Illusions of Grandeur: The Instruments of Daniel 3 Reconsidered
https://jewish-music.huji.ac.il/sites/default/files/08%20Illusions%20of%20Grandeur%20The%20Instruments%20of%20Daniel%203%20Reconsidered%20PP%20201-212%20Michael%20Lesley.pdf
Music in the Testament of Job
https://jewish-music.huji.ac.il/sites/default/files/12%20E%20Music%20in%20the%20Testament%20of%20Job%20-%20David%20Halperin%20p356%20-%20364%20plus%20title%20p.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
Music in Jewish History and Culture
Author
Author
A survey of Jewish music from Biblical times to the present that compiles a great amount of selective data without offering in-depth insights into the social context in which the music is created, performed, judged and consumed.
Material Type:
Books
Year:
2006
La musica nella tradizione biblica e talmudica
Der Gesang Israels und seine Quellen : ein Beitrag zur hebräischen Musikologie
Author
English title: The singing of Israel and its sources: a contribution to Hebrew musicology.
Includes chapters about music in the bible, masoretic accents,dance, arabic songs, and music of different Jewish cultural groups.
The book is the publication of Joel Walbe's doctorate by the same name, which he submitted to the University of Vienna in 1964.
Material Type:
Books
Year:
1975
"David musicus" : zur Genealogie eines Bildes
Written by: Kessler Rainer
Material Type:
Articles in Books
Year:
2007
"Wach auf, Harfe und Leier, ich will wecken das Morgenrot" (Psalm 57,9) : Musikinstrumente als Medien des Gotteskontakts im Alten Orient und im Alten Testament
Written by: Hartenstein Friedhelm
Material Type:
Articles in Books
Year:
2007
David ve-Goliath ,
Composer
David and Goliath: Small opera in three scenes. Libretto by Albert Bar, Hebrew- Ephraim Dror.
Material Type:
Scores
Year:
1957
Hashem Ro'i Lo Echsar
Composer
Psalms, 24, 1-4, for choir. In the tradition of the Persian Jews.
Material Type:
Scores
- 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.