Mesopotamian Music Theory Since 1977
https://jewish-music.huji.ac.il/sites/default/files/02%20%20Mesopotamian%20Music%20Theory%20Since%201977%20pp%2092-101%20Anne%20Draffkorn%20Kilmer%20incl%20title%20pages.pdf
A Brief Account of the Development of the Field of Music Archaeology
https://jewish-music.huji.ac.il/sites/default/files/000d%20%20Prologue%20-%20A%20Brief%20Account%20of%20the%20Development%20of%20the%20Field%20of%20Music%20Archaeology.pdf
The Biblical NEBEL
https://jewish-music.huji.ac.il/sites/default/files/05%20The%20Biblical%20Nebel%20-%20B%20Bayer%20pp%2089-131%20title%20p%20abbreves.pdf
Jewish Music in its Historical Development
Author
This entry is part of an online exhibit entitled: "Hava Nagila: From Idelsohn to Belafonte & Beyond," prepared by Eva Heinstein with help from the JMRC staff. To view the exhibit in its entirety click on the link above.
Material Type:
Books
Year:
1929
Piyyutei Rabbi Shimon Bar-Isaac: Venispahim Lahem Piyyutei Rabi Mosheh Bar-Kalonymos
Material Type:
Books
Year:
1938
The rediscovery of biblical chant : "The Music of the Bible Revealed" by Suzanne Haik-Vantoura
Author
Haik-Vantoura, Suzanne: "La musique de la Bible révélée; une notation millenaire décryptée" (review)
Material Type:
Articles in Journals
Year:
1991-1992
Music in Old Testament times
The comedic function of the enumerations of officials and instruments in Daniel 3
The music of the Old Testament reconsidered
Concordances for singing-terms common to the Septuagint and the Greek New Testament
- 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.