Ancient Music in the Modern Classroom
https://jewish-music.huji.ac.il/sites/default/files/14%20Ancient%20Music%20in%20the%20Modern%20Classroom%20pp%20365-375%20Yossi%20Maurey.pdf
Sounds from under the Ashes: The Music of Cults and Mysteries in the Ancient Vesuvian Land
https://jewish-music.huji.ac.il/sites/default/files/13%20Sounds%20from%20under%20the%20Ashes%20The%20Music%20of%20Cults%20and%20Mysteries%20in%20the%20Ancient%20Vesuvian%20Land%20pp340-361%20Roberto%20Melini.pdf
Soothing Lyres and epôidai: Music Therapy and the Cases of Orpheus, Empedocles and David
https://jewish-music.huji.ac.il/sites/default/files/12%20%20Soothing%20Lyres%20and%20epodai%20Music%20Therapy%20and%20the%20Cases%20of%20Orpheus%20Empedocles%20and%20David%20pp%20298-339%20Antonietta%20Provenza.pdf
Aspects of Music Culture in the Land of Israel during the Hellenistic, Roman and Byzantine Periods: Sepphoris as a Case Study
https://jewish-music.huji.ac.il/sites/default/files/11%20%20Aspects%20of%20Music%20Culture%20in%20the%20Land%20of%20Israel%20during%20the%20Hellenistic%20Roman%20and%20Byzantine%20Periods%20Sepphoris%20as%20a%20Case%20Study%20pp.pdf
Aristophanes’ Phrynichos and the Orientalizing Musical Pattern
https://jewish-music.huji.ac.il/sites/default/files/10%20%20Aristophanes%20Phrynichos%20and%20the%20Orientalizing%20Musical%20Pattern%20pp248-272%20Mirella%20De%20Simone.pdf
Illusions of Grandeur: The Instruments of Daniel 3 Reconsidered
https://jewish-music.huji.ac.il/sites/default/files/08%20Illusions%20of%20Grandeur%20The%20Instruments%20of%20Daniel%203%20Reconsidered%20PP%20201-212%20Michael%20Lesley.pdf
Nudity and Music in Anatolian Mythological Seduction Scenes and Iconographic Imagery
https://jewish-music.huji.ac.il/sites/default/files/07%20Nudity%20and%20Music%20in%20Anatolian%20Mythological%20Seduction%20Scenes%20and%20Iconographic%20Imagery%20pp%2018.pdf
Musical Practices and Instruments in Late Bronze Age Ugarit (Syria)
https://jewish-music.huji.ac.il/sites/default/files/06%20%20Music%20in%20Antiquity%5D%20Musical%20Practices%20and%20Instruments%20in%20Late%20Bronze%20Age%20Ugarit%20%28Syria%29%20pp172-184%20Annie%20Caubet.pdf.pdf
The Ala-Instrument: its Identification and Role
https://jewish-music.huji.ac.il/sites/default/files/05%20The%20Ala-Instrument%20Its%20Identification%20and%20Role%20pp148-171%20Sam%20Mirelman%20incl%20title%20pages.pdf
The Balaĝ Instrument and its Role in the Cult of Ancient Mesopotamia
https://jewish-music.huji.ac.il/sites/default/files/04%20The%20Bala%20Instrument%20and%20Its%20Role%20in%20the%20Cult%20of%20Ancient%20Mesopotamia%20pp%20129-147%20Uri%20Gabbay%20incl%20title%20pages.pdf
- 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.