Transcription de la pulsation, de la metrique et du "rhythme libre" [Transcription of the pulse, meter, and "free rhythm"]
Author
Collection title: Cahiers de musiques traditionnelles. XII (1999): Noter la musique Analyzes in detail two examples of transcription of monophonic music with complex rhythmic strata that interact in subtle and fluid ways:
Material Type:
Articles in Journals
Year:
1999
Songs of the Sephardic Heritage (SMR Bresler Collection)
Performer
Monastir tradition.
Contents:
Od'cha
Baruch haba
Yo m`enamori d`un aire
Yigdal
V'shamru
Shuva limonach
Por una caza chika
Tsur mishelo
`Scalerica de oro
Amen
Material Type:
Recordings
Year:
1976
Maramaros: The lost Jewish music of Transylvania
Author
Maramures (formerly Maramaros, in Hungarian) was a Jewish community in Transylvania that, prior to World War II, had a rich musical heritage. After the Shoah, not a single one of the area's musicians returned from concentration camps.
Material Type:
Articles in Journals
Year:
1993
The Performance of the Judeo-Spanish Repertoire
Author
Editor
The Present study deals with (i) the performance of the Judeo-Spanish repertoire maintained until today by the Sephardi Jews from two main areas of their Diaspora - the eastern Mediterranean (the Ottoman area, later Turkey, Bulgaria, Greece, and Yugoslavia), and the western Mediterranean (Morocco), (ii) the performance of the secular and paraliturgical Sephardi repertoire sung in Judeo-Spanish.
Material Type:
Articles in Journals
Year:
1997
- 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.