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Di vikhtikeyt tsu lernen kinder muzik [The Importance of Teaching Children Music] [1928]
Author
Rachel Holtman
Material Type: Articles in Journals
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Di moderne yidishe muzik [Modern Jewish Music] (1928)
Author
Joseph Achron
Material Type: Articles in Journals
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Dance
Author
Dvora Lapson
Material Type: Articles in Books
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[untitled]
Author
Moshe Lerer
Material Type: Articles in Journals
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Sefer Zambrow; Zambrove
Author
Yom Tov Levinsky
Material Type: Books
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On Jewish Folk Dances
Author
Avraham Levinson
Material Type: Articles in Journals
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Vegn a "shabos" vos iz ayngehilt in a sod [1960]
Author
Khayim Liberman
Material Type: Articles in Journals
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Dos khasidishe yungl [The Chassidic Boy]
Author
Isaac Joel Linetski
Material Type: Books
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Edel- His Doctrine on Education and Music
Author
Yizhak Edel
Editor
Gila Uriel
Material Type: Books
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The Jewish idea in the creative work of Soviet Jewish immigrant composers in the eary 1970’s
Co-author
Mark Kopytman
Co-author
Joseph Dorfman
Co-author
Lev Kogan
Author
Keren Ezrati
Material Type: Books
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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.