TBZ Beit Rabban Curriculum Grades K ‐ 7 Table of Contents
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1 Teruma 5724. Alef. 1. A. the Wood Was Originally Planted by Yaakov In
Teruma 5724. Alef. 1. a. The wood was originally planted by Yaakov in Egypt and brought out of Egypt when the people were freed from slavery. b.The wood grew near Mt. Sinai and was harvested when needed. c. The wood was purchased from peoples with whom the Jews traded. 2. The reason why RaShI explains a second time how Yaakov originally planted these trees in Egypt in anticipation of the eventual construction of the Mishkan is because of the “Heh Rather than simply making boards for the Mishkan, the people .”הקרשים“ ,HaYedia” in 26:15 made the boards, which had already been anticipated. It would appear that while other parts of the Mishkan were also constructed from this material, i.e., the Aron (25:10) and the Shulchan (25:23), the main reason for the growing of the wood and probably the purpose for which most of the wood was devoted, was the construction of the boards. 3. In the first commentary, the Peirush HaAroch,1 Ibn Ezra prefers the interpretation that the וכל אשר נמצא אתו עצי “ (trees were growing in the vicinity of Mt. Sinai. The phrase (35:24 refers to those who had harvested some of these locally ”שטים לכל מלאכת העבודה הביאו grown trees in order to construct shelters for themselves, were now being called upon to contribute that wood for the purpose of constructing the Mishkan. In the Peirush HaKatzar, Ibn Ezra, probably based upon the same phrase that he used to construct his first interpretation, now redefines his understanding to be similar to that of the Midrash and RaShI (he does not necessarily accept that this was all part of a plan that Yaakov had shared with his family; only that the Jews brought the wood from Egypt in anticipation of their own lodging needs), i.e., that these were brought from Egypt rather than harvested locally. -
Dead Sea Scrolls - the Music of the Bible an Overview on the Work of Suzanne Haik-Vantura(1912 - 2000)
Dead Sea Scrolls - The Music of the Bible An overview on the work of Suzanne Haik-Vantura(1912 - 2000) Hebrew Bible Cantillation ITU-State Conservatory, Istanbul. Term Project Mehmet Okon¸sar January 27, 2011 i Contents Biblical research 1 BiblicalExegesis ............................ 1 TraditionalJudaicBibleStudies . 2 Musical Archeology 2 ”NewTestament”Times .. .. .. .. .. .. .. .. .. 2 IncantationversusChanting. 3 Dead Sea Scrolls 4 Thediscovery.............................. 6 TheimportanceoftheScrolls . 7 Qumran-EsseneTheory and the departures from it . 8 The texts 9 GroupingtheScrolls .. .. .. .. .. .. .. .. .. .. 10 Excavations............................... 11 The Story of the Discovery 11 TheBedouins.............................. 11 MarSamuel............................... 12 The photographies allows for the reading . 12 Gettingintotherighthands. 13 Historical importance of the Scrolls . 13 Facts About the Dead Sea Scrols . 14 On Jewish Liturgical Music 17 Maqams 18 Cantillation Signs 19 ThePurposeofCantillationSigns . 20 Thesyntacticalfunction . 20 Importanceintheunderstanding . 21 Thephoneticfunction . 22 Themusicalfunction.. .. .. .. .. .. .. .. .. .. 22 Types of Cantillation Marks 22 Babyloniansystem ........................... 22 Palestiniansystem ........................... 23 Tiberiansystem ............................ 24 Differentiation in the poetic books . 25 Notation 25 ii Suzanne Haik-Vantura 26 The Methodology 28 The schools of interpretation of the signs . 28 Appendices 30 NamesandMeaningoftheSigns . 30 Sequences -
Issues in the Representation of Pointed Hebrew in Unicode
Issues in the Representation of Pointed Hebrew in Unicode http://www.qaya.org/academic/hebrew/Issues-Hebrew-Unicode.html Issues in the Representation of Pointed Hebrew in Unicode Third draft, Peter Kirk, August 2003 1. Introduction The Hebrew block of the Unicode Standard (http://www.unicode.org/charts/PDF/U0590.pdf) is intended to include all of the characters needed for proper representation of Hebrew texts from all periods of the Hebrew language, including fully pointed and cantillated ancient texts such as that of the Hebrew Bible. It is also intended to cover other languages 1 written in Hebrew script, including Aramaic as used in biblical and other religious texts as well as Yiddish and a few other modern languages. In practice there are a number of issues and minor deficiencies in the Hebrew block as currently defined, in version 4.0 of the Unicode Standard (http://www.unicode.org/versions/Unicode4.0.0/), which affect its usefulness for representation of pointed Hebrew texts and of Hebrew script texts in some other languages. Some of these simply require clarification and agreed guidelines for implementers. Others require further discussion and decision, and possibly additions to the Unicode standard or other action by the Unicode Technical Committee. The conclusion reached in this paper is that two new Unicode characters should be proposed; other issues can be resolved by use of suitable sequences of existing characters, provided that such use is generally agreed by content providers and rendering systems. Several of these issues relate to different typographical conventions for publishing of Hebrew texts. -
Sichat Torah TERUMAH Exodus 25:1-27:19 Triennial Reading Exodus 26:1-30 Haftarah I Samuel 15:2-15:34 Source Sheet by Rabbi Shena Potter Jaffee
Sichat Torah TERUMAH Exodus 25:1-27:19 Triennial Reading Exodus 26:1-30 Haftarah I Samuel 15:2-15:34 Source Sheet by Rabbi Shena Potter Jaffee Exodus 26:1-30 שמות כ״ו: א׳-ל ׳ (1) As for the Tabernacle, make it of ten strips of )א( ְו ֶאת־ ַה ִּמ ְש ֥ ןכ ַּתֲע ֖ שה ֣ע ש רְיִר יע ֑ ת ש ֣ ש ,cloth; make these of fine twisted linen, of blue מ ְש ֗ ז ְרּות ֤ כ לתְ וַּאְרָּגָּמ ֙ ן וְת לַּ֣ ַּעתָּשִנ ֔ ְי כֻר ִ ֛ בים purple, and crimson yarns, with a design of cherubim worked into them. (2) The length of מַ ֥ עֲשה ח ש ֖ ב ַּתֲע ֥ ש ה אָָּֽתם׃ )ב( א ֣ רְך ׀ַּ הְיִרָּיע ֣ ה each cloth shall be twenty-eight cubits, and the ה ָֽאַחַ ֗ תְש מ ֤ נ הְו ֙עְשִרים ָָּֽבַּאָּמ ֔ ה ֙וְר חַּ ֙ב ַּאְר ַּ֣ בע width of each cloth shall be four cubits, all the ב ַא ֔מ ַּההְיִר ָּ֖ה יעהָּא חָּ ֑ תִ מָּד ֥ה אַּחַּ ֖ ְתלָּכ ל־ cloths to have the same measurements. (3) Five of ַהְיִּריע ָֽת׃ )ֲג( ח ֣ מ ַּש הְיִר יע ֗ ת ִָֽתְה ֙ י ֙יןָּ ָֽ חְב ר ֔ ִתאָּש ֖ ה the cloths shall be joined to one another, and the אֶל־אֲח ֑ ּהת ֤וְחָּמ שְיִר ֙יעת ָֽ חְב ר ֔ ִתאָּש ֖ ה אל ־ (other five cloths shall be joined to one another. (4 אֲחת ָֽה ׃ )ד( וְע ש ִּ ֜ יתָּ ֣ לָֻֽלְאת ְת ֗ לכ ת עַּ ֣ לְ שַּפ ֤ ת Make loops of blue wool on the edge of the outermost cloth of the one set; and do likewise on ֙ הָּא חָּ ֔ תִ מָּק ָּ֖ה צבַּח בָּ ֑ רתְו ֤ ןכ ַּתֲע ש ֙ ה ַהְיִּרי ע ה (the edge of the outermost cloth of the other set: (5 ב ִּ ְ שפַ֣ ַּתהְיִר ָּ֔ יע ַּה ה ִ ֣קיצֹונָּ֔ ַּהבַּמְח ב ֖ הרַּת ש ִָֽנית׃ make fifty loops on the one cloth, and fifty loops ֲ)ה( חִּמ ִּ ֣ יםש ֗לָֻֽלָּא ת ַּתֲע ש ֮ ה ַּבְיִרָּיע ֣ ה ָּה אָּח ֒ ת on the edge of the end cloth of the other set, the ַוֲחִּמ ִּ ֣ יםש ֗ תלָֻֽלָּא ַּתֲע ש ֙ ה ִבְק ֣ צ ַּההְיִרָּיע ֔ ֲה א ֖ שר loops to be opposite one another. -
The Ultimate Bar Mitzvah Torah Reading Software Tutor
Kol Kore User’s Guide The Ultimate Bar Mitzvah Torah Reading Software Tutor Kol Koren LTD., 8 King David Street, Bnei Brak 51445, ISRAEL, Tel: +972-3-570-0840 www.kolkoren.com Table of Contents Glossary .............................................................................................. 2 Introduction ........................................................................................ 3 Torah Reading Theory.......................................................................... 5 The Order of Torah Reading ............................................................................... 5 Ta’amei Hamikra (Reading Accents - Trop) .......................................................... 6 Musical .......................................................................................................... 6 Syntactic ........................................................................................................ 6 Grammatical ................................................................................................. 10 Kol Kore Features ............................................................................................ 11 Reading Fluency and Accuracy ....................................................................... 11 Torah Font Selection ..................................................................................... 11 Trop and Vowels Highlighted in Different Colors .............................................. 11 Text Highlighted as Chazan Reads ................................................................ -
Trope Curriculum
Temple Beth Israel 6th Grade Hebrew Marla Aviva Bentley Cantillation Curriculum Trope Clause Combinations & Functions Sof Pasuk (Pink) Clause וסף ספ ֽ קו ׃ The Sof-Pasuk clause is made up of these trope symbols: כרמ ֥ א Mercha חפט ֖ א Tipcha ףוס ספ ֽ ׃קו Sof-Pasuk ספמ י ק or Separator Mafsik רבחמ How they function: Connector M’chaber רבחמ is a Connector M’chaber כרמ ֥ א Mercha ספמ י ק is a Separator Mafsik חפט ֖ א Tipcha ספמ י ק is a Separator Mafsik ףוס ספ ֽ ׃קו Sof-Pasuk Chant the following Sof-Pasuk clause combinations with hand-signs: כרמ ֥ א חפט ֖ א כרמ ֥ א ס ו ף ספ ֽ ו ק ׃קוֽס ףוס ר א֖חט ר כרמ א֥ חפט א֖ ףוס ספ ׃קוֽ פףס ֖חטא ר חפט ֖ א ס ו ף ספ ֽ ו ק ׃קוֽס ףוס פ כרמ ֥ א ס ו ף ספ ֽ ו ק ׃קוֽס ףוס ר חפט ֖ א כרמ ֥ א ףוס ספ ֽ ׃קוֽס ו ףוס ספ ֽ ׃קוֽס ו כרמ ֥ א חפט ֖ א כרמ ֥ א ףוס ספ ֽ ׃קוֽס ו Chant the following Sof Sof-Pasuk clause combinations, also known as Sof Aliyah, with hand signs: ףוס - ףוס ספ ֽ ׃קוֽס ו כרמ ֥ א חפט ֖ א ףוס ספ ֽ ׃קוֽס ו חפט ֖ א כרמ ֥ א ס ו ף ספ ֽ ו ק ׃ פ א֥כמ פ כרמ ֥ א חפט ֖ א כרמ ֥ א ףוס ספ ֽ ׃קוֽס ו Temple Beth Israel 6th Grade Hebrew Marla Aviva Bentley Cantillation Curriculum Trope Clause Combinations & Functions Etnachta (Yellow) Clause תא נ תח ֑ א The Etnachta clause is made up of these trope symbols: כרמ ֥ א Mercha חפט ֖ א Tipcha נמ ֣ ח Munach תא נ תח ֑ א Etnachta ספמ י ק or Separator Mafsik רבחמ How they function: Connector M’chaber בחמ ר is a Connector M’chaber כרמ ֥ א Mercha ספמ י ק is a Separator Mafsik חפט ֖ א Tipcha רבחמ is a Connector M’chaber נמ ֣ ח Munach ספמ י ק is a Separator Mafsik תא נ תח ֑ א Etnachta -
BULLETIN Alef 5776
January/FebruaryPAGE 1 2016 BETH ISRAELTevet/Shevat/Adar JUDEA BULLETIN Alef 5776 BETH ISRAEL JUDEA BULLETIN WE ARE LISTENING! Community Participation Results see page 5 BETH ISRAEL JUDEA BULLETIN PAGE 2 WELCOME TO BIJ In This Issue: BIJ Board of Trustees From the Rabbi’s Study ............................... 3 Officers Nancy Greenberg ............................... Co-President Board of Trustees ........................................ 4 Deborah Schweizer ............................ Co-President Community Participation Results! ............. 5 Joshua Goodman .......... Immediate Past President Youth & Family Education—B3............... 6 Trustees Deborah Bouck Debra Braun Adult Education ………………………..7 Ian Brown John Fuchs-Chesney Shabbat ………………………………...8 Lori Ganz Johanna Gendelman Aimee Golant Barbara Hammel Tikkun Olam………………….………...9 Gail Harden Matthew Lefkowitz BIJ Community….........................................9 Lynne Rappaport Reeva Safford Sisterhood Representative Travel to Israel…………………… ….10 Michele Siegel Sisterhood/Women of BIJ……………12 BIJ Staff Community ................................................. 14 Danny Gottlieb ............................................... Rabbi Gifts, Donations & Our Volunteers........14 [email protected] / ext 22 Ricki Weintraub………..Interim Cantorial Soloist [email protected] The BIJ Bulletin Rebecca Goodman ............. Director of Education The BIJ Bulletin is published in January, March, May, July, [email protected] / 415.625.3613 September and November each year by Congregation -
Trope and Blessings CD (Recordings At
Table of Contents: Bar/Bat Mitzvah Packet • Table of Contents……………………………………………………………….p. 0 • Trope Background….………………………………………………….……pp. 1-2 • Trope Symbols…..….………………………………………………….……pp. 3-6 • The Trope Song……………………………………………………………..…..p. 7 • Torah Blessings & Blessings for Tallit and Tefillin………………………........p. 8 • Blessing Before the Haftarah…………………………………………...…..…..p. 9 • Blessing After the Haftarah………………………………………...….....pp. 10-11 • Chanting the Shma…………………...……………………………...……pp. 12-14 • Blessing After the Haftarah for Festivals including Shavuot………………....p. 15 • Friday Night Kiddush………………………………………........................….p.16 • Shema for Taking Out the Torah……………………………………………...p. 17 • Saturday Noon Kiddush……………………………………………………….p. 18 • Bar and Bat Mitzvah CD List also at https://tiofnatick.org/Torah …………....p. 19 All material in the packet, plus recordings, and musical notation of the trope, can be found on the Temple Israel of Natick website, on this page: https://www.tiofnatick.org/Torah Please come to class each week, prepared, and with: 1) A binder or folder with this packet in it (there will be more handouts during the year as well) 2) A set of highlighters (with yellow, blue, green, pink, purple, orange) The Recommended Daily Allowance of practice is about 10-15 minutes each day to complete your weekly assignments. Once you’ve begun individual bar/bat mitzvah lessons, this increases to 20-30 minutes a day. Class assignments will be emailed out regularly, and if an email hasn’t come yet, please review the previous week’s assignment. Feel free to call or email with questions. Thank you! Cantor Ken Richmond [email protected] 508-650-3521, ext. 107 0 Bar/Bat Mitzvah Trope Packet: A guide to the Cantillation Trope, or Cantillation, serves three main purposes: 1. -
TBI Trope Insert
TBI Trope Chart for Beginners Here are the most common trope marks you will run in to and some hints about how they will be used. This guide is intended to be a helpful reference sheet, but it is by no means all encompassing. There are entire books and classes and apps for this. The intention is to help students start recognizing the trope marks. Much gratitude goes to Richard Argosh for notating and identifying key points about the trope for this chart. A few extra notes: This is written in the key of Bb. The initial note in a given word may be repeated if there are extra syllables, so how the trope sounds on a given word can vary a little depending on where the trope hits in the syllables of the word. Talk with your mentor for examples. Consider the ve’ahavta as an example of this. The syllable marked by the trope is where the accent should be. In the notation below it is the open note (and/or) the one with the accent mark on it. Trope Name Notation Hints symbol munach see below for variations with other trope marks This is the most variable trope mark because it’s the xx helper trope! It can vary depending on what follows it. sof pasuk marks the end of the verse :x (siluk) etnachta the second most common xx trope mark x mapach often paired with pashtah pashtah It’s always at the end of the word. Sometimes there are x two pashtah marks in a word. -
Hybridity in the Fourteenth-Century Esther Poems of Israel Caslari
Hybridity in the Fourteenth-Century Esther Poems of Israel Caslari by Jaclyn Tzvia Piudik A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Medieval Studies University of Toronto © Copyright by Jaclyn Tzvia Piudik, 2014 Hybridity in the Fourteenth-Century Esther Poems of Israel Caslari Jaclyn Tzvia Piudik Doctor of Philosophy Centre for Medieval Studies University of Toronto 2014 Abstract The Scroll of Esther, one of the quintessential texts of post-exilic Jewish salvation, was particularly beloved in the European Middle Ages, when the narrative served as a model for redemption from persecution and as a reminder of the threat of expulsion which was part of everyday Jewish life. Among its many medieval adaptations is a pair of texts written by Israel ben Joseph Caslari, a fourteenth-century Jewish physician, living in Papal-ruled Avignon. Israel’s retellings of the Purim story are expanded and heavily embellished with material from talmudic and apocryphal sources, medieval medicine and philosophy, and references to popular culture. He composed his first version composed in Judéo-Provençal, the southern French vernacular written in Hebrew characters; the second in Hebrew, not a translation, but an adaptation of its predecessor. As individual works, each is a rich intertextual landscape which offers a view into its socio-religious setting and reflects the meeting and melding of cultural influences. If one considers them together, this encounter becomes even more pronounced: the two versions come into conversation, embodying the tensions of their milieu, and of their author, a Jewish intellectual in a Christian-dominated society. -
Eastern Ashkenazi Biblical Cantillation: an Interpretive Musical Analysis Yonatan Malin
Yuval 10 (2016) © Jewish Music Research Centre, The Hebrew University of Jerusalem Eastern Ashkenazi Biblical Cantillation: An Interpretive Musical Analysis Yonatan Malin Introduction Jewish cantillation—the intoned reading of Torah, Haftarah, and other Biblical texts in liturgical contexts—has attracted the attention of scholars ever since the day of the Renaissance Humanists.1 The Hebrew chanting depends on the text, and is determined by the te’amim (Masoretic accents) located above and below each word. However, the chant also has clear musical features, with a variety of scales, motives, contours, resting pitches, final pitches, and affects. In the present paper, I will provide a new perspective on musical features of Jewish cantillation in the Eastern Ashkenazi tradition, a tradition that developed in the areas that comprise today Lithuania, Belarus, Western Russia, Ukraine and Poland and is now widely practiced in Ashkenazi congregations around the world. There are six sets of melodies or “modes” in the Eastern Ashkenazi tradition of Biblical cantillation; I will characterize each mode with a variety of music-analytical tools (not only in terms of scales, as is often done), compare the modes with each other, and suggest hearings that link them with their respective texts and liturgical occasions.2 I use the term “mode” in the way it has been used by ethnomusicologists and historians of Jewish music since Idelsohn—to refer not only to a scale, but also to characteristic motives, pitch relationships, affects, and associations of a given repertoire (see Powers et al., 1 Earlier versions of this paper were presented at the First International Conference on Analytical Approaches to World Music (Amherst, 2010) and the annual meeting of the Society for Ethnomusicology (New Orleans, 2012). -
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