Music in Ancient Israel
Author
A detailed survey of the music in the Bible and in post biblical sources. Very technical.
Material Type:
Books
Year:
1969
Bibliography of Jewish Music
Author
The early outstanding annotation bibliography of JM research with listings up to the year 1944. Over 10,000 items listed including publications in Hebrew, Arabic, Yiddish and European languages. Includes citations for musical scores as well. The introduction gives a brief history of the efforts in Jewish bibliography.
Material Type:
Books
Year:
1951
Les musiciens
Materialien
26 Kritiken uber musikalische Veranstaltungen in Theresienstadt
Author
Editor
Mit einem Geleitwort von Thomas Mandl ; hrsg. und kommentiert von Ingo Schultz.
Material Type:
Books
Year:
1993
Persian Classical Music in Israel
Music in Old Testament times
Die Makamen in der hebraeischen Poesie der orientalischen Juden
Author
"The Maqamat in the Hebrew Poetry of the Oriental Jews" A frequent feature in Hebrew poems of Oriental Jews is a subtitle which mentions a maqam according to which the poem is to be sung. The article is an explanation of these subtitles; it is intended mainly for scholars of Hebrew poetry, and contains no musical examples. Musicians would do well to consult it, since it features a concise and clear explanation of the Arabic maqamat system.
Material Type:
Articles in Journals
Year:
1913
Revitalization of Iraqi-Jewish Instrumental Traditions in Israel: the Persistent Centrality
Musicology in Israel; its resources and institutions
- 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.