1054:, or manner in which the prayer-motive will be amplified into hazzanut, is measured rather by the custom of the locality and the powers of the officiant than by the importance of the celebration. The precentor will accommodate the motive to the structure of the sentence he is reciting by the judicious use of the reciting-note, varied by melismatic ornament. In the development of the subject he is bound to no definite form, rhythm, manner, or point of detail, but may treat it quite freely according to his personal capacity, inclination, and sentiment, so long only as the conclusion of the passage and the short doxology closing it, if it ends in a benediction, are chanted to the snatch of melody forming the coda, usually distinctly fixed and so furnishing the modal motive. The various sections of the melodious improvisation will thus lead smoothly back to the original subject, and so work up to a symmetrical and clear conclusion. The prayer-motives, being themselves definite in tune and well recognized in tradition, preserve the homogeneity of the service through the innumerable variations induced by impulse or intention, by energy or fatigue, by gladness or depression, and by every other mental and physical sensation of the precentor which can affect his artistic feeling (see table).
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immediately following sacrifices were very often attended with music, and from Amos 5:23 it may be gathered that songs had already become a part of the regular service. Moreover, popular festivals of all kinds were celebrated with singing and music, usually accompanying dances in which, as a rule, women and maidens joined. Victorious generals were welcomed with music on their return, and music naturally accompanied the dances at harvest festivals and at the accession of kings or their marriages. Family festivals of different kinds were celebrated with music. I Samuel 16:18 indicates that the shepherd cheered his loneliness with his reed-pipe, and
Lamentations 5:14 shows that youths coming together at the gates entertained one another with stringed instruments. David by his playing on the harp drove away an evil spirit from Saul; the holy ecstasy of the Prophets was stimulated by dancing and music; playing on a harp awoke the inspiration that came to Elisha. The description in Chronicles of the embellishment by David of the Temple service with a rich musical liturgy represents in essence the order of the Second Temple, since, as is now generally admitted, the liturgical Temple Psalms belong to the post-exilic period.
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in the Temple. The participation of the congregation in the Temple song was limited to certain responses, such as "Amen" or "Halleluiah," or formulas like "Since His mercy endureth forever," etc. As in the old folk-songs, antiphonal singing, or the singing of choirs in response to each other, was a feature of the Temple service. At the dedication of the walls of
Jerusalem, Nehemiah formed the Levitical singers into two large choruses, which, after having marched around the city walls in different directions, stood opposite each other at the Temple and sang alternate hymns of praise to God (Nehemiah 12:31). Niebuhr ("Reisen," i. 176) calls attention to the fact that in the Orient it is still the custom for a precentor to sing one strophe, which is repeated three, four, or five tones lower by the other singers. In this connection mention may be made of the alternating song of the seraphim in the Temple, when called upon by Isaiah (comp. Isa. vi.). The measure must have varied according to the character of the song; and it is not improbable that it changed even in the same song. Without doubt the striking of the cymbals marked the measure.
1361:, volume 2, השירה והלחנים בתפילת יהודי תימן (Hebrew), page 959: "אין יהודי תימן מלווים שירתם בכלי ואפילו שירים הנאמרים בבתי משתאות בגלל האיסור שבדבר, קל וחומר תפילתם, כך שאין יהודי תימן מכירים שירה בכלי כלל (מה שמקצת כפרים מלווים את שירת משתיהם על פח איני יודע אם ימצא מי שהוא שיקרא לזה כלי שיר) לא כלי הקשה לא כלי פריטה ולא כלי נשיפה." English translation "Yemenite Jews do not accompany their song with instruments–even songs said in houses of feasting–due to the prohibition of the matter, all the more so their prayers. Thus Yemenite Jews do not at all recognize song with instruments (that which some villages accompany the songs of their feasts by tin, I don't know if there's anyone who would call this a musical instrument), neither percussion instruments, string instruments, nor wind instruments."
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from the
Ashkenazic daily morning theme (see below), but ending with a descent to the major third. Even where the particular occasion—such as a fast—might call for a change of tonality, the anticipation of the congregational response brings the close of the benediction back to the usual major third. But enough differences remain, especially in the Italian rendering, to show that the principle of parallel rendering with modal difference, fully apparent in their cantillation, underlies the prayer-intonations of the Sephardim also. This principle has marked effects in the Ashkenazic or Northern tradition, where it is as clear in the rendering of the prayers as in that of the Scriptural lessons, and is also apparent in the Ḳerobot.
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they are found later, they are by no means so regular as in modern poetry. Melody, therefore, must then have had comparatively great freedom and elasticity and must have been like the
Oriental melody of today. As Niebuhr points out, the melodies are earnest and simple, and the singers must make every word intelligible. A comparison has often been made with the eight notes of the Gregorian chant or with the Oriental psalmody introduced into the church of Milan by Ambrosius: the latter, however, was certainly developed under the influence of Grecian music, although in origin it may have had some connection with the ancient synagogal psalm-singing, as Delitzsch claims that it was ("Psalmen," 3d ed., p. 27).
1047:, the "lulab" chant), as a result of the intricacy of some of the vocal embroideries in actual employment, which are not infrequently of a character to daunt an ordinary singer. Even among Western cantors, trained amid mensurate music on a contrapuntal basis, there is still a remarkable propensity to introduce the interval of the augmented second, especially between the third and second degrees of any scale in a descending cadence. Quite commonly two augmented seconds will be employed in the octave, as in the frequent form—much loved by Eastern peoples—termed by Bourgault-Ducoudray ("Mélodies Populaires de Grèce et d'Orient," p. 20, Paris, 1876) "the Oriental chromatic" (see music below).
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the same note throughout. It was probably the same with the
Israelites in olden times, who attuned the stringed instruments to the voices of the singers either on the same note or in the octave or at some other consonant interval. This explains the remark in II Chronicles 5:13 that at the dedication of the Temple the playing of the instruments, the singing of the Psalms, and the blare of the trumpets sounded as one sound. Probably the unison of the singing of Psalms was the accord of two voices an octave apart. This may explain the terms
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books of Ezra and
Nehemiah belonging to the Chronicles singers are reckoned among the Levites (compare Ezra 3:10; Nehemiah 11:22; 12:8,24,27; I Chronicles 6:16). In later times singers even received a priestly position, since Agrippa II. gave them permission to wear the white priestly garment.(comp. Josephus, "Antiquities" 20:9, § 6). The detailed statements of the Talmud show that the service became ever more richly embellished.
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767:, in which the traditions of the various rites differ only as much and in the same manner from one another as their particular interpretations according to the text and occasion differ among themselves. This indeed was to be anticipated if the differentiation itself preserves a peculiarity of the music of the Temple.
1373:–4:48: "Drumming was used by all. Mourning the destruction of the second temple resulted in the prohibition of using musical instruments. The Yemenites, stringent in their observance, accepted this ban literally. Instead of developing the playing of musical instruments, they perfected singing and rhythm."
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The modal differences are not always so observable in the
Sephardic or Southern tradition. Here the participation of the congregants has tended to a more general uniformity, and has largely reduced the intonation to a chant around the dominant, or fifth degree of the scale, as if it were a derivation
1357:'s commentary to Mishneh Torah, ibid., in note 27 following his citation of Maimonides' responsa, "לא דיים ששותים יין בכלי זמר שיש כבר שתי עברות כפי שמנה רבנו לעיל" (English: they drink wine with musical instruments, which alone involves two sins as our master enumerated above ). Rabbi Yosef Qafih's
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of Sarum. The mournful chant characteristic of penitential days in all the Jewish rites, is closely recalled by the Church antiphon in the second mode "Da Pacem Domine in Diebus
Nostris" ("Vesperale Ratisbon," p. 42). The joyous intonation of the Northern European rite for morning and afternoon
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may be traced from the order in which the passages of the text were first introduced into the liturgy and were in turn regarded as so important as to demand special vocalization. This order closely agrees with that in which the successive tones and styles still preserved for these elements came into
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Unfortunately few definite statements can be made concerning the kind and the degree of the artistic development of music and psalm-singing. Only so much seems certain, that the folk-music of older times was replaced by professional music, which was learned by the families of singers who officiated
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The importance which music attained in the later exilic period is shown by the fact that in the original writings of Ezra and
Nehemiah a distinction is still drawn between the singers and the Levites (comp. Ezra 2:41,70; 7:7,24; 10:23; Nehemiah 7:44, 73; 10:29,40; etc.); whereas in the parts of the
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The development of music among the
Israelites was coincident with that of poetry, the two being equally ancient, since every poem was also sung. Although little mention is made of it, music was used in very early times in connection with divine service. Amos 6:5 and Isaiah 5:12 show that the feasts
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The contemporaneous musical fashion of the outer world has ever found its echo within the walls of the synagogue, so that in the superstructure added by successive generations of transmitting singers there are always discernible points of comparison, even of contact, with the style and structure of
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The underlying principle may be the specific allotment in Jewish worship of a particular mode to each sacred occasion, because of some esthetic appropriateness felt to underlie the association. In contrast to the meager modal choice of modern melody, the synagogal tradition revels in the possession
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of religious services. Within the synagogue the custom of singing soon re-emerged. In later years, the practice became to allow singing for feasts celebrating religious life-cycle events such as weddings, and over time the formal ban against singing and performing music lost its force altogether,
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There is no question that melodies repeated in each strophe, in the modern manner, were not sung at either the earlier or the later periods of psalm-singing; since no such thing as regular strophes occurred in Hebrew poetry. In fact, in the earlier times there were no strophes at all; and although
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Ancient Hebrew music, like much Arabic music today, was probably monophonic; that is, there is no harmony. Niebuhr refers to the fact that when Arabs play on different instruments and sing at the same time, almost the same melody is heard from all, unless one of them sings or plays as bass one and
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parallels, are equally reminiscent of those characteristic of the eighth to the 13th century of the common era. Many of the phrases introduced in the hazzanut generally, closely resemble the musical expression of the sequences which developed in the Catholic plainsong after the example set by the
833:, at St. Gall, in the early 10th century. The earlier formal melodies still more often are paralleled in the festal intonations of the monastic precentors of the eleventh to the 15th century, even as the later synagogal hymns everywhere approximate greatly to the secular music of their day.
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which recalled songs from the Temple itself; but generally it echoed the tones which the Jew of each age and country heard around him, not merely in the actual borrowing of tunes, but more in the tonality on which the local music was based. These elements persist side by side, rendering the
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contains messages that are incompatible with Judaism. Parents may choose to limit their children's exposure to music produced by those other than Orthodox Jews, so that they are less likely to become influenced by many of the more, in the parents' eyes, harmful outside ideas and fashions.
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sang the piyyutim to melodies selected by their writer or by himself, thus introducing fixed melodies into synagogal music. The prayers he continued to recite as he had heard his predecessors recite them; but in moments of inspiration he would give utterance to a phrase of unusual
1002:('melody'), shows that the scales and intervals of such prayer-motives have long been recognized and observed to differ characteristically from those of contemporary Gentile music, even if the principles underlying their employment have only quite recently been formulated.
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of the synagogue a particular mode or scale-form has long been traditionally associated with a particular service. It appears in its simplest form in the prayer-motive—which is best defined, to use a musical phrase, as a sort of coda—to which the benediction
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All the tonalities are distinct. They are formulated in the subjoined tabular statement, in which the various traditional motives of the Ashkenazic ritual have been brought to the same pitch of reciting-note in order to facilitate comparison of their modal differences.
779:, the previous custom having been to commence the singing at "Nishmat," these conventions being still traceable in practise in the introit signalizing the entry of the junior and of the senior officiant. Hence, in turn, appeared cantillation, prayer-motive, fixed
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referred to below, which was the first portion of the liturgy dedicated to a musical rendering, all that preceded it remaining unchanted. Gradually the song of the precentor commenced at ever earlier points in the service. By the 10th century, the chant began at
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on the corresponding occasion. It accordingly attracts the intonation of the passages which precede and follow it into its own musical rendering. Like the lessons, it, too, is cantillated. This free intonation is not, as with the Scriptural
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The Cantillation reproduces the tonalities and the melodic outlines prevalent in the western world during the first ten centuries of the Diaspora; and the prayer-motives, although their method of employment recalls far more ancient and more
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each successive era in the musical history of other religious communions. Attention has frequently been drawn to the resemblances in manner and even in some points of detail between the chants of the muezzin and of the reader of the
1043:ḥazzanim to modify similarly the diatonic intervals of the other prayer-motives. The chromatic intervals survive as a relic of the Oriental tendency to divide an ordinary interval of pitch into subintervals (compare Hallel for
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and singing would be banned; this was codified as a rule by some early Jewish rabbinic authorities. However, the ban on singing and music, although not formally lifted by any council, soon became understood as only a ban
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A large body of music produced by Orthodox Jews for children is geared toward teaching religious and ethical traditions and laws. The lyrics of these songs are generally English with some Hebrew or Yiddish phrases.
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and other set melodies largely consist of very short phrases often repeated, just as Perso-Arab melody so often does; and their congregational airs usually preserve a Morisco or other Peninsular character.
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One type of music, based on Shlomo Carlebach's, is very popular among Orthodox artists and their listeners. This type of music usually consists of the same formulaic mix. This mix is usually
914:, designated by any system of accents, but consists of a melodious development of certain themes or motives traditionally associated with the individual service, and therefore termed here
840:"Darkeka" closely reproduces the music of a parallel species of medieval Latin verse, the metrical sequence "Missus Gabriel de Cœlis" by Adam of St. Victor (c. 1150) as given in the
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or smaller intervals between two successive degrees of the scale which causes the difference in color familiar to modern ears in the contrast between major and minor melodies.
946:. The phrases are amplified and developed according to the length, the structure, and, above all, the sentiment of the text of the paragraph, and lead always into the
938:) closing each paragraph of the prayers is to be chanted. This is associated with a secondary phrase, somewhat after the tendency which led to the framing of the
918:. These are each differentiated from other prayer-motives much as are the respective forms of the cantillation, the divergence being especially marked in the
1154:, features a "Radical Jewish Culture" series that focuses on exploring what contemporary Jewish music is and what it offers to contemporary Jewish culture.
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Next comes, from the first ten centuries, and probably taking shape only with the Jewish settlement in western and northern Europe, the cantillation of the
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when the taste or style of the rendering especially marks it off from other music. The use of these terms, in addition to such less definite Hebraisms as
1088:. On account of the important part which women from the earliest times took in singing, it is comprehensible that the higher pitch was simply called the
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A number of additional instruments were known to the ancient Hebrews, though they were not included in the regular orchestra of the Temple: the
901:('standing prayer'), being the section which in the ritual of the Dispersion more immediately takes the place of the sacrifice offered in the
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has spent much of the late 20th century acting as a preservationist and committing what had been a strongly oral tradition to paper.
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students, and perform dressed in a dress suit. Many have day jobs and sideline singing at Jewish weddings. Others moonlight in
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Next to the passages of Scripture recited in cantillation, the most ancient and still the most important section of the Jewish
1181:. These songs are composed from within one pool of composers and one pool of arrangers. Many of the entertainers are former
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960:, although in no sense an imitation of the modern form. The responses likewise follow the tonality of the prayer-motive.
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morning and weekday evening motives are especially affected by this survival, which also frequently induces the
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1208:. Sometimes there are songs with lyrics compiled in English in more standard form, with central themes such as
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lands were still under the same tonal influences as the peoples in southeastern Europe and Asia Minor yet are,
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study or at Jewish organizations. Some have no formal musical education, and sing mainly pre-arranged songs.
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Biblical and contemporary sources mention the following instruments that were used in the ancient Temple:
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people, there was a feeling of great loss among the people. At the time, a consensus developed that all
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and "instead of developing the playing of musical instruments, they perfected singing and rhythm." (See
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are examples of Orthodox Jewish musicians/entertainers whose music teach children Orthodox traditions.
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psalmody; and the traditional chant for the Hallel itself, when not the one reminiscent of the "
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due to the modal feeling alluded to above. Tonality depends on that particular position of the
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use among the Gentile neighbors of the Jews who utilized them. Earliest of all is the
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The traditional penitential intonation transcribed in the article Ne'ilah with the
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The intonations of the Sephardim even more intimately recall the plainsong of the
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of scale-forms preserved from the remote past, much as are to be perceived in the
670:(liturgical poems) that Jewish music began to crystallize into definite form. The
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Spielberg Jewish Film Archive - Teiman: The Music of the Yemenite Jews: 4:32
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The traditional mode of singing prayers in the synagogue is often known as
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1499: This article incorporates text from a publication now in the
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from the orchestra by the altar, and so participated in both services.
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from Biblical to Modern times. For Jewish secular music, including
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By ancient tradition, from the days when the Jews who passed the
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Mishneh Torah, Hilkoth Ta'niyyoth, Chapter 5, Halakhah 14 (see
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Periodically Jewish music jumps into mainstream consciousness,
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Symbolic model of King David's harp (or lyre) displayed in the
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The music may have preserved a few phrases in the reading of
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Jewish Encyclopedia article on MUSIC AND MUSICAL INSTRUMENTS
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Jewish Music in the 20th century has spanned the gamut from
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869:" of Ratisbon, for the vespers of June 24, the festival of
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After the destruction of the Temple and the subsequent
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music was based on the same system as that used in the
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Gesch. und Würdigung der Musik bei den Alten Hebräern,
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is the sequence of benedictions which is known as the
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traditional intonations a blend of different sources.
808:, equally long located far away in northern Europe.
857:) closes with the third tone, third ending of the
963:This intonation is designated by the Hebrew term
973:') when its melody is primarily in view, by the
1593:A Taste of Jewish Music from the Sephardi World
1231:; a big-name arranger of this type of music is
1204:, with the occasional obscure passage from the
877:derived the names of its degrees, also occurs.
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758:The age of the various elements in synagogal
368:
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1598:Yiddish Folk Songs and Tales of Russian Folk
1483:All-gemeine Gesch. der Musik. i. 173 et seq.
796:with much of the hazzanut, not alone of the
755:in the 7th century, then rapidly developed.
433:, who had served in the sanctuary Levitical
43:, as well as the Jewish contribution to the
1192:Lyrics are most commonly short passages in
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1485:and the bibliography there given.E. G. H.
787:Reminiscences of non-Jewish sacred melody
1130:('Sacred Service') by such composers as
783:, and hymn as forms of synagogal music.
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679:, which, caught up by the congregants.
394:History of music in the biblical period
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1110:Contemporary Jewish religious music
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1508:; et al., eds. (1901–1906).
196:We Are Both from the Same Village
1514:. New York: Funk & Wagnalls.
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1271:Some Orthodox Jews believe that
845:prayers on the Three Festivals (
751:agility. It was introduced into
1267:Contemporary music for children
1161:being the most recent example.
1096:would then be an octave lower.
1351:Touger commentary, footnote 14
1:
1552:, by A.Z.Idelsohn. New York:
1421:Genesis 31:27; Jeremiah 25:10
735:Cantorial and synagogue music
683:Adaptations from local music
1394:Judges 11:34; I Samuel 18:6
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645:with the exception of the
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27:This article is about the
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1412:I Kings 1:40; Psalms 45:9
829:school famous as that of
765:cantillation of the Bible
1576:Passport to Jewish Music
944:European classical music
1511:The Jewish Encyclopedia
1439:I Samuel 10:5,10; 19:20
929:Throughout the musical
804:lands, but also of the
1554:Henry Holt and Company
1473:Physiologie und Musik,
1430:I Samuel 16:16 et seq.
655:Yemenite Jewish poetry
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1071:Singing in the Temple
887:Nusach (Jewish music)
813:Mozarabian Christians
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659:Yemenite Jewish music
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1159:Matisyahu (musician)
214:Israeli folk dancing
1384:Hebrew cantillation
1249:Mordechai Ben David
1227:Some composers are
1019:Chromatic intervals
624:-like instrument).
609:(small flute), the
431:Joshua ben Hananiah
425:. According to the
423:Temple in Jerusalem
301:Passover (Haggadah)
156:Mainstream and jazz
1558:Dover Publications
1403:Judges 9:27, 21:21
1340:Talmud, Sukkah 53a
1235:. Artists include
952:instrumental music
551: metziltayim
519: chatzutzera
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239:Music for holidays
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1580:Tara Publications
1527:Missing or empty
1520:cite encyclopedia
620:(a reed flute or
591:According to the
503:, a hollowed-out
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191:Jerusalem of Gold
62:Menorah(מְנוֹרָה)
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1128:Avodath Hakodesh
1116:Shlomo Carlebach
1033:chromatic scales
1006:Modal difference
871:John the Baptist
867:Graduale Romanum
863:Tonus Peregrinus
842:Graduale Romanum
664:It was with the
619:
615:
612:
608:
604:
601:
586:
582:
579:
569:
565:
562:
552:
548:
545:
538:
534:
531:
525:, made of silver
520:
516:
513:
502:
495:
492:
481:
474:
471:
462:, a 12-stringed
461:
454:
451:
377:
370:
363:
231:Yemenite dancing
168:Jewish art music
54:
21:
1736:
1735:
1731:
1730:
1729:
1727:
1726:
1725:
1711:
1710:
1709:
1704:
1670:Native American
1636:
1634:Religious music
1631:
1589:
1548:. (1929/1992).
1542:
1540:Further reading
1526:
1516:
1506:Singer, Isidore
1504:
1495:
1458:
1453:
1452:
1447:
1443:
1438:
1434:
1429:
1425:
1420:
1416:
1411:
1407:
1402:
1398:
1393:
1389:
1381:
1377:
1369:
1365:
1348:
1344:
1339:
1335:
1330:
1317:Gregorian chant
1312:Synagogal Music
1298:
1269:
1257:Shloime Gertner
1245:Lipa Schmeltzer
1222:Jewish diaspora
1218:Jewish identity
1167:
1124:Debbie Friedman
1112:
1106:
1073:
1060:
1021:
1008:
889:
883:
831:Notker Balbulus
789:
777:Barukh she'amar
737:
685:
617:
616: – transl.
613:
606:
605: – transl.
602:
587:, a large flute
584:
583: – transl.
580:
567:
566: – transl.
563:
550:
549: – transl.
546:
536:
535: – transl.
532:
518:
517: – transl.
514:
497:
496: – transl.
493:
486:with 10 strings
476:
475: – transl.
472:
456:
455: – transl.
452:
396:
390:
381:
335:L'Shana Haba'ah
75:
52:
29:religious music
23:
22:
18:Synagogal music
15:
12:
11:
5:
1734:
1732:
1724:
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1600:
1595:
1588:
1587:External links
1585:
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1297:
1294:
1286:Abie Rotenberg
1268:
1265:
1261:Yaakov Shwekey
1166:
1163:
1150:record label,
1136:Darius Milhaud
1108:Main article:
1105:
1102:
1086:al ha-sheminit
1072:
1069:
1059:
1056:
1020:
1017:
1007:
1004:
916:prayer-motives
885:Main article:
882:
881:Prayer-motives
879:
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388:Temple origins
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70:Flag of Israel
45:music industry
24:
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1572:Heskes, Irene
1570:
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1566:0-486-27147-1
1563:
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1551:
1547:
1546:Idelsohn, A.Z
1544:
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1512:
1507:
1502:
1501:public domain
1490:
1487:
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1448:II Kings 3:15
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1300:
1299:
1295:
1293:
1291:
1287:
1283:
1282:Country Yossi
1277:
1274:
1273:secular music
1266:
1264:
1262:
1258:
1254:
1253:Shloime Dachs
1250:
1246:
1242:
1241:Dedi Graucher
1238:
1237:Avraham Fried
1234:
1230:
1225:
1223:
1219:
1215:
1211:
1207:
1203:
1199:
1195:
1190:
1188:
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994:
990:
986:
982:
981:
976:
972:
968:
967:
961:
959:
958:
954:entitled the
953:
949:
945:
941:
937:
932:
927:
925:
921:
917:
913:
908:
904:
900:
899:
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888:
880:
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876:
872:
868:
864:
860:
856:
852:
848:
843:
839:
834:
832:
827:
821:
818:
814:
809:
807:
803:
799:
795:
786:
784:
782:
778:
773:
768:
766:
761:
756:
754:
750:
746:
742:
734:
732:
730:
726:
722:
718:
715:, as well as
714:
711:
707:
703:
699:
693:
690:
682:
680:
678:
673:
669:
668:
662:
660:
656:
652:
648:
647:Yemenite Jews
643:
638:
634:
630:
625:
623:
596:
594:
575:
573:
568: paamon
558:
556:
541:
539:or small drum
527:
524:
509:
506:
501:
488:
485:
480:
467:
465:
460:
447:
446:
445:
442:
440:
436:
432:
428:
424:
420:
417:The earliest
413:
409:
405:
404:City of David
400:
395:
387:
378:
373:
371:
366:
364:
359:
358:
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89:
88:
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84:
80:
77:
76:Israeli music
68:
60:
55:
50:
46:
42:
38:
34:
30:
19:
1721:Jewish music
1578:. New York:
1575:
1550:Jewish Music
1549:
1529:|title=
1509:
1493:
1482:
1472:
1462:
1461:Saalschütz,
1456:Bibliography
1444:
1435:
1426:
1417:
1408:
1399:
1390:
1378:
1366:
1358:
1345:
1336:
1290:Uncle Moishy
1278:
1270:
1233:Yisroel Lamm
1226:
1191:
1168:
1156:
1132:Ernest Bloch
1127:
1119:
1113:
1098:
1093:
1090:maiden's key
1089:
1085:
1081:
1078:
1074:
1065:
1061:
1051:
1049:
1022:
1013:
1009:
999:
995:
988:
978:
964:
962:
955:
935:
928:
915:
896:
890:
841:
835:
822:
810:
790:
769:
757:
744:
740:
738:
694:
686:
665:
663:
641:
626:
618: abbuv
607: uggav
597:
590:
585: halil
443:
416:
277:Dreidel song
255:
246:
92:Contemporary
49:Jewish music
1700:Zoroastrian
1680:Rastafarian
1355:Yosef Qafih
1229:Yossi Green
1148:John Zorn's
1094:ha-sheminit
1025:Middle Ages
940:binary form
308:Ma Nishtana
270:Oh Chanukah
1328:References
1220:, and the
1140:Marc Lavry
806:Ashkenazim
708:, and the
698:plain-song
537: tof
392:See also:
349:Bar Yochai
342:Lag BaOmer
325:Chad Gadya
289:Mi Y'malel
282:Al Hanisim
74:Jewish and
1650:Christian
1469:Delitzsch
1214:Holocaust
1210:Jerusalem
1196:from the
1082:al alamot
1058:Occasions
924:semitones
859:Gregorian
798:Sephardim
731:sources.
717:Hungarian
706:Byzantine
689:scripture
614: he
603: he
581: he
564: he
547: he
533: he
515: he
494: he
473: he
453: he
439:synagogue
419:synagogal
408:Jerusalem
265:Blessings
161:Classical
144:Sephardic
83:Religious
41:Sephardic
1715:Category
1675:Neopagan
1645:Buddhist
1574:(1994).
1296:See also
1052:harmonia
1029:Teutonic
996:skarbowa
993:Slavonic
991:and the
980:shteyger
920:tonality
847:Passover
826:Oriental
741:hazzanut
713:churches
710:Armenian
702:Catholic
667:piyyutim
629:diaspora
257:Hanukkah
186:Hatikvah
121:Baqashot
116:Pizmonim
1660:Islamic
1503::
1302:Zemirot
1200:or the
1183:yeshiva
1179:strings
1165:Example
1120:nigunim
1037:Shabbat
1000:ne'imah
985:Romance
975:Yiddish
936:berakha
931:history
905:of the
893:liturgy
855:Shavuot
725:Persian
700:of the
651:halakha
642:outside
631:of the
611:transl.
600:transl.
578:transl.
561:transl.
555:cymbals
544:transl.
530:transl.
523:trumpet
512:transl.
507:'s horn
498:
491:transl.
477:
470:transl.
457:
450:transl.
318:Adir Hu
248:Shabbat
149:Mizrahi
139:Klezmer
130:Secular
104:Zemirot
37:klezmer
33:Judaism
1695:Taoist
1685:Shinto
1665:Jewish
1564:
1479:Forkel
1307:Piyyut
1288:, and
1259:, and
1212:, the
1206:Talmud
1202:siddur
1194:Hebrew
1187:kollel
1152:Tzadik
1138:, and
1092:, and
1045:Sukkot
1041:Polish
907:Temple
903:ritual
898:Amidah
851:Sukkot
838:piyyut
817:chants
794:Qur'an
781:melody
772:Amidah
753:Europe
745:hazzan
704:, the
677:beauty
672:cantor
633:Jewish
593:Mishna
500:shofar
479:kinnor
427:Talmud
412:Israel
313:Dayenu
294:Ner Li
219:Ballet
177:Israel
99:Piyyut
47:, see
1655:Hindu
1475:1868;
1465:1829;
1322:Nigun
1198:Torah
1175:horns
1171:brass
987:word
977:term
966:nigun
957:rondo
912:texts
875:scale
749:vocal
637:music
553:, or
521:, or
459:nevel
435:choir
226:Horah
205:Dance
109:Nigun
1690:Sikh
1562:ISBN
1533:help
1382:See
1177:and
1084:and
1050:The
989:gust
971:tune
948:coda
853:and
802:Arab
760:song
729:Arab
727:and
721:Roma
622:oboe
576:the
572:bell
559:the
542:the
528:the
510:the
489:the
484:lyre
468:the
464:harp
448:the
39:and
1122:to
1118:'s
1027:in
942:in
661:.)
570:or
505:ram
31:of
1717::
1560:.
1524::
1522:}}
1518:{{
1481:,
1471:,
1284:,
1263:.
1255:,
1251:,
1247:,
1243:,
1239:,
1224:.
1216:,
1173:,
1142:.
1134:,
969:('
849:,
723:,
719:,
482:a
429:,
410:,
406:,
1626:e
1619:t
1612:v
1582:.
1568:.
1556:/
1535:)
1531:(
934:(
376:e
369:t
362:v
51:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
