The article presents several case studies in which the application of concepts and tools of music theory and analysis of Ashkenazi liturgical music may apply to the performance practice of this discipline. The first section explores the scalar aspects of the Ahavah Rabbah mode and its symbiosis with the minor scale, and the implications of this similarity on the practicum, especially in the use of congregational tunes.
Born in Vienna, Austria. Studied in Vienna, and later worked as an organist in synagogues in Munich and in Rome. Immigrated to the U.S. in 1940 and held positions as a synagogue organist in various cities. As a composer, Schalit wrote orchestral, chamber, and piano music, as well as songs. He used Hebrew poetry for some of his compositions, and composed Jewish liturgical music.