Spanish-Portuguese Synagogue Music Page 6...

CONTENTSPreface  1Note on Transliterations  3Introduction 5 Methodology 5 The Question of Antiquity  8 Part One: Background and SourcesChapter 1: Change in Synagogal Music in Europe before the Reform  11Chapter 2: Notated Sources from Spanish- Portuguese Synagogues 21 Chapter 3: The Reform Movement and the Portuguese Jews in Hamburg Chapter 4: Old Music for a New Synagogue 39 Chapter 5: Relations between Amsterdam and Hamburg  50 Part Two: The Music CorpusChapter 1: Written Testimony and Oral Tradition  59Chapter 2: Analysis of the Melodies  63 A. The High Holidays1. Anna bekorenu 69 2. Selah lanu ( Atanu lehallot panekha)  703. Yah shema evyonekha 71 4. Yah shimkha aromemkha 74 5. Lekha adonay ha- gedullah ( Melody of Yedei rashim nehelashim)  756. El nora alilah 77 7. Adaptations of lahan Adonay melekh / Adonay be- kol shofar  787a. Adonay melekh Adonay malakh 79 7b. Addirei ayummah  817c. Ha- el ha- notzer 83 7d. Adonay hakshivah va- aseh 84 7e. Ha- yom harat olam ( lahan Adonay be- kol shofar)  84 Chapter Home  | TOC  | Index

Spanish-Portuguese Synagogue Music


About Book Spanish-Portuguese Synagogue Music

Front Matter Title Page Copyright PageYUVAL MONOGRAPH SERIES XITable of Contents PrefaceNote on TransliterationIntroduction MethodologyThe Question of AntiquityContents Part I: BACKGROUND AND SOURCES1: CHANGE IN SYNAGOGAL MUSIC IN EUROPE BEFORE THE REFORMNotated Synagogal Music as a Harbinger of ChangeRenaissance ItalyPortuguese Jews and their Synagogue as a Model for ReformThe Haskalah Perception of the Sephardi JewEighteenth-Century Synagogal Music in Germany2: NOTATED SOURCES FROM SPANISH-PORTUGUESE SYNAGOGUESOral Tradition and Composition in Notated SourcesThe Sources from Hamburg3: THE REFORM MOVEMENT AND THE PORTUGUESE JEWS IN HAMBURGRevamping the Synagogal ServiceThe Portuguese Jewish Settlement in Hamburg4: OLD MUSIC FOR A NEW SYNAGOGUEThe Engagement of the Portuguese Cantor David MeldolaTraditional Sephardi Melodies in non-Sephardi CommunitiesPortuguese Melodies in the Hamburg Temple after 1818Portuguese Melodies from Hamburg in other German Sources5: RELATIONS BETWEEN AMSTERDAM AND HAMBURGMesilat Beit IsraelThe Cassuto ManuscriptPart II: THE MUSIC CORPUS1: WRITTEN TESTIMONY AND ORAL TRADITION2: ANALYSIS OF THE MELODIES Music in Sephardi SynagoguesTexts, Liturgical Functions and Musical Stations The Corpus of Notated Portuguese Melodies in German SourcesA. THE HIGH HOLIDAYS1. Anna bekor'enu2. Selah lanu3. Yah shema evyonekha4. Yah shimkha aromemkha5. Lekha Adonay ha-gedullah (Melody of Yedei rashim nehelashim)6. El nora alilah7. Adaptations of lahan Adonay melekh / Adonay be-kol shofar7a. Adonay melekh Adonay malakh7b. Addirei ayummah7c. Ha-el ha-notzer7d. Adonay hakshivah va-aseh7e. Ha-yom harat olam (lahan Adonay be-kol shofar)B. SABBATH AND FESTIVALS8. Yigdal9. Yigdal10. U-va le-tziyyon go'el11. Mizmor le-David (Psalm 29)12. Kaddish for the First Day of Passover13. Kaddish for the First Day of Sukkoth14. Dukhan (Priestly Benediction for the Festivals)15. Etz hayyim16. Melodies for Hallel and piyyutim for the Three Festivals16a. Ha-kol yodukha / Hodu / Hallel for Simhat Torah16b. Hallelu / El Adon / Adon Olam16c. Hodu for the Second Day of Passover.16d. Hallel / Shirat ha-yamC. OTHER PORTUGUESE MELODIES IN GERMAN SOURCES17. Addir ve-na'or18. Hodu / Zokhrenu / Mi kamokhaD. ASHKENAZI MELODIES IN THE PORTUGUESE JEWISH REPERTOIRE19. Ha-mavdil20. Yigdal/Lekha dodiPart III: CONCLUSIONThe Reliability of the Written Records of Oral TraditionOrigins of the Spanish-Portuguese Synagogal RepertoireThe Iberian 'Metatraditon' Hypothesis ReconsideredBack Matter BIBLIOGRAPHYAbbreviationsStudies inContemporaryIndex of titles and incipitsIndex of names and placesFacsimiles Back Cover
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