Prayer and Piyyut in the Worms Mahzor
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The Secular Music of the Yemenite Jews As an Expression of Cultural Demarcation Between the Sexes
JASO 27/2 (1996): 113-135 THE SECULAR MUSIC OF THE YEMENITE JEWS AS AN EXPRESSION OF CULTURAL DEMARCATION BETWEEN THE SEXES MARILYN HERMAN JEWISH men and women in Yemen are portrayed in the sociological and anthropo logical literature as having lived in separate conceptual and spatial worlds. As a result, two very separate bodies of song existed, one pertaining to men and the other to women. In this paper, I show how the culturally defined demarcation be tween the sexes is reflected and epitomized in the music of the Jews who lived in Yemen. i The key to this separation lies in the fact that women were banned from the synagogue altogether. This exclusion is not prescribed by Jewish law, and there is no precedent for it in the Bible or other Jewish literature or communities. The reason given for women being banned from the synagogue in Yemen was the fear that they might be menstruating. The condition of menstruation is, in Jewish law, This paper is based on my MA thesis (Herman 1985), which was written under the supervision and with the moral and academic support of Dr P. T. W. Baxter of Manchester University. My brother Geoffrey Herman willingly and painstakingly translated Hebrew articles into English for my benefit while I was writing this thesis. I. The period mainly referred to is the fifty years or so preceding 'Operation Magic Carpet', a series of airlifts between 1949 and 1950 in which the majority of Yemenite Jews were taken to Israel. 114 Marilyn Herman seen as ritually impure. -
Podcast Transcript Cantor Louise Treitman
Open My Heart: Living Jewish Prayer with Rabbi Jonathan Slater Cantor Louise Treitman. JONATHAN: Shalom. This is Rabbi Jonathan Slater, and welcome to “Open My Heart: Living Jewish Prayer”, a Prayer Project Podcast of the Institute for Jewish Spirituality. Together, we will investigate how personal prayer, in its many forms, is an important part of Jewish spirituality. Each Monday and Friday, we will offer a different practice, led by a different person, all praying from the heart. Today, we're blessed to have with us Cantor Louise Treitman, who is a student and a friend. Hey Louise. Really happy to have you here. Tell us a little bit about yourself. LOUISE: Thank you, Jonathan. It's so great to be with you today. I'm a cantor and I've served in the Boston area since the 1980s. I'm blessed to be Cantor Emerita of Temple Beth David in Westwood, Massachusetts, and I also – at Hebrew college in Newton, Massachusetts -- I teach rabbinical and cantorial and education students. It's a pluralistic seminary here. In recent years. I've been serving a World Union for Progressive Judaism congregation in Italy. First, I was in Florence and then most recently in Rome. This is for the High Holidays, and currently via Zoom for monthly Shabbatot. I've been involved with the Institute for Jewish Spirituality, IJS, almost since its beginning, and was thrilled to finally be in the first Clergy Cohort. I've led some of the regular Daily Meditations, and I've also been listening to these personal prayer practice podcasts since they started. -
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Anthology of Music Traditions in Israel The Hebrew University of Jerusalem • The Jewish Music Research Centre 27 Anthology of Music Traditions in Israel • 27 Editor: Edwin Seroussi Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Study and commentaries: Rivka Havassy and Edwin Seroussi Research collaborators: Michael Aylward, Joel Bresler, Judith R. Cohen and Risto Pekka Pennanen Jerusalem, 2020 Jewish Music Research Centre, The Hebrew University of Jerusalem The Hebrew University of Jerusalem • Faculty of Humanities Jewish Music Research Centre In collaboration with the National Library of Israel With the support of Centre for Research and Study of the Sephardi and Oriental Jewish Heritage (Misgav Yerushalayim) at The Hebrew University of Jerusalem For additional materials related to this album, see www.jewish-music.huji.ac.il Academic Board of the Jewish Music Research Centre Chairperson: Shalom Sabar Steven Fassberg, Ruth HaCohen, Yossi Maurey, Elchanan Reiner, Eliyahu Schleifer, Assaf Shelleg, Rina Talgam Director: Edwin Seroussi Digital Transfers: SMART LAB, Hayes, Middlesex Digital Editing and Mastering: Avi Elbaz Graphic design: www.saybrand.co.il Cover photograph: Splendid Palace Hotel, Salonika, c. 1910, location of recordings © and P The Hebrew University of Jerusalem 2020 4 Preface In 2008 the Jewish Music Research Centre released a 4 CD package entitled An Early 20th-century Sephardi Troubadour: The Historic Recordings of Haim Effendi of Turkey. Catering to the increasing scholarly and general public interest in the role commercial recordings had on musical traditions from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic music prior to the rapid chain of events leading to the dissolution of the traditional communities that maintained this music. -
University of Groningen Moses and His Parents Ruiten, J.T.A.G.M
University of Groningen Moses and His Parents Ruiten, J.T.A.G.M. van Published in: EPRINTS-BOOK-TITLE IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2006 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Ruiten, J. T. A. G. M. V. (2006). Moses and His Parents: The Intertextual Relationship between Exodus 1. In EPRINTS-BOOK-TITLE s.n.. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 26-09-2021 Moses and His Parents: The Intertextual Relationship between Exodus 1:22-2:10 and Jubilees 47:1-9 J. T. A. G. M. van Ruiten 1. Introduction The book of Jubilees consists of a rewriting of the biblical narrative of the book of Genesis: the primeval history and the history of the patriarchs, with a special emphasis on Jacob. -
The Role of Hebrew Letters in Making the Divine Visible
"VTSFDIUMJDIFO (SàOEFOTUFIU EJFTF"CCJMEVOH OJDIUJN0QFO "DDFTT[VS 7FSGàHVOH The Role of Hebrew Letters in Making the Divine Visible KATRIN KOGMAN-APPEL hen Jewish figural book art began to develop in central WEurope around the middle of the thirteenth century, the patrons and artists of Hebrew liturgical books easily opened up to the tastes, fashions, and conventions of Latin illu- minated manuscripts and other forms of Christian art. Jewish book designers dealt with the visual culture they encountered in the environment in which they lived with a complex process of transmis- sion, adaptation, and translation. Among the wealth of Christian visual themes, however, there was one that the Jews could not integrate into their religious culture: they were not prepared to create anthropomorphic representations of God. This stand does not imply that Jewish imagery never met the challenge involved in representing the Divine. Among the most lavish medieval Hebrew manu- scripts is a group of prayer books that contain the liturgical hymns that were commonly part of central European prayer rites. Many of these hymns address God by means of lavish golden initial words that refer to the Divine. These initials were integrated into the overall imagery of decorated initial panels, their frames, and entire page layouts in manifold ways to be analyzed in what follows. Jewish artists and patrons developed interesting strategies to cope with the need to avoid anthropomorphism and still to give way to visually powerful manifestations of the divine presence. Among the standard themes in medieval Ashkenazi illuminated Hebrew prayer books (mahzorim)1 we find images of Moses receiving the tablets of the Law on Mount Sinai (Exodus 31:18, 34), commemorated during the holiday of Shavuot, the Feast of Weeks (fig. -
Newsletter for Shavuot 5774
Shabbat Shalom from Cyberspace June 7, 2014 - 9 SIVAN 5774 SHABBAT SHALOM FROM CYBERSPACE SHABUOT and BEHA’ALOTECHA JUNE 4-7, 2014 6,7,9 SIVAN 5774 DEDICATIONS: To Grandma Chantelle and her partner Baby Chantelle SEPHARDIC CONGREGATION OF LONG BEACH We say Yehi Shem through the 13th of Sivan I hope you will join us for Shavuot Tuesday Night , June 3 - Candle Lighting – 8:05, Mincha Services – 7:45pm - Do not begin Kiddush at home if possible until 8:45 …. Tikun Lel Shavuot – 11:00pm Rav Aharon, Rabbi Yosef and Rabbi David will interject derashot and ideas into the reading Desserts, Fruits, tea and Coffee will be served throughout the night Wednesday, June 4 – 1st Day of Shavuot - Sunrise Minyan begins at 4:30 AM, Sunrise at 5:24.34 - Regular services begin at 9AM – As many of those who typically arrive early will be at the first minyan we need commitments from ten for the second Minyan. B’H – as usual Uri Lemberger will lead this minyan and read the Torah He needs help! Who will be there? We need ten guys to commit to the late minyan. No Meal in the Synagogue ….But something better - Phyllis invites everyone for Kiddush with home-made desserts after services. Return for Azharot and Mincha at 7:15 followed by Arbit Candle Lighting – After 9:05pm The most distinctive Shavuot custom is undoubtedly the recital of the Azharot and the Book of Ruth that takes place before the Minha service. The main poem is a precis of the 613 commandments written by R. -
Loving the Convert Prior to a Completed Conversion: with a Test Case Application of Inviting Conversion Candidates to Pesach Seder and Yom Tov Meals
147 Loving the Convert Prior to a Completed Conversion: With a Test Case Application of Inviting Conversion Candidates to Pesach Seder and Yom Tov Meals By: MICHAEL J. BROYDE and BENJAMIN J. SAMUELS Introduction The Torah enjoins us numerous times concerning the mitzvah of Ahavat ha-Ger,1 which literally means the love of the stranger or sojourner, though is primarily understood in Jewish legal sources to refer more specifically to loving the convert to Judaism.2 Furthermore, the Torah commands us that “you shall love your neighbor as yourself” (Leviticus 19:18), and also charges us to love God (Deuteronomy 6:4), creating multiple duties of love as halakhic obligations. This article will explore the question: When does the duty to love the convert commence and does it impact the con- version process? Does it apply only to a newly converted Jew, or to a Noahide who is in the process of converting, or even to a Gentile who has expressed an interest in converting? The process of conversion to Judaism can be divided into three fun- damental stages: In the first stage, the person makes a personal decision 1 See Leviticus 19:34; Deuteronomy 10:18-19. The Torah also prohibits oppress- ing the convert, “lo toneh” and “Lo tonu”—see Exodus 22:20; Leviticus 19:33; TB Bava Metzia 58b, 59b, and Ben Zion Katz, “Don’t Oppress the Ger,” Seforim Blog <https://seforimblog.com/2019/07/dont-oppress-the-ger/>. However, this article will not investigate the question of when the prohibition against oppressing a convert begins, which may or may not track in parallel with the mitzvah of Ahavat ha-Ger. -
Maqam of the Week:Layout 1.Qxd
SEPHARDIC CUSTOMS Maqam of the Week Book of Numbers -- Summer 2009 David M. Betesh he Middle Eastern Sephardic Jewish community has a T unique tradition of using a dif- ferent maqam (Arabic: melody type) each Shabbat for the Shaharit (morning) prayer services. The melodies used in a given maqam aim effectively to express the mood throughout the prayers. The maqam that will be used is based on the theme of the parasha. The main maqamat generally used are: Rast, Mahour, Ajam, Nahwand, Saba, Sigah, Bayat, Hoseni, Rahawi/Nawah and Hijaz. The maqamat have different melodies and have different reasons as to why they are used. Allow me to explain why and when some of the maqamat will be used throughout the weeks of the early summer 2009 season—specifically during the eight weeks of the Book of Numbers (Sefer Bamidbar Sinai). The information here is based also used for the ta'amim (cantilla- connection to the Hanukkah festi- on the traditions of the Sephardic tions) of Megillat Ruth; the scroll that val). Also, it may or may not be a Syrian Jews of Aleppo as recorded is read during the Shavuot festival. coincidence that Sigah, the word by the Red Pizmonim book, Sefer For Shabbat Naso, the longest that means “third” in Persian, is Shir U'Shbaha Hallel Ve'Zimrah. parasha of the Torah, the prayers used for the third parasha of Sefer There are slight variations in the are conducted in Maqam Saba Bamidbar. Sigah is the maqam used maqam choices by the Beirut, (which means army). There are two for reading the Torah. -
The Theme of Love in Yemenite Hebrew Literature*
THE THEME OF LOVE IN YEMENITE HEBREW LITERATURE* By REUBEN AHRONI Ohio State University THE EROTIC IMPULSE is a vital and dynamic force in life, and the theme of love is ageless and universal. "A pretty girl, a cup of wine, a garden, the song of a bird, the murmur of a brook'' -proclaims Moshe lbn Ezra-' 'are the cure of the lover, the joy of the distressed ... the wealth of the poor, and the medicine of the sick. " 1 Thus Ibn Ezra advises: Cling to the breast of the beautiful by night And kiss the lips of the pretty by day.2 This prescription of Moshe lbn Ezra for a happy and joyful life is characteristic of many of the Medieval Spanish Hebrew poets. Despite their deep piety, these poets knew how to express in their writings the splendor of the fields and flowery meadows, and the enchantment of feminine beauty .3 Indeed, these writings offer us a glimpse into the hidden vistas of their lives: their joys and sorrows, their triumphs and frustrations. The greatness of poetry, says Mardell, is in its eroticism, for it is "most true then to life, which is largely erotic" (1976, p. 15). *All translations of Yemenite Hebrew poetry into English are my own. I would like to thank the Graduate School of the Ohio State University, the College of Humanities, and the Melton Center for Jewish Studies, for supporting my research on Yemenite Hebrew Literature. I. See Seper he'anaq (The Necklace. also known as The Tarshish), Part 3, verses 52-55. -
Usiel (Uziel, Uzziel) - (“Strength of God”)
Usiel (Uziel, Uzziel) - (“strength of God”). in the cabala generally, as in Targum Onkeles and Jonathan, Usiel is an angel that fell, and is therefore evil; he was among those who wedded human wives and begat giants. Of the 10 unholy sefiroth, Usiel is listed 5th. In the Book of the Angel Raziel, Usiel (Uzziel) is among the 7 angels before the throne of God and among 9 set over the 4 winds. Usiel replaces Uriel in the reprint English translation of Verus Jesuitarum Libellus (“True Magical Work of the Jesuits”). The Key to Faust’s Threefold Harrowing of Hell (otherwise known as a Key to Black Raven) contains a general conjuration to Usiel and a list of his adjutant princes. Finally, according to Milton, Usiel is a good angel, of the order of virtues, a lieutenant of Gabriel’s in the fighting in Heaven at the time of Satan’s defection. http://www.megadriel.com/bios/u.html Usiel: “the Lord is strength”; from the Book of Enoch http://www.kheperu.org/other/other2.html http://angelsreading.com/usiel/ Uzziel 1 Uzziel This article is about the biblical figure. For the Mishnah rabbi, see Jonathan ben Uzziel. ʿÛzîʾēl, meaning El is my strength or God is my strength[1]) was ,עוּזִיאֵל :According to the Torah, Uzziel (Hebrew the father of Mishael, Elzaphan, and Zithri, and was a son of Kohath and grandson of Levi, consequently being the brother of Amram and uncle of Aaron, Miriam, and Moses. Uzziel is portrayed in the text as the founder of the Uzzielite faction of Levites; however, despite Uzziel supposedly being Kohath's son, and Elzaphan's father, on some occasions the Book of Chronicles treats the Uzzielites as being quite distinct from the descendants of Kohath, and from those of Elzaphan. -
10 So Moses and Aaron Went to Pharaoh and Did Just As the Lord Commanded
Today’s Scripture Reading Exodus 6:14-7:13 14 These are the heads of their fathers' houses: the sons of Reuben, the firstborn of Israel: Hanoch, Pallu, Hezron, and Carmi; these are the clans of Reuben. 15 The sons of Simeon: Jemuel, Jamin, Ohad, Jachin, Zohar, and Shaul, the son of a Canaanite woman; these are the clans of Simeon. 16 These are the names of the sons of Levi according to their generations: Gershon, Kohath, and Merari, the years of the life of Levi being 137 years. 17 The sons of Gershon: Libni and Shimei, by their clans. 18 The sons of Kohath: Amram, Izhar, Hebron, and Uzziel, the years of the life of Kohath being 133 years. ! 6:14-7:13 19 The sons of Merari: Mahli and Mushi. These are the clans of the Levites according to their generations. 20 Amram took as his wife Jochebed his father's sister, and she bore him Aaron and Moses, the years of the life of Amram being 137 years. 21 The sons of Izhar: Korah, Nepheg, and Zichri. 22 The sons of Uzziel: Mishael, Elzaphan, and Sithri. 23 Aaron took as his wife Elisheba, the daughter of Amminadab and the sister of Nahshon, and she bore him Nadab, Abihu, Eleazar, and Ithamar. 24 The sons of Korah: Assir, Elkanah, and Abiasaph; these are the clans of the Korahites. ! 6:14-7:13 25 Eleazar, Aaron's son, took as his wife one of the daughters of Putiel, and she bore him Phinehas. These are the heads of the fathers' houses of the Levites by their clans. -
Spring 2003 Issue (PDF)
N O T E S F R O M ZAMIR SPRING 2003 THE M AGAZINE OF THE Z AMIR C HORALE The Food of Italian Jews, page 27 OF B OSTON Zamir’s Mission to Israel, page 31 The Jews of Italy: A Paper Symposium MUSICA EBRAICA In 1622 the Venetian rabbi Leon Modena wrote, “No longer will arrogant opponents heap scorn on the Hebrew folk. They will see that it too pos- sesses talent, the equal of the best endowed.” What kind of scorn had Modena experienced? In 1611 Thomas Coryat published a book about his impressions of Venice. He referred to the sing- ing in the synagogue as “exceeding loud yelling, indecent roar- ing, and as it were a beastly bellowing.” What was the basis for Modena’s optimism? “There has arisen in Israel, thank God, a very talented man, versed in the singer’s skill, who has performed music before princes, yea, dukes and nobles. He set the words of the psalms to music or- ganized in harmony, designating them for joyous song before the Ark.” Salamone Rossi, That man was the Jewish composer Salamone Rossi, who, the Mystery Man of Jewish Art Music Composers in 1622, produced the first book of its kind: a stunning setting by Don Harrán 5 of the synagogue service. “He is more talented than any other Rabbis, Politics, and Music: man, not only those of our own people, for he has been com- Leon Modena and Salamone Rossi pared with, and considered the equal of, many of the famous by Howard Tzvi Adelman 8 men of yesterday among the families of the earth.” Lord & Tailor: As we listen to Rossi’s music we become aware of the ex- Fashioning Images of Jews in Renaissance Italy traordinary accomplishments of the Jews in Renaissance Italy.