Second edition 1992 Explores and analises the significance of the music of American musicals such as Show Boat, Porgy and Bess, Kiss Me Kate, West Side Story, Fiddler on the Roof, Evita, A Chorus Line, Sweeney Todd and more.
Traces the origins and development of the office of the synagogue cantor, a central position in the musical life of any Jewish community. The author draws from sources attesting the functions and duties of the cantor, as well as attitudes towards him, from early rabbinical to early modern writings
Retrieved from: The United States Holocaust Memorial Museum: Research: Bibliographies Tells the story of the author’s parents, who met as performers in the Jewish Culture Association ("Jdische Kulturbund") orchestra in Frankfurt. Describes the activities of the Kulturbund in the face of rising Nazi antagonism throughout the 1930s, and the decision by the author’s father to return from Sweden to Germany in 1936 to be with the woman who would later be his wife.
This study has a two-fold purpose: the presentation of one kind of examination of a specific musical repertoire in the field of the so-called Israeli folk-song, and the development of a method for examining and defining the style of a large monodic repertoire with the aid of the computer.
Contains dozens of entries on JM relating to cantors, concepts, and even single melodies among which the entry “Music, Synagogal” is the most substantial. Many of the entries on music topics were prepared by the British Reverend Francis Lyon Cohen (1862-1934).
A research which deals with the Jewish element in the works of Lev Kogan, Mark Kopytman and Joseph Dorfman, three Soviet Jewish immigrant composers in the early 1970's. The work includes biographical data of each composer, a review of their historical background, and an analysis of few representative works.
Examines the office of the modern Amrican cantor through a detailed ethnography of the School of Sacred Music of the Hebrew Union College with emphasis on the social mechanisms through which students acquire skills, repertoire and eventually round up their selves as communitarian Leaders of prayer.
Includes biographies, and complete list of publications of the Society for Jewish folk music in St. Petersburg (lists of works, of Joel Engel, Joseph Achron, Moses Milner, Lazare Saminsky, Alexander Krein, and Michael Gniessen).
"No image of prerevolutionary Russian Jewish life is more iconic than the fiddler on the roof. But in the half century before 1917, Jewish musicians were actually descending from their shtetl roofs and streaming in dazzling numbers to Russia’s new classical conservatories. At a time of both rising anti-Semitism and burgeoning Jewish nationalism, how and why did Russian music become the gateway to modern Jewish identity?
An introduction to the Tropes (Te'amim) for the cantillation of the Pentateuch, with special emphasis on the Western European (Ashkenazi) musical tradition. Includes historical notes and musical examples.
Originally published as Die Musik der Juden: Versuch einer geschichtlichen Darstellung ihrer Entwicklung (Zurich, 1951) and reprinted in 1960 and in 1975 (New York: A.S. Barnes) with a translation from German to English by H.S. Stevens. This book is a 'non technical' survey intended for laymen and is one of the earliest and most naïve post-Idelsohnian attempts to trace the entirety of Jewish music in a unileniar historical narrative.
Retrieved from: The United States Holocaust Memorial Museum: Research: Bibliographies Explores the affect of Nazism on German music in the 1930s and 1940s, includnig propaganda, the influence of National Socialist concepts of race on classical music and opera, and a discussion of the relationship between composer Wilhelm Furtwangler and the Nazi Party. Includes illustrations and an index.