Associate Director, Senior Curator of Musical Instruments and Professor of Music, National Music Museum & Center for Study of the History of Musical Instruments, The University of South Dakota. 1978-present. Responsibilities include: overseeing care and academic interpretation of objects, materials, and specimens belonging to the Museum; cataloging of museum collections, including scholarly determination of classification, dating, and provenance; conducting research about the Museum’s collections and publishing the results of that research; conducting research that will lead to the discovery of new knowledge or new applications of existing knowledge; teaching graduate-level courses in the history and technology of musical instruments (for unique M.M. degree with specialization in the history of musical instruments) and Museum Studies; and creation, development, and maintenance of website. Specialist in 19th-20th-century American Musical Instrument Manufacturing, particularly the C. G. Conn company of Elkhart, Indiana, and other Midwestern musical instrument manufacturers.
I am a literary critic, specialising in 19th- and 20th-century English literature, and literary theory, with a particular focus on the work of Jacques Derrida. In addition to having written or edited more than 40 books of criticism, I have also published a novel, Silent Music, and two collections of poetry, Draping the Sky for a Snowfall and The Grand European Bestiary, the latter a bilingual collection, in Polish and English (Polish translations by Monika Szuba).
Samuel Zerin is a musicologist, music theorist, composer, and pianist. He is a chief editor of the International Journal of the Study of Music and Musical Performance (forthcoming) and has held teaching positions at New York University and Brown University.
His PhD dissertation, for defense in April 2018 at New York University, is the first critical biography of the Russian-Jewish violinist and composer Joseph Achron (1886-1943) and a theoretical investigation of late Romantic paradigms surrounding child prodigies and performer-composers. His research on music of the long 19th century focuses primarily on virtuosity, transcription, and supernatural creatures. He is a specialist in early 20th century Jewish musical nationalism, and has broader analytical interests in 21st century Yiddish pop songs and Disney music.
In 2010, he founded the Joseph Achron Society, working together with musicians and scholars from over a dozen countries to revive the forgotten legacy of this brilliant musician. In this role, he has been editing and publishing first editions of Achron’s manuscript works, in addition to networking musicians and fundraising. He has also worked as a music archivist, creating an online archive of rare Jewish classical scores at the website of the American Society for Jewish Music and processing, sorting, and cataloguing thousands of manuscripts, published scores, and other archival music documents at the New York campus of Hebrew Union College.
Zerin is also an amateur polyglot, with particularly strong interests in Yiddish, Russian, and the Scandinavian languages.
I graduated from the Department of History, Faculty of Art and Sciences, Uludag University, in 2002. I studied about post-war generation, 20th century social history, subcultures and these music cultures and social movements between 2004–2010. I converted these studies into a text. And then, the text was published with name of “Taşlar Kimin İçin Yuvarlanıyor?” (For Whom The Stones Rolling?) by 6.45 Publication in Jan. 2012. I am graduate student in Akdeniz University, Social Sciences Institute, department of history now. And I am studying about crime, violence, criminality, and criminals in Antalya in the 19th century Ottoman Empire era at present.
This thesis re-situates sampling and the mashup in a broader tradition of musical borrowing and oral practice. Musical creators in the West borrowed throughout history; the variety and quantity of this borrowing remains dependent on the proprietary status of music. Copyright was first applied to music to protect printed scores, and is thus ill equipped to accommodate works that borrow recorded elements. Taking Ong’s concept of “secondary orality” as applied to hip hop by Tricia Rose, this thesis connects techniques of musical borrowing in the Middle Ages with those in the late-20th and 21st centuries through several close readings of representative works. By necessity, these orally circulating works are shared within a knowing community, one that understands the references and values continuing dialogue more than the contributions of individuals. Finally, this thesis makes recommendations for copyright reform, seeking to ensure that music with borrowed parts can continue to circulate in both commercial and non-commercial spheres.
I earned a PhD degree in Musicology/Sociology from Leeds Beckett University. I taught “Composition Techniques in 20th century”, “Critical Perspectives in Musical Composition”, “Introduction to Sociology”, and “Social Thought in Movies” at various institutions and departments. I come from a computer science and engineering and historical musicology background. My PhD thesis focused on the genealogy of death/doom metal music networks in northern England. I have previously worked on John Dowland’s religious oeuvre and Elizabethan social structures in 17th century; and I have also written a dissertation on the ideas of death and suicide in depressive suicidal black metal music. My research interests include extreme metal cultures, gaming cultures, and sociology of scientific knowledge among others.
The changes introduced by the new models of production, established from the middle of the 20thcentury in many European factories, showed a shift in the musical behaviour and idiosyncrasy of those used to work in a pre-capitalistic environment. Many workers in the shoemaking sector experienced this dramatic change in first person. Although they used to be known for their singing nature and their active participation in the musical life of their villages, the mechanisation and increasing demand of production forced many of them to leave their artisanal work, and consequently their musical practices in the working environment. This paper will explore the changes occurred in the musical practices of the shoemakers from Menorca (Balearic Islands) from the beginning of the 20th century until nowadays, in relation to their working places. The transformation they experienced was mainly unchained by the introduction of industrial capitalistic models, but it also appeared reflected on the introduction of new musical and technological tools. After more than thirty interviews and extended fieldwork, this presentation will show some of our first findings and conclusions in the search for the main triggers in the transformation of the musical practices among the islander shoemakers. Presentat a les Jornades del Patrimoni Industrial de Menorca. Maó: 6/11/2015.
In arguing that underneath the placid, ‘stripped-down’ style of Socrate there lurks a hidden violence, this essay does not focus on Satie’s compositional process, documented in his notebooks; instead, it examines Socrate’s performance history and the creation of the work’s libretto, which the composer completed before sketching his musical ideas. Satie’s novel selection and setting of the text is critical to this reading. The author examines how Satie reinterprets the violent myth of Marsyas and Apollo in the first movement, and how he ruminates on Socrates’s dying words in the last movement. Understanding the ideas and events that led to the creation of Satie’s enigmatic masterpiece allows us to view Socrate’s portrayal of Plato’s dialogues as part of a project of dépouillement, a neoclassical aesthetic that sought to strip down musical material in favor of an ascetic aesthetic uniting musical and moral Hellenism. This reading of Socrate allows us to reexamine the early 20th-century style dépouillé and to place Socrate at the center of debates on Socrates, Hellenism, and morality.
The article concentrates on two small and little known dramatic texts (pageants) written by E. M. Forster in the late 1930s entitled The Abinger Pageant and England’s Pleasant Land. The introductory part introduces the history of pageant in the early 20th century. The article presents briefly Forster’s earlier, mostly unsuccessful, dramatic experiments, analyses the two texts, their staging and publishing history of the two playlets, as well as their place in Forster’s further development as an artist as well as their place in Forsterian criticism. Certain consideration is also given to their musical setting as well as their author’s cooperation with the composer Ralph Vaughan Williams.