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JUDIT FRIGYESI

CV in .pdf version

 

JUDIT FRIGYESI

Bar Ilan University, Department of Music, Ramat Gan 52900 Israel

Mailing address: POB 28233, Jerusalem 91281, Israel

http://music.biu.ac.il/en/node/632

FrigyesiJudit@gmail.com

 

Judit Frigyesi is a scholar and professor of musicology and ethno-musicology, poet, writer and photographer, associate professor of Bar Ilan University and visiting professor of Tel Aviv University, the Jewish Theological Seminary and the Ferenc Liszt Academy of Music of Budapest. Her research includes the avant-garde trends and forms in 20th century in music, non-European music cultures and rituals, the expression of Jewish existence in traditional, Romantic and modern music and literature; the music of Béla Bartók and East-Ashkenazi liturgical chant and para-liturgical songs. Her book Béla Bartók and turn-of-the-century Budapest (California University Press, 1998, 2000), is one of the first studies to demonstrate an aesthetics through in-depth analysis of literature and music together. She was the only researcher to have systematically collected Jewish prayer music in Communist Eastern Europe after the Holocaust. In the past fifteen years, she has been active as a writer, poet, photographer, and creator of projects in various media. Her theatrical montage Fleeting Resonances, which combines field research, poetry, film, audio, and live performance, has been performed in Germany, Hungary, and Israel. Her recently published book Writing on Water (Jelek a vízen, in Hungarian, Libri, 2014) is a creative non-fiction capturing, in poetry, creative prose and photographs, the experience of the sound of Jewish prayer and her journey towards this sound.

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; Felix Posen Foundation, 2003-5; 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, CHAIR, RESEARCH ASSOCIATIONS

Scholarly advisor for and creator of the sound project for the Museum of Polish Jews, 2014; Member of the Nominating Committee of the Kyoto Prize for Music, 2012-13; member of the Scientific Board for the 19th Congress of the International Musicological Society, 2012; Chair of the session “Hungary and Hungarian composers, 19th-20th centuries” at the Meeting of the International Musicological Society, Rome 1-8 July 2012; creator of the concept and organizer of “Der Verkannte Komponist” [The Hidden Composer] – an International Conference on Mendelssohn, September 2009, Usedom-Berlin 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 the musicological journal Studia Musicologica, Budapest, Hungarian Academy of Sciences Press, since 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], since 2005; member of the editorial board of Egyházzene [Religious Music] (Budapest: Editio Musica), since 2003; member of the editorial board of Ethnomusicology Forum (Routledge: Taylor and Francis Group), 2003-2009; director of the Research Project “The concept of nusah in Ashkenazi liturgical music” of the Israel Science Foundation, 2001-2005; member of the program committee, World Congress of Jewish Studies, Music Division, 2005; creator and director of the interdisciplinary course “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, 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 of the Centre National de la Recherche Scientifique, Laboratoire des Langues et Civilisations à 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 – FIELDWORK

Since 1976, I have been conducting fieldwork among the traditional East-European Jewish communities in their original location in Eastern Europe as well as in Western Europe, the USA and Israel documenting especially traditional Jewish liturgical chant in audio and video recordings as well as 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. Hundreds of pages of transcriptions of this material are already available in my private archive waiting for publication.

TEACHING EXPERIENCE

Full time – primary employment

Bar-Ilan University (Associate Professor, Music Department, since 1998); Princeton University (Assistant Professor, 1990-1997); Brown University (Assistant Professor, 1988-1990); University of Pennsylvania (Lecturer, 1985-86).

Visiting professorship – current

Tel Aviv University (adjunct professor at the Buchman-Mehta School of Music, since 2011); Jewish Theological Seminary, Budapest (adjunct professor, Department of Graduate Studies, since 2000); Ferenc Liszt University of Music, Budapest (adjunct professor, Department of Graduate Studies, first in February 1914).

Other visiting and part time professorships – past

NYUAD (lecturer for music unit in the course “The cultural significance of gesture”, 2012, 2013, 2014); University of Victoria, British Columbia, (Lansdowne Lecturer, 2008); Bar Ilan University (director of workshops, Creative Writing Program, 2008, 2009); Ron Shulamit Conservatory, Jerusalem (visiting professor, 2007-2009); Universidade Nova de Lisboa (visiting lecturer, Faculdade de Ciências Sociais e Humanas, Centro de Estudos de Sociologia e Estética Musical, 2005); Lewinsky Pedagogical College (visiting professor, graduate program, 2004-5);  Central European University, Budapest (visiting professor, 1999; and professor and program director, 2003); Bar-Ilan University (Fulbright Fellow, 1997-1998); Franz Liszt Academy of Music, University of Budapest (visiting professor, musicology/ethnomusicology department, 1994, 2000-1); ELTE University of Budapest (visiting professor, Judaic Studies Department, 1992, 1994, 2000).

COURSES IN MUSICOLOGY (SELECTION, see also interdisciplinary courses)

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 (continuously from 2001-).

Concepts, problems, methodologies (selection)

“The experience of alienation in music and literature [with especial focus on Felix Mendelsson and Paul Celan” (2014); “Experimental form and the experience of listening” (2013); “Drama, theater, ritual and film” (2012); “Gesture in musical expressions” (unit of course, 2012, 2013, 2014); Music Between Romanticism and Modernism (Seminar, 2008-9), The idea of the “Romantic” (Seminar, 2007-8); 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); 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); “Influence” and originality in 20th-century composition (Seminar, 1993); Seminar for undergraduates (2005-); Round table doctoral seminar (2002, 2004, 2007); Research methods in musicology (Seminar, since 1998).

Seminars on composers

Bartók (1991, 1996, 1999, 2003, 2009); Ravel, Satie, Janáček, and Varèse (2001, 2002); Verdi (2001); Kurtág (2000); Beethoven (1997); Stravinsky (1993).

COURSES IN ETHNOMUSICOLOGY (SELECTION, see also interdisciplinary courses)

Concepts, methodologies and foundational courses

Methods and problems of ethnomusicological research and World Music (since 2014); 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); Introduction to Ethnomusicology I, II (since 2013).

World music and East-European folk music

The “song” in cultures of the world (Seminar, 2011); 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

Jewish music in Europe – four courses (I: Ashkenazi liturgical music, II: Song in Ashkenazi music, III. The instrumental music of the East-Ashkenazim, IV: Jewish composers – seminars: 2001-till present); Issues of Jewish music research (seminar, 2001, 2003-5, 2007); Introduction to Jewish Music (1983, 1990, 1993, Seminar: 1992, 1995, 1997, 2000); Jewish Chant in Context (Seminar, 1994, 2003, 2007-8); The concept of nusah (2004), etc.

INTERDISCIPLINARY COURSES – MUSICS, LITERATURE, DRAMA

(WITH AN EXTENSION TO THE OTHER ARTS)

Music and Gesture (units of the seminar on gesture, NYUAD, 2012, 2013), Music and the expression Jewishness (seminar, 2014), Music and dramaturgy: ritual, theater, concert and film in Western and non-Western cultures (seminars, 2012-13), Music, literature and the Shoah (seminar, 2011), Bartók’s Duke Bluebeard’s Castle: culture and society in the first half of the twentieth century (seminar, 2011), Experimental forms in music, literature and film (seminar, 2010, 2013), Creative and scholarly writing (seminar including writing workshops, 2008), 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”–  abstract composition as ”story”(Seminar, 2000).

ADVISING – MASTERS AND DOCTORAL DISSERTATIONS

Doctoral dissertations

Olga Khavkin (“Grand opera or irony? – Old Russian Sources and their Meaning in Mussorgsky’s Opera ‘Khovanschina’,” 2011); Ron Atar (“Analysis of Béla Bartók’s performances to Selected Compositions,” 2007); Atara Isaacson (“Cantabile in the Romantic Piano Concerti with Emphasis on Schumann, Liszt, and Brahms,” 2007); Orit Wolf (“Beethoven as Heard by the Romantics: A Study of Romantic-Style Cadenzas Composed to Beethoven's Fourth Piano Concerto, Op. 58,” 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,” submitted, revisions not completed), Irad Atir (“Jews and Germans in Wagner operas,” submitted); Efrat Frommer (“Mendelssohn’s sacred choral music,” in progress, proposal accepted); Hanan Awawdeh (“Model for the ritual of Arab wedding in Galilea from the perspective of the women’s role and songs,” in progress, proposal accepted, final stage of writing); Sara Laor (“The role of traditional songs in the elementary school curriculum,” co-adviser, 2014); Ronen Raban (The development of Bartók’s modern harmonic language: revisions and new harmonic ideas in the ending of Duke Bluebeard’s Castle,” preliminary stage, working title); Mohammad Khalaf (“Modernism and orientalism in Simon Shaheen’s art,” preliminary stage, working title); Marta Klempner (“The ‘nation-unifying’ power of music in German and American film during the Nazi era,” preliminary stage, working title); Orsolya Korcsolán (“Sándor Kuti – works and biography,” preliminary stage, working title), Gergely Nógrádi (“Hungarian cantors at the beginning of the twentieth century – a study of archival recordings,” final stage, work almost completed).

Master’s thesis

Emad Dlal (“The social context of Arab instrumental music in Israel – a case study,” co-advisor, 2012); Yoram Ilan (“Genres and styles of Yoni Rechter,” thesis au lieu Masters, 2011); Aviram Freiberg (“The horn and its transpositions in the works of Richard Strauss,” 2004); Zehava Fudem (“Tradition and invention in the melodies of selected High Holiday prayers,” 2003); Adi Talor (“The narrative process and the role of the melody in selected piano sonatas by Beethoven,” thesis submitted); Tama Kessel (Music and dance in Stravinsky’s ‘Rite of Spring’,” 2014); Anna Giber (“Rachmaninov’s style: traditional and hermeneutic analyses,” proposal submitted), Gidon Tisch (“Steve Reich and the concept of repetition,” tentative title, in progress); Vered Silber (“Morton Feldman’s ‘Viola in my life’,” proposal accepted, final stage of writing).

SCHOLARLY LECTURES

Keynote and distinguished lectures and round tables

“Spaces/Dreams” – screeing of the documentary film of the same title, followed by round table session (in French) with the ehtnomusicologist Simha Arom (France, CNRS) the writer András Forgách (Hungary) and myself, Balassi Institute/Hungarian Cultural Institute, Paris, February 16, 2016. Video recording on youtube: “Espaces/rêves - Table ronde”: https://www.youtube.com/watch?v=Tz6Zq0kCbcg

“The battle between cultures with power versus the battle for survival of powerless cultures”, closing lecture and round table for “Places of Interaction: Histories of Music and Dance in India, Africa and South-East Asia,” International conference of the Balzan foundation, British Academy, London, 2016, June 16-17.

“The Turning Point: How did Bartók find his Voice with his First Great Works? (1904-1914)”, Béla Bartók: From Youth to Early Maturity - International Synposium, Royal Library of Belgium, Brussels and Balassi Institute – Embassy of Hungary, 6-8, November, 2014.

“The Paradox of Western Music,” Public Open Lecture at the Institute of New York University Abu Dhabi, May 9, 2013.

“The primeval image and the subconscious: listening to Western music”, Public Lecture at the Institute of Advanced Studies, Central European University Budapest, April 26, 2013.

“Mendelssohn’s (Jewish?) music,” Public Lecture of the Jewish Studies Program, Central European University – Jewish Studies Public Lecture Series, Budapest, February 19, 2013.

“Psalmody: Genre or Concept,” opening lecture at the International Symposium Performing Psalms: Practices and Perspectives at the CRFJ [Centre de recherche français à Jérusalem], October, 2009.

“The Music of Béla Bartók: ‘Curse-clatter’ or ‘Sunken Bell’?,” Keynote lecture at the International Conference Bartók’s String Quartets – Tradition and Legacy, University of Victoria, British Columbia, September 2008.

“The Third String Quartet of Béla Bartók,” Keynote lecture at the Pleanary session of the Annual Meeting of the American Society of Music Theory, Boston, 2005.

“Béla Bartók: East and West,” Distingushed lecture of the Fulbright Foundation and the Embassy of the Republic of Hungary, June 1999.

“Analysis and Context: Philosophical Considerations,” Opening Address and Keynote Lecture of the Congress of the European Society of Ethnomusicology, Jerusalem 1998.

Other shcolarly lectures (selection)

“The strategy of cultural survival: what makes a Jewish melody Jewish?”, Yiddish Music – Historically Informed Performance Practice, International Conference at “Yiddish Summar Weimar 2016” (July 19-22, 2016, lecture given on July 22)

 “’We wanted only to pray…’ -- Jewish prayer under Communism in Budapest,” “Always Hungarian” – The Jews of Hungary through the Vicissitudes of the Modern Era, International Conference organized by the Dahan Center of Bar Ilan University, scheduled for 2016, May 30-31.

“Béla Bartók’s Miraculous Mandarin – Myth and Ritual at Times of War,” Public lecture at the scholarly lecture series of the Institute for Advanced Study at Central European University, Budapest, February 18, 2016.

“Béla Bartók – Orientalism or Nationalism,” Musical cultures under relationships of power: Europe and the Middle East – international conference and workshop of the Balzan Research Project Towards a global history of music, Hebrew University, Jerusalem, 25-26 October 2015.

Round table discussant: “Insiders and/or Outsiders in the History of Music in Eastern Europe and the Middle-East,” Musical cultures under relationships of power, see above.

“Correspondances between the protestant psalmody and Ashkenazi Jewish heterophony,” ELTE University of Budapest, Faculty of Comparative Religion, Szetember 30, 2015.

“The ‘Estranged I’ in Mendelssohn’s (Jewish?) Music,” Jewishness & the arts: music and composers

in nineteenth-century Europe -- International conference, Rome, Accademia Filarmonica Romana, 13-15 October 2015 (paper accepted, cancelled for family reasons)

“The Limits of Scholarship: Questions of Ethics in the Research of Ritual Music,” special guest of the Center for Arts and Culture and the Jewish Studies Program of Central European University, Budapest, 17 March, 2015

“Memoir or scholarship -- presentation and discussion of the book ‘Writing on Water’ by Judit Frigyesi and Attila Pók”, Institute for History/Történellemtudományi Intézet, 2 March, 2015

Scholarship or Art?” Colloquium Lecture, Bar Ilan University Music Department, Ramat Gan, December 30, 2014

“To speak about the sounds that no longer exist” – short concert, lecture and discussion, Holocaust and Hungarian Musical Memory – a  memorial conference at the Hungarian Institute for Musicology, Budapest, October 30, 2014.

“Collecting Jewish melodies” – a Scholarly Forum organized by the Religious Studies Center, the Department of Assirology and Hebraic Studies and the Hungarian Hebraistic Society [Vallástudományi Központ, Assziriológiai és Hebraisztikai Tanszék és a Magyar Hebraisztikai Társaság] of the ELTE University, Budapest, with moderator: Professor Balázs Déri, October 15, 2014

“The melodies of Prayer: was there a local practice at the Teleki tér community?”, Conference about the forgotten Jewish life of Teleki tér, Budapest, September 22, 2014

“The pitch and the sound: the story of Morton Feldman’s The Viola in My Life I (1970),” Tonality Since 1950, International Symposium, Music Department of Basel University and the Swiss Science Foundation, May 23, 2014.

“On the Art of “Not Saying”: The Rupture Between Text and Meaning and the Suppression of Apocalyptic Fear (Music and Literature),” Humanists at Work: On Research Riddles and the Pleasures of Pursuing Them (מדעי הרוח: על חידות מחקריות והתענוג שבפתרונן), Interdisciplinary Conference at Bar-Ilan University, Ramat Gan, October 28-29, 2013.

“The source of the ‘Source’” – closing session and round table lecture at The past, present and future of source studies in Hungarian musicology, International Conference of the Hungarian Musicological Society, October 4-5, 2013, Budapest

“Jewish religious culture of the villages – the lesson of ‘sound’”, The Jews of Hungary: identity and tradition (יהודי הונגריהזהות ומורשת), symposium, Bar Ilan University, Dahan Center, June, 2013.

“Béla Bartók’s Miraculous Mandarin – rite and sacrifice in response to Stravinsky” Eighth Biennial International Conference on Music Since 1900, Liverpool, accepted but cancelled due to illness, scheduled for September 15, 2013.

“Is There Such a Thing as ‘Hungarian-Jewish’ Music,“ Hungarian and Jewish Diasporas – Inside the Country, Beyond the Borders, An International Symposium at the Goldstein-Goren Diaspora Research Center, Tel Aviv, March 4, 2013

“Transition from the diaspora to Israel in the music of the synagogue – questions and problems,” Pubic Lecture for La fondation pour la mémoire de la Shoah and l’Institut européen Emmanuel Lévinas at CNRS-CRFJ, Jerusalem, November 2012.

“Bartók’s pantomime The Miraculous Mandarin as transformation ritual,” 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, July 2011.

“The development of ‘csárdás’ and verbunkos and its influence on art music – a historical overview,” Israel Museum Public Lectures, Jerusalem, May 2011.

“A Hungarian-Jewish musical encounter,” International Conference Kisebbség és többség között: a zsidó/izraeli és a magyar etnikai és kultúrális tapasztalatok az elmúlt században [Between majority and minotrity: Jewish-Israeli and Hungarian ethnic cultural experienes in the past century], Budapest: Balassi Institute, May 2011.

“Sources and structures for Bartók’s ‘pantomime’-idea,” Bar Ilan University Colloquium, May 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, England, February 2011.

“Bartók’s hero and the city,” Music and the City: The Modern Times10th 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.

 “Orthodox and Neolog: Music as the Fundamental Expression of Contrasting Attitudes,” Schism, Sectarianism and Jewish Denominationalism: Hungarian Jewry 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 Usedom, Germany, 2009.

“The Choral Works of Felix Mendelssohn,” (with Efrat Frommer) Der Verkannte Komponist (see above), Usedom, Germany, September 2009.

“Musical structure and ‘expressive gesture’ in East-Ashkenazi liturgical chant,” Fifteenth World Congress of Jewish Studies, Jerusalem, August 2009.

“’Women-literature’ in Hungary,” and “Hungarian Jewish literary works,” public lecture-presentation at the Jerusalem Book Fair, February 2009.

“Analysis Symposium: Bartók’s Second Quartet,” – speaker at the Lansdowne round table sesssion of the conference Bartók’s String Quartets (see above) Victoria, 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, Genève 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,” Lecture series at the 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 narrative and meaning of Bartók’s large’scale forms (with focus on Music for Strings, Percussions and Celesta)”, lecture series, Universidade Nova de Lisboa (visiting lecturer, Faculdade de Ciências Sociais e Humanas, Centro de Estudos de Sociologia e Estética Musical, 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, scholarship… – the psychological perspective of the researcher” [lecture and project presentation], 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, Budapest, 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, Budapest, 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’s Modernism,” Van Leer Institute, Jerusalem, 1999.

“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 with László Győri: Élet és Irodalom (Cultural and Political Weekly), Hungary, 1995. etc.

Interviews, lectures, concert, radio programs honoring the publication of the book Jelek a vízen [Writing on Water]: Literary evening and concert, FUGA Galery, September 17, 2014; ELTE University, Religious Studies Center, the Department of Assirology and Hebraic Studies and the Hungarian Hebraistic Society, October 15, 2014; Conference about the forgotten Jewish life of Teleki tér, Budapest, September 22, 2014; Writers’ Bookshop [Irók boltja] with András Forgach, September 24, 2014; Klauzál Cultural Center and Bookstore, with Pál Várnai September 30, 2014; Religion [Vallási félóra], Radio Kossuth, Fall 2014; BreuerPress, Szeptember 19, 2014; with Attila Pók, Institute for History/Történellemtudományi Intézet, 2 March, 2015;with Gergely Földvári in Lauder-Javne school, 24 March 2015; with the philosopher Álnes Heller (in English, Masolit Book store), April 1, 2015; Interview with the philosopher Tamás Lichtmann, Jewish Theological Seminary, Budapest, February 11, 2016; Other related programs: Reading of poetry from the book: “Memorial Evening for the 70th anniversary of the end of WWII and the liberation of death camps“ [A második vilgháború befejezésének 70 éves évfordulója és a haláltáborok felszabadulásának emlékére], Bet Avi-Chai, 2015 majus 13.

WORKSHOPS, PERFORMANCES, PUBLIC REHEARSALS, DIRECTING AND LITERARY ACTIVITIES (SELECTION)

Dramaturg-advisor for the performance of Béla Bartók’s opera, Duke Bluebeard’s Castle, Israel Opera, Tel-Aviv (December, 2010); moderator of the discussion of leading Hungarian writers (Péter Esterházy, György Konrád, György Spiró) Hungarian Embassy and the Jerusalem Book Fair, February 2009; creator and director of workshops for writers in the framework of the Shaindy Rudoff Creative Writing Program of Bar Ilan University entitled “Felix Mendelssohn, Aharon Appelfeld and Paul Celan – musical and literary expressions of the Jewish experience”, and “The metaphor of ‘night’ in the art of Béla Bartók and Bruno Schultz” July 2008 and February, 2009; director of public rehearsal with the Lafayette String Quartet of “György Kurtág’s Officium breve” as the Lansdowne Lecturer of the International Conference Bartók’s String Quartets – Tradition and Legacy, University of Victoria, British Columbia, September 2008.

SCHOLARLY PUBLICATIONS

SOUND

Creation of the soundscape for the “Synagogue” of the “Jewish Town” complex of the Museum of the History of the Polish Jews in Warsaw, Poland (http://www.polin.pl/en). The sound material, which is a major project for the dissemination of traditional Jewish prayer chant, contains over an hour of historical material chosen from documentary recordings of prayer from my archive. Opening of the museum: November, 2014

In progress: CD with text and images – the sound of the East-European Jewish Prayer (in progress, preliminary sound material and text prepared)

BOOKS AND ARTICLES

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 and Article Projects in Progress

Dream and magic in the music of Béla Bartók (book in the state of preliminary planning);

The Miraculous Mandarin(book partically written);

“Density and dream: The Prima Parte of Bartók’s Third String Quartet” (article in draft version completed);

“Bartók’s Night” (article in draft version).

Articles (see also: cultural studies and rhythm)

“How Barbaric Is Bartók’s forte? About the Performance of Bartók’s Fast Movements for Piano and Strings, with Emphasis on the First Movement of the Fifth String Quartet,” The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective, ed. Dániel Péter Biró and Harald Krebs (Oxford and New York: Oxford University Press, 2014), 200-243.

“Who is the Girl in Bartók’s The Miraculous Mandarin? A Case Study of Mimi’s Deleted Scene and Its Dramatic Meaning,”Studia Musicologia, vol. 53, Nos 1-3, 2012), 241-274

“Surface musical process versus background structure: two instances of last-minute corrections in Bartók’s works,” Annales Suisses de Musicologie/Schweizer Jahrbuch für Musikwissenschaft, Neue Folge  27 (Bern, Berlin, New 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 in 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 and Jewish music (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. (Also Hungarian edition.)

“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. (Also abridged Hungarian version.)

 

Felix Mendelssohn – editing project and articles

 

“’To be left behind’: the Mendelssohnian withdrawal of the promise of sacred music,” Sacred music (Hungarian muscological journal of sacred music), Memorial Issue for László Dobszay, 18/4 (2010/2011), 389–396.

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

“The pitch and the sound: the story of Morton Feldman’s The Viola in My Life I (1970)” – submitted, in review process for the publication in Tonality since 1950 – Concept and Practice, ed, Felix Wörner et al. (Stuttgart: Franz Steiner Verlag, projected for 2016/17)

“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, see also Bartók)

 

“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.  Genève: Ateliers d’éthnomusicologie (1999), 55-73. Internet: https://ethnomusicologie.revues.org/677

“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 (Note: 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

Writing on Water [Jelek a vízen] (Libri, 2014): see below under ARTISTIC PROJECTS AND CREATIVE NON-FICTION

 

Book manuscripts – completed works and work in progress

 

The aesthetics of East-European Jewish chant (completed manuscript draft)

The musical structure of the nusah (partly written manuscript, trancription completed)

Shabbat Shacharit in the practice of the East European Jews — analysis and edition of musical transcription (transcriptions completed)

Articles (see also: cultural studies and rhythm)

“Transmission and rupture: the emergence of Ashkenazi prayer chant in the modern era” Jewish Musical Cultures in Europe: 1500-1750, ed. Diana Matut (Brill Academic Publishers, Martinus Nijhoff Publishers, in progress)

“Psalmody as a musical concept in Jewish Prayer Chant,” Magyar Zsidó Szemle (Hungarian Jewish Review, accepted for ublication)

“Musical reading of the sacred texts in Jewish Antiquity,” (accepetd for The History and Theory of the Music of the Middle East, publication project of Enhordes/European Union).

“Piyyut in the Ashkenazi practice,” brief article for http://www.piyut.org.il/english/

“Psalmody: Concept of Genre?”, Journal of Synagogue Music, Special Issue: Tehilim, vol. 39, No. 2, (September 2014), 2-15.

“Scholarship on East-European Jewish Music After the Holocaust,” The Hungarian Quarterly, Holocaust Special Issue, vol. LIV, No. 209 (2014), 150-163.

“A rift never to be healed: the music of the traditional and reform service” in Jüdische Musik als Dialog der Kulturen und ihre Vermittlungsdimensionen, ed. Jascha Nemtsov, in the series Jüdische Musik Studien und Quellen zur jüdischen Musikkultur, vol. 12 (Wiesbaden: Harrassowitz Verlag, 2013), 71-102.

“Jewish melodies: a word about those who owned nothing at the end of the world” [Zsidó dallamok: nincstelenek a végeken]”, Jews of Carpathia: History and Heritage since the Era of Dualism till Our Days [Zsidók Kárpátalján: történelem és örökség a dualizmus korától napjainkig], eds., Viktória Bányai, Csilla Fedinec, Szonja Ráhel Komoróczy (Budapest: Aposztróf kiadó, 2013), 319-327, 399-400.

“Is there such a Thing as Hungarian-Jewish music?,” Majority - Minority: the Experience of Hungarianness and Jewishness in the  past two centuries (Budapest: Balassi Institute Publication, 2012), 122-147. In Hungarian: “Létezik-e Magyar-zsidó zene?” in Kisebbség és többség között (Budapest: Balassi Institute, 2013), 53-86.

“The personal style of the East-European prayer leader” [סגנון אישי של בעל תפילה מזרח-אירופי], Garment and Core: Jews and their Musical Experiences, Eds. E. Avitsur, M. Ritzarev, E. Seroussi (Ramat Gan: Bar-Ilan University Press, 2012), 203-216.

“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 (published for the YIVO Institute for Jewish Research by New Heaven: Yale University Press, 2008), vol. II: 1222-1225.See also: http://www.yivoencyclopedia.org/article.aspx/Music/Music_for_Sacred_Texts

“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 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.

“The unique character of Ashkenazi synagogal music,” 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”, and “Világi zsidó zenészek Magyarországon” in  Hágár országa-- A magyarországi zsidóság - történelem, közösség, kultúra, Szalai Anna, ed.  Budapest: Kossuth kiadó, 2009.

“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 music can 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 civiltà 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, polemic and other short communications

“In memory of Péter Esterházy,” [in Hungarian] submitted to Múlt és Jövő, 2016

“Férfi-e a Kékszakállú herceg?” [Was Prince Bluebeard a man at all -- toward a critique of feminist interpretations?”, in Hungarian], Concert Magazine of the Franz Liszt Academy, Budapest: Franz Liszt Academy, 2016, September: http://issuu.com/zeneakademia/docs/zeneakademia-koncertmagazin-2016-sz/1?e=9380876/36525137

“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.

“Béla Bartók – ‘O Castelo do Barba Azul’ and ‘O Mandarim Maravilhoso’, Publication of the Fundação das Descobertas (Lisboa, 1994), 6-19.

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.

Organization of the memorial issue and creation of the “Preliminary Bibliography” for Lois ibsen al-Faruqi,” MACSEM Journal (Journal of the Mid-Atlantic Chapter of the Society for Ethnomusicology), V/5 (November 1986), 1-5.

“The art of Maestro Charles Bruck” (based on interview wth the artist), Muzsika (Budapest, July 1977), 15-20.

 

ARTISTIC PROJECTS AND CREATIVE NON-FICTION

most published under artist-name: Judit Niran

Book

Writing on Water (Jelek a vízen), Budapest: Libri, 2014 (in Hungarian)

Ethnographic memoir in prose, poetry, photo and photo-montages based on the research and musical experience of East-Europen Jewish chant on the basis of field-work in Communist Hungary and Czechoslovakia

 

Reviews in print:

Kristóf Csengery: “Ojlem háemesz”,  Pannonhalmi Szemle [The Pannonhalma Observer],  2014 XXII/4 (December –Christmas  issue), 119-121; „Jelek a vízen” (in interview form with Pál Várnai), Szombat (September 2014), 18-20; Review: Gábor Zoltán in „Ex libris”, Élet és Irodalom (February 6, 2015); Ágnes Heller in Olvasónapló (Budapest: Múlt és Jövő kiadó, 2015), 145-151, etc.

Reviews on the internet:

Peter Breuer: http://www.breuerpress.com/2014/09/19/niran-frigyesi-judittal-beszelgetett-breuer-peter/#more-50218;  Sturovics Andrea: http://pilpul.net/komoly/amikor-betubol-lesz-dallam; András Forgách: https://www.youtube.com/watch?v=33K5QS0GnuE; Heller Ágnes: https://www.youtube.com/watch?v=VI--t8wHuyg, etc.

Short stories and poetic writings

Completed unpublished

“Over the glass window” short story accepted for the anthology of Women writers on friendship (Budapest, editor: Zsuzsanna Forgacs Bruria)

If you were here (poetry volume, English, with drawings, photographs and visual art, fragments published, see below, unpublished in full form).

“Poems of war” (poems with photogrpahs, English, unpublished)

“Nem találjuk helyünket…” [Estranged] (short story, Hungarian, unpublished).

 

 

Published

 

“Behind the Words: Silence“ [A szavakon túl: csend] (short story, Hungarian), Lettre International – Hungarian edition, vol. 92 (2014), Spring, 22-23.

“The courtyard” [“Az udvar”] – short story (English and Hungarian versions) accompanying the photo exhibit Writing on Water

“Nothing but lead,” in Lányok, anyák – Elmeséletlen női történetek [Daughters, Mothers -- Holocaust remembrances], ed. Katalin Pécsi (Budapest: Novella kiadó, 2013), 20-24 (German edition in progress)

Images and excerpt: https://www.facebook.com/pages/L%C3%A1nyok-any%C3%A1k/503101736400979,

“Panim…ponem…” (poems and short stories, German translation by Dan Pelleg), Requiem – Zu einer Skulptur von Alexander Polzin [Requiemdedicated to a sculpture by Alexander Polzin] (Berlin: Matthes und Seitz, 1911), 24-33.

“Megesik néha, hogy halálos felhőben” [It happens sometimes that in the fading cloud…] (short story, 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, 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; Hungarian version: “Berlin, 2006,” 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 from the poetry volume with the same title, see above, English) Voices Israel 2009 – Poetry from Israel and Abroad An Anthology of English poets in Israel, Vol. 35, Helen Bar-Lev, ed. In chief, 231. 

“Letter to Firoozeh Khazrai” (poem, English), Voices Israel (see above), 161. The poem won the Honorable mention of the poetry competition of Voices Israel 2009.

“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.

“Vörös és narancs” [Red and orange] (short story, Hungarian), 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).

Photograph and video exhibits

“Walls and Waters/dialogue” [Falak és vizek/párbeszéd] photographic exhibition, Hungarian Jewish Cultural Center (Bálint ház), Budapest, 2016, April 21 – May 15, opening with concert and interview: April 21.

“Spaces, Dreams/Terek, álmok”, photographic exhibition with short film and book of poems at FUGA Galery, Budapest, 2014 September; Massolit Book store, 2014 April -May.

“Writing on Water,”photographic exhibition at Yedidia Synagogue, Jerusalem, 2014 March 27-June 10: 50 photographs with short story, Vernissage with Shoshanna London Sapir and Judith Sudylovski. [And expanded version of the exhibit with the same title below].

“Jelek a vízen,”photographic exhibition at the Gallery of Budapest, Ateliers des Arts, July 2013: 29 photographs with short story.

“Berlin –  S Bahn,” photo-montages. Exhibits: Wissenschaftskolleg zu Berlin, 2006, Sirály Café and Theatre, Budapest, 2007, published also as the illustration for the short story “Berlin, 2006” (see above).

Film, mixed media theater and concert

„Spaces, Dreams/Terek, álmok”, short film (13 minutes)

“Fleeting resonances…,” theatrical collage composed of documentary audio and video recordings from my ethnographic archive, 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.

 

Writing on Water [Jelek a vízen Literary evening and concert, with Kristóf Csengery and Balázs Déri, and Judit Niran reading their poems and compositions of György Kurtág and Balázs Dukay performed by András Németh and László Kéringer, FUGA Galery, Budapest, September 17, 2014