Don Harran
Biographic Data
| ID | 1133706 |
|---|---|
| NAME | Don Harran |
| GIVEN NAMES | Don |
| FAMILY NAME | Harran |
| SIGNATURE | HARRAN D |
| AFFILIATIONS | Hebrew University of Jerusalem |
| VERIFIED | No |
| TOTAL WORKS | 28 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 28 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1969 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 1 |
Three Early Modern Hebrew Scholars on the Mysteries of Song
In discoursing on music, three early modern Jewish scholars stand out for their originality. The first is Judah Moscato, who, as chief rabbi in Mantua, preached sermons, one of them on music: there Moscato presents music as a cosmic and spiritual phenomenon. The second scholar is Leon Modena, the foremost Jewish intellectual in early seventeenth-century Venice. Modena deals with music in two responsa to questions put to him for rabbinical adjudic…
On music and non-music in early Christian and Jewish writings
In a groundbreaking monograph on The Music Libel against the Jews Ruth HaCohen deals with music and noise as a dichotomy of conceptual and compositional relevance to works written or performed by Christians and Jews from the Middle Ages onward. She pays special attention to the repercussions of the dichotomy in music of the eighteenth to twentieth centuries. The present study adds a new dimension to the topic by tracing the oscillation between mu…
The J ewish nose in early modern art and music
The Jewish nose has often been an object of parody in art and literature, most notably in examples of anti‐ S emitic content from F ascist G ermany. Early anthropologists devoted no little energy to the topic in the later nineteenth and early twentieth century. They distinguished the ‘ J ewish’ or ‘ S emitic’ nose from straight, aquiline, flat, and snub noses by its being ‘hooked’. A major study on the J ewish nose, referring to these early essay…
Keḥi kinnor” by Samuel Archivolti (d. 1611): A Wedding Ode with Hidden Messages
Most research has a preliminary story embedded in earlier writings, which raise questions and spawn new inquiries conducive to new findings. The present study was born of other circumstances: I was asked by the directors of the early music group Ensemble Lucidarium if, for purposes of performance, I knew of a translation of Samuel Archivolti's Hebrew wedding ode “Keḥi kinnor” (Take a lyre). I had run across the ode in various listings, but was un…
In Search of the ‘Song Of Zion’: Abraham Portaleone on Music in the Ancient Temple
Abraham Portaleone’s massive disquisition on the Ancient Temple (Sefer shiltei ha-gibborim, 1612) stands alone among Hebrew writings of the early seventeenth century. Of its ninety chapters, ten along with comments in various appendices present his views on the so-called ‘Song of Zion’ (Psalms 137:3), or music sung and played by the Levites for worship in the Temple. Portaleone takes off from the premise that its components, thought to have gradu…
A Tale as Yet Untold: Salamone Rossi in Venice, 1622
An attempt will be made to reconstruct Salamone Rossis Venetian sojourn as it relates, first, to his presumed meetings with two leading Venetian Jews—the rabbi Leon Modena and the poetess Sarra Copia Suiam—and, second, to their influence in shaping his singular collection of Hebrew works, the "Songs of Solomon," which, ever since their publication in mid-1623, have become the cornerstone of Hebrew art music for the synagogue. By drawing on writin…
Madonna Bellina, ‘astounding’ Jewish musician in mid‐sixteenth‐century Venice
Jewish female musicians were a rarity in the sixteenth century, let alone later times. All the more interest attaches to the description of Madonna Bellina, in an ardent ‘love letter’ that the renowned Venetian playwright and satirist Andrea Calmo wrote to her (in Venetian) around 1550, as a Jewess who ‘astounded her listeners’ ( meraveiar i auditori ) by her singing and playing. As the only known document about her, the letter deserves closer in…
On a Jewish musical Renaissance
Daedalus Winter 2008 The title of this essay is best framed as a question: Did the Jews have a musical ‘renascence’ in the Renaissance? It is impossible to answer it without asking a host of others: What is meant by Renaissance? How valid is the term as a chronological or conceptual marker in present-day humanist scholarship? How does it apply to music? Is it relevant to Jewish scholarship–was there in fact a ‘Jewish Renaissance’? Does it include…
"Barucaba" as an Emblem for Jewishness in Early Italian Art Music
The expression "barukh ha-ba," with its various continuations, has a fixed place in Jewish prayer and everyday Hebrew. It will be argued that the frequency of its usage tends to mark it, for non-Jewish hearers, as a typological label for Judaism. The operability of this proposition can be tested upon Italian art music from the sixteenth to seventeenth centuries, with an extension into the nineteenth, more specifically in works that not only integ…
From Mantua to Vienna: A New Look at the Early Seventeenth-Century Dance Suite
There is a gaping hole in the instrumental chamber-music literature at the Habsburg court of Vienna in the early seventeenth century. Of the composers in the employ of Emperor Ferdinand II, Giovanni Battista Buonamente was the only one to publish instrumental chamber works; but Buonamente's origins were Mantuan and the contents of his publications reflect the influence of the sinfonie , sonatas and dances by the leading Mantuan instrumental music…
Jewish Music
Frottola
"Guido Casoni on Love as Music, a Theme "For All Ages and Studies
Onde sappiamo non esser etade,o studio, che sia separato dal canto.In an essay on La magia d'amore, Guido Casoni (d. 1642) demonstrated how music, along with other arts and sciences, is generated by love. On the surface, the essay strikes one as a hodgepodge of fact and fantasy in which the credibility of the data is vitiated by their often whimsical interpretation. But there is more to music than historically or logically verifiable acts or even…
The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance
Frank A. D'Accone. The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago & London: The University of Chicago Press, 1997. xxiii + 862 pp. illus. $70. ISBN: 0-226-13366-4. - Volume 52 Issue 3
Dum Recordaremur Sion ”: Music in the Life and Thought of the Venetian Rabbi Leon Modena (1571–1648)
To gauge the breadth of the topic, it should be said at the outset that music occupied a central place in the thought of Leon Modena and that Modena was not just another rabbi in early seventeenth-century Venice, but, among Italian Jews, perhaps the most remarkable figure of his generation. His authority as a spokesman for his people rests on his vast learning, amassed from a multitude of sources, ancient, modern, Jewish, and Christian. He put hi…
Musicology in Israel 1980-1990
'Musica ficta': "Theories of Accidental Inflections in Vocal Polyphony from Marchetto de Padova to Gioseffo Zarlino" By Karol Berger
Harran discusses and reviews Berger's 1987 book
In Defense of Music. The Case for Music as Argued by a Singer and Scholar of the Late Fifteenth Century
"Harran's "In Search of Harmony
Elegance as a Concept in Sixteenth-Century Music Criticism
”... et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident ... “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content …
Salomone Rossi, Jewish Musician in Renaissance Italy
Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century
Israel Studies in Musicology
Journal Article ISRAEL STUDIES IN MUSICOLOGY Get access DON HARRAN DON HARRAN Chairman, Israel Musicological Society, PO Box 503, Jerusalem, Israel Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 60, Issue 3, July 1979, Pages 379-b–379, https://doi.org/10.1093/ml/60.3.379-b Published: 01 July 1979
In Pursuit of Origins: The Earliest Writing on Text Underlay (c. 1440)
New Light on the Question of Text Underlay Prior to Zarlino
"Guido Casoni on Love as Music, a Theme "For All Ages and Studies
Onde sappiamo non esser etade,o studio, che sia separato dal canto.In an essay on La magia d'amore, Guido Casoni (d. 1642) demonstrated how music, along with other arts and sciences, is generated by love. On the surface, the essay strikes one as a hodgepodge of fact and fantasy in which the credibility of the data is vitiated by their often whimsical interpretation. But there is more to music than historically or logically verifiable acts or even…
Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century
Some Early Examples of the Madrigale Cromatico
Towards a Definition of the Early Secular Dialogue
Journal Article TOWARDS A DEFINITION OF THE EARLY SECULAR DIALOGUE Get access DON HARRAN DON HARRAN Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LI, Issue 1, January 1970, Pages 37–50, https://doi.org/10.1093/ml/LI.1.37 Published: 01 January 1970
The `Sack of Rome' Set to Music
The texts of the early sixteenth-century madrigal are markedly uniform in their content. Love is the main theme, treated in as many variations as issue from the vagaries of the amorous condition (longing, despair, concupiscence, hate, disenchantment, etc.). So uniform, in fact, is the subject matter that when a poem departs from convention, it warrants attention as something of a rara avis. This is the case with the sonnet Trist’ Amarilli mia set…
New Light on the Question of Text Underlay Prior to Zarlino
In Pursuit of Origins: The Earliest Writing on Text Underlay (c. 1440)
Israel Studies in Musicology
Journal Article ISRAEL STUDIES IN MUSICOLOGY Get access DON HARRAN DON HARRAN Chairman, Israel Musicological Society, PO Box 503, Jerusalem, Israel Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 60, Issue 3, July 1979, Pages 379-b–379, https://doi.org/10.1093/ml/60.3.379-b Published: 01 July 1979
Salomone Rossi, Jewish Musician in Renaissance Italy
Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century
Elegance as a Concept in Sixteenth-Century Music Criticism
”... et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident ... “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content …
'Musica ficta': "Theories of Accidental Inflections in Vocal Polyphony from Marchetto de Padova to Gioseffo Zarlino" By Karol Berger
Harran discusses and reviews Berger's 1987 book
In Defense of Music. The Case for Music as Argued by a Singer and Scholar of the Late Fifteenth Century
"Harran's "In Search of Harmony
Musicology in Israel 1980-1990
Dum Recordaremur Sion ”: Music in the Life and Thought of the Venetian Rabbi Leon Modena (1571–1648)
To gauge the breadth of the topic, it should be said at the outset that music occupied a central place in the thought of Leon Modena and that Modena was not just another rabbi in early seventeenth-century Venice, but, among Italian Jews, perhaps the most remarkable figure of his generation. His authority as a spokesman for his people rests on his vast learning, amassed from a multitude of sources, ancient, modern, Jewish, and Christian. He put hi…
The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance
Frank A. D'Accone. The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago & London: The University of Chicago Press, 1997. xxiii + 862 pp. illus. $70. ISBN: 0-226-13366-4. - Volume 52 Issue 3
Jewish Music
Frottola
"Guido Casoni on Love as Music, a Theme "For All Ages and Studies
Onde sappiamo non esser etade,o studio, che sia separato dal canto.In an essay on La magia d'amore, Guido Casoni (d. 1642) demonstrated how music, along with other arts and sciences, is generated by love. On the surface, the essay strikes one as a hodgepodge of fact and fantasy in which the credibility of the data is vitiated by their often whimsical interpretation. But there is more to music than historically or logically verifiable acts or even…
From Mantua to Vienna: A New Look at the Early Seventeenth-Century Dance Suite
There is a gaping hole in the instrumental chamber-music literature at the Habsburg court of Vienna in the early seventeenth century. Of the composers in the employ of Emperor Ferdinand II, Giovanni Battista Buonamente was the only one to publish instrumental chamber works; but Buonamente's origins were Mantuan and the contents of his publications reflect the influence of the sinfonie , sonatas and dances by the leading Mantuan instrumental music…
Madonna Bellina, ‘astounding’ Jewish musician in mid‐sixteenth‐century Venice
Jewish female musicians were a rarity in the sixteenth century, let alone later times. All the more interest attaches to the description of Madonna Bellina, in an ardent ‘love letter’ that the renowned Venetian playwright and satirist Andrea Calmo wrote to her (in Venetian) around 1550, as a Jewess who ‘astounded her listeners’ ( meraveiar i auditori ) by her singing and playing. As the only known document about her, the letter deserves closer in…
On a Jewish musical Renaissance
Daedalus Winter 2008 The title of this essay is best framed as a question: Did the Jews have a musical ‘renascence’ in the Renaissance? It is impossible to answer it without asking a host of others: What is meant by Renaissance? How valid is the term as a chronological or conceptual marker in present-day humanist scholarship? How does it apply to music? Is it relevant to Jewish scholarship–was there in fact a ‘Jewish Renaissance’? Does it include…
"Barucaba" as an Emblem for Jewishness in Early Italian Art Music
The expression "barukh ha-ba," with its various continuations, has a fixed place in Jewish prayer and everyday Hebrew. It will be argued that the frequency of its usage tends to mark it, for non-Jewish hearers, as a typological label for Judaism. The operability of this proposition can be tested upon Italian art music from the sixteenth to seventeenth centuries, with an extension into the nineteenth, more specifically in works that not only integ…
A Tale as Yet Untold: Salamone Rossi in Venice, 1622
An attempt will be made to reconstruct Salamone Rossis Venetian sojourn as it relates, first, to his presumed meetings with two leading Venetian Jews—the rabbi Leon Modena and the poetess Sarra Copia Suiam—and, second, to their influence in shaping his singular collection of Hebrew works, the "Songs of Solomon," which, ever since their publication in mid-1623, have become the cornerstone of Hebrew art music for the synagogue. By drawing on writin…
In Search of the ‘Song Of Zion’: Abraham Portaleone on Music in the Ancient Temple
Abraham Portaleone’s massive disquisition on the Ancient Temple (Sefer shiltei ha-gibborim, 1612) stands alone among Hebrew writings of the early seventeenth century. Of its ninety chapters, ten along with comments in various appendices present his views on the so-called ‘Song of Zion’ (Psalms 137:3), or music sung and played by the Levites for worship in the Temple. Portaleone takes off from the premise that its components, thought to have gradu…
Keḥi kinnor” by Samuel Archivolti (d. 1611): A Wedding Ode with Hidden Messages
Most research has a preliminary story embedded in earlier writings, which raise questions and spawn new inquiries conducive to new findings. The present study was born of other circumstances: I was asked by the directors of the early music group Ensemble Lucidarium if, for purposes of performance, I knew of a translation of Samuel Archivolti's Hebrew wedding ode “Keḥi kinnor” (Take a lyre). I had run across the ode in various listings, but was un…
Art (24 works) · Literature (18 works) · History (15 works) · Philosophy (11 works) · Art history (9 works) · History (8 works) · Judaism (8 works) · Medieval and Classical Philosophy (8 works) · Classics (7 works) · Historical and Linguistic Studies (7 works)