Premitie armoniche a tre voci
Composer
Information from www.worldcat.org: "3 partbooks. Original in Biblioteka Jagiellonska (Pl Kj) ; formerly in the Staatsbibliothek Preussischer Kulturbesitz (D B). On reel with Mus Ms Krakow 40583."
Material Type:
Scores
Year:
1616
Between Exclusion and Inclusion: Jews as Portrayed in Italian Music from the Late Fifteenth to the Early Seventeenth Century
Material Type:
Articles in Books
Year:
in press
Jewish Dramatists and Musicians in the Renaissance: Separate Activities, Common Aspirations
Material Type:
Articles in Books
Year:
1994
The Fixed and the Changeable in the Problematic of Stylistic Definition
Illustrates the problematic by examples drawn from Salamone Rossi’s works
Material Type:
Articles in Books
Year:
1997
Guido Casoni (d. 1642) on Love as Music: A Theme ‘for All Ages and Studies
Author
Has a section on Judah ben Isaac Abravanel’s Dialoghi d’amore.
Material Type:
Articles in Journals
Year:
2001
Doubly Tainted, Doubly Talented: The Jewish Poet Sara Copio (d. 1641) as a Heroic Singer
Depicts the challenges and successes of a woman musician living in 17th century Venice
Material Type:
Articles in Journals
Year:
1996
Modena, Leon
Ebraica
Author
Encyclopedic entry, designation for Jewish textual or musical content
Material Type:
Articles in Books
Year:
2001
- 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.