The Concept of Mode in European Synagogue Chant
Paradigms of Arabic Modes in the Genizah Fragment Cambridge T.S. N.S. 90,4
Cross-Repertoire Motifs in Liturgical Music of the Ashkenazi Tradition: An Initial Lay of the Land
Author
The earlier version, entitled “Cross-Repertoire Motifs in the Liturgical Music of Ashkenazi Tradition,” was presented at the World Congress of Jewish Studies, Jerusalem, 2013. This article is an expanded and elaborated version of that paper.
Material Type:
Articles
Year:
2015
Der Jüdische Kantor, Zweimonatsschrift des allgemeinen deutschen
A bi-monthly journal of the General Organization of German Cantors. Contained some important articles on nusah and modes.
Material Type:
Journals
Year:
1927-1938
Harmonizing the Jewish Modes
Musical Tradition and its Transmitters between Synagogue and Church
Material Type:
Articles in Books
Year:
1971
The Concept of Mode in European Synagogue Chant
The article deals with research of the "Adonai Malach" Steiger using 30 melodies representing an existing tradition. "Adonai Malach"'s scale, motives, the motives' function, placement and the Steiger's "ethos" are all examined. The Steiger proves to be an extraordinary phenomenon in European music but there is an obvious similarity to the melodic structure of Eastern music in the past and present.
Material Type:
Articles in Books
Year:
1971
Deux textes arabes inedits sur la musique
This article translates and explains two manuscripts originally in Arabic written in Hebrew letters one of which originates from Iraq in the late 10th century. They discusses different aspects of music, list melodic and rhythmic modes and discuss Pythagorean and NeoPythagorean ideas about music.
Material Type:
Articles in Books
Year:
1968
Rapport sur une mission scientifique en Turquie et Syrie
Author
A comparative survey of the music of the Jews in Syria and Turkey. Includes analysis of turkish and arab modal systems with examples from christian liturgy and arab songs.
Material Type:
Articles in Journals
Year:
1899
- 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.