FROM THE EDITORS
We are pleased to present Volume XXI of Musica Judaica, with in-depth scholarship on important topics in Jewish music. This issue is divided into two sections: research articles, and a memorial tribute to ethnomusicologist Amnon Shiloah, who passed away in 2014.
In our first article, Edwin Seroussi’s “Sacred Song in an Era of Turmoil: Sephardic Liturgical Music in Southeastern Europe at the Turn of the 20th Century,” focuses on the nineteenth century in Ladino-speaking ex-Ottoman Sephardic communities in Austro-Hungary, the Balkans and Romania. His discussion departs from the traditional notion of an East/West divide, thus providing a more nuanced approach in dealing with synagogue music in Vienna, Bucharest, Bulgaria and elsewhere.
Randall Goldberg’s article, “David Krakauer from Klezmer Madness! to Abraham Inc.: A Topical Narrative of Musical Identities,” explores Black-Jewish relations. Abraham Inc. was a project that included the talents of clarinetist David Krakauer, African-American trombonist Fred Wesley and hip-hop artist Socalled (Josh Dolgin). The identity politics of Krakauer, a Jew playing Black music, is juxtaposed with his collaborationwith Fred Wesley, well known for his work in jazz and funk, as they interpret a klezmer tune, exploring new styles from Black American culture.
The last article in our first section is Essica Marks’ study, “New Contexts and New Audiences for Piyyutim,” in which she chronicles a contemporary phenomenon in the state of Israel: the singing of piyyutim (paraliturgical texts) in community gatherings. Remarkably, in recent years, some traditional piyyutim have been set as the lyrics of popular Israeli songs.
The second section of this issue is a memorial tribute to Amnon Shiloah. A world renowned ethnomusicologist who taught for many years at the Hebrew University, Shiloah was a prolific and groundbreaking scholar. Israel J. Katz provides a moving tribute with a narrative of his personal encounters with Shiloah, and also provides a detailed list of his publications.
Ronit Seter’s article, “’An Exotic Ornament:’ Amnon Shiloah on Israeli Art Music,” recounts Shiloah’s interviews in 1953 with leading Israeli musicians about the future of Israeli Art music, as well as her recent contacts with him. Originally published in Hebrew, the English translation by Arbie Orenstein provides the reader with valuable insight into Shiloah’s keen opinions. Amy Horowitz, who studied with Shiloah, concludes our tribute as she recalls some of the important lessons learned from her distinguished mentor.
Volume XXI of Musica Judaica moves us further along the ongoing path of Jewish music in the 21st century. We wish to thank our contributors to this issue, as well as Michael Leavitt and the Board of the American Society for Jewish Music for their continued encouragement and support.
Arbie Orenstein and Mark Kligman
We are pleased to present Volume XXI of Musica Judaica, with in-depth scholarship on important topics in Jewish music. This issue is divided into two sections: research articles, and a memorial tribute to ethnomusicologist Amnon Shiloah, who passed away in 2014.
In our first article, Edwin Seroussi’s “Sacred Song in an Era of Turmoil: Sephardic Liturgical Music in Southeastern Europe at the Turn of the 20th Century,” focuses on the nineteenth century in Ladino-speaking ex-Ottoman Sephardic communities in Austro-Hungary, the Balkans and Romania. His discussion departs from the traditional notion of an East/West divide, thus providing a more nuanced approach in dealing with synagogue music in Vienna, Bucharest, Bulgaria and elsewhere.
Randall Goldberg’s article, “David Krakauer from Klezmer Madness! to Abraham Inc.: A Topical Narrative of Musical Identities,” explores Black-Jewish relations. Abraham Inc. was a project that included the talents of clarinetist David Krakauer, African-American trombonist Fred Wesley and hip-hop artist Socalled (Josh Dolgin). The identity politics of Krakauer, a Jew playing Black music, is juxtaposed with his collaborationwith Fred Wesley, well known for his work in jazz and funk, as they interpret a klezmer tune, exploring new styles from Black American culture.
The last article in our first section is Essica Marks’ study, “New Contexts and New Audiences for Piyyutim,” in which she chronicles a contemporary phenomenon in the state of Israel: the singing of piyyutim (paraliturgical texts) in community gatherings. Remarkably, in recent years, some traditional piyyutim have been set as the lyrics of popular Israeli songs.
The second section of this issue is a memorial tribute to Amnon Shiloah. A world renowned ethnomusicologist who taught for many years at the Hebrew University, Shiloah was a prolific and groundbreaking scholar. Israel J. Katz provides a moving tribute with a narrative of his personal encounters with Shiloah, and also provides a detailed list of his publications.
Ronit Seter’s article, “’An Exotic Ornament:’ Amnon Shiloah on Israeli Art Music,” recounts Shiloah’s interviews in 1953 with leading Israeli musicians about the future of Israeli Art music, as well as her recent contacts with him. Originally published in Hebrew, the English translation by Arbie Orenstein provides the reader with valuable insight into Shiloah’s keen opinions. Amy Horowitz, who studied with Shiloah, concludes our tribute as she recalls some of the important lessons learned from her distinguished mentor.
Volume XXI of Musica Judaica moves us further along the ongoing path of Jewish music in the 21st century. We wish to thank our contributors to this issue, as well as Michael Leavitt and the Board of the American Society for Jewish Music for their continued encouragement and support.
Arbie Orenstein and Mark Kligman
