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INDEX OF FOREIGN WORDS adam, man., I: n; III: ; IX: , keli zekhukhit, glass instrument., I: –, –, , , , , , ; X: , , keli zemer (pl. kele zemer), musical armonia doria,Dorianmode.,I: instrument, I: n, , , armonia frigia,Phrygianmode.,I: kelim nofhim. , blowing instruments., armonia ionica,Ionianmode.,I: I: armonia lidia,Lydianmode.,I: kinnor (pl. kinnorot),lyre,I:–,, arpa,harp.,I:n –, , –, –, , , #asor, ten-string lyre., I: , –, , , –, – aulos, double-reed pipe. See also , , , , –, , #ugav. , , , , , – kithara,cythara(Ital.cetera or cetra), cetera (or cetra). See kithara I: n, n, n cigni,swans,specificallycigni kiwwun, tuning., I: n, iperborei,I: lauto.Seeleuto. diapason as well as sheminit (eighth) leuto (alias lauto), lute, I: n and ottava I: , n, , , , mahol. (pl. meholot. ),dance(seealso diapente as well as hamishit. (fifth) meholah. ) I: , , , and quinta, I: , n, n, masah. , unleavened bread, IV: , , diatessaron as well as revi#it (fourth) , , , , , , ; X: and quarta I: , n, n, maskhah (mixed)., I: mezeg,liquid,I: galgal.Seesphere melekhet ha-musiqah,musicpractice (Lat. musica practica) I: halil. , pipe., I: , melekhet ha-niggun, practice of hamishit. ,fifth(seediapente) playing, I: hokhmat. ha-musiqah (Lat. scientia menaggen, player., I: , , , , musicae), music science I: , – –, , , –, , , , , n, menasea. h. , leader, chief musician, holah. see meholah. conductor, I: higayon, speaking, playing, contem- meshitihu, I drew him out., I: , plating, I: , , n hitmazgut,fusion.,I: meshorer (pl. meshorerim), singer., I: , keli (pl. kelim), instrument, also metarim, strings., I: vessel, I: , , , mezeg, commixture, nature., I: , keli niggun (pl. kele niggunim), moys, water (in Egyptian), I: – harmonic instrument. I: , , keli shir (pl. kele shir), melodic musa (pl. muse), muse, I: –, instrument., I: , – index of foreign words musica humana, music as results partizione (plur. partizioni), V: from the harmony of body and proporzione dupla, duple proportion, soul, I: n I: , n, n musica instrumentalis, music for voices and instruments, I: n qabbalat shabbat,welcomingthe musica mundana, music of the Sabbath; service on Friday eve, I: spheres, I: n n musiqah, music, I: , , , n, , qadish shalem, full Qadish, I: n , , –, , , , –, qedusha rabati,greatQedusha,I: , , , , , , , – n, n , , , –, , , qol (pl. qolot), voice, sound, I: , , , , –, , , –, –, –, – musiqah galgalit,planetarymusic,I: , –, , , , –, , , –, –, , , , , , , ; II: –, ; neginot, songs, melodies, pieces (of III: , ; IV: ; ; V: ; VI: music), I: , , ; IX: , , , , , ; X: ne#imah (pl. ne#imot), pitch, melody, , , , , I: , , , , n, , , , qole qolot, noises, I: quarta.Seediatessaron. ne#imuta (Aram.), melody, I: quinta.Seediapente. nefesh. See vegetative soul quintadecima,fifteenth,I: nefesh maskelet.Seenefesh sikhlit. nefesh sikhlit (or maskelet), rational revi#it,fourth.Seediatessaron. soul, I: , , rinnah, pl. renanot, song, I: , neshama. See intellective soul ruah. .Seesensetivesoul nevel, psaltery, larger form of lyre, I: , –, , –, , , Safnat. Pa#neah,. Revealer of secrets, I: , niggun (pl. niggunim), also nigguna Sefirah, II: n, n, ; IX: (Aram.) sesquialtera,sesquialteral,I: interval, melody, harmony, playing, sesquiottava (Lat. sesquioctava), I: , –, , , , , , – sesquioctaval, I: , –, , –, , , , shekhinah (Aram. shekhinta), I: , , –, –, –, , , n, , see also immanence , –, , , – shelishit,third,I: , , , –, , , shemini #aseret. ,theEighthDayof n, –, , Convocation, I: n, , , niggun #olam,cosmicmelody,I: – nigguna.Seenigun. sheminit,eighth,.Seediapason nigguni, harmonic, I: , , , , sheminit,lyrewitheightstrings,I: , , , , , , , , nima (pl. nimin), string, I: shigayon, hymn, I: nogenim,players,I: shir, song, I: , , , , –, –, , , , , –, #olam qatan, microcosm, Sermon IX –, , , , –, ottava,octave.I:,seealsodiapason. , n, , Sermon II.

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Music in the Bible by Theodore W
Music in the Bible By Theodore W. Burgh Music is an essential element of ancient and modern cultures. It often shapes chronological periods, as did the Motown recordings of the 1960’s and 70’s, and marks what we grieve and celebrate. While many of the uses of music in the ancient Near East are similar to those of today, the sound and experience of music in ancient times was different. It is hard for us to imagine not being able to pull music from the air and download it upon request. In antiquity, people only heard music in live musical performances. Nothing was recorded, sampled, mixed, or mass-marketed. Although we don’t know how ancient music sounded, judging from the ways it was used we do know that music was important then as it is now. By studying the ancient remains of instruments, descriptions of musical activity in texts like the Bible, and artistic representations, we gain valuable information about these enigmatic past societies and peoples—from aspects of relationships between men and women, the types of instruments used in sacred and secular performances, and occasions when music was performed. A glance at several biblical stories reveals the importance of music in the daily life of antiquity. For instance, writers describe how people used music to express an array of emotions, convey valuable information, and entertain. Moreover, there are numerous ceremonies and celebrations in the Bible where musical performance was a major part. Several passages contain descriptions of actual instruments, names of musicians, as well as places and times music was played.
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On Old Macewas, Synagogues and Klezmorim∗
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Traditional and Historical Scottish Harps by Bill Taylor
Traditional and Historical Scottish Harps by Bill Taylor WHY DISTINGUISH between traditional and historical harps? It is not an easy question to answer. In its true sense, traditional means that which is passed on by word of mouth from one generation to another. Indeed, it means we’ve always done it this way . Harp playing right now is in the midst of a tremendous revival. Given that harps have been played for thousands of years, it would follow that there is no single harp which can claim to be traditional. Rather, there are many different harp traditions which span the centuries and the globe. Harp terminology is a minefield. Nowadays, we speak loosely of ‘clarsach,’ ‘Irish harp,’ ‘neo-Irish harp,’ etc, without really knowing the fine distinctions of these words. It was the same in the ancient and medieval worlds: cithara, lyra, rotta and harpa, were all seemingly interchangeable names for a number of different stringed instruments. Terms which described particular instruments in one culture came to mean something else at another time or place. Although the word remained the same, the instrument it referred to changed. Nowhere is this more apparent than in our modern English Bibles. In the King James Bible, Psalm 150 reads: Praise him with the sound of the trumpet: praise him with the psaltery and harp. Praise him with the timbrel and dance: praise him with stringed instruments and organs. It is clear that many different instruments were used in Old Testament times, but whatever they were they weren’t modern trumpets, pipe organs and pedal harps.
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On Jewish Music
Jewish Music (excerpted from the Oxford Grove Music Encyclopedia) The earliest evidence of Jewish musical culture is found in the Old Testament. Hebrew music was established by King David between 1002 and 970 BC in the Temple of Jerusalem, where Levite musicians were in charge of instrumental and vocal performance. Biblical instruments include the ′asor (a string instrument, presumed to have had ten strings), halil (wind instrument, probably including flutes and reed instruments), &hdotb;atzotzerah (trumpet, probably used to produce rhythmic blasts on a single pitch), kaithros (probably a lyre), kinnor (probably a lyre, played by David for Saul: the most important melodic instrument of ancient Israel), metziltayim (probably pair of cymbals), minnim (probably string instrument), nevel (probably a lyre or a harp), qarna (animal horn played at Nebuchadnezzar's court), tof (probably a round frame drum like the tambourine but without jingles), ′ugav (probably a wind instrument) and the shofar (ram or ibex horn, used for signaling), the only instrument played in modern times. After the destruction of the Temple by the Romans in AD 70, instrumental music was banned; vocal forms, particularly psalm singing, survive to the present, however, apparently with little change, and are the oldest living forms of Jewish music. Other vocal forms are cantillation of the prose books of the Bible (including the Pentateuch, Prophets and Ruth) and virtuoso, improvisatory prayers and hymns, orally transmitted by cantor- composers. Unlike Islam, which has steadily expanded, influencing musical cultures from Spain to Indonesia, the creation of Israel in 1948 resulted in a sudden compression of Jews from widely dispersed regions.
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úáùì øåãéñ Siddur for Shabbat úáùì øåãéñ Siddur for Shabbat David Singer, Editor Berkeley Hillel 5763 2003 i ii Contents Preface iv On Usage v Shabbat Evening Service 1 Shabbat Morning Service 43 Havdalah 95 Supplementary Prayers 97 Songs 103 iii Preface This siddur was first created by the Reform minyan at UC Berkeley, California in the spring of 2003. In deciding to compile this siddur, students embarked on an ambitious process: how could they best combine over twenty distinct creative service packets into one inclusive and comprehensive siddur which would suit the needs of the Berkeley Reform Jewish community’s prayer in all circumstances for years to come? Further, the prayer service, while in need of energy and creativity, was also worthy of respect and in due need of a certain amount of structure which service packets could not provide. It is our hope that this siddur meets that need, and accordingly that it can and will be used for Erev and Shacharit Shabbat and Havdalah services as well as song sessions. Further, it is our hope that this siddur will help to meet the same need in other youth and young adult minyanim for years to come. We thank the many people who have helped to make this siddur a reality, especially to those who spent countless hours compiling and editing. To David Singer, Melissa Loeffler, Jill Cozen-Harel, Becky Gimbel, David Abraham and Athalia Markowitz special thanks are due. The original printing of this siddur would not be possible if not for the generous financial support provided by Temple Beth El of Berkeley, CA.
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Copies of Historic Musical Instruments. CIMCIM Publications No. 3
Comiti International des Musies et Collections d'Instruments de Musique..; CIMCIM PUBLICATIONS International Committee of Musical Instrument Museums 8:? Collections No.3: 1994 ISSN 1019-9977 COPIES OF HISTORIC MUSICAL INSTRUMENTS CONTENTS Foreword Arnold Myers, Vice-President, CIMCIM, Edinburgh 2 Introduction Jeannine Lambrechts-Douill~z, Antwerp 2 Reflections on the 'Authenticity' of Musical Instruments Martin Elste, Musikinstrumenten-Museum, Staatliches Institut fiir Musikforschung Preussischer Kulturbesitzt, Berlin 3 The 'Exact Copy' as a Legitimate Goal John Koster, The Shrine to Music Museum, Vermillion, South Dakota 7 Measure for Measurement Eszter Fontana, National Museum of Hungary, Budapest 13 Radiographing Musical Instruments: a Useful Method in Organological Research Mia Awouters, Brussels 15 The Provision of Plans Jeremy Montagu, The Bate Coilection of Musical Instruments, Faculty of Music, University of Oxford 20 Materials from Endangered Species in Musical Instruments Laurence Libin, The Metropolitan Museum of Art, New York 23 The Clavicytherium (c 1480) and its 'copy' in the Royal College of Music Museum, London Elizabeth Wells, The Royal College of Music Museum, London 28 Building Biblical Instruments Nina Benzoor, the Haifa Music and Ethnology Museum, Israel 34 2 CIMCIM Publications, No.3: 1994 Foreword Arnold Myers, Vice-President, CIMCIM, Edinburgh The most vexed question in collections of historic musical instruments is the extent to which the instruments should actually be used for their original purpose, making music. If they are not played at all, much of the benefit of preserving them remains unrealised; if they are played, the necessary prior restoration and the very act of use imposes loads and risks that are generally not compatible with proper standards of conservation.
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Investigation of Music in Therapy from Biblical Times Until the Beginning of the Middle Ages
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1984 Investigation of music in therapy from Biblical times until the beginning of the Middle Ages Cochavit Elefant The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Elefant, Cochavit, "Investigation of music in therapy from Biblical times until the beginning of the Middle Ages" (1984). Graduate Student Theses, Dissertations, & Professional Papers. 7276. https://scholarworks.umt.edu/etd/7276 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 Th is i s an unpublished m a n u s c r ip t in w h ic h c o p y r ig h t su b s i s t s . A ny further r e p r in t in g of it s co ntents must be a ppro ved BY THE AUTHOR, MANSFIELD L ib r a r y U n iv e r s it y of Montana Date : ----------- 3 ^ 9 . 8 - 4 -------- Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. An Investigation of Music in Therapy From Biblical Times Until the Beginning of the Middle Ages by Cochavit Elefant B.M.
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Sempronia's Song
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The Universal Lyre: Three Perspectives
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MUSICAL INSTRUMENTS in CHURCH I Historical View
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Mena'anim: Musical Instruments of the People
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