Liturgy

Primarily motivated by historical and comparative musicology, past studies of Ashkenazi prayer modes were affected by a pre conceived paradigm, which resulted in a distorted perception of these modes. This paper first examines the roots and specific implications of this phenomenon in one such mode, which insiders call "Magen Avot" and then moves on to propose a new model for a definition of the mode.

The article presents several case studies in which the application of concepts and tools of music theory and analysis of Ashkenazi liturgical music may apply to the performance practice of this discipline. The first section explores the scalar aspects of the Ahavah Rabbah mode and its symbiosis with the minor scale, and the implications of this similarity on the practicum, especially in the use of congregational tunes.

An attempt to redefine the Ashkenazi "Adonai Malach" prayer mode. Contains an historical review of its most important definitions (Idelsohn, Cohon, Avenary), and analysis of its motifs, appearing in various prayers. Includes bibliographical references.

The move from "Old-World" Europe to modern and late-modern America, so far as the traditional discipline of nusach is concerned, marked the transition from varied personal versions and variants within a well-defined modal structure to a practice that is significantly more uniform yet free of the formal considerations.

English version in "Contributions to an Historical Study of Jewish Music" ed. by E. Werner (New York, 1976), pp. 166-199.