Seliha-Selihot
The word Seliha (plural- Selihot) means forgiveness in Hebrew.
Kiriat Sefer. Bibliotheca Magna Rabbinica de scruptoribus et scriptis Hebraicis ordine alphabetico (SENDREY 1949)
4. vols. "De psalmorum libro, psalmis et musicis instrumentis Hebraeorum, rabbinin quibus reperitur vox SELA, quae apposita per 'semper' exponitur," II, 184 ff.; "De Hebraeorum musica.Brevis dissertatio," IV, 427-41; "Accentuum musicorum, quibus Judaei Germani (Hispani) (Itali) utuntur Melos. Explicatio accentuum musicorum," (musical expamples, pp.429-31, 434-41). Except in UgThes, Vol. XXXII, col. 458-90. Vol. V, Bibliotheca Latina Hebraea, added by Imbonati, Carlo Giuseppe, Rome, 1694.
Material Type:
Books
Year:
1675-93
Avodath Hahazzan
Composer
239 Recitatives for the High Holidays; congregational singing; composition for two voices; 10 Recitatives for radio and concert performance; 36 Hassidic melodies
Material Type:
Scores
Year:
1948
Kol Rinah U’Tfillah
Author
A complete collection of music for Shabbat and Festivals written for one to two voices. The score is divided by service beginning with arrangements for Shabbat Minhah and concluding with the Ne'ilah Service for Yom Kippur.
Material Type:
Scores
An overview of congregational song in the German synagogue up until the Shoah
Congregational singing as a norm of performance within the modal framework of Ashkenazi liturgical music
Shiru Lo: Aspects of Congregational Song
- 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.