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'Why pamper life's complexities?' in: Why pamper life's complexities?

Lyrics, interviews, the city of Manchester, cultural iconography and the cult of Morrissey are all considered anew. The essays breach the standard confines of music history, rock biography and pop culture studies to give a sustained critical analysis of the band that is timely and illuminating. This book will be of interest to scholars and students in the fields of sociology, literature, geography, cultural and media studies. It is also intended for a wider audience of those interested in the enduring appeal of one of the most complex and controversial bands.

Accessible and original, these essays will help to contextualise the lasting cultural legacy of The Smiths. Get A Copy. Hardcover , pages.

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To ask other readers questions about Why Pamper Life's Complexities? Be the first to ask a question about Why Pamper Life's Complexities? Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. Sort order. Start your review of Why Pamper Life's Complexities? Whether the "Jew parodies" found in the works of several Renaissance and baroque composers actually reproduce what was heard in a synagogue or played by a Jewish musician still remains to be ascertained in each case.

Art music composed in the Western European style is documented by a certain number of scores and parts of scores from Italy, southern France and the "Portuguese" community of Amsterdam.

Why Pamper Life's Complexities? Essays on The Smiths

The chief treasure house of Jewish music is the living oral tradition — the many thousands of melodies and variants still current in the synagogues, schools, and homes in all Jewish communities, which adhere, or at least have kept in some measure, to the ways of the past. Their systematic collection, now being made by sound recording , is an awesome and theoretically endless task. A fairly representative selection of several regional traditions was collected by A.

Earlier and contemporary collections of synagogal music see bibliography , mainly of the Ashkenazi and European Sephardi areas, also contain varying amounts of truly traditional melodies, even if these are sometimes distorted by inadequate notation or attempts at "modernization. Since most of the traditional Jewish music was transmitted orally from generation to generation, there was a need to create a sound archive to document the music and promote its study.

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This need was fulfilled by the establishment of the National Sound Archives in Jerusalem nsa in as a section of the Music Department of the Jewish National and University Library jnul. The nsa also holds a large collection of commercial recordings of Jewish and Israeli music as well as music and other sound documents produced by Kol Israel Israel Broadcast Authority.

Idelsohn's recordings are at the Austrian Phonogramm Archive in Vienna; those of Lachmann are mainly at the Berlin Phonogramm-Archiv but some copies as well as unique records are at the nsa. Important collections at the nsa are known by the names of their creators such as: The Robert Lachmann collection wax cylinders, which are copies of the originals of Berlin , unique ethnographic records, most of which are made of tin, and early commercial records of Oriental music. Robert Lachmann — recorded in North Africa and in Palestine.

His interest was Oriental music. His recordings were made during the s. His lectures and the musical demonstrations survived and are preserved at the nsa and at the Music Department Mus. A historical collection of commercial records and broadcasting material is included in the Jacob Michael Collection, collected in New York during the s and s. The Jacob Michael collection contains 3, records and tapes, mostly of Yiddish radio material.

Since the nsa has continuously expanded its collections by promoting new recordings both through fieldwork and recordings at the nsa studio. Most of the Jewish liturgical recordings are made in the studio or other locations, but not during actual prayer services, since it is forbidden to use any electrical equipment on the Sabbath and holidays. Since , the Depository Law for books and prints in Israel has been expanded to include all non-book material.

Thus a copy of all cds and videotapes produced in Israel must be deposited at the nsa. These include mainly Israeli songs, Israeli art music, and some traditional music.

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The nsa catalogue is available online on the jnul website. It is open to the public at the jnul and serves mainly scholars and educators. The nsa continues to collect, preserve and publish its collections. Other collections in Israel are at The Institute for Religious Jewish Music — Renanot , which has its own archive as well as copies at the nsa.

The Beit Hatefutsot Music Center has a good collection of commercial recordings, which are available on site. All the departments of music and musicology in Israel have collections of recorded sound; however, their focus is not on Jewish music.


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In America, universities, libraries, museums and Jewish institutions also have collections of recorded sound. The yivo Institute in New York holds a good collection of commercial and broadcasting material of Yiddish music. The Library of Congress Folklife Center and the Sound Archives also have Jewish recordings, both field recordings and commercial records. Some institutions and private music lovers and collectors provide Jewish music databases and music online for research and teaching, for example Hazzanut Online and Virtual Cantor.

The Bible is the foremost and richest source for knowledge of the musical life of ancient Israel until some time after the return from the Babylonian Exile. A truly chronological ordering of the biblical evidence on music is hardly possible, since it frequently happens that a relatively late source attributes certain occurrences to an early period, in which they could not have existed. A case in point is the chronicler's reports about the ordering of the Temple music by King David. Many details — above all the prominent status of the Levitical singers, which almost overshadows that of the priests — are probably a projection back from the chronicler's own time.

Some of the reports may even be nothing more than an attempt to furnish the Levitical singers with a Davidic authorization in order to strengthen their position. It is therefore more prudent to draw a synthetic picture in which most of the facts can be assumed to have existed for at least a considerable part of the time.

The mythical dimension of music is represented in biblical tradition only by the story of Jubal, who was "the ancestor of all who play the kinnor and uggav " Gen.

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Another relic of the same kind may well be found in the allusion, in God's speech to Job, to the day on which the creation was finished, whereupon, "the morning stars sang together and the Sons of the God[s? Most of the evidence concerns the place of music in the cult. Music is conspicuously absent in the stories of the Tabernacle in the desert wanderings.

The bells perhaps only rattling platelets, see below on the tunic of the high priest had no musical function but an apotropaic one. The trumpets served mainly to direct the movements of the camping multitude, and their function for arousing God's "remembrance" is common to their use in the sacrifice and in war Num — In the transport of the Ark to Jerusalem by David, which is accompanied by the playing of lyres, drums, rattles, and cymbals ii Sam.

Even the description of the inauguration of Solomon's Temple in the first chapters of i Kings lacks an explicit reference to music. Only the trumpets are mentioned in the reconstitution of the Temple services in the time of Joash ii Kings In Chronicles, the musical element suddenly appears as the most prominent part of the service, with detailed and repeated "duty rosters" and genealogies of the levitic singers and instrumentalists, as planned by David and established by Solomon.

Since the lists of the returned exiles from Babylon, in Ezra and Nehemiah, include a certain number of families of Temple singers, it can be assumed that, at least toward the end of the First Temple, there was already some kind of organized cult music in Jerusalem. On the other hand, there are grounds to believe that the role of music in the First Temple was minimal.

In the sanctuaries outside Jerusalem, it was probably much more prominent: witness the "prophets' orchestra" at the high place of Gibeah i Sam.


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After the return from Babylon, music as a sacred art and an artistic sacred act was gradually given its place in the organization of the Temple services. It seems that this did not pass without opposition. Some scholars have even tried to adduce a power struggle between the levites and the priests. Although the evidence does not mention music as a subject for quarrel, the striving of the levitic singers for prestige is implicit in the chronicler's descriptions, and may even be the reason for the insertion of the poem, or set of poems "By the waters of Babylon," in the collection of Psalms Ps.

The weepers by the waters of Exile were not an abstract personification; they were the levitic singers, whom their captors would have join the other exotic court orchestras that the Assyrian and Babylonian kings kept for entertainment and took care to replenish by their expeditions of conquest. The court and temple orchestras of Mesopotamia in this period are the prototype for the Temple music established in Jerusalem after the return: a large body of stringed instruments of one or two types only in Jerusalem kinnor and nevel ; a small number, or a single pair, of cymbals; and a large choir.

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The trumpets of the priests constituted a separate body in every respect, with a ritual but not really musical function. In the earlier stages of religious organization, centered on inspirational ecstatic prophecy, the role of music was understandably important cf. David's playing and singing before Saul belongs to a related psychological aspect.

At coronations, the trumpets were blown as part of the formal proclamation ii Kings , and the spontaneous and organized rejoicings after victory in war were accompanied by women who sang, drummed and danced; a practice still current among the Bedouin , cf. Music at popular feasts is described in Judges ff. Finally, the musical accompaniment at the feasts of the rich and, of course, at the king's court is also described several times, often with a note of reproach ii Sam. The musical expression of mourning is implicit in the verses of David's lament for Saul and Jonathan and explicit in the mention of the male and female mourners who repeated specially composed dirges ii Chron.

True folk music is mentioned only rarely, such as the songs and rhythmic shouts of the workers in the vineyards probably the grape treaders alluded to by the prophets.