Vom liturgischen Sprechgesang zur autonomen Musiksprache: Stationen der Entwicklung yon abendlandischer Notenschrift und Musikgeschichte
Moritz Rosenhaupt
(DE) ACCENTUU ECCLESIASTICORU EXQUISITA RATIONE, SCZ lectionalli, epistolari, et euangelico, libellus omnibus sacris iniciatis, vicarijs et ecclesiae ministris, non minus vtillis quam neccessarius (SENDREY 1936)
Musical notes, explaination of Gregorian Chant (with Latin text). The hymn of St. Stanislaus given with notes for 4 voices; Discantus, altus, tenor, contratenor, in mensural notation, Latin text. pp. 98-101. Jewish Theological Seminary Library, NY. For further notes see Sendrey, p.82.
Material Type:
Articles in Books
Year:
n.d. [c.1540]
Sefer Hanigunim
175 Hassidic songs, some with words, transcribed and arranged by Weisser. Also contains Chabad version of torah cantillation as notated by Weisser.
Material Type:
Scores
Year:
1948
Sefer Hanigunim
Arrangement
175 Hassidic songs, some with words, transcribed and arranged by Weisser. Also contains Chabad version of torah cantillation as notated by Weisser.
Material Type:
Scores
Year:
1948
Kuntres Tiferet Yisroel
Collector
Published Periodically during years 1943-1946. Publication of Grand Rabbi Taub of Modzitz for which Weisser notated the Hassidic niggunim of Rabbi Taub and other Hassidic Rabbis
Material Type:
Scores
Year:
1943-46
Les Mensurations de Tuyaux d'orgue dans le ms. Heb. 1037 de la Bibliotheque National de Paris
Problems in the Study of Jewish Music
Author
Surveys problems in the research of Jewish music, from historical and methodological points of view, and suggests ways of improvement. It is an extract of the opening keynote address to the one of the most ecumenical congresses on Jewish music held after WWII. It delineates the future challenges of the field, with emphasis on the assembly of documentation. It does not problematize Jewish music but takes it for granted.
Material Type:
Articles in Books
Year:
1982
- 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.