conventionally been described as “Jewish music” research in relation to parallel developments in both ethnomusicology and Jewish studies in the American academic world during the twentieth century. As a case study, I argue, the issues inherent in understanding Jewish music's historical trajectory offer a complex portrait of scholarship that spans the discourses of community, practice, identity, and ideology. Subject to the principles of Wissenschaft since the second half of the nineteenth century, Jewish music study has constantly negotiated the

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11

Mlotek, Eleanor Gordon, and Mark Slobin. "Slobin's "Old Jewish Folk Music"." Jewish Quarterly Review 78, no. 3/4 (1988): 319. http://dx.doi.org/10.2307/1454650.

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12

Roda, Jessica, and Stephanie Tara Schwartz. "Home beyond Borders and the Sound of Al-Andalus. Jewishness in Arabic; the Odyssey of Samy Elmaghribi." Religions 11, no. 11 (2020): 609. http://dx.doi.org/10.3390/rel11110609.

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In their conversation about music, Edward Said and Daniel Barenboim discuss a process of seeking home in music and literature. For Moroccan-Jewish superstar Samy Elmaghribi (Solomon Amzallag), who migrated to France and Israel and then settled for most of his life in Montreal, Canada, the reference to Al-Andalus through the sound of the nouba became his home. Beginning his career in his native country of Morocco as a singer and composer of modern Moroccan music, in Montreal, Samy Elmaghribi became the cantor in the Spanish and Portuguese Synagogue, the oldest Jewish congregation in Canada. Bas

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13

Illman, Ruth. "‘Retaining the Tradition – but with an Open Mind’ – Change and Choice in Jewish Musical Practices." Temenos - Nordic Journal of Comparative Religion 53, no. 2 (2017): 197–218. http://dx.doi.org/10.33356/temenos.60982.

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This article focuses on religion and change in relation to music. Its starting point is the argument that music plays a central role as a driving force for religious change, as has recently been suggested by several researchers of religion. Music is seen to comprise elements that are central to contemporary religiosity in general: participation, embodiment, experience, emotions, and creativity. This article approaches the discussion from a Jewish point of view, connecting the theoretical perspective to an ethnographic case study conducted among progressive Jews in London with special focus on

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Mengouchi, Meryem. "Jewish Community in Maghrebi Art (Music and Cinema)." Revue plurilingue : Études des Langues, Littératures et Cultures 6, no. 1 (2022): 109–17. http://dx.doi.org/10.46325/ellic.v6i1.83.

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The idea of a Jewish-Muslim community sounds odd in the twenty-first century while a few decades earlier it was an ordinary phenomenon in the Maghreb countries. The Jewish community who lived in North Africa before the conflict of the middle east yearns for a return to Maghreb countries which they consider as their home and part of their identity. This paper exposes the cohabitation of the two communities duing the colonial period. The reasons of the success of cohabitation are to be explored briefly with a small theoretical interpretation. Jews today are rejected in North African countries bu

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15

Signell, Karl, Kay K. Shelemay, Sarah Weiss, and Geoffrey Goldberg. "Pizmon: Syrian-Jewish Religious and Social Song." Ethnomusicology 31, no. 2 (1987): 343. http://dx.doi.org/10.2307/851899.

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Cohen, Judah M. "‘Fate Leads the Willing, and Drags the Unwilling’." European Judaism 54, no. 1 (2021): 64–87. http://dx.doi.org/10.3167/ej.2021.540106.

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In this article, I explore the role that Austrian-born musicologist/composer Eric Werner (1901–1988) cultivated as a representative of musical Wissenschaft des Judenthums in postwar America. I focus here on the diary that Werner kept between 1955 and 1957 – a heretofore untapped resource – which chronicles his efforts to build intellectual refugee networks while simultaneously helping to restart an international network of Jewish music discourse spanning America, Europe and Israel. Music, in Werner’s view, required a scientific basis for study from which authentic practices could be rebuilt. T

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O'CONNELL, JOHN MORGAN. "A Staged Fright: Musical Hybridity and Religious Intolerance in Turkey, 1923–38." Twentieth-Century Music 7, no. 1 (2010): 3–28. http://dx.doi.org/10.1017/s147857221100003x.

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AbstractThis article is concerned with the relationship between musical style and religious prejudice in Turkey during the early Republican period (1923–38). It focuses on a musical contest in 1932 between a Jewish cantor (hazan) and an Islamic vocalist (hafız) in the presence of Mustafa Kemal Atatürk (1881–1938), the president of the Turkish Republic who instigated revolutionary reforms that affected many aspects of Turkish culture, including music. Historical accounts of this musical contest not only suggest how religious discrimination manifested itself in a competitive setting but also ser

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Manasseh, Sara. "Religious music traditions of the jewish-babylonian diaspora in bombay." Ethnomusicology Forum 13, no. 1 (2004): 47–73. http://dx.doi.org/10.1080/17411910410001092292.

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19

MILHAUD, Darius. "The problem of Jewish music." Revue des Études Juives 155, no. 1 (1996): 233–44. http://dx.doi.org/10.2143/rej.155.1.519408.

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20

Shulman, Jacob. "Strongly Traditional Judaism: A Selective Guide to World Wide Web Resources in English." Judaica Librarianship 10, no. 1 (2000): 6–13. http://dx.doi.org/10.14263/2330-2976.1145.

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Annotated list of about forty selected World Wide Web sites in English that are relevant to understanding the more traditionally religious Jewish community. The sites include resource indexes and information about kosher food, Jewish calendars, music, communities, and Torah learning. The sites are classified into 13 categories. The article concludes with a glossary, references, and an index. Updated mid-January 1998.

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21

Loeffler, James. "When Hermann Cohen Cried: Zionism, Culture, and Emotion." Jewish Social Studies 28, no. 3 (2023): 80–104. http://dx.doi.org/10.2979/jewisocistud.28.3.04.

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Abstract: In this article, I examine a curious chapter in the history of modern Jewish culture: the 1914 Berlin meeting of Zionist musician Avraham Zvi Idelsohn with the philosopher Hermann Cohen. A shared belief in the redemptive power of aesthetics and the unique character of Jewish music briefly drew the two men together. Each saw in sound an unparalleled means by which to recalibrate Jewish difference in relation to Western civilization. Each identified music as the key to large-scale cultural and emotional Jewish renewal in the face of European modernity. Yet their ensuing argument reveal

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Loeffler, James. "When Hermann Cohen Cried: Zionism, Culture, and Emotion." Jewish Social Studies 28, no. 3 (2023): 80–104. http://dx.doi.org/10.2979/jss.2023.a910388.

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Abstract: In this article, I examine a curious chapter in the history of modern Jewish culture: the 1914 Berlin meeting of Zionist musician Avraham Zvi Idelsohn with the philosopher Hermann Cohen. A shared belief in the redemptive power of aesthetics and the unique character of Jewish music briefly drew the two men together. Each saw in sound an unparalleled means by which to recalibrate Jewish difference in relation to Western civilization. Each identified music as the key to large-scale cultural and emotional Jewish renewal in the face of European modernity. Yet their ensuing argument reveal

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23

COHEN, JUDAH. "Hip-hop Judaica: the politics of representin’ Heebster heritage." Popular Music 28, no. 1 (2009): 1–18. http://dx.doi.org/10.1017/s0261143008001591.

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AbstractIn this essay, I explore the use of rap and hip-hop conventions as they have developed within the self-consciously contemporary American Jewish ‘hipster’ scene between c. 1986 and 2006, framed particularly around the way these genres have addressed the discourses of masculinity within Jewish culture. By exploring the works and actions of such artists as Matisyahu and the Hip Hop Hoodíos within the context of both American Jewish masculinity discussions and the historical relationship of Jews with commercial hip-hop performance, I attempt to explore how a population’s attempts at musica

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Batnitzky, Leora. "Schoenberg's Moses Und Aron and the Judaic Ban on Images." Journal for the Study of the Old Testament 25, no. 92 (2001): 73–90. http://dx.doi.org/10.1177/030908920102509205.

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This article argues that Schoenberg's monumental opera Moses und Aron reflects a broader German-Jewish concern with the philosophical meaning of the Second Commandment and its relation to German-Jewish identity. By way of the aesthetic theory of the German-Jewish philosopher Hermann Cohen, the article analyzes Moses und Aron and suggests that Cohen's theory offers a context through which to understand the philosophical and cultural underpinnings of Schoenberg's music and drama. The article concludes with a brief discussion of the social and political milieu in which Moses und Aron was created

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Margolis, Rebecca. "‘‘ HipHopKhasene: a Marriage between Hip hop and Klezmer’’." Studies in Religion/Sciences Religieuses 40, no. 3 (2011): 365–80. http://dx.doi.org/10.1177/0008429811408214.

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Jewish identity is increasingly fluid in Canada, as evidenced by new developments in Jewish culture. Klezmer music—traditionally associated with Jewish wedding celebrations—has experienced a mass revival and entry into the mainstream and has become firmly entrenched within Yiddish culture, including the emergence of new unions with genres such as hip hop. This close study of a bilingual Yiddish—English track called ‘‘Kale bazetsn’’ (Veiling the Bride) by Canadian artist DJ Socalled (a.k.a. Josh Dolgin) on his 2003 album HipHopKhasene situates it within the paradoxical state of secular Yiddish

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Davidovitch, Nitza, and Eyal Levin. "THE ROLE OF SHARED HISTORICAL MEMORY IN ISRAELI AND POLISH EDUCATION SYSTEMS. ISSUES AND TRENDS." Zeszyty Naukowe Wyższej Szkoły Humanitas w Sosnowcu. Pedagogika 20 (June 10, 2019): 273–93. http://dx.doi.org/10.5604/01.3001.0013.2311.

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In light of the suffering of the Polish nation and the fate of Jews and non-Jews in Polish territory as a result of the Nazi occupation, it would seem that these nations would identify with each other and find common ground based on their painful past. Moreover, considering the large numbers of Israelis who visit Poland, it would be only natural for Poles and Israelis to form positive attitudes towards each other. Moreover, Jewish culture in Poland is enjoying a revival, with young Polish people in Cracow, Warsaw, Lublin, and Gdansk learning Yiddish, dancing the hora, eating chopped liver, and

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Arkle, Genevieve Robyn. "Gustav Mahler and the Crisis of Jewish Masculinity." 19th-Century Music 47, no. 3 (2024): 157–75. http://dx.doi.org/10.1525/ncm.2024.47.3.157.

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The fin de siecle was a transformative period for gender identity in Austro-Germany. As women gained more social and sexual independence, many men began to suffer a crisis of masculinity. Gustav Mahler was no exception. Issues of gender identity, sex, and masculinity are woven into the composer’s biography. Mahler’s relationship with masculinity is further complicated when contextualized within his Jewish heritage. Otto Weininger’s Sex and Character of 1903 chided Jewish men for their inherent femininity and added a new, gendered dimension to antisemitic criticism. Attempting to escape this pr

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28

Bertolino, Luca. "„Bach in die Synagogen!“. Erlösende Noten in Franz Rosenzweig." Naharaim 14, no. 2 (2020): 209–23. http://dx.doi.org/10.1515/naha-2019-0009.

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AbstractStarting with theoretical considerations on redemption in Rosenzweig’s Der Stern der Erlösung, this paper highlights the connection between redemption and choral form in Church music (e.g. in Bach’s Passions and in musical mass). Therefore, according to Rosenzweig, one can clearly distinguish between sacred/religious (geistlich) and spiritual/intellectual (geistig) music. Rosenzweig also writes about renewing Jewish worship through Bach’s vocal music, but we are given scant hints about this. “Bach in die Synagogen!” is nevertheless important, not only as an example for interreligious d

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Harrán, Don. "“Dum Recordaremur Sion”: Music in the Life and Thought of the Venetian Rabbi Leon Modena (1571–1648)." AJS Review 23, no. 1 (1998): 17–61. http://dx.doi.org/10.1017/s0364009400010023.

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To gauge the breadth of the topic, it should be said at the outset that music occupied a central place in the thought of Leon Modena and that Modena was not just another rabbi in early seventeenth-century Venice, but, among Italian Jews, perhaps the most remarkable figure of his generation. His authority as a spokesman for his people rests on his vast learning, amassed from a multitude of sources, ancient, modern, Jewish, and Christian. He put his knowledge to use in an impressive series of over forty writings. They comprise often-encyclopedic disquisitions on subjects as diverse as Hebrew lan

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Seidlová, Veronika. "The Social Life of Jewish Music Records from 1948 Czechoslovakia by Hazzan Josef Weiss." Lidé města 24, no. 2 (2022): 225–62. http://dx.doi.org/10.14712/12128112.2391.

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This article traces transnational “life” trajectories of two rare Jewish religious music records from 1948 Communist Czechoslovakia and of their main performer Josef Weiss (ca. 1912, Veľké Kapušany – 1985 Netanya), who was a hazzan (cantor) in synagogues in Vienna, Budapest, Prague, Jerusalem, Ramat Gan, Manchester, and New York, but has remained mostly unknown to music history. It shows how these two 78-rpm records stand at the core of Weiss’s grandson’s family / music / memory project, which has revealed and prepared to reissue 52 audio recordings to preserve his grandfather’s legacy. While

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Muir, Simo, Ruth Illman, and Riikka Tuori. "Turn to Traditions – Calls for Change: Negotiations over Liturgy in the Synagogues of Finland." Numen 70, no. 5-6 (2023): 575–97. http://dx.doi.org/10.1163/15685276-20231706.

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Abstract This article explores how Jews in Finland relate to the musical traditions of their synagogues and the changes that have occurred in the customs over time and as the result of various cultural and spiritual influences. Based on ethnographic data, it focuses on rituals, liturgy, and music as contexts for negotiating relationships between the institution and the individual, memory practices, and contemporary innovation – being and doing Jewish, to use concepts from the vernacular religion framework. The article outlines the historical development of Minhag Finland, the vernacular liturg

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Friedmann, Jonathan L. "Sources of Jewish Music: Active and Passive Assimilation Revisited." American Jewish History 106, no. 4 (2022): 389–407. http://dx.doi.org/10.1353/ajh.2022.a899289.

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Zentner, Naomi Cohn. "Shared Soundscapes of Ottoman Era Safed: A Musical Microhistory." Ethnomusicology 69, no. 2 (2025): 228–53. https://doi.org/10.5406/21567417.69.2.06.

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Abstract Self-recorded repertoires, much like historical memoirs, may serve as musical microhistories, bringing new perspectives to everyday life and challenging dominant historical accounts. The recordings of Rabbi Naftali Zvi Margolis Abulafia, a Palestinian Jew, document his personal repertory of songs and testify to the interconnectivity of musical communities in late Ottoman Palestine, a period for which the musical landscape remains largely unexplored. Recorded in New York in the 1950s with the help of ethnomusicologist Harry Smith, Rabbi Abulafia's repertoire included Ashkenazi, Sephard

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Zentner, Naomi Cohn. "Shared Soundscapes of Ottoman Era Safed: A Musical Microhistory." Ethnomusicology 69, no. 2 (2025): 228–53. https://doi.org/10.5406/21567417.69.6.06.

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Abstract Self-recorded repertoires, much like historical memoirs, may serve as musical microhistories, bringing new perspectives to everyday life and challenging dominant historical accounts. The recordings of Rabbi Naftali Zvi Margolis Abulafia, a Palestinian Jew, document his personal repertory of songs and testify to the interconnectivity of musical communities in late Ottoman Palestine, a period for which the musical landscape remains largely unexplored. Recorded in New York in the 1950s with the help of ethnomusicologist Harry Smith, Rabbi Abulafia's repertoire included Ashkenazi, Sephard

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ADAMS, SARAH, CAROL J. OJA, and KAY KAUFMAN SHELEMAY. "Leonard Bernstein's Jewish Boston: An Introductory Note." Journal of the Society for American Music 3, no. 1 (2009): 1–2. http://dx.doi.org/10.1017/s1752196309090014.

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Leonard Bernstein (1918–90)—the now-legendary composer and conductor—had deep roots among Eastern European Jewish immigrants in Boston. This volume of essays explores aspects of that personal and sociocultural experience as revealed through an intensive team-research seminar at Harvard University during the spring semester of 2006. Titled “Before West Side Story: Leonard Bernstein's Boston,” the course positioned Bernstein within interlocking local networks, primarily during the 1930s and early 1940s. Its aim was not to prepare a standard biographical narrative, but rather to interrogate the s

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MacNeil, Adam. "Felix Mendelssohn’s Religious Hybridity Revealed Through His Oratorios." Nota Bene: Canadian Undergraduate Journal of Musicology 15, no. 1 (2022): 100–114. http://dx.doi.org/10.5206/notabene.v15i1.15034.

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Over the course of the last century, scholars and musicologists have debated the piety of Felix Mendelssohn. It is plausible to argue that Mendelssohn was purely Jewish, and that his musical contributions to the liturgy of the Christian Church are merely a consequence of cultural pressure and widespread Anti-Semitism. However, it is also conceivable that Mendelssohn not only embraced the Christian tradition for himself, but also endeavoured to reform its theology and doctrine. How then, should we understand Mendelssohn’s faith? Given that the oratorio functions as a vehicle for religious expre

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Shelleg, Assaf. "Rabbi Nachman’s Sonic Schemes." Religions 15, no. 4 (2024): 466. http://dx.doi.org/10.3390/rel15040466.

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This article discusses Tzvi Avni’s Second Piano Sonata, Epitaph, a sonic commentary on one of the inner tales in Rabbi Nachman’s “The Seven Beggars”. Written between 1974 and 1979, Epitaph not only marks the composer’s act of translation (from words into music and from a textual tale into a wordless and semantically unmarked piano sonata) but also his very turn to ethnographic sources that defied their negative function in a national territorial culture that vilified otherness while separating art from ethnography. Avni’s turn to Rabbi Nachman was part of a bigger shift that saw composers’ dia

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Adelstein, Rachel. "Jewish Religious Music in Nineteenth-Century America: Restoring the Synagogue Soundtrack. By Judah M. Cohen." Music and Letters 101, no. 1 (2020): 158–60. http://dx.doi.org/10.1093/ml/gcz107.

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Kochav, Sarah. "The Linguistic Landscape of religious expression in Israel." Linguistic Landscape. An international journal 4, no. 1 (2018): 29–52. http://dx.doi.org/10.1075/ll.17004.koc.

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Abstract The religious Linguistic Landscape of the town of Safed in the Upper Galilee in Israel was studied to determine the features, properties, and boundaries signifying the spectrum of belief in the Jewish Orthodox world. In Israel, where much of everyday life is defined within a religious context, signs, posters, stickers, flags, and graffiti are a common sight and express an ongoing dynamic in the Linguistic Landscape by referencing other dimensions expressed in dress, music, and dance as well as the Internet. Expanding on the initial study is a discussion as to whether the Linguistic La

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Jacobson, Joshua. "Perspectives on Jewish Music: Secular and Sacred (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 29, no. 2 (2011): 224–26. http://dx.doi.org/10.1353/sho.2011.0043.

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41

Poulos, Panagiotis C. "Greeks, Jews, and Music Sociality in Late Ottoman Istanbul." Journal of the Ottoman and Turkish Studies Association 9, no. 1 (2022): 51–69. http://dx.doi.org/10.2979/tur.2022.a876781.

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ABSTRACT: This article examines the different registers of music interaction between Greek Orthodox and Jewish communities of Istanbul in the late Ottoman period. Intercommunal interaction is approached within the broader framework of modernization of music and in relation to the degree in which this interaction was implicated in the modernization process. New forms of music sociality related to music print and entertainment in which musicians and other agents from the two communities participated are analyzed in terms of their spatial dimension and as knots in a network of important locales w

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COHEN, JUDAH M. "Embodying Musical Heritage in a New–Old Profession: American Jewish Cantorial Schools, 1904–1939." Journal of the Society for American Music 11, no. 1 (2017): 25–52. http://dx.doi.org/10.1017/s1752196316000511.

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AbstractCurrent scholarship on music in Jewish life generally views American cantorial training as a postwar process of transplantation, translating a culture decimated by the Holocaust into a higher education program in the United States. Recently available digital repositories of historical materials, however, show at least five organized efforts to establish American cantorial schools between 1904 and 1939. I closely examine these efforts here, which reveal during this period a complicated and active negotiation surrounding the role of the cantor—and music more generally—in American Jewish

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Schab, Alon. "Restoring the Synagogue Soundtrack: Jewish Religious Music in Nineteenth Century America by Judah M. Cohen." Fontes Artis Musicae 68, no. 2 (2021): 188–89. http://dx.doi.org/10.1353/fam.2021.0015.

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Padley, Danielle. "Jewish Religious Music in Nineteenth-Century America: Restoring the Synagogue Soundtrack by Judah M. Cohen." Notes 77, no. 1 (2020): 97–99. http://dx.doi.org/10.1353/not.2020.0066.

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Arazi, Albert, and Amnon Shiloah. "The Dimension of Music in Islamic and Jewish Culture." Studia Islamica, no. 82 (1995): 174. http://dx.doi.org/10.2307/1595600.

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Harrán, Don. "The Jewish nose in early modern art and music." Renaissance Studies 28, no. 1 (2013): 50–70. http://dx.doi.org/10.1111/rest.12006.

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Rubin, Joel E. "“Music is the Pen of the Soul”: Recent Works on Ḥasidic and Jewish Instrumental Klezmer Music". AJS Review 29, № 1 (2005): 145–58. http://dx.doi.org/10.1017/s0364009405000085.

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Despite the focus by the popular media on the revival of Jewish instrumental klezmer music during the past decades, surprisingly little of a scholarly nature has been written until recently about either the klezmer tradition or its revival. Since 1999 a relatively large number of new book publications of both a scholarly and a popular nature have appeared. Besides the four volumes under review here, they include books by Rita Ottens and Joel Rubin, Moshe Beregovski, Seth Rogovoy, Mark Slobin, Zinovij Stoljar, and Yale Strom. It is hoped that the publication of these four works (and the other r

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Joshua R. Jacobson. "The Organ and Its Music in German-Jewish Culture (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 28, no. 3 (2010): 180–82. http://dx.doi.org/10.1353/sho.0.0514.

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Bendikova, S. "PECULIARITIES OF MUSIC EDUCATION IN ISRAEL: TRADITIONS AND NATIONAL PRIORITIES." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 153–66. http://dx.doi.org/10.33989/2226-4051.2024.29.306162.

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The review article presents the peculiarities of musical education in Israel, taking into account the multicultural diversity of Israeli society, and vectoriality for the preservation of cultural and educational traditions; similarities and differences in musical education in Israel and Ukraine were revealed. It is proved that the teaching of music and singing in Israel has features, among which the multicultural content, which combines elements of European classical music, Jewish musical tradition, and music of various ethnic groups living in the country; the organization of musical education

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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.

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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin

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