Yechidi Laderech Li Etse'a
"Alone I set out on the road," wrote Lermontov, the great Russian poet, in 1841. This line has been sung many times, as it came from the very popular Russian romance, "Vyhozhu odin ja na dorogu" (Alone I set out on the road). The song travelled all the way from Russia to Israel during the second Aliya, which consisted of many Russian immigrants. These immigrants, who left their homes in Europe and arrived in a desolate country in the Middle East, could feel themselves as the lonely traveler of this romantic song.
Gesaenge de Juden auf der Insel Djerba (Posthumous Works, II)
Author
The original German version of the epoch-making monograph by Robert Lachmann (published originally in 1942 in English without musical examples and photographs) on the musical culture of the venerable Jewish community from the Island of Djerba, off the southern coast of Tunisia. Reaching far beyond this specific case, which served Lachmann as a kind of pilot project, the book has become a model that scholars may find applicable to other issues in ethnomusicology.
Material Type:
Books
Year:
1978
We Are Here: Songs of the Holocaust
Co-editor
Co-editor
Retrieved from: The United States Holocaust Memorial Museum: Research: Bibliographies Melodies and lyrics for over forty Holocaust-era Jewish folk songs. Includes singable English translations for each song.
Material Type:
Scores
Year:
1983
Paradigms of Arabic Musical Modes in the Genizah Fragment Cambridge T.S. N.S. 90,4
Material Type:
Articles in Books
Year:
1982
"En Kol"- Commentaire hebraique de Shem Tov ibn Shaprut sur le Canon d' AvicenneI
This article is a translation to French of Ibn Shafrut’s interpretation of Ali Ibn Sina’s Canon book. In this piece Ibn Sina deals with the connection between music and the pulse.
Material Type:
Articles in Books
Year:
1974
We are here: songs of the Holocaust
Editor
Editor
Author
Compiled by Elanor Mlotek and Malke Gottlieb ; foreword by Eli Wiesel ; singable translations by Roslyn Bresnick-Perry; illustrated by Tsirl Waletzky.
Yiddish title: מיר זיינען דא (mir zeinen da)
Material Type:
Songsters
Year:
1983
Textes ougaritiques: introduction, traduction, commentaire
Co-editor
Co-editor
Co-editor
Editor
Co-editor
Contents: vol. 1. Mythes et legendes / eds.: Andre Caquot, Maurice Sznycer, Andree Herdner; Vol. 2. Textes religieux et rituels / Andre Caquot, Jean-Michel de Tarragon; Correspondance / Jesus-Luis Cunchillos Ilarri.
Material Type:
Books
Year:
1974, 1989
- 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.