Jews and Armenians are often perceived as peoples with similar tragic historical experiences. Not only were both groups forced into statelessness and a life outside their homelands for centuries, in the 20th century, in the shadow of war, they were threatened with collective annihilation. Thus far, academic approaches to these two "classical" diasporas have been quite different. Moreover, Armenian and Jewish questions posed during the 19th and 20th centuries have usually been treated separately. The conference "We Will Live After Babylon" that took place in Hanover in February 2019, addressed this gap in research and was one of the first initiatives to deal directly with Jewish and Armenian historical experiences, between expulsion, exile and annihilation, in a comparative framework. The contributions in this volume take on multidisciplinary approaches relating to the conference's central themes: diaspora, minority issues and genocide.

'Cultural mapping' has become a central keyword in the UNESCO strategy to protect natural and world cultural heritage, including music traditions. As a tool to increase the awareness of cultural diversity it transforms the concept of intangible cultural heritage to visible items by establishing multi-dimensional profiles of cultures and communities. Cultural mapping has been used as a resource for a variety of purposes as broad as the analysis of conflict points and peace building, adaptation to climate change, sustainability management, as well as heritage debates and management. Music has been playing a significant role in each of these aspects. As this theme has rarely been explored within ethnomusicology, this collection approaches the topic of cultural mapping from four different thematic perspectives: The book starts out with historical and methodological reflections on cultural mapping in ethnomusicology, followed by an exploration on possible relation between nature/ landscape (and definition of such) and music/ sound. How exactly is landscape interrelated with music - and identified (and vice versa)? The second half focuses more specifically on the UNESCO Intangible Cultural Heritage. The articles not only address the broader political framework, but also thematic and geographic case studies of Intangible Cultural Heritage and music, as well as the pro of UNESCO's endeavours.

In the 1960s, Jewish music in America began to evolve. Traditional liturgical tunes developed into a blend of secular and sacred sound that became known in the 1980s as "American Nusach." Chief among these developments was the growth of feminist Jewish songwriting. In this lively study, Sarah M. Ross brings together scholarship on Jewish liturgy, U.S. history, and musical ethnology to describe the multiple roots and development of feminist Jewish music in the last quarter of the twentieth century. Focusing on the work of prolific songwriters such as Debbie Friedman, Rabbi Geela Rayzel Raphael, Rabbi Hanna Tiferet Siegel, and Linda Hirschhorn, this volume illuminates the biographies and oeuvres of innovators in the field, and shows how this new musical form arose from the rich contexts of feminism, identity politics, folk music, and Judaism. In addition to providing deep content analysis of individual songs, Ross examines the feminist Jewish music scene across the United States, the reception of this music, challenges to disseminating the music beyond informal settings, and the state of Jewish music publishing. Rounding out the picture of the transformation of Jewish music, the volume contains appendixes of songs and songwriters a selection of musical transcriptions of feminist Jewish songs, and a comprehensive discography. This book will interest scholars and students in the fields of American Jewish history, women's studies, feminism, ethnomusicology, and contemporary popular and folk music.

Seit den 1960er Jahren steigt in Europa die Zahl der judischen Kulturerbeprojekte. Im Gedenken an die Schoa suchen Nichtjuden die Relikte der Vergangenheit zu bewahren und lassen dabei nicht selten die gegenwartigen judischen Gemeinden ausser Acht. Die Autorinnen unterziehen diese Praxis des "authorized heritage" einer kritischen Betrachtung. Mit Blick auf das judische Kulturerbe Musik enthullen sie vor dem Hintergrund aktueller Debatten um kulturelle Nachhaltigkeit die Gefahren von Konstruktion, kultureller Aneignung und Instrumentalisierung des Erbes. Mit der Diskussion innerjudischer Nachhaltigkeitskonzepte, flankiert von philosophischen Thesen zum Erbe und zur Verantwortung fur den Anderen, werden Denkanstoesse fur einen neuen, zukunftsorientierten Umgang mit judischem Kulturerbe gegeben.

In the 1960s, Jewish music in America began to evolve. Traditional liturgical tunes developed into a blend of secular and sacred sound that became known in the 1980s as "American Nusach." Chief among these developments was the growth of feminist Jewish songwriting. In this lively study, Sarah M. Ross brings together scholarship on Jewish liturgy, U.S. history, and musical ethnology to describe the multiple roots and development of feminist Jewish music in the last quarter of the twentieth century. Focusing on the work of prolific songwriters such as Debbie Friedman, Rabbi Geela Rayzel Raphael, Rabbi Hanna Tiferet Siegel, and Linda Hirschhorn, this volume illuminates the biographies and oeuvres of innovators in the field, and shows how this new musical form arose from the rich contexts of feminism, identity politics, folk music, and Judaism. In addition to providing deep content analysis of individual songs, Ross examines the feminist Jewish music scene across the United States, the reception of this music, challenges to disseminating the music beyond informal settings, and the state of Jewish music publishing. Rounding out the picture of the transformation of Jewish music, the volume contains appendixes of songs and songwriters a selection of musical transcriptions of feminist Jewish songs, and a comprehensive discography. This book will interest scholars and students in the fields of American Jewish history, women's studies, feminism, ethnomusicology, and contemporary popular and folk music.

'Cultural mapping' has become a central keyword in the UNESCO strategy to protect natural and world cultural heritage, including music traditions. As a tool to increase the awareness of cultural diversity it transforms the concept of intangible cultural heritage to visible items by establishing multi-dimensional profiles of cultures and communities. Cultural mapping has been used as a resource for a variety of purposes as broad as the analysis of conflict points and peace building, adaptation to climate change, sustainability management, as well as heritage debates and management. Music has been playing a significant role in each of these aspects. As this theme has rarely been explored within ethnomusicology, this collection approaches the topic of cultural mapping from four different thematic perspectives: The book starts out with historical and methodological reflections on cultural mapping in ethnomusicology, followed by an exploration on possible relation between nature/ landscape (and definition of such) and music/ sound. How exactly is landscape interrelated with music - and identified (and vice versa)? The second half focuses more specifically on the UNESCO Intangible Cultural Heritage. The articles not only address the broader political framework, but also thematic and geographic case studies of Intangible Cultural Heritage and music, as well as the pro of UNESCO's endeavours.

Jillian had a plan: celebrate the end of her first year of college with an amazing summer full of beaches, barbeques, and bonfires. When her mom insists she needs a summer job, and her boyfriend spends more time with his band than with her, Jillian's plans go down the drain. Grant had a plan: finish his Masters, get a great job at Google, and get the hell out of Georgia. He might be giving up some of the fun of his youth, but he knows his all work and no play method would be worth it when his dreams came true. But things never go according to plan. When temptation brings them together and tragedy tears them apart, Jillian and Grant will be forced to choose: fight for their dreams, or fight for each other.

Six months ago, Lucy Donovan thought that being killed by a drunk driver was the worst thing that could happen to her. She was wrong. Now, the person she loves most has been ripped away from her, soul held hostage, and Lucy has vowed to stop at nothing to get it back. Part of a new team with enhanced powers, Lucy and her friends begin a quest to avenge the souls that have been stolen. Enemies of the Patronus have united, however, and a spy from within the Patronus realm is feeding the enemy their every move. When a mission goes horribly wrong, Lucy's soul becomes compromised. It will take a strength she didn't know was within her to escape the darkness, return to the light and avenge the soul she loves.

Lucy Donovan was supposed to have a weekend of fun in the sun, celebrating her upcoming graduation from college. In a split second, everything changed. A drunk driver ended Lucy's mortal life. Lucy opens her eyes to a world she never imagined possible and a new destiny: as a Patronus, a guardian of spirits. Adjusting to her new role and abilities while negotiating this confusing realm will test her limits and push her further than she ever dreamed she would go. From wayward spirits who don't want her help to soul stealing vampires, and even a stuck-up British royal, Lucy must brave them all to save one spirit she can't bear to lose. Further complicating her confusing life is an inexplicable yet growing connection she feels to a member of her team, Max, whose mysterious behavior leaves her both confused and intrigued. Waking up dead was just the beginning of her problems. Lucy's death is about to become the greatest adventure of her life.

18 year old Tessa Copeland barely survived the worst year of her life-in fact, it was a miracle. After making it through the tragedy that killed both of her parents, she's left to pick up the pieces of her life. Combating the holes in her memory and the concern of her friends was hard enough, but a new talent threatens to destroy everything she's trying to reclaim. David Allegri didn't mean to ruin Tessa's life. She was the brightest soul he'd seen in centuries and he couldn't let her die, so the fallen angel used his abilities to heal her-only he took it too far and changed Tessa forever. Now, he has to figure out a way to explain what's happening to Tessa and somehow protect both of them from the consequences. His choice made them targets for the Hunters, who will use any means necessary to capture their prey. Only a desperate plan can help them escape, and sacrifices will be made. Time is ticking. Will they make it, or will they be lost to the echoes of fate?