A priestly view of Bible arithmetic : Deity’s "regulative aesthetic activity" within Davidic musicology
Editor
Author
Essays in Honor of Patrick A. Heelan, S.J.
Material Type:
Books
Year:
2002
The Hebrew Exemplum a Force of Renewal in Eighteenth-Century Musical Thought: The Case of Benedetto Marcello and His Hebrew Psalms
Provides a context for tracing the Hebrew content in Marcello's psalms.
Material Type:
Articles in Books
Year:
2002
Duran, Simeon
Abrabanel, Isaac ben Judah
The Art of Public Prayer: Not for Clergy Only
Author
2nd edition: Woodstock Vt., Skylight Paths, 1999
Material Type:
Books
Year:
1988
Music and Prophetic Kabbalah
Material Type:
Articles in Books
Year:
1982
Self-Revelation and the Law- Arnold Schoenberg in his religious works
Arnold Schoenberg's religious works serve as chapters in his own spiritual biography. the late twelve tone musicla style is apparent in his piece "Jacob's ladder". In his piece "kol Nidre" his return to traditional tonality and his choice of the topic reveal his deep personal interest in the Jew who left his religion and aspires to return to it.
Material Type:
Articles in Books
Year:
1968
The practice of music as an expression of religious philosophy among the East-Ashkenazi Jews
Author
Special issue on Jewish music Establishing a conceptual framework for the discussion of the liturgical music of the East Ashkenazi Jews cannot apply the commonly accepted notions of prayer, speech, sacred, music, and art as separate categories.
Material Type:
Articles in Journals
Year:
2000
Sacred and secular - what can music teach us about Jewish thought
From ritual through language to music
Author
Appeared also (?) in: International Musicological Society Congress Report:13, Strasbourg 1982, pp. 109-23.
Material Type:
Articles in Books
Year:
1988
- 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.