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Between Tradition and Modernity: The High Holy Days Melodies of Minhag Ashkenaz
Author
Geoffrey Goldberg
Material Type: Books
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The Liturgy of Beta Israel: Music of the Ethiopian Jewish Prayer
Material Type: Recordings
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Arba Otiyot
Director
Yair Harel
Editor
Edwin Seroussi
Yuval Shaked
Material Type: Recordings
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Antología De Liturgia Judeo-Española
Author
Isaac Levy
Material Type: Books
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Di anski-ekspeditsie in Kremenits
Author
H. Gilernt
Material Type: Articles in Books
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As If It Were Yesterday
Author
Michael Alpert
Material Type: Articles in Books
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The Russian Jewish Evreiskaia Entsylopledia
Material Type: Books
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On musical connections between Jews and the neighboring peoples of Eastern and Western Europe
Co-author
Max Goldin
Co-author
Robert A. Rothstein
Material Type: Books
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Klezmorim : Perek be-Toldot ha-Omanut ha-ʼAmamit : Bikoret ve-Tosefet Pirkey Havay
Author
Isaac Rivkind
Material Type: Books
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Vemen vestu zingen, vemen? Leibu Levin Performs in Yiddish
Author
Michael Lukin
Editor
Edwin Seroussi
Material Type: Recordings
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A Polka Mazurka
Niggun of the Meggid of Mezerich
From the album, "The Hasidic Niggun as Sung by the Hasidim." This dance niggun is the seventh and last in a series of niggunim sung by Bratslav Hasidim as they dance after the Shabbat evening service on Friday night. Some have attributed the niggun to R. Dov Ber, the meggid of Mezerich.
Kol B'ru'ei (Padua, Italy)
From the album, "Italian Jewish Musical Traditions from the Leo Levi Collection (1954-1961)." The poem depicts "all creatures" singing and praising the unity of God, and was recited in the Italian rite during the daily morning prayer. This melody was sung only on Rosh Hashanah (New Year) in the Italian tradition of Padua.
Yigdal
From the album, "Judeo-Carribean Currents, Music of the Mikve Israel-Emanuel Synagogue in Curaçao," performed by Gideon Zelermyer. The Yigdal is part of the ceremonial section of the liturgical order of Shabbat and the Holy Days in the Curaçao synagogue. It is one of the ending hymns of the service.
Eres Chiquita y Bonita
From the album, "Judeo-Spanish Moroccan Songs for the Life Cycle," sung by Alicia Bendayan from Tetuan. This is a song about courtship, related to the Jewish rituals that mark the events of the life cycle.
Sweet Shalt Be My Chant
From the album, "Kulmus Hanefesh," performed by Yair Harel on voice and tar, and Matti Kovler on voice and piano. A sacred hymn attributed to Rabbi Yehuda ha-Chasid, this is a Chabad tune with a near-Eastern arrangement.
Lyr II
From the album, "The Music of the Mountain Jews." Lyr is a genre found among all Turkish peoples, consisting of long, complex compositions usually comprised of three parts.
Gilu ha-Galilim (Rejoice Galileans)
From the album, "Nights in Canaan, Early Songs of the Land of Israel (1882-1946)." This is a Second Aliyah (1904-1914) song which became an integral part of the historical repertoire of Hebrew song. Both native-born and newly arrived pioneers sang this song in all circumstances.
Saperi Tama
From the album, "With Songs They Respond: The Diwan of the Jews from Central Yemen." This is a girdle poem by Se'adia ben Amram. Saperi Tama is sung to many melodies and is one of Yemenite Jewry's most common poems.