Lebenslauf Von Viktor Golinets
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“What If I Drop the Torah?”: Tensions and Resolutions in Accomplishing B’Nai Mitzvah Rituals
“What if I Drop the Torah?”: Tensions and Resolutions in Accomplishing B’nai Mitzvah Rituals By Patricia Keer Munro A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Ann Swidler, Chair Professor Claude Fischer Professor David Hollinger Spring 2014 Copyright © Patricia Keer Munro, 2014. All rights reserved. “What if I Drop the Torah?”: Tensions and Resolutions in Accomplishing B’nai Mitzvah Rituals By Patricia Keer Munro Doctor of Philosophy in Sociology University of California, Berkeley Professor Ann Swidler, Chair Over the twentieth century, Bar/Bat Mitzvah, the Jewish rite-of-passage that takes place at age thirteen (or twelve for girls in Orthodox communities), has reshaped and transformed the American synagogue, the nature of the Jewish life-cycle, the lives of individual American Jewish families, and the content and meaning of the event itself. In America, the ritual has become a central symbol of Jewish continuity both for individual Jews and for the Jewish community as a whole. Whether the student manages a flawless performance or struggles through with whispered help, the ritual works. Parents and grandparents are amazed and awed, friends and relatives are moved to tears, and the students stands a little taller and prouder. This happens with such regularity that it is common to trivialize or mock the event. In truth, it is risky to expect a (possibly recalcitrant) thirteen-year-old to publicly represent both the core values of Judaism and his family’s honor; it is sociologically remarkable that virtually all children achieve that goal. -
Judaica Bulletin
JUDAICA BULLETIN Mededelingenblad van de Stichting Judaica Zwolle Postbus 194, 8000 AD Zwolle Verschijnt vier maal per jaar - ISSN 1384-9050 Jaargang 11, Nummer 4 1 Elloel5758 - Augustus 1998 OPLAGE325 EXEMPLAREN - ABONNEMENTf 12,- - POSTGIRO259272 - BANKREKENING95.24.27.737 DE CANTILLATIE VAN HEBREEUWSE TEKSTEN door J.W. Rose en Peter van 't Riet De tem cantillatie is afgeleid van de Latijnse woorden canticum en cantilena, waarvan de betekenis behalve 'lied' of 'gezang', ook de 'eentonig zangerige voord- racht' van bijvoorbeeld een redenaar kan zijn. De term cantillatie is aan het einde van de 18e eeuw door J.N. Forkel, auteur van het invloedrijke werk Allgemeine Geschichte der Musik (Leipzig , 178811801), geïntroduceerd in de musicale termi- nologie om de zangerige wijze van lezen van Hebreeuwse teksten aan te duiden. Over de precieze betekenis van het woord volgens bestaande gewoonten, aaneen cantillatie is nooit wetenschappelijke over- geschakeld worden (synagogale cantilla- eenstemming ontstaan. In de joodse en musi- tie); cále literatuur vinden we dan ook diverse - de muziekstijl die alle vier bovenstaande betekenissen, zoals: vormen van cantillatie omvat en die door Curt Sachs is omschreven als een 'woord- - de voordracht van een bijbeltekst met be- geschapen, woord-afhankelijk en woord- hulp van vaste melodische motieven vol- ondersteunend systeem van musicale ex- gens de masoretische uitspraak (bijbelse pressie'. cantillatie) ; - de voordracht van een talmoedtekst door Hoewel het woord cantillatie uitsluitend ge- aanpassing van -
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 -
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 -
Rabbi's Column
PERIODICAL POSTAGE PAID AT SKOKIE, IL Change Service Requested Temple Beth Israel Bulletin (USPS 53 7-480) Published Monthly by shabbat services shAbbAT friday Evening, November 3* Rabb i’s olumn On Yom Kippur, IC spoke with our congrega - 5:30 P.M. – Likrat Shabbat See box below for additional contributors tion about racism. I invited us to take this 3601 W. Dempster Street • Skokie, Illinois 60076 day of introspection to look inside ourselves 6:15 P.M. – Kabbalat Shabbat 847.675.0951 • ww w.tbiskokie .org and try to ferret out any unconscious racism, November Birthday Blessings any inadvertent discrimination, in thought or Michael A. Weinberg, Rabbi shAbbAT saturday Morning, November 4 at 10:30 A.M. in deed, in attitude or in demeanor. Racism Lori B. Sagarin, RJE, Director of Congregational Learning Bat Mitzvah of Jaclyn Manning begins, after all, in seeing someone as Marla Aviva Bentley, Director of Music other. Racism begins with an inner fear or Daughter of Lisa Gelfond and Garry Manning Amber Wood, Director of Operations apprehension that someone who appears different than me is somehow Jon Schneider, President Torah Portion “Vayera” worth less, somehow inferior, somehow secondary or subordinate – and maybe even dangerous. Racism begins when we assume that we can Ernst M. Lorge, Rabbi Emeritus* shAbbAT friday Evening, November 10 at 7:30 P.M. correctly know something about another just by looking at them. S. Felix Mendelsohn, Founding Rabbi* 6:00 P.M. – Shalom Shabbat *of Blessed Memory 7:30 P.M. – Veteran’s Shabbat with Koleynu I shared with you my conviction that the first stage of our intro- spection needs to be an acknowledgement and an examination of DATED MATERIAL — PLEASE RUSH Sponsored by Brotherhood Printed by Total Graphics the degree of privilege that most of us experience as white Americans. -
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. -
![Yom Kippur Shacharit - Isaiah 57-14 to 58-14.Doc Page 1 of 3 58:1 Cry out at Full Volume,[Don’T Hold Back]; Like a Shofar, Lift up Your Voice](https://docslib.b-cdn.net/cover/0767/yom-kippur-shacharit-isaiah-57-14-to-58-14-doc-page-1-of-3-58-1-cry-out-at-full-volume-don-t-hold-back-like-a-shofar-lift-up-your-voice-6190767.webp)
Yom Kippur Shacharit - Isaiah 57-14 to 58-14.Doc Page 1 of 3 58:1 Cry out at Full Volume,[Don’T Hold Back]; Like a Shofar, Lift up Your Voice
Haftarah of Yom Kippur-Shacharit – Isaiah 57:14-58:14 chantable English version by Len Fellman based on the translations of Aryeh Kaplan, the Stone Edition Tanach, I.W. Slotski, W. Gunther Plaut, and The Jersualem Bible My recording was modeled on the Hebrew version by Moshe Haschel for ‘Navigating the Bible II’: http://bible.ort.org/books/haftarotd4.asp?action=displaypage&book=6&chapter=57&verse=14&portion=65 57:14 And He will say: Open, open up , clear a path! Remove all the obstacles from the way of My people. 15[For indeed], thus speaks the High and Lofty One, who lives forever, and Holy is His name: In a high and holy place I dwell, and with the contrite[and lowly of spirit], to revive the spirit of the humble, and to revive the heart of the contrite ones. 16 [For indeed], not forever will I contend, not forever be wrathful, for the spirit before Me[would give way[, the very souls that I have made. 17 [For the sin] [of his unjust gain], I was angry and I struck him , hid my face and was wroth, but he went on waywardly in the path of his heart. 18 His ways I have seen : I will heal him.[I will guide him],[and reward] [with consolation]––him and his mourners. 19 I will create this fruit of the lips: “Shalom, shalom,[to those far away] [and to those who are near],”––thus says the Lord––and I will heal him. 20 But the wicked are like the sea that is troubled, because the stillness––it cannot attain, Cast up by the waters is mire and mud. -
8Hv5z1bc1pdtupik7eqijtaad5r.Pdf
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Das Zeichensystem Der Masoreten Zusammengestellt Von Dr
Das Zeichensystem der Masoreten zusammengestellt von Dr. Annette M. Boeckler, Fachleiterin Judentum Zürcher Institut für interreligiösen Dialog ZIID DER TEXT DER TORAROLLE: Besondere Kolumnen Jede Kolumne in einer Torarolle beginnt mit dem Buchstaben Waw. Welches Wort dem Waw folgt, ist nicht festgelegt, aber sechs Kolumnen sind genau fixiert und müssen jeweils mit einem bestimmten Wort beginnen, nämlich den folgenden: (“… Bereshit „Im Anfang בראשית) Gen 1:1 (… Jehuda יהודה) Gen 49:8 (.Haba’im „die kommenden …“. Es müssen fünf Zeilen über dem Lied stehen הבאים) Ex 14:29 (“… Shemor „Beachte שמר) Ex 34:11 (“… Ma tovu „Wie gut מה טובו) Num 24:5 Die letzte Zeile einer Torarolle enthält darf nur drei hebräische Wörter enthalten: .le'enej kol Israel: vor den Augen ganz Israels לעיני כל־ישראל DER TEXT DER TORAROLLE: Die 22 Buchstaben der Tora und ihre Verzierungen Sieben Buchstaben – schin, ajin, tet, nun, zajin, gimmel und tzadi – können in einer שעטנז גץ Torarolle Krönchen tragen, das heißt drei kleine Linien, die mit dem Buchstaben verbunden sein müssen, mit je einem kleinen Kringel oder Pünktchen auf ihnen oder an ihrer linken Seite. Man nennt sie oft „taggim“. Man merkt sie sich mit Hilfe des Kunstwortes Scha'atnez Gatz. Sechs Buchstaben tragen nur einen Strich und ein kleines Häckchen: bet, dalet, qof, chet, בדק חיה jod und he. Auch sie merkt man sich mit einem Kunstwort: Badaq Chaja. Übersetzt hieße dies „Er prüfte das Tier“. Die übrigen neun Buchstaben ohne Verzierung ergeben die beiden hebräischen מלאכת סופר Wörter malachat sofer: Arbeit eines Schreibers. .lamed oben mit zwei kleinen Hörnchen ל In aschkenasischen Judentum endet das können dazu benutzt werden, Platz auszufüllen, damit auch der rechte ד ה ל ר ת ,Fünf Buchstaben Rand einen geraden Abschluss hat: Bei dalet, he, lamed, resch und taw kann zu diesem Zweck der obere Balken beliebig lang gezogen werden.