Cantillation Marks

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CCaannttiilllliizzeerr

Distributional Analysis of Cantillation Marks

Author: Scott Alexander Gabriel Reiss

Developers:

Music Editors: Susan Owen, John Wheeler, John McMurtery

What imagination the scrupulous originators manifested in these creative pictographical representations. It is paramount to translate with precision this message transmitted with so much love.1 Suzanne Haïk-Vantoura

Cover Page

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Table of Contents

Cover Page ...... 1

Table of Contents ...... 2

Table of Figures ...... 3

1 Cantillation ...... 5 1.1 Vocalization ...... 5 1.2 Semiotics ...... 6 1.3 Versification ...... 8 1.4 Hermeneutics ...... 8

2 Architecture ...... 14 2.1 System ...... 14 2.2 Database ...... 14 2.3 Server ...... 14 2.4 Client ...... 14

3 Database...... 15 3.1 Specifications, Requirements & Constraints ...... 15 3.2 Raw Data Input ...... 16 3.3 Data Processing ...... 17 3.4 Data Structure ...... 20

4 Application ...... 33 4.1 Graphical User Interface ...... 33 4.2 Menus ...... 35 4.3 Configuration ...... 36 4.4 Database Query ...... 37 4.5 Syntactic Analysis ...... 41 4.6 Syntactic Pattern Recognition...... 45 4.7 Musical Analysis ...... 47 4.8 Freeform Analysis ...... 63 4.9 Graphics ...... 64

Appendix A ...... 68

Table of Contents 2 http://www.sagreiss.org [email protected]

List of Emendations ...... 68

Appendix B ...... 69 Tools & Libraries ...... 69

Appendix C ...... 70 Abbreviations ...... 70

Endnotes ...... 71

Table of Figures

Figure 1-1 Cantillation Chironomy ...... 7 Figure 1-2 Hierarchy of Disjunctive Signs ...... 9 Figure 1-3 Hierarchy of Prosodic Signs ...... 10 Figure 1-4 Suzanne Haïk-Vantoura...... 11 Figure 1-5 Syntactic Structure of Cantillation Marks (A) ...... 11 Figure 1-6 Syntactic Structure of Cantillation Marks (B) ...... 12 Figure 2-1 System Diagram ...... 14 Figure 3-1 Aleppo Codex, Isaiah 9:6 ...... 17 Figure 4-1 Cantillizer Main Screen (next page) ...... 33 Figure 4-2 Configuration Dialog Box ...... 36 Figure 4-3 Search for Signs Dialog Box ...... 39 Figure 4-4 Phrygian Mode Scale in C Major ...... 48 Figure 4-5 Other Prosodic Sublinear Signs ...... 49 Figure 4-6 Prosodic Appoggiature...... 51 Figure 4-7 Prosodic Melismata ...... 51 Figure 4-8 Harmonic Mode Scale in E Minor ...... 52 Figure 4-9 Other Psalmodic Sublinear Signs ...... 52 Figure 4-10 Psalmodic Appoggiature ...... 54 Figure 4-11 Psalmodic Melismata ...... 54 Figure 4-12 Blowing the Shofar on Rosh Hashanah ...... 55 Figure 4-13 Salomon Helperin Blowing the Yemenite Shofar (2006) ...... 56 Figure 4-14 Marc Chagall, The Capture of Jerusalem by Nebuchadnezzar (1956) ...... 57 Figure 4-15 Psalm 137 “By the Rivers of Babylon” in E Minor ...... 58

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Figure 4-16 Synagogue at Gaza, Mosaic of King David Strumming the Harp (6th century CE) ...... 59 Figure 4-17 Cadence of Psalm 137 with Ornament Resolution ...... 62 Figure 4-18 Psalm 137, Verse 1, Syllabified ...... 63 Figure 4-19 Structure of Psalms 120, 124, 129, 130 ...... 66 Figure 4-20 Tree Diagram ...... 67

Table of Figures 4 http://www.sagreiss.org [email protected]

1 Cantillation

The goal of the Cantillizer project is to extract and process cantillation data from the Hebrew Bible for the purpose of studying the order in which cantillation marks occur. The database holds cantillation information and provides display and statistics showing the patterns or structure of cantillation marks.

1.1 Vocalization

Hebrew (like other Semitic languages) was originally and is still written without most vowels.2 Sometime between Jerome (c. 347-420), the Dalmatian theologian and author of the Latin translation of the Bible, and Saadia ben Joseph (892-942), aka Gaon, the Jewish Egyptian philosopher and author of the Arabic translation, who testify respectively to the absence and presence of vowels, three rival schools of vocalization arose, the Babylonian, the Palestinian, and the Tiberian, with the last (and latest) eventually prevailing.3 As the Jerusalem Talmud (written in Tiberias, 4th century CE) and the Babylonian Talmud (written in Sura, 5th century CE) collected and organized different oral traditions of biblical commentary, the three pointing systems synthesized diverse local phonetic and musical phenomena. Moreover, beginning in the second half of the eighth century amid political turmoil in the caliphate of Baghdad, the Karaites, a schismatic Jewish sect, posed a grave threat to rabbinical authority by opposing traditional biblical commentary in a back-to-the-text movement. The besieged Tiberian rabbis fought back by creating a textual standard that the Masorah or ―tradition‖. The Palestinian school under ben Naphtali ,מסורה they called (flourished c. 890-940, given name either Jacob or Moses), the Jewish scribe and philologist, produced its own standard, but it has not survived, although many of its readings are known through secondary sources. Tradition attributes the vowels either to Sinaic origin or to Ezra, a priest and legal scribe in the Great Synagogue (established under his jurisdiction c. 444 BCE). None however is attested until the High Middle Ages, more than five hundred years after Hebrew had ceased to be a native language (gradually replaced by Aramaic and other vernacular tongues as the spoken languages of the Jews). The authors of the Masorah have exerted more influence on the history of biblical scholarship than all of the Talmudists and exegetes put together, for they in large part determined what following generations of readers and philologists would understand as the words of the Bible. In adding vowels to the text, eliminating polysemy by suppressing homonymy, they essentially rewrote it. Since the Septuagint (translated from lost sources c. 250-150 BCE) preceded the vocalized Masorah by a thousand years, its readings must be regarded as at least as authoritative. Philo (c. 20 BCE-50 CE), the Jewish Egyptian diplomat and philosopher, describes the circumstances of the Greek translation: He [Ptolemy II (c. 308-246 BCE), aka Philadelphus, king of Egypt], then, being a sovereign of this character, and having conceived a great admiration for and love of the legislation of Moses, conceived the idea of having our laws translated into the Greek language; and immediately he sent out ambassadors to the high-priest and king of Judea, for they were the same person. And having explained his wishes, and having requested

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him to pick him out a number of men, of perfect fitness for the task, who should translate the law, the high-priest, as was natural, being greatly pleased, and thinking that the king had only felt the inclination to undertake a work of such a character from having been influenced by the providence of God, considered, and with great care selected the most respectable of the Hebrews whom he had about him, who in addition to their knowledge of their national scriptures, had also been well instructed in Grecian literature, and cheerfully sent them.4 Much of this tale may be deemed apocryphal, but the authors of the Septuagint spoke and wrote a language fairly close to Ancient Hebrew. The authors of the Masorah spoke medieval Aramaic, and learned to read Mishnaic (c. 100-300 CE) and biblical Hebrew. The vocalization of the Bible ignited a controversy that burned for more than five hundred years, until the advent of moveable type5 allowed the advocates of the Masorah to impose its readings definitively. The tradition of printing the Bible with vowels, while almost all other Hebrew texts (including books and newspapers) lack them, is not a quaint usage benevolently conceived on behalf of Diaspora Jewish readers less skilled in the Hebrew language, but an ideological tactic to shrink the plethora of biblical variants down to one unique vision. Indeed this seemingly innocuous practice amounts to censorship. The actual Torah is manuscripted without vowels precisely because it is kept in the synagogue between the hands of the rabbis, and shown to the layman only under supervision. Modern Jewish women have fought for the right to touch the scrolls not merely as a symbolic gesture, but in a legitimate demand to read the unadulterated text of the Bible.

1.2 Semiotics

לעב ―stnahc ‖rotcel קריאה Cantillation refers to Jewish liturgical chant. In synagogue the from the unvocalized Torah and Hagiographa with the help of a prompter following in a cantillated text. He reads the entire Pentateuch and the five scrolls (Ruth, Song of Songs, Ecclesiastes, Lamentations, and Esther) in an annual rotation of weekly precentor‖ psalmodizes from a― הליפת לעב passages on the Sabbath and holidays. The psalter‖. On the Sabbath and holidays he sings psalms and songs from the― סדור vocalized Bible, as well as other prayers and poems both ancient and modern. In the Middle Ages, and as late as the twentieth century in certain Jewish communities, such as those of Rome, Cairo, and Yemen, a signer cued the congregation to cantillation marks by means cantor‖ may double as lector or precentor in― חזן of chironomy or hand signals. The addition to his role as soloist and/or choirmaster, depending on the size, wealth, individual talents, and cultural traditions of the temple. Untold historical and geographical variations in synagogal custom and organization are attested.

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Figure 1-1 Cantillation Chironomy

Mehupakh Revia

Pashta Merekha Tifkha

Little Zakef Atnakh

Great Zakef Sof Pasuk

Cantillation marks belong to a complex system of punctuation or textual annotation (the dots, lines, and curves written above, below, within, and between Hebrew letters) that convey a enormous amount of information with breathtaking economy as pertains to the following: 1. Melody, modulation, and rhythm (cantillation). 2. Tonic accents, intonation and pauses (cantillation). 3. Metrical units (logical). 4. Syntactic relationships (logical). 5. Vowels (diacritical). 6. Homographs and phonetic shifts (diacritical). taste‖) perform the first four― טעמים Cantillation marks (referred to collectively as functions, but are only attested in conjunction with pointing, the diacritical marks dots‖) that perform the last two. All arose at the same― נקודות referred to collectively as) time (evolving in three rival schools over a period of five hundred years, c. 400-900), and clear distinctions are seldom drawn among the characters (including digraphs and homographs), their names (including synonyms), and their intertwined roles. Since a thousand years of unrecorded harmonic and phonetic transformations separated the punctuators from the authors of the Bible, cantillation and diacritical marks do not accurately reflect historical phenomena of the biblical period, notes and vowels the rabbis had never heard. They may however reflect the Jewish culture, music, and dialects of the time and places in which they were written, medieval Sura (in Babylonia, modern-day Iraq) and Tiberias (on the shores of the Sea of Galilee). They may also accurately represent logical relationships (grammatical and metrical) actually present in the text. In his notes to the publication and translation into French of the anonymous Yemenite Hebrew grammar compilation Manuel du lecteur (1870), Joseph Derenbourg, the Jewish French Orientalist and philologist, gives this colorful account of cantillation marks: Accentuation is like the first stuttering of an unconscious grammar, and would perhaps never have undergone this development had it not been destined to compensate for science, which had not yet been formulated. This incomparable punctuation may only be understood as the expression of a tradition that had to materialize, for want of the ability to call to its aid the exact observation of the organism of language.6

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Whatever their original role may have been, musical, syntactic, prosodic, or phonological, cantillation marks constitute a series of data punctuating a linguistic text. The signs are non-random in order, and their sequential patterns are easily discerned, if not so easily interpreted.

1.3 Versification

Two systems of cantillation marks occur in the Masorah, referred to as psalmody (Psalms, Proverbs, body of the book of Job) and prosody (prologue/epilogue of Job, and the rest of the books). Moreover Sephardic, Ashkenazi, and Yemenite cantors interpret cantillation marks differently in their trope (musical phrasing conventions). About ninety percent of the words in the Bible carry a cantillation mark, taking into account that some polysyllables carry two signs, and considering makef (similar to a hyphen) as a word separator. Hebrew is an oxytonic language, whose accent regularly falls on the last syllable of an utterance. Almost all cantillation marks occur in the stressed syllable, although half a dozen pre- or postpositive signs may, depending on the manuscript, be reiterated in the accented syllable when they precede or follow it.7

1.4 Hermeneutics

1.4.1 Traditional Parsing Samuel Bohl (1611-1639), the German Orientalist and philologist, divides cantillation marks into five organizational levels8:

תרשמ suvreS ro שילש semoC ro הנשמ xuD ro ךלמ xeR ro רסיק ro Imperator “King” “Duke” “Count” “Servant” “Emperor” Prose Psalm Prose Psalm Prose Psalm Prose Psalm Prose Psalm Silluk Silluk Segolta Ole Revia Revia Geresh Little Munakh Merekha Veyored Pazer Atnakh Great Atnakh Zarka Revia Double Great Mehupakh Tarkha Shalshelet Mugrash Geresh Shalshelet Little Pashta Tsinor Little Azla Merekha Azla Zakef Pazer Legarmeh Great Yetiv Dekhi Great Mehupakh Double Munakh Zakef Pazer Legarmeh Merekha Tifkha Tevir Great Darga Iluy Telisha Munakh Azla Mehupakh Legarmeh Little Galgal Telisha Galgal Little Shalshelet Tsinorit The first four groups (violet, blue, red, and green) are disjunctive (indicating syntactic breaks) or pausal, with members listed in descending order of hierarchical or structural power, while the last (yellow) is conjunctive (indicating syntactic links) or non-pausal. The following diagram illustrates the disjunctive system as it applies to half a verse.

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Figure 1-2 Hierarchy of Disjunctive Signs

In modern symbolic notation the above diagram might be represented as follows: {Emperor (King1 [Duke1 ] [Duke2 ]) (King2 [Duke3 ] [Duke4 ])} In practice, however, and contrary to modern nesting practices, cantillation marks hold cumulative mandates, i.e. the emperor supersedes king 2, duke 4, and count 8, king 1 supersedes duke 2 and count 4, dukes 1 and 3 supersede counts 2 and 6 respectively. This economy allows for eight signs instead of fifteen. The following table represents their role as implemented in linear order:

Level 4 Level 3 Level 4 Level 2 Level 4 Level 3 Level 4 Level 1 Emperor King King King Duke Duke Duke Count Since the data are arranged sequentially, four members of an inferior rank are promoted to preserve the ascending hierarchy, without respect to level and contrary to modern nesting practices. Thus, level 3 king ≈ duke, and level 4 king/dukes ≈ count. Priority between two signs of equal value (with no intervening sign of greater value) goes to the first sign, except that priority goes to the last emperor, who governs the whole verse.9 In his Cantillation of the Bible (1957), Solomon Rosowsky, the Jewish Latvian cantor and composer, elaborates on the relationships among prosodic disjunctive and conjunctive cantillation marks in the Pentateuch.

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Figure 1-3 Hierarchy of Prosodic Signs

Dotted lines indicate the fealty of vassal lords to emperors and kings. Horizontal arrows indicate the proxy of regents for kings and dukes in absentia. Solid lines indicate the government of servants by lords. Conjunctive signs are seldom deemed to play a structural role in the syntax of the sentence or the meter of the verse. Attempts to reconstruct the music of the Bible tend to hold that disjunctive signs beat the rhythm, while conjunctive signs carry the melody. In his Treatise on the Accentuation of the Twenty-One So-Called Prose Books of the Old Testament (1887), William Wickes, the British Orientalist and philologist, calls the elaborated classification ―fanciful and misleading‖, and defends the rabbinical or servus משרת or dominus ―master‖ and conjunctive מלך bipartition of disjunctive ―servant‖. He nevertheless lists the former in an almost identical hierarchical order (rather than, for example, alphabetically), while quibbling about a few signs that he deems over- or underrated. No one seems to ignore the subordinations. Scholars disagree in their analysis of those subordinations. Derenbourg once again waxes poetic: But the worried and restless spirit of these doctors [rabbis], endlessly bent over the sacred text, divided and subdivided the words of each verse; the slightest nuances were spotted, not only breaks were noted, but also links, and despite the rule, ―that a prince should not be demoted to the level of a servant, nor should the latter be promoted to the level of a ruler,‖ [quotation from translated source text] a veritable hierarchy was established, a rather burlesque feudal system of accents, which entertained a few subtle savants of the fifteenth, sixteenth and seventeenth centuries. In this scale the lower nobility was confused with the lackeys, and accents such as telisha maintained their rank of master with difficulty. Throughout the ongoing creation of new dignitaries, the small stroke, straight or curved, placed above or below the line, tilted to the right or to the left, became the insignia of new ranks. Finally the denominations overflowed and overran, whether still more distinctions were made, or the nakdanim [punctuators] invented new names for the same accents and afterwards new uses were sought for these innovations until then unknown.10

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Perhaps cantillation marks once held meaning, musical, syntactic, prosodic, or phonological. However, as Derenbourg shrewdly recognizes, by the Renaissance this meaning had already broken down and been crushed under the burden of ever-increasing expectations and ever-more-minute analysis. Cantillation marks had become, and remain to this day, a semiotic system, with all the complex rules, exceptions, homonymy, synonymy, polysemy, and ambiguity common to such systems, but emptied of all semantic content. Today they constitute half a sign, signifier bereft signified.

1.4.2 Suzanne Haïk-Vantoura

Heedless of the syntactic and semantic distinction between disjunctive and conjunctive signs, Suzanne Haïk-Vantoura (1912-2000), the Jewish French organist and musicologist, in her Musique de la Bible révélée (1976), interprets cantillation marks as neumata, splitting them into groups of sublinear and superlinear signs. The former determine the notes of the diatonic scales, while the latter perform the ornamental roles known as appoggiatura and melisma.

Figure 1-4 Suzanne Haïk-Vantoura

Cantillizer supports Haïk-Vantoura’s music theory, defined in 4.7 au-dessous.

1.4.3 Constituent Structure Analysis Generative grammar, while also repudiating Bohl’s system, sees in cantillation marks evidence of constituent structure analysis.11 Tree diagrams represent the syntactic relationships of sentences, as in the following figure illustrating Genesis 6:22.

Figure 1-5 Syntactic Structure of Cantillation Marks (A)

The cantillation marks are then interpreted and manipulated in much the same way as linguistic concepts such as sentence (S), noun phrase (NP), and verb phrase (VP), as follows: Atnakh governs the verse. Tifkha 1 governs the subject and verb of the first independent clause. Tifkha 2 governs the second independent clause and the subordinate clause. Tevir governs the subject and predicate of the subordinate clause.

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Great Telisha governs the object of the first independent clause (antecedent of the subordinate clause) and the verb phrase of the subordinate clause. The system seems to break down in the tevir and great telisha nodes, as the following analysis of the very similar verse Genesis 7:5 suggests.

Figure 1-6 Syntactic Structure of Cantillation Marks (B)

Atnakh governs the verse. Tifkha 1 governs the subject and verb of the independent clause. Tifkha 2 governs the subject and predicate of the subordinate clause. This interpretation, moreover, gives no structural role to silluk, which does not even appear in the tree diagrams, thus reducing the strongest of the cantillation marks to little more than a pilcrow sign.

1.4.4 Distributional Analysis Cantillizer retains none of these theories a priori, preferring to perform distributional analysis. Instead of appealing to such diverse fields as music, grammar, prosody, or phonetics, cantillation marks are seen as a coherent semiotic system worthy of study independent of other disciplines. Distributional analysis determines the role of an element in a system by studying its environment, i.e. its position relative to (preceding and following) the other elements of the system. Repetitive patterns tend to appear in non- random sets of sequential data, such as an alphanumeric code to be deciphered. This structure, once discerned, defines the relationships of the discrete elements to one another in the working of the system. For a full explanation and examples of how Cantillizer applies distributional analysis to cantillation marks, see 4 au-dessous. Cantillizer is just one small possible use for distributional analysis and structural linguistics in the study of the Bible. From the time of Saadia to that of David Kimhi (c. 1160-1235), aka Radak, the Jewish Provençal philologist whose Book of Completion, edited and translated in 1952 by William Chomsky, was the standard Hebrew grammar for six hundred years, Hebrew and Semitic philology led the world in the fields of phonetics and morphology. Since 1812 the standard Hebrew Grammar is the work of the German Orientalist Wilhelm Gesenius. A complete, Unicode text-and-data display-and-analysis database tool containing the whole Bible would perform distributional analysis of all characters, so-called letters, vowels, dagesh and other diacritical marks, and cantillation marks, as well as grammatical analysis of morphemes. (Syntactic and semantic analysis are also possible, but would enlarge the scope and complexity of the project considerably.) A world-wide commercial market for such a piece of software probably exists. It would be an invaluable tool to Orientalists, musicologists, university and yeshiva students and professors, seminarians, priests, cantors, and rabbis.

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Modern linguists use distributional analysis to determine the phonemes of a given language by means of minimal pairs, such as bow and vow in English. No such minimal pair is found in modern Castilian Spanish, where /b/ and /v/ are not distinct phonemes. The same method is used to determine the syntactic categories of given language. Assuming a written language in which the syntagmatic (linear language) axis runs horizontally, lexical items that are interchangeable in the paradigmatic (or vertical) axis play the same role, and therefore belong to the same part of speech. There is no other valid method of determining the phonemes or parts of speech of a given language.

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2 Architecture

The system is designed as a web application.

2.1 System

Figure 2-1 System Diagram

Database End-User Client

Server

2.2 Database

2.2.1 Database Query

2.3 Server

2.3.1 Client-Server Query

2.4 Client

2.4.1 End-User Query

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3 Database

Cantillizer holds that the interest of any semiotic system that consists of a fixed number of discrete signs, such as natural human languages, mathematics, or musical notation, lies not in the signs themselves, which are arbitrary, unmotivated, and conventional, but in the complex relationships among the signs, which are logical and rule-based. Cantillizer discovers the logical rules of cantillation marks. Cantillizer makes the following minimalist assumptions (observations) about cantillation marks: 1. Cantillation marks are discrete signs, signifiers whose signified has been lost or forgotten. 2. Cantillation marks occur in conjunction (above, below, between) with the graphemes of a written and oral text (the Bible) in a natural human language (Hebrew). 3. Cantillation marks occur in the same linear order as the text with which they coincide. 4. This sequential order, far from being random, is the key to the interpretation of cantillation marks. The goal of Cantillizer is to perform systematic statistical and distributional analysis of the order in which cantillation marks occur in the Bible.

3.1 Specifications, Requirements & Constraints

Specification Requirement Constraint Sites http://www.sagreiss.org LGPL license http://cantillizer.sourceforge.net GPL (and compatible tools only) 100mb DB & application on Sourceforge. Operating Online web application built primarily or exclusively Works well in Windows, System by means of open-source tools in a LAMP (Linux, Linux, Mac OS. Apache, MySQL, PHP/Python/Perl) environment.. Exports to spreadsheet and/or to tab-delimited text files. Programming Should be standard and Environment portable. Programming Should be standard and Language portable. Database Some version of SQL is proposed, but not required. Should be standard and portable. Storage Raw data must be stored and accessed independently. If better data becomes available, system must be able to accept a complete set of new raw data with minimal changes. Memory DB and processing should be small enough to work well on a laptop computer in a standard RAM configuration.

Database 15 http://www.sagreiss.org [email protected]

Specification Requirement Constraint Language English (left-to-right). Should not require Hebrew fonts or right-to- left text direction capabilities. Database is composed of alphanumeric characters and structural rules in machine code, so it is language-neutral. Interface could easily be translated into Hebrew for integration and localization purposes. Interface Plug-In Could be created and should be optimized for porting as a plug-in to an existing Hebrew Bible reader or editor.

3.2 Raw Data Input

3.2.1 Aleppo Codex The Aleppo Codex (c. 930), written in or around Tiberias (on the shores of the Sea of Galilee) by Shlomo ben Buya’a under the direction of Aaron ben Asher (flourished first half of tenth century), the Jewish scribe and philologist, was the earliest extant complete vocalized Bible until 1947, when Syrian rioters burnt down the synagogue where it had been housed and diligently copied for five hundred years, since its removal from Jerusalem via Cairo. Jews managed to rescue about sixty percent of the manuscript and smuggle it back to Israel. The source text for virtually all subsequent editions, the Aleppo Codex is the single most important document in the three-thousand-year history of the Hebrew Bible.

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Figure 3-1 Aleppo Codex, Isaiah 9:6

In his guidelines for biblical scribes Moses ben Maimon (1135-1204), aka Maimonides, Rambam, the Jewish Spanish physician and theologian, writes of this text: The scroll on which I relied on for (clarification of) these matters was a scroll renowned in Egypt, which includes all the 24 books (of the Bible). It was kept in Jerusalem for many years so that scrolls could be checked from it. Everyone relies upon it because it was corrected by ben Asher, who spent many years writing it precisely, and (afterward) checked it many times.12 The spiritual leader may be prescribing more than describing, but his words carried enormous weight.

3.3 Data Processing

The raw data input is a file of the entire vocalized, punctuated, and cantillated Bible, some ten million characters. Processing will reduce this to cantillation data only, some two million characters. Cantillizer obtained the best Unicode Aleppo Codex text currently published online, available from: http://www.mechon-mamre.org/c/ct/c0.htm, where it may be freely and openly downloaded: http://www.mechon-mamre.org/dlct.htm without any special permission, although a small donation is requested. We have not and will not publish any of their data. Under the doctrine of fair usage we have extracted a small portion (about 20%) of their data (cantillation marks only) emended the order of some signs that are misencoded (despite being correctly rendered in graphical browser representation), processed it, analyzed it, and are publishing that emended and processed data, as well as the results of that analysis, in a format utterly incompatible with that of the original source text.13

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3.3.1 Data Conversion Algorithm

To convert input data: 1. Select Unicode notation from the following: Unicode decimal (sorting advantages) Unicode hexadecimal Other 2. Select display font, such as Ezra SIL SR. 3. Create character map of Unicode (all signs in source text) to display font, and verify visually. To create the character map, a list of every unique character in the text is created by means of a One of Many function. 4. Convert data to selected Unicode notation.

3.3.2 Data Processing Algorithm A good resource for checking signs, especially if we use some version of the BHS, is available at the following site: http://tanakhml2.alacartejava.net/cocoon/tanakhml/d21.php2xml?sfr=1&prq=1&p sq=1&lvl=99

To process input data: A batch file performs the following Find/Replace commands and keeps a numerical log of substitutions/deletions. 1. Convert four consecutive spaces to stich dummy sign: space character + space character + space character + space character > space character 39. 2. Convert verse ends to return character: ׃
> 1475 + return character. Delete all remaining line breaks:
. 3. Convert book number: Use the first two decimal digits of the file name (26 [= Psalms] in the example below) to extract the data. > This will create an error, which will have to be corrected semi-manually, in the first and last books of the Bible. 4. Convert tome number: Use the letter following the first two decimal digits of the file name (a [= 1] in the example below) to extract the data. > This will create an error, which will have to be corrected semi-manually, in the first and last tomes of each book. 5. Convert chapter number: Use the last two hexadecimal digits of the file name (f0 [= 150] in the example below) to extract the data. > This will create an error, which will have to be corrected semi-manually, in the first and last chapters of each tome/book. 6. Convert verse number anchors: > . This will create an error, which will have to be corrected semi-manually, in the first and last verses of each chapter.

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7. Delete all characters (letters, vowels, punctuation), ampersand (&), and pound sign (#), but not the semicolon separator (;), except cantillation marks, makef (1470), pasek (1472), sof pasuk (1475), and space character, i.e. retain the following numbers: 1425, 1426, 1427, 1428, 1429, 1430, 1431, 1432, 1433, 1434, 1435, 1436, 1437, 1438, 1439, 1440, 1441, 1443, 1444, 1445, 1446, 1447, 1448, 1449, 1450, 1451, 1452, 1453, 1454, 1469, 1470, 1472, 1475. 8. Delete all variants and annotations: (text), [text], and {text}. 9. Convert meteg + sof pasuk to silluk: 1469;1475 > 38. Convert meteg[space character] to silluk. (There should be only a dozen or fewer, including Genesis 35:22, Exodus 20:2, Deuteronomy 5:6. If there are many more, then there is a problem.) According to another source, verses with two silluks are Gen 35:1, Exo 20:2, Deu 5:3, and Isa 44:4.14 We will correct this manually, if necessary. Convert remaining metegs: 1469 > 37 Check for additional sof pasuks, and delete. There should be very few. 10. Convert makef (1470) to space character. 11. Delete [space character][space character]pasek (1472). This assumes that (as in my text of Leningrad) that a space character always precedes pasek. Space character prevents misidentification of digraphs. For example, munakh[space character][space character]pasek indicates munakh followed by pasek punctuation (not cantillation) after the next word, while munakh[space character]pasek indicates munakh legarmeh. Makef needs to be checked for its effect on legarmeh signs (check munakh legarmeh visually), but I doubt the first element of a legarmeh digraph can precede makef. If I am wrong about that, then makef need not be retained in step 1. 12. Convert the following digraphs: Great shalshelet (shalshelet + pasek): 1427;[space character];1472 > 33 Munakh legarmeh (munakh + pasek): 1443;[space character];1472 > 15 Azla legarmeh (azla + pasek): 1448;[space character];1472 > 14 Mehupakh legarmeh (mehupakh + pasek): 1444;[space character];1472 > 13 Check for remaining pasek characters and delete, if necessary. There shouldn’t be any. 13. Convert reduplicated pashta: 1433;1433 > 23 Check to see if reduplicated pashta is not encoded as azla: 1448;1433 or even 1448;1448. Space character prevents misidentification of digraphs. Pashta[space character]pashta indicates consecutive rather than reduplicated signs. Also for following step. 14. Repeat the preceding step for each of the following (Results will probably be null.): Reduplicated segolta: 1426;1426 > ## (any unused number, i.e. >39). Reduplicated zarka: 1454;1454 > ## (any unused number, i.e. >39). Reduplicated great telisha: 1440;1440 > ## (any unused number, i.e. >39). Reduplicated little telisha: 1449;1449 > ## (any unused number, i.e. >39). Reduplicated dekhi: 1453;1453 > ## (any unused number, i.e. >39). 15. Delete remaining space characters. 16. Convert ole: 1451 > 36 and mugrash: 1437 > 28. 17. Convert remaining signs (including tifkha, single zarkha, single pashta etc., but excluding tsinor and tarkha): #### > ## 18. Check for remaining ####: to ensure that all signs have been converted. Troubleshoot. 19. Convert semicolon separator (;) to position numbers: ; > . The ## has to be a serial number per verse, 1-nn. This will create an error, which will have to be corrected semi-manually, in the first and last positions of each verse. 20. Convert zarka (and reduplicated zarkha, if attested) to tsinor (and reduplicated tsinor) and tifkha to tarkha in psalmodic books.

Database 19 http://www.sagreiss.org [email protected]

3.3.3 Notes on Aleppo Codex There are a few differences between this text and the Leningrad codex: Book and chapter data are given in Hebrew in the headings, not verse by verse. We will need to translate and incorporate it. This might have to be done semi-manually. This operation might best be performed on the intermediary 24 book files. It will be especially difficult in the Minor Prophets book, which contains eight booklets. Verse data is given in Hebrew. We will have to input Arabic verse numbers. This might have to be done semi-manually. This operation might best be performed on the intermediary 24 book files. It will be especially difficult in the Minor Prophets book, which contains eight booklets. Word seems to interpret the space character preceding pasek as a non-breaking space character. I doubt that BabelPad recognizes the difference, so this probably doesn't matter. Word and FontPage seem to interpret line breaks as manual line breaks. I’m not sure what BabelPad will do with this. We need regular line breaks at the end of verses, and nowhere else. We may have to specifically define verse ends (especially in prose) as sof pasuk, which is OK. There should be no exceptions. Step 1 or 2. The text indicates stich breaks by four consecutive spaces (breaking and non-breaking depending on the software used to read the file). In one of the earlier steps of the Data Processing Algorithm, we will convert [space character][space character][space character][space character] to an unused number (>38) that defines stich. This will have to be dealt with in the PNum property later. Step 1 or 2. Delete {} and text between. To obtain PNum property, convert data + semicolon to, for example, data for each verse. That might be a little hard to write, but it should work. Another option, of course, is to run the processed data through a spreadsheet converting semicolon to column division. The Data Conversion Algorithm is slightly different: 1. Open HTML file in browser. 2. Save as text. 3. Open text file in BabelPad. 4. Select All and Convert\Unicode to NCR (Decimal).

3.3.4 Data Definition

To define input data: Many more musical properties need to be defined. 1. Define books as either prosodic or psalmodic (separating Job into three booklets). 2. Define books as Pentateuch, Prophets, or Hagiographa. 3. Define PNum property per sign per verse as PNum 01-nn.15 4. Define stichs by atnakh/ole veyored/silluk. 5. Define disjunctive and conjunctive signs. 6. Define prosodic and psalmodic syntactic value of signs. 7. Define sublinear and superlinear signs. 8. Define Degr property of sublinear and superlinear signs. 9. Define Rthm property of sublinear and superlinear signs.

3.4 Data Structure

The raw data input is a file of the entire vocalized, punctuated, and cantillated Bible, some ten million characters. Processing will reduce this to cantillation data only, some

Database 20 http://www.sagreiss.org [email protected]

two million characters. The database retains an individual record of each of the two million instances of the signs. The following properties are associated with each record.

3.4.1 Items & Properties Cantillizer database contains the following data:

Datum Property Expression Description Remarks Book BNum 01-41 Conventional cannon Book properties are defined in 3.4.4 au- of 39 books. dessous. The book of Job is divided into three filees, the prologue and epilogue (prosodic) and the body (psalmodic). The body begins at 3:2, and the epilogue begins at 42:7. Class 1-3 Pentateuch, Conventional classification. Prophets, or Hagiographa. Type 1-2 Prosodic or Psalmodic: Psalms, body of Job, psalmodic. Proverbs. All other prosodic. Mode 1-2 Prosodic = Phrygian. Defined per Type property, it Psalmodic = determines the display note value of the harmonic. Degr property of the tonic, and of all other signs. (The Mode property is defined in 4.7 au-dessous.) Tonic 0-6 Defined per Mode For the moment tonic is always E? What property. happens when it’s C/C' in prosodic, if possible? Not sure if this needs to be a separately defined property or embedded in Mode. Chapter CNum 001-nnn Conventional Hebrew If more than one file is used to store chapter number. data, file names observe the following five-character convention: bbccc, where: bb = BNum ccc = CNum, if necessary. Verse VNum 001-nnn Conventional Hebrew verse number. Stich a-n Defined by atnakh/ole Book, chapter, verse, and stich are veyored/silluk. A few displayed as follows: Xyz ###:###a other signs, revia, (lead zero suppressed). segolta, also define In psalmodic, revia and other signs mark the stich. Algorithm the stich. This algorithm will be reverse- must be reverse- engineered. engineered

Database 21 http://www.sagreiss.org [email protected]

Datum Property Expression Description Remarks PNum 01-nn Position within the The sign meteg is counted. The verse (1st sign, 2nd signs mugrash + revia and sign, 3rd sign, etc.) ole + merekha are counted as two signs each. Position will be adjusted in configuration selection (see 4.3.1 au-dessous). In the display, position is not an intrinsic property of sign, as position of signs changes according to View/Hide Conjunctive Signs and Verse/Stich Display. ActvSubl 01-nn Rules define active Necessary for superlinear sign sublinear sign per algorithms. Examples: PNum property. Preceding sign Following sign Active sublinear rules are defined in 3.4.3 au-dessous. Sign SNum 01-nn Unique identifier. Sign properties are defined in 3.4.2 au-dessous. SNum is essentially a random serial number, although for the moment it reflects hierarchy as sorted by ProsSyn and PslmSyn below. Syn 1-2 Disjunctive or conjunctive syntax. ProsSyn 01-nn Syntactic value in prosodic books. PslmSyn 01-nn Syntactic value in Some overlap of prosodic and psalmodic psalmodic books. is attested, e.g. pashta (Psalms 52:7, 103:1, 17), tevir (Psalms 103:46). A null value (00) could be assigned in such exceptional cases. Case 1-2 Sublinear or superlinear. Degr16 0-6 Value of diatonic Values of signs are expressed as a scale degree. formula relative to the tonic, which is alone defined as an absolute value. The tonic needs to be defined both in the scale (0) and as a sign (silluk), here or in the Mode/Tonic property: TonicValu = 0 TonicValu x (0-6) ActvSublValu y (0-6) A few signs (such as silluk, munakh, and galgal) may need to be assigned an override (absolute) DispNote value.

Database 22 http://www.sagreiss.org [email protected]

Datum Property Expression Description Remarks Rthm 96, 48, 24, 12, Whole, half, quarter, 08, 06, 03 eighth, triplet, sixteenth, thirty- second notes. DispNote 0-11 or MIDI Integer/MIDI notation Determined by Mode and Tonic value per of the 12 notes of the properties of the book and Degr Rthm. chromatic scale per property of the tonic and sign in rhythm. For display conjunction with the Rthm property of options see 4.7 au- the sign. May occasionally be dessous determined by an override value (such as silluk, munakh, and galgal). MIDI notation has the advantage of identifying the octave.

3.4.2 Cantillation Mark Properties The metrical division of cantillation marks into prosodic and psalmodic signs (based on the books of the Bible in which they occur), the syntactic distinction between disjunctive and conjunctive signs, and the hierarchy of signs within each of these groups, are a priori assumptions necessary to the creation of the database. The goal of Cantillizer is to test, confirm, refute, and refine these and other assumptions about cantillation marks. As the system is implemented and tested, a loopback of information (or reverse engineering) will take place. For example, the hierarchy indicated by the ProsSyn and PslmSyn columns in the following table is based on traditional (non-distributional) analysis of cantillation marks, methods by and large untested in statistical models enabled by computer technology. Once more rigorous data is available through use of Cantillizer, some signs may well be promoted or demoted depending on the results of distributional analysis. More radical changes, including the rejection of the metrical (prosodic/- psalmodic) and/or the syntactic (disjunctive/conjunctive) distinctions, are not to be ruled out in advance. Cantillizer will most likely provide data that necessitates the modification of the system. The examples in the following table of cantillation marks display GIF images of the Hebrew letter mem ( ) in 24 point Ezra SIL SR font. The names and even the forms of the signs vary considerably in the literature, including but not limited to differences in the Ashkenazi and Sephardic traditions. Allographs are attested within the same font family:

MenuName Ezra SIL SR Ezra SIL Zarka, Tsinor

Little Pazer

Darga

Transliteration is intended only to help readers of English recognize and pronounce the names of the cantillation marks, and does not mean to imply anything about Hebrew phonetics or orthography. The spelling kh represents the phoneme [x] as -ch in Bach.17.

Database 23 http://www.sagreiss.org [email protected]

The abbreviations in the DispName column make some effort to account for unvocalized Hebrew spelling, so vowels are most often suppressed.

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Name Hex

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Syn ProsSyn PslmSyn SNum DispName MenuName UTF8 Dec UTF8 (14 UTF8 (05 Sign Ali Case Degr Rthm Issues

Disj 25 18 Atnk Atnakh Etnahta 25 91 Posv Subl TonicValu + 3 24

Disj 24 NA Sgol Segolta Segol 26 92 Post Supl ActvSublValu - 1 08 Haïk-Vantoura claims that segolta is always preceded by zarka. ActvSublValu ActvSublValu - 1

Conj NA 02 LtSl Little Shalshelet Shalshelet 27 93 Posv Supl ActvSublValu - 2 08 In musical configuration display and process shalshelet Slsl Shalshelet ActvSublValu - 2 Second and third values represent chromatic intervals (not diatonic ActvSublValu - 1 degrees).

Disj 23 12 GtSl Great Shalshelet Shalshelet 27;72 93;C0 Posv Supl ActvSublValu - 2 08 Lower syntactic value (less than revia, tsinor, little pazer) in psalmodic Slsl Shalshelet ActvSublValu - 2 books. ActvSublValu - 1 In musical configuration display and process shalshelet.

Second and third values represent chromatic intervals (not diatonic degrees). Disj 22 NA LtZk Little Zakef Zaqef Qatan 28 94 Posv Supl ActvSublValu - 1 24

Disj 21 NA GtZk Great Zakef Zaqef Gadol 29 95 Posv Supl ActvSublValu - 1 12 ActvSublValu - 2

Conj NA 08 Trka Tarkha Tipeha 30 96 Posv Subl TonicValu + 2 24 Homograph of prosodic tifkha.

Disj 20 NA Tfka Tifkha Tipeha 30 96 Posv Subl TonicValu + 2 24 Homograph of psalmodic tarkha.

Disj 19 17 Rvia Revia18 Revia 31 97 Posv Supl ActvSublValu 12 In musical configuration display and process great revia in prosodic and little revia in psalmodic. GtRv ActvSublValu - 1 LtRv ActvSublValu - 1 24

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Syn ProsSyn PslmSyn SNum DispName MenuName UTF8 Dec UTF8 (14 UTF8 (05 Sign Ali Case Degr Rthm Issues

Conj NA 01 Tnri Tsinorit Zarqa 32 98 Prep Supl ActvSublValu - 1 12 ActvSublValu + 1

Disj 17 NA Psta Pashta Pashta 33 99 Post Supl ActvSublValu + 1 24

Disj 17 NA Psta Pashta Pashta 33;33 99;99 Post Supl ActvSublValu + 1 12 In syntactic configuration display and process pashta. RdPs Reduplicated 48;33 A8;99 ActvSublValu + 1 In musical configuration display and process reduplicated pashta. Pashta

Disj 16 NA Ytiv Yetiv Yetiv 34 9A Prep Subl TonicValu + 5 24

Disj 15 NA Tvir Tevir Tevir 35 9B Posv Subl TonicValu - 1 24

Disj 14 NA Grsh Geresh Geresh 3619 9C Posv Supl ActvSublValu + 2 24

Disj NA 16 RvMg Revia Mugrash Geresh 3720 9D Prep Supl ActvSublValu + 2 24 In syntactic configuration display and process revia mugrash. Ignore Muqdam GrMk Geresh Mukdam following revia. In musical configuration display and process geresh mukdam. Display and process following revia as distinct sign. Disj 13 NA DbGr Double Geresh Gershayim 38 9E Posv Supl ActvSublValu + 2 08 ActvSublValu ActvSublValu + 2

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Syn ProsSyn PslmSyn SNum DispName MenuName UTF8 Dec UTF8 (14 UTF8 (05 Sign Ali Case Degr Rthm Issues

Disj 11 NA GtPz Great Pazer Qarney Para 39 9F Posv Supl ActvSublValu + 3 03 In musical configuration fourth and fifth values are combined in one sixteenth ActvSublValu + 2 note (06), if possible. ActvSublValu + 1

ActvSublValu ActvSublValu ActvSublValu + 1 ActvSublValu + 2 ActvSublValu + 3 Disj 10 NA GtTl Great Telisha Telisha 40 A0 Prep Supl ActvSublValu + 3 08 Gedola ActvSublValu + 2 ActvSublValu + 1

Disj 12 13 LtPz Little Pazer Pazer 41 A1 Posv Supl ActvSublValu + 2 12 ActvSublValu + 1

Conj 08 06 Mnkh Munakh Munah 43 A3 Posv Subl TonicValu + 4 24 May be determined by an override value (B) in DispNote property. Probably not necessary.

Disj 09 NA MnLg Munakh Munah 43;72 A3;C0 Posv Subl TonicValu + 4 24 In musical configuration legarmeh constructions display and process Mnkh Legarmeh without pasek. Munakh May be determined by an override value (B) in DispNote property. Probably not necessary. Conj 07 04 Mhpk Mehupakh Mahapakh 44 A4 Posv Subl TonicValu + 5 24

Disj NA 10 MhLg Mehupakh Mahapakh 44;72 A4;C0 Posv Subl TonicValu + 5 24 In musical configuration legarmeh constructions display and process without pasek. Mhpk Legarmeh Mehupakh

Conj 06 09 Mrka Merekha Merkha 45 A5 Posv Subl TonicValu + 1 24 Higher syntactic value (greater than mehupakh, munakh) in psalmodic books.

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Syn ProsSyn PslmSyn SNum DispName MenuName UTF8 Dec UTF8 (14 UTF8 (05 Sign Ali Case Degr Rthm Issues

Conj 05 NA DbMr Double Merekha Merkha 46 A6 Posv Subl TonicValu - 1 12 Kefula TonicValu + 1

Conj 04 NA Drga Darga Darga 47 A7 Posv Subl TonicValu - 2 24

Conj 03 07 Azla Azla Qadma 48 A8 Posv Supl ActvSublValu + 1 24 Higher syntactic value (greater than mehupakh, munakh) in psalmodic books.

Disj NA 11 AzLg Azla Legarmeh Qadma 48;72 A8;C0 Posv Supl ActvSublValu + 1 24 In musical configuration legarmeh constructions display and process without pasek. Azla Azla

Conj 02 NA LtTl Little Telisha Telisha 49 A9 Post Supl ActvSublValu + 1 08 Qetana ActvSublValu + 2 ActvSublValu + 3

Conj 01 03 Glgl Galgal Yerah Ben 50 AA Posv Subl TonicValu - 1 24 May be determined by an override value (D#) in DispNote property. Probably Yomo necessary only in prosodic mode.

Disj NA 19 OlVy Ole Veyored Ole 51;45 AB;A5 Prep Supl ActvSublValu + 3 12 In syntactic configuration display and process ole veyored. Ignore ActvSublValu following merekha. In musical configuration display and process ole veyored. Display and process following merekha as distinct sign.

Conj NA 05 Iluy Iluy Iluy 52 AC Posv Supl ActvSublValu + 4 24 Iluy rises four degrees if the active sublinear sign is tarkha (G or lower), falls three degrees if the active sublinear sign is atnakh (A or higher). ActvSublValu - 3

Disj NA 14 Dkhi Dekhi Dehi 53 AD Prep Subl TonicValu + 2 24

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Syn ProsSyn PslmSyn SNum DispName MenuName UTF8 Dec UTF8 (14 UTF8 (05 Sign Ali Case Degr Rthm Issues

Disj NA 15 Tnor Tsinor Tipeha 54 AE Post Supl ActvSublValu - 1 12 Homograph of prosodic zarka. ActvSublValu + 1

Disj 18 NA Zrka Zarka Tipeha 5421 AE Post Supl ActvSublValu - 1 12 Homograph of psalmodic tsinor. ActvSublValu + 1 Haïk-Vantoura claims that zarka is almost always followed by segolta.

NA NA NA NA NA Meteg 69 BD Posv Subl TonicValu 24 In syntactic configuration meteg is ignored. Gaya Gaya In musical configuration display and process gaya, equivalent in value to silluk (tonic).

Disj 26 20 Sluk Silluk22 Meteg 69 BD Posv Subl TonicValu 24 Tonic may be determined by an override value (E) in DispNote property. Probably not necessary.

NA NA NA NA NA Maqaf 70 BE NA NA NA NA NA NA NA NA NA NA Paseq 72 C0 NA NA NA NA NA NA NA NA NA NA Word Break ? ? NA NA NA NA NA NA NA NA NA NA NBSP 0160 00A0 NA NA NA NA NA NA NA NA NA NA Stich Break ? ? NA NA NA NA 24 Dummy sign to indicate stich breaks. Should be ignored in Posn property. In syntactic configuration display || (2 horizontal bars). In musical configuration display // (2 slashes on the top line of the staff).

Database 29 http://www.sagreiss.org [email protected]

3.4.3 Active Sublinear Sign Arguments At each position in the verse, one sublinear sign is considered active. This argument is necessary for the calculation of superlinear sign arguments (see 3.4.2 au-dessus). The ActvSubl property defines the active sublinear sign per PNum property. A sublinear sign is always active in the position it occupies. The following rules apply to positions occupied by superlinear signs: The preceding sublinear sign is considered active by default. In position 1 of the verse (if it is not occupied by a sublinear sign), the preceding (and active) sublinear sign is considered to be the last sublinear sign (almost always silluk) of the preceding verse. The following sublinear sign (usually gaya) is considered active. (This rule will not work, as Aleppo does not always have gaya as the first sign in the verse. Following a sublinear sign corresponding to more than 1 note values (such as double merekha), the last note value is considered active.

3.4.4 Books of the Bible Properties

Num

MenuName B DispName Class Type Remarks

Genesis 01 Gen Pent Pros Exodus 02 Exo Pent Pros Leviticus 03 Lev Pent Pros Numbers 04 Num Pent Pros Deuteronomy 05 Deu Pent Pros Joshua 06 Jos Prph Pros Judges 07 Jud Prph Pros 1 Samuel 08 1Sa Prph Pros 2 Samuel 09 2Sa Prph Pros 1 Kings 10 1Ki Prph Pros 2 Kings 11 2Ki Prph Pros Isaiah 12 Isa Prph Pros Jeremiah 13 Jer Prph Pros Ezekiel 14 Eze Prph Pros Hosea 15 Hos Prph Pros Joel 16 Joe Prph Pros Amos 17 Amo Prph Pros Obadiah 18 Oba Prph Pros Jonah 19 Jon Prph Pros Micah 20 Mic Prph Pros Nahum 21 Nah Prph Pros

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Num

MenuName B DispName Class Type Remarks

Habakkuk 22 Hab Prph Pros Zephaniah 23 Zep Prph Pros Haggai 24 Hag Prph Pros Zechariah 25 Zec Prph Pros Malachi 26 Mal Prph Pros 1 Chronicles 27 1Ch Hgph Pros 2 Chronicles 28 2Ch Hgph Pros Psalms 29 Psa Hgph Pslm Job (prologue) 30 Job Hgph Pros Chapters 1-3:1 are accessible from the Books of the Bible drop-down menu only through the All 8 Prosodic Hagiographa item. Job (body) 31 Job Hgph Pslm Chapters 3:2-42:6 Job (epilogue) 32 Job Hgph Pros Chapter 42:7-17 is accessible from the Books of the Bible drop-down menu only through the All 8 Prosodic Hagiographa item. Proverbs 33 Pro Hgph Pslm Ruth 34 Rut Hgph Pros Song of Songs 35 SoS Hgph Pros Ecclesiastes 36 Ecc Hgph Pros Lamentations 37 Lam Hgph Pros Esther 38 Est Hgph Pros Daniel 39 Dan Hgph Pros Ezra 40 Ezr Hgph Pros Nehemiah 41 Neh Hgph Pros

3.4.5 Known Problems The Decalogue (Exodus 5:2-17 and Deuteronomy 5:6-21) attests two systems of cantillation marks, often referred to as upper (or Babylonian) trope and lower (or Palestinian) trope. Either/both are retained. (I haven’t looked at this at all.) The following signs may be reduplicated: segolta, zarka (Isaiah 2:15, 26:5), great telisha (2 Kings 17:24), little telisha (Genesis 48:7, Deuteronomy 21:13, Jeremiah 11:10, Esther 6:13), tsinor, and dekhi. If so, proceed as with pashta in 3.3.2 au-dessus. Prepositive signs (such as geresh and dekhi) tend to get reversed with the following sign in the conversion to Unicode decimal notation.

The Internal Silluk There should be only a dozen or fewer occurrences of the internal silluk, variously listed as: Genesis 35:1 (Aleppo)

Database 31 http://www.sagreiss.org [email protected]

Genesis 35:22 (BHS) Exodus 20:2 ff. (Aleppo & BHS) Deuteronomy 5:3 (Aleppo) Deuteronomy 5:6 ff. (BHS) Isaiah 44:4 (Aleppo) Most or all of these passages seem to be cases of double punctuation. David Robinson and Elisabeth Levy comment: Meteg is used to mark the secondary tone, reminding the reader to give its vowel full pronunciation. In BHS meteg is also used sometimes to help the reader distinguish a short o from a long a. An identical mark is used for the punctuation character Silluq. In fact several of the accents do ―double duty‖ in this way, but there is always a clear algorithm to distinguish their use […] Silluq is the strongest disjunctive accent, the equivalent of a modern full stop. It is written as a vertical bar under the tone syllable of the last word in a sentence. In appearance it is exactly the same as meteg. In the vast majority of cases, silluq is written under the word immediately before sof passuq (:) so it is usually redundant as a punctuation mark. But the Masoretes made good use of it in a few cases where they disagreed with the sentence divisions they had inherited from earlier rabbis. In Gen 35.22, for example, the end of the verse is doubly accented. The earlier rabbis had not placed a sof passuq between ―and Israel heard it‖ and ―the sons of Jacob were twelve‖, although the structure of the narrative clearly requires one--it seems likely that this was a rather delicate means of passing over an unpleasant subject by minimising its emphasis. The Masoretes were not free to insert a sof passuq, and they obediently pointed the text in the form they had received it, but also inserted silluq at the end of ―and Israel heard it‖ to indicate that there should have been a verse division at that point. Similar emendations of the traditional verse structure are to be found in Ex 20.2ff and Deut 5.6ff. With these exceptions silluq is always the last accent on a word. Any mark which appears before it is to be ignored for the purposes of punctuation. This beautiful commentary seems cogent, but unfortunately the authors do not specify their ―clear algorithm‖. One such rule might obtain, according to Helmut Richter: ―Meteg vs. Silluq. Silluq (as part of Sof Pasuq) occurs only as last mark before the colon-shaped Sof Pasuq whereas Meteg is never the last cantillation mark in a word.‖

Database 32 http://www.sagreiss.org [email protected]

4 Application

The best approach is to create a system of Configurations that in turn determine the display, find, search, sort, analysis, pattern recognition, and graphics parameters. Users select a configuration (or use the default syntactic configuration) and then make queries without having to use too many different radio and toolbar buttons. The configuration, which may be changed at any time, determines which menus and buttons appear in the toolbars and dialogs or which objects and items are enabled. (For details on configuration see 4.3 au-dessous). In all three configurations Cantillizer integrates the metrical distinction between prosodic and psalmodic books of the Bible (see 4.8.2 au-dessous). Most users (traditional Bible students) require the default configuration, observing the syntactic (disjunctive/- conjunctive) distinction, while other users, musical (sublinear/superlinear or case distinction) and freeform (no distinction between signs beyond prosodic/psalmodic), will seldom change configuration, once they have made their selection.

Development schedule: 1. Create database and interface to accommodate all three configurations. 2. Create capabilities for syntactic configuration, the default configuration. 3. Test thoroughly and rigorously. Great shalshelet, merekha, and azla should be slated for extensive testing to confirm hierarchy. 4. Adjust database according to data returned in syntactic configuration, if necessary. 5. Add capabilities to enable musical configuration. 6. Test thoroughly and rigorously. 7. Adjust database according to data returned in musical configuration, if necessary. Given the complexity of musical configuration, it may be prudent to postpone implementation of freeform configuration indefinitely. 8. Add capabilities to enable freeform configuration. 9. Test thoroughly and rigorously. 10. Adjust database according to data returned in freeform configuration, if necessary.

4.1 Graphical User Interface

4.1.1 Main Screen Use the Cantillizer menus and toolbars to define data sources, select display settings, query database, sort results, perform analyses (syntactic, musical, or freeform), recognize patterns, and create graphics.

Figure 4-1 Cantillizer Main Screen (next page)

Application 33 http://www.sagreiss.org [email protected]

Sort by Show/Hide Show/Hide Display Pattern/ Verse/Stich Statistics as Pattern Charts & Export to Configuration Find Search Verse/ Conjunctive Superlinear Analyze Verse Display Integer/ Recognition Graphs Excel Hierarchy Signs Signs Percentage Display

Cantiilllliizer

File Edit View Format Tools Window Help

Books of the Bible Chapter

All Prosodic Books All Psalmodic Books Disjunctive Signs Conjunctive Signs Conjunctive Sign Position Sublinear Signs Superlinear Signs Superlinear Sign Position

All Pentateuch st All Prophets Atnakh Azla Ultimate Atnakh Azla 1 postpositive Azla Legarmeh Darga Penultimate Darga Double Geresh 2nd postpositive All Prosodic Hagiographa rd Genesis (Pentateuch) Dekhi Double Merekha Antepenultimate Dekhi Geresh 3 postpositive Double Geresh Galgal Preantepenultimate Double Merekha Geresh Mukdam 4th postpositive Exodus th Leviticus Geresh Illuy Preterpreantepenultimate Galgal Great Pazer 5 postpositive Numbers Great Pazer Little Shalshelet Gaya Great Revia Deuteronomy Great Shalshelet Little Telisha Mehupakh Great Telisha Joshua (Prophets) Great Telisha Mehupakh Merekha Great Zakef Judges Great Zakef Merekha Munakh Illuy 1 Samuel Little Pazer Munakh Silluk Little Pazer 2 Samuel Little Zakef Tarkha Tarkha Little Revia 1 Kings Mehupakh Legarmeh Tsinorit Tevir Little Telisha 2 Kings Munakh Legarmeh Tifkha Little Zakef Isaiah Ole Veyored Yetiv Ole Veyored Jeremiah Pashta Pashta Ezekiel Revia Reduplicated Pashta Hosea (Minor Prophets) Revia Mugrash Segolta Joel Segolta Shalshelet Amos Silluk Tsinor Obadiah Tevir Tsinorit Jonah Tifkha Zarka Micah Tsinor Nahum Yetiv Habakkuk Zarka Zephaniah Haggai Zechariah Malachi 1 Chronicles (Hagiographa) 2 Chronicles Psalms Job (psalmodic) Proverbs Ruth Song of Songs Ecclesiastes Lamentations Esther Daniel Ezra Nehemiah No verses displayed. No disjunctive sign displayed. No conjunctive sign displayed. No conjunctive sign position displayed. No patterns displayed.

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The above image was created in such a way as to show the full menu contents. The actual GUI should contain three toolbars, the Cantillizer toolbar, the Syntactic Analysis toolbar, and the Musical Analysis toolbar. Configuration selection determines which of the last two toolbars is enabled. The two analysis toolbars may be two halves of the same physical toolbar, as space allows.

4.1.2 Cantillizer Toolbar Books of the Bible drop-down menu Chapter drop-down menu Configuration button (opens Configuration dialog box) Find Verses button Search for Signs button (opens Search for Verses dialog box) Sort Data by Verse/Hierarchy toggle button Previous button Next button Analyze button Display Statistics as Integer/Percentage toggle button Pattern Recognition button Pattern/Verse Display toggle button Charts & Graphs button (possibly disabled in this version) Print button Export to Tab-Delineated Text File button (necessary for export to music editor)

4.1.3 Syntactic Analysis Toolbar Disjunctive Signs drop-down menu Conjunctive Signs drop-down menu Conjunctive Sign Position drop-down menu Verse/Stich Display toggle button (not relevant to and confusing in musical configuration) Show/Hide Conjunctive Signs toggle button

4.1.4 Musical Analysis Toolbar Sublinear Signs drop-down menu Superlinear Signs drop-down menu Superlinear Sign Position drop-down menu Show/Hide Superlinear Signs toggle button Display Letter Notes/Fixed-Do/Signs radio buttons

4.2 Menus

A fairly simple, console-style GUI is probably sufficient, making use (primarily or exclusively) of toolbar buttons. The menu bar menus may be informed as necessary. Conventions for commands, tools, utilities, and their shortcuts/hotkeys should be observed to the extent possible.

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4.2.1 File

4.2.2 Edit

4.2.3 View

4.2.4 Format

4.2.5 Tools

4.2.6 Window

4.2.7 Help Documentation will probably be the final version of this document in PDF format.

4.3 Configuration

Cantillizer fully supports two different interpretations of cantillation marks, the traditional rabbinical syntactic and semantic theory based on the historical distinction between disjunctive and conjunctive signs, and the music theory of Suszanne Haïk- Vantoura based on the empirical case distinction between sublinear and superlinear signs. In addition Cantillizer supports freeform analysis, which makes no such distinction between signs. Each of these configurations observes the metrical distinction, treating signs in the prosodic and psalmodic books differently. Configuration may be changed at any time. In the toolbar, press the Configuration button to open the Configuration dialog box and set your preference for analysis.

Figure 4-2 Configuration Dialog Box

Confiiguratiion

Perform:

Syntactic analysis (disjunctive/conjunctive)

Musical analysis (sublinear/superlinear)

Freeform analysis OK

4.3.1 Syntactic Configuration (default) The Disjunctive Signs and Conjunctive Signs drop-down menus are enabled upon selection of books. Only signs occurring in selected books are enabled. The Show/Hide Conjunctive Signs button is enabled. The Conjunctive Sign Position drop-down menu is enabled upon selection of a conjunctive sign. Only those positions in which the selected sign occurs are enabled.

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The Analyze and Pattern Recognition buttons take into account the syntactic (disjunctive/- conjunctive) distinction. The following information appears in the status bar: No verses displayed (toggle stichs), No disjunctive sign displayed, No conjunctive sign displayed, No conjunctive sign position displayed, No patterns displayed. The Position property is adjusted to exclude meteg and to count geresh mukdam + following revia and ole veyored + following merekha as one sign each.

4.3.2 Musical configuration The Sublinear Signs and Superlinear Signs drop-down menus are enabled upon selection of books. Only signs occurring in selected books are enabled. The Show/Hide Superlinear Signs button is enabled. The Superlinear Sign Position drop-down menu is enabled upon selection of a superlinear sign. Only those positions in which the selected sign occurs are enabled. The Analyze and Pattern Recognition buttons take into account the musical (sublinear/- superlinear) or case distinction. The following information appears in the status bar: No verses displayed (toggle stichs), No sublinear sign displayed, No superlinear sign displayed, No superlinear sign position displayed, No patterns displayed.

4.3.3 Freeform Configuration Syntactic configuration parameters (sign names and values) may also apply to freeform configuration. The All Signs drop-down menu is enabled upon selection of books. Only signs occurring in selected books are enabled. The Analyze and Pattern Recognition buttons take into account all prosodic or psalmodic signs without distinction. The following information appears in the status bar: No verses displayed (toggle stichs), No sign displayed, No patterns displayed. The Position property is adjusted to exclude meteg and to count geresh mukdam + revia and ole + merekha as one sign each.

4.4 Database Query

4.4-4.6 au-dessous assume that the syntactic (disjunctive/conjunctive) distinction obtains. For more information on musical and freeform analysis, see 4.7 and 4.8 au-dessous.

4.4.1 Find Verses

To search database & display data: 1. In the Books of the Bible drop-down menu, click to select a biblical book or group of books in which to search and display data. Press Ctrl to multi-select, Shift to select range. You may select either prosodic or psalmodic books only. 2. Press the Show/Hide Conjunctive Signs toggle button to show conjunctive signs. 3. Press the Verse/Stich Display toggle button to view stich display. Verses are divided into stichs (a, b, c, d) by ole veyored or atnakh. 4. Press the Search button to display data. The number of verses and stichs displayed appears in the status bar.

Application 37 http://www.sagreiss.org [email protected]

Assuming the options Show Conjunctive Signs and Stich Display, Cantillizer returns data as follows: X Stichs Position 1 Position 2 Position 3 Position 4 Position 5 Position 6

SoS 6:1a 27 Yetiv 17 Munakh 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:1b 27 Yetiv 17 Munakh 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:2a 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:2b 28 Pashta 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:3a 16 Mehupakh 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:4a 12 Azla 16 Mehupakh Pashta 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:4b 31 Tifkha 37 Silluk SoS 6:5a 16 Mehupakh 28 Pashta 33 Little Zakef 15 Merekha 31 Tifkha 36 Atnakh SoS 6:5b 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:6a 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:6b 28 Pashta 33 Little Zakef 31 Tifkha 37 Silluk

By default data is sorted in ascending order by book (as in the Books of the Bible menu), chapter, verse, and stich. [Color scheme is wrong. Workspace and data should appear in some standard DB format. A color distinction. between conjunctive (superlinear) (gray?) and disjunctive (sublinear) signs only is necessary. ProsSyn and PslmSyn (defined in 3.4.2 au-dessus) are necessary in display so that user understands sorting. ProsSyn, PslmSyn, and DispName should be non-proportional font so that columns are fixed width]

4.4.2 Search for Signs TBD

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Figure 4-3 Search for Signs Dialog Box

Search for Siigns

Books of the Bible Disjunctive Signs

All 21 Prosodic Books All 3 Psalmodic Books Exact sequence Disjunctive Signs All 5 Pentateuch (prosodic) All 8 Prophets (prosodic) And All 8 Prosodic Hagiographa Or Disjunctive Signs Genesis (Pentateuch) Without Exodus Leviticus And Disjunctive Signs Numbers Deuteronomy Or Joshua (Prophets) AWnidthout Disjunctive Signs Judges 1 Samuel 2 Samuel And 1 Kings Disjunctive Signs 2 Kings Atnakh Isaiah Find Verses Azla Legarmeh Jeremiah Dekhi Ezekiel Double Geresh Hosea (Minor Prophets) Find Patterns Geresh Joel Great Pazer Amos Great Shalshelet Obadiah Great Telisha Jonah Great Zakef Micah Little Pazer Nahum Little Zakef Habakkuk Mehupakh Legarmeh Zephaniah Munakh Legarmeh Haggai Ole Veyored Zechariah Pashta Malachi Revia 1 Chronicles (Hagiographa) Revia Mugrash 2 Chronicles Segolta Psalms (psalmodic) Silluk Job (psalmodic) Tevir Proverbs (psalmodic) Tifkha Ruth Tsinor Song of Songs Yetiv Ecclesiastes Zarka Lamentations Esther Daniel Ezra Nehemiah

In the Books of the Bible drop-down menu press Ctrl to multi-select, Shift to select range. You may select either prosodic or psalmodic books only. The Disjunctive Signs menu is enabled upon selection of books. Selection of a sign enables the Exact sequence drop-down menu and opens/enables another Disjunctive Signs drop-down menu. Selection of another sign opens/enables the corresponding And drop-down menu. User should be able to select at least five or six signs. In syntactic configuration (default) the Disjunctive Signs drop-down menu appears. Only signs occurring in selected books are enabled. In musical configuration the Sublinear Signs drop-down menu appears. Only signs occurring in selected books are enabled. In freeform configuration the All Signs drop-down menu appears. Only signs occurring in selected books are enabled.

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The Find Verses and Find Patterns buttons are enabled upon selection of signs. Press either the Find Verses or the Find Patterns button.

For best results select at least 2 or 3 signs. Select either the Exact sequence or the And item.

To find multiple occurrences of the same sign per verse, select the same sign more than once. Select either the Exact sequence (for consecutive occurrences) or the And (for all multiple occurrences) item.

The Exact sequence drop-down menu occurs only once. If you select this (default) item, no And drop-down menus will appear below. If you unselect it, they will appear.

4.4.3 Sort Data Use the Cantillizer toolbar to define data sorting options. In the text that follows, the term hierarchy refers to ProsSyn and PslmSyn defined in 3.4.2 au-dessus.

To sort data by hierarchy of signs: 1. Perform data search, as in 4.4.1 au-dessus. 2. In the toolbar, press the Sort by Verse/Hierarchy toggle button to sort data in descending order by hierarchy of signs per column from right to left. (Tiebreaker is ascending order by book, chapter, verse, and stich.) Cantillizer sorts data as follows: X Stichs Position 1 Position 2 Position 3 Position 4 Position 5 Position 6

SoS 6:3a 16 Mehupakh 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:4a 12 Azla 16 Mehupakh 28 Pashta 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:5a 16 Mehupakh 28 Pashta 33 Little Zakef 15 Merekha 31 Tifkha 36 Atnakh SoS 6:5b 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:1b 27 Yetiv 17 Munakh 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:2a 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:6a 28 Pashta 17 Munakh 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:1a 27 Yetiv 17 Munakh 33 Little Zakef 31 Tifkha 36 Atnakh SoS 6:2b 28 Pashta 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:6b 28 Pashta 33 Little Zakef 31 Tifkha 37 Silluk SoS 6:4b 31 Tifkha 37 Silluk 3. Click any column header to toggle between ascending and descending (default) order by hierarchy of signs in that column. 4. Repeat as desired for additional columns. Sorting is nested, i.e. previous sorting is retained. 5. Press the Sort by Verse/Hierarchy toggle button to clear sorting and revert to ascending order by book, chapter, verse, and stich.

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4.4.4 Compare Signs add feature, compare distribution of 2 signs. only syntactic config only disjunctive signs (?) only following sign of greater value (recursive!?!) 1,7 x 500 = 50% 1,8 x 250 = 25% 1,9 x 250 = 25% 2,8 x 1 = 10% (10% same) 2,9 x 9 = 90% (25% same) = 35% similar distribution of 1 and 2 This algorithm must eventually be used to reverse engineer sign hierarchy, moving backwards from verse break to stich break (caesura)... Also move forward from verse beginning, 1st sign is value 1, second sign is value 2, third sign is value 3, until recurrence of 1st sign, then recommence... Final sign hierarchy algorithm: value = average value of following sign of higher value -1. Typical example, from the Song of Songs: pashta, little zakef, tifkha, atnakh, pashta, little zakef, tifkha, silluk Values: Silluk = 5 Atnakh = 4 Tifkha = 3.5 ([5+4]/2-1 Little zakef = 2.5 Pashta = 1.5

4.5 Syntactic Analysis

Statistics are provided per book and per user-defined group of books. Use the Cantillizer toolbar to define data processing and statistics options.

4.5.1 Disjunctive Statistics

To obtain disjunctive statistics: 1. Perform data search, as in 4.4.1 au-dessus, selecting the Hide Conjunctive Signs option. 2. In the toolbar, press the Analyze button to display statistics. 3. Press the Integer/Percentage Display toggle button to view percentage display. Occurrences of sign x following or preceding sign y are displayed as a percentage of total occurrences of sign x..

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Statistical analysis provides the following data for the selected book or books: Number of occurrences of each disjunctive sign following and preceding each disjunctive sign. The following table illustrates such a display of statistics for five common signs:

Sign 28 Pashta 31 Tifkha 33 Little Zakef 36 Atnakh 37 Silluk

Occurrences # # # # #

Environment Follows Precedes Follows Precedes Follows Precedes Follows Precedes Follows Precedes

28 Pashta # # # # # # # # # # 31 Tifkha # # # # # # # # # # 33 Little # # # # # # # # # # Zakef 36 Atnakh # # # # # # # # # # 37 Silluk # # # # # # # # # # Verse break # # # # # # # # # #

Default sorting is in ascending order of hierarchy. Data may be sorted in ascending or descending order by the frequency of any (or all cumulatively) of the Follows/Precedes columns by clicking the desired column header.

4.5.2 Conjunctive Statistics by Sign

To obtain conjunctive statistics by sign: 1. Perform data search, as in 4.4.1 au-dessus, selecting the Show Conjunctive Signs option. 2. In the Conjunctive Sign menu, click to select the sign whose statistics you wish to obtain. 3. Press the Analyze button to display statistics. The name of the selected conjunctive sign appears in the status bar. Statistical analysis provides the following data for the selected book or books: Number of occurrences of the selected conjunctive sign in each position preceding each disjunctive sign. The following table illustrates such a display of statistics for munakh:

Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive # # # # # 37 Silluk # # # # # 36 Atnakh # # # # # 35 Segolta # # # # # 34 Great Shalshelet # # # # # 33 Little Zakef # # # # # 32 Great Zakef # # # # # 31 Tifkha # # # # # 30 Revia # # # # # 29 Zarka # # # # # 28 Pashta

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Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive # # # # # 27 Yetiv # # # # # 26 Tevir # # # # # 25 Geresh # # # # # 24 Double Geresh # # # # # 23 Little Pazer # # # # # 22 Great Pazer # # # # # 21 Great Telisha # # # # # 20 Munakh Legarmeh Default sorting is descending order by column from right to left. Data may be sorted in ascending or descending order by the frequency of any (or all by nested sorting) of the columns by clicking the desired column header.

4.5.3 Conjunctive Statistics per Disjunctive Sign

To obtain conjunctive statistics per disjunctive sign: 1. Perform data search, as in 4.4.1 au-dessus, selecting the Show Conjunctive Signs option. 2. In the Disjunctive Sign menu, click to select the sign whose statistics you wish to obtain. 3. Press the Analyze button to display statistics. The name of the selected disjunctive sign appears in the status bar. Statistical analysis provides the following data for the selected book or books: Number of occurrences of each conjunctive sign in each position preceding the selected disjunctive sign. The following table illustrates such a display of statistics for atnakh:

Conjunctive Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive

17 Munakh # # # # # 36 Atnakh 16 # # # # # 36 Atnakh Mehupakh 15 Merekha # # # # # 36 Atnakh 14 Double # # # # # 36 Atnakh Merekha 13 Darga # # # # # 36 Atnakh 12 Azla # # # # # 36 Atnakh 11 Little # # # # # 36 Atnakh Telisha 10 Galgal # # # # # 36 Atnakh

Default sorting is descending order by column from right to left. Data may be sorted in ascending or descending order by Conjunctive or by the frequency of any (or all by nested sorting) of the columns by clicking the desired column header.

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4.5.4 Conjunctive Statistics by Sign per Position & per Disjunctive Sign

To obtain conjunctive statistics by sign per position & per disjunctive sign: 1. Perform data search, as in 4.4.1 au-dessus, selecting the Show Conjunctive Signs option. 2. In the Disjunctive Sign menu, click to select the sign whose statistics you wish to obtain. 3. In the Conjunctive Sign menu, click to select the sign whose statistics you wish to obtain. 4. In the Conjunctive Sign Position menu, click to select the desired position: Ultimate (last before disjunctive sign) Penultimate (last but one before disjunctive sign) Antepenultimate (last but two before disjunctive sign) Preantepenultimate (last but three before disjunctive sign) Preterpreantepenultimate (last but four before disjunctive sign) Only those positions in which the selected sign occurs in the selected books are enabled. I don’t think the occurrence of six consecutive conjunctive signs is attested. 5. Press the Analyze button to display statistics. The name of the selected disjunctive sign, and the name and position of the selected conjunctive sign appear in the status bar. Statistical analysis provides the following data for the selected book or books: Number of occurrences of each conjunctive sign in each position surrounding the selected conjunctive sign in the selected position and preceding the selected disjunctive sign. The following table illustrates such a display of statistics for munakh in the ultimate position preceding atnakh:

Conjunctive Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive

17 Munakh # # # # 17 36 Atnakh Munakh 16 # # # # 17 36 Atnakh Mehupakh Munakh 15 Merekha # # # # 17 36 Atnakh Munakh 14 Double # # # # 17 36 Atnakh Merekha Munakh 13 Darga # # # # 17 36 Atnakh Munakh 12 Azla # # # # 17 36 Atnakh Munakh 11 Little # # # # 17 36 Atnakh Telisha Munakh 10 Galgal # # # # 17 36 Atnakh Munakh Default sorting is descending order by column from right to left, excluding the disjunctive sign and the selected conjunctive position. Data may be sorted in ascending or descending order by the frequency of any (or all by nested sorting) of the columns by clicking the desired column header.

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4.6 Syntactic Pattern Recognition

Pattern recognition is provided per book and per user-defined group of books. Use the Cantillizer toolbar to define pattern recognition settings.

4.6.1 Disjunctive Patterns

To perform disjunctive pattern recognition: 1. Perform data analysis to obtain disjunctive statistics, as in 4.5.1 au-dessus. 2. For best results, in the toolbar, select the Stich Display option. 3. Press the Pattern Recognition button to display patterns. The number of patterns displayed appears in the status bar. 4. Click to select a row, and press the Pattern/Verse Display toggle button to view the verses corresponding to the selected pattern. Pattern recognition provides the following data for the selected book or books: 25 most frequently attested patterns of disjunctive signs.

To view more patterns, press the Next button. The following table illustrates such a display of patterns:

Occurrences Position 1 Position 2 Position 3 Position 4 # 28 Pashta 33 Little Zakef 31 Tifkha 37 Silluk # 28 Pashta 33 Little Zakef 31 Tifkha 36 Atnakh Default sorting is descending order by occurrences of pattern. Data may be sorted in ascending or descending order by the frequency of any (or all by nested sorting) of the position columns by clicking the desired column header.

4.6.2 Disjunctive Patterns by Sign TBD. This command filters results so that only patterns including pashta, little zakef, and/or tifkha, for example, are displayed. This is performed using the Search for Signs dialog box in 4.4.2.

4.6.3 Conjunctive Patterns by Sign per Position

To perform conjunctive pattern recognition by sign per position: 1. Perform data analysis to obtain conjunctive statistics by sign, as in 4.5.2 au-dessus. 2. In the Conjunctive Sign Position menu, click to select the desired position: Ultimate (last before disjunctive sign) Penultimate (last but one before disjunctive sign) Antepenultimate (last but two before disjunctive sign) Preantepenultimate (last but three before disjunctive sign) Preterpreantepenultimate (last but four before disjunctive sign) Only those positions in which the selected sign occurs in the selected books are enabled. 3. In the toolbar, press the Pattern Recognition button to display patterns. The name of the selected conjunctive sign and the number of patterns displayed appear in the status bar.

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4. Click to select a row, and press the Pattern/Verse Display toggle button to view the verses corresponding to the selected pattern. Pattern recognition provides the following data for the selected book or books: 25 most frequently attested patterns of surrounding conjunctive signs and the disjunctive sign following the selected conjunctive sign in the selected position.

To view more patterns, press the Next button. The following table illustrates such a display of patterns for munakh in the ultimate position, i.e. immediately preceding a disjunctive sign:

Occurrences Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive

# 17 36 Atnakh Munakh # 17 33 Little Munakh Zakef

Default sorting is descending order by occurrences of pattern. Data may be sorted in ascending or descending order by the frequency of any (or all by nested sorting) of the position columns by clicking the desired column header.

4.6.4 Conjunctive Patterns per Disjunctive Sign

To perform conjunctive pattern recognition per disjunctive sign: 1. Perform data analysis to obtain conjunctive statistics per disjunctive sign, as in 4.5.3 au-dessus. 2. In the toolbar, press the Pattern Recognition button to display patterns. The name of the selected disjunctive sign and the number of patterns displayed appear in the status bar. 3. Click to select a row, and press the Pattern/Verse Display toggle button to view the verses corresponding to the selected pattern. Pattern recognition provides the following data for the selected book or books: 25 most frequently attested patterns of conjunctive signs preceding the selected disjunctive sign.

To view more patterns, press the Next button. The following table illustrates such a display of patterns for atnakh:

Occurrences Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive

# 17 36 Atnakh Munakh # 15 36 Atnakh Merekha

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4.6.5 Conjunctive Patterns by Sign per Position & per Disjunctive Sign

To perform conjunctive pattern recognition by sign per position & per disjunctive sign: 1. Perform data analysis to obtain conjunctive statistics by sign per position and per disjunctive sign, as in 4.5.4 au-dessus. 2. In the toolbar, press the Pattern Recognition button to display patterns. The name of the selected disjunctive sign and the number of patterns displayed appear in the status bar. 3. Click to select a row, and press the Pattern/Verse Display toggle button to view the verses corresponding to the selected pattern. Pattern recognition provides the following data for the selected book or books: 25 most frequently attested patterns of conjunctive signs surrounding the selected conjunctive sign in the selected position and preceding the selected disjunctive sign.

To view more patterns, press the Next button. The following table illustrates such a display of statistics for munakh in the ultimate position preceding atnakh:

Occurrences Preterpreantepenultimate Preantepenultimate Antepenultimate Penultimate Ultimate Disjunctive

# # # # # 17 36 Atnakh Munakh # # # # # 17 36 Atnakh Munakh

4.7 Musical Analysis

The Sublinear Signs, Superlinear Signs, and Superlinear Sign Position drop- down menus allow the user to perform analysis according to the biblical music theory of Suzanne Haïk-Vantoura. To perform musical analysis, in toolbar, press the Configuration button. In the Configuration dialog box select the Musical analysis radio button. Find, search, sort, statistical analysis, and pattern recognition all proceed as in 4.4-4.6 au-dessus with sublinear signs replacing disjunctive signs and superlinear signs replacing conjunctive signs. Keep in mind that the conjunctive sign depends on the following disjunctive sign, while the superlinear sign depends on the preceding (active) sublinear sign. Musical configuration sorts sublinear signs in descending order as follows: tonic, supertonic, mediant, subdominant, dominant, superdominant, subtonic. Superlinear sorting? Musical configuration output may be displayed in the following three notation systems, by selecting a radio button from the music toolbar: Letter notation (for export to music editors) Notation of accidentals? Fixed-do (for European users) Notation of accidentals? DispName property (sign names) Display of Rthm property? (Note problem with Great Pazer.) musical config use display feature (color?) to distinguish notes derived from sub/superlinear signs and to distinguish consecutive ornaments, if applicable

Application 47 http://www.sagreiss.org [email protected]

4.7.1 Prosodic Mode & Scale Cantillizer calculates note values by means of algorithms operating on the degrees of the diatonic scales (corresponding to the sublinear signs) in the prosodic and psalmodic modes (Figure 4-4 and Figure 4-8 below). The monody (both modes considered) spans eleven degrees from middle C to F', a typical soprano vocal range of an octave and a half. Tenor and bass cantors will sing one octave lower than indicated by the treble clefs below, beginning on 'C.

Figure 4-4 Phrygian Mode Scale in C Major

6 7 1 2 3 4 5 6

Drga Tvir Sluk Mrka Tfka Atnk Mnkh23 Mhpk24 In her Music of the Bible Revealed Haïk-Vantoura analyzes the structure of this In addition to these characteristics, the melody actually terminates (as the medieval treatises on the te‘amim [cantillation marks] state) by progressing from high to low, rather than low to high.* Nearly every verse begins with a rising melody, starting from

* The text above in parentheses is misleading and may be deemed anti-Semitic. A more faithful rendering reads: ―as our treatises have taught us‖. One can infer that the translator correctly understands the first- person plural anaphors to refer to the author and her fellow Jews by his interpolation of the adjective ―medieval‖, which does not occur in her text. The medieval treatises on cantillation marks were written by Jews, as opposed to later treatises that were written by Jews and Christians alike. The English translation silently suppresses Haïk-Vantoura’s reference to her own religious education and cultural background, which context alone explains her early exposure to and lifelong interest in the cantillation of the Hebrew Bible. The American edition mentions nowhere that the author was Jewish, although the biographical note relates without comment that ―her studies were interrupted by World War II‖. Haïk-Vantoura and her family fled Vichy France for their lives. More than thirty years later she identifies herself in the disputed phrase as a Jewess writing in the context of Jewish tradition. On the other hand, the editor’s preface tells of his own childhood memories of Christian Sunday School. With regard to the translation John Wheeler states: ―I have taken pains to examine closely both the classical French text (with its figurative and often highly elliptical expressions) and Dennis Weber’s English translation (which was originally made for study purposes). I have attempted to retain the literal sense of the French text and of Mr. Weber’s translation as much as possible without sacrificing clarity. What editorial alterations I have made of the translation were made with the aim of presenting clearly and faithfully the message of the French book.‖ The qualification of Haïk-Vantoura’s writing style (―classical,‖ ―figurative,‖ and ―elliptical‖) does not ring true. Francophone readers may form an esthetic judgment of the source text from the quotations in the endnotes below. (For a concrete example of her wordy prose, see endnote 1 and comment.) Her long- winded style bears little resemblance to classical (late-seventeenth-century) French language and literature, and would have no reason to do so.

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the tonic. All concluding cadences, without exception, depict a descending movement as they rejoin the same tonic note. Furthermore, this tonic note’s attraction is not to a lower leading tone but an upper one.* And finally, as the recent deductions of musicologists would lead one to presume, the finale or tonic has an invariable median position in the tonal scale from whence it governs the relationships.25 Haïk-Vantoura writes fixed-do musical notation, as note lettering is not used in France (nor in many other Romance- and Slavic-language countries). Her musical thought may bear the influence of her education. In tying the syllable do to the note C, this method frees the tonic to wander upwards from C to E (with respect to the modern, western, classical convention that defines the tonic as the first note in the scale) more easily than does movable-do notation, which fits the syllables of solfège to the degrees of the scale. (To compare fixed- and movable-do representations of the scales, see Prosodic Pitch Chart and Psalmodic Pitch Chart below.)

Figure 4-5 Other Prosodic Sublinear Signs

DbMr26 Gaya27 Glgl Ytiv28 A sublinear sign remains active until the occurrence of the next sublinear sign. Every unmarked syllable is sung on its tone, which recurs after an intervening superlinear sign, whose duration is limited to the syllable it marks. Since Cantillizer does not support Hebrew-language text, the sublinear sign’s note is represented only once. The cantor will realize this written notation in the melody and reiterate it, since every sung syllable must by definition receive a pitch value.

Prosodic Pitch Chart

Integer MIDI Letter Degree Sign Function Fixed-Do Movable-Do29 00 60 C 6 Darga Superdominant Do Mi 01 61 C# Do# 02 62 D 7 Tevir Subtonic Re Fa

Apparently born in Paris, Haïk-Vantoura seems to have been the child of a Yiddish- and/or Alsatian- speaking Ashkenazi mother and a Ladino-speaking Sephardic father. At the time of her birth, historically germanophone Alsace, home to a large Jewish community, had been German territory for more than thirty years, and would resist gallicization for another fifty years. Jews expulsed from Spain by the Inquisition in 1492 continued to speak Judeo-Spanish in Turkey for more than four centuries. If French was the primary language spoken in the Vantoura home, it was almost certainly a foreign tongue to both parents. Translator Dennis Weber and editor John Wheeler have both been given the opportunity to explain in this space. Neither has answered yet. [Note and italics by SAGReiss.] * This characteristic ―upper leading tone‖ in the Dorian [Haïk-Vantoura refers to the Phrygian mode as Dorian in an older acceptation of the latter term. Note by SAGReiss.] mode is called, however, the 2nd degree. The melody rises so naturally before returning towards its starting point. [Author’s note and italics. Translation by Dennis Weber.]

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Integer MIDI Letter Degree Sign Function Fixed-Do Movable-Do29 03 63 D# Re# 04 64 E 1 Silluk Tonic Mi So 05 65 F 2 Merekha Supertonic Fa La 06 66 F# Fa# 07 67 G 3 Tifkha Mediant Sol30 Ti 08 68 G# Sol# 09 69 A 4 Atnakh Subdominant La Do 10 70 A# La# 11 71 B 5 Munakh Dominant Si31 Re 00 72 C' 6 Mehupakh Superdominant Do Mi

4.7.2 Prosodic Rhythm & Melody The syllable count determines the rhythm of cantillation. Not enough is currently known about Ancient Hebrew versification to characterize the rhythm of the prosodic books of the Bible. Suffice to say that it feels quite irregular (or prosaic) to the modern reader, except for a few passages (Song of Deborah, Song of Hannah, Song of Moses, Song of Songs, Song of the Sea, Song of the Well) that feel more poetic, in content if not in form. Cantillizer hopes to contribute to the research in this field. The esthetics of prosody vary wildly according to the style of the text, from mythological narrative (Genesis) to liturgy and legislation (Deuteronomy), from epic history (Samuel) to ideological harangue (Jeremiah), from divine hallucination (Ezekiel) to philosophical poem in prose (Ecclesiastes). The sublinear signs determine the pitch value of the subordinate degrees (appoggiature) and ornamental figures (melismata), corresponding to the superlinear signs. Nevertheless, these melodic embellishments are mandatory, contrary to the optional or improvised grace notes and flourishes of baroque music. Haïk-Vantoura enumerates the functions of prosodic ornaments: Let us bear in mind that the cadential significance of the 5th degree, compared with that of the 4th degree (when it is part of the ancient prosody), is more suspensive (deprived as it is of harmonic support); from whence comes the feminine ending which affects it so naturally. This ending generally takes one of two characteristic aspects: one being a simple flection [little zakef], the other a more shaded flection [great revia]. This ending’s reserved contours not only give a particular twist to the word concerned, but at the same time to the phrase it terminates. It is a sort of cautious ―commentary,‖ justified by its special location at the caesura in relationship to the context. Now we can see the functional meaning of the different melismas as ―instruments‖ of the punctuation, although we must not generalize nor lose sight of the primacy of the tonal functions in this office. Let us summarize them here. This melisma [great telisha] often introduces the first word of a phrase, whereas this one [little telisha] produces a prolongation, as does moreover this next one [great zakef]. This sign [little pazer] sets off the word like a ―curl‖ in the middle of the discourse. This next melisma [segolta], which never appears in the middle of the phrase, distinguishes itself from the others by a recognized characteristic: it does not mark a consequential rest, but a simple caesura, and it is always preceded by this sign [zarka] which delicately shades the middle of the same incidental clause.32

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(For more information on the function of these melismata, see 4.7.4 au-dessous.) In Figure 4-6 and Figure 4-7 below, it is assumed that silluk, the tonic E (default value), is the active (preceding) sublinear sign or constituent degree, based on whose pitch the note values of superlinear signs are calculated. The tonal relationships remain constant as the sublinear sign changes. The rhythm of the ornament always equals the value of a quarter note. (All formulæ appear in 3.4.2 au-dessus.) For example, the formula for great pazer is the following.

Great Pazer (three 32nd notes, one 16th note, three 32nd notes): 1. Constituent degree + 3 diatonic degrees 2. Constituent degree + 2 diatonic degrees 3. Constituent degree + 1 diatonic degree 4. Constituent degree 5. Constituent degree + 1 diatonic degree 6. Constituent degree + 2 diatonic degrees 7. Constituent degree + 3 diatonic degrees

Figure 4-6 Prosodic Appoggiature

Azla33 Grsh LtZk Psta

Figure 4-7 Prosodic Melismata

DbGr GtPz GtRv

GtTl GtZk LtPz LtTl

RdPs34 Sgol Slsl35 Zrka

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Haïk-Vantoura puts great emphasis on the precise syllabic location of superlinear signs, although it is not clear how she translates two-dimensional graphical space into linear phonetic time in order to define the beginning, middle, and end of a syllable.36 Since it does not support Hebrew-language text, Cantillizer lacks this information. Hebraists may wish to create these linguistic data for themselves. If the syllable following a superlinear sign (except ole veyored, which already returns to the constituent degree) is marked with a sign other than the active (preceding) sublinear sign, it is suggested to resolve the ornament’s note sequence to the constituent degree, and adjust the rhythm so that the total duration remains equal to the value of a quarter note.37

4.7.3 Psalmodic Mode & Scale The psalmodic mode scale lacks middle C, the superdominant in the lower octave.38

Figure 4-8 Harmonic Mode Scale in E Minor

7 1 2 3 4 5 6

Glgl Sluk Mrka Trka39 Atnk Mnkh40 Mhpk41 Haïk-Vantoura explains the specificity of this scale: The mode actually takes shape at the same time as the scale, being a ―chromatic minor‖ similar to our own, with one slight difference: the connection between the 6th and 7th degrees (in their fundamental nature as represented by the lower signs) is avoided. The scale limits itself to the upper 6th degree at the top and the lower 7th degree at the bottom. The characteristic interval of the augmented 2nd between them therefore does not fundamentally exist. Only the presence of subordinate degrees makes it occur.42

Figure 4-9 Other Psalmodic Sublinear Signs

Dkhi43 Gaya44

Psalmodic Pitch Chart

Integer MIDI Letter Degree Sign Function Fixed-Do Movable-Do45 00 60 C Do Fa 01 61 C# Do# 02 62 D Re

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Integer MIDI Letter Degree Sign Function Fixed-Do Movable-Do45 03 63 D# 7 Galgal Subtonic Re# Si46 04 64 E 1 Silluk Tonic Mi La 05 65 F Fa 06 66 F# 2 Merekha Supertonic Fa# Ti 07 67 G 3 Tarkha Mediant Sol47 Do 08 68 G# Sol# 09 69 A 4 Atnakh Subdominant La Re 10 70 A# La# 11 71 B 5 Munakh Dominant Si48 Mi 00 72 C' 6 Mehupakh Superdominant Do Fa

4.7.4 Psalmodic Rhythm & Melody The rhythm of the psalmodic books of the Bible feels more regular, more poetic, than the rhythm of prosody. The typographical convention of leaving a blank space to mark the cæsura reinforces this impression. The esthetics of psalmody embrace song and prayer (Psalms), theological thought (Job), and aphoristic wisdom (Proverbs). Haïk-Vantoura characterizes the style of psalmody: The following melismas in the prosodic system are absent in the poetic books: [great zakef, segolta, great telisha, little telisha, double geresh]. Upon reflection, this is not surprising. They figured in the narratives and the exhortations, either for directing the believer’s attention to key words [great telisha], or for marking with retrocession certain occasions of an incidental clause [great zakef], or, on the contrary, terminating a word with the flourish of a panache [little telisha]. These means, these artifices we are tempted to say (even though legitimate everywhere they are found), have no place in the Psalter. The psalmodic cantillation is a harmony which conjugates with that of the words. Both blend their respective purity in order to support the special effusion of prayer. It is useless to employ devices in order to attract the attention of Him who knows everything! When all is said and done, the presence of these melismas, authentic oratorical ―structures‖ that they are, would be most unusual in the Psalms.49 In Figure 4-10 and Figure 4-11 below, it is assumed that silluk, the tonic E (default value), is the active (preceding) sublinear sign or constituent degree, based on whose pitch the note values of superlinear signs are calculated. The tonal relationships remain constant as the sublinear sign changes. The rhythm of the ornament always equals the value of a quarter note. (All formulæ appear in 3.4.2 au-dessus.) For example, the formula for shalshelet is the following.

Shalshelet (a triplet of eighth notes): 1. Constituent degree – 2 diatonic degrees 2. Constituent degree – 2 chromatic intervals 3. Constituent degree – 1 chromatic interval

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Figure 4-10 Psalmodic Appoggiature

Azla50 Iluy51 LtRv52 GrMk53

Figure 4-11 Psalmodic Melismata

LtPz OlVy54 Slsl55 Tnor Tnri56 Haïk-Vantoura describes the distinctive leap and fall of the superlinear sign ole veyored when following the constituent degree of galgal (D#): Melodically speaking, the subtonic note—the only basic scale degree below the tonic note in psalmody—exercises a curious influence, highly different from that of our present-day ―leading tone‖ […] Even though it is just a half-step from the tonic, it almost never cedes to its attraction nor resolves directly to it (which is not the case at all for our ―classical‖ leading tone). In the concept which emerges, this sub-tonic creates the effect of a ―set of balances.‖* As soon as this 7th note of the scale is attained by the melodic line, as if in recoil, it nearly always sets in motion a highly characteristic rebound to the upper 4th (most often a diminished 4th) and, after a melodic oscillation, arrived at again, it proceeds to finally conclude on the 2nd degree of the mode [see 4.7.6, v. 6, below] The melody thus determines a suspending cadence through a figure charged with expression.57

4.7.5 Psalmodic Instrumental Accompaniment A score of Psalms call for the accompaniment of specific musical instruments in their ascription (v. 1):

Psalm Section Transliteration Instrument 22 Hapax legomenon ayelet hashakhar58 8, 84 Strings gitit 9 Hapax legomenon mut laben 53, 88 Dis legomenon makhalat leanot 4, 6, 54, 55, 61, 67, 76 Strings neginot (al-hasheminit) - 5 Woodwinds nekhilot 46 Dis legomenon alamot

* An observation curiously supported by its etymology: literally, ―a wheel.‖ [Author’s note. Translation by Dennis Weber.]

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Psalm Section Transliteration Instrument 12, 45, 60, 69, 80 Horns shushan (edut)

Psalm 150 (v. 3-5) seems to evoke a street orchestra and a parade of dancers:

Section Transliteration Instrument Text Strings kinor Strings nebel Woodwinds ugab Percussion tselatsali Horns shofar Percussion tof

Unfortunately the interpretation of these Ancient Hebrew technical terms (harp, lute, pipe, horn, timbrel, cymbal, etc.) remains highly speculative, so much so that certain translations of the Bible simply transliterate many of the words. Some of the above may not even refer to the names of musical instruments. The shofar, or ram’s horn, is the only musical instrument that survives in an unbroken tradition from biblical antiquity to modern times.59 The word informs the Sephardic name of two cantillation signs, shofar holekh (munakh) and shofar mehupakh (mehupakh).

Figure 4-12 Blowing the Shofar on Rosh Hashanah

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Figure 4-13 Salomon Helperin Blowing the Yemenite Shofar (2006)

In the Bible the shofar announces battles, parades, festivals, the new moon, coronations, and religious ceremonies. Today the shofar still sounds in synagogues around the world on Rosh Hashanah (Jewish New Year) and Yom Kippur (Day of Atonement).60 Haïk-Vantoura gives the following argument in favor of instrumentation, absent from the tradition of synagogues, where the cantor generally sings a cappella: […] the psalmody rather than the prosody, seems to have been created with an instrumental accompaniment in mind.* Its configuration (with its often disjointed melodic movements, notably in thirds, and particularly the V-I cadence found frequently at the end of verses) testifies to this. Its structure implies a harmonization. Again, these given facts reveal a music created for a specific purpose.61 Composers may wish to partition and/or orchestrate the choral scores. While Haïk- Vantoura transcribed the music in several modes and keys, Cantillizer supports two, Phrygian in C major for prosody and harmonic in E minor for psalmody. Musicians may need to transpose scores in order to accommodate their instruments and arrangements.

* But apart from the Song of Songs and other canticles, of course, it is quite possible that the prose texts were accompanied by the lyre or harp in common use […] [Author’s note and italics. Translation by Dennis Weber.]

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4.7.6 Psalm 137 “By the Rivers of Babylon” Psalm 137 62, 63 celebrates, laments, and threatens brutally to avenge the fallen city of Jerusalem. The poem appears to have been written between 586 BCE (date of the destruction of the Temple of Solomon and of the enslavement of the Jews by King Nebuchadnezzar II of Babylonia) and 538 BCE (date of the liberation of the Jews by King Cyrus II of Persia), or in any case before 516 BCE (date of the destruction of Babylon by King Darius I of Persia, and of the construction by the Jews of the second Temple). Authorship has been diversely attributed to King David (died c. 970 BCE) and the prophet Jeremiah (died a refugee in Egypt after 562 BCE), however the narrator’s claim to be a Levite singer seems compelling. Figure 4-14 Marc Chagall, The Capture of Jerusalem by Nebuchadnezzar (1956)

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Figure 4-15 Psalm 137 “By the Rivers of Babylon” in E Minor

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Figure 4-16 Synagogue at Gaza, Mosaic of King David Strumming the Harp (6th century CE)

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Nostalgic and bloodthirsty, the psalm abounds in such macabre images as tears falling on the waters of the Euphrates, lyres gibbeted from poplar trees, palsied hands, swollen tongues, the ransacked citadel, lapidated children. The narrative structure falls into four anachronical parts: exile (v. 1-4), recollection (v. 5-6), history (v. 7), and revenge (v. 8- 9), corresponding to the present, memory, the past, and the future. The narration closely matches this partition, as both speaker and addressee change accordingly: we/Ø (unexpressed), I/thou (Jerusalem), Ø/thou (Lord), we/thou (daughter of Babylon). The poet employs the figure of speech apostrophe to personify the despoiled city, God, and the city of deportation. The meter reinforces this grammatical and rhetorical parallel, as scansion of the three vocatives yields the following anapestic feet: /ye•ru•SHLAIM/, /ye•ho•VAH/, /bat ba•VEL/. The last constitutes a beautifully sinister phonemic and graphemic alliteration, the identical letter beth representing both consonants [b] and [v], contextual variants distinguished by the diacritic dagesh ( ). The narrator begins with the tale of a topical event, the labor strike of the captive bards, who seize the means of production (their instruments) and refuse to entertain their raptors. This job action leads to a universal reflection on alienation: how to stay true to land, (red) earth‖ starts an elaborate paronomasia― אדמת oneself on foreign soil? The noun on the name of Edom (aka Esau, sibling rival of Jacob, aka Israel), derived from the red, ruddy‖ because of the color of his hair or complexion, and from― אדם adjective whom are said to descend the Edomites, historical enemy of the Israelites. Follows a dramatization of what Sigmund Freud would call (some 2,500 years later) the return of the repressed. The hysterical symptoms of aphasia and paralysis give symbolic shape to the work stoppage of the players, voices that will not sing, fingers that will not pluck the harp strings. We may infer that the songsmith plays right-handed (as King David in Figure 4-16 above) and thus threatens his own artistic livelihood. This pathological reenactment of the insurrection triggers a flashback to the primal scene (the pillage of Jerusalem, entailing the death, abduction, and flight of tens of thousands of Jews and the desecration of the Temple), source of the trauma, with its compulsive repetition of the plunder‖. Finally a flashforward envisions hallucinatory vengeance. The― ערו imperative poet vindictively puns on the name of the capital city of the Edomites, Petra ―The Rock‖ סקל instead of the verb ,סלע in present-day Jordan (the Hebrew proper and common noun ―stone, lapidate‖ found elsewhere in the Bible). The hymn itself seems to embody the esthetic answer to the liturgical question asked in verse four: it is a strange song indeed that one sings in a strange land.

4.7.7 The Suspensive Cadence of Psalm 137 64 A thematic cadence lends its structure to the monody. Its melodic line is typical of psalmody and serves to highlight certain words of the lyric (v. 1 ―we remembered‖, v. 2 ―we hanged‖, v. 8 ―thou hast served‖, v. 9 ―thy little ones‖) with a rise of two degrees corresponding to the superlinear sign geresh mukdam. The following table shows the immediate environment of little revia, the complementary superlinear sign that generally follows geresh mukdam in the same word, from the active (preceding) sublinear sign to the end of the verse, disregarding the four occurrences of little revia (without geresh mukdam) in the first hemistich (v. 1, 4, 7-8):

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Verse LtRv-2 LtRv-1 LtRv LtRv+1 LtRv+2 1 Signs Atnk GrMk LtRv Sluk 1 Notes A C G E 2 Signs Atnk GrMk LtRv Gaya Sluk 2 Notes A C G E E 3 Signs Mrka GrMk LtRv Mrka Sluk 3 Notes F# A E F# E 4 Signs Atnk GrMk LtRv Mrka Sluk 4 Notes A C G F# E 5 Signs Gaya LtRv Mrka Sluk 5 Notes E D# F# E 6 Signs Atnk GrMk LtRv Mnkh Sluk 6 Notes A C G B E 7 Signs Atnk GrMk LtRv Mrka Sluk 7 Notes A C G F# E 8 Signs Atnk GrMk LtRv Mrka Sluk 8 Notes A C G F# E 9 Signs Gaya GrMk LtRv Sluk 9 Notes E G D# E

The following pattern of signs emerges:

Verse LtRv-2 LtRv-1 LtRv LtRv+1 LtRv+2 4, 7-8 Atnk GrMk LtRv Mrka Sluk 1 Atnk GrMk LtRv Sluk 2 Atnk GrMk LtRv Gaya Sluk 3 Mrka GrMk LtRv Mrka Sluk 5 Gaya LtRv Mrka Sluk 6 Atnk GrMk LtRv Mnkh Sluk 9 Gaya GrMk LtRv Sluk

The theme atnakh-geresh mukdam-little revia-silluk is announced in the first verse and expanded to include penultimate merekha in the third and following. The same information written in musical letter notation yields slightly different variations:

Verse LtRv-2 LtRv-1 LtRv LtRv+1 LtRv+2 4, 7-8 A C G F# E 1 A C G E 2 A C G E E

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Verse LtRv-2 LtRv-1 LtRv LtRv+1 LtRv+2 3 F# A E F# E 5 E D# F# E 6 A C G B E 9 E G D# E

The theme A-C-G-E is announced in the first verse and expanded to include pretonic F# in the third and following. While the three note values corresponding to little revia (D#, E, G) may look quite different to allophone readers of modern musical notation, the G values corresponding to little revia (v. 1-2, 4, 6-8) and to geresh mukdam (v. 9) look the same. Readers of cantillation marks (and the composer of this music) might, on the contrary, see the little revia values D#, E, and G as manifestations of the same sign, but draw a distinction between little revia (G) and geresh mukdam (G). The choice of semiotic systems (signs or notes) bears a strong influence on the definition and interpretation of the data. Little revia occurs nine times in the excerpted text. In only six of those instances does it correspond to the note G. In terms of diatonic degrees, the expanded motif runs: IV-VI-III-II-I, a jump up to the highest pitch in the scale, a drop to the mediant, followed by a decline to the tonic. Taking into account the return of the active sublinear sign (atnakh, interpolated in square brackets), this sequence may be represented graphically as follows.

Figure 4-17 Cadence of Psalm 137 with Ornament Resolution

6 5

s 4 e e r 3 g e

D 2 1 7

Atnk Mgrs [Atnk] LtRv [Atnk] Mrka Sluk Signs

Geresh mukdam does not rise so high as ole veyored (v. 6-8 and see 4.7.4 au-dessus), but little revia dips just as deep, relatively, to one degree below the constituent degree. Haïk- Vantoura comments this construction: The other melismatic figure contributing to the particular turn of psalmody is the result of two associated signs: [geresh mukdam] and [little revia], whether they are close to [v. 3- 4, 6-7] or distant from [v. 1-2, 8-9] each other. A widely-employed means of expression, this melodic ―curl,‖ more expansive above than below the note which it emphasizes, encircles it like a contemplative or even painful commentary […] the result can be most impressive.65

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Broken by the return of the constituent degree, the fall from the zenith of the tonal hierarchy, geresh mukdam-atnakh-little revia (6-4-3), finds a parallel two degrees lower in the landing at the nadir, atnakh-merekha-silluk (4-2-1). The cliffhanging of geresh mukdam and atnakh gives this cadence its suspensive character. Little revia also plays a structural role in the meter, marking the cæsura where the verse lacks atnakh (v. 5, 9), which otherwise defines the hemistich (v. 1-2, 4, 6-8), or where atnakh does not designate the pause (v. 3).66 The following example shows a fully syllabified score of the first verse, including one instance of the anticipated return of an active sublinear sign, gaya (E) following little revia (D#).

Figure 4-18 Psalm 137, Verse 1, Syllabified

It should be recalled that Cantillizer performs neither ornament resolution nor syllabification, as these tasks require the skills of a human, Hebrew-speaking musician. The question of whether written music is music at all lies beyond the scope of this document. Nevertheless, cantillation marks lend a certain urgency to the debate, a forgotten music notation system preserved for generations and reinterpreted after a thousand years. The economy of means (single notation of polysyllabic constituent degrees and of multiple-note melismata) and the polysemy of the signs (phonetic, syntactic, and musical meanings) show that written music stands in relation to physical, acoustic music as the written language that cantillation marks annotate stands in relation to spoken language. Sound waves represent but one material support medium for the transmission of digital information, language and music alike.67

4.8 Freeform Analysis

Cantillizer allows you to perform analysis independent of the constraints and restrictions imposed by the syntactic (disjunctive/conjunctive) distinction of cantillation marks, which is widely, but not universally, admitted.

4.8.1 Prosodic & Psalmodic Freeform Analysis To perform freeform analysis, in the toolbar, press the Configuration button. In the Configuration dialog box select the Freeform analysis radio button. Find, search, sort, statistical analysis, and pattern recognition all proceed as in 4.4, 4.5.1, and 4.6.1 au- dessus. Disjunctive and conjunctive signs are processed identically. One problem is to define what exactly constitutes a cantillation mark. The status of the following signs needs to be decided: Gaya Geresh mukdam Ole veyored

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Best solution might be to retain meteg and make geresh mukdam distinct from revia and ole distinct from merekha. User can ignore or merge signs according to his predilection. Giving meteg a value close or equal to silluk would generate quite odd results from the point of view of syntax.

4.8.2 Hierarchy Problems in Freeform Analysis Freeform analysis presents a few hierarchy problems, due to the different syntax and value of the same signs in the prosodic and psalmodic books (see 3.4.2 au-dessus in the Issues column). Cantillizer does not initially propose to resolve this issue. As data is collected from the system, a solution may nevertheless be found. If so, freeform analysis could be redesigned to incorporate the new information. Problem signs are: Great shalshelet Merekha Azla

An alternative solution for freeform analysis is to ignore the metric (prosodic/- psalmodic) distinction as well. In this scenario freeform value is identical to the SNum property.

4.9 Graphics

Cantillizer provides the ability to create graphic representations of the data. Prospective options abound, but criteria should include most or all of the following elements.

4.9.1 Values Number of signs (count) Value of signs (mean, mode, median, standard deviation, etc.)

4.9.2 Units Stich (as determined by atnakh/ole veyored and silluk) Verse Chapter (poem in the case of the Psalms)

4.9.3 Creating Charts & Graphs

To create and display charts & graphs: 1. Perform data analysis to obtain statistics, as in 4.5 au-dessus, and/or pattern recognition, as in 4.6 au-dessus. 2. In the toolbar, press the Charts & Graphs button. The Charts & Graphs dialog box opens. 3. Click to select the chart type (column, bar, line, pie, etc.) and subtype. 4. In the bottom of the dialog box, press the Next button. The Data Range dialog box opens with the cursor in the Category (X) axis text box. 5. In the table of data open behind the active Data Range dialog box, click and drag the mouse cursor to select a range of data (e.g. value of disjunctive sign). The range of data appears in the Category (X) axis text box.

Application 64 http://www.sagreiss.org [email protected]

6. In the Data Range dialog box, click in the Group (X) axis text box, if you wish to group the x axis values. 7. In the table of data open behind the active Data Range dialog box, click and drag the mouse cursor to select a range of data. The range of data appears in the Group (X) axis text box. 8. In the Data Range dialog box, click in the Value (Y) axis text box. 9. In the table of data open behind the active Data Range dialog box, click and drag the mouse cursor to select a range of data (e.g. verse) The range of data appears in the Value (Y) axis text box. 10. In the Data Range dialog box, click in the Group (Y) axis text box, if you wish to group the y axis values. 11. In the table of data open behind the active Data Range dialog box, click and drag the mouse cursor to select a range of data (e.g. chapter). The range of data appears in the Group (Y) axis text box. 12. In the bottom of the dialog box, press the Next button. The Chart Options dialog box opens. 13. In the Chart Options dialog box, select chart options such as colors, fonts, labels, scales of axes, etc. 14. In the bottom of the dialog box, press the Finish button. The chart opens in a separate window. 15. In the chart window, right click on the chart and select the Edit Chart option, if you wish to modify the options selected in the previous steps.

Application 65 http://www.sagreiss.org [email protected]

Figure 4-19 Structure of Psalms 120, 124, 129, 130

51 Azla Legarmeh 54 Dekhi 55 Tsinor 56 Revia Mugrash 57 Revia 58 Atnakh 59 Ole Veyored 60 Silluk

121:1 57 59 54 58 56 60

2 54 58 56 60

3 58 56 60

4 54 58 57 60

5 58 56 60

6 57 57 60

7 57 58 56 60

8 57 58 56 60

124:1 57 59 54 58 56 60

2 54 58 60

3 54 58 60

4 54 58 56 60

5 54 58 56 60

6 58 56 60

7 57 55 59 57 60 e s

r 8 54 58 56 60 e V

r 129:1 57 59 54 58 56 60 e t p

a 2 54 58 56 60 h C 3 54 58 56 60

4 58 56 60

5 54 58 56 60

6 54 58 60

7 57 60

8 51 57 58 56 60

130:1 58 60

2 55 59 54 58 56 60

3 58 56 60

4 58 56 60

5 54 58 60

6 58 56 60

7 57 59 58 60

8 54 58 56 60

Position1 Position2 Position3 Position4 Position5 Position6 This chart, intended as an example, is sadly unenlightening. I have thus far failed to create something more illustrative.

Application 66 http://www.sagreiss.org [email protected]

4.9.4 Tree Diagrams Once the hierarchy of signs is more perfectly understood through testing of Cantillizer, an add-on could be created to generate tree diagrams based on cantillation marks. Such graphics would be greatly enhanced if Cantillizer were attached to the software of a Hebrew-font Bible reader or editor.

Figure 4-20 Tree Diagram

Organization charts can be generated from data in many common software programs such as Microsoft Excel and Visio, so the technology must be relatively simple and standard. The hierarchical groupings (and colors) in 1.4.1 au-dessus might be useful for generating the diagrams.

4.9.5 Music Editor If musical analysis proves cogent and promising, a music editor add-on could be foreseen. Music notation software is relatively common, both proprietary and open source. Potential resources: http://www.walshaw.plus.com/abc http://www.liypond.org

Application 67 http://www.sagreiss.org [email protected]

Appendix A

List of Emendations

Certain prepositive signs that occur on the same letter as another sign are misencoded in the source text. The two signs (prepositive and positive) are inverted in the source code. The error, if it indeed is one, does not affect the representation of the signs in a graphical browser, since the prepositive sign precedes the letter anyway. It only affects work done directly on the Unicode files. In the interest of clarity, however, the following table lists every individual instance of data correction.

Book Chapter Verse Prepositive Positive Remarks

Appendix A 68 http://www.sagreiss.org [email protected]

Appendix B

Tools & Libraries

Abbreviation Full Name Version Last Update Function Source Remarks yyyy-mm-dd

Appendix B 69 http://www.sagreiss.org [email protected]

Appendix C

Abbreviations

Abbreviation Full Name Actv Active Alin Alignment Arg Argument BNum Book Number CNum Chapter Number Conj Conjunction, -ive Degr Degree Disj Disjunction, -ive Disp Display Fol Following Hgph Hagiographa Num Number Pent Pentateuch PNum Position Number Post Postpositive Posv Positive Pre Preceding Prep Prepositive Pros Prosody, -ic Prph Prophets Pslm Psalmody, -ic Rthm Rhythm SNum Sign Number Subl Sublinear Supl Superlinear Syn Syntax TNum Tome Number (conventional subdivisions of the 24 books of the Bible) Valu Value VNum Verse Number

Appendix C 70 http://www.sagreiss.org [email protected]

Endnotes

1 De quelle imagination ont fait preuve les scrupuleux réalisateurs de ces représentations graphiques, non dénuées d’imagination. [Omitted by the translator, the last clause, pleonastic and meaningless, serves as an example of Haïk-Vantoura’s overburdened prose. Note by SAGReiss.] Il importe de traduire avec précision le message transmis avec tant d’amour. [Translation by Dennis Weber.] 2 The Hebrew alphabet contains five potential vowels (whose value is indicated by context and/or a]. In Ancient Hebrew the first and last may] ע ,[e, i] י ,[o, u] ו ,[a, e, o] ה ,[a, e, o] א :(diacritical marks have represented consonants, a uvular fricative and a glottal stop respectively, as in modern Yemenite may also be silent ה .pronunciation. They may also be silent in standard modern Israeli Sefardic Hebrew -may also represent the semi י .[may also represent the consonant [v ו .[or represent the consonant [h consonant [j]. 3 Saadia, for example, was a vehement holdout for the Babylonian school of vocalization, and an outspoken opponent of the Karaites and of ben Asher, who some believe may have belonged to the sect. At odds with the Exilarch (the political leader of the Babylonian Jews), deposed as gaon (headmaster of the Jewish Academy at Sura), Saadia suffered professionally for his convictions. The isolated linguistic community of Jewish Yemenites followed the Babylonian tradition for eight hundred years, until their exposure to outside influence. The Decalogue (Exodus 5:2-17 and Deuteronomy 5:6-21) attests two systems of cantillation marks, often referred to as upper (or Babylonian) trope and lower (or Palestinian) trope. Ashkenazi custom preserves both traditions in their services by reading according to Babylonian cantillation in the regular Sabbath Torah portion and according to Palestinian cantillation at the Festival of Weeks. 4 Life of Moses, II, 31-32. (Translation by Charles Yonge.) 5 It is no accident that many of the first books printed in Europe were bibles, including Gutenberg’s Mazarin Vulgate (1455), the vocalized Hebrew Soncino folio (1488), and the vocalized Hebrew Brescia quarto (1494), a copy of which Luther used for his translation. The humanists of the Reformation and the rabbis had the same goal, to fix the text of the Bible and, in doing so, to impose their interpretation. The Roman Catholic hierarchy employed a different tactic in the service of the same strategy. Instead of making their dogmatic Bible more accessible, they made it less so by leaving it in Latin, which few layman could read. 6 L’accentuation est comme le premier bégayement d’une grammaire inconsciente, et n’aurait peut-être jamais pris ce développement si elle n’avait pas été encore formée. Cette ponctuation incomparable se comprend seulement comme l’expression d’une tradition qui a dû se matérialiser, faute de pouvoir appeler à son secours l’observation exacte de l’organisme du langage. [Translation by SAGReiss.] 7 Dekhi, great telisha, little telisha, pashta (ubiquitously reduplicated), segolta, tsinor, and zarka. 8 The following exposition is based on the work of Helmut Richter. Figure 1-2 by SAGReiss. 9 These rules are known as left-parsing and right-parsing respectively, however these terms are avoided in this discussion because of the potential for confusion arising from the representation of Hebrew, a right- to-left language, in English, a left-to-right language. 10 Mais l’esprit inquiet et remuant de ces docteurs, courbés sans trêve sur le texte sacré, divisait et subdivisait les mots de chaque verset ; on épiait les moindres nuances, on notait non-seulement [sic] les séparations, mais aussi les liaisons, et malgré la règle, « qu’un prince ne devrait pas descendre au grade du serviteur, ni celui-ci s’élever au rang du seigneur. » il s’établissait une véritable hiérarchie, un système féodal d’accents assez burlesque, et qui a distrait quelques savants subtils des XVe, XVIe et XVIIe siècles. Sur cette échelle, la petite noblesse se confondait avec les laquais, et des accents comme le talschâh maintenaient déjà difficilement leur rang de maître. Pendant la création continue de nouveaux dignitaires, le petit trait, droit ou courbé, mis en haut ou en bas, tourné à droite ou à gauche, devenait l’insigne des nouveaux grades. Enfin les dénominations affluaient et s’accrurent, soit qu’on procédât à de nouvelles distinctions encore, soit que les naķdânim inventassent pour les mêmes accents d’autres noms et qu’on recherchait après coup pour ces derniers venus des emplois jusque-là inconnus. [Translation by SAGReiss.]

Endnotes 71 http://www.sagreiss.org [email protected]

11 The following exposition, and the figures, are based on the work of David Robinson and Elisabeth Levy in Masoretic Hebrew Punctuation and Hebrew Structure Analysis. 12 Mishneh Torah. (Translation by Eliyahu Touger.) 13 A full list of emendations appears in Appendix A. 14 According to Helmut Richter meteg is never the last sign in a word. This algorithm is based on that claim. 15 The sign meteg is counted. The signs ole + merekha and geresh mukdam + revia are counted as two signs each. Position will be adjusted in configuration (see 4.3.1 below). 16 Music values are initially defined per sign. Testing may yield additional values for sign sequences. It is understood that musical configuration may be considerably more complex than syntactic configuration. 17 The names and hierarchical order of the signs are based on the work of William Wickes, the British Orientalist and philologist. 18 The psalmodic distinction of Wickes between great and little revia (which are identical in form) has not been retained, as it is based solely on the very distributional criteria that are the focus of this analysis. This theory defines revia as little when it immediately precedes ole veyored. In musical configuration a distinction is made between great revia (prosodic) and little revia (psalmodic). 19 Geresh is misencoded as geresh mukdam (1437), which differs only in alignment, in Leviticus 1:3. 20 Revia mugrash is consistently misencoded as geresh mukdam (1437) alone. 21 Zarka is twice (2 Samuel 3:8 and 2 Chronicles 19:2) misencoded as tsinorit (1432), which differs only in alignment. The same mistake may have corrupted the usage of tsinor and tsinorit in the psalmodic books. 22 Silluq is the strongest disjunctive accent, the equivalent of a modern full stop. It is written as a vertical bar under the tone syllable of the last word in a sentence. In appearance it is exactly the same as meteg. In the vast majority of cases, silluq is written under the word immediately before sof passuq (:) so it is usually redundant as a punctuation mark. But the Masoretes made good use of it in a few cases where they disagreed with the sentence divisions they had inherited from earlier rabbis. In Gen 35.22, for example, the end of the verse is doubly accented. The earlier rabbis had not placed a sof passuq between ―and Israel heard it‖ and ―the sons of Jacob were twelve‖, although the structure of the narrative clearly requires one--it seems likely that this was a rather delicate means of passing over an unpleasant subject by minimising its emphasis. The Masoretes were not free to insert a sof passuq, and they obediently pointed the text in the form they had received it, but also inserted silluq at the end of ―and Israel heard it‖ to indicate that there should have been a verse division at that point. Similar emendations of the traditional verse structure are to be found in Ex 20.2ff and Deut 5.6ff. With these exceptions silluq is always the last accent on a word. Any mark which appears before it is to be ignored for the purposes of punctuation. [http://www.bfbs.org.uk/osis/masoretes.htm] 23 Munakh legarmeh is assimilated to munakh. 24 Mehupakh legarmeh is assimilated to mehupakh. 25 Ajoutons à ces caractéristiques qu’elle conclut effectivement, comme nous l’apprenaient nos traités, de l’aigu vers le grave, plutôt que du grave vers l’aigu. Tous les débuts de versets, ou presque, voient la mélodie s’élever, partant de la tonique : toutes les cadences conclusives, sans exception, lui confèrent un mouvement descendant pour rejoindre la même tonique. D’autre part, celle-ci impose son attraction non à une « note sensible », inférieure, mais supérieure. [Celle-ci, caractérisée dans le mode dorien s’étiquette bien, pourtant, second degré : la mélodie s’élève tout naturellement avant de redescendre vers son point de départ…] Enfin, comme les récentes déductions des musicologues le laissaient présumer, la finale a une position médiane dans l’échelle tonale invariable dont elle régente les relations. [Author’s note and italics. Translation by Dennis Weber.] 26 Interpreted as tevir followed by merekha (D + F). Haïk-Vantoura interpreted this sign as merekha followed by pashta (F + G), however it has been emended on the suggestion of James Price. 27 Initial or medial homograph of silluk (final). 28 Prepositive aligned homograph of mehupakh. 29 Art Levine, ―Paper on Movable Do vs. Fixed Do‖, has kindly provided this information. 30 Fixed-Do is generally used on the European continent, where this form corresponds to so. 31 Fixed-Do is generally used on the European continent, where this form corresponds to ti.

Endnotes 72 http://www.sagreiss.org [email protected]

32 Cette terminaison prend généralement l’un de ces deux aspects caractéristiques : l’un de simple flexion : [little zakef], l’autre de flexion plus nuancée : [great revia] ; et ces contours sobres donnent, non seulement au mot concerné, mais en même temps à la phrase qu’il termine, un tour particulier : sorte de commentaire discret, valorisé par sa position privilégié (à la césure), en rapport du contexte. Maintenant se profile la valeur fonctionnelle des divers mélismes, en tant qu’ « instruments » de la ponctuation ; bien qu’il ne faille pas généraliser (ni perdre de vue la primauté des fonctions tonales en cet office). Résumons-le ici : ce mélisme [great telisha] introduit souvent le 1er mot de la phrase, alors que celui-ci [little telisha] lui confère un prolongement ; comme le suivant, du reste : [great zakef]. Cet autre [little pazer] accuse le mot, comme une boucle, dans le fil du discours. Le mélisme suivant [segolta], qui n’apparaît jamais dans le cours des phrases, se distingue des autres par une caractéristique attitrée : il n’accuse pas un repos conséquent, mais une simple césure ; et il est toujours précédé de celui-ci [zarka], qui nuance légèrement le centre de la même incise. [Author’s italics. Translation by Dennis Weber.] 33 Positive aligned homograph of pashta. Azla legarmeh is assimilated to azla. 34 Defined as a distinct sign. 35 Great shalshelet (legarmeh). The second and third notes are determined by chromatic intervals. 36 It should be kept in mind that the phonetic terms vowel, consontant, and syllable refer only to spoken language. Their usage with respect to written language is an expedient that may mislead both reader and writer. 37 This anticipated return of the active sublinear sign may overload the phrase (an ad hoc esthetic judgment), in which case the return is omitted. A normal return, i.e. in the following syllable, occurs when the latter is unmarked. 38 In an idiosyncratic usage Haïk-Vantoura refers to this as an échelle défective ―gapped scale‖ (see the entry for gamme [―scale‖] in Trésor de la Langue Française), and the glossary reflects her unconventional definition. 39 Psalmodic homograph of tifkha. 40 Munakh legarmeh is assimilated to munakh. 41 Mehupakh legarmeh is assimilated to mehupakh. 42 En même temps que l’échelle, en effet, se dessinait le mode : un « mineur chromatique », semblable au nôtre, à cette différence près que l’enchainement du 6ème ou 7ème degrés (dans leur nature fondamentale que représente la position inferieure des signes) est évité. L’échelle se borne en effet au 6ème degré supérieur, et au 7ème degré inferieur : l’intervalle caractéristique de seconde augmentée n’y existe donc pas, fondamentalement. Seule la présence des degrés subordonnés le fait intervenir. [Author’s italics. Translation by Dennis Weber.] 43 Prepositive aligned psalmodic homograph of tifkha. 44 Initial or medial homograph of silluk (final). 45 Art Levine, ―Paper on Movable Do vs. Fixed Do‖, has kindly provided this information. 46 So augmented by a halfstep. 47 Fixed-Do is generally used on the European continent, where this form corresponds to so. 48 Fixed-Do is generally used on the European continent, where this form corresponds to ti. 49 Plusieurs mélismes du système prosodique sont absents dans les livres poétiques, ce sont les suivants : [great zakef, segolta, great telisha, little telisha, double geresh]. À la réflexion, cela ne surprend pas. Ils figuraient dans les récits, les exhortations, soit pour diriger l’attention des fidèles sur des mots clés : [great telisha] soit pour marquer d’un recul certaines incidences d’une incise : [great zakef] soit au contraire, ils terminaient un mot, tel un panache : [little telisha] etc… Ces moyens, ces artifices, sommes-nous tentés de dire, (bien que légitimes partout où ils figuraient) n’ont pas de place dans le Psautier. La cantillation psalmodique est une harmonie qui se conjugue avec celle des mots. Toutes deux allient leur pureté respective pour soutenir l’épanchement spécifique de la prière. Inutile d’attirer par des artifices l’attention de Celui qui sait tout ! En fin de compte, c’est la présence de ces mélismes, véritables tournures oratoires, qui serait insolite dans les Psaumes. [Author’s italics. Translation by Dennis Weber.]

Endnotes 73 http://www.sagreiss.org [email protected]

49 Prepositive aligned psalmodic homograph of tifkha. 50 Positive aligned homograph of pashta. Azla legarmeh is assimilated to azla. 51 Iluy rises four degrees if the active (preceding) sublinear sign is tarkha (G or lower), falls three degrees if the active sublinear sign is atnakh (A or higher), i.e. to the same note one octave lower. Haïk-Vantoura’s charts do not always make this clear, but her scores confirm this rule. 52 Psalmodic homograph of great revia. 53 Psalmodic prepositive aligned homograph of geresh, defined as a distinct sign, independent of the following little revia. 54 Defined as a distinct sign, independent of the following merekha. 55 Great (legarmeh) and little shalshelet are amalgamated. The second and third notes are determined by chromatic intervals. 56 Prepositive aligned homograph of tsinor. 57 Mélodiquement parlant, la sous-tonique, seul degré constitutif inferieur à la note principale de l’échelle, exerce une curieuse influence, fort différente de celle de notre « note sensible » […] Bien que séparée de la tonique par un demi-ton dans la quasi totalité des cas, elle ne cède pas à son attraction, elle ne se résoud pas en elle (sort auquel n’échappe pour ainsi dire jamais la « sensible » classique). Cette sous-tonique, dans la conception qui se fait jour, fait effet de « bascule ». [Remarque curieusement étayée par l’étymologie : elle est dénommée « roue ».] Dès que la ligne mélodique parvient à elle, comme en un recul, elle lui impose le plus souvent un rebondissement très caractéristique à la quarte supérieure (quarte diminuée la plupart du temps) et après une oscillation l’atteignant de nouveau, la fait aboutir finalement sur le 2ème degré du mode. Elle détermine ainsi une cadence suspensive par une figure chargée d’expression. [Author’s note and italics. Translation by Dennis Weber.] 58 Literally: ―doe of the dawn‖. 59 Jews of different cultures make shofars of goat, gazelle, gemsbok, antelope, and other kosher animal horns for liturgical or esthetic reasons. 60 Except when the former falls on the Sabbath. 61 […] la psalmodie elle seule, et non la prosodie, semble avoir été conçue en vue de comporter un accompagnement instrumental Sa configuration en témoigne (mouvements mélodiques souvent disjoints, de tierces notamment ; et particulièrement cadence V-I, fréquente en fin de versets. Sa structure sous- entend une harmonie. Ces données, elles encore, révèlent une musique créée en vue de sa finalité. [Author’s note and italics. Translation by Dennis Weber.] 62 In order to accommodate Western musical notation, the Hebrew lyric has been disposed by word (including makef as separator) from left to right. Due to this convention, Mgrs + LtRv (v. 1-4, 6-9) and OlVy + Mrka (v. 6-8), respectively RvMg and OlVy in syntactic configuration, and other signs occurring in the same word appear in reverse order. Azla (v. 1, 3, 7) and Mhpk (v. 7 [3rd occurrence from left], 9) are followed by pasek and defined as AzLg and MhLg respectively in syntactic configuration. 63 Haïk-Vantoura obtained her results from the Bible (whose publication date [2nd edition, 1866, cited in Wikipedia] and location [Berlin] are hard to verify) attributed to Meir Halevi Letteris (1800-1871), whom the Columbia Encyclopedia and the JewishEncyclopedia both identify as a Jewish Austrian poet, scholar, and translator, but not as an editor of the Bible. She dates this edition in 1873 (two years after the death of Letteris) and places it in Vienna (his hometown). Alternate readings from that edition: v. 1 s/Mrka/Ø; v. 2 s/Gaya (1st occurrence from left)/Ø; v. 3 s/Gaya (1st occurrence from left)/Ø, s/Glgl/Mhpk; v. 4 s/Mrka (1st occurrence from left)/Dkhi; v. 5 s/Gaya (1st occurrence from left)/Ø; v. 6 s/Gaya (1st occurrence from left)/Mhpk; v. 7 s/Mhpk (2nd occurrence from left)/Glgl, s/Mnkh/Gaya, s/Mhpk (3rd occurrence from left)/Mnkh; v. 9 s/Mgrs/Ø. 64 Music: Suzanne Haïk-Vantoura, bass: Xavier Tamalet, Celtic harp: Nehama Reuben, 1979. [Discography by John Wheeler. The date differs from that (1978) posted on his site.] 65 .L’autre figure mélismatique contribuant à donner à la psalmodie son tour particulier, est celle qui résulte des deux signes associés : [geresh mukdam] et [little revia], qu’ils soient proches ou distants l’un de l’autre.

Endnotes 74 http://www.sagreiss.org [email protected]

Moyen expressif largement utilisé, cette boucle, plus ample à l’aigu qu’au grave de la note sur laquelle elle insiste, la cerne souvent comme un commentaire méditatif ou douloureux […] le résultat peut être magistral. [Translation by Dennis Weber.] 66 The cæsura is represented by a double pipe (||) in poetic meter, by two oblique bars (//), or railroad tracks, in musical meter, where it indicates a pause whose duration is left to the discretion of the performers. A preliminary cæsura occurs in four verses, marked by dekhi (v. 3), tsinor (v. 6), and little revia (v. 7-8). In other psalmodic texts ole veyored (followed by merekha) also performs this function. 67 For more information on music as digital data, see Art analogique & représentation numérique (in French).

Endnotes 75