scholarly journals Music, History, and Culture in Sephardi Jewish Prayer Chanting

Religions ◽  
2021 ◽  
Vol 12 (9) ◽  
pp. 700
Author(s):  
Essica Marks
Keyword(s):  
Field Work ◽  
Music History ◽  
Musical Performance ◽  
Musical Structure ◽  
Central Characteristic ◽  
Jewish Prayer ◽  
Cultural Features

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 explain how this liturgical genre reflects historical and cultural features related to these liturgical traditions. The study presented here is based on field work that includes recordings of prayer and interviews of well-known cantors of the two traditions as well as observations in synagogue of the two liturgical traditions.

Towards convergence

2017 ◽  
Author(s):  
Celia Duffy ◽  
Joe Harrop
Keyword(s):  
Music Education ◽  
Performance Studies ◽  
Final Section ◽  
Music History ◽  
The Other ◽  
Musical Performance ◽  
Music Department ◽  
Academic Lectures ◽  
The One ◽  
Educational Thinking

This chapter concerns the interrelationship between music history and analysis—so-called academic studies—and musical performance, and it considers how such studies might affect or influence the student performer. Until recently, musical performance and academic studies were regarded as separate elements in music education, a separation that is now being challenged. The chapter begins by reviewing existing scholarship on performance studies and by exploring how the concerns of historically informed performance and practice as research can bring the questions underlying that scholarship into focus, even in undergraduate curricula. The discussion then turns to the higher education (HE) music environment and recent educational thinking seeking to unite distinct strands of musical study within a single curriculum. Two modules that attempt to integrate performance and scholarship—one from a university music department and one from a conservatoire—serve as exemplars. In the final section, opinions and observations solicited from musicians working in HE throw light on the issues from divergent perspectives. The overriding themes are duality and separation on the one hand and connections and convergence on the other—of ‘thinkers’ and ‘doers’, insight and analysis, formal and tacit knowledge, conservatoires and universities, and academic lectures and one-to-one performance tuition.

PERFORMING EIGHTEENTH-CENTURY IBERIAN MUSIC ESCOLA SUPERIOR DE MÚSICA DE CATALUNYA, BARCELONA, 14–16 JULY 2014

2015 ◽  
Vol 12 (1) ◽  
pp. 138-141
Author(s):  
ALEJANDRO VERA
Keyword(s):  
Eighteenth Century ◽  
Music History ◽  
Musical Performance ◽  
Cambridge University ◽  
Long Time

Musical performers and performing processes are relatively new objects of study if we compare them with composers and works, categories that have been at the centre of musicological concerns for a long time: so much so that in a relatively recent publication, An Introduction to Music Studies, ed. J. P. E. Harper-Scott and Jim Samson (Cambridge: Cambridge University Press, 2009), the study of musical performance is presented as a field of renewal for music history and analysis.

scholarly journals AnalysisandPerformance, orwissen, können, kennen

2016 ◽  
Vol 22 (2) ◽  
Author(s):  
Daphne Leong
Keyword(s):  
Ways Of Knowing ◽  
Broad Sense ◽  
Musical Performance ◽  
Musical Analysis ◽  
Musical Structure ◽  
Knowing How ◽  
Knowing That ◽  
And Performance ◽  
Multiple Ways Of Knowing

To counter the view that types of musical analysis not immediately relevant to performers are irrelevant to “music as performance,” this essay suggests that music exists in various states, and that changes between such states constitute transformations. Score-based analysis of musical structure and study of musical performance contribute to the understanding of music in this broad sense; analysis and performance dialogue productively when their distinctions as well as their correspondences are valued and interrogated. Analysis and performance exhibit multiple ways of knowing:wissen(knowing that),können(knowing how), andkennen(knowing, as in knowing a person). These ways of knowing are shown at play in a rehearsal of Shende’sThrow Down or Shut Up!.

scholarly journals Transmission and Innovation of Kasidah (Lagu Islam) in Indonesian (1975~) Take a Case Study on Nasida Ria Kasidah Modern in Semarang

2017 ◽  
Vol 4 (1) ◽  
pp. 49
Author(s):  
Ning-Hui Hung
Keyword(s):  
Musical Performance ◽  
Structural Development ◽  
Musical Structure ◽  
Cultural Changes ◽  
External Stimulation ◽  
Musical Structures ◽  
Social Structural ◽  
Musical Function

Indonesian Islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. It has lyrics that represent direct relationship between Moslems and God in religion ceremonies. However, the musical structures are changed due to external stimulation coming along with the changes of Indonesian social structure during its development especially in 1975. Kasidah, a sort of Indonesian Islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music group of Qasidah Modern Nasida Ria in Semarang, Indonesia. The reason is that kasidah is more liberal than other Islamic music genres in Indonesia, especially on musical performance, usage on instruments, etc. This research sees “music” as a communication system of sound which passes through social usage and cultural contexts in Ethnomusicological perspective. The focus of discussion in on this group to explore some topics in order to comprehend the interaction between social structural development and the innovation of kasidah musical structure in Indonesia, such as the transmission and development of the group Qasidah Modern Nasida Ria, innovation of the group Qasidah Modern Nasida Ria and its music, and the musical function of modern kasidah. By which to understand the current development of kasidah in Indonesia, explore the concept and the role of the word „modern‟ plays in the development of modern kasidah, and point out the cultural syncretism and impact occured in the development of modern kasidah.

Would Caccini approve?

Early Music ◽  
2008 ◽  
Vol 36 (1) ◽  
pp. 81-94
Author(s):  
John Bass
Keyword(s):  
Real World ◽  
17Th Century ◽  
Musical Performance ◽  
British Library ◽  
Musical Structure ◽  
Poetic Structure ◽  
Musical Patterns

Abstract Although it is known that improvisation was an important part of musical performance in the 16th and 17th centuries, studying how extemporaneous elements were incorporated into real-world situations has proven to be difficult. Improvisers, by nature, do not record what they do, but there is evidence that points to some of these individuals attempting to document their approach to music, namely in ornamentation manuals and individual pieces with written-out embellishment. Among these sources is British Library Ms. Egerton 2971, a 37-folio volume probably dating from the second or third decade of the 17th century, which contains, among other things, embellished versions of Giulio Caccini’s Amarilli, mia bella and Dolcissimo sospiro, first published in Le nuove musiche (Florence, 1602). Sources like this, despite some inherent problems, offer the clearest window into the minds of improvisers of the time, and warrant further study. The research in this article serves two purposes. First, the versions of Amarilli, mia bella and Dolcissimo sospiro contained in Egerton 2971 will be examined and compared to those published in Le nuove musiche as a case study of early 17th-century improvisation. Second, because of Caccini’s open disdain for singers taking liberties with his compositions, an attempt will be made to see if these pieces might be examples of such treatments. The crux of the article aims to show that ornamentation of the time, at least as shown in these examples, was not a random act of substituting stereotyped musical patterns for given intervals, but instead points to a more robust idea of improvisatory thought. Rather than looking at individual ornaments or how specific musical gestures might have painted certain words, the overall structure of the ornamentation is examined to show that it is subject to deeper and subtler intellectual considerations of poetic structure, overall musical structure, and rhetoric.

scholarly journals Empathies of Musical Performance and Understanding

2015 ◽  
Vol 10 (1-2) ◽  
pp. 116
Author(s):  
Anton Vishio
Keyword(s):  
Cognitive Empathy ◽  
Musical Performance ◽  
Musical Structure ◽  
Pedagogical Techniques ◽  
Alternative Responses ◽  
Definition Of

In my commentary on Erin Heisel’s thought-provoking essay, I explore alternative responses to the masterclass she describes. I propose expanding the kinds of empathy that might be most useful to performers to include “cognitive empathy,” while suggesting ways in which an empathy of identification can be problematic. I consider as well expansions to her definition of empathy to engage considerations of musical structure and embodiment, and I close with a proposal to expand Heisel’s pedagogical techniques into situations where empathy may be hard to find.

Field work and the clinician: Comment.

1966 ◽  
Vol 21 (3) ◽  
pp. 245-245
Author(s):  
Daniel Gavales
Keyword(s):  
Field Work

Socio-cultural Resource for Kazakhstan Modernization

2012 ◽  
pp. 74-82 ◽  
Author(s):  
A. Stavinskaya ◽  
E. Nikishina
Keyword(s):  
Social Capital ◽  
Cultural Capital ◽  
Competitive Advantages ◽  
Institutional Reforms ◽  
Cultural Resource ◽  
Bonding Social Capital ◽  
Social And Cultural Capital ◽  
The Social ◽  
Social And Economic Development ◽  
Cultural Features

The opportunities of the competitive advantages use of the social and cultural capital for pro-modernization institutional reforms in Kazakhstan are considered in the article. Based on a number of sociological surveys national-specific features of the cultural capital are marked, which can encourage the country's social and economic development: bonding social capital, propensity for taking executive positions (not ordinary), mobility and adaptability (characteristic for nomad cultures), high value of education. The analysis shows the resources of the productive use of these socio-cultural features.

Sign in / Sign up

Export Citation Format

Share Document