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2009-10 SEASON
Our next event of the season: This event is FREE for HC students, non-students/faculty: $10/$15.
Dr. Ronit Seter studies twentieth-century music and specializes in Israeli art music. A contributor to the Grove Music Online, she has published thirty academic entries and articles in Tempo, Die Musik in Geschichte und Gegenwart, Jewish Women: A Comprehensive Historical Encyclopedia, Encyclopedia Judaica, Notes, Min-Ad, and Bein ever le-‘arav. Her chapter “Israel” appeared in Asian Composers in the 20th Century (in Japanese and English). She has presented her work at twenty international conferences, among them the American Musicological Society, the International Musicological Society, and the World Congress for Jewish Studies, in addition to about thirty colloquia and guest presentations. Dr. Seter earned her Ph.D. at Cornell University in 2004. She received her BA and MA in musicology from Bar-Ilan University, Israel. She served on the faculties of the Peabody Conservatory at Johns Hopkins University, the Department of Music at the George Washington University, the Department of Musicology at the Hebrew University of Jerusalem, and the Department of Performing Arts at American University, Washington, DC. Seter was awarded the Dan David Scholarship and two grants from the Memorial Foundation for Jewish Culture. Living in the metro Washington D.C. area, she currently serves as the Chapter Representative of the American Musicological Society, Capital Chapter. She is also a visiting scholar at the Jewish Music Research Centre, the Hebrew University of Jerusalem. "Is Israeli Art Music Jewish?" While the lay answer should be “of course,” given the impossibility and futility of defining “Jewish” or “Israeli”—many of the founders of Israeli art music have avoided what they considered to be Jewish signifiers in their music. Their aim was to frame contemporary Israeli music as a national project, and not as a branch of Jewish music, which was traditionally ascribed to the Diaspora. Although they ultimately failed in creating a desired, imagined “national style,” they did establish a general ideology. Thus, through prescriptive definitions of Israeli music, the five progenitors of Israeli art music—Paul Ben-Haim, Alexander Boskovich, Oedoen Partos, Mordecai Seter, and Josef Tal—succeeded in convincing musicologists to produce a nationalist mythography, claiming that their music was Israeli: a new entity, essentially and qualitatively different from its Jewish—and European—roots. Based on recent studies of Jewish identities by Philip Bohlman and Klára Móricz, this paper juxtaposes ideological writings by Israeli composers with discussion of recent orchestral works by Betty Olivero, Benjamin Yusupov, and Chaya Czernowin (Czernowin recently joined the senior faculty at Harvard University). This presentation will also include live performance of art songs by Paul Ben-Haim, Alexander Boskovich, Mordecai Seter, Tzvi Avni, and Menachem Wiesenberg. --------------------------------- Dr. Klara Moricz is currently visiting Valentine professor at Amherst College. Since 2005 she is on the editorial board of the Journal of the American Musicological Society, since 2006 on the advisory board of Studia musicologica, and recently she became co-editor of the Journal of Musicology. She has published articles on Bartók, Liszt, Fauré, Schoenberg, and Bloch. Her articles about Ernest Bloch¹s unfinished opera Jézabel appeared in the Journal of the American Musicological Society in 2001. She has contributed a chapter on Bloch¹s Jewish identity to the collection of essays Western Music and Race (Cambridge University Press, 2007). Her book Jewish Identities: Nationalism, Racism and Utopianism in Twentieth-Century Art Music has been published by University of California Press in 2008. Her recent publications include ³Shadows of the Past: Akhmatova¹s Poem without a Hero and Lourié¹s Incantations² (twentieth-century music 5/1) and ³Decadent Truncation: Liberated Eros in Arthur Vincent Lourié¹s The Blackamoor of Peter the Great² (Cambridge Opera Journal 20/2).
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