Taqsim: Instrumental Improvisation in Near Eastern Traditions
Performer
Performer
Performer
Performer
Performer
Editor
This recording presents traditional instrumental solo improvisations performed by Arab and Jewish musicians in Israel. All but one of the taqasim (=pl. form of taqsim, the genre of Middle Eastern instrumental improvisation) are in mainstream urban style, a pan-Middle Eastern style that owes its existence largely to Egyptian musical trends and the Arabic mass media. The cassette is accompanied by a booklet with program notes in Hebrew, Arabic, and English.
Material Type:
Recordings
Year:
1980
"David musicus" : zur Genealogie eines Bildes
Written by: Kessler Rainer
Material Type:
Articles in Books
Year:
2007
From Spain to the Eastern Mediterranean and Back: A Song as Metaphor of Modern Sephardi Culture
Between the Eastern and Western Mediterranean: Sephardic Music after the Expulsion from Spain and Portugal
The Liturgical Music of the Sephardi Jews: East and West
Some observations on comparative method and ancient music in Near Eastern archaeology.
Khevrisa European Klezmer Music
Composer
Composer
1. Suite in A Minor A Freygish, D Freygish, D Minor: Sher
2. Suite in A Minor A Freygish, D Freygish, D Minor: Mazltov
3. Suite in A Minor A Freygish, D Freygish, D Minor: Sher
4. Suite in A Minor A Freygish, D Freygish, D Minor: Alvavo Rab bo Shteyger
5. Suite in A Minor A Freygish, D Freygish, D Minor: Alvavo Rab bo Shteyger
6. Suite in A Minor A Freygish, D Freygish, D Minor: Shir Ha-Ma lois
Material Type:
Recordings
Year:
2000
Ma Nishtana
Performer
This is a standard version of the four questions of the Seder, sung in the learning formula of the East European Heder and common among the Hasidim. The first version is in Hebrew only, and the second juxtaposes the Hebrew and the Yiddish versions, phrase by phrase.
Material Type:
Recordings
Year:
2008
Vos der Yidisher Aktyor Dertseylt [What the Jewish Actor Recounts]
Author
A collection of anecdotes relating to the Yiddish theater and its star actors.
Material Type:
Books
Year:
1928
- 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.