Die Entwicklung der synagogalen Liturgie bis nach der Reformation des 19. Jahrhunderts
Folkslieder
Editor
The first volume of a projected multi-volume anthology of Jewish folklore
Material Type:
Books
Year:
1962
Jidiser Musik-Folklor
"En Kol"- Commentaire hebraique de Shem Tov ibn Shaprut sur le Canon d' AvicenneI
This article is a translation to French of Ibn Shafrut’s interpretation of Ali Ibn Sina’s Canon book. In this piece Ibn Sina deals with the connection between music and the pulse.
Material Type:
Articles in Books
Year:
1974
The practice of music as an expression of religious philosophy among the East-Ashkenazi Jews
Author
Special issue on Jewish music Establishing a conceptual framework for the discussion of the liturgical music of the East Ashkenazi Jews cannot apply the commonly accepted notions of prayer, speech, sacred, music, and art as separate categories.
Material Type:
Articles in Journals
Year:
2000
Bulgareasca/ Bulgarish/ Bulgar: the Transformation of a Klezmer Dance Genre
Author
Outline of the article:
Klezmer music
Classification of the Klezmer Genres
Bulgareasca, Bulgarish, Bulgar
The Bulgareasca/ Bulgarish in Eastern Europe
The Bulgarish in America
Conclusion
Notes
Material Type:
Articles in Journals
Year:
1994
Rapport sur une mission scientifique en Turquie et Syrie
Author
A comparative survey of the music of the Jews in Syria and Turkey. Includes analysis of turkish and arab modal systems with examples from christian liturgy and arab songs.
Material Type:
Articles in Journals
Year:
1899
Voices of the People: The Story of Yiddish Folksong
Author
Author
The original book was published by.... New York, 1963. (from the back cover of the book:) The seminal work of Ruth Rubin, a pioneering collector, singer, folklorist, writer, and crusader for the vanishing legacy of the Yiddish world, Voices of a People remains the only general introduction to Yiddish folksong.
Material Type:
Books
Year:
2000
Hebraeisch-orientalischer Melodienschatz, 09[G]: Der Volksgesang der osteuropaeischen Juden
Author
Click Here for Slide Show
This entry is part of an online exhibit entitled: "Hava Nagila: From Idelsohn to Belafonte & Beyond," prepared by Eva Heinstein with help from the JMRC staff. To view the exhibit in its entirety click on the link above.
Material Type:
Books
Year:
1932
- 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.