Tina Frühauf | Graduate Center of the City University of New York (original) (raw)
Books/Editions/Monographs by Tina Frühauf
This edition includes three piano works by the German-Jewish composer Hans Samuel (1901-76), who ... more This edition includes three piano works by the German-Jewish composer Hans Samuel (1901-76), who was active primarily as an organist and composer of organ music. The selected works--<Hassidic Hanukkah Tune: "Al hanissim we al hapurkan"> (1946), <Sounds of "Slichoth": Paraphrases on S'lichoth Tunes According to the Ashkenas-Western Mode> (1957, dedicated to the composer's parents, who perished in Theresienstadt), and (undated)--were composed after Samuel's emigration to Israel in 1939. Besides exemplifying the heightened awareness of diverse Jewish musical traditions that characterizes Samuel's music after his emigration, these works are representative of Israeli immigrant composers' early struggles to attempts to define their new nation musically.
This anthology traces the main phases of the history and stylistic development of organ music in ... more This anthology traces the main phases of the history and stylistic development of organ music in the Reform Jewish communities in Central Europe, as well as in the German-influenced communities of Königsberg (Kaliningrad) and Odessa, and works by German-Jewish composers who emigrated to the U.S. and Israel after World War II. The small but respectable body of compositions for the organ in the synagogue is represented by fourteen exemplary works; the pieces span the period beginning with the Reform movement in the early 19th century to post-Holocaust works in the mid-20th century. Initially oriented predominantly toward Christian models, a specifically Jewish style of organ music emerged in the late 19th century, made up from elements of both Jewish and Western musical cultures. The selected repertoire featured in the anthology, although all emanating from the same cultural milieu, is based on a wide variety of musical thematic material, including biblical cantillation, 19th-century synagogue song, Yiddish folk song, and the musical traditions of various Jewish cultural groups (Ashkenazic, Sephardic, and Yemenite). Some of the selected repertoire corresponds to detailed analyses published in the editor's monograph .
Salomon Sulzer (1804–90) was the first ḥazan in modern Europe to captivate audiences with his ext... more Salomon Sulzer (1804–90) was the first ḥazan in modern Europe to captivate audiences with his extraordinary musical, intellectual, and charismatic attributes. He was an authority in his community and a center of attraction in the general musical life of his time. The influences of his musical and social contributions are still being felt in today's Jewish music world. As Obercantor at Vienna’s Stadttempel, he developed a moderate reform of the liturgy and synagogue music, balancing the traditional and the modern in compliance with Jewish law. As part of his reforms, Sulzer began to produce a significant repertoire of Jewish liturgical music that is still heard today in many synagogues. Sulzer newly defined the position for the ḥazan, drawing attention to vocal technique. Blessed with an excellent voice (as witnessed by Franz Liszt, Francis, Trollope, Nikolaus Lenau, Ferdinand Hiller, and others) Sulzer also made a name for himself as an interpreter and composer of secular music (especially lieder); and also as a teacher. Like no other cantor, Sulzer embodies the renewal of Judaism in 19th-century Europe.
Examines the presence of the organ in synagogue music and the musical life of German-speaking Jew... more Examines the presence of the organ in synagogue music and the musical life of German-speaking Jewish communities, chronicling the history of the organ in Jewish culture from the earliest references in the Talmud through the 19th c., when it had established a firm and lasting presence in Jewish sacred and secular spaces in central Europe. The introduction of the organ into German synagogues was part of the significant changes which took place in Judaism after the Enlightenment. Indeed, the organ became a symbol of the division of the Jewish community into Orthodox and Reform congregations. Newly composed organ music for Jewish liturgy after this division became part of a cross-cultural music tradition in 19th- and 20th-centuries. Germany, when a specific style of organ music developed, which combined elements of Western and Jewish cultures. Concluding with a discussion of the organ in Jewish communities in Israel and the U.S., the book presents in-depth case studies (analyses of selected organ works by Deutsch, Lewandowski, Samuel, and Würzburger), which illustrate how the organ has been utilized in the musical life of specific Jewish communities in the 20th century.
Jewish liturgical music, as part of a cross-cultural music tradition in 19th- and 20th-... more Jewish liturgical music, as part of a cross-cultural music tradition in 19th- and 20th-century Germany, was oriented strongly toward Christian models. In the course of time a specific music developed, amalgamating elements of Western and Jewish cultures to create a new art form with a uniquely Jewish identity. Beginning with the Reform movement in the early 19th century, the development of the liturgical music and its types is traced, along with such defining influences as the conferences of Rabbis, Jüdischer Kulturbund, Zionism, and National Socialism. Selected organ compositions of Moritz Deutsch, Louis Lewandowski, Heinrich Schalit, Arno Nadel, Siegfried Würzburger, and Yohanan Samuel are analysed and serve as examples of change in Jewish music. The liturgical music ended in Germany with the synagogues' destruction on the night of 9 November 1938 during the Nazi state-organised pogrom. The change of Jewish cultural identity in music is presented in a four-step model that shows the adaptation of a minority group (Jews in German Diaspora) to the majority (Germans).
Recent Essays by Tina Frühauf
Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture, 2013
The Drama Review, 2009
Goth belly dance or raqs gothique--a term coined from the Arabic raqs sharqi (dance of the East)-... more Goth belly dance or raqs gothique--a term coined from the Arabic raqs sharqi (dance of the East)--fuses the already Westernized interpretative dance style of the Middle East with Goth subculture. This new experimental dance is discussed in the context of different musics (from goth rock to world music), altered costuming, and new performance settings. Although rooted in belly dance and its ties to colonialism, Goth belly dance transforms Orientalism and embodies decolonization. The relation of Goth belly dance to its source (Orientalism) and the simultaneous departure from it (decolonization as process and product) is examined.
Considers the role of music in Nietzsche's <Menschliches, Allzumenschliches: Ein Buch für freie G... more Considers the role of music in Nietzsche's <Menschliches, Allzumenschliches: Ein Buch für freie Geister> (1876). This work marks a shift from Nietzsche's specific focus on music in <Die Geburt der Tragödie aus dem Geiste der Musik>, and is concerned chiefly with his observations on psychology, social relationships, politics, and religion. Nonetheless, Nietzsche's ongoing evaluation of music can be found dispersed throughout his analysis of society and culture. His complex and contradictory reflections on the symbolic content of music and its relationship to literature is investigated.
Entre el 27 de septiembre y el 3 de octubre del 1947, Yehudi Menuhin ofreció seis conciertos en B... more Entre el 27 de septiembre y el 3 de octubre del 1947, Yehudi Menuhin ofreció seis conciertos en Berlín, dos de ellos con Wilhelm Furtwängler, quien acababa de ser declarado inocente por los tribunales de “desnazificación” en Austria y Alemania. Debido a que el público era alemán y a la participación de Furtwängler, estos conciertos provocaron un fuerte escándalo entre la comunidad judía y la población desplazada de los campos en Alemania, así como entre las comunidades judías en el extranjero. Mi investigación se centra, primero, en el contexto histórico de estos conciertos y, concretamente, la posición de Menuhin y Furtwängler hacia el uno al otro, así como sus respectivos papeles en la Alemania de la postguerra. Posteriormente ofrezco una relación de los acontecimientos
de septiembre y octubre de 1947 a través de la mirada de Abraham S. Hyman, asesor legal en Alemania de los Consejeros Americanos sobre Asuntos Judíos (American Advisors on Jewish Affairs). Además, investigo el papel de Yehudi Menuhin y sus biógrafos, en cuanto revelan la complejidad de estos acontecimientos. Finalmente, analizo la recepción de los conciertos a fin de entender las razones
que causaron el impacto de ese escándalo. En conclusión, propongo que la organización y objetivos de estos conciertos fueron deficientes porque la política jugó un papel importante en un tiempo en que el pueblo judío estaba sufriendo un duro trauma debido a las consecuencias del Holocausto.
Recent Book Reviews by Tina Frühauf
![Research paper thumbnail of “The Lachmann Problem”: An Unsung Chapter in Comparative Musicology [Be àyat Lakhman: Perek àlum be-musikologyah hashvaatit, kolel mikhtavim ve-hartsaot shel Robert Lakhman she-terem pursemu] (review)](https://attachments.academia-assets.com/32495910/thumbnails/1.jpg)
](Asian Music, 2009
Further, Braun cannot avoid factual errors such as in his chapter on the Hellenistic-Roman period... more Further, Braun cannot avoid factual errors such as in his chapter on the Hellenistic-Roman period, where he remarks that "the organ was the only musical instrument accepted by the church" (286). Such generalizing remarks need to be treated with care. For one, the Christian cultural world to which it is generally ascribed is only a limited one, since in Coptic, Russian and Greek Orthodox, and Calvinist churches, for example, instruments were rarely used at all. For another, up until the Middle Ages, the organ was not offi cially permitted in any Christian liturgy, instrumental music being associated with pagan rituals and with the Jewish services once held in the Temple at Jerusalem.
Conferences by Tina Frühauf
by Tiffany Ng, Dave Wilson, Maria Cizmic, Eric Lubarsky, Ana Hofman, Noubel Max, Srđan Atanasovski, Joshua Walden, Tina Frühauf, Alison Maggart, Michael Arnold, and Alexandra Kolesnik
International Conference Date: Thursday and Friday, March 26–27, 2015, 9am to 5pm Venue: The City... more International Conference
Date: Thursday and Friday, March 26–27, 2015, 9am to 5pm
Venue: The City University of New York, The Graduate Center, 365 Fifth Avenue, Martin E. Segal Theatre
In the longue durée of music history, rediscovery, recovery, revival, and renewal were central in the creation of repertoires and performance practices. With the end of the Second World War musical dealings with pastness assumed new turns, not only because of the different historicity the postwar era has faced, but also because of the rupture of 1945. The 25 papers address the multi-faceted topics related to rediscoveries and revivals, drawing upon the methodologies of ethnomusicology, historical musicology, music theory, cultural studies, and anthropology.
For more information, visit http://brookcenter.gc.cuny.edu/conferences-2/
Papers by Tina Frühauf
This edition includes three piano works by the German-Jewish composer Hans Samuel (1901-76), who ... more This edition includes three piano works by the German-Jewish composer Hans Samuel (1901-76), who was active primarily as an organist and composer of organ music. The selected works--<Hassidic Hanukkah Tune: "Al hanissim we al hapurkan"> (1946), <Sounds of "Slichoth": Paraphrases on S'lichoth Tunes According to the Ashkenas-Western Mode> (1957, dedicated to the composer's parents, who perished in Theresienstadt), and (undated)--were composed after Samuel's emigration to Israel in 1939. Besides exemplifying the heightened awareness of diverse Jewish musical traditions that characterizes Samuel's music after his emigration, these works are representative of Israeli immigrant composers' early struggles to attempts to define their new nation musically.
This anthology traces the main phases of the history and stylistic development of organ music in ... more This anthology traces the main phases of the history and stylistic development of organ music in the Reform Jewish communities in Central Europe, as well as in the German-influenced communities of Königsberg (Kaliningrad) and Odessa, and works by German-Jewish composers who emigrated to the U.S. and Israel after World War II. The small but respectable body of compositions for the organ in the synagogue is represented by fourteen exemplary works; the pieces span the period beginning with the Reform movement in the early 19th century to post-Holocaust works in the mid-20th century. Initially oriented predominantly toward Christian models, a specifically Jewish style of organ music emerged in the late 19th century, made up from elements of both Jewish and Western musical cultures. The selected repertoire featured in the anthology, although all emanating from the same cultural milieu, is based on a wide variety of musical thematic material, including biblical cantillation, 19th-century synagogue song, Yiddish folk song, and the musical traditions of various Jewish cultural groups (Ashkenazic, Sephardic, and Yemenite). Some of the selected repertoire corresponds to detailed analyses published in the editor's monograph .
Salomon Sulzer (1804–90) was the first ḥazan in modern Europe to captivate audiences with his ext... more Salomon Sulzer (1804–90) was the first ḥazan in modern Europe to captivate audiences with his extraordinary musical, intellectual, and charismatic attributes. He was an authority in his community and a center of attraction in the general musical life of his time. The influences of his musical and social contributions are still being felt in today's Jewish music world. As Obercantor at Vienna’s Stadttempel, he developed a moderate reform of the liturgy and synagogue music, balancing the traditional and the modern in compliance with Jewish law. As part of his reforms, Sulzer began to produce a significant repertoire of Jewish liturgical music that is still heard today in many synagogues. Sulzer newly defined the position for the ḥazan, drawing attention to vocal technique. Blessed with an excellent voice (as witnessed by Franz Liszt, Francis, Trollope, Nikolaus Lenau, Ferdinand Hiller, and others) Sulzer also made a name for himself as an interpreter and composer of secular music (especially lieder); and also as a teacher. Like no other cantor, Sulzer embodies the renewal of Judaism in 19th-century Europe.
Examines the presence of the organ in synagogue music and the musical life of German-speaking Jew... more Examines the presence of the organ in synagogue music and the musical life of German-speaking Jewish communities, chronicling the history of the organ in Jewish culture from the earliest references in the Talmud through the 19th c., when it had established a firm and lasting presence in Jewish sacred and secular spaces in central Europe. The introduction of the organ into German synagogues was part of the significant changes which took place in Judaism after the Enlightenment. Indeed, the organ became a symbol of the division of the Jewish community into Orthodox and Reform congregations. Newly composed organ music for Jewish liturgy after this division became part of a cross-cultural music tradition in 19th- and 20th-centuries. Germany, when a specific style of organ music developed, which combined elements of Western and Jewish cultures. Concluding with a discussion of the organ in Jewish communities in Israel and the U.S., the book presents in-depth case studies (analyses of selected organ works by Deutsch, Lewandowski, Samuel, and Würzburger), which illustrate how the organ has been utilized in the musical life of specific Jewish communities in the 20th century.
Jewish liturgical music, as part of a cross-cultural music tradition in 19th- and 20th-... more Jewish liturgical music, as part of a cross-cultural music tradition in 19th- and 20th-century Germany, was oriented strongly toward Christian models. In the course of time a specific music developed, amalgamating elements of Western and Jewish cultures to create a new art form with a uniquely Jewish identity. Beginning with the Reform movement in the early 19th century, the development of the liturgical music and its types is traced, along with such defining influences as the conferences of Rabbis, Jüdischer Kulturbund, Zionism, and National Socialism. Selected organ compositions of Moritz Deutsch, Louis Lewandowski, Heinrich Schalit, Arno Nadel, Siegfried Würzburger, and Yohanan Samuel are analysed and serve as examples of change in Jewish music. The liturgical music ended in Germany with the synagogues' destruction on the night of 9 November 1938 during the Nazi state-organised pogrom. The change of Jewish cultural identity in music is presented in a four-step model that shows the adaptation of a minority group (Jews in German Diaspora) to the majority (Germans).
Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture, 2013
The Drama Review, 2009
Goth belly dance or raqs gothique--a term coined from the Arabic raqs sharqi (dance of the East)-... more Goth belly dance or raqs gothique--a term coined from the Arabic raqs sharqi (dance of the East)--fuses the already Westernized interpretative dance style of the Middle East with Goth subculture. This new experimental dance is discussed in the context of different musics (from goth rock to world music), altered costuming, and new performance settings. Although rooted in belly dance and its ties to colonialism, Goth belly dance transforms Orientalism and embodies decolonization. The relation of Goth belly dance to its source (Orientalism) and the simultaneous departure from it (decolonization as process and product) is examined.
Considers the role of music in Nietzsche's <Menschliches, Allzumenschliches: Ein Buch für freie G... more Considers the role of music in Nietzsche's <Menschliches, Allzumenschliches: Ein Buch für freie Geister> (1876). This work marks a shift from Nietzsche's specific focus on music in <Die Geburt der Tragödie aus dem Geiste der Musik>, and is concerned chiefly with his observations on psychology, social relationships, politics, and religion. Nonetheless, Nietzsche's ongoing evaluation of music can be found dispersed throughout his analysis of society and culture. His complex and contradictory reflections on the symbolic content of music and its relationship to literature is investigated.
Entre el 27 de septiembre y el 3 de octubre del 1947, Yehudi Menuhin ofreció seis conciertos en B... more Entre el 27 de septiembre y el 3 de octubre del 1947, Yehudi Menuhin ofreció seis conciertos en Berlín, dos de ellos con Wilhelm Furtwängler, quien acababa de ser declarado inocente por los tribunales de “desnazificación” en Austria y Alemania. Debido a que el público era alemán y a la participación de Furtwängler, estos conciertos provocaron un fuerte escándalo entre la comunidad judía y la población desplazada de los campos en Alemania, así como entre las comunidades judías en el extranjero. Mi investigación se centra, primero, en el contexto histórico de estos conciertos y, concretamente, la posición de Menuhin y Furtwängler hacia el uno al otro, así como sus respectivos papeles en la Alemania de la postguerra. Posteriormente ofrezco una relación de los acontecimientos
de septiembre y octubre de 1947 a través de la mirada de Abraham S. Hyman, asesor legal en Alemania de los Consejeros Americanos sobre Asuntos Judíos (American Advisors on Jewish Affairs). Además, investigo el papel de Yehudi Menuhin y sus biógrafos, en cuanto revelan la complejidad de estos acontecimientos. Finalmente, analizo la recepción de los conciertos a fin de entender las razones
que causaron el impacto de ese escándalo. En conclusión, propongo que la organización y objetivos de estos conciertos fueron deficientes porque la política jugó un papel importante en un tiempo en que el pueblo judío estaba sufriendo un duro trauma debido a las consecuencias del Holocausto.
Asian Music, 2009
Further, Braun cannot avoid factual errors such as in his chapter on the Hellenistic-Roman period... more Further, Braun cannot avoid factual errors such as in his chapter on the Hellenistic-Roman period, where he remarks that "the organ was the only musical instrument accepted by the church" (286). Such generalizing remarks need to be treated with care. For one, the Christian cultural world to which it is generally ascribed is only a limited one, since in Coptic, Russian and Greek Orthodox, and Calvinist churches, for example, instruments were rarely used at all. For another, up until the Middle Ages, the organ was not offi cially permitted in any Christian liturgy, instrumental music being associated with pagan rituals and with the Jewish services once held in the Temple at Jerusalem.
by Tiffany Ng, Dave Wilson, Maria Cizmic, Eric Lubarsky, Ana Hofman, Noubel Max, Srđan Atanasovski, Joshua Walden, Tina Frühauf, Alison Maggart, Michael Arnold, and Alexandra Kolesnik
International Conference Date: Thursday and Friday, March 26–27, 2015, 9am to 5pm Venue: The City... more International Conference
Date: Thursday and Friday, March 26–27, 2015, 9am to 5pm
Venue: The City University of New York, The Graduate Center, 365 Fifth Avenue, Martin E. Segal Theatre
In the longue durée of music history, rediscovery, recovery, revival, and renewal were central in the creation of repertoires and performance practices. With the end of the Second World War musical dealings with pastness assumed new turns, not only because of the different historicity the postwar era has faced, but also because of the rupture of 1945. The 25 papers address the multi-faceted topics related to rediscoveries and revivals, drawing upon the methodologies of ethnomusicology, historical musicology, music theory, cultural studies, and anthropology.
For more information, visit http://brookcenter.gc.cuny.edu/conferences-2/