(28 results found)
Tish-nigunim Ascribed to Yosl Tolner and the Aesthetics of the Genre
… and rhythmic qualities. These two functions—the extramusical as the primary and the aesthetic as the … applied to any vast corpus or particular repertoire and remains therefore a contribution to the theoretical discourse … Zemiros umishchakim legan-hayeladim uleveth-hasefer . Frankfurt a. Main: Omanuth. Koskoff, Ellen. 2001. Music in …
Eastern Mediterranean Judeo-Spanish Songs
… from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic … to the dissolution of the traditional communities that maintained this music. Although Haim Effendi dominated the … Lieder, The Sephardic Songbook: 51 Judeo-Spanish Songs. Frankfurt: Edition Peters. … Seroussi, Edwin 1989 >>> …
German Jewish Sacred Musical Intersections
… crystalized since the second quarter of the 19 th century mainly in Vienna, Berlin and Paris. … The paradigm consists … endangered “heritage” of solo cantorial music (at times framed within a Jewish national discourse) in need of … of Salomon Sulzer (Vienna), Louis Lewandowsky (Berlin) and Samuel Naumbourg (from Munich but active in Paris). The …
The Fall of Jerusalem in Song: The Ashkenazi Melody She’eh ne’esar
… Sound example 2: She'eh ne'esar, Strasbourg tradition, Michel … as for its high variability: Prof. Mordecai Breuer (from Frankfurt am Main; Sound example 1 below); Cantor Michel Heymann (from …
Niggun ‘Akedah: A Traditional Melody Concerning the Binding of Isaac
… ipso facto strong emotional and religious feelings among listeners. Surprisingly, this topic has been the … 9–27). In Jewish Ashkenazi Culture The Binding of Isaac maintained a key role within the Ashkenazic diaspora center … which delineated meticulously the synagogue rite of the Frankfurt Jewish community in the nineteenth century (but …
A centerpiece of the High Holydays liturgy: Shofet Kol Ha'aretz in Moroccan and Yemenite versions
… 1. Bavaria/Frankfurt-Main 2. Venizia/Gorizia 3. Province Ashkenazi/Sephardi … the last line of the opening stanza, is the refrain (the same words and music are repeated) and x, the last line of … “harbinger” of the refrain, always ending with the word “tamid.” This last word is a reference to the perpetual …
Moritz Rosenhaupt
… 16, 1900. He was related by marriage to an intricate family network that included several distinguished cantors. … ( Gemeindeblatt der Israelitischen Gemeinde Frankfurt am Main , Heft 3 (November 1930), p. 60) mentions Rosenhaupt in …
Hag Purim – The story behind its melody
… Example 1 Chassidische Melodie Musikdruck.pdf Taken from der … 1929), p. 344, nr. 21. Example 7 Levin Kipnis, Maharozet , Frankfurt a.M: Omonuth, 1923, p. 82-83. Example 8 Harry … and in the Jewish settlement in Palestine/Israel where it remains alive to this day among Israeli children. As a most …
Mitsve-tants (LKT)
… commandment/good deed] of dancing with or for the bride. Among Jews from the Bukovina region where Hasidism was … as a symbol of separation (J.M. Epstein, Derekh ha-Yashar , Frankfurt, 1704). By the beginning of the 19th century it … and they dance together in even and measured steps and maintaining the rabbi’s honor. There were no moments of rest …
Shir hama’alot - The umbilical cord between liturgical and domestic soundspheres in Ashkenazi culture
… and for other parts of Hallel (Fabian Ogutsch, Der Frankfurter Kantor : Sammlung der traditionellen Frankfurter synagogalen Gesänge. Frankfurt Am Main: Kauffmann 1930. p. 44.) Sound example B1: Shir …