From Court and Tarikat to Synagogue: Ottoman Art Music and Hebrew Sacred Songs.
Andalusian Hebrew Strophic Poetry in the Religious Musical Repertoire of the Moroccan Jews
Three Synagogue Chants of the Twelfth Century
Author
Author
This collection includes arrangements for voice (with piano or organ accompaniment) of the three chants that were discovered on two manuscripts originating from the Cairo Geniza: 1. "Mi’al har Horev" 2. "Wa-Eda’ mah" and 3. "Baruk’ Hag-Gever." The hymn texts are included in Hebrew (romanized) and are also printed separately in Hebrew, English, French, and German.
Material Type:
Scores
Year:
1969
Genizah Fragments of Hebrew Hymns and Prayers Set to Music (Early 12th Century)
Author
This article was originally published in the Journal of Jewish Studies Vol. 16 (1966), p.87-104.
Material Type:
Articles in Books
Year:
1979
Discovery of an Ancient Hebrew Manuscript Contianing Neums (SENDREY 1985)
illus. facsim., with muscial examples- NYPL.
Material Type:
Articles in Journals
Year:
1921
Die beiden Systeme der Hebraischen Vocal - und Accentzeichen (SENDREY 1984)
Library of the Jewish Theological Seminary of America, NY.
Material Type:
Articles in Books
Year:
1894
Fragmente aus der Punctuations- und Accentlehre der hebraischen Sprache; angelblich von R. Moses Punctator. (SENDREY 1983)
Text also in Hebrew, NYPL.
Material Type:
Books
Year:
1847
Schediasma de Hebraeorum accentuationis imperfectione et hinc orta difficultate...(SENDREY 1982)
See also J. Furst, Bibliotheca Judaica, I. p.289.
Material Type:
Books
Year:
1700
The Music of Obadiah the Proselyte
Author
Reprinted from the Journal of Jewish studies, vol.18 (1967), nos. 1-4
Material Type:
Books
Year:
1967
- 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.