Min-Ad: Israel Studies in Musicology Online, Vol. 9 - 2011

Information on Contributors

 

Amit Klein

Amit Klein was recently awarded his PhD (summa cum laude) on the subject of Ashkenazi cantorial music from the Music Department of Bar-Ilan University. He is a Research Fellow at the Jewish Music Research Center of the Hebrew University, Jerusalem, and his research interests include cantorial and Jewish music, performance practice and computer music applications. He has authored papers on Cantor Leib Glantz, on the performance practice of cantors in various eras, and on the development of the cantorial recitative. Dr. Klein has also presented papers on various topics at the Renanot 51st annual Jewish music convention, Jerusalem; at the Institute of Musical Research’s international conference “Art Musics of Israel,” London; and at the 7th European Music Therapy Congress, Eindhoven, among other conferences and music festivals. He also collaborates with various cantors on diverse projects, and develops computer applications for music.

Amit.Klein@comverse.com

   
Yoel Greenberg

Yoel Greenberg is a musicologist and violist with a BA in computer science and mathematics, and an MA and PhD in musicology from the Hebrew University, Jerusalem. He is currently conducting post-doctoral research in the Department of Music and the Department of Ecology and Evolutionary Biology at Princeton. His chief research interests concern a system-oriented approach to the rise of the sonata form, and Schoenberg’s engagement with antisemitic imagery in the opera Moses und Aron. He has articles forthcoming in The Journal of Musicology and Min-Ad. He is a member of the Carmel String Quartet, and was principal violist with the Tel Aviv Soloists Ensemble.

yoel.greenberg@mail.huji.ac.il

 

 
Sara Zamir

Sara Zamir completed her PhD in April 2005, at the Department of Music, Bar-Ilan University, Israel. The work was approved with high distinction.  Since then, she has been teaching courses in Music History, as well as at interdisciplinary seminars, in cooperation with the Department of Comparative Literature at the university. Her research focuses on the part of literary text in compositional decision-making, discussing works of various styles and eras.  She is also the director of the concert office of the Department.

Sara.Zamir@mail.biu.ac.il

 

   
Kees van Hage

Kees van Hage was born in the Netherlands in 1946. He obtained MAs in Primary Education, Music Education, and Trombone (Royal Conservatory), a BA in Conducting, and an MA (with distinction) in Musicology (University of Amsterdam). He published the novel Verstreken jaren and the short-story collection Enkel zingen. He is currently working on a PhD thesis on the use of the shofar in modern music, literature, and art.

kvhage@xs4all.nl

   
Boyd Pomeroy

Boyd Pomeroy is Assistant Professor of Music Theory at the University of Arizona. He holds a doctorate from Cornell University on chromaticism and form in the orchestral music of Debussy. He also specializes in Schenkerian theory and analysis, particularly in its application to the study of form in Classical and 19th-century music. He has published in Music Theory Spectrum, the Journal of Schenkerian Studies, Music and Letters, The Cambridge Companion to Debussy, Essays from the Fourth International Schenker Symposium, and Johannes Brahms und Anton Bruckner im Spiegel der Musiktheorie. Before his career change to music theory, he was a professional double bass player, including a stint as principal double bass of the Jerusalem Symphony Orchestra, IBA, in 1981–84. He returned to Israel in the summer of 2011 for a series of lectures and classes at the Hebrew and Bar-Ilan universities.

pomeroy@email.arizona.edu

   

 

Daniel N. Leeson

Daniel N. Leeson’s degrees are in mathematics. Retiring after a 30-year career with the IBM Corporation, he then taught mathematics at De Anza College in Cupertino, California for an additional 15 years. During these 45 years, he was also a professional symphonic performer with the San Jose Symphony, the San Francisco Opera, the San Diego Symphony, the San Jose/Cleveland Ballet, and a number of other groups. His instruments were clarinet, bass clarinet, and basset horn. His interest in musicology has resulted in more than 75 technical papers, and he is coeditor, along with Neal Zaslaw, of the volume of the Neue Mozart Augabe that contains the wind serenades. Leeson is now retired and lives in Palo Alto, California. He is married to the former Rosanne Dryfuss, has two children, and one grandchild. In his retirement, Leeson continues to research in historical musicology. His books include: The Mozart Cache, Gran Partitta, and Opus Ultimum: The Story of the Mozart Requiem. He is the owner of one of only two authentic portraits of Mozart’s mother, as described in the 2011 issue of Acta Mozartiana.

dnleeson@sbcglobal.net

   
Ronit Seter

Ronit Seter studies 20th-century music and specializes in Israeli art music. Her book about Israeli composers is under contract with the Oxford University Press. A contributor to Grove Music Online, she has published in Tempo, Die Musik in Geschichte und Gegenwart, Jewish Women (Encyclopaedia), Encyclopaedia Judaica, Notes, and Musical Quarterly (forthcoming). Dr. Seter earned her PhD at Cornell University in 2004. She has served on the faculties of the Peabody Conservatory, the George Washington University, the Hebrew University of Jerusalem, and the American University (DC). She has presented her work in many colloquia and international conferences in the USA, Europe, and Israel, among them the American Musicological Society, the International Musicological Society, and the World Congress for Jewish Studies. Living in Fairfax, VA, she serves as a co-founder of an American Musicological Society Study Group, Jewish Studies and Music, and is a visiting scholar at the Jewish Music Research Center, the Hebrew University of Jerusalem.

rseter@mindspring.com

   

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