Synagogue music

The Concept of Mode in European Synagogue Chant

The article deals with research of the "Adonai Malach" Steiger using 30 melodies representing an existing tradition. "Adonai Malach"'s scale, motives, the motives' function, placement and the Steiger's "ethos" are all examined. The Steiger proves to be an extraordinary phenomenon in European music but there is an obvious similarity to the melodic structure of Eastern music in the past and present.

Material Type: 
Articles in Books
Year: 
1971

Neglected sources for the Study of Nineteenth-Century Synagogue Music: The Prefaces to Louis Lewandowski's Kol Rinnah U't'fillah and Todah W'simrah. Annotated Translations

The core of the article is a translation from the German of Lewandowski’s prefaces to his major works of synagogue music. Unfortunately omitted from the editions currently printed by Sacred Music Press, the prefaces provide invaluable material on the evolution of these works, the aims of the composer, and his ideas on synagogue music and hazzanut. The introduction to the article takes issue with aspects of the accounts of Lewandowski found and repeated in the literature.

Material Type: 
Articles in Journals
Year: 
1989-90

Mordechai Breuer

Historian, composer, and recorder of the musical tradition of the Frankfurt am Main community

Mordechai Breuer was born in the city of Frankfurt am Main on April, 1918. He was the second son of Dr. Yitzhak Breuer and Esther Jenny, born Eizman. Mordechai was born and raised in the house of his grandfather 'Beit Harav', Rabbi Shlomo Breuer, the community’s rabbi, and the father-in-law of Rabbi Shimshon Rafael Hirsch who formed, shaped, and led the community.

1918 - 2007

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