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	<title>Comments for Byron's Blog on Music, Performance and Research</title>
	<link>http://www.bymusic.org/components/com_mojo</link>
	<description>Music, Performance and Research</description>
	<pubDate>Wed, 19 Jun 2013 04:09:10 +0000</pubDate>
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		<title>Comment on Share your formative performance experiences by Alejandra Vega</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=121#comment-13227</link>
		<pubDate>Sat, 31 Oct 2009 03:29:38 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=121#comment-13227</guid>
					<description>My first public performance was intense and moving. I was 5 o 6 and played Andean folk music in a wind ethnic instrument called &quot;pinkullo&quot;. I performed with other people, they were students of folkloric music and there was a another group of students folk dances on the stage. I was so young that I couldn't grasp the meaning of being on a stage until I was there, playing, surprised by the coloured dancers' clothes (I was wearing traditional clothes too). The other performers were mainly adolescents, so they send me to the front because I was the shortest... 
Everything seemed natural to me. I was just playing (in the sense of playing a game). I wasn't really aware of the &quot;show&quot;, the public, being evaluated, many issues with which I have to deal later... The experience was so positive that the memories of that moment have been scaffolding me during my whole life as a musician. I will always cherish that performance... it has been cherishing me for years.</description>
		<content:encoded><![CDATA[<p>My first public performance was intense and moving. I was 5 o 6 and played Andean folk music in a wind ethnic instrument called &#8220;pinkullo&#8221;. I performed with other people, they were students of folkloric music and there was a another group of students folk dances on the stage. I was so young that I couldn&#8217;t grasp the meaning of being on a stage until I was there, playing, surprised by the coloured dancers&#8217; clothes (I was wearing traditional clothes too). The other performers were mainly adolescents, so they send me to the front because I was the shortest&#8230;<br />
Everything seemed natural to me. I was just playing (in the sense of playing a game). I wasn&#8217;t really aware of the &#8220;show&#8221;, the public, being evaluated, many issues with which I have to deal later&#8230; The experience was so positive that the memories of that moment have been scaffolding me during my whole life as a musician. I will always cherish that performance&#8230; it has been cherishing me for years.
</p>
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		<title>Comment on Save the Music Library in Tel-Aviv - sign petition now! by James L. Zychowicz</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=118#comment-12867</link>
		<pubDate>Fri, 23 Oct 2009 05:51:48 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=118#comment-12867</guid>
					<description>I just want to mention that as a Mahler specialist, I find it important to maintain the Music Library in Tel-Aviv, since it contains some important materials related to this composer. I'll be glad to sign the petition.</description>
		<content:encoded><![CDATA[<p>I just want to mention that as a Mahler specialist, I find it important to maintain the Music Library in Tel-Aviv, since it contains some important materials related to this composer. I&#8217;ll be glad to sign the petition.
</p>
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		<title>Comment on Save the Music Library in Tel-Aviv - sign petition now! by PhD. Yehudit Carmon</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=118#comment-12865</link>
		<pubDate>Fri, 23 Oct 2009 05:39:59 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=118#comment-12865</guid>
					<description>היות ובספריה זו ישנה מורשתו של הוברמן ושל עוד מוסיקאים תל-אביביים חשובים (שהכרתי),
 נראה לי שכדאי לפנות גם למי שאוצר את הספריה של הפילהרמונית.
נראה לי שגם להם יהיה אכפת מעזבונו של מייסדם הוברמן ומהתל-אביבים שאת יצירותיהם נגנו.
אולי ישתפו פעולה הם עם עיריית תל-אביב (שאכן יורדת ויורדת ברמת התרבות של, למרות שמביאה פעם בשנה את הפילהרמונית לפארק יהושוע...)
יישר כח על העצומה, ועל זכייתך בקרן עבור כתיבה על שנברג.
המתחיל במצווה אומרים לו גמור, לכן העברתי לך את הרעיון לשתף את הפילהרמונית בעניין.
                                                                                                                     בברכה
                                                                                                                                     יהודית
PhD. Yehudit Carmon
Phone: 972-3-5238193
Fax: 972-3-5291330
carmonj@013.net</description>
		<content:encoded><![CDATA[<p>היות ובספריה זו ישנה מורשתו של הוברמן ושל עוד מוסיקאים תל-אביביים חשובים (שהכרתי),<br />
 נראה לי שכדאי לפנות גם למי שאוצר את הספריה של הפילהרמונית.<br />
נראה לי שגם להם יהיה אכפת מעזבונו של מייסדם הוברמן ומהתל-אביבים שאת יצירותיהם נגנו.<br />
אולי ישתפו פעולה הם עם עיריית תל-אביב (שאכן יורדת ויורדת ברמת התרבות של, למרות שמביאה פעם בשנה את הפילהרמונית לפארק יהושוע&#8230;)<br />
יישר כח על העצומה, ועל זכייתך בקרן עבור כתיבה על שנברג.<br />
המתחיל במצווה אומרים לו גמור, לכן העברתי לך את הרעיון לשתף את הפילהרמונית בעניין.<br />
                                                                                                                     בברכה<br />
                                                                                                                                     יהודית<br />
PhD. Yehudit Carmon<br />
Phone: 972-3-5238193<br />
Fax: 972-3-5291330<br />
<a href="mailto:carmonj@013.net">carmonj@013.net</a>
</p>
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		<title>Comment on Save the Music Library in Tel-Aviv - sign petition now! by Erik Levi</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=118#comment-12597</link>
		<pubDate>Tue, 13 Oct 2009 13:45:55 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=118#comment-12597</guid>
					<description>It would be scandalous to cut back on such a vital resource for musicians</description>
		<content:encoded><![CDATA[<p>It would be scandalous to cut back on such a vital resource for musicians
</p>
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		<title>Comment on Evaluating Sprechstimme: what early recordings tell us - the chapter by Gernot von Schultzendorff</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=109#comment-11379</link>
		<pubDate>Fri, 04 Sep 2009 07:26:51 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=109#comment-11379</guid>
					<description>This very interesting overview inspired me to write about &quot;Vereinbarung von Gegensätzen in der musikalischen Interpretation von Beethoven 9. Sinfonie und Schönbergs »Pierrot lunaire«&quot; (coincidence of opposites in the musical interpretation of Beethoven`s 9th symphony and Schönberg`s »Pierrot lunaire«): http://musikalischeinterpretation.blogspot.com/2009/09/vereinbarung-von-gegensatzen-in-der_03.html

Thank you!</description>
		<content:encoded><![CDATA[<p>This very interesting overview inspired me to write about &#8220;Vereinbarung von Gegensätzen in der musikalischen Interpretation von Beethoven 9. Sinfonie und Schönbergs »Pierrot lunaire«&#8221; (coincidence of opposites in the musical interpretation of Beethoven`s 9th symphony and Schönberg`s »Pierrot lunaire«): <a href='http://musikalischeinterpretation.blogspot.com/2009/09/vereinbarung-von-gegensatzen-in-der_03.html' rel='nofollow'>http://musikalischeinterpretation.blogspot.com/2009/09/vereinbarung-von-gegensatzen-in-der_03.html</a></p>
<p>Thank you!
</p>
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		<title>Comment on 9 Tips for creating and publishing academic research by Jonathan Dunsby</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=107#comment-11134</link>
		<pubDate>Mon, 24 Aug 2009 11:11:31 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=107#comment-11134</guid>
					<description>Re No. 8: In my circles we often used to quote a London University music theorist who would say, &quot;always show your drafts to your worst enemy&quot;! Something to think about in that.</description>
		<content:encoded><![CDATA[<p>Re No. 8: In my circles we often used to quote a London University music theorist who would say, &#8220;always show your drafts to your worst enemy&#8221;! Something to think about in that.
</p>
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		<title>Comment on The Berliner Philharmoniker’s FIRST FULL SEASON OF live webcasts by Gernot von Schultzendorff</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=98#comment-11053</link>
		<pubDate>Tue, 18 Aug 2009 21:37:11 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=98#comment-11053</guid>
					<description>This seems to be an offer with a very professional audio and video, and I think the price is reasonable for 33 concerts and the archive. It is a bit more expensive than my Napster Flatrate (149€  119€ / year) and could be an very welcome complement. So I am seriously thinking about subscribing. I admit that it is the whole package which attracts me - the level of the orchestra, the conductors, the soloists, the pieces played. What I expect is a very good overview about the best contemporary classical musicians playing in live concerts.

If (cinema) films are offered in the Internet (i.e. theauteurs.com) nobody questions that it is charged. Of course: people have to earn money, and there will be far more offers like this in very different fields. Still the best informations are in books, not in the internet. And we got used to get i.e. YouTube videos free of charge, but many of them are in questionable quality, mostly just good enough for historic documents or as appetizers.

The internet has already demolished a lot of jobs, and before there are no commercial recordings, films and books any more in only a few years it is essential that ways are found to earn money in the internet.</description>
		<content:encoded><![CDATA[<p>This seems to be an offer with a very professional audio and video, and I think the price is reasonable for 33 concerts and the archive. It is a bit more expensive than my Napster Flatrate (149€  119€ / year) and could be an very welcome complement. So I am seriously thinking about subscribing. I admit that it is the whole package which attracts me - the level of the orchestra, the conductors, the soloists, the pieces played. What I expect is a very good overview about the best contemporary classical musicians playing in live concerts.</p>
<p>If (cinema) films are offered in the Internet (i.e. theauteurs.com) nobody questions that it is charged. Of course: people have to earn money, and there will be far more offers like this in very different fields. Still the best informations are in books, not in the internet. And we got used to get i.e. YouTube videos free of charge, but many of them are in questionable quality, mostly just good enough for historic documents or as appetizers.</p>
<p>The internet has already demolished a lot of jobs, and before there are no commercial recordings, films and books any more in only a few years it is essential that ways are found to earn money in the internet.
</p>
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		<title>Comment on Fair notification of music jobs in higher education by Yossi Maurey</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=102#comment-10989</link>
		<pubDate>Sat, 15 Aug 2009 09:58:42 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=102#comment-10989</guid>
					<description>Hi Byron,

I am the other person you mentioned alongside Elisheva Rigbi's, the one who reportedly did not acknowledge the problem. I have no idea why you chose not to mention my name, as if my post to you was anonymous or secretive, whereas it was, in fact, public and open. Was this to enhance the &quot;feeling of secrecy&quot; you talked about? 

I will speak only about the Hebrew University of Jerusalem, which I know the best. As for tenure-track positions - announcements are published not only in the newspapers, but also on the university's web-site, and perhaps in other venues that I am not aware of. True, there are almost no such positions in Musicology in recent years, but when there are, they are announced fairly and squarely. Since you yourself claim to have applied for one, you surely got notice of it somehow (indeed, how?), so I am not sure what veil of secrecy you wish to get rid of.  As for the review process itself - it may be shrouded in secrecy, but the time-table is always provided, and you get notifications if you made it to the next stage or not. Was this not the case with you? We all want to know more about such processes, but I don't know a single place in the world that would share such information with applicants, really. You are trying to paint a picture of a horrified community of scholars too afraid of voicing its true complaints in public, preferring, instead, to call you. Without giving out their names, of course, I wonder if you can share some of the concerns and experience they shared with you, if you can.

As it pertains to non tenure-track positions, and to colleges and high-schools (about which I know virtually nothing), there may indeed be a problem. Does your musicologist source who told you about recent hirings in her department refer to tenure-track faculty members? I find this impossible to believe, to be honest. If, however, we are talking about adjunct positions, this may well be the case. Yet, I am not sure that there is an obligation to have an official search for an adjunct position at a university, for instance. We can all picture the following: a PhD candidate is asked to teach a course in the area of his/her expertise for a year or two, such a student asked to TA, and so forth and so on. Whereas there is a legal (or institutional decree) obligation to make an official search for a tenure-track position, I am not sure there is one when it comes to adjunct positions - is this where the problem lies? Maybe some one else can answer this question. 

I do agree that we need to have a central place (maybe the Iggud's web-site?) where all such positioned will be made public. I wonder if such a list can be obtained by the ministry of education? just a thought.

In sum, I do not subscribe to the attempt to conjure up conspiracy theories when it comes to universities in Israel. I have made my claims public and I stand behind what I wrote here disclosing my identity (contrary to what you implied in the opening of your blog, Byron). In order for the discussion to be serious and trust-worthy, those who believe otherwise should step forward using their true identities, and put their money where their mouth is.

Yossi

You can read Avior Byron's response here: http://www.bymusic.org/blog/2009/08/Open-letter-to-Yossi-Maurey.html</description>
		<content:encoded><![CDATA[<p>Hi Byron,</p>
<p>I am the other person you mentioned alongside Elisheva Rigbi&#8217;s, the one who reportedly did not acknowledge the problem. I have no idea why you chose not to mention my name, as if my post to you was anonymous or secretive, whereas it was, in fact, public and open. Was this to enhance the &#8220;feeling of secrecy&#8221; you talked about? </p>
<p>I will speak only about the Hebrew University of Jerusalem, which I know the best. As for tenure-track positions - announcements are published not only in the newspapers, but also on the university&#8217;s web-site, and perhaps in other venues that I am not aware of. True, there are almost no such positions in Musicology in recent years, but when there are, they are announced fairly and squarely. Since you yourself claim to have applied for one, you surely got notice of it somehow (indeed, how?), so I am not sure what veil of secrecy you wish to get rid of.  As for the review process itself - it may be shrouded in secrecy, but the time-table is always provided, and you get notifications if you made it to the next stage or not. Was this not the case with you? We all want to know more about such processes, but I don&#8217;t know a single place in the world that would share such information with applicants, really. You are trying to paint a picture of a horrified community of scholars too afraid of voicing its true complaints in public, preferring, instead, to call you. Without giving out their names, of course, I wonder if you can share some of the concerns and experience they shared with you, if you can.</p>
<p>As it pertains to non tenure-track positions, and to colleges and high-schools (about which I know virtually nothing), there may indeed be a problem. Does your musicologist source who told you about recent hirings in her department refer to tenure-track faculty members? I find this impossible to believe, to be honest. If, however, we are talking about adjunct positions, this may well be the case. Yet, I am not sure that there is an obligation to have an official search for an adjunct position at a university, for instance. We can all picture the following: a PhD candidate is asked to teach a course in the area of his/her expertise for a year or two, such a student asked to TA, and so forth and so on. Whereas there is a legal (or institutional decree) obligation to make an official search for a tenure-track position, I am not sure there is one when it comes to adjunct positions - is this where the problem lies? Maybe some one else can answer this question. </p>
<p>I do agree that we need to have a central place (maybe the Iggud&#8217;s web-site?) where all such positioned will be made public. I wonder if such a list can be obtained by the ministry of education? just a thought.</p>
<p>In sum, I do not subscribe to the attempt to conjure up conspiracy theories when it comes to universities in Israel. I have made my claims public and I stand behind what I wrote here disclosing my identity (contrary to what you implied in the opening of your blog, Byron). In order for the discussion to be serious and trust-worthy, those who believe otherwise should step forward using their true identities, and put their money where their mouth is.</p>
<p>Yossi</p>
<p>You can read Avior Byron&#8217;s response here: <a href='http://www.bymusic.org/blog/2009/08/Open-letter-to-Yossi-Maurey.html' rel='nofollow'>http://www.bymusic.org/blog/2009/08/Open-letter-to-Yossi-Maurey.html</a>
</p>
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		<title>Comment on Follow my research on Pierrot lunaire early recording live on Twitter by Richard Ranft</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=96#comment-10819</link>
		<pubDate>Wed, 05 Aug 2009 16:46:27 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=96#comment-10819</guid>
					<description>Hi Byron, simple really, I run the Sound Archive's Twitter account. My Tweetdeck application picked up one of your tweets that contained the phrase 'Sound Archive'.  Keep up the good work, don't let me distract you! Richard Ranft</description>
		<content:encoded><![CDATA[<p>Hi Byron, simple really, I run the Sound Archive&#8217;s Twitter account. My Tweetdeck application picked up one of your tweets that contained the phrase &#8216;Sound Archive&#8217;.  Keep up the good work, don&#8217;t let me distract you! Richard Ranft
</p>
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		<title>Comment on How to write a blog for a small but devoted audience by RaiulBaztepo</title>
		<link>index.php?option=com_mojo&amp;Itemid=36&amp;p=74#comment-6105</link>
		<pubDate>Tue, 31 Mar 2009 20:43:48 +0000</pubDate>
		<guid>index.php?option=com_mojo&amp;Itemid=36&amp;p=74#comment-6105</guid>
					<description>Hello!
Very Interesting post! Thank you for such interesting resource! 
PS: Sorry for my bad english, I'v just started to learn this language ;)
See you! 
Your, Raiul Baztepo</description>
		<content:encoded><![CDATA[<p>Hello!<br />
Very Interesting post! Thank you for such interesting resource!<br />
PS: Sorry for my bad english, I&#8217;v just started to learn this language <img src='http://www.bymusic.org/components/com_mojo/wp-includes/images/smilies/icon_wink.gif' alt=';)' class='wp-smiley' /><br />
See you!<br />
Your, Raiul Baztepo
</p>
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