741:
Elnadav, Ezra Dweck, Gabriel A Shrem, Ezekiel Hai Albeg, Abraham Cohen Saban, Ezra
Mishaniye, and other modern Israeli melodies). The book also has innovative features very useful for a cantor, such as a list of maqams to go with the specific perasha, as well as which pieces of Sabbath prayers fit with the melodies of certain pizmonim. In later editions, more songs were added to the book in their appropriate sections.
46:
38:
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obtain due to the aging population and the general difficulty of those specific pizmonim. In addition to preserving "Red Book" pizmonim, the project also attempts to preserve pizmonim from "Old Shir
Ushbaha" (Cohen, 1905, 1921) as well as melodies whose names appear in the weekly Hazzanut notes of H Moses Ashear (1877–1940).
774:
The
Sephardic Pizmonim Project organisation re-released all of Shrem's recordings on a large CD collection in September 2004 selling approximately 7,000 CDs. The organisation launched a website in 2006 with the goal of "preserving all liturgical traditions". In the process, cantors throughout the
770:
Preludes to the project began in the late 1970s when Shrem started teaching a course at
Yeshiva University. As a demonstration tool, Shrem recorded the bulk of the pizmonim for classroom distribution. The collection resulting from these recordings encompassed roughly 65% of the Sephardic pizmonim
786:
In 2020, the project announced that it had reached the benchmark of only missing 65 melodies of pizmonim from the 'Shir
Ushbaha Hallel VeZimrah' pizmonim book. When the project first began, they were missing over 300 pizmonim. The last 65 pizmonim that are still missing will be more difficult to
684:
songs, whereby Jews were allowed to listen to the songs, but not allowed to sing them with the text. In order to bypass the problem, many composers, throughout the centuries, wrote new lyrics to the songs with the existing melodies, in order not to violate the tradition of not singing non-Jewish
740:
The book, which was published by the
Sephardic Heritage Foundation, was started in 1949 by Gabriel Shrem and was completed in 1964. It aimed to include the ancient (Baqashot and Petihot), the old (Israel Najara, Mordechai Abadi, Raphael Tabbush, Moshe Ashear), and the new material (Raphael Yair
736:
In 1959, the Syrian community of
Brooklyn, New York, acted on the need of compiling their own pizmonim book based on their ancient traditions from Aleppo. Prior to this, there were many older pizmonim books circulating around the community, but they didn't have Hebrew vowels, and were generally
679:
were composed and added to the collection through the centuries. This practice may have arisen out of a Jewish prohibition of singing songs of the non-Jews (due to the secular character and lyrics of the songs). This was true in the case of
648:, and from the sixteenth century on many hymns were eliminated from the service. As the community did not wish to lose these much-loved hymns, the custom grew up of singing them extra-liturgically. Thus, the original core of the
771:
liturgy. Since 2004 and over the course of about seven years, Isaac J. Cabasso, on behalf of the
Sephardic Pizmonim Project, has provided approximately 200 more recordings of pizmonim not recorded by Shrem.
383:
songs and melodies sung with the intention of praising God as well as learning certain aspects of traditional religious teachings. They are sung throughout religious rituals and festivities such as prayers,
1119:
783:, together with pizmonim not included in the CD collection. In January 2012, the website, under web designer Sam Franco, received a major facelift to advance the organization into the next decade.
755:
The
Sephardic Pizmonim Project, is a website dedicated to the scholarship, restoration and preservation of the ancient music of the Sephardic-Syrian Jewish community. The project, founded by
707:
may also be sung in honour of a person called up to the Torah, immediately before or after the reading: usually this is chosen so as to contain some allusion to the person's name or family.
767:
and editor-in-chief of the "Shir uShbaha Hallel veZimrah" pizmonim book. The website is also dedicated in honor of cantor Isaac J. Cabasso of
Congregation Beth Torah in Brooklyn, New York.
525:
of this last kind was Hakham Rephael Antebi Tabbush (Aleppo 1830-Cairo 1918), who is regarded as the founder of the tradition in its present form. The tradition has since been exported to
697:
are used as settings for some of the prayers, in a system of rotation to ensure that the maqam suits the mood of the holiday or the Torah reading. Each week there is a different
716:
Another occasion for their use is at the gatherings some individuals would hold in their homes on Shabbat afternoons. A gathering of this kind may take the form of an extended
775:
world have contacted the organisation to provide recordings to further enhance the project. The project's website (www.pizmonim.com) contains recordings of the Biblical
1089:
353:
70:
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by Cantors in the past, as well as the present, by Ezekiel Hai Albeg, H Ezra Mishaniye, Rabbi Raphael Yair Elnadav, and others. Most
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989:
174:
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The classic red pizmonim book mentioned above serves Syrian Jews of Brooklyn as their official canon of pizmonim.
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61:
28:
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1109:
518:
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192:
139:
134:
108:
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Aleppo Chronicles: the Story of the Unique Sepharadeem of the Ancient Near East – in their Own Words
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The origin of the tradition could potentially be explained in the context of certain rulings of the
776:
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609:
45:
1053:
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after the Spanish Inquisition. Some melodies are quite old, while others may be based on popular
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37:
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372:
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713:, or any melodies, are generally not applied throughout the week during prayer services.
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communities in the Americas by his pupils, principally Hakham Moses Ashear in New York.
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assigned to the cantor according to the theme of the given Torah portion of the week. A
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308:
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243:
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During typical Shabbat and holiday services in the Syrian tradition, the melodies of
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To Worship God Properly: Tensions Between Liturgical Custom and Halakhah in Judaism
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52:
763:'s Cantorial Institute (Philip and Sarah Belz School of Jewish Music), cantor of
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640:
in core parts of the prayer service. These rulings were taken seriously by the
581:
526:
502:
286:
248:
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includes samples of pizmonim from Shir Ushbaִhah Hallel Vezimrah Pizmonim book.
669:
385:
320:
303:
521:, with the words composed specially to fit the tune. A prolific composer of
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878:
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419:
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Maqam and Liturgy: Ritual, Music and Aesthetics of Syrian Jews in Brooklyn
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423:
296:
117:
82:
17:
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458:
411:
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291:
77:
457:. The best known tradition is associated with Jews descended from
87:
608:), containing many three-quarter-tone intervals, is used for the
860:
Occasionally, pizmonim are set to popular Western tunes such as
668:
and others. A few hymns were also taken from the liturgy of the
996:
Let Jasmine Rain Down: Song and Remembrance among Syrian Jews
574:(musical modes), of which there are about ten in common use.
958:(second edition), Zimrat Ha'Aretz Institute, New York, 2002.
44:
36:
922:
Sefer Shire Zimrah Hashalem im Sefer le-Baqashot le-Shabbat
1067:
1120:
Hebrew words and phrases in Jewish prayers and blessings
533:
are composed for special occasions such as weddings and
1070:(in Hebrew), also contains hymns from other traditions.
1073:
952:, Sephardic Heritage Foundation, New York, 1964, 1983.
485:, associated with the festivals: these are known as
656:(published in Venice in 1560) and hymns from the
481:and Balkan origin have songs of the same kind in
1057:, Aleppian Publication Society, November 2004.
505:, while others were composed by poets such as
426:morning between midnight and dawn are called
347:
8:
747:The book is currently in its ninth edition.
652:collection consists of hymns from the old
354:
340:
32:
968:Sefer Pizmonim Hameforash - Od Yosef Ḥai
461:, though similar traditions exist among
853:
580:, which sounds a little like a Western
404:are extra-liturgical, as distinct from
217:
182:
154:
107:
60:
35:
737:difficult for the masses to utilize.
588:that contains many holiday melodies.
7:
984:. Hebrew Union College Press, 1998.
414:and forming an integral part of the
541:are in Hebrew, though a few are in
964:, Machon Haketab, Jerusalem, 2005.
600:that contains many sad melodies.
568:can be classified under different
443:are traditionally associated with
25:
689:Liturgical and non-liturgical use
410:, which are hymns printed in the
175:We Are Both from the Same Village
1039:Magic Carpet: Aleppo in Flatbush
941:Cohen, Refael Ḥayim ("Parsi"),
927:Antebi Tabbush, Refael Yiṣḥaq,
447:, although they are related to
1090:Jewish prayer and ritual texts
1051:"Pizmonim Book Goes Digital",
956:Sefer Shirah Ḥadashah Hashalem
924:, Jerusalem, 1953, repr. 1988.
877:According to the biography in
465:(where the songs are known as
1:
950:Shir Ushbaḥah Hallel Vezimrah
418:. Similar songs sung in the
1000:University of Chicago Press
945:, Jerusalem, 1905 and 1921.
887:La-qedoshim asher ba-are"tz
832:Central Synagogue of Aleppo
592:, which corresponds to the
1136:
1074:Sephardic Pizmonim Project
751:Sephardic Pizmonim Project
26:
1014:Aleppo - City of Scholars
889:gives the date as 1856/7.
634:discouraging the use of
620:used for circumcisions.
501:date back to before the
994:Shelemay, Kay Kaufman,
594:Phrygian dominant scale
436:Geographical background
1018:ArtScroll Publications
398:and other ceremonies.
50:
42:
29:Religious Jewish music
765:B'nai Yosef Synagogue
48:
40:
975:Secondary literature
885:("the Blue Book").
720:, and is known as a
624:Origins of tradition
519:Middle Eastern music
473:countries. Jews of
193:Israeli folk dancing
1115:Jewish music genres
881:and the preface to
757:David Matouk Betesh
666:Solomon ibn Gabirol
280:Passover (Haggadah)
135:Mainstream and jazz
1054:Community Magazine
938:, Jerusalem, 1928.
912:Sefer Shire Zimrah
761:Yeshiva University
596:, is the thematic
584:, is the thematic
497:The texts of many
469:, praises) and in
379:) are traditional
375:פזמונים, singular
218:Music for holidays
51:
43:
918:Abud, Chaim Shaul
914:,Jerusalem, 1936.
908:Abud, Chaim Shaul
827:Sephardic Judaism
728:for "Saturday").
364:
363:
170:Jerusalem of Gold
41:Menorah(מְנוֹרָה)
16:(Redirected from
1127:
1105:Judaism in Syria
1037:Sutton, Joseph,
1030:Sutton, Joseph,
948:Shrem, Gabriel,
890:
875:
869:
858:
822:The Weekly Maqam
493:History of texts
356:
349:
342:
210:Yemenite dancing
147:Jewish art music
33:
21:
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1129:
1128:
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1125:
1124:
1095:Jewish services
1080:
1079:
1064:
1044:Kligman, Mark,
1041:: Brooklyn 1979
1034:: Brooklyn 1988
1012:Sutton, David,
977:
936:Hallel Vezimrah
934:Ashear, Moshe,
931:, Aleppo, 1888.
929:Shirah Ḥadashah
904:
899:
897:Further reading
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883:Shirah Ḥadashah
876:
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432:(שירת הבקשות).
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314:L'Shana Haba'ah
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391:bar mitzvahs
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256:Dreidel song
234:
225:
94:
71:Contemporary
1110:Vocal music
866:Santa Lucia
812:Syrian Jews
660:service by
646:Isaac Luria
642:Kabbalistic
602:Maqam sikah
590:Maqam hijaz
582:major scale
503:Middle Ages
412:prayer-book
287:Ma Nishtana
249:Oh Chanukah
1084:Categories
724:(from the
670:Romaniotes
644:school of
614:Maqam saba
577:Maqam ajam
463:Iraqi Jews
328:Bar Yochai
321:Lag BaOmer
304:Chad Gadya
268:Mi Y'malel
261:Al Hanisim
53:Jewish and
970:, 2006/7.
658:Sephardic
420:synagogue
244:Blessings
140:Classical
123:Sephardic
62:Religious
1020:, 2005.
1002:, 1998.
797:Baqashot
791:See also
781:baqashot
779:and the
711:Pizmonim
695:pizmonim
677:pizmonim
675:Further
650:pizmonim
637:piyyutim
566:pizmonim
539:pizmonim
531:Pizmonim
523:pizmonim
499:pizmonim
467:shbaḥoth
441:Pizmonim
429:baqashot
407:piyyutim
402:Pizmonim
396:weddings
368:Pizmonim
236:Hanukkah
165:Hatikvah
100:Baqashot
95:Pizmonim
718:kiddush
685:songs.
616:is the
554:Maqamat
479:Turkish
454:zemirot
424:Sabbath
422:on the
416:service
297:Adir Hu
227:Shabbat
128:Mizrahi
118:Klezmer
109:Secular
83:Zemirot
1024:
1006:
988:
777:taamim
722:sebbet
705:pizmon
682:Arabic
631:Geonim
571:maqams
558:maqams
487:coplas
483:Ladino
459:Aleppo
381:Jewish
377:pizmon
373:Hebrew
292:Dayenu
273:Ner Li
198:Ballet
156:Israel
78:Piyyut
18:Pizmon
1068:Piyut
902:Books
848:Notes
807:Maqam
802:Makam
700:maqam
618:maqam
606:sigah
598:maqam
586:maqam
475:Greek
205:Horah
184:Dance
88:Nigun
1022:ISBN
1004:ISBN
986:ISBN
604:(or
564:All
515:Gaza
509:and
864:or
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371:(
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
