Modes

Added title page, contents and abstract in Hebrew

10 volumes; Also in English (vols. 1-2, 6-10) and Hebrew (vols. 1-5). Each volume contains scores of various kinds of music (liturgical and paraliturgical, as well as comparisons to music of other communities or to non-Jewish music), preceded by an introductory section about the Jews, their culture and languages, and their music (including theoretical analysis).

Vols. 1-2, 6-10; Also in German (1-10) and Hebrew (vols. 1-5). Each volume contains scores of various kinds of music (liturgical and paraliturgical, as well as comparisons to music of other communities or to non-Jewish music), preceded by an introductory section about the Jews, their culture and languages, and their music (including theoretical analysis).

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.