22:10); she is eventually killed by order of Jehoiada the priest, who crowns Prince Jehoash
in her stead (II Kgs.
Greenstein, "Methodological Principles in Determining that the So-Called Jehoash
Inscription is Inauthentic" (pp.
Yet even during the divided monarchy it was either captured or forced to pay tribute to King Shishak of Egypt and was conquered by King Jehoash
of Israel before being destroyed by the Babylonians.
Throughout the Prophets and Writings we encounter Gideon (who had "many wives" (67)), King Saul (who had multiple wives, although no exact number is given (68)), King David (who had seven wives before he reigned in Jerusalem, (69) and then took additional wives and concubines when he left Hebron (70)), King Solomon (seven hundred royal wives and three hundred concubines (71)), King Mennasseh (at least one concubine (72)), Shaharaim (three wives, unclear how many concurrent (73)), King Rehoboam of Judah (eighteen wives and sixty concubines, and who sired twenty eight sons for whom he sought many wives (74)), Abia (fourteen wives and an unknown number of concubines (75)), and King Jehoash
(two wives (76)).
Judge to Decide Fate of Ossuary, Jehoash
Tablet [JPost] Related: Mideast Antiquities Roadshow [Tablet Magazine] Written in Stone [The New Yorker]
Hirshberg opens part two with a study of the roles played by composers displaced from Germany during the Third Reich in the development of a new musical culture in the Jewish community in Palestine before the founding of the state of Israel.
Moll, "Texture and Counterpoint in the Four-Voice Mass Settings of Machaut and his Contemporaries"; Margaret Bent, "The 'Harmony' of the Machaut Mass"; Owen Rees, "Machaut's Mass and Sounding Number"; Elizabeth Eva Leach, "Singing More About Singing Less: Machaut's Pour ce que tous (B12)"; Anne Stone, "Music Writing and Poetic Voice in Machaut: Some Remarks on B12 and R14"; Jehoash
Hirshberg, "A Portrayal of the Lady Who Guards her Honour (B25)"; Peter M.
(64.) On Engel and the Society for Jewish Folk Music, see Menashe Ravina, Yo'el Engel veha-Musikah ha-Yehudit (Tel Aviv, 1947), 61-63; Jehoash
Hirshberg, Music in the Jewish Community of Palestine, 1880-1948 (Oxford, 1995), 78-92.
For example, with reference to the northern King Jehoash
Other musicologists have written about Israeli art music in books or articles but their focus was not on contemporary music or the composers, but on historical and cultural developments in Israeli music, (i.e., Jehoash
Hirshberg, Music in the Jewish Community of Palestine, 1880-1948: A Social History, 1995; Philip Bohlman, The Land Where Two Streams Flow, 1989).
As conceived by Professor Jehoash
Hirshberg and Hed Sella, rather than being simply another scholarly musicological conference or another performing workshop, the symposium attempted instead to create a dialogue among musicologists, performers and philosophers in those areas in which their respective interests intersect.