Sephardic Songs of the Balkans
Romancero Sefardi: Twin Ballads in the Sephardic Oral Tradition from Eastern and Western Mediterranean (Variantes gemelas en la tradicion oral sefardi del Mediterraneo Oriental y Occidental)
Buquieto de Romances y Coplas
Collector
Hebrew title: זר של שירי עם מפי יהודי ספרד
Material Type:
Recordings
Year:
1992
The Spanish and the Sephardic Romances: Musical links
Author
Co-author
A comparative study of Spanish romances (extant in 16th-c. Spanish polyphonic sources) and Sephardic romances. Textual and musical concordances are provided for romances from the two repertoires. This study represents the first discovery of melodic similarities between the two repertoires.
Material Type:
Articles in Journals
Year:
1988
Cumulative Songs in the Sephardic Oral Tradition
The Performance of the Judeo-Spanish Repertoire
Author
Editor
The Present study deals with (i) the performance of the Judeo-Spanish repertoire maintained until today by the Sephardi Jews from two main areas of their Diaspora - the eastern Mediterranean (the Ottoman area, later Turkey, Bulgaria, Greece, and Yugoslavia), and the western Mediterranean (Morocco), (ii) the performance of the secular and paraliturgical Sephardi repertoire sung in Judeo-Spanish.
Material Type:
Articles in Journals
Year:
1997
Stylistic Features of the Sephardic Coplas
Material Type:
Articles in Books
Year:
1997
Social Functions of the Judeo-Spanish Romances
Based on "Papers of the First Congress of The George Herzog International Forum for Socio-Musical Sciences (HISM)".
Material Type:
Articles in Journals
Year:
1998
Musico-Poetic Genres in the Repertoire of Saloniki Sephardic Jews
- 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.