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Dr. Yonatan Bar-Yoshafat

Contact Info

The open university of Israel Department of Literature, Language and the Arts 1 University Road, P. O. Box 808, Raanana 43107
Office:09-778-1984 Mobile:972-525-289655 Email:yonatanb@openu.ac.il

Additional Information

Eighteenth- and nineteenth century instrumental music, aesthetics and sociology of music, theory and analysis, music historiography, critical theory, sentimentalism, skepticism, melancholy and irony​.

2013-2015
Postdoctoral Research, Cornell University
2005-2012
Ph. D. in Musicology, Tel-Aviv University
2002-2004
Direct Ph. D. track in Musicology (Interim Requirements), Tel-Aviv University
1997-2001
Double Major Degree in Musicology (B. A., Summa Cum Laude) and Composition (B. Mus., Cum Laude), Tel-Aviv University

2000-2001                  Composition, with Ron Weidberg

1998-1999                  Composition, with Noam Sheriff

1998-1999                  Conducting, with Vag Papian

1995-1996                  Flute, with Margalit Gafni

1989-1992                  Flute, with Moshe A. Epstein

2015
Senior Teaching Faculty (Rank 4)
2015
​Academic Supervisor of Undergraduate Music Courses
2012
Member of the Humanities Subcommittee
2005
Course Coordinator and Instructor
2017
Research Grant, the Research Fund of the Open University of Israel​
2013
Fulbright Post-Doctoral Fellowship (US-Israel Educational Foundation)
2012
Travel Grant, the Research Fund of the Open University of Israel​
2012
Res​earch Stipend, the Research Fund of the Open University of Israel
2009
Research Stipend, the Research Fund of the Open University of Israel
2007
Excellence Scholarship, the Association of Secondary School Teachers' Fund of Knowledge
2003-2006
Excellence Scholarships, the Faculty of Arts, Tel-Aviv University
2001-2002
Tamir Awards for outstanding seminar papers, the Department of Musicology, Tel-Aviv University
2001-2002
Excellence Scholarships, the Buchmann-Mehta school of music, Tel-Aviv University
1997
Excellence Scholarship, the Dean of Students, Tel-Aviv University

The American Musicological Society (AMS).

The Israeli Musicological Society (IMS). Member of the exacutive commitee (as of 2020).

“On the Musically Melancholic: Temporality and Affects in Western Music History”, History of European Ideas [for​thcoming, 2020].

“Hummel’s ‘Tempest’: The F-sharp Minor Piano Sonat​​a and ‘The Process of Becoming’” [in preparation].

“Between the mechanical and the Organic: Reicha’s C Major Piano Sonata and early nineteenth-century Formenlehre” [in preparation].

“The (En)harmonic ‘Roundabout’ and the ‘Art of ‘Quasi’: Composing Improvisations in the Late 18th- and Early 19th Century” [in preparation].

“The Other Side of Empfindsamkeit: C. P. E. Bach’s ‘Conversation’ Trio and Critical Sentimentalism” [in preparation].

Book Review: David Schulenberg, The Music of Carl Philipp Emanuel Bach. Eastman Studies in Music. Ralph P. Locke, General Editor (Rochester, NY: Rochester University Press, 2014), The Journal of Musicological Research, Volume 34, Issue 3 (2015).​

“Kenner und Liebhaber – Yet another Look”, International Review of the Aesthetics and Sociology of Music, issue 44/1 (June 2013): 19-47.

“Ironizing Allegory of Listening – Deconstructing Monelle”, in Panos, N., et al. (eds.), Proceedings of the International Conference on Music Semiotics in Memory of Raymond Monelle (Edinburgh: The University of Edinburgh and The International Project on Music and Dance Semiotics, 2013), 35-45.

“D-Moll at the mall: Defending Criticism against its Critics”, Pe’imot, Journal of Music and Culture, Vol. 1 (Summer 2010): 49-66, Resling, Tel-Aviv University.

“A History of Western Music 2”, Learning Guide (Ra'anana: The Open University Press, 2019).​

“Sounds and Beyond: Critical Discourses of Music”, Learning Guide (Ra’anana: The Open University Press, 2018).

“A History of Western Music 1”, Learning Guide (Ra’anana: The Open University Press, 2011, Revised 2016).

“Harmonic Structures 1”, Learning Unit 2 (Raanana: The Open University Press, 2010).

2017: “Georg Philipp Telemann: The man who over-composed to the point of oblivion” (Interview-Article, Gallery, Haaretz, 12/05/17).

2002-2003: Diyukan Magazine, Makor-Rishon.

  • “A History of Western Music 1” (10732).​

  • “A History of Western Music 2” (10733).

  • “The Music of J. S. Bach” (10251).

  • “The Classical Style” (10626).

  • “Beethoven – Rebel and Romanticist” (10934).

  • “Sounds and Beyond: Critical Discourses of Music” (10959)​.

  • Supervisor of M.A and senior students' seminar papers.

  • 2021: History of Western Music 2.

  • 2016-2017: Academic Writing for Majors in Musicology and Music Theory (0843-1001-01).

  • 2019: “A History of Western Music 2” (10733): update supervisor and writer.

  • 2018: “Sounds and Beyond: Critical Discourses of Music” (10959): developer and writer.

  • 2013: “The Classical Style” (10626): academic reviewer.

  • 2011: “The Classical Style” (10626): update proposal.

  • 2010: “A History of Western Music 2” (10733): assistant advisor.

  • 2008: “A History of Western Music 1” (10732): assistant advisor.

  • 2007-2008: Thelma Yellin Arts High School, Givatayim
    Western Music History, The Department of Classical Music.
     
  • 2000-2007: Yigal Alon High School for Arts and Sciences, Ramat-Hasharon
    Western Music History, Harmony, and Chamber Ensembles, The Department of Music.
     

 

  • “(Not) in his footsteps: Revisiting Ludwig’s Contemporaries”, Beyond Beethoven, 2020–1770, Conference and Concert Festival, Cornell University, September 2020
    (Postponed due ​to Covid-19)

  • “Hummel’s ‘Tempest’: The F-sharp Minor Piano Sonata and ‘The Process of Becoming’”, Society for Music Analysis Conference, University of Birmingham, July 2020.​
    (Postponed to 2021 ​due ​to Covid-19)

  • “Against the Grain: Form as Process in C. P. E. Bach’s Music”, International Conference on Musical Form (Under the auspices of the The Society for Music Analysis), June-July 2020, Newcastle, UK.​
    (Postponed to 2021 ​due ​to Covid-19)

  • “On the Musically Melancholic”, Music Colloquium, the Buchmann-Mehta School of Music at Tel Aviv University, Israel, December 2019.

  • “On the Musica​lly Melancholic”, The Israeli Mus​icological Society Conference, Israel, July 2018.

  • “Improvising Compositions – Composing Improvisations”, Music Colloquium, Department of Music, Bar-Ilan University, I​srael, May 2018.​

  • “Psalm Songs, Swan Songs – C. P. E. Bach’s Magnificat (1749) and Heilig (1776)”, Music Symposium, Bach in Jerusalem Festival, the Jerusalem Music Center in Mishkenot Sha’ananim, Israel, March 2018.​

  • “Compositional Ambiguity in an Incredulous Age: C. P. E. Bach and the Darker Sides of Empfindsamkeit”, Melancholy and Solitude in the History of Ideas and Art History, workshop sponsored by the Uhl Foundation, Buchnerhof, South Tyrol, October 2016.

  • “Skepticism and Anti-Sentimentalism in C. P. E. Bach’s C Minor Program Trio”, Mood - Aesthetic, Psychological and Philosophical Perspectives, University of Warwick, UK, May, 2016.

  • “‘As obscure and unintelligible as the warbling of larks and linnets’: Latent Agendas in C. P. E. Bach’s C Minor Program Trio Wq. 161/1”, the Winter 2015 Meeting of the New England Chapter of the American Musicological Society, Boston University, US, February, 2015.

  • “The Limits of Subjectivity? Self-Reflexive Manifestations in C. P. E. Bach’s E Minor Keyboard Concerto Wq. 15”, C. P. E. Bach and Eighteenth-Century Keyboard Culture, University of Oxford, UK, November 2014.

  • “‘As obscure and unintelligible as the warbling of larks and linnets’: Latent Agendas in C. P. E. Bach’s C Minor Trio Wq. 161/1 (H.579)”, Sensation and Sensibility at the Keyboard in the Late 18th Century, Music Conference and Concert Festival Celebrating the Tercentenary of C. P. E. Bach, Cornell University, US, October, 2014.

  • “The Limits of Subjectivity? Self-Reflexive Manifestations in C. P. E. Bach’s E Minor Keyboard Concerto Wq. 15”, The Royal Musical Association’s 50th annual conference, University of Leeds, UK, September 2014.

  • “The Master of “Surface” and “Small Details”? Further Hermeneutical Challenges in C. P. E. Bach’s Music”, Keynote Address, The Israeli Music Theory Forum (Under the auspices of the IMS), The Open University of Israel, March 2014.

  • “Allegory, Irony and Deconstruction – Interpretation and Over-Interpretation of a Fugue”, Music Colloquium, the Music Department at Cornell University, US, October, 2013.

  • “Narrative Hermeneutics of Mid-18th Century Instrumental Music”, Departmental Forum, the Department of Literature, Language and the Arts, The Open University of Israel, April 2013.

  • “Allegory, Irony and Deconstruction – Interpretation and Over-Interpretation of a Fugue”, Music Colloquium, the Buchmann-Mehta School of Music at Tel-Aviv University, Israel, April 2013.

  • “Ironizing Allegory of Listening – Deconstructing Monelle”, The International Conference on Music Semiotic in Memory of Raymond Monelle (ICMS-MRM), The University of Edinburgh, UK, October 2012.

  • “On Music Experts and Amateurs in 18th century Germany (or, how to approach Emanuel Bach with the help of Immanuel Kant): New interpretations of old dichotomies”, Departmental Forum, The Department of Literature, Language and the Arts, The Open University of Israel, January 2012.

  • “Lost in Translation, or, fantasia – que me veux-tu?”, The Israeli Musicological Society Conference, Israel, July 2011.

  • "Revisiting the Foundations of Western Music Canon: History, Aesthetics & Experience”, The German-Israeli Frontiers of Humanities Symposia (GISFOH), Musicology Panel (co-organizer and chair, together with Dr. Anne Holzmüller), Cologne, November 2020.
    (Postponed to 2021 ​due ​to Covid-19​​)

  • “Corpus Research as a Means of Unlocking Musical Grammar – International Research Workshop” (“Corpus Studies and Formenlehre”, Chair), Tel-Aviv University, July 2019.

  • “A symposium honoring Dr. Benjamin​ Perl’s retirement” (Organizer and Chair), The Open University of Israel, May 2019.

  • “Robert Schumann”, Guest Lecture for: “The Romantic Lied – The Composer as a Poet”, M.A. Seminar, The Department of Music, Bar-Ilan University, June 2017.​

  • “Topics in Music Appreciation”, a voluntary program for “Hasbrouck Community Center”, Cornell University, Ithaca, N.Y., April 2014.

  • “The French Connection”: Works for Flute, Viola and Harp by Faure, Debussy, Ravel, Khachaturian, Paul Ben-Haim, Shulamit Ran and Matan Porat, Pre-Concert Lecture, “Sounds” Chamber Music Series, The Open University Campus, Ra’anana, June 2012.

  • “A Never-Ending Fugue”: Works for Strings by Biber, Pachelbel, Bach, Haydn and Bartok, Pre-Concert Lecture, “Sounds” Chamber Music Series, The Open University Campus, Ra’anana, April 2011.

  • “Stravinsky: l’histoire du soldat”, Pre-Concert Lecture, “Sounds” Chamber Music Series, The Open University Campus, Ra’anana, June 2010.

  • “From Leonin to Gubaidulina: Typology and Genealogy of Pre-Modern, Modern and Post-Modern Music Allusions”, Guest Lecture for “Interdisciplinary Seminar on the Languages of Arts”, The School of Architecture, Tel-Aviv University, December 2003.