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This collection represents the first complete study of the Jew's harp -- its history, use, playing techniques, and manufacture -- richly supplemented with biographies of virtuosi of the instrument, a geo-linguistic survey of terms, data on composed music, and a bibliographical and discographical essay with numerous musical examples. Illustrated.
The jews-harp is a distinctive musical instrument of international importance, yet it remains one of those musical instruments, like the ocarina, kazoo or even the art of whistling, that travels beneath the established musical radar. The story of the jews-harp is also part of our musical culture, though it has attracted relatively little academic study. Britain and Ireland played a significant role in the instrument?s manufacture and world distribution, particularly during the nineteenth and first half of the twentieth centuries. Drawing upon previously unknown written sources and piecing together thousands of fragments of information spanning hundreds of years, Michael Wright tells the story of the jews-harp?s long history in the Britain and Ireland. Beginning with an introductory chapter describing the instrument, Part One looks at the various theories of its ancient origin, how it came to be in Europe, terminology, and its English name. Part Two explores its commercial exploitation and the importance of the export market in the development of manufacturing. Part Three looks the instrument?s appearance and use in art, literature and the media, finally considering the many players who have used the instrument throughout its long history.
Poetry. Jewish Studies. Walter Hess's remarkable JEW'S HARP is a celebration of family, of tradition, of living through terrible and wonderful times, and even of memory itself. The obvious themes are love and survival. The controlled lyric and narrative voice of the poems is that of a son, and grandson, speaking about his father, mother, wife, children and grandchildren; they speak of the agony of loss and the joy of retrieval; they speak of journeys, from Hitler's Germany, to Ecuador, to safety in America, and a new life. These are poems of an open spirit toward God and His people. These poems create the feel of ritual, a distancing that the depth of his subject and emotion evoke.
For Davita Chandal, growing up in New York in the 1930s and '40s is an experience of indescribable joy—and unfathomable sadness. Her loving parents, both fervent radicals, fill her with the fiercely bright hope for a new, better world. But the deprivations of war and the Depression take their ruthless toll. And Davita, unexpectedly, finds in the Jewish faith that her mother had long ago abandoned both a solace to her questioning inner pain and a test of her budding spirit of independence. To her, life's elusive possibilities for happiness, for fulfillment, for decency, become as real and resonant as the music of the small harp that hangs on her door, welcoming all guests with its sweet, gentle tones. Praise for Davita's Harp “Rich . . . enchanting . . . [Chaim] Potok's bravest book.”—The New York Times Book Review “It is an enormous pleasure to sink into such a rich . . . solidly written novel. The reader knows from the first few pages that he is in the hands of a sure professional who won't let him down.”—People “Engrossing . . . Filled with a host of richly drawn characters. Potok is a master storyteller.”—Chicago Tribune “Gripping and intriguing . . . A well-told tale that needed telling.”—The Philadelphia Inquirer
This authoritative reference work investigates the roots of the Sacred Harp, the central collection of the deeply influential and long-lived southern tradition of shape-note singing. David Warren Steel and Richard H. Hulan concentrate on the regional culture that produced the Sacred Harp in the nineteenth century and delve deeply into history of its authors and composers. They trace the sources of every tune and text in the Sacred Harp, from the work of B. F. White, E. J. King, and their west Georgia contemporaries who helped compile the original collection in 1844 to the contributions by various composers to the 1936 to 1991 editions. Drawing on census reports, local histories, family Bibles and other records, rich oral interviews with descendants, and Sacred Harp Publishing Company records, this volume reveals new details and insights about the history of this enduring American musical tradition. David Waren Stel is an associate professor of music and southern culture at the University of Mississippi. Richard H. Hulan is an independent scholar of American folk hymnody.
The jews-harp is a distinctive musical instrument of international importance, yet it remains one of those musical instruments, like the ocarina, kazoo or even the art of whistling, that travels beneath the established musical radar. The story of the jews-harp is also part of our musical culture, though it has attracted relatively little academic study. Britain and Ireland played a significant role in the instrument‘s manufacture and world distribution, particularly during the nineteenth and first half of the twentieth centuries. Drawing upon previously unknown written sources and piecing together thousands of fragments of information spanning hundreds of years, Michael Wright tells the story of the jews-harp‘s long history in the Britain and Ireland. Beginning with an introductory chapter describing the instrument, Part One looks at the various theories of its ancient origin, how it came to be in Europe, terminology, and its English name. Part Two explores its commercial exploitation and the importance of the export market in the development of manufacturing. Part Three looks the instrument‘s appearance and use in art, literature and the media, finally considering the many players who have used the instrument throughout its long history.
This is a collection of nine familiar Sephardic folk songs, most dating to the 16th century or earlier, both religious and secular in nature, in attractive arrangements for voice with pedal or lever harp accompaniments of moderate difficulty. Texts are in Ladino, with translations provided. Arranged by a well-known arranger/transcriber, Nine Sephardic Songs is perfect for those preparing voice and harp programs and fills a specific niche in available harp music.
Drawing upon field studies conducted in 1978, 1980 and 2001 with the Oksapmin, a remote Papua New Guinea group, Geoffrey B. Saxe traces the emergence of new forms of numerical representations and ideas in the social history of the community. In traditional life, the Oksapmin used a counting system that makes use of twenty-seven parts of the body; there is no evidence that the group used arithmetic in prehistory. As practices of economic exchange and schooling have shifted, children and adults unwittingly reproduced and altered the system in order to solve new kinds of numerical and arithmetical problems, a process that has led to new forms of collective representations in the community. While Dr Saxe's focus is on the Oksapmin, the insights and general framework he provides are useful for understanding shifting representational forms and emerging cognitive functions in any human community.
This book summarizes the latest research on the origins of language, with a focus on the process of evolution and differentiation of language. It provides an update on the earlier successful book, “The Origins of Language” edited by Nobuo Masataka and published in 2008, with new content on emerging topics. Drawing on the empirical evidence in each respective chapter, the editor presents a coherent account of how language evolved, how music differentiated from language, and how humans finally became neurodivergent as a species. Chapters on nonhuman primate communication reveal that the evolution of language required the neural rewiring of circuits that controlled vocalization. Language contributed not only to the differentiation of our conceptual ability but also to the differentiation of psychic functions of concepts, emotion, and behavior. It is noteworthy that a rudimentary form of syntax (regularity of call sequences) has emerged in nonhuman primates. The following chapters explain how music differentiated from language, whereas the pre-linguistic system, or the “prosodic protolanguage,” in nonhuman primates provided a precursor for both language and music. Readers will gain a new understanding of music as a rudimentary form of language that has been discarded in the course of evolution and its role in restoring the primordial synthesis in the human psyche. The discussion leads to an inspiring insight into autism and neurodiversity in humans. This thought-provoking and carefully presented book will appeal to a wide range of readers in linguistics, psychology, phonology, biology, anthropology and music.