91快播

BIOGRAPHY

BM, Rubin Academy of Music; MFA and DMA, Cornell University

Boaz Tarsi is a professor of music at 91快播. His main research area is the theory of Ashkenazi liturgical music and its role within the liturgical experience as a whole. As a secondary area of academic pursuit, he works on issues in music of the modern era, particularly the composer Arnold Schoenberg. He has published a long line of articles on these subjects in leading scholarly journals, and presented papers and lectures at academic conferences and institutions worldwide. He earned his doctorate at Cornell University.

His compositions for chamber ensembles, orchestra, chorus, voice, and solo instruments have been performed and broadcast throughout the United States, Israel, and Europe, hosted by such institutions as the Bruno Walter Auditorium at Lincoln Center, the 92nd Street Y, Merkin Hall, Cristofori Hall in Amsterdam, the Michelstadt Festival in Germany, the Jerusalem Theatre, Tel Aviv Museum, the American Society for Jewish Music, the National Museum of Jewish History, San Diego Jewish Arts Festival, The Kitchen, and the Adonai Foundation Concert Series in New York City. They have been performed by the New York Chamber Music Society, the Kiev Philharmonic, the Israel Sinfonietta Beer-Sheva, Gary Karr, Musicians Accord, the Lunatics, and Musica Mundana, among others. His liturgical settings and Hebrew art songs are published by Transcontinental Music and are performed often in the United States and Israel.

Among the prizes, awards, and grants Dr. Tarsi has received are the Memorial Foundation for Jewish Culture Fellowship Grant, Meet the Composer, the Littauer Foundation Research Grant for research in Jewish music, ERMMedia听Masterworks Prize for living composers, the Israel Sinfonietta Contest Prize for New Compositions, and the America-Israel Cultural Foundation grants.

His piece “Concert Aria” for soprano and orchestra was recorded by the Kiev Philharmonic and released on a CD in ERM Media’s series Masterworks of the New Era, distributed by Naxos.听His setting for听Ashrei Ha’ish听(published by Transcontinental Music Publications) was released in Berlin on the CD听

Dr. Tarsi collaborated with the Israeli stage director Yossi Yizraeli, with whom he created, wrote the musical arrangements for, and conducted a theater stage event titled听Bratslav-Beethoven-Bratslav. The work was performed at the Israel Festival in Jerusalem in the summer of 2013. The premiere of the English version took place at 91快播 a year earlier.

Dr. Tarsi has been extensively involved with the Milken Archive of Jewish Music’s recording project as a coach, language consultant, and supervisor throughout the United States and Europe, and has contributed guest essays on Mark Lavri, Arnold Schoenberg, and Yehezkel Braun for that project.

As a classically trained baritone, Dr. Tarsi has been active in opera, oratorio, concerts, recitals, and cantorial engagements and synagogue work in the United States, Europe, and Israel.

Selected Performances of Compositions

• Five Movements for Orchestra, The Israel Sinfonietta, 鈥淚sraeli Music Week鈥� Festival, Israel, 2018听
• Concert Aria.听For soprano and orchestra. Kiev Philharmonic, 2005. Released on听Masterworks of the New Era, vol. 14,听ERM Media, 2009, distributed by Naxos.
• Biq’ah Recitative and Dance.听For orchestra. The Israel Sinfonietta Beer-Sheva. Tour of Israel’s main cities, including Jerusalem, Tel-Aviv, Beer Sheva, and kibbutzim, 1985. Radio broadcast on Israel’s The Voice of Music (Kol Ha Musica) radio station.
• Mediterranean Melodies.听For flute, violin, cello, and piano. The Lunatics, New York, 2012; Musica Mundana, University of Pennsylvania, Philadelphia, 2003; Holocaust Memorial Concert, The Kitchen, New York, 1997;听Michelst盲dter Musiknacht听summer festival, Michelst盲dt, Germany, 1995; American Society for Jewish Music Contemporary Composers Concert, New York, 1995; Merkin Hall, New York City, 1992.
• Ani Halachti Az.听For voice and piano. Afternoon of Song, Summit, NJ, 2005; Israel Fiftieth Anniversary Concert, Perth Amboy, NJ, 1997; 91快播, New York, 1990.
• Arrangement of Ani Halachti Az for soprano and string trio, Potsdam Museum, Berlin, 2018
• Arrangements of Two Songs by Paul Ben-Haim (Akara and Litmunat Imi). for soprano and string trio, Potsdam Museum, Berlin, 2018
• Ma Tir’ash Avi.听For voice and piano. Afternoon of Song, Summit, NJ, 2005; Israel Fiftieth Anniversary Concert, Perth Amboy, NJ, 1997; 91快播, New York, 1994, 1991; Jerusalem, 1984, 1982.
• Yarad Ha’ish El Hamidbar.听For voice and piano. Afternoon of Song, Summit, NJ, 2005; 91快播, New York, 1994; Jerusalem, 1982.
• Ashrei Ha’ish.听For voice and piano or organ. 91快播, New York, 1997, 1994, 1990; Musica Habraica concert, Hebrew Union College, New York, 1994; Cantors Assembly Convention, Philadelphia, 1993; The Walter Davidson Memorial Concert, Hebrew Union College, New York, 1992. Included on the CD听Cantorial Highlights of the Synagogue:听 Meisterwerke der Synagogenmusik des 19. und 20. Jahrhunderts,” Berlin: Kulturstiftung der Deutschen Bank, 2001
• Veshameru: A Sabbath Prayer听For chorus and optional piano or organ. Israel Fiftieth Anniversary Concert, New York, 1998.
• Esa Einai: A Prayer of Hope听(Psalm 121). For chorus. Israel Fiftieth Anniversary Concert, New York, 1998.
• From The Song of Songs.听For flute, mezzo soprano, baritone, and piano. San Diego Jewish Arts Festival, 1996; the Jewish Museum, Philadelphia, 1993; 92nd Street Y, New York, 1989.
• Five Songs About Love.听For voice and piano. Commissioned by Motti Kast贸n of the Stuttgart Opera. Adonai Foundation Concert Series, St. Stephan Church, New York, 1996.
• Song Dance and Chorale Fantasy.听For piano solo.听Michelst盲dter Musiknacht听summer festival, Michelst盲dt, Germany, 1995; Cristofori Hall, Amsterdam, 1994; Bruno Walter Auditorium, Lincoln Center, New York, 1993.
• Hashkivenu.听For voice and piano. HUC Alumni Concert, Hebrew Union College, New York, 1994; 91快播, New York, 1994, 1989; cantorial concert at congregation Shaare Zedek, New York, 1993; Cantors Institute Alumni Association Conference, New York, 1991.
• Consecration of the Court鈥擣anfare.听For double-bass, shofar, and piano. Commissioned by Kay Logan of the Chautauqua Institution for Gary Karr and Harmon Lewis. The Alwyn Court, New York, 1993.
• Five Songs on Poems by Wallace Stevens.听For voice and piano. Ithaca, NY, 1987, 1984.
• Chalil.听For flute solo. Ithaca, NY, 1986; Ithaca, NY, 1985.
• Theme and Variations.听For piano solo. Jerusalem, 1984; Recanati Hall, Tel Aviv Museum, as part of the Young Artist Concert, 1983. Broadcast on Israel’s Voice of Music radio station, 1983.
• Three Songs on Poems by Natan Yehonatan.听For voice and piano. Ithaca, NY, 1986.
• Se’i Yona.听For viola and piano, arrangement of a Yemenite song. Commissioned by Nancy Ascher (First Violist, the Jerusalem Symphony), 1982.
• Death Song and the Reminiscence of a Tune.听For flute, soprano, viola, and piano. Jerusalem, 1981.
• Something.听For flute, oboe, and bassoon. Jerusalem, 1981.
• Invention.听For flute solo, 1981. Jerusalem, 1981.
• Azure.听For flute solo. Tel Aviv, 1976.

Publications

• 鈥�Nehama Shel Harikat Shinaiym,鈥� (in Hebrew),听Salonet, 2021.
• 鈥淯ncovering the Music Theory of the Ashkenazi Liturgical Music: 鈥�Adonai Malach鈥� as a Case Study,鈥澨�TheJournal of Analytical Approaches to World Music, 2020.
• 鈥�,鈥� Journal of Musicological Research, 2017.
• “The Early Attempts at Creating a Theory of Ashkenazi Liturgical Music.” In听J眉dische Musik als Dialog der Kulturen (Jewish Music as a Dialogue of Cultures),听edited by Jascha Nemtsov, 59鈥�69. Wiesbaden, Germany: Harrassowitz Verlag, 2013.
• “How Music Articulates Structure, Meaning, and Perception: The Kaddish.” In听The Experience of Jewish Liturgy: Studies Dedicated to Menahem Schmelzer, edited by Debra Reed Blank, 309鈥�40. Boston: Brill, 2011.
• “On a Particular Case of Tonal, Modal, and Motivic Components in Sources for Liturgical Music of East and West European Origins,” in听, edited by Tamar Alexander-Frizer, Yosef Tobi, Dan Laor, Ora Schwartwald, and Ziva Amishai-Maisels, 145鈥�64. Jerusalem: World Union of Jewish Studies, Magnes, 2009.
• “Music Theory as an Expression of Musical and Extra-Musical Views Reflected in Leib Glantz’s Liturgical Settings,”听Leib Glantz: The Man Who Spoke to God, edited by Jerry Glantz, 175鈥�95. Tel Aviv: Tel Aviv Institute for Jewish Liturgical Music, 2008.
• “Congregational Singing as a Norm of Performance Within the Modal Framework of Ashkenazi Liturgical Music.”听Journal of Synagogue Music听30, no. 1 (2005): 63鈥�95.
• “On the Placement of Hebrew Accents: Correct, Hypercorrect, Necessary, and Unnecessary Adjustments of Hebrew Accentuation in the Synagogue鈥擳he Musical Considerations.”听Journal of Synagogue Music听29, vol. 1 (Summer/Fall 2003): 1鈥�30.
• “.”听Indiana听Theory Review听23 (2002): 153鈥�83.
• “Voices in the Sanctuary: Musical Practices of the American Synagogue.”听Conservative Judaism听55, 1 (2002): 61鈥�73.
• “.”听Asian Music 33,听no. 2 (2002): 175鈥�219.
• “Toward a Clearer Definition of the听Magen Avot听Mode.”听Musica Judaica听16 (2001鈥�2002): 53鈥�79.
• “Manifestations of Arnold Schoenberg’s Abstract Versus Concrete Dichotomy.”听Modern Judaism 21, no. 3 (2001): 238鈥�55.
• “The听Adonai Malach听Mode in Ashkenazi Prayer Music: The Problem Stated and a Proposed Outlook Based on Musical Characteristics.”听Proceedings of the Thirteenth World Congress of Jewish Studies(2001): 1鈥�20.
• “.”听Musica Judaica 12听(1991鈥�1992): 52鈥�64.
• “Tonality and Motivic Interrelationships in the Performance-Practice of听Nusach.”听Journal of Synagogue Music 21, no. 1 (1991): 5鈥�27.
• “George Rochberg: The Composer Who Returned to Tonality.”听Music in Time. (1983鈥�84): 18鈥�22.
• “Hashkivenu”听for voice and piano.听Journal of Synagogue Music听22, no. 1鈥�2 (1992): 104鈥�109.

PUBLISHED COMPOSITIONS

• Three Songs for voice and piano, IMI Publication, September 2022.
• Ma Tir’ash Avi for voice and piano, Transcontinental Music Publications, 2002. (out of print)
• Two Hebrew Songs for voice and piano, Transcontinental Music Publications, 2002. (out of print)
• “Ashrei Ha’ish”听for voice and piano. New York: Transcontinental Music Publications, 1993.
• Hashkivenu for voice and piano, Journal of Synagogue Music, 1992.

COMPOSITIONS IN CD RELEASES

• Concert Aria, in听Masterworks of the Twenty-First Century, The Kiev Philharmonic,听ERM Media, 2009. Distributed by Naxos.
• Ashrey Ha’ish, in听Cantorial Highlights of the Synagogue: Meisterwerke der Synagogenmusik des 19. und 20. Jahrthunderts, Berlin, 2001.

Theater Pieces

• Musical director,听“Beethoven-Bratzlav-Beethoven.” Cocreated with Yossi Yizraeli; a music and theater stage event. Concept, musical arrangements, coaching performers, running rehearsals, conducting performances, and supervising recordings. New York, 2013, Israel Festival, 2014.

Grants, Fellowships, and Awards

• Priha Me’uheret contest for poets’ first book. Israel, May 2023. Honorable mention.
• ERMMedia听Masterworks Prize for living composers (for听Concert Aria)
• Memorial Foundation for Jewish Culture Fellowship Grant
• Meet the Composer
• Littauer Foundation Research Grant for research in Jewish music
• Israel Sinfonietta Contest Prize for New Compositions (for听Biq’ah Recitative and Dance)
• Solomon and Rose S. Lasdon Prize at 91快播 for a successful translation of the idea of Judaism into a significant work of art or scholarship (for听From the Song of Songs)
• America-Israel Cultural Foundation grants
• Cornell University Fellowship
• Cornell University assistantships
• Jerusalem (Rubin) Academy of Music and Dance scholarships

Research

Dr. Tarsi’s research interests include theory of Ashkenazi liturgical music; music theory; music composition; music history; vocal music and vocal performance; ethnomusicology; music hermeneutics; musicology; musical modes; interrelationships among textual, intertextual, structural, and musical aspects of Jewish liturgy; synagogue music and ritual; linguistic considerations in the musical performance of Jewish liturgy; phenomenology of the performance of liturgical Jewish music; implementation of literary analysis models on liturgical texts; unpacking the “manner of conduct” of the liturgical music of Ashkenazi tradition and uncovering the metalangue of this practice; the connection between the different given, pre-set constituents鈥攍anguage, music, “autonomous meaning,” textual variables, performance, and ritual鈥攁nd the liturgical experience, and how to effect the latter from the former.