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Dr. Francesco Spagnolo Office: 2121 Allston Way (TH 11-Noon) E-mail: spagnoloacht@berkeley.

edu Office hours: TH 11-12 & by appointment

Music 179 UC Berkeley Fall 2012 2121 Allston Way TU & TH 9:30-11:00

PERFORMING TEXTS
MUSIC, LITURGY & JEWISH LIFE
A core aspect of Jewish life and creativity in the global Diaspora, liturgy involves the interaction of texts, sounds, objects, architectural spaces and body language within the performative space of the synagogue. These elements and their related sources are often studied as separate cultural entities, according to distinct methodologies. A multi-disciplinary perspective on liturgy and ritual must instead integrate the study of language and literary texts with musicology and ethnomusicology, the study of visual and material cultures, anthropology and the investigation of everyday life. The performative nexus between text and music that emerges in the context of synagogue life opens the investigation to a variety of social and anthropological aspects of Jewish liturgy. Synagogue rituals are both structured communal performances dictated by religious authority, and arenas for the public display of variegated social issues, such as power relations, aesthetic sensibilities, and attitudes towards the other, often well outside the synagogue and the Jewish communal sphere. In this seminar we will work hands-on with written texts, orally transmitted music, printed and manuscript music scores, ritual objects, visual sources, synagogue architectural plans, and observe the choreography of the ritual, examining primary and secondary sources and conducting field trips to complement our research on the performance/enactment of these dimensions within the dynamic context of synagogue life.

The seminar is intended for students with particular interests in music, Jewish studies, literature, ethnography and anthropology, and leverages the resources brought to UC Berkeley with the establishment of The Magnes Collection of Jewish Art and Life.

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COURSE REQUIREMENTS 1. Required Book Idelsohn, Abraham Zvi, Jewish Liturgy and Its Development (1932), New York, Dover 1995 (BM 660 .I14 http://oskicat.berkeley.edu/record=b16345410~S1) 2. Encyclopedias Grove: Grove Music Online, http://www.oxfordmusiconline.com (Jewish Music) EJ: Michael Berenbaum and Fred Skolnik eds. Encyclopaedia Judaica, 2nd ed. 2007, http://oskicat.berkeley.edu/record=b15334567~S1

3. Reading Assignments (PDFs on bSpace; ebooks on ebrary, etc.) Alvarez-Pereyre, Frank. Towards an Interdisciplinary Study of Jewish Oral Traditions, in Jewish Oral Traditions - An Interdisciplinary. Approach, ed. by I. Adler, F. Alvarez-Pereyre, E. Seroussi and L. Shalem Yuval VI/1994: 11-33 (bSpace) Avenary, Hanoch. The Aspects of Time and Environment in Jewish Traditional Music, Israel Studies in Musicology 4 (1987): 93123 (bSpace) Biale, David ed. Cultures of the Jews: A New History, New York, Schocken Books 2002 (ebrary) Feldman, Walter Zev. "The Transformation of Klezmer Dance Genre: Bulgareasca, Bulgarish, Bulgar." Ethnomusicology 38/I (Winter 1994): 1-36 (JSTOR) Feuchtwanger-Sarig, Naomi. May He Grow to the Torah: The Iconography of Torah Reading and Bar Mitzvah on Ashkenazi Torah Binders, in Ruth Langer and Steven Fine eds. Liturgy in the Life of the Synagogue: Studies in the History of Jewish Prayer, Winona Lake, Ind., Eisenbrauns 2005: 161-176 (bSpace) Frigyesi, Judit. Preliminary Thoughts toward the Study of Music without Clear Beat: The Example of Flowing Rhythm in Jewish Nusah, Asian Music 24.2 (SpringSummer 1993): 5988 (JSTOR) Heilman, Samuel C. Synagogue Life. A Study in Symbolic Interaction, The University of Chicago Press 1976 (repr. 1998) (bSpace) Hesser, Garry and Andrew J. Weigert. Comparative Dimensions of Liturgy: A Conceptual Framework and Feasibility Application, Sociological Analysis 41/3 (Autumn, 1980): 215-229 (JSTOR) Hoffman, Jeffrey, Akdamut: History, Folklore, and Meaning, Jewish Quarterly Review 99/2 (Spring 2009): 161-183 (MUSE) Horowitz, Elliott. The Eve of the Circumcision. A Chapter in the History of Jewish Nightlife, Journal of Social History, XXIII/1989: 45-70 (JSTOR) Katsman, Roman. Gestures Accompanying Torah Learning/Recital Among Yemenite Jews Gesture 7/1 (2007): 1-19 (bSpace) Levine, Lee I. The Ancient Synagogue: The First Thousand Years, Yale University Press, New Haven 2000 (ebrary) Lieber, Laura S. The Rhetoric of Participation: Experiential Elements of Early Hebrew Liturgical Poetry, The Journal of Religion 90/2 (April 2010): 119-147 (JSTOR) Mann, Vivian B. "Art and Material Culture of JudaismMedieval through Modern Times," Encyclopaedia of Judaism, General Editors Jacob Neusner , Alan J. AveryPeck and William Scott Green, Brill, 2006 http://www.brillonline.nl/public/artmaterial-culture

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Sarna, Jonathan D. Jewish Prayers for the United States Government: A Study in the Liturgy of Politics and the Politics of Liturgy in Ruth Langer and Steven Fine eds. Liturgy in the Life of the Synagogue: Studies in the History of Jewish Prayer, Winona Lake, Ind., Eisenbrauns 2005: 205-224 (bSpace) Seroussi, Edwin. Music: The Jew of Jewish Studies Jewish Studies 46/2009: 3-84 http://www.jewish-music.huji.ac.il/upload/Studies.pdf Vitz, Evelyn Birge. Liturgy as Education in the Middle Ages in Medieval education, edited by Ronald B. Begley and Joseph W. Koterski, New York, Fordham University Press 2005: 20-34 (ebrary) 4. Musical Sources (mp3 files on bSpace) An invitation to Piyut http://www.piyut.org.il/english/ Hazanout, Indit Maison des Cultures du Monde, Paris 1989 W260005 Musical Traditions in Israel: Treasures of the National Sound Archives, Jerusalem 1999 Jerusalem in Hebrew Prayer and Song, GEMA CD 66.21201 5. Additional resources used in class
Make sure you use the UC Berkeley Library help pages (including the guidelines for accessing electronic resources from Off Campus) and that you have full access to the following resources: UCB Library Image and Sound Databases http://bit.ly/OjA9Nn JSTOR http://www.jstor.org and Project MUSE http://muse.jhu.edu/ ebrary http://site.ebrary.com/lib/berkeley/home.action UC Press E-Books collection http://publishing.cdlib.org/ucpressebooks/ The Magnes Collection database http://www.magnesalm.org National Library of Israel digital library http://web.nli.org.il/sites/NLI/English/digitallibrary/ Jewish Languages Research Website http://www.jewish-languages.org/ Synagogues 360 http://www.synagogues360.org

A Song of Dawn: The Jerusalem Sephardi Baqqashot at the Har Tzyion Synagogue, Essica Marks ed. Jerusalem 2007 AMTI CD 0701 An Early 20th-Century Sephardi Troubadour. The Historical Recordings of Haim Effendi of Turkey, Edwin Seroussi and Rivka Havassi eds., Jerusalem 2008 AMTI CD 0801 Italian Jewish Musical Traditions: The Recordings of Leo Levi (1954-1961), Francesco Spagnolo ed., Rome-Jerusalem 2001, AMTI CD 0102 Jewish Music Between East and West, program notes by Jan Radzynski and Edwin Seroussi, Melton Center for Jewish Studies at the Ohio State University, 2003 Jdische Lebenswelten Patterns of Jewish Life, Schott Wergo 1993, SM 1602-2 Mysteries of the Sabbath Classic Cantorial Recordings: 1907-1947, Henry Sapoznik ed., Shanachie 1994, Yazoo 7002 Oh, Lovely Parrot! - Jewish Women's Songs from Kerala, Barbara C. Johnson ed., Jerusalem 2004, AMTI CD 0403 Sacred Music of the Moroccan Jews, collected by Paul Bowles, Edwin Seroussi ed., Rounder Records 2000, 82161-5087-2 Synagogal Music in the Baroque, Vol. 1, Jerusalem 1991, AMTI CD 9101, and Vol. 3, Israel Adler ed., Jerusalem 1996, AMTI CD 9601 The Hasidic Nigun as Sung by the Hasidim, Yaakov Mazor ed., Jerusalem 2004, AMTI CD 0402 The Western Sephardi Liturgical Tradition, Edwin Seroussi ed., Jerusalem 2004, AMTI CD 0401 With Songs they Respond: The Diwan of the Jews from Central Yemen, Avner and Naomi Bahat eds., Jerusalem 2007, AMTI CD 0601

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CLASS EXPECTATIONS AND EVALUATION GUIDELINES

Class attendance and participation Attend all class meetings, read/listen to/watch all required materials, fulfill your assignments as scheduled, and participate in the discussions. Due to the interdisciplinary nature of the course, a variety of approaches are expected to emerge through class work and individual study. Your focus may be more on texts, on music, or on the anthropological aspects of the course. You may also want to explore additional sources, follow cultural/musical news online, and suggest alternative ideas on how to confront the materials explored in the seminar. Be creative! Reading and Listening Obtain the required book (and bring it to class!) and download all required files. You are expected to be familiar with the readings listed as Course requirements (nos. 1 to 3) and with the listening/viewing assignments (given to you via email/bSpace on Tuesday each week for the following) ahead of class, thus actively participating in developing the course throughout the Semester. Follow the Discussion Schedule included in the Syllabus for more details. You are also welcome to use the class blog for additional recommended resources, and to find more on your own (the Library offers many sources in this field). In doing so, please follow your instinct, your curiosity, your research interests, and do not hesitate to consult with the teacher during and after class. Assignments and Evaluation 1. Response exercise: 3 unannounced short quizzes, based on the weekly reading & listening/viewing assignments will be given in the course of the Semester (two of them by Week 8). 2. Projects will take the form of a combined research paper and class presentation based on the multi-disciplinary approach that characterizes the seminar. Projects will be created in consultation with the instructor (office hours: Thursday 11-Noon or by appointment) during the first part of the semester, and must be selected by Week 6. Presentations can take place any day of class throughout the Semester, after Week 8. Papers are due on November 20. 3. Final exam: scheduled for Tuesday, December 11, 2012 (3:00pm-6:00pm). Your final grade will be based on each assignment (30% on written response exercises, 30% on projects and 10% on final exam) and on your class participation and attendance (30% of final grade; 3 un-excused absences will automatically lower your grade).

Discussion and Reading Schedule


Refer to the Course Requirements (nos. 1-4) to prepare for class according to the following schedule. Listening assignments will be provided in class each week (for the following week), indicating the individual tracks required. While listening to music files from CDs, it is important to read the accompanying liner notes (available on bSpace). Dates
8/23

Course Topics Introduction A multidisciplinary approach to Jewish liturgy: Texts, music, objects, architecture & body language

Assignments Visit Magnes exhibitions; become familiar with syllabus, bSpace & course resources

Part I: From Written Text to Synagogue Life. Sources & Methodologies


Week 1 8/28-30

The Setting Synagogues & what happens in them

Levine, Ch. 1: Introduction p. 1-17 Heilman: The Cast of Characters p. 63-127; and Singing, Swaying, Appeals, and Arguments p. 211-220 Idelsohn: Introductory Notes p. xixix; and Part I, p. 3-70 EJ: Liturgy (Vol 13: 131-139) Hesser and Weigert (p. 215-218) Jewish Languages Research Website http://www.jewish-languages.org/ (focus on Hebrew, Jewish Aramaic, Judeo-Spanish, and Yiddish) EJ: Bible (overview of article, and sections on Canon and Text Vol. 3: 572-589); Talmud (Vol. 19: 469, and links to: Mishnah Vol 14: 319-323; Gemara Vol. 7: 423; Babylonian Talmud Vol. 19: 470)

Week 2 9/4-6

The Background The study of Jewish liturgy. Historical sources, varying approaches Languages & Texts

Week 3 9/11-13

Week 4 9/18

The Forms of Liturgy Class Field Trip: Meet at Congregation Beth El (Berkeley) to attend services for the Second Day of Rosh Hashanah (New Year) www.bethelberkeley.org The Forms of Liturgy

Idelsohn Ch. 8: Daily Public Prayers (p. 73-121) EJ: Kaddish (Vol. 11: 695-698) & Piyyut (Vol. 16: 192-209)

Week 4 9/20

Vitz

Week 5 9/25-27

Sounds & Music in the Synagogue Ideas and Methods in the study of Jewish music Sounds & Music in the Synagogue Class Field Trip: Meet at Congregation Netivot Shalom (Berkeley) to attend services for the Second Day of Sukkot www.netivotshalom.org

Grove: Jewish Music (sections I: Introduction, and III: Liturgical and Paraliturgical) Alvarez-Pereyre Grove: Jewish Music (sections I: Introduction, and III: Liturgical and Paraliturgical)

Week 6 10/2

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Week 6 10/4

Sounds & Music in the Synagogue Ideas and Methods in the study of Jewish music Reminder: finalize project topic!

Lieber

Week 7 10/9

Space & Architecture Class Field Trip: Meet at Congregation Beth Israel (Berkeley) to attend services for Simchat Torah www.cbiberkeley.org Space & Architecture

EJ: Synagogue (section on Architecture Vol. 19: 364-383)

Week 7 10/11

Magnes Collection Online http://www.magnesalm.org Synagogues 360 http://www.synagogues360.org

Week 8 10/16-18

Objects, Gestures (& Body Language)

Mann Katsman

Part II: Performance Contexts & Research Perspectives


Week 9 10/23-25

The Normative: Shabbat & the Jewish Week Note: Class presentations begin The Innovative: Festivals Passover, Shavuot, Sukkot, Purim, Hanukkah Staging Jewish Identity: The High Holy Days

Idelsohn, Ch. 10-11 (p. 128-157) Frigyesi

Week 10 10/3011/1 Week 11 11/6-8 Week 12 11/13-15

Idelsohn Ch. 12 (p. 158-165) and 15 (p. 188-204) Hoffman Idelsohn Ch. 16 (p. 205-249) Avenary Idelsohn Ch. 13 (p. 166-172) One of the following: Feldman, Horowitz, or Feuchwanger-Sarid EJ: French Revolution (Vol. 7: 252257) and/or Emancipation (Vol. 6: 374-386) Sarna Seroussi Biale, Preface: xvii-xxxiii No new assignments

Co-territoriality: The Jewish Life Cycle Brit Milah | Bar Mitzvah | Wedding Liturgy of the Political Note: Submit papers by November 20 Happy Thanksgiving! (no class on 11/22)

Week 13 11/20

Week 14 11/27-29

Jewish music, revisited

Week 15

Reading & Recitation Week

COPYRIGHT STATEMENT
Federal copyright laws protect all original works of authorship fixed in a tangible medium. When using material that has been written, recorded, or designed by someone else, it is important to make sure that you are not violating copyright law by improperly using someone else's intellectual property. The Department of Music is committed to upholding copyright law. As a student enrolled in this music class, you are being provided with access to copyrighted music which is directly related to the content of this course. It is our expectation that you will utilize these digital recordings during the course of the semester that you are enrolled in this class, and will delete these recordings after the close of the course. The purpose and character under which these recordings are being provided to you is for nonprofit educational purposes only. To read more about UC's Policy and Guidelines on the Reproduction of Copyrighted Materials for Teaching and Research, visit http://www.universityofcalifornia.edu/copyright/systemwide/pgrcmtrgiii.html