Min-Ad: Israel Studies in Musicology Online , Vol. 13, 2015-16


Honoring Professor (em.) Judith Cohen

Professor (em.) Judith Cohen, b. Berlin 1935, retired from Tel-Aviv University after more than thirty years of activity, during which she was twice department head and twice chairperson of the Israel Musicological Society. From 1987 to 1991 she served as Head of the Music Education Department at Levinsky College of Education in Tel-Aviv, and from 2008 to 2012 Head of the Department of Literature, Art and Music at Zefat College.

Prof. Cohen's main research areas are Renaissance and early Baroque music, the history and bibliography of Jewish music, the music of Salamone Rossi, music and poetry in the Italian madrigal, intertextuality in music, and reception history.  Among her publications are critical editions of music from the 15th to early 17th centuries. She has supervised many students toward their MA and PhD degrees in historical musicology and music education.


Information on Contributors



Irène Guletsky was born in Kiev (Ukraine). In 1983 she graduated from the Glinka State Conservatory in Gorky (Nizhny Novgorod), Musicology Department (MA). In 1988 she completed her post-graduate studies on polyphony and analysis at The Russian Gnesins’ Academy of Music in Moscow. In 2000 she earned a PhD degree from the Hebrew University of Jerusalem (Musicology). Her articles on the form and symbolism of the Renaissance mass were published in: Acta musicologica; Music in Art; Opera musicologica; Symmetry: Culture and Science and others. She is the author of a computer program designed to analyze the form of the Mass.



Esti Sheinberg is Associate Professor of Practice in Music History at the Glenn Korff School of Music, University of Nebraska-Lincoln, USA (BA in musicology at the University of Tel-Aviv, Israel; PhD in music at the University of Edinburgh, UK). She has authored Irony, Parody and the Grotesque in the Music of Shostakovich (Ashgate, 2000), as well as edited Music Semiotics: A Network of Significations – in Honour and Memory of Raymond Monelle (Ashgate, 2012) and Anatoly P. Milka, Rethinking J.S. Bach’s The Art of fugue (Routledge, 2016. estisheinberg@gmail.com




Elena Abramov-van Rijk is an independent scholar. Her main interest is Italian music from the Trecento to the Cinquecento, especially the forms of musical poetry and metrics. She is the author of two monographs: Parlar cantando: The Practice of Reciting Verses in Italy from 1300 to 1600 , Bern: Peter Lang (2009) and Singing Dante: The Literary Origins of Cinquecento Monody, Ashgate (2014, RMA Monographs, 26, and a number of articles published in musicological journals.




Anatoly P. Milka is Professor and Dr Habil of Musicology at the St Petersburg Conservatory and the St Petersburg State University, Russia. His publications in Russian include Theoretical Foundations of Functionality in Music (St Petersburg, 1982); Bach’s Musical Offering: Toward  Reconstruction and Interpretation (Moscow, 1999); Intriguing Bachiana (with Tatiana  Shabalina; St Petersburg, 1997, 2001); a facsimile edition of L‘A.B.C. Musical von Gottfried  Kirchhoff (St  Petersburg, 2004), and Bach’s The Art of Fugue: Toward Reconstruction and Interpretation (St  Petersburg, 2009). This is his first book appearing in English. apm@home.eltel.net





Ido Abravaya, musicologist (Ph.D., Tel Aviv University, 2000), formerly member of the Music Department at the Open University of Israel (OUI), and Music Critic of Haaretz daily (Tel Aviv).

Principal research interests include: the music of J. S. Bach and Baroque music. He is author of On Bach’s Rhythm and Tempo (Kassel: Bärenreiter, 2006);  articles, numerous textbooks in music for the OUI, and hundreds of press articles (music criticism etc.). His doctoral dissertation Studies of Rhythm and Tempo in the Music of J. S. Bach was awarded the Landau Foundation Prize (2000).






Prof. Ethan Haimo, theorist and composer, is Professor of Music at Bar Ilan University.   He has written extensively on the music of Arnold Schoenberg  including many articles and three books: Schoenberg’s Serial Odyssey (Oxford, 1990), Schoenberg’s Transformation of Musical Language (Cambridge, 2006), and Schoenberg’s Early Correspondence (co-author, Sabine Feisst; Oxford, 2016).  He has also written about form in the late Eighteenth Century, including a book, Haydn’s Symphonic Forms (Oxford, 1995) and many articles.  His compositions have been widely performed in the USA, in Europe, and in Israel.  Ethan.Haimo@biu.ac.il


Giulio Minniti is currently a graduate student in Historical Musicology at the Harvard University, US. He obtained degrees with honours in Philosophy at the University of Naples and in Musicology at the University of Milan, plus a Diploma in Gregorian Chant at the Conservatory of Italian Switzerland. He is currently working on the abbreviations of the centonized melodies in Gregorian Chant. giuliominniti@gmail.com





Professor Emerita Bathia Churgin holds a Ph. D. from Harvard University with a dissertation on the symphonies of G. B. Sammartini. After teaching many years at Vassar College in the U. S. she came to Israel in 1970 to open the department of musicology (now called music) at Bar-Ilan University, a department she headed for  fifteen years.  She has specialized in music of the Classic period, in particular the music of G. B. Sammartini (1700/01-75) and Beethoven. In addition to many articles, she has published critical editions of twenty-five Sammartini symphonies, including all the early symphonies and an early overture (pub. 1968, 1984) as well as a set of 6 late string trios (pub. 1981). She compiled  with the conductor Newell Jenkins  the Thematic Catalogue of the Works of Giovanni Battista Sammartini: Orchestral and Vocal Music (pub. 1976). Her recent publications include Transcendent Mastery: Studies in the Music of Beethoven (2008; corrected ed. 2011); Mary Sue Morrow and Bathia Churgin, eds., The Eighteenth-Century Symphony (2012), Vol. 1 of the series "The Symphonic Repertoire";  critical editions of Beethoven's symphonies 3 (Eroica) and 4 for the Henle edition of Beethoven's collected works (pub. 2013), and the  Study Scores of Beethoven's symphonies 3 and 4 (Henle, 2016). A Festschrift in her honor was published in The Journal of Musicology, 18 (Winter, 2001).  bathia.churgin@gmail.com





David Joseph Buch studied at the School of the Art Institute of Chicago and the Accademia Musicale Chigiana in Siena, Italy. He received his PhD in Music History from Northwestern University.

He had been Professor of Music at Wayne State University and Professor of Music History at the University of Northern Iowa, where he is now Professor Emeritus. Buch was also a visiting professor at the University of Chicago (2008-11). He has published numerous scholarly studies on a range of topics, having explored archives and libraries in major European cities. His research has received international attention owing to the discovery of new attributions to Mozart in Emanuel Schikaneder's collaborative opera Der Stein der Weisen oder Die Zauberinsel (Vienna, 1790). In 1998 he was named UNI Distinguished Scholar and received the Donald N. McKay Research Award. Buch plays the lute, viola da gamba and guitar. He has performed with the Chicago Symphony Orchestra under Claudio Abbado, and as guest soloist with the Eckstein String Quartet (principals, CSO).   david.buch@uni.edu





Prof. Yulia Kreinin (Krejnina) graduated from the Moscow Conservatory, and holds a Ph.D. from the Russian Art Research Institute (Moscow), where she worked from 1979-1993 as a senior research fellow. Prof Kreinin has lived in Israel since 1994, and since 1996 has been a lecturer in the Department of Musicology of the Hebrew University of Jerusalem.

Prof Kreinin has published two monographs (“Max Reger: His Life and Work”, Moscow, 1991; “The Music of Mark Kopytman: Echoes of Imaginary Lines”, Berlin, 2008) and two collections of essays (“György Ligeti: His Work and Personality”, Moscow, 1993; and “Mark Kopytman: Voices of Memories”, Tel Aviv, 2004), as well as numerous articles on 20th century music in Russian, English, German and Hebrew.  yulia.kreinin@gmail.com







Prof. Shai Burstyn was a senior faculty member of the department of musicology at Tel-Aviv university (1974 - 2007) and chaired it three terms. He also taught at the Mannes College of Music (New York) and was a research Fellow at the Society for the Humanities at Cornell University. Prof. Burstyn served on the board of ESEM (European Seminar of Ethnomusicology) and chaired the Israeli Society of Musicology. He has published extensively on various aspects of late medieval and early Renaissance music, notably medieval oral polyphony and Arab influence on medieval European music. His interest in oral music practices led him to research the early Israeli folksong (1925-1960),  primarily its ambiguous relations with the music of the Middle-East and its national-ideological constraints. Prof. Burstyn is a founding member of Zemereshet, an internet project dedicated to collecting and preserving the early Hebrew song repertory.  burst2@post.tau.ac.il




Prof. Edwin Seroussi is Emanuel Alexandre Professor of Musicology and Director of the Jewish Music Research Center of the Hebrew University of Jerusalem. His books include Popular Music and National Culture in Israel (Univ. of California, 2004) (co-written with Motti Regev), Spanish-Portuguese Synagogue Music in Nineteenth-century Reform Sources from Hamburg: Ancient Tradition in the Dawn of Modernity (Jerusalem, 1996), and Cancionero sefardí by Alberto Hemsi (Jerusalem, 1995), and he has edited several CDs of Jewish music, among them Titgadal ve-titkadash betokh Yerushalayim - Jerusalem in Hebrew Prayers and Songs (Wergo, Berlin 1996) and Chants judéo-espagnols de la Mediterraneé orientale (Inedit, Paris 1994).  seroussi@mscc.huji.ac.il




Scholar and indefatigable collector of Hebrew folklore songs for over fifty years, Eliyahu HaKohen  is the recipient of the prestigious  2013 Israeli Prize for Lifetime Achievement in this field. His numerous books and articles attest to his vast knowledge on the development of and history of folklore music in Israel. Hacohen.dalia@gmail.com




Art historian Hannah Abrahamson was trained at Columbia University where she studied with Meyer Schapiro, Julius Held, David Rosand, and Theodore Reff.   She served as Curator of Museum Collections at the Jewish Museum in New York and was a Theodore Rousseau Fellow in the Department of European Painting at the Metropolitan Museum of Art.  Awarded a French Government fellowship for research on Delacroix, she did research in museums and private collections in France, Belgium, and England.  In Israel, she taught at the Technion Faculty of Architecture, the University of Haifa, and Bar-Ilan University.  An iconographer, her fields of specialization are Delacroix and tradition, Franco-Flemish fifteenth-century painting, and Judaic themes in Western Art.  hannah.abrahamson@gmail.com





Yohannen Ron was born to a musical family and raised on Kibbutz Ein Gev in Israel. A graduate of the Rubin Academy in Tel Aviv, he went on to pursue advanced degrees in Musicology, receiving  a master's degree) from Tel Aviv University and a PhD from Bar Ilan University. The title of his thesis is: "The instrumental music of Josef Tal: Style and Artistic Philosophy." Yohannen is a founder of the Israeli Music Archives, an institute which he directs since 1985. A recognized scholar and engaging lecturer in the field of Israeli Music, he  is the author of numerous articles,  including a collection of articles (2000, in English) on the music of Josef Tal;  a book Salzburg of the Middle East (2008, ) which documents the history of the first music festival in Israel; and a collection  of select articles  (2014) which had been published over the years. Since 1980 he is a member of the Israeli Musicology Society, and served as a board member during two terms. yr0604@gmail.com




Liran Gurkiewicz holds a PhD from Bar – ilan University (2016), he has acquired both his BA and MA at Tel Aviv University. His research interests are the variation genre in the Spanish renaissance and Israeli art music, in specific Paul Ben – Haim. His dissertation focuses on Ben – Haim's orchestral music: exploring the intersection of Jewish (non – religious) identity and the stylistical devices that the composer relies on. The research emphasizes the linear continuity between Ben – Haim's later works from Germany, and the later Israeli works that define him. He has published in the Conference Proceedings of Art Musics of Israel, Ed. Malcolm  Miller, (Brepols Publishers [2011, in print]), Min – Ad (2013), The Music of Israel (Ben – Gurion press, 2014, Hebrew), Proceedings of Jewish music days, (Haifa University, 2017, Hebrew). This is his second contribution to Min – ad. He is also a freelance journalist.  lgurkiewicz1@gmail.com  




Prof. Wilfried Gruhn, Dr. phil., professor emeritus of music education at the University of Music Freiburg, Germany. He was co-editor of several German journals of music education and is a member of national and international societies for music education research, 1995-1997 President of RAIME (International Research Alliance of Institutes for Music Education), 2000 - 2004 Board Member of ISME, 2009-2012 President of the International Leo Kestenberg Society. Beside the history of music education his research focuses on music learning theory, music perception and cognition, and the neurobiology of music learning.  mail@wgruhn.de




Adena Portowitz, PhD, musicologist and music educator, senior lecturer, founder and chair of the Department of Instrumental Music Education at the Givat Washington Academic College. Her research interests focus on interconnections between expression, as manifested in musical topoi, and formal structures in tonal music, and underlying mechanisms linking music education and the cognitive, social and personal development of at-risk children. The results of her research appear in leading international publications, including the Journal of Musicology, The Symphonic Repertoire, Vol. I: The 18th Century Symphony, Research Studies in Music Education, and the International Journal of Music Education. Since 2002, she has served as editor of MinAd: Israel Studies in Musicology Online.  Adena.Portowitz@.ac.il





Dr. Lea Marzel is the head of Music studies  at the Kibbutzim College of Education, Technology and the Arts, Tel-Aviv, Israel. In the past she was a national instructor of music education in the preschool department of the Ministry of Education.  Currently – she is a lecturer at the Kibbutzim College, the Tel Hai College and the Rimon School of Jazz & Contemporary music, where she teaches courses in music education, the history of music, Israeli music and music and society. leamarzel52@gmail.com





Zipi Zelkovich is an Educational Psychologist and a qualitative researcher in various fields. She lectures in the Kibbutzim College of Education, Technology and the Arts, Tel-Aviv, Israel, and in The Mofet Institute. In the past she served as a pedagogical instructor for Elementary schools and specialized in developing alternative teaching methods.





Rivka Elkoshi is a senior lecturer of music at Levinsky College and the Kibuzim college in Tel-Aviv, Israel, where she teaches music at graduate levels and supervises Master theses. She supervises doctoral theses at Bar-Ilan University in Ramt Gan, Israel. Her publications include a number of books and articles in Israeli, American and British journals focusing on music cognition, musical literacy, and piano and Orff pedagogies. She has presented internationally in a number of different countries and served as a member of the editorial board of the IJEA and Art and Learning. She conducts workshops for music educators on behalf of the Education Ministry in Israel. She is a recipient of a 2004 Mofet Fellowship for a research on children's Audio-graphic art in Israel and serves as a board member of the Israeli Musicological Society.  elkoshi1@bezeqint.net




Yifat Shohat is a lecturer and pedagogic instructor in Levinsky College of Education, Tel-Aviv. Holding a Ph.D. in musicology, her research involves the relationship between musicology and music education, as well as interdisciplinary studies and pedagogic materials. Among her studies are a chapter in A New Perspective on Color Metaphors in Visual Arts, Literature and Music (Nova, 2017) and a chapter in Music History: From the Middle Ages to the Twentieth Century (CET, 2012).




Nigel Nettheim completed a PhD in Mathematical Statistics at Stanford University, 1966. Soon afterward, he returned to his early interest in music, leading to a PhD in Musicology at the University of New South Wales, 2001. His research areas include the analysis of music from the romantic period and the characterisation of conducting beats, together with occasional applications of statistical methods in musicology and, more recently, the recovery of the missing information in reproducing piano rolls. He is presently an Adjunct Fellow at the MARCS Institute, Western Sydney University. Website: http://nettheim.com; nettheim {at} bigpond.net.au.





Floyd Grave is Emeritus Professor of Music at Rutgers University, where he has served as director of the graduate programs in musicology, music theory, and composition. A specialist in eighteenth-century instrumental music, theory, and aesthetics, he has written articles and book reviews for major scholarly journals in the United States and Europe, including the Journal of the American Musicological Society, Music Theory Spectrum, Eighteenth-Century Music, Journal of Musicology, Ad Parnassum, and Min-Ad. Between 2002 and 2010, he was co-editor of the Journal of Musicology. His books, coauthored with Margaret Grupp Grave, include In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler (University of Nebraska Press, 1987), Franz Joseph Haydn: A Guide to Research (Garland Publishing, 1990),  and The String Quartets of Joseph Haydn (Oxford University Press, 2006). The Graves are currently writing a comprehensive study of Mozart’s concertos and concerto-related works for string, wind, and keyboard instruments.  grave@rci.rutgers.edu




Prof. Marina Ritzarev is a scholar of Russian background (PhD 1973, Doctorate d’État 1989) and Professor of music at  Bar-Ilan University. Her interdisciplinary approach to vernacular cultures and national identities combines music and social anthropology, and includes eighteenth-century Russian music and twentieth-century Russian, Jewish, and Israeli music. She is the author o Eighteenth-Century Russian Music  (Ashgate, 2006) and several books in Russian (on Dmitry Bortniansky, Maxim Berezovsky, Sergei Slonimsky, Music Encyclopedia for youth , Russian spiritual concerto, and others).  mritzarev@gmail.com





Racheli Galay is a cellist, educator, and researcher specializing in Jewish music. She earned her doctoral degree in Cello from Northwestern University, Masters from Indiana University in Bloomington, and a B.A. in Musicology from the University of Tel-Aviv. She is Visiting Researcher at the Jewish Music Research Center at the Hebrew University Jerusalem and music faculty at the Washington Hill College for Education. Galay wrote her dissertation on the life and music of cellist-composer Joachim Stutschewsky. Awarded grants from the Stutschewsky Foundation, the City of Tel Aviv, and YIVO’s Heifetz Fellowship. She presented at the AJS Conference, the Association of Jewish Libraries Convention, Northwestern University Musicology Colloquium, The University of Chicago, The National Library of Israel, Yiddish Summer Weimar 2016, 16th Congress for Jewish Studies, the Israeli Musicology Society conferences, and at the University of Tel Aviv.  racheli.galay@gmail.com





Eitan Ornoy is both a violinist and a musicologist. Born in Jerusalem, he has studied the violin with Felix Andrievsky and Arthur Zisserman at the Rubin Academy, Tel Aviv, and continued his studies in the USA with renowned violinist Sergiu Luca who introduced him to the Baroque violin and to the 'historically informed' style of playing. His PhD dissertation later carried out at the Hebrew University of Jerusalem under the guidance of Prof. Jeohash Hirshberg, has focused on the early music movement. In 2003 he was awarded the British Library's National Sound Archive Edison Fellowship.

As a violinist he has played in orchestras in Israel and in the USA, including the Israel Symphony Orchestra, the Houston Grand Opera and the Israel Chamber Orchestra. Within the field of musicological research he has focused mainly on the HIP movement and on violin recording analysis, for which he has published articles in journals such as Early Music, Journal of Music and Meaning, Performance Practice Review, Journal of New Music Research and others.   Dr. Ornoy serves as associate dean of the faculty of music education at Levinsky College and as lecturer of music at Zefat Academic College.




Alexander Rosenblatt holds a PhD in Ethnomusicology (Hebrew University of Jerusalem, 2013). Postdoctoral Research Fellow at the University of British Columbia, Vancouver BC, Canada (2013/14). Lecturer at the Department of Literature, Art, and Music, Zefat Academic College. Research fields: music and society, music and cultural identity, the music of Christian worship, and global and multicultural issues.  alex_rosenblatt@yahoo.com





Essica Marks is a senior lecturer at the Zefat Academic College and Head of the Literature, Art and Music department. She is employed as a fellow researcher at the Jewish Research Music Center based in the Hebrew University, Jerusalem. Her topics of research are: Ethnographic study, the liturgy of various Jewish traditions, history and theory of Arab music and Arab Music in Israel.