Jewish Singing and Boxing in Georgian England
https://jewish-music.huji.ac.il/sites/default/files/12%20Jewish%20Singing%20and%20Boxing%20in%20Georgian%20England%20-%20Shai%20Burstyn%20425-441%20with%20title%20p.pdf
Three Musical Ceremonies for Hôšanā Rabbah in the Jewish Community of Casale Monferrato (1732, 1733, 1735) (Hebrew)
https://jewish-music.huji.ac.il/sites/default/files/005%20%D7%A9%D7%9C%D7%95%D7%A9%D7%94%20%D7%98%D7%A7%D7%A1%D7%98%D7%99%D7%9D%20%D7%9E%D7%95%D7%A1%D7%99%D7%A7%D7%90%D7%9C%D7%99%D7%99%D7%9D%20%D7%9C%D7%94%D7%95%D7%A9%D7%A2%D7%A0%D7%90%20%D7%A8%D7%91%D7%94%20%D7%91%D7%A7%D7%94%D7%99%D7%9C%D7%AA%20%D7%9E%D7%95%D7%A0%D7%98%D7%A4%D7%A8%D7%90%D7%98%D7%95%20%D7%99%D7%A9%D7%A8%D7%90%D7%9C%20%D7%90%D7%93%D7%9C%D7%A8%20%D7%A0%D7%90-%D7%A7%D7%9C%D7%96.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 Hebrew Version of Abû l-Salt’s Treatise on Music
https://jewish-music.huji.ac.il/sites/default/files/01%20E%20The%20Hebrew%20Version%20of%20Abu%20l-Salit%27s%20Treatise%20on%20Music%20pp%207-82%20Hanoch%20Avenary%20incl%202%20illustrations%20title%20p%20and%20abreves.pdf
The Treatise on Music Translated into Hebrew by Juda ben Isaac (Paris B.N. Héb. 1037, 22v-27v)
https://jewish-music.huji.ac.il/sites/default/files/07%20The%20Treatise%20on%20Music%20translated%20into%20Hebrew%20by%20Juda%20ben%20Isaac%20-%20Paris%20BN%20Heb%201037%2022v-27v%20pp%20129-162%20J%20Smits%20van%20Waesberghe%20incl%20title%20page.pdf
Paradigms of Arabic Modes in the Genizah Fragment Cambridge T.S. N.S. 90,4
https://jewish-music.huji.ac.il/sites/default/files/01%20Paradigms%20of%20Arabic%20Modes%20in%20the%20Genizah%20Fragment%20Cambridge%20TS%20NS%2090-4%20pp%2011-28%20H%20Avenary%20and%20title%20page%20and%20abreves.pdf
Fragment hébraïque d’un traité attribué a Marchetto de Padoue
https://jewish-music.huji.ac.il/sites/default/files/01%20Fragment%20hebraique%20d%27un%20traite%20attribue%20a%20Marchetto%20de%20Padoue%20-%20pp%201-10%20I%20Adler%20incl%20title%20page.pdf
Mi-al har horev from the manuscripts of Obadiah the Proselyte
The preparation of July's song of the month was inspired by several recent inquiries regarding the musical manuscripts of Obadiah the Proselyte. The staff of the Jewish Music Research Centre hopes that the information provided in the introduction, the accompanying recordings, and the bibliography will provide a general picture regarding this interesting set of early Hebrew musical manuscripts.
Musical Life and Traditions of the Portuguese Jewish Community of Amsterdam in the XVIIIth Century
Spanish-Portuguese Synagogue Music in Nineteenth-Century Reform Sources from Hamburg: Ancient Tradition in the Dawn of Modernity
- 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.