The field of popular music in Israel (1985)
Author
Editor
A review indicting the actions of different social forces negotiating the nature and meaning of popular music in Israel. Includes a discussion on: the different musical genres in the field and their social context; the hierarchy between those genres; the social and cultural factors involved in producing and preserving the hierarchy; the social forces and musical genres in conflict with the existing situation, and the dynamics of change resulting from this conflict.
Material Type:
Articles in Books
Year:
1989
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
Romancing the Romance: Perceptions (and Boundaries) of the Judeo-Spanish Ballad
Author
Editor
During the past decade or so, the Judeo-Spanish romance has enjoyed a rise in popularity. Throughout this period there have been discrepancies between the approaches of performers and scholars, an occurrence by no means peculiar to Judeo-Spanish song, but one that is potentially instructive.
Material Type:
Articles in Books
Year:
1995
Stylistic Features of the Sephardic Coplas
Material Type:
Articles in Books
Year:
1997
Musico-Poetic Genres in the Repertoire of Saloniki Sephardic Jews
- 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.