From Court and Tarikat to Synagogue: Ottoman Art Music and Hebrew Sacred Songs.
Singing Modernity: Synagogue Music in Nineteenth and Early Twentieth-Century Italy
Diversity within Unity: Some Historical Aspects of Dutch Synagogue Music
The golden bell : the converging of melody and the word, including a case study examining Masoretic influence
Moreh Derek; Leitfaden zur Vorbereitung fur die Barmizwah, zygleich ein Wegweiser fur Schule and Haus....Unter Mitwirkung von L. Hoxter, hrsg. von A. Garbatti und I. Feuring. (SENDREY 1988)
Anhang 4: Akzentuation zum Laienen; Ein Beispiel aus der Torah; Akzentuation der Haftorah; Segenssprunche zur Haftorah; Nach der Haftorah, pp. 99-107. Music for 1 V., no. acc. Musical Examples in Library of the Hebrew Union College, Cincinnati.
Material Type:
Books
Year:
1907
Accents ("The Trope") (SENDREY 1973)
Author
See also pp. 487, Notes on chap. ii, pp.425-9 with musical excerpts, pp.423-29. NYPL
Material Type:
Articles in Books
Year:
1898
Der synagogale Gesang in seiner historischen Entwicklung (SENDREY 1938)
The Traditional Service for Friday Evening
Composer
The Friday evening service, arranged for Cantor (baritone or tenor), mixed voices (SATB), and organ.
Material Type:
Scores
Year:
1964
Shabbat Menucha
- 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.