םולש תבש Shabbat Shalom—July18, 2020
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High Holy Day Cantillation Treitman RB-CANTR-523B
Rabbinical School RB-CANTR-523B: High Holy Day Torah Cantillation Cantor Louise Treitman 1 graduate credit Syllabus for Spring Semester 2019: High Holy Day Torah 9:30-10:40 Wednesdays Contact Information: 617-699-8864 (mobile) [email protected] (please put “CANTILLATION” in subject line) COURSE DESCRIPTION: This class builds on the skills learned in the Basic Cantillation course while acquiring the melodic skills needed to chant High Holy Day Torah using a common Ashkenazi trope. We will continue to explore the concepts of cantillation – chanting our sacred texts according to ancient tradition. There will be a review of the underlying syntactic structure of the system of cantillation. Then, we will delve deeper into the grammar with sentence diagramming and ongoing focus on correct contemporary pronunciation of biblical Hebrew This course is primarily for rabbinical students (preferably who have taken one of the pre-requisite courses or some solid understanding of cantillation). However, others are welcome (depending on size of the class), provided they have an adequate sense of musical pitch and the ability to read and translate biblical Hebrew and have the following pre-requisites. Suggested pre-requisite for this course: Basic Cantillation (Treitman), Cantillation I (Jacobson) or permission of the instructor. This course does not count for graduate credit for students in the Cantorial Ordination programs, although cantorial students are welcome to audit. REQUIREMENTS: Attendance: Students are expected to attend each session and to participate fully. Learning cantillation melodies (with the voice that you have been given): Students are expected to go over chanting and to prepare texts as required. -
Keil & Delitzsch
THE BOOK OF ECCLESIASTES TRANSLATED BY M. G. EASTON Introduction If we look at the world without God, it appears what it is, — a magnificent, graduated combination of diverse classes of beings, connected causes and effects, well-calculated means and ends. But thus contemplated, the world as a whole remains a mystery. If, with the atheist, we lay aside the idea of God, then, notwithstanding the law of causation, which is grounded in our mental nature, we abandon the question of the origin of the world. If, with the pantheist, we transfer the idea of God to the world itself, then the effect is made to be as one with the cause, — not, however, without the conception of God, which is inalienable in man, reacting against it; for one cannot but distinguish between substance and its phenomena. The mysteries of the world which meet man as a moral being remain, under this view of the world, altogether without solution. For the moral order of the world presupposes an absolutely good Being, from whom it has proceeded, and who sustains it; it demands a Lawgiver and a Judge. Apart from the reference to this Being, the distinction between good and evil loses its depth and sharpness. Either there is no God, or all that is and happens is a moment in the being and life of God Himself, who is identical with the world: thus must the world-destructive power of sin remain unrecognised. The opinion as to the state of the world will, from a pantheistic point of view, rise to optimism; just as, on the other hand, from an atheistic point of view, it will sink to pessimism. -
“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. -
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 -
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. -
Rabbi Samson Raphael Hirsch's Use of Biblical Accentuation in His
JSIJ 15 (2019) RABBI SAMSON RAPHAEL HIRSCH’S USE OF BIBLICAL ACCENTUATION IN HIS COMMENTARY ON PSALMS LEA HIMMELFARB* The impact on biblical interpretation of the biblical accents’ role as punctuation marks has long been acknowledged.1 Graphical signs in the Bible serve the purpose of denoting the verse’s primary and secondary divisions. While the biblical accents clearly indicate a specific way of understanding the verse, the interpretive stance implied by them requires further explanation and analysis. Indeed, much can be learned through examining the consonance between the interpretation suggested by the biblical accents’ division of the verse, and other interpretations of the Bible throughout different historical periods.2 In this paper, I detail the explicit connection between Rabbi Samson Raphael Hirsch’s nineteenth-century commentary and the biblical accentuation system, as it is expressed in his commentary on Psalms. Hirsch lived in Frankfurt on the Main from 1808 to 1888 and wrote his Bible commentary in German. His translation and commentary on Psalms was * Department of Bible, Bar-Ilan University. This article is an expansion of a paper read on August 6th, 2013 at the 25th Congress of the International Organization for Masoretic Studies (IOMS) held in Munich, Germany. Since it was the first time I had ever been on German soil, I felt compelled to fulfill the Jewish obligation “not to forget”: May my paper commemorate those members of my own family murdered in cruel and unusual ways in Auschwitz, Chelmno and Bergen Belsen along with six million other Jews. May their memories be a blessing. 1 The two other roles played by biblical accents also sometimes impact biblical interpretation. -
8Hv5z1bc1pdtupik7eqijtaad5r.Pdf
( { glyphOrder = ( NULL, CR, space, exclam, quotedbl, numbersign, dollar, percent, ampersand, quotesingle, parenleft, parenright, asterisk, plus, comma, hyphen, period, slash, zero, one, two, three, four, five, six, seven, eight, nine, colon, semicolon, less, equal, greater, question, at, A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z, bracketleft, backslash, bracketright, asciicircum, underscore, grave, a, b, c, d, e, f, g, h, i, j, k, l, m, n, o, p, q, r, s, t, u, v, w, x, y, z, braceleft, bar, braceright, asciitilde, exclamdown, cent, sterling, currency, yen, brokenbar, section, dieresis, copyright, ordfeminine, guillemotleft, logicalnot, registered, overscore, degree, plusminus, twosuperior, threesuperior, acute, mu, paragraph, middot, cedilla, onesuperior, ordmasculine, guillemotright, onequarter, onehalf, threequarters, questiondown, Agrave, Aacute, Acircumflex, Atilde, Adieresis, Aring, AE, Ccedilla, Egrave, Eacute, Ecircumflex, Edieresis, Igrave, Iacute, Icircumflex, Idieresis, Ntilde, Ograve, Oacute, Ocircumflex, Otilde, Odieresis, multiply, Oslash, Ugrave, Uacute, Ucircumflex, Udieresis, germandbls, agrave, aacute, acircumflex, atilde, adieresis, aring, ae, ccedilla, egrave, eacute, ecircumflex, edieresis, igrave, iacute, icircumflex, idieresis, ntilde, ograve, oacute, ocircumflex, otilde, odieresis, divide, oslash, ugrave, uacute, ucircumflex, udieresis, ydieresis, dotlessi, Lslash, lslash, OE, oe, Scaron, scaron, Zcaron, zcaron, circumflex, caron, ring, ogonek, tilde, hungarumlaut, sheva, "hataf_segol", "hataf_patah", -
(Tiro) Keyboard Manual
Version 1.5 keyboardִ manual ת(Biblical Hebrew (Tiroרֹ © John Hudson, 004, 007. For keyboard driver version 1.5 Installation See below for upgrade instructions The installation procedure for this version of the keyboard differs from previous versions, so please review these instructions carefully. The Introduction good news is that the installation is considerably easier. The new ver- This manual and keyboard charts are designed to help you make use of sion includes several different keyboard drivers for use with different Tiro Typework’s Biblical Hebrew keyboard driver (v1.5). This keyboard versions of Windows, and a single setup file that automatically selects driver has been developed to facilitate typing of Biblical texts includ- and installs the appropriate driver for your system configuration. This ing teamin (accents/cantillation marks) and nikudot (vowel points). The new installation procedure also automatically adds the keyboard to your driver works with the Windows 000, XP and Vista operating systems, installed Text Services, removing the need to do this manually. [Instruc- and is being made available for download from the Society of Biblical tions for manual addition of the keyboard to installed services are still Literature website (www.sbl-site.org) as a service to scholars using documented in this manual, since they will be of use in managing such the new SBL Hebrew font. The keyboard layout was developed by John services if you need to disable or re-enable the keyboard drivers. See Hudson, the designer of the SBL Hebrew typeface. ‘Managing keyboards’ on pages 1–13] The keyboard driver can be unin- Note that the keyboard driver can only be installed on Windows 000 stalled using system tools, as documented on page 1, so this version of and later. -
Megillat Eicha: Chanting and Lamenting Tisha B'av Preparation
Megillat Eicha: Chanting and Lamenting Tisha B’Av Preparation Workshop Hazzan Rob Menes Packet Contents: • Workshop Outline • Overview notes on text • Megillat Eicha with translation • Megillat Eicha with accurate taamei hamikra • Trop symbols and their names in combinations • Musical notation of the trope for Lamentations 1 2 Hazzan Rob Menes July 5/12 2007 Megillat Eicha: Chanting and Lamenting 1) Background a) History Not explicitly historical, but general references to destruction of Temple Probably written between 586 and 538 BCE Read liturgically at least from 6th century and possibly from after destruction of 2nd Temple b) Author No explicit author identified II Chronicles 35:25 identifies Jeremiah as author, but not typical of Jeremiah 2) Text a) Style i) Kinot (meaning “lamentations”) (3:2 meter) (particularly chap 5) ii) Acrostics (alphabetic verses in chaps 1-4) iii) Poetic (assonance, hendiadys, paronomasia, chiasmus, repetition, parallelism, metaphor, non-recurring doublets b) Grammar and pronunciation c) Meaning i) Lament for destruction of Jerusalem (586 BCE) ii) Sins of the people brought about destruction iii) God author of destruction (anger at God) 3) Eicha Trope a) Taamim i) Many possible tropes (1) Biblical Chant. A.W. Binder. Sacred Music Press. 1959 (2) Chanting the Hebrew Bible. J. Jacobson. JPS. 2002 (3) The Jewish Songbook. A.Z. Idelsohn. Publications for Judaism. 1961. ii) No “pazer” b) Practice c) Application to text i) Must understand which phrases express anger, horror, pleading, sorrow… ii) Recognize parallelism