Also exists in Hebrew. Music of Persian, Bukharan and Daghestani Jews. Includes an introductory essay on their life and customs, their pronunciation of Hebrew, and their music.
Also exists in English and Hebrew. Music of Babylonian Jews (and Kurdish Jews). Includes an introductory essay on their customs, their language (in comparison to Syrian pronunciation of Hebrew), and their music (modes, motives and Arabic influence, as well as comparison of Biblical cantillation of various communities); contains some information also about the Jews of Kurdistan and their language (Aramaic).
Also exists in German and Hebrew. Music of Babylonian Jews (and Kurdish Jews). Includes an introductory essay on their customs, their language (in comparison to Syrian pronunciation of Hebrew), and their music (modes, motives and Arabic influence, as well as comparison of Biblical cantillation of various communities); contains some information also about the Jews of Kurdistan and their language (Aramaic).
Also exists in English and Hebrew. Music of Yemenite Jews in Jerusalem. Includes an introductory essay on their customs and language with analysis of their music (chant, scales and rhythm).
Also exists in German and Hebrew. Music of Yemenite Jews in Jerusalem. Includes an introductory essay on their customs and language with analysis of their music (chant, scales and rhythm).
10 volumes; Also in English (vols. 1-2, 6-10) and Hebrew (vols. 1-5). Each volume contains scores of various kinds of music (liturgical and paraliturgical, as well as comparisons to music of other communities or to non-Jewish music), preceded by an introductory section about the Jews, their culture and languages, and their music (including theoretical analysis).
Vols. 1-2, 6-10; Also in German (1-10) and Hebrew (vols. 1-5). Each volume contains scores of various kinds of music (liturgical and paraliturgical, as well as comparisons to music of other communities or to non-Jewish music), preceded by an introductory section about the Jews, their culture and languages, and their music (including theoretical analysis).
repr. in Migrations and Mutations ...pp.106-14
Geiger’s work testifies to the overwhelming continuity of the liturgical-musical customs of Frankfurt-am-Main, many of which reflect a hazzanut of “sound signification.” Nevertheless it also reveals change, modification and even decay of some of Frankfurt’s liturgical-musical practices. To some extent the Divrey Kehillot represents an idealized portrayal of minhag frankfurt prior to Modernity.
