In April 1993 the Knitting Factory, a small nightclub in Lower Manhattan, hosted a five-day music festival titled "Radical New Jewish Culture." This event was part of a multifaceted creative endeavor undertaken during the 1990s by composer/improvisers on New York City's downtown music scene and dubbed "Radical Jewish Culture" by its main protagonist, saxophonist John Zorn. RJC brought Jewish music and heritage into the purview of a polycultural experimentalist scene shaped by jazz, rock, free improvisation, and avant-garde concert music. Artists downtown also engaged in an animated "conversational community" that spilled over into interviews, program notes, liner notes, and essays. RJC was especially productive as a conceptual framework from which to interrogate the relationship between musical language and the semiotics of sound.
519of use, and anyone interested in Dvořák's place in the history of Western art music will welcome the project's scope and thoroughness.Paul Christiansen r r r
In JSAM 4(2), on page 220, note 17, and on 246, the citation for John Brackett's book is given incorrectly. It should read as follows:John Brackett, John Zorn: Tradition and Transgression. Bloomington: Indiana University Press, 2008.The author apologizes for this error.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.