Music Books

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Book SynopsisThe eight lively contributions to this volume, appearing concurrently in a special issue of the journal Biblical Interpretation, illustrate a range of exciting approaches to the newly developing area of the reception history of the Bible in literature, music, art and film. (Originally published as issue 4-5 of Volume 15 (2007) of Brill's journal Biblical Interpretation)Table of ContentsPART ONE The Bible in Literature Francis Landy Noah’s Ark and Mrs. Monkey Mikael Sjöberg Jephthah’s Daughter as Object of Desire or Feminist Icon Anthony Swindell Latecomers: Four Novelists Rewrite the Bible PART TWO The Bible in Music Peter McGrail Eroticism, Death and Redemption: The Operatic Construct of the Biblical “Femme fatale” Helen Leneman Re-visioning a Biblical Story through Libretto and Music: “Debora e Jaele” by Ildebrando Pizzetti Andrew Davies Oratorio as Exegesis: The Use of the Book of Isaiah in Handel’s Messiah PART THREE The Bible in Art and Film Martin O'Kane ‘The Bosom of Abraham’ (Luke 16:22): Father Abraham in the Visual Imagination Eric S. Christianson The Big Sleep: Strategic Ambiguity in Judges 4-5 and in Classic Film Noir

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Book SynopsisWinner of the Jewish Music Special Interest Group Paper Prize of 2018 Mazal Tov, Amigos! Jews and Popular Music in the Americas seeks to explore the sphere of Jews and Jewishness in the popular music arena in the Americas. It offers a wide-ranging review of new and old trends from an interdisciplinary standpoint, including history, musicology, ethnomusicology, ethnic studies, cultural studies, and even Queer studies. The contribution of Jews to the development of the music industry in the United States, Argentina, or Brazil cannot be measured on a single scale. Hence, these essays seek to explore the sphere of Jews and popular music in the Americas and their multiple significances, celebrating the contribution of Jewish musicians and Jewishness to the development of new musical genres and ideas.Trade Review“By placing chapters on Jews and popular music in the USA alongside chapters on their South American analogues, the context of these studies becomes subtly altered. This isn’t just because the Argentinian and Brazilian artists discussed are often much less well known globally than American ones, but also because a ‘hemispheric’ focus enables – potentially at least – a destabilisation of the sometimes inward-looking perspective that dominates discussions of Jews, popular music and the USA. As Cohen argues: ‘By adding Jewishness to [the] multidimensional North–South topography, existing histories of political upheaval, activism, population movement, and zealous diplomacy gain new veins of inquiry’ (p. 241). Or, to put it another way, by considering North and South American Jewish popular music together, we might be able to re-position Jewish music in the Diaspora communities of the Americas into a more fluid notion of Diaspora.” Keith Kahn-Harris, Popular Music, Volume 36 - Issue 1 - January 2017Table of ContentsList of Figures Acknowledgements List of Contributors Introduction, Amalia Ran & Moshe Morad 1. Is "White Christmas" a Piece of Jewish Music?, Ellen Koskoff 2. The Musical Worlds of Jewish Buenos Aires, 1910-1940, Pablo Palomino 3. Tristes Alegrías: The Jewish Presence in Argentina’s Popular Music Arena, Amalia Ran 4. Jacob de Bandolim: A Jewish(-)Brazilian Composer, Thomas George Caracas García 5. Walls of Sound: Lieber and Stoller, Phil Spector, the Black-Jewish Alliance, and the “Enlarging” of America, Ari Katorza 6. Singing from Difference: Jewish Singers-Songwriters in the 1960s and 1970s, Jon Stratton 7. ¡Toca maravilloso! Larry Harlow and the Jewish Connection to Latin Music, Benjamin Lapidus 8. Roberto Juan Rodriguez’ “Timba Talmud”: Diasporic Cuban-Jewish Musical Convergences in New York, Nili Belkind 9. Yiddish Song in Twenty-First Century America: Paths to Creativity, Abigail Wood 10. Fight for Your Right to Partycipate: Jewish American Rappers, Uri Dorchin 11. Gypsy, Cumbia, Cuarteto, Surf, Blah Blah Blah: DJ Simja Dujov and Jewish Musical Eclecticism in Argentina, Lilian M. Wohl 12. Queer Jewish Divas: Jewishness and Queerness in the Life and Performance of Barbra Streisand, Bette Midler, and Olga Guillot, Moshe Morad 13. Third Diaspora Soundscapes: Music of the Jews of Islam in the Americas, Edwin Seroussi Closing Notes: The Soundstage of Jewish Life, North and South, Judah M. Cohen Index

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Book SynopsisThis book asks how a study of many different musics in South East Europe can help us understand the construction of cultural traditions, East and West. It crosses boundaries of many kinds, political, cultural, repertorial and disciplinary. Above all, it seeks to elucidate the relationship between politics and musical practice in a region whose art music has been all but written out of the European story and whose traditional music has been subject to appropriation by one ideology after another. South East Europe, with its mix of ethnicities and religions, presents an exceptionally rich field of study in this respect. The book will be of value to anyone interested in intersections between pre-modern and modern cultures, between empires and nations and between culture and politics.Trade Review“Jim Samson’s Music in the Balkans is breathtaking. Its scope, theoretical sophistication, interdisciplinary breadth, and synthesis of a vast range of literatures, histories, and musical styles is unparalleled within recent scholarly literature on the Balkans.” - Roland Clark, Eastern Connecticut State University, in: Balkanistica 29 "Music in the Balkans fills a huge void in the scholarship on art music of southeast Europe and will equally serve native scholars in and outside the region. While Balkan composers' achievements should not be overstated, as Samson warns, their integration into the European music canon is long overdue. This book shows the way." - Ljerka V. Rasmussen, Tennessee State University, in: Slavic Studies 73/4 "Music in the Balkans is an important book that, like its subject, defies easy categorisation. Ambitious in its scope, the book repeatedly crosses ethnic, national, religious, historical and disciplinary boundaries in what amounts to an idiosyncratically structured yet comprehensive historical treatment of the transmission, development and interaction of a wide range of musical traditions and repertories—sacred and secular, agrarian/traditional and urban/popular, Christian, Muslim and Jewish, Ottoman and western art in South East Europe. Samson displays sensitivity both to commonality and difference as he casts light on a region ‘visited by musical styles whose centres invariably lay elsewhere’ (662) as its peoples have been affected over time by migration, imperialism, nation-building, displacement, religious change and modernisation. What emerges is a Balkans characterised by various forms of mediation conducted at levels ranging from the individual to the trans-national that he conveys through references to ‘bridges’ and states of being ‘in between’ or ‘in transition’. Samson's synthesis of vast quantities of information about demotic, liturgical, popular, art and ‘popular art’ traditions of music in the modern state of Greece is exemplary in its coverage and critical discernment." - Alexander Lingas, City University London, in: Ethnomusicology Forum 24.1 (February 2015), pp.134-136 "Samson successfully combines academic discourse and a fresh and unobtrusive personal approach, especially in polemically sensitive areas. He should be given credit for not avoiding the sensitive questions regarding the Yugoslav „wars of succession“ from the 1990s. The book as a whole is magnificently erudite, broad-minded and coherent. Music in the Balkans is indeed a brilliant achievement that will certainly prove to be indispensable and inspiring for both scholars in Balkan studies and interested laymen, and will no doubt be hard to surpass.“ - Melita Milin, Principal Research Fellow, Institute of Musicology, Serbian Academy of Sciences, in: Musicology 16 "The book’s task is ambitious, and its intentions important: to provide an account of art music, church music, popular music and traditional music in the Balkans which will identify ‘patterns in the cultural history of the region as a whole. [...] The strength of Music in the Balkans is that it places all examples into the longue durée [...] The aims and scope of Music in the Balkans mean that research libraries with serious interests in the region should not be without this book." - Catherine Baker, University of Hull, in: European History Quarterly 44 (2014) [full review text: http://ehq.sagepub.com/content/44/3/573.citation] "The highly innovative potential of this volume, searching for commonalities and not for differences in Balkan music history, cannot be valued enough. The extensive and complete list of references (mainly in Western European languages) on 31 pages is worth alone buying this book. The book will surely have a lasting and positive impact for all following studies on Balkan music for two reasons: firstly, the attempt to look beyond the East-West dichotomy as translated into music, and secondly, the visionary call for a denationalisation of music history." - Eckehard Pistrick, in: Anthropological Notebooks XIX/3 (2013) "This book is a monumental contribution to musical scholarship; the depth and range of the final product is astonishing. The book is divided into five parts, of which the first, ‘Balkan Geographies’, endeavours to explain something of the hugely complex micro-geographies of the region, beginning with a discussion of the Jewish presence in Sarajevo and covering ethnic groupings and movements particularly in the former Yugoslavia and Greece. The second, ‘Historical Layers’, cuts the cake vertically, discussing such complex interrelationships as that between Byzantine chant and Ottoman music (‘A Makam-Echos Culture’), the beginnings of modernism, and the phenomenon of Yugoslavism. ‘Music in Transition’, the third part, deals with the consequences of modernism, the impact of nationalism and includes specific contextualized case studies. The fourth part, ‘Eastern Europe’, deals with the Communist period, and the political situation in Greece. The fifth and final part, ‘Global Balkans’, gets to grips with the maelstrom of confusion that has characterized the region’s post-Communist history. Conclusions might be thought perhaps impossible, but Samson does not shrink from trying to pull all the threads together in his substantial final chapter, ‘Endgame’. ‘There is’, he says, ‘a narrative of emancipation, but there is also a narrative of homecoming, of roots. There is a strong current drawing this region inexorably westwards, but there are eddies, undertows, that pull it back constantly to the East.’ This neatly enshrines the complexity, the paradoxical quality and the astounding richness of the Balkans so well presented in this outstanding book." - Ivan Moody, in: International Record Review (April 2014), pp. 78-79 "A many-voiced world of opinion and thought is opened up. This work is unprecedented in its compass, and its insights apply far more broadly than its remit." - Kim Burton, in: Songlines 98, p. 82 “a hugely significant contribution to our understanding of this region's culture.” - Adrian Thomas, Cardiff University "Eίναι η συσσώρευση έγκυρων πληροφοριών, η σοφή και ευέλικτη ερμηνεία τους, βασιζόμενη σε αντιμαχόμενες αισθητικές, κοινωνιολογικές και πολιτικές θεωρίες, και σε βαθιά γνώση της μουσικής ιστοριογραφίας, η μουσική ευαισθησία, η κατανόηση της πολιτιστικής ατμόσφαιρας, η ακρίβεια, η καθαρότητα και η πυκνότητα της έκφρασης." - Καίτη Ρωμανού, in: Пολυφωνία volume 24 (2014), pp. 136-144Table of ContentsList of Illustrations List of Maps Introduction Part 1. Balkan Geographies Chapter 1 Exodus Sarajevo: little Jerusalem Two peninsulas: the Sephardic diaspora Singing the community: music of the Sephardim Opening out: themes and developments Chapter 2 Ecologies Music and place Ringed by mountains: the Oaş Country On the voice: the Dinaric Alps and other mountains Deep in Šumadija Chapter 3 Displacements Investing in place Migrations: Serbs in a Habsburg world Trading places: Greece and Anatolia Tallava rules: Kosovars in Macedonia Chapter 4 Ecumenes In the minority All together in Vojvodina Orchestrating Thrace Chapter 5 Centres All in the family: mapping Montenegro Finding the centre: people and traditions East - West Part 2. Historical Layers Chapter 6 A Makam-Echos Culture Grand narratives Byzantine reflections Ottoman canons Chapter 7 Eastern Recessions Allahu Ekber Coffee break Turning West Chapter 8 Infrastructures Littoral Balkans: Venice and the Adriatic Mitteleuropa: the reach of the Habsburgs Reciprocities: modernising the peripheries The Principalities and beyond Chapter 9 Nations The first steps Two nations The Berlin Balkans Yugoslavism Chapter 10 Inspirers Building the pyramids: reflections on high culture Greeks …. …. and other agents Either/or: reflections on modernism Part 3. Music in Transition Chapter 11 Mixing It Discourses of transition Nuts and bolts: elements of popular music On the record: surveying the legacy Chapter 12 Join the Club Following the leader: Manolis Kalomiris Drawing the circle: the Greek National School Another way: the failure of Greek modernism Chapter 13 Moderna Garlands: Stevan Mokranjac One people, three names: the first Yugoslavia Late arrivals: Croatian modernisms Parallel tracks: Bulgarian advances Transit to Prague Chapter 14 Serbo-Croat Who owns Slavenski? From the Balkans … …to the cosmos Chapter 15 Placing Genius A tempting comparison: locating George Enescu Closing in: Enescu’s journey Wider again: in the modernist canon Part 4. Eastern Europe Chapter 16 The Curtain Descends Left, right…. In extremis: the singular case of Albania Administered music: performing communism Composers on message Chapter 17 Diverging Paths Traffic with Moscow The acolyte: Bulgarian bridges The zealot: Albanian austerities The maverick: Romanian renewals Chapter 18 Another Try Politics versus culture: the second Yugoslavia The dark decade: mainly Serbia In from the cold: mainly Croatia, a little Slovenia, and back to Serbia Catching up: other republics Chapter 19 Birthright of the People Orchestras: classicising traditional music Newly composed folk music Simulacra: wedding music and more Chapter 20 One Got Away Popular art music: Theodorakis at large Art music: modernism is official Popular music: rebetika and beyond Part 5. Global Balkans Chapter 21 All Change Brave new world Another Balkans: the diasporic imagination Composers in exile Chapter 22 Conservation Who needs classical music? Has modern music really grown old? Where have all the folksongs gone? Chapter 23 Balkan Beat Heroes Reinscribing Yugoslavia Divas Greek mythology Chapter 24 On Boundaries and Events In theory Greece and its neighbours Music partitioned … … and not quite partitioned Chapter 25 Endgame Degenerations Generations Balkan ghetto: the story of Kosovo Are we there yet? Glossary Bibliography Index

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Book SynopsisOver time Dutch and Indonesian composers, performers and music scholars have inspired each other and they continue to do so. The presence of the Dutch in the Netherlands East-Indies and Indonesia, but also the existence of large diasporic communities in the Netherlands have contributed to a mutual exchange in musical terms: from military brass bands, classical and liturgical music to jazz, Indo rock and more recently world music. Yet, such musical interactions have often been shaped by unequal power balances, and very divergent motifs to start with. Recollecting Resonances offers musicological, historical and anthropological explorations into those musical encounters that have been shaped in both the past and present. The resulting mutual heritage can still be listened to today. Contributors include: Bart Barendregt, Els Bogaerts, Liesbeth Ouwehand, Gerard A. Persoon, Sumarsam, Miriam Brenner, R. Franki S. Notosudirdjo, Henk Mak van Dijk, Madelon Djajadiningrat, Clara Brinkgreve, Wim van Zanten, Matthew Cohen, Lutgard Mutsaers, Rein Spoorman, Annika Ockhorst, and Fridus Steijlen.

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Book SynopsisThis biography of the musician Franz Liszt contributes to our understanding of national identity formation and its interaction with cosmopolitanism. Liszt exemplified the nineteenth-century quest for subjective definition and fulfillment. Seeking to gain agency, authority, and community, Liszt experimented with various subject positions from which to forward his goals. The stances he selected, anchored in ideas about nation, religion, and art, allowed him to retain his cosmopolitan sensibility while making specific aesthetic and creative claims. Quinn’s analysis of Liszt’s correspondence and musical criticism, as well as of contemporary reviews of his performances, compositions, and essays, demonstrates the lack of a nationalist exclusivity in Liszt’s life was a historical phenomenon rather than a personal quirk as previous scholarship has often claimed.Table of ContentsAcknowledgments ... vii List of Illustrations ... viii List of Abbreviations ... ix Introduction ... 1 1 The Virtuoso Prophet ... 23 2 The Hungarian Patriot ... 64 3 The Romantic Hero and the Kulturnation ... 105 4 The War of the Romantics ... 148 5 Composing a Nation-Church Bond in Hungary ... 184 6 The General German Music Association ... 220 Coda ... 246 Bibliography ... 250 Index ... 269

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Book SynopsisSinging together is a tried and true method of establishing and maintaining a group’s identity. Identity, Intertextuality, and Performance in Early Modern Song Culture for the first time explores comparatively the dynamic process of group formation through the production and appropriation of songs in various European countries and regions. Drawing on oral, handwritten and printed sources, with examples ranging from 1450 to 1850, the authors investigate intertextual patterns, borrowing of melodies, and performance practices as these manifested themselves in a broad spectrum of genres including ballads, popular songs, hymns and political songs. The volume intends to be a point of departure for further comparative studies in European song culture. Contributors are: Ingrid Åkesson, Mary-Ann Constantine, Patricia Fumerton, Louis Peter Grijp, Éva Guillorel, Franz-Josef Holznagel, Tine de Koninck, Christopher Marsh, Hubert Meeus, Nelleke Moser, Dieuwke van der Poel, Sophie Reinders, David Robb, Clara Strijbosch, and Anne Marieke van der Wal.Trade Review“Identity, Intertextuality, and Performance in Early Modern Song Culture is a welcome addition to our knowledge of the arena of communication in early modern Europe. The book is a groundbreaking foray into a very promising field.” - Daniele V. Filippi, University of Applied Sciences and Arts, Northwestern Switzerland and Academy of Music, Schola Cantorum Basiliensis, in: Journal of Jesuit Studies, Vol. 4, No. 3 (2017), pp. 511-513 [DOI: 10.1163/22141332-00403007-08] “Identity, Intertextuality, and Performance in Early Modern Song Culture celebrates excellent research on and compilation of early European songs. The collection never pretends to be exhaustive, however, for each chapter explains what further research could and should be done. For that reason, the book is incredibly significant to researchers who are looking not just for answer, but also for further questions.” - Deana Smid, Brandon University, Canada, in: Sixteenth Century Journal, Vol. 49, No. 1 (Spring 2018), pp. 182-185Table of ContentsAcknowledgements Notes on the Editors Notes on the Contributors List of Illustrations 1 Introduction Louis Peter Grijp and Dieuwke van der Poel 2 Local and Religious Identity in Swedish Popular Hymn Singing during the Seventeenth and Eighteenth Centuries Ingrid Åkesson 3 Performing Pietism in the Peatlands: Songs in the Manuscript Miscellany of a Village Schoolmaster in the Dutch Republic between 1750 and 1800 Nelleke Moser 4 Guilielmus Bolognino’s Den Gheestelijcken Leeuwercker: The Collected Songs of a Counter-Reformation Champion Hubert Meeus and Tine de Koninck 5 Songs and Identities: Handwritten Secular Songbooks in German-Speaking Areas of the Fifteenth and Sixteenth Centuries Franz-Josef Holznagel 6 ‘Social Networking is in our DNA’: Women’s Alba Amicorum as Places to Build and Affirm Group Identities Sophie Reinders 7 The Many Shades of Love: Possessors and Inscribers of Sixteenth-Century Women’s Alba Clara Strijbosch 8 Exploring Love’s Options: Song and Youth Culture in the Sixteenth Century Netherlands Dieuwke van der Poel 9 Oppositional Political Identity in the Song Culture of the Vormärz and the 1848 Revolution in Germany David Robb 10 The Perils of Performance: From Political Songs to National Airs in Romantic-Era Wales (1790–1820) Mary-Ann Constantine 11 Folksongs, Conflicts and Social Protest in Early Modern France Éva Guillorel 12 “Fortune My Foe”: The Circulation of an English Super-Tune Christopher Marsh 13 Samuel Pepys and the Making of Ballad Publics Patricia Fumerton 14 Slave Orchestras and Rainbow Balls: Colonial Culture and Creolisation at the Cape of Good Hope, 1750–1838 Anne Marieke van der Wal Index Nominum

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