Musical instruments in the Bible
Author
On Israeli postage stamps. appears also in: In Danish Alef ,10-11, 1993; tidsskrift for jødisk kultur. København In German: "Der Israel-Philatelist" 125, 1995. Biel, Switzerland
Material Type:
Articles in Journals
Year:
1993
The lute and organ in ancient Israeli and Jewish iconography.
Appeared also as "The lute in ancient Israeli and Jewish iconography" in his On Jewish Music; Past and Present, [by] Joachim Braun. Frankfurt am Main: Peter Lang,(2006) 127-142
Material Type:
Articles in Books
Year:
1997
Musik zur Bibel - biblische Musik
Early conceptions of the power of music
Author
Editor
On the position of music in the Bible, and the Bible’s influence on the music of other cultures. Hellenic and Jewish Arts; Interaction, Tradition and Renewal. Ed. by Asher Ovadiah. Tel Aviv: Ramot Publishing House, Tel Aviv University, 1998
Material Type:
Articles in Books
Year:
1998
And the band played on... but what did they play on? Identifying the instruments in Nebuchadnezzar’s orchestra
Mother to muse : an archaeomusicological study of women’s performance in ancient Israel
Recycling Biblical Figures; Papers Read at a NOSTER Colloquium in Amsterdam, May 1997. Ed. by Athalya Brenner & Jan Willem van Henten. Leiden: Deo, 1999
Material Type:
Articles in Books
Year:
1999
Music and dance in 2 Samuel 6.
Author
deals with the references made to music while moving the holy ark to jerusalem
Material Type:
Articles in Journals
Year:
2002
A priestly view of Bible arithmetic : Deity’s "regulative aesthetic activity" within Davidic musicology
Editor
Author
Essays in Honor of Patrick A. Heelan, S.J.
Material Type:
Books
Year:
2002
The arts : architecture, music, poetry, psalmody.
- 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.