Jewish Music Journal
Editor
An attempt to establish a journal for the intellectually oriented orthodox cantors of the time.
To view four articles from the first issue of the journal, click here.
Material Type:
Journals
Year:
1934-35
Journal of Jewish Music and Liturgy
Editor
The scholarly organ of the Orthodox cantorate in America. Features articles on halakhic problems of synagogue music and liturgy, and on traditional nusah and hazzanut.
Material Type:
Journals
Year:
1976-
Liturgical-Musical Customs at the Dawn of a New Era: Continuity and Change in Salomon Geiger’s Divrey Kehillot
Author
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.
Material Type:
Articles in Books
Year:
2005
The Priestly Blessing in the Ashkenazi Synagogue: Ritual and Chant
"The Purpose of this article is to survey the traditional developments of the PB [Priestly Blessing] ritual and its music in the Ashkenazi communities in both Central and Eastern Europe and to discuss the later developments in the Reform congregations of Germany and North America.
Material Type:
Articles in Books
Year:
2002
Current Trends of Liturgical Music in the Ashkenazi Synagogue
Mathew Miller (Matisyahu)
Singer, songwriter
Born in West Chester, Pennsylvania, USA. Released his first album in 2004, and has been performing and recording ever since for fans all around the world. His artistic style combines reggae, rock, and rap, and is inspired by Hassidic music (primarily by Rabbi Shlomo Carlebach). His lyrics contain many references to elements and issues within Judaism. Matisyahu is known for his unusual combination of Orthodox Jewish belief and popular music.
1979-
- 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.