Famous musicians of a wandering race : biographical sketches of outstanding figures of Jewish origin in the musical world

by Gdal Saleski

Introduction XXIX European Seminar in Ethnomusicology: Cultural Mapping and Musical Diversity

«Cultural mapping» has become a central keyword in the UNESCO strategy to protect world cultural and natural heritage. It can be described as a tool to increase the awareness of cultural diversity. As Crawhall (2009) pointed out, cultural mapping was initially considered to represent the «landscapes in two or three dimensions from the perspectives of indigenous and local peoples». It thus transforms the intangible cultural heritage to visible items by establishing profiles of cultures and communities, including music traditions. Cultural mapping is used as a resource for a variety of purposes as broad as peace building, adaptation to climate change, sustainability management, heritage debate and management, but can also become highly useful in the analysis of conflict points. Music plays a significant role in each of these aspects. This year’s symposium invites to highlight, yet also to critically reassess this topic from the following ethnomusicological perspectives: - The method of cultural mapping in ethnomusicology What approaches and research techniques have been used so far to establish musical maps in this context? What kinds of maps have been developed (and, for example, how far do these relate to indigenous mental maps that have only been transmitted orally)? How far do these modern approaches deviate from the earlier cultural mapping approaches of the cultural area approaches that were still evident with Alan P. Merriam and in Alan Lomax` Cantometrics? In how far are the methods of cultural mapping and of ethnomusicological fieldwork different and how can they benefit from each other? - Intangible cultural heritage and musical diversity As the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage pointed out in Article 12, each state signing the declaration «shall draw up, in a manner geared to its own situation, one or more inventories of the intangible cultural heritage, present in its territory and monitor these.» This symposium calls for a critical re-assessment of the hitherto established UNESCO intangible cultural heritage lists. The idea is to highlight the sensitive nature and the effects of the various heritage representations. «Heritage» is understood here as a selection from a selection – a small subset of history that relates to a given group of people in a particular place, at a specific time (Dann and Seaton 2001:26). This can include presentations of case studies, yet also a critical re-analysis of the selection process, e.g. who was included – or even excluded (and why)? Who were the decision makers? How can the role of ethnomusicology be described here? Where are the (existent and possible) conflict points (politically, socially, legally, etc.)? What kinds of solution strategies are available to us? How is the issue of diversity – that has been so strongly emphasized in the UNESCO declarations – reflected in the approaches? How might diversity be represented in future approaches? How does the selection process affect musical canonization (and exclusion)? What is the role of archives in this process? - Cultural landscape and music As defined by the World Heritage Committee, cultural landscapes can be understood as a distinct geographical area representing the «combined work of nature and man» (http://whc.unesco.org/en/culturallandscape/). This sub-topic calls for a more detailed – and general – exploration of the exact relation between nature/landscape (and definition of such) and music/sound. How exactly is landscape interrelated with music – and identified (and vice versa)? How is this interrelation being applied and exploited in a (inter-)national context?

Conceptos de historiografía musical en torno al Mediterráneo: La larga historia de la "longue durée"

Das Mittelmeer als historischer Raum diente in der ersen Hälfte des 20. Jahrhunderts als Paradigma für bahnbrechende historiographische Experimente, die den Fokus vom Einzelereignis hin zu ausgedehnten historischen Prozessen überführten. Die aus der Annalen-Schule stammende Prägung der "Longue durée" durch Fernand Braudel führte zu einem wahren Paradigmenwechsel. Dieser Vortrag diskutiert die heutigen Perspektiven auf das Mittelmeer als Raum und die Bedeutung bzw. fehlenden Bedeutung, die der Musik bei der Definition des MIttelmeers als Studienobjekt durch die allgemeine Geschichte beigemessen wurde.

Estándares europeos de didáctica musical y su exportación a América en el XVI

Zwar sind eine ganze Reihe von musikdidaktischen Traktaten aus dem 15. und 16. Jh. in Spanien bekannt, dennoch wissen wir sehr wenig über die tatsächliche "Lehrszene". Die Bedeutung von Oralität, von Wiederholung, der psychosolzialen Position der Musikschüler war genauso wichtig, wie die schiere Musiktheorie.

The sacred musical compositions of the late Israel Lazarus Mombach : containing the services for Sabbaths and festivals, New Year and Day of Atonement, consecration hymns, psalms and choral wedding service

ed. by M. Keizer

Musical service for the New Year : according to the union prayer book for jewish worship

by Edward J. Stark

Musical service for the Eve of Atonement : according to the union prayer book for jewish worship

by Edward J. Stark

Musical service for the Day of Atonement : according to the union prayer book for jewish worship

by Edward J. Stark

The Influence of Pre-stimulus EEG Activity on Reaction Time During a Verbal Sternberg Task is Related to Musical Expertise

Abstract Previous work highlighted the possibility that musical training has an influence on cognitive functioning. The suggested reason for this influence is the strong recruitment of attention, planning, and working memory functions during playing a musical instrument. The purpose of the present work was twofold, namely to evaluate the general relationship between pre-stimulus electrophysiological activity and cognition, and more specifically the influence of musical expertise on working memory functions. With this purpose in mind, we used covariance mapping analyses to evaluate whether pre-stimulus electroencephalographic activity is predictive for reaction time during a visual working memory task (Sternberg paradigm) in musicians and non-musicians. In line with our hypothesis, we replicated previous findings pointing to a general predictive value of pre-stimulus activity for working memory performance. Most importantly, we also provide first evidence for an influence of musical expertise on working memory performance that could distinctively be predicted by pre-stimulus spectral power. Our results open novel perspectives for better comprehending the vast influences of musical expertise on cognition.

Répertoire musical liturgique de la Synagogue de Bruxelles

publ. ... par Edouard Samuel

Song of love : musical operetta

music by J. M. Rumshisky. Words by A. Shorr

Yiftaḥ : musical drama in five acts

music and words by Abraham Zevi Idelsohn

David and Esther : from Julius Nathanson's production "David and Esther" ; a musical romance ; as sung by Julius Nathanson and Ola Lillith

music by Illia Trilling. Lyrics by Chaim Tauber. Libretto by Louis Freiman