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JUDIT FRIGYESI
Bar Ilan University, Department of Music, Ramat Gan 52900 Israel Mailing address: POB 28233, Jerusalem 91281, Israel, Home phone: 972-2-622-3094, Cellular phone: 972-(0)-547-59-51-07, http://www.biu.ac.il/hu/mu/Frigyesi.htm, Judit.Frigyesi@yahoo.com Judit.Frigyesi@gmail.com, Judit.Niran@gmail.com, FrigyesiJudit@gmail.com |
EDUCATION
Ph.D. in the History and Theory of Music, University of Pennsylvania, 1989. Title of dissertation: “Béla Bartók and Hungarian nationalism: the development of Bartók’s social and political ideas at the turn of the century (1899-1903).” Advisor: Leonard B. Meyer. Graduate Studies in the History of Music, Ecole Pratique des Hautes Etudes, Paris, 1981-82, Professor: Michel Huglo. University Diploma in the History of Music and in Ethnomusicology, Franz Liszt Academy of Music, Budapest, 1981. Title of thesis: “The Approach to Rhythm in the Analytical Literature of the Second Half of the 20th Century.” Advisor: László Somfai. Principal professors: György Kurtág, András Szőllősy, György Kroó, László Dobszay, Ernő Lendvai. RESEARCH GRANTS, AWARDS AND FELLOWSHIPS
Wissenschaftskolleg, Berlin, 2005-6; Israel Science Foundation, 2001-2005; Institute for Advanced Study, Collegium Budapest, 2000-2001; CIES and USIA, Fulbright for Israel, 1997-1998; International Research and Exchanges Board (IREX), 1997, 1998; Memorial Foundation for Jewish Culture, 1998, 1982-85; American Council of Learned Societies and Social Science Research Council, 1994; Research Grants, Princeton University, 1992, 1994, 1997; Samuel Davies Presidential Preceptorship, Princeton University, 1993-1996; International Women of the Year, IBC Cambridge, 1992; Research Grant, IIS Brown University, 1990; Booth Ferris Fellowship, University of Pennsylvania, 1986-88; Graduate Assistantships and Fellowships, University of Pennsylvania, 1982-86; Research Grant in Ethnomusicology, CNRS/LACITO, Paris, 1982; Research Grant, Hungarian Academy of Sciences, 1978; Bence Szabolcsi Award in Musicology, Budapest, 1977.
COUNCILS, BOARDS, DIRECTORSHIPS, RESEARCH ASSOCIATIONS
Member of the Scientific board for the 19th Congress of the International Musicological Society to be held in Rome in July 2012; Creator of the concept and organizer of “Der Verkannte Komponist” [The Hidden Composer] – and International Conference, September 2009, Usedom-Berlin, Germany with cooperation of the Mendelssohn Zentrum at Potsdam; member of the program committee and creator of the concept of the session on “expressive gesture, motion and music” for World Congress of Jewish Studies, Music Division, 2009; member of the program committee for the conference in honor of Batia Churgin, Bar Ilan 2009; member of the editorial board of Studia Musicologica (Budapest, Hungarian Academy of Sciences Press, 2006); member of the “MTA-ORZSE Zsidó Kultúratudományi kutatócsoport” [“Research Group for Jewish Cultural Study at the Hungarian Academy of Sciences and the Jewish University of Budapest”] (Director: Kiss Endre), member of the editorial board of Egyházzene [Religious Music] (Budapest: Editio Musica) (2003-); member of the editorial board of Ethnomusicology Forum (Routledge: Taylor and Francis Group) (2003-2009); director of the Israel Science Foundation Research Project: “The concept of nusah in Ashkenazi liturgical music,” 2001-2005; member of the program committee, World Congress of Jewish Studies, Music Division, 2005; director of the interdisciplinary course program “Crossing the boundaries: Music as the Expression of Social and Political Ideas in Modern East-Europe with extension to the Middle East,” Central European University, Summer University, Budapest (2003); creator and director of the Jewish Music Research Group, Budapest (1995-2001); member of the Council of the Society for Ethnomusicology (1993-95); member-at-large for the Council of the American Musicological Society (1992-94); secretary (1986-87) and president (1987-88) of the Mid-Atlantic Chapter of the Society for Ethnomusicology; member of the committee for “Traditional Yiddish Music Project” NEH -YIVO, New York (1989-1990); member of the Committee for Jewish Studies, Princeton University (1991-1997) and of Brown University (1988-1990); associate member at the Centre National de la Recherche Scientifique, Laboratoire des Langues et Civilisations ŕ Tradition Orale, Paris, 1981-82 (director: Simha Arom); associate member for the Study Group for the History of Monophony, Institute for Musicology, Hungarian Academy of Sciences, Budapest, 1977-80.
RESEARCH ACTIVITY
I have conducted fieldwork of the tradition of East-European Jewish liturgical music from 1976 until the present in Eastern and Western Europe, documenting this music culture through audio and video recordings, and transcriptions. My archive constitutes the largest integral collection of the East-European Jewish liturgical service and the largest archive of the liturgical music of the Hungarian Jews. I was the only scholar to systematically research traditional Jewish music in Communist Europe after the Holocaust. The original tapes are in my private collection, with CD ROM copies in the National Sound Archive of the Hebrew University, Jerusalem and the Sound Archive of the Institute for Musicology, Budapest. TEACHING EXPERIENCE
Full time
Bar-Ilan University (Associate Professor: 1998-); Princeton University (Assistant Professor: 1990-1997); Brown University (Assistant Professor: 1988-1990); University of Pennsylvania (Lecturer: 1985-86).
Visiting
Lansdowne Lecturer at the University of Victoria, British Columbia, 2008; Workshops in the Creative Writing Program, Bar Ilan University, English Department (2008, 2009), Lecture series on Jewish Music (Ron Shulamit Conservatory, Jerusalem: 2007-2009), yearly lecture series for the doctoral program at the Jewish Theological Seminary, Budapest (member of the faculty of the graduate school since 2001); lecture series at the Universidade Nova de Lisboa, Faculdade de Cięncias Sociais e Humanas, Centro de Estudos de Sociologia e Estética Musical (CESEM) (2005); lectures at the Central European University, Budapest (1999, course director: 2003); Bar-Ilan University (Fulbright Fellow: 1997-1998); Franz Liszt Academy of Music, University of Budapest (1994, 2000-1); Judaic Studies Department, ELTE University of Budapest (1992, 1994, 2000).
COURSES OFFERED (SELECTION)
Musicology
Historical periods Medieval and Renaissance music (survey: 1984, 1985; Seminar, 1988); Baroque and Classical music (1984, 1985; Seminar, 1989); Romantic and Modern music (1985, 1986, 1999-2000; Seminar, 1989); Introduction to the idea of Classicism (1991, 1994, 1996); History of Music – from classical to modern (1999-2000, 2002-2003, 2003-2004), Twentieth century (2001-).
Concepts, problems, methodologies (selection) Experimental forms in music, literature and film (Seminar, 2010), Creative and scholarly writing (Seminar, 2008), Between Romanticism and Modernism (Seminar, 2008-9), The idea of the “Romantic” (Seminar, 2007-8), Doctoral Seminar, (2004-), The process of listening (Seminar, 2004-2005); The experience of space in music – contextual, aesthetic, psychological and social perspectives (Seminar, co-taught with composers Gidon Lewinson and Betti Olivero, 2003-2004); Crossing the boundaries: Music as the Expression of Social and Political Ideas in Modern East-Europe – with extension to the Middle East (2003, co-taught with Michael Beckerman, Walter Feldman, Ruth Ha-Cohen, and Jaroslav Mihule); The Concept of “Narrative” in Musicology – the composition as ”story”(Seminar, 2000); Research methods of musicology (Seminar, 1998, 1999-); Jews and Nationalism in Music (unit of course “Jews and Nationalism” taught by an international team of scholars at the Central European University, 1999); Form and Expression (Seminar, 1997, 1998); Sonata form in twentieth-century music (Seminar, 1995); The meaning of “influence” in composition (Seminar, 1993).
Seminars on composers Bartók (1991, 1996, 1999, 2003, 2009); Ravel, Satie, Janáček, and Varčse (2001, 2002); Verdi (2001); Kurtág (2000); Beethoven (1997); Stravinsky (1993).
Ethnomusicology
Concepts and methodologies The “song” in the various cultures of the world (Seminar, 2010); Theories of “mode” as an ethnomusicological concept (Seminar, 1999, 2002, 2003, 2007); Research methods of ethnomusicology (Seminar, 1998); Transcription and analysis (Seminar, 1989, 1990, 1992, 1996); Fieldwork methods (1994).
World music and East-European folk music World music cultures (cross listed: anthropology) (1989, 1990, 1992, 1995-96; Seminar 1991, 1993, 2001); Music and ritual (cross listed: anthropology) (1991); Folk music of Europe (cross listed: anthropology) (1988, 1990).
Jewish music Issues of Ashkenazi Music (seminar, 2001, 2003-5, 2007); Introduction to Jewish Music (1983, 1990, 1993, Seminar: 1992, 1995, 1997, 2000); East European Jewish Chant (Seminar, 1994, 2003, 2007-8); The concept of nusah (2004).
ADVISING – MASTERS AND DOCTORAL DISSERTATIONS
Ron Atar (“Analysis of Béla Bartók’s performances to Selected Compositions,” Ph.D. 2007), Atara Isaacson (“Cantabile in the Romantic Piano Concerti with Emphasis on Schumann, Liszt, and Brahms,” Ph.D. 2007), Orit Wolf (“Beethoven as Heard by the Romantics: A Study of Romantic-Style Cadenzas Composed to Beethoven's Fourth Piano Concerto, Op. 58,” Ph.D. 2007), Ruth Goldstein (“Text as Music in Ravel’s selected compositions,” 2006), Aviel Ben-Ami (“The ritual cycle of nigun in the Kfar Habad community,” Ph.D. submitted, reveisions in progress), Olga Khavkin (“Grand opera or irony? – Old Russian Sources and their Meaning in Mussorgsky’s Opera ‘Khovanschina’,” Ph.D. submitted, revisions in progress), Irad Atir (“Jews and Germans in Wagner operas,” Ph.D. in progress), Efrat Frommer (“Mendelssohn’s sacred music”, Ph.D. in progress), Hanan Awawdeh (“The musical repertorie of women in the traditional Arab wedding”, Ph.D. in progress), Yoram Ilan (“The genres and styles of the art of Yoni Rechter”, Ph.D. in progress), Zehava Fudem (“Tradition and invention in the melodies of selected High holiday prayers”, MA 2003), Aviram Freiberg (“The horn and its transpositions in the works of Richard Strauss”, MA 2204), Adi Talor (“The narrative process and the role of the melody in selected piano sonatas by Beethoven”, MA, in progress), Tama Kessel (Music and dance in Stravinsky’s ‘Rite of Spring’, MA in progress, proposal accepted), Imad Dlal (“The social context of arab instrumental music in Israel – a case study,” MA secondary advisor with Dahlia Cohen, thesis submitted). RECENT SCHOLARLY LECTURES - SELECTION
“The sources and structures of the Miraculous Mandarin and the issue of the ‘pantomime’”, Scholarly Research and Performance Practice in Bartók Studies: The Importance of the Dialogue – An International Musicological Colloquium to Celebrate to 50th Anniversary of the Foundation of the Budapest Bartók Archives, International Bartók Seminar and Festival, Szombathely, Hungary, (projected for July 2011) “Jewish Music research during the Communist Era: Hungary in the 1970s”, Conflict and Coexistence of Ethnic and National Identities in Russian, Central and East European Music – and International Symposium at St. Anthony’s College, Oxford, Engaland, (Projected for February 2011). “Bartók’s hero and the city”, Music and the City: The Modern Times – session of the 10th International Conference on Urban History, Ghent, September 2010. “‘Traditional’ and ‘new” music in the synagogue: aesthetic or religious decision?”, Jüdische Musik als Dialog der Kulturen und ihre Vermittlungsdimensionen Wege zur interreligiösen und interkulturellen Verständigung – Internationale Wissenschaftliche Tagung (Universität Potsdam in cooperation with the Abraham Geiger Kolleg), Potsdam, July 2010. “The heterogeneous character of the Jewish service and its meaning for the reform movement”, Jüdische Musik – Wege ihrer Erforschung im 21. Jahrhundert, an international symposium organized by the Europäisches Zentrum für Jüdische Musik der Hochschule für Musik und Theater Hannover, July 2010. “Psalmody: Genre or Concept”, opening lecture at the International Workshop Performing Psalms: Practices and Perspectives at the CRFJ [Centre de recherche français ŕ Jérusalem], October, 2009. “Orthodox and Neolog: Music as the Fundamental Expression of Contrasting Attitudes”, Schism, Sectarianism and Jewish Denominationalism: Hungarian Jewiry in a Comparative Perspective, International Conference, Central European University, October, 2009 “Mendelssohn: a stranger to Classicism” Der Verkannte Komponist (The Hidden Composer) – an Internation Conference of the Moses Mendelssohn Zentrum dedicated to Felix Mendelssohn, September 2009, Usedom, Germany; “The Choral Works of Felix Mendelssohn“ (with Efrat Frommer) Der Verkannte Komponist, September 2009, Usedom, Germany; “Musical structure and ‘expressive motion’ in East-Ashkenazi liturgical chant”, Fifteenth World Congress of Jewish Studies, Jerusalem, August 2009. “’Women-literature’ in Hungary,” and “Hungarian Jewish literary works” lecture-presentations at the Jerusalem Book Fair, February 2009 “The Music of Béla Bartók: ‘Curse-clatter’ or ‘Sunken Bell’?”; Opening Address and Keynote Lecture at the International Conference Bartók’s String Quartets – Tradition and Legacy, University of Victoria, British Columbia, September 2008. “Analysis Symposium: Bartók’s Second Quartet” as the Lansdowne Lecturer of the Conference Bartók’s String Quartets – Tradition and Legacy, University of Victoria, British Columbia, September 2008. “‘Authentic’ performing style of Bartók’s music?”, Bartók symposium at the Open University, Tel Aviv, December 2008. “Toward a history of Ashkenazi Jewish music – sources and hypotheses,” The use of historical sources in ethnomusicology – an international conference, Stcokholm, April 2008 (in absentia). “Bence Szabolcsi and the Politics of Music”, Hungarian Jewry – Politics and modernization: an International Workshop, May 2008, Hebrew University, Jerusalem. Synagogal chant as ’exotic music’: unusual structural and performing aspects of the art of the prayer leader and the cantor,” Klezmer and other ’other’ musics—An International Symposium, Weimar, 2007. “Fantasy and dream in Bartók’s Music,“ Béla Bartók: La décennie 1915-1925 – Colloque Internationale, Genčve et Lausanne, 2006. “’When music and words were one…’ – East-European Jewish prayer chant,” Wissenschaftskolleg zu Berlin, 2006. “Emotional description versus structural analysis in understanding music,” “The concept of ’sound’ in Jewish prayer,” and ”Modal strategies in Jewish chant,” Freie Universität, Berlin, 2006-2007. “Split Oeuvre: Bartók’s Journey in the Night,” Bartók’s Orbit – International Conference, Budapest, Bartók Archive of the Hungarian Academy of Sciences, 2006. “The Third String Quartet of Béla Bartók” – Key Speaker at the Pleanary session of the Annual Meeting of the American Society of Music Theory, Boston, 2005. “The presentation of East-European prayer music – scholarship or art,” lecture-discussion with André Hajdu, World Congress of Jewish Studies, Jerusalem, 2005. “The aesthetic and structure of traditional Jewish religious music from the perspective of Gregorian chant,” Columbia University, November, 2004. “Prayer, art work, or scholarship? – a psychological perspective of the researcher,” Music and Exile – International Conference, Bar Ilan University, 2004. “Bartók versus Janáček: When Bartók sings…,” Janáček Festival at Bard University, 2003. “Science, politics and personal inclinations: Why did not Hungary’s first musicologist finish his central project?” Hungarian Academy of Sciences, Institute for History, 2003. “Improvised prayer as composition,” Tradition and Modernity in the Jewish Musical Traditions – an International Symposium, Dahan Center, Israel, 2003. “Styles of East-Ashkenazi Jewish Liturgical Music: Between Written and Oral,” Celebrating Jewish Music at Yale – A Conference of Jewish Music at Yale University, 2003. “Béla Balázs, Endre Ady, György Lukács and Béla Bartók: the origin of a poetic idea,” Europa Institute, 2002. “Jewish traditional music in the context of East European nationalism,” Seminar on Nationalism, Institute in East-Central European Studies, International and Public Affairs, Columbia University, 2002. “The character and status of the music of the Jewish service in Communist Hungary,” Jews and Modernism, International Interdisciplinary Symposium, Institute for Advanced Studies-Collegium Budapest, 2002. “György Kurtág, Samuel Beckett: What is the Word, op. 30b (1990/91),” The First International Conference on György Kurtág, Hungary, 2001. “The ideologies of ethnicity and religion during the Communist regime in Hungary,” Music and Musical Life under Communism: The Post World-War II Experience of Soviet Russia and East Central Europe, Conference of the Program on East European Cultures and Societies NTNU, Trondheim, 2001. “Bartók’s View of Musical Tradition: What is integrated in What?” Meeting of the International Musicological Society, 2000. “Bartók’s narrative - the case of the Sonata for violin and piano, no.1.” Bartók 2000 – International Conference, Texas, Austin, 2000. “Jewish Music and Jewish Thought: The Expression of Thoughts Beyond the Limits of Intellect,” Jewish Studies Public Lecture Series, Central European University, 2001. “The impact of the Holocaust on the study of traditional Jewish music in Eastern-Europe,” The Ninth International Conference of the Moshe Carmilly Institute for Hebrew and Jewish History, Cluj-Napoca, 1999; International Jewish Music Conference, London 1997; Holocaust: International Scholars’ Conference, Budapest, 1994. “Béla Bartók: East and West,” Distingushed lecture of the Fulbright Foundation and the Embassy of the Republic of Hungary, June 1999. “Béla Bartók’s Modernism,” Van Leer Institute, Jerusalem, 1999. “Analysis and Context: Philosophical Considerations,” Opening Address and Keynote Lecture of the Congress of the European Society of Ethnomusicology, Jerusalem 1998. “In search for meaning in context: the case of Bluebeard’s Castle,” University of California at Berkeley and at Santa Barbara, Stanford University 1998; Conference of the International Musicological Society, 1997. “Form and aesthetics: Bartók’s First Piano Concerto,” Symposium, University of California at Berkeley, 1998. “’Sacred and secular’— the power of musical practice when law and negotiation collapse,” Modes of Law: Music and Legal Theory — an Interdisciplinary Workshop, New York, 1998. “Hungarian revolutionary and Jewish religious songs: An unusual musical encounter leading to a new hypothesis for the history of East-European Jewish song,” Hungarian Jews and 1948 -- International Conference, Jerusalem 1998.
NON-ACADEMIC PROGRAMS AND PUBLICATIONS -- SELECTION
Various programs on music at the Hungarian Radio, lectures and lecture series at state and cultural organizations: Fulbright Foundation (Tel Aviv), Embassy of the Republic of Hungary (Israel), New Jersey Council of the Humanities, Centers of Jewish Life (Princeton, Budapest), Felicia Blumenthal Music Center (Tel Aviv), Rabbinical Seminary (Budapest), Library of Congress (Washington, D.C.), Europe-Institute (Budapest), essay-interview: Élet és Irodalom (Cultural and Political Weekly), Hungary, 1995.
WORKSHOPS, PERFORMANCES, PUBLIC REHEARSALS, AND LITERARY ACTIVITIES
Dramaturg-advisor for the performance of Béla Bartók’s opera, Duke Bluebeard’s Castle, Israel Opera, Tel-Aviv (performance scheduled for December, 2010) “Moderator of the discussion of Péter Esterházy, György Konrád, and György Spiró” organized by the Hungarian Embassy and the Jerusalem Book Fair, February 2009, “Felix Mendelssohn, Aharon Appelfeld and Paul Celan – musical and literary expressions of the Jewish experience”, and “The metaphor of ‘night’: works by the composer Bela Bartók and the writer Bruno Schultz” – two workshops for writers in the framework of the Shaindy Rudoff Creative Writing Program of Bar Ilan University, July 2008 and February, 2009. “György Kurtág’s Officium breve” – Open Rehearsal with the Lafayette String Quartet as the Lansdowne Lecturer of the International Conference Bartók’s String Quartets – Tradition and Legacy, University of Victoria, British Columbia, September 2008. JUDIT FRIGYESI SCHOLARLY PUBLICATIONS
Béla Bartók
Book
Béla Bartók and turn-of-the-century Budapest, Berkeley: University of California Press, 1998 (375 pages, 11 b/w photographs, 48 music examples). Second and paperback edition: September 2000.
Book Project
Dream and magic in the music of Béla Bartók
Articles (see also: articles in the topic of cultural studies and rhythm)
“Density and dream: The Prima Parte of Bartók’s Third String Quartet,” (in progress) “Bartók’s Night,” (in progress) “The music of Béla Bartók: ‘curse-clatter’ or ‘sunken bell’?” Bartók’s String Quartets – a new perspective, Victoria University Press (accepted for publication) “Surface musical process versus background structure: two instances of last-minute corrections in Bartók’s works” Annales Suisses de Musicologie/Schweizer Jahrbuch für Musikwissenchaft, Neue Folge 27 (Bern, Berlin, Bew York, etc: Peter Lang, 2007), 39-62. “Béla Bartók,” Encyclopaedia article for Scribner Library of Modern Europe: Europe Since 1914 - Encyclopedia of the Age of War and Reconstruction, ed. Jay Winter and John Merriman (Charles Scribner’s Sons, 2006) “Bartók’s non-classical narrative: Sonata for Violin and Piano, No. 2 (1922),” International Journal of Musicology Vol. 9. (Frankfurt am Main: Peter Lang Europäischer Verlag der Wissenschaften, 2005), 267-289. “Bartók’s view of musical tradition: What is integrated in what?” The Past in the Present, ed. László Dobszay (Budapest: Liszt Ferenc Academy of Music, 2003), 461-472. “In search of meaning in context: Bartók’s Duke Bluebeard’s Castle,” Current Musicology 70 (Fall 2000): 5-31. “The Verbunkos and Bartók’s Modern Style: The case of Duke Bluebeard’s Castle,” in Bartók Perspectives, ed. Elliott Antokoletz, Victoria Fischer and Benjamin Suchoff (New York and Oxford: Oxford University Press, 2000), 140-151; revised version to be published in The The Ashgate Library of Essays in Opera Studies series - Opera After 1900, ed. Margaret Notley, London and Farnham: Ashgate Publishing Limited. Essay-review on the book “Béla Bartók: Composition, Concepts, and Autograph Sources, by László Somfai,” Journal of the American Musicological Society, vol 52/2 (Summer 1999), 324-334. “Béla Bartók and the Concept of Nation and Volk in Modern Hungary,” The Musical Quarterly vol. 78/2 (Summer 1994), 255-287.
Cultural studies – Twentieth-century (see also book on Bartók)
“Bence Szabolcsi's Unfinished Work: Jewish Identity and Cultural Ideology in Communist Hungary,” The Musical Quarterly 2007 (2005), vol. 88: 496-522; electronic version: doi: 10.1093/musqtl/gdk002, full text: http://mq.oxfordjournals.org/cgi/content/full/gdk002. “Rupture, empathy, peripheries and multitudes: splinters of Jewish identities and music,” Emergences: The Journal for the Study of Media and Composite Cultures, Edited by Peter J. Bloom and Katherine J. Hagedorn), Volume 13, Number 1 /2, (2003), 9-31; DOI: 10.1080/1045722042000308219. “The Jewish service in Communist Hungary: a personal journey,” Music and Society Under Communism, special volume of the British Journal of Ethnomusicology 11/1 (2002): 141-157. “Organicism and folklorism in the writings of Schoenberg, Webern and Bartók,” International Journal of Musicology, vol. 6 (1998), 317-356. “The Effect of the Holocaust on the Study of East-European Jewish Music,” The Holocaust in Hungary: Fifty Years Later, eds. Randolph L. Braham and Attila Pók, (New York – Budapest: The Rosenthal Institute for Holocaust Studies, Graduate Center of the City University of New York, The Hungarian Academy of Sciences, 1997), 229-639. “Jews and Hungarians in Modern Hungarian Musical Culture,” Studies in Contemporary Jewry. Jews and Music, volume IX, ed. Ezra Mendelssohn (New York, Oxford: Oxford University Press, 1993), 40-60; In Hungarian: Journal of the Society of Hungarian Jewish Culture (Sept, 1992), 31-36.
Felix Mendelssohn – editing project and articles
Co-editor of the collection of essays in English and German with the tentative title “Der verkannte Komponist – The hidden composer” based but not limited to the enlarged version of the papers of the conference by the same title (Usedom International Music Festival, September 2009). Articles in progress: “Mendelssohn: a stranger to Classicism” and “The Choral Works of Felix Mendelssohn” (with Efrat Frommer).
Contemporary composers
“György Kurtág, Samuel Beckett: What is the Word, op. 30b (1990/91),” Studia Musicologica 23/3-4 (2002), 397-409. “Gyula Csapó, Handshake after Shot,” Perspectives of New Music , Review Essay, Edited by Benjamin Boretz, Robert Morris, and John Rahn (Published by Princeton University and University of Washington) 41/2 (2003), 166-175.
Theory – musical rhythm (musicology and ethnomusicology)
“Transcription de la pulsation, de la métrique et du ‘rythme libre’,” [Transcription of pulsation, metricity and ‘free rhythm’] Cahiers de musiques traditionelles: Noter la musique, vol. 12. Genčve: Ateliers d’éthnomusicologie (1999), 55-73. “Preliminary thoughts toward the study of music without clear beat: the example of ‘flowing rhythm’ in Jewish nusah,” Asian Music vol. XXIV-2 (Spring-Summer 1993), 59-88. “Between Rubato and Rigid Rhythm: A Particular Type of Rhythmical Asymmetry as Reflected in Bartók’s Writings on Folk Music,” Studia Musicologica vol. XXIV (1982), 327-37. “The Approach to Rhythm in the Analytical Literature of the Second Half of the 20th Century,” Musicological Studies, Institute for Musicology, Budapest vol. IV (1981), 151-59.
Hungarian folk music
“Hungary,” Garland Encyclopedia of World Music, vol. 8. eds. Timothy Rice, James Porter and Chris Goertzen (New York and London: Garland Publishing, Inc. 2000), 736-751. (The section “Pop and Rock Music” is written by Barbara Rose Lange.) “The Aesthetic of the Hungarian Folk Music Revival Movement,” Retuning Culture. Musical Changes in Central and Eastern Europe, ed. Mark Slobin (Durham and London: Duke University Press, 1996), 54-75. “Systematization within a Folk-Song Type by Means of Line Typology” (with Peter Laki), Musicological Studies, Institute for Musicology, Budapest vol. II, 177-91. “Variantenklassifikation einer Volksliedweise” (with Peter Laki), Studia Musicologica vol. XX (1978), 309-17; Ethnographia, vol. LXXXIX-4 (1978), 510-17.
Jewish liturgical music
Book manuscripts and projects
Silence behind the Words – completed manuscript of anthropological memoir, see “Artistic projects The music of the traditional East-European Jewish prayer Shabbat Shaharit in the practice of the East European Jews — analysis and musical edition The concept of “nusah”
Articles (see also: articles in the topic of cultural studies and rhythm)
“Psalmody: Concept or Genre?” (Special issue of JSM, Joseph Levine, ed. Scheduled for 2013) “Aesthetic versus religious decisions in the modernization of synagogal music”, (working title for the volume Jewish Music in dialogue with other cultures (publication projected for 2011 by Berlin, New York: DeGroyter). “The music of Ashkenazi Jewish prayer in the pre-Hasidic era – a hypothesis,” in Wooden Synagogues, ed. Judith Neulander, et al. (accepted for publication). “Musical reading of the sacred texts in Jewish Antiquity,” (in progress, The History and Theory of the Music of the Middle East – publication project of the European Union). “Ha-signon ha-ishi shel ba’al-tefillah mizrah-europei” [Personal performing styles of the East European Jewish precentor, in Hebrew], Dahan Publications (in progress) “Historical versus anthropological approach in the study of East-European Jewish prayer chant,” Yearbook of the Jewish Theological Seminary, Budapest, ed. Alfred Schoener (Budapest, OR-ZSE, 2008), 101-128. “Music for Sacred Text”, The YIVO Encyclopedia of Jews in Eastern Europe, ed. in chief, Gershon D. Hundert (pyblished for the YIVO Institute for Jewish Research by: New Heaven: Yale University Press, 2008), vol. II: 1222-1225. “The ‘ugliness’ of Jewish prayer – voice quality as the expression of identity,” Musicology (An International Journal of the Institute of Musicology of the Serbian Academy of Sciences and Arts) 2007/ 7: 99-118. “The sound of the synagogue: magic and transcendence” Paragana – Internationale Zeitschrift für Historische Anthropologie (Journal of the Interdisciplinary Center for Historical Anthorpology, Berlin: Akademie Verlag, Freie Universität,) Special issue on Klanganthropologie: Performativität – Imagination – Narration , 16/2 (2007), 151-163. “Free rhythm and measured rhythm”, A Hearing Heart: Jubilee Volume in Honor of Avigdor Herzog (in Hebrew, Duchan 16, ed. Itzhak Recanati, Jerusalem: Renanot – The Jewish Music Institute, 2005), 59-77. “The unbearable lightness of ethnomusicological complete editions: the style of the ba’al tefillah (prayer leader) in the East European Jewish service,” Studies in the Sources and the Interpretation of Music. Essays in Honor of László Somfai on His 70th Birthday, ed. László Vikárius and Vera Lampert (Lanham, Maryland: Scarecrow Press, 2005), 7-18. Hungarian version: “A népzenei összkiadás elviselhetetlen könnyűsége: az előimádkozó a kelet-európai zsidó szertartásban” Magyar Zene (Journal of the Hungarian Musicological Society) 42/3-4 (2004), 235-250; Hebrew version: “Ha-signon ha-ishi shel ba’al-tefillah mizrah-europei” [“Personal performing styles of the East European Jewish prayer leader”, in Hebrew], Dahan Publications (accepted for publication, 20 manuscript pages). “The unique character of Ashkenazi synagogal music,” [‘Ofiya Ha-yichudi shel ha-musika b’bet ha-kneset ha-ashkenzi] Kenishta – Studies of the Synagogue World, ed. Joseph Tabory (in Hebrew, Bar Ilan University Press, Ramat Gan) vol. 2. (2003), 147-166. “The variety of musical styles music in the Ashkenazi service,” Jewish Studies Yearbook (Budapest: Central European University, 2002), 31-50. “Musicians of Traditional Religious Jewish Life” and “Jewish Musicians in the Secular Domain in Hungary” In The Jews of Hungary: History, Society and Culture, ed. Anna Szemere, Publication of Bet Hatefutsoth, The Nahum Goldman Museum of the Jewish Diaspora, 2002, 88-92, 252-256. Revised edition in Hungarian: A hagyományos zsidó vallási élet zenészei, Világi zsidó zenészek Magyarországon (in progress, ed. Anna Szemere) “Orality as Religious Ideal: The Music of East-European Jewish Prayer,” Yuval 7 - Studies in Honor of Israel Adler (Jerusalem: Magnes Press, 2001), 113-153. “The Practice of Music as an Expression of Religious Philosophy among the East-Ashkenazi Jews,” Shofar 18/4 (Summer 2000), 3-24. “Sacred and Secular - what can music teach us about Jewish thought,” Cardozo Law Review, vol. 20 (May-July 1999), 1673-1681. “Religious philosophy and aesthetic experience in the liturgical music of the East-Ashkenazi Jews,” Danubio. Una civiltŕ musicale, vol. 3. (1994), 197-211. “Máramaros: The lost Jewish music of Transylvania,” London: Rycodisc, 1992; also in Past and Future, The Hungarian Journal of Jewish Culture, vol. 4 (1993/1), 64-67. “The unique musical style of Eastern-European Jewry,” Proceedings of the Jewish Studies Department of the Hungarian Academy of Sciences no. 4 (March 1992), 1-22; In Hungarian: Liturgical Music II (1994-1995), 59-71. “The stylistic strata of Haggadah-recitation,” The bound of Tradition: Studies in Hungarian Jewish Folklore, ed. Ildikó Kriza (Budapest: Akadémiai, 1990), 165-176. “Jewish Music” (with Peter Laki), Riemann-Brockhaus Dictionary of Music, Hungarian ed. (Budapest: Editio Musica, 1985), 722-24. “Modulation as an Integral Part of the Modal System in Jewish Music,” Musica Judaica vol. V-1 (1982-83), 53-71. “La musique traditionnelle des Juifs hongrois” (with Peter Laki), Revue des Etudes Juives vol. CXL, fasc. 3-4 (1981), 505-8. “Invention individuelle et tradition collective dans la musique juive de Hongrie,” Orbis Musicae vol. VIII (1982-83), 71-86; Musicological Studies, Institute for Musicology, Budapest vol. III (1980), 139-58. “Free-Form Recitative and Strophic Structure in the Hallel Psalms” (with Peter Laki), Orbis Musicae vol. VII (1979-80), 43-80.
Reviews and short communications
“Loneliness and love”, in Béla Bartók: Duke Bluebeard’s Castle, ed. Gergely Fazekas (Publication of the Hungarian State Opera, 2009), Hungarian version: 28-35, English version: 81-87. Israel Adler with the assistance of Lea Shalem, Hebrew Notated Manuscript Sources up to circa 1840. A Descriptive and Thematic Catalogue with a Checklist of Printed Sources. B IX1 of the Repertoire International des Sources Musicales (RISM) (Munchen: C. Henle Verlag, 1989) in The Jewish Quarterly Review, LXXXIV, Nos. 2-3 (1993-1994), 308-311. Bálint Sárosi, Folk Music. Hungarian Musical Idiom (Budapest: Corvina, 1986) and György Martin, Hungarian Folk Dances (Budapest: Corvina, 1988) and János Manga, Hungarian Folk Songs and Folk Instruments (Budapest: Corvina, 1988), in Ethnomusicology (1991), 428-432. Chemjo Vinaver, Anthology of Hassidic Music (Jerusalem: The Jewish Music Research Centre, 1985), in Ethnomusicology (1989), 360-363.
JUDIT NIRAN FRIGYESI ARTISTIC PROJECTS AND CREATIVE NON-FICTION
most published under artist-name: Judit Niran
Memoir (creative non-fiction)
Silence behind the Words Documentary/autobiogrpahical novel in English summarizing the experience and musical structure of East Europen Jewish chant on the basis of my field-work experience — completed manuscript under consideration.
Short stories and poetic writings
“Panim…ponem…” (Poems and short stories) in the volume Requiem dedicated to a sculpture by Alexander Polzin, (accepted for publication, Berlin: Wallstein Verlag, Thedel von Wallmoden) “Nem találjuk a helyünket…” (Estranged, short story, Hungarian), Pesti Negyed, Budapest (publication in progress). “Megesik néha, hogy halálos felhőben” (It happens that in the fading cloud…”, short story, in Hungarian), Dzsungel a szívben – Lányok és anyák antológiája (Jungle in the heart – an anthology of daughters and mothers) Budapest: Jaffa, 2010, 97-106. “Four fragments and two photographs from a Radnóti Album” (poems and visual art in memoriam Miklós Radnóti), Múlt és Jövő (Past and present, Journal of Jewish Culture, 2009-4, 68-74. “Im Grunewald” (short story-essay, in German) Lettre International, “Berlin auf der Cauch” – special triple issue dedicated to the fall of the Berlin Wall, No. 86 (Herbst, 2009), 55-58; excerpts published in “Jüdische Welten” of Drei Raben - Három Holló. Zeitschrift für ungarische Literatur, 7 Jahrgang, Heft 11, Mai 2007, 81-86. “Berlin, 2006” (Hungarian version of “Im Grunewald”, see above), Múlt és Jövő (Past and present) Journal of Jewish Culture, special issue: „Why Berlin?” Budapest, 2006/4, 45-52, with photographs by the author. “If you were here” — selected poems in Voices Israel 2009 – Poetry from Israel and Abroad An Anthology of English poets in Israel, Vol. 35 (editor in chief, Helen Bar-Lev), among them the poem “Letter to Firoozeh Khazrai (1959-2005)” that won in the category of ‘Honorable mention” at the poetry competition of Voices Israel, 161, 231. “Három karcolat Osvátnak (a Nyugat zenei cikkeiről)” [Three essays to Osvát – the musical articles of Nyugat] (creative non-fiction, Hungarian) Múlt és Jövő 2008-4, 116-121. “A női test súlya” (The weight of the woman body, short story, Hungarian), Szomjas oázis - antológia a női testről (Thirsty oasis – Anthology about the woman body) Budapest: Jaffa, 2007, 297-314. “Berlin, 2006” (short story, Hungarian), Múlt és Jövő (Past and present) Journal of Jewish Culture, special issue: „Why Berlin?” Budapest, 2006/4, 45-52, text with photographs by the author; partly published also in German: „Jüdische Welten” of Drei Raben - Három Holló. Zeitschrift für ungarische Literatur, 7 Jahrgang, Heft 11, Mai 2007, 81-86. “Vörös és narancs” (Red and orange, short story, Hungarian) in Éjszakai Állatkert – antológia a női szexualitásról (Night zoo – Antology of woman sexuality) Budapest: Jonathan Miller, 2005, 371-386. “Rivers underneath” (short story with graphic images, English, private edition, 2002). Mixed media and visual art
“Fleeting resonances…” theatrical collage composed of my documentary audio and video recordings, readings from my novel, and music performed by Ben Niran. Performances: Wissenschaftskolleg zu Berlin, 2006; Theater im Gewölbe, Die Bühne im Cranach-Haus zu Weimar, 2006; Sirály Theatre Budapest, 2007-2008; Felicja Blumental Music Center, Tel Aviv, 2008; Haniyon Theatre, The Fifteenth World Congress of Jewish Studies, Jerusalem, August, 2009.
30 pages of photomontages for the book: Silence behind the Words (see above). “Berlin: S Bahn,” photographic collages. Exhibits: Wissenschaftskolleg zu Berlin, 2006, Sirály Café and Theatre, Budapest, 2007, published also as the illustration for the short story “Berlin, 2006” (see above). Photo-montage illustrations for “Három karcolat Osvátnak” (Múlt és Jövő ,see above). “Marimba in Grunewald” unpbulished photo-album collage with poems, 2007. “Puppet, photoalbum and a blue lake” unpublished visual project, 2008.
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