The Ancient Synagogue, the Early Church and Singing
Notes on Bukharan Music in Israel
Author
Description of the history and status of the music of Bukharan Jews in general and currently in Israel, based on field work done there in 1971.
Material Type:
Articles in Books
Year:
1982
Chosen Voices: the Story of the American Cantorate
Author
An overview of the history and ethnography of the American cantorial as practices in Conservative synagogues, based on extensive interviews with its practitioners (cantors) and the institutions of training. Also discusses musical aspects of the repertoire.
Material Type:
Books
Year:
1989
Die Tonarten des traditionellen Synagogengesanges (Steiger): ihr Verhaltnis zu den Kirchentonarten und den Tonarten der vorchristlichen Musikperiode; erlautert und durch Notenbeispiele erklaert
Singing the songs of ancient Israel; "ta`ame `emet" and oral model as criteria for layers of time in Jewish psalmody
From the present to the past; a new approach to music in Jewish and Christian ritual
Systematique de la musique liturgique des Juifs d’Ethiopie
Der Missinai-Gesang der deutschen Synagoge
Author
"The mis-sinay Song of the German Synagogue" An analysis of nine tunes which are used in the Ashkenazi synagogues, most of them in the High Holidays services. Hazzanim refer to these tunes as mis-sinay (i.e. given on Mount Sinai). Idelsohn discusses their proximity to the melodies of the Minnesanger and concludes that the tunes are combinations of Oriental-Jewish and German elements.
Material Type:
Articles in Journals
Schire Beth Adonai
Composer
Composer
Three volume collection of synagogue compositions: The first two volumes are liturgical choral compositions. The third volume, titled Schire Schelomo, contains chants and settings composed by Hirsch Weintraub's father, Salomon Weintraub (Kashtan).
The first edition, under the same name, which did not include "Schire Schlomo", was published in Koenigsberg in 1865.
Material Type:
Scores
Year:
1901/R
- 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.