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 of Israel: From the Biblical Era to Modern Times
Author
A survey first published in 1949 covering Jewish music from patriarch Abraham to contemporary Israeli composers. Its main aim is to reassert the Jewish presence in the narrative of Western music history. As others of its kind, this book presents a compilation of data devoid of theoretical or critical concerns.
Material Type:
Books
Year:
1996
Moses und Aron
David ve-Goliath ,
Composer
David and Goliath: Small opera in three scenes. Libretto by Albert Bar, Hebrew- Ephraim Dror.
Material Type:
Scores
Year:
1957
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
Of drums and damsels : women’s performance in ancient Israel
La musica nella tradizione biblica and talmudica
Music in Old Testament times
- 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.