The present study is a report of an experimentdone in Jerusalem in 1976. The research question is: Does the audience consider Israeli music different from music written in other countries, and is the audience capable of differentiating certain features which would characterize musical works as "Israeli".
The artistic music of the formative period in Israel draws on three sources: the old traditional oriental sources, the spirit of new reality, and twentieth-century music of the Twenties and the Thirties.
Songs for 1-3 voices with piano or 4 voices unaccompanied. Music by Isaac Nathan, words by Lord Byron; edited, with introduction and notes, by Frederick Burwick and Paul Douglass. Reprint of London 1815-16 edition.
One way of describing Schoenberg’s religious path is as a constant struggle between a level of abstract of God-awareness and a persistent need and preoccupation with well defined rules as offered by formal religious practice.
Born in Jan. 1898 in Teschen, Czechoslovakia, Ullmann studied in Vienna; in 1918-19, he was a pupil of Arnold Schoenberg. From 1920-27 he served as conducting assistant to Alexander Zemlinsky in Prague, and also worked as free-lance composer and teacher. He continued as a composer and a music critic in Theresienstadt, where he had been deported in 1942. In Oct. 1944 Ullmann was sent to his death in Auschwitz.
Covers the emergence of the practice of Western Art Music in European Jewish communities (Italy, Southern France, Amsterdam) prior to the nineteenth century. Includes detailed descriptions of the repertoires, their contexts of performance and their composers. This work manifests the implicit desire of Jewish music scholars to inscribe a Jewish presence in the predominant Christian and Eurocentric music narrative of modern Musicology.
