The Musical Tradition of Hasidim
Yippee
Directed by Paul Mazursky
Material Type:
Films
Year:
2006
Heikhal Hanegina (the Hall of Music)
Tenu'a (yd. pronunciation: tnue, tnie)
A term used by Hassidim and East European hazzanim; it literally means 'Movement.' An ambiguous term, found in contemporary Hasssidic written and ora
The Hasidic Niggun as Sung by the Hasidim
Editor
Contains Niggunim of various genres, and from various Hassidic dynasties, performed either in solo or group singing (choir or congregation), occasionally with instrumental accompaniment. The Niggunim are taken from a variety of calendar and life-cycle events: Shabbat, Festivals, Zemirot, Tish, Wedding, Dance, Devequt, Marches, Waltzes, etc.
Most of the tracks were recorded in Jerusalem and Benei Berak, others in Kefar Habbad, Rehovot, and one in the US.
Material Type:
Recordings
Year:
2004
The Klezmer Tradition in the Land of Israel
Editor
A collection of field recordings, mainly klezmer musical pieces, performed in Israel and representing the tradition developed in the Land of Israel since the 19th century.
An accompanying disc to the book of the same name and author, catalogued separately (Yuval Music Series, vol. 6).
Material Type:
Recordings
Year:
1998
The Klezmer Tradition in the Land of Israel
Rikudei Mitsva, toldoteyhem, tsoroteyhem verakdaneyhem
Nigunim Hasidiyim (Hassidic tunes),,
Composer
Collection of Hassidic Nigunim for whole year round. Collected, transcribed and edited by Joachim Stutschewsky.
Material Type:
Scores
Year:
1973
- 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.