Re: singing without vibrato
At 07:44 AM 9/3/03, Judith R Cohen wrote: hi, since vocal cords vibrate, it's kind of impossible to sing without vibrato; what is usually meant by that is singing without the wide vibrato... Not so. Vibrato is only tangentially related to vibration. Of course, all sound production entails vibration, but the predominant characteristic of vibrato -- whether wide or narrow -- is the slight =waver= or =variation= in pitch (along with subtle modulations of volume and tone). It is very possible to sing without vibrato. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Vibrato
At 12:28 PM 8/29/03, Fred Blumenthal wrote: My understanding is that when singing, one should do nothing to create, encourage, discourage, or affect vibrato - that if the voice is produced correctly the vibrato will be correct, Yes and no. The Zen paradox hidden in this statement centers on the phrase if the voice is produced correctly... I have been studying voice for almost three decades, with countless dollars and hours of effort directed toward one goal: To sing effortlessly. All the elements of vocal production - - vibrato included -- are subject to manipulation in one way or another within the process of honing one's vocal technique. But this technique must remain transparent to the listener, and an effortless vibrato that is not too fast or slow is indeed one sign of having achieved the goal. if the vibrato is too fast or otherwise funny there's something wrong with vocal production. Maybe in a theoretical sense, but not necessarily wrong for that person at that point in her singing career. Children, for instance, will tend to sing with little or no vibrato, while old people tend to have slow vibratos. Humans are not machines that can be tweaked at will. A fast or wobbly vibrato may be an unavoidable element in the entire singing package or a culturally encouraged artifact of a particular singing style. So discussion of vibrato from the diaphragm, throat, etc. would be moot. While the effortlessly beautiful vibrato does seem to emanate from the vocal folds themselves, this is merely an illusion resulting from a correct balance of complex muscular and aerodynamic forces. Nevertheless, it is indeed best to remain unconscious of these forces. Weigh against this that I was taught to sing choral, folk and early music without vibrato. Just as the type of vibrato can be culturally determined, so can its near-total absence. I'm very curious, however, if discouraging vibrato in early music is stylistically authentic (how would one know ?) or merely a projection of our notion of simplicity. Discouraging vibrato among choral singers is one way of insuring better intonation in the section. Seems to work the same way with orchestral vs. solo instrumentalists. (I would welcome input on this point from orchestral violinists on this list.) _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: string orchestra vibrato
At 11:39 AM 9/2/03, [EMAIL PROTECTED] wrote: I sometimes suggest to trumpet players who come to klezmer from a legit background that they pretend they are mariachis--that is, playing with a strident tone and a huge vibrato... ...That's not what you were asking, but it's what it made me think of! But it does contrast nicely with the earlier observation regarding solo vocal vibrato, where folk=no vibrato; classical=vibrato. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: mazinke
While interpreting and deconstructing this tradition bear in mind that the definition of the Yiddish word mizinke is youngest daughter. No big deal, but if I were trying to squeeze orange juice out of an apple because I was all out of oranges, I would at least stop calling it an apple. At 10:41 AM 8/28/03, [EMAIL PROTECTED] wrote: As I said, I'm inclusive. In the old days the parents were 'being freed of the burden' of marrying off their children and so the last was special. I feel that being the parents of a child that is being married is an honor and should be treated as such, be it the first, middle, last, 2 children in one wedding, etc., etc. I think that's the best way, to respect, honor and understand the tradition and the reason for it, while interpreting it in light of today's mores where most parents would not think that the oldest daughter has to be married first, etc. Dick Rosenberg I don't necessarily restrict it to mother and father - we played a Bar Mitzvah recently where the parents of the Bar Mitzvah boy were Alice and Margaret). Ah, but more important, was their last child being married (otherwise 100% in agreement)? :-). ari _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: mazinke
At 01:47 PM 8/28/03, [EMAIL PROTECTED] wrote: And should I stop calling a Gasn Nign (street song) a Gasn Nign Good point, but my reactionary reaction was less to the title of the song/dance and more to the meaning of verses that are sung; it's a question of Yiddish literacy rather than tradition. I understand that it's a moot point these days when performing the dance without the vocals, or in light of the fact that the Yiddish is little understood. All I'm saying is that if you wouldn't sing Happy Anniversary in English to a Bat Mitzvah girl, you shouldn't sing incongruous Yiddish lyrics either. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Tsena, Tsena
Seems to have been written as an Israeli hit song around 1950. Text by Yehiel Hagiz, music by Issachar Miron and Julius Grossman. Later attributions list Mitchell Parish instead of Grossman. More recent attributions simply list Issachar Miron. (shades of Goldfarb/Gelbart...?) Summer 1998 of Sing Out (Volume 43 #1) has an article on it, which I have not seen. At 05:30 PM 8/15/03, Eleanor Shapiro wrote: Can anyone provide me with background on the Israeli song Tsena, Tsena BEFORE it became a hit with the Weavers? -- who wrote it, when, where it was sung; how popular was it in Israel; was the history of the lyrics different from that of the melody--if so, background on both would be helpful. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: please respect the list
At 11:49 AM 7/21/03, you wrote: List participants are reminded to pay attention to the destinations of messages. The default is to send a message to the entire list. I think it's worth elaborating on this last sentence. Regardless of whether you click Reply or Reply All, your message will still go out to the entire list. The only way to generate a private reply is to manually delete [EMAIL PROTECTED] from the To: line, and type in an individual's address. It is this aspect which is generating the relatively large percentage of unintended public messages. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Article on P.Bohlman/German Jewish Cabarets
(Link appears at the bottom, in case you want to view the 2 illustrations.) from U. of Chicago Chronicle, June 12, 2003: BOHLMAN RESCUES MUSIC OF RARE JEWISH CABARETS By Seth Sanders Not only can Philip Bohlman discuss the Jewish cabaret music that was rescued from oblivion by the Austrian Censor's office--he and his colleagues also can perform it, rescuing it once again. Bohlman, Professor in Music and the College, is an ethnomusicologist who researches Jewish music, the musical cultures of Europe, America and the Middle East, and the musical dimensions of religion, nationalism and racism. Just last year he published World Music: A Very Short Introduction, which brings all of these elements together. In a fashion typical of Chicago's Department of Music, where composers like Shulamit Ran teach, Bohlman's scholarly research and teaching naturally flow into musical performance. He is artistic director and emcee for the New Budapest Orpheum Society, a revival of the longest-running Jewish cabaret in Vienna, which existed from the 1880s through the end of World War I. A closer look at Bohlman's work on the cabaret serves as an introduction to his research--the sometimes startling way it brings history, social conflict and entertainment together through music. People may remember cabaret as an emblem of German decadence and cynicism (think The Blue Angel or Cabaret). But what is less well known, Bohlman explained, is how this very Jewish art form crossed national boundaries and endured, even in the darkness of the concentration camps. You could find these cabarets in Budapest, Prague and Berlin. An evening would consist of a mix of skits, poetry and comedy, and pop songs composed on satirical themes, called Spottlieder in German, which poke fun at people. The stage would be filled with Jewish stereotypes: the shopkeeper, the Yeshiva boy, the obedient daughter. Word about the New Budapest Orpheum Society has spread, due in large part to the recent double CD, Dancing on the Edge of a Volcano. On Wednesday, May 28, the troupe took a new program to the United States Holocaust Memorial Museum in Washington, D.C. The theme of our show is 'the world turned upside down,' which alludes to the confusion of the new immigrant, the social turmoil of the time. But, Bohlman explained, the cabarets persisted when the Jewish world was turned upside down in the worst way. We do one show based on Theresienstadt, where there were nine cabarets, an opera and orchestra. There was a famous women's orchestra in Auschwitz, and operas were regularly performed at Theresienstadt. Our repertoire is very synthetic, but it comes from real turn-of-the-century pop songs, broadside ballads printed on cheap paper and sold on the street, which would be labeled 'performed by musician X for Budapest Orpheumgesellschaft.' It's stuff I found in the censors' records, which was often the only way it would be preserved. The material was well known but very ephemeral--they often made it up as they were going on. And it's all in Viennese dialect, which is very close to Yiddish, said Bohlman. We always include translations into English; we have a lyricist who really renders them into song form. The two CDs we recently recorded include one in English and one in the original languages--German, Yiddish and Hebrew. Bohlman and Ilya Levinson, Lecturer in Music, work to reconstruct the music--sometimes all we have is the text itself, usually with an engraving of a picture, 'sung to the tune of song X,' so we can figure out what the music is. To animate his careful reconstruction of this lost culture, Bohlman said, there is nothing like a really bad joke. On stage, I play the Joel Grey character, Herr Ober or 'headwaiter' figure, who orchestrates everything that's happening in that social space. One of the main things I do is tell bad jokes. Everybody feels they can laugh at them. In addition to his stage performances, Bohlman is the author or editor of 17 books, and he currently has two books in press. His many honors include the 1997 Edward J. Dent Medal of the Royal Music Association and a University Faculty Award for Excellence in Graduate Teaching. He has been a member of the Chicago faculty since 1987 http://chronicle.uchicago.edu/030612/bohlman.shtml -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Hazzanut retreat: In Search of the Rozhinke
This event may be of interest to musicians and enthusiasts who wish to explore the art and repertoire of classic East-European Hazzanut from the inside. http://rozhinke.org AUGUST 10-13, 2003 Kutshers Country Club, New York The Rozhinke Retreat is an effort to preserve and continue the great Cantorial art tradition of yesteryear. At the turn of the Millenium, we have seen many Jewish cultural revivals: Yiddish, Klezmer... and Hazzanut is due a revival of its own. This retreat has its roots in the great Cantorial stylings of such renowned Hazzanim as Yossele Rosenblatt, David Kousevitsky, Zavel Kwartin and many others--with an emphasis not on historical examination, but rather living reproduction of an art form which is so intrinsically Jewish, and so passionate, so filled with pathos and sweetness, that it can only be described as Rozhinke --the sweet sound of raisins and almonds. -Faculty to include world-class Cantors -Workshops with hands-on singing -Nightly Cantorial Concerts -Late Night Sharing Sessions _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Course Of Its Key
OK, here's the entire course: While the spellings Koussevitzky, Kusevitsky, Kussevitsky, Kusevitzky, Kousevitsky, etc. have become notoriously interchangeable for the four cantorial brothers, during their lifetime (in America, at least) David preferred (or at least was associated with) spellings without an o, only one s, and vitsky rather than vitzky. Moshe was associated with the other options. Interestingly, everybody steered away from spelling it Koussewitzky a la the conductor Sergei. At 05:07 PM 6/16/03, Eliott Kahn wrote: Nu, only three-part? At 01:10 PM 6/16/2003 -0400, Sam Weiss wrote: Sounds like you won't want to miss my exciting 3-part lecture series on The Spellings of Kusevitsky At 12:48 PM 6/16/03, I. Oppenheim wrote: Hazzanim as Yossele Rosenblatt, David Kousevitsky As far as I know it's Koussevitzky _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Fwd: Ciclos for guitar
Mel Bay Publications has issued a book of Sephardic music for guitar. The book is called Ciclos and was arranged by Daniel Akiva, a composer with whom I have the pleasure of working... ...I was able to convince Mel Bay to take this project on, and it took them 4 years to complete. The book includes Akiva's arrangements of Sephardic songs, as well as several compositions for guitar based on Sephardic songs. The notation is both conventional and tablature, and a CD is included. The level is for advanced and professional players. More information can be found on the Mel Bay site: http://melbay.com Yossi Zucker OR-TAV Music Publications P.O.B. 1126; Kfar Sava 44110 Israel Tel. +972-9-767-9869 Fax. +972-9-766-2855 email: [EMAIL PROTECTED] http:/ortav.com -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Jewish Cello Masterpieces
The album did not go unnoticed on this list; I made some complimentary comments on it last fall, soon after Richard brought it to our attention. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Why genre classification is not only necessary but desired
From: [EMAIL PROTECTED] Date: 2003/05/07 Wed PM 03:44:02 EDT If you are over 50, Klezmer means simcha music and recognizable songs in Yiddish. And if you're over 70 or from Long Island Yiddish means Jewish and Jewish means Yiddish. -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Four Quesions on Am Yisroel Chai
From: [EMAIL PROTECTED] Do you mean, Sam, that the people only exists, Toraitically, in relationship to G*d? Exactly. -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Four Quesions on Am Yisroel Chai
At 10:12 AM 4/28/03, Gavriel Bellino wrote: 1. What is the source of the words? (I researched the phrase in the Biblical and Rabbinic literature and drew a blank. Is it a loose rephrasing of a biblical theme? If so which one? I have a few ideas, but nothing too elucidating. ) Is it a poetic creation for the sake of a song, like Hava Nagilah? The phrase Am Yisrael (the Jewish people) is not liturgical and, as you indicate, not scriptural; it probably arose with Zionism, and along with it, the slogan Am Yisrael Chai. But Am Yisrael is very close to some biblical phrases, and the differences are noteworthy. The common biblical equivalent to Am Yisrael is simply Yisrael. We also find B'ney Yisrael (the progeny of Israel) or Beyt Yisrael (the house of Israel), phrases that retain the tribal associations with an ancestor called Yisrael (=Jacob) -- along the lines of Beyt Aharon, Beyt Ya'akov, Beyt [ha-]Levi -- rather than an independent people. The biblical phrases that do contain Am- in connection with Yisrael seem to further negate the notion of an independent people inasmuch as they are always combined with a pronoun (usually referring to God). Thus we find Amcha Yisrael, Ami Yisrael and Amo Yisrael, but no Am Yisrael. DEUTERONOMY 21.9 Absolve, O Lord, Your people Israel whom You redeemed, and do not let guilt for the blood of the innocent remain among Your people Israel. KINGS 6.13 I will abide among the children of Israel, and I will never forsake My people Israel. CHRONICLES 6.6 But then I chose Jerusalem for My name to abide there, and I chose David to rule My people Israel. DANIEL 9.20 While I was speaking, praying, and confessing my sin and the sin of my people Israel... JEREMIAH 30.3 For days are coming, declares the Lord, when I will restore the fortunes of My people Israel and Judah, said the Lord... PSALMS 135.12 ...and gave their lands as a heritage, as a heritage to His people Israel. JOEL 4.2 I will gather all the nations And bring them down to the Valley of Jehoshaphat. There I will contend with them Over My very own people, Israel, Which they scattered among the nations. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Yom-tov Ehrlich
At 12:16 PM 3/13/03, itzik gottesman wrote: Anyone know of biographical materials, interviews, or have knowledge of family members of the Hassidic singer, songwriter, badkhn Yom-tov Ehrlich? Binyomin Belsky [EMAIL PROTECTED] is a great-nephew of Ehrlich. He can help you. ___ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: klezmer the Israeli way
Roger, I have not heard Akiva Horin or Yehoshua Rochman, but I agree with your appraisal and description of an Israeli klezmer style and esthetic. In fact, I came to a very similar conclusion about 13 years ago upon hearing the recording Tzlilim MiTzefat by Bernie Marinbach, a musician with whom I used to share NY bandstands 3 decades ago before he made Aliyah. I understood the difference in the Israeli approach to klezmer (which you describe very well below) to result from the fact that it grew out of a continuous tradition of playing Jewish instrumental music, and was not discovered de novo, even though particular tunes might be recently learned. The Israeli style is informed by years of playing a =very melodic= Chassidic repertoire, so that many of the klezmer tunes don't lose their melodic foundation even when enveloped in a virtuosic instrumental shell. (In a sense, the fussy preciousness of Giora Feidman's style takes this Chassidic melodicism to mystical extremes.) Thankfully, there are many non-Israeli klezmer musicians who are also in touch with the more melodic elements of klezmer tunes who allow these to shine through the virtuosic baggage of the early American authentic Klezmer style. At 08:03 PM 3/1/03, r l reid wrote: But here's the other thing - the idea of Israeli klezmer I've been suspicious of, not that I know a thing about it... I stopped by the cassette shed in Mea Shirim and (along with a lot of stuff I can but don't buy in BP) say old time tunes and Klezmer melodies presented by the flutist Akiva Ben Horin nbd the Klezmeraya Ensemble for Jewish Music. Inside are some beautiful, sensitive arangemetns of tunes I do and don't know. I am struck by the lack of conspicuous virtousity (which is not to say they don't have chops, they do), the lack of edge, the lack of parady, the lack of cynicism It hit me subjectively as real klezmer, but a very different esthetic than American klezmer with its cynical distrust of being unhip. This was so unhip and so nice to listen to. So now I'm listening around. Of course I've been listening to list member Moussa Berlin already, he's known worldwide, unlike Ben Horin and his group. Also now I am listening to Yehoshua Rochman - who you can at least get in the US - wow, he blows me away. So maybe there is something going on there is Israel after all - I can't find any mention of Akiva ben Horin outside Israel - which is very different yet well worth seeking out and listening to. Anyone else familiar with Akiva ben Horin? Roger Reid _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
Re: Hungarian Jewish song
I'm assuming that the parody has the same melody as the original. Do you know the tune? Can you hum it online? At 06:23 AM 2/27/03, Paul A. Unger wrote: [EMAIL PROTECTED] wrote: Sirnak rinak a barányok, Panaszkodnak a juhásznak... (The sheep are crying, complaining to shepherd...) Sorry, I do not know of any other Hungarian song by the Kalever Rebbe but the Szol a kakas mar. However, I heard the following song :~) which was sung by the Hungarian Chalutsim movement in 1948-1950: Sírnak, rínak az arabok Ha megjönnek a chaluts-ok Haifa mellett ott laknak a chaluts-ok Ott ahol a p'luga háza áll (The Arabs are crying / when the chalutsim come / The chalutsim live near Haifa there / where the company [p'luga] headquarters are.) -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -
musical propaganda
At 11:46 AM 2/27/03, [EMAIL PROTECTED] wrote: It'd nice to get back to Jewish music. I'll do my part to nudge it back. This is obliquely related to the topic of subtle ideas contained in music, from the other (pro-Jewish) side of the coin, as well as to the discussion of Szól A Kakas Már. Cucumber is a Long-Distance phone service provider run by a Jewish charitable organization in Lakewood, NJ that had been advertising heavily in Jewish venues and recently started to expand its advertising into broader markets. Yesterday I heard a radio spot for the company on WCBS (the NY area station of CBS News) that didn't mention anything at all about their Jewish affiliation, at least not overtly. But their inane jingle (that goes well with the inane brand name) uses the melody of a short Lubavitcher Kosachok-type dance tune (the exact title escapes me) to deliver the subliminal Jewish message. It's a very clever choice, since to the uninitiated general public the simple tune in major has no Jewish overtones at all, being one of the many Ukranian tunes that the Lubavitchers adopted whole. It actually took me a couple of hours to make the connection myself. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -
Re: Secunda - Nicholayev
http://motlc.wiesenthal.com/pages/t053/t05395.html A port on the Black Sea coast, Nikolayev oblast, Ukrainian SSR The town was founded in 1789 and Jews settled there from its earliest days, engaging in commerce and crafts. Many of them moved there from Galicia. In 1830, among the inhabitants of the town were 24 Jewish families of merchants, 691 families of townsmen, and 424 individual Jews. In 1829 a government order prohibited the residence of Jews in Nikolayev, using the existence of naval bases as a pretext. The Jews were allowed two years to arrange their departure. The local authorities opposed the decree, arguing that the expulsion of the Jews would harm the development of the town; the expulsion was therefore postponed until 1834. At the beginning of the reign of Alexander II the right of residence in the town was granted to Jewish merchants and industrialists (1857), and later also to craftsmen (1861). Many Jews lived in the villages and estates in the vicinity of Nikolayev, where they conducted their commerce. In 1866 all restrictions were lifted and the Jewish community of Nikolayev developed rapidly. In 1880 there were 8,325 Jews in Nikolayev, and in 1897 the number rose to 20,109 (21.80f the total population). In October 1905 pogroms claimed several victims. During the Civil War (1919 - 20) the Jews of neighboring towns suffered severely. In 1926 there were 21,786 Jews (about 20.80f the total population) in Nikolayev. Under the German occupation (August 1941), all the Jews who had not succeeded in leaving the city were murdered. With the liberation of Nikolayev (March 1944), Jews began to return to the city. The last synagogue was closed down by the authorities in 1962. Courtesy of: Encyclopedia Judaica ©1972, Keter Publishing House Jerusalem Ltd Jerusalem, Israel At 01:48 PM 2/27/03, [EMAIL PROTECTED] wrote: According to his biography, Sholom Secunda grew up in the town of Nicholayev. Does anyone know where that is (or was)? Thanks, Elie Elie Rosenblatt [EMAIL PROTECTED] -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -
Re: From Yiddish Folk Poetry
This is the book to look at. I once consulted it at the YIVO in NY, so I know that it has a copy. SHOSTAKOVITCH`S JEWISH SONGS FROM JEWISH FOLK POETRY, OP.79: Introductory Essay with original Yiddish Folk Text Underlay. Tel Aviv: World Council for Yiddish and Jewish Culture and Ministry of Culture, 1989. 162 pp., 1tbl., 4 mus. ex. ( in English, Russian, Hebrew and Yiddish). At 01:41 PM 2/27/03, [EMAIL PROTECTED] wrote: Shostakovitch's Song Cycle Op. 79 is based on the lyrics of yiddish folk songs. Who knows more about the actual folk songs (not Shostakovitch's composition). I'm especially loooking for: Dos geshtorbene kind Shlof, mayn kind Her-zshe Khasje Reb Elye Oyf dem boydem Der winter Vegn rokhves fun felder Oyf a lonke Sore, di shusterke Any kind of help will do, thank you! A. Pancur _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ
Miriam's Song
At 02:26 PM 2/21/03, Fred Blumenthal wrote: Is there scripture saying that the Hebrew men excused themselves when Miriam sang by the sea of reeds? Fred, that's an argument for the wrong side of the debate. Yes, Miriam's singing was clearly only for the women. Exodus 15:20-21. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ
Re: here we go again....
At 12:46 AM 2/21/03, Judith R Cohen wrote: I was brought up to see Judaism as full of adult choices and one's own concscience. That is indeed one of several approaches to Judaism. A much older understanding has it that adults face an overwhelming range of choices, and that in a healthy human being one's own concscience ultimately serves one's own best interests (after following the philosophical chain of consequences), and that the role of Judaism is precisely to circumscribe that range of choices in the direction of God's Will. This does have a way of relieving, though not removing, the onus from one's concscience and transferring it onto the consciences of the leaders and rabbinic interpreters of the Torah (in the broadest sense of the word). It therefore explains why loyal Orthodox Jews have less trouble in following dictates that don't stand up to neutral logical scrutiny than non-Orthodox Jews have in understanding these dictates. (By neutral logic I mean the kind that does not take the Torah as its logical starting point.) In classical Judaism the role of human understanding is far less important than commonly assumed. This is made quite clear in the biblical Tree of Knowledge vs. Tree of Life episode. Unfortunately, the chasm that lies between different interpretations of one's own religion is normally deeper than the differences between liberal understandings of two different religions. That is a tough nut to swallow for those who are consumed (as I once was) with the question of Why can't we all just get along? Shabbat Shalom. _ Cantor Sam Weiss === Jewish Community Center of Paramus, NJ -- [EMAIL PROTECTED] -+ Hosted by Shamash: The Jewish Network http://shamash.org A service of Hebrew College, which offers online courses and an online MA in Jewish Studies, http://hebrewcollege.edu/online/ * * FREE JEWISH LEARNING * * Shamash invites you to join MyJewishLearning.com, a comprehensive, objective, authoritative and interactive learning resource in all areas of Judaism. Free membership via http://www.myjewishlearning.com/shamash -- [EMAIL PROTECTED] -=
