An Institute of Jewish Music in Jerusalem
https://jewish-music.huji.ac.il/sites/default/files/03b%20E%20An%20Institute%20of%20Jewish%20Music%20-%20Bathja%20Bayer%20p29-35%20plus%20title%20p.pdf
House of Hebrew Songs, Music Center, National Library of Israel
A resource of the National Library of Israel, the website, “House of Hebrew Songs” is, as its name implies, a home for Hebrew song. This site houses rare performances, songbooks and scores, archival footage and posters, as well as information about the songs themselves. At present, the site includes around ten-thousand Hebrew songs, originally drawn from Kol Israel radio broadcasts between 1950-1970. A wide variety of musical styles and different languages are represented in the music available through this resource.
Yechidi Laderech Li Etse'a
"Alone I set out on the road," wrote Lermontov, the great Russian poet, in 1841. This line has been sung many times, as it came from the very popular Russian romance, "Vyhozhu odin ja na dorogu" (Alone I set out on the road). The song travelled all the way from Russia to Israel during the second Aliya, which consisted of many Russian immigrants. These immigrants, who left their homes in Europe and arrived in a desolate country in the Middle East, could feel themselves as the lonely traveler of this romantic song.
Bin Tavinu Liqnot Bina Ha'azinu
Rabbi Yisrael Najara (1550?-1625), a poet and a composer, was born to a distinguished family of Jews from Spain. He lived and worked in Damascus, Safed, and Gaza. He was one of the greatest Hebrew poets in the period after the expulsion from Spain.
Hava'at ha'omer : masechet chag veshirah
Seder shel Pesah: nusah Yagur keri'ah ve-zimrah
Composer
Yagur Passover service, for celebrants, solo voices (SATB), mixed choir, children's choir, and instrumental ensemble.
Material Type:
Scores
Year:
1951
Of drums and damsels : women’s performance in ancient Israel
The music of the Old Testament reconsidered
Some observations on comparative method and ancient music in Near Eastern archaeology.
Reconstructing ancient musical instruments.
- 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.