Ten Paradoxes and Four Dilemmas of Studying Jewish Music
Author
Emphasizes the vastness of Jewish music in terms of time and place and therefore the impossibility of addressing it as a unified field.
Material Type:
Articles in Journals
Year:
1995
Mythologies and Realities in the Study of Jewish Music
Author
Contrasts between the internal Jewish music narratives of continuity (“myths”) and the incompatible musical diversity that Jewish music shows (“realities”)
Material Type:
Articles in Journals
Year:
1995
Music
Author
Editor
A survey of the main issues on music research from the perspective of Jewish studies emphasizing concepts of cultural studies, such as ethnicity, diaspora, and nationhood.
Material Type:
Articles in Books
Year:
2002
Inventing Jewish Music
One of the first attempts to trace the archaeology of the concept of Jewish music in relation to the challenges posed by modernity to traditional Judaism and the emergence of the concept of nation among Jews in Europe.
Material Type:
Articles in Books
Year:
2002
Socalled Movie
Directed by Garry Beitel
Material Type:
Films
Year:
2010
Jewish Music Institute
The Jewish Music Institute (JMI), based at SOAS, University of London, encompasses the music of the Jewish people wherever they are and wherever they have been. JMI has a clear mission to preserve and develop this great heritage for the benefit of present and future generations. (from website)
American Society for Jewish Music
The American Society for Jewish Music (ASJM) serves as a broad canopy for all who are interested in Jewish music. Its members include cantors, composers, educators, musicologists, ethnologists, historians, performers and interested lay members - as well as libraries, universities, synagogues and other institutions.
Le-El elim : cantata for two solo voices with B.C.
The piece is a cantata written for the Portuguese-Jewish community in Amsterdam. It is thought to have been used for liturgical purposes. The piece was discovered by Hans Krieg in 1947 in the Portuguese-Jewish library Ets Chaim, in Amsterdam. The style of the piece resembles the Baroque and rococo composers of its time. The cantata consists of four duets and two solos.
Material Type:
Scores
Year:
1989
De-gendering Jewish music: The Survival of the Judeo-Spanish Folk Song Revisited
In Search of Jewish Musical Antiquity in the 18th-century Venetian Ghetto: Reconsidering the Hebrew Melodies in Benedetto Marcello’s Estro Poetico-Armonico
- 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.