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The Music of the Bible, with an Account of the Development Of
\ \ ^ \ X \N x*S-s >> V \ X \ SS^^ \ 1 \ JOHN STAINER,M.A.,MUS,.DOC., Cornell University Library ML 166.S78 3 1924 022 269 058 CORNELL UNIVERSITY LIBRARY ^^S/C [7BRARY Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022269058 THE MUSIC OF THE BIBLE WITH AN ACCOUNT OF THE Development of Modern Musical Instruments from Ancient Types BY JOHN STAINER, M.A.. MUS. DOC, MAGD. COLL., OXON. Cassell Fetter & Galpin LONDON, PARIS & NEW YORK. V Novell o, Ewer & Co.: LONDON. [all rights reserved.] PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further con- firmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be fotmd here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. But I think all will admit that the study of the history of ancient nations, whether with reference to their arts, religion, conquests, or language, seems to gather and be concentrated round the Book of Books, and when once I began to treat of the com- parative history of musical instruments, I felt that a few more words, tracing their growth up to our own times, would make this little work more complete and useful than if I should deal only with the sparse records of Hebrew music. -
The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. -
Music in the Bible by Theodore W
Music in the Bible By Theodore W. Burgh Music is an essential element of ancient and modern cultures. It often shapes chronological periods, as did the Motown recordings of the 1960’s and 70’s, and marks what we grieve and celebrate. While many of the uses of music in the ancient Near East are similar to those of today, the sound and experience of music in ancient times was different. It is hard for us to imagine not being able to pull music from the air and download it upon request. In antiquity, people only heard music in live musical performances. Nothing was recorded, sampled, mixed, or mass-marketed. Although we don’t know how ancient music sounded, judging from the ways it was used we do know that music was important then as it is now. By studying the ancient remains of instruments, descriptions of musical activity in texts like the Bible, and artistic representations, we gain valuable information about these enigmatic past societies and peoples—from aspects of relationships between men and women, the types of instruments used in sacred and secular performances, and occasions when music was performed. A glance at several biblical stories reveals the importance of music in the daily life of antiquity. For instance, writers describe how people used music to express an array of emotions, convey valuable information, and entertain. Moreover, there are numerous ceremonies and celebrations in the Bible where musical performance was a major part. Several passages contain descriptions of actual instruments, names of musicians, as well as places and times music was played. -
On Old Macewas, Synagogues and Klezmorim∗
M u z y k a l i a VII · Judaica 2 “There on the willows we hung our”…violins: On Old Macewas, Synagogues and Klezmorim∗ B e n j a m i n V o g e l The fragment of the popular Psalm 137 quoted in the title of this essay signals a new path of inquiry investigating musical instruments as symbols in Judaism, more specifically as decorations of tombstones and synagogues in historically Polish lands and as an iconographic resource for research into the history of musical instruments. During the last few centuries, musical instruments appeared very rarely on Jewish tombstones in Central Europe. Starting with the 18th century they were painted more often on walls inside synagogues as illustrations to Psalms 137 and 150. Most of those temples were made of wood and some of stone, but no wooden synagogue and only a dozen or so stone ones survived World War II. However, some archival photographs and paintings still bear witness to better days. Two important questions remains: how accurately do those iconographical sources reflect the instrumentarium used in biblical and later times and how closely do they reflect the instrumentarium used by Jewish (and other) musicians, especially klezmorim at time the images where created? In this essay I will consider mainly the period from the 18th century up to the present, focusing on all the central and eastern historically Polish territories, excluding Silesia and Pomerania where Jewish culture had a different, more assimilated character than in central lands. One must remember that until the 18th century the Polish Kingdom (since the 16th century the Polish Lithuanian Commonwealth) included the lands of Lithuania, Belarus and Ukraine. -
Order Form for Recordings
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Of Foreign Words
INDEX OF FOREIGN WORDS adam, man., I: n; III: ; IX: , keli zekhukhit, glass instrument., I: –, –, , , , , , ; X: , , keli zemer (pl. kele zemer), musical armonia doria,Dorianmode.,I: instrument, I: n, , , armonia frigia,Phrygianmode.,I: kelim nofhim. , blowing instruments., armonia ionica,Ionianmode.,I: I: armonia lidia,Lydianmode.,I: kinnor (pl. kinnorot),lyre,I:–,, arpa,harp.,I:n –, , –, –, , , #asor, ten-string lyre., I: , –, , , –, – aulos, double-reed pipe. See also , , , , –, , #ugav. , , , , , – kithara,cythara(Ital.cetera or cetra), cetera (or cetra). See kithara I: n, n, n cigni,swans,specificallycigni kiwwun, tuning., I: n, iperborei,I: lauto.Seeleuto. diapason as well as sheminit (eighth) leuto (alias lauto), lute, I: n and ottava I: , n, , , , mahol. (pl. meholot. ),dance(seealso diapente as well as hamishit. (fifth) meholah. ) I: , , , and quinta, I: , n, n, masah. , unleavened bread, IV: , , diatessaron as well as revi#it (fourth) , , , , , , ; X: and quarta I: , n, n, maskhah (mixed)., I: mezeg,liquid,I: galgal.Seesphere melekhet ha-musiqah,musicpractice (Lat. musica practica) I: halil. , pipe., I: , melekhet ha-niggun, practice of hamishit. ,fifth(seediapente) playing, I: hokhmat. ha-musiqah (Lat. scientia menaggen, player., I: , , , , musicae), music science I: , – –, , , –, , , , , n, menasea. h. , leader, chief musician, holah. see meholah. conductor, I: higayon, speaking, playing, contem- meshitihu, I drew him out., I: , plating, I: , , n hitmazgut,fusion.,I: meshorer (pl. meshorerim), singer., I: , keli (pl. kelim), instrument, also metarim, strings., I: vessel, I: , , , mezeg, commixture, nature., I: , keli niggun (pl. kele niggunim), moys, water (in Egyptian), I: – harmonic instrument. I: , , keli shir (pl. kele shir), melodic musa (pl. muse), muse, I: –, instrument., I: , – index of foreign words musica humana, music as results partizione (plur. -
Traditional and Historical Scottish Harps by Bill Taylor
Traditional and Historical Scottish Harps by Bill Taylor WHY DISTINGUISH between traditional and historical harps? It is not an easy question to answer. In its true sense, traditional means that which is passed on by word of mouth from one generation to another. Indeed, it means we’ve always done it this way . Harp playing right now is in the midst of a tremendous revival. Given that harps have been played for thousands of years, it would follow that there is no single harp which can claim to be traditional. Rather, there are many different harp traditions which span the centuries and the globe. Harp terminology is a minefield. Nowadays, we speak loosely of ‘clarsach,’ ‘Irish harp,’ ‘neo-Irish harp,’ etc, without really knowing the fine distinctions of these words. It was the same in the ancient and medieval worlds: cithara, lyra, rotta and harpa, were all seemingly interchangeable names for a number of different stringed instruments. Terms which described particular instruments in one culture came to mean something else at another time or place. Although the word remained the same, the instrument it referred to changed. Nowhere is this more apparent than in our modern English Bibles. In the King James Bible, Psalm 150 reads: Praise him with the sound of the trumpet: praise him with the psaltery and harp. Praise him with the timbrel and dance: praise him with stringed instruments and organs. It is clear that many different instruments were used in Old Testament times, but whatever they were they weren’t modern trumpets, pipe organs and pedal harps. -
A Compendium of Musical Instruments and Instrumental Terminology in the Bible
CRITICAL REVIEW A Compendium of Musical Instruments and Instrumental Terminology in the Bible Yelena Kolyada; translated from Russian by the author with the assistance of David J. Clark. A Compendium of Musical Instruments and Instrumental Terminology in the Bible. London: Equinox, 2009. 304 pp. $140.00. Hardcover. ISBN: 9781845534097. Compendium of Musical Instruments and Instrumental Terminology in the Bible is an English translation and adaptation of a doctoral thesis written in Russian and published in 2003 by Kompozitor in Moscow. The author seeks to answer the question, “What did the instruments that are referred to in the Bible and TanakhA look or sound like?” To answer this question, she draws upon numerous fields of study, such as history, philology, archaeology, and musicology. It is necessary to synthesize from various fields because neither the Tanakh nor the Old Testament defines the instruments—these sacred books simply use the musical terms. In addition, the passage of the centuries has fostered the evolution of the musical terms and definitions. For example, when the Hebrew term “kinnor” is mentioned, one might see it translated as “harp” (KJV) or “lyre” (RSV), and yet a different instrument called “nevel” is also translated as “harp” (RSV) or “lyre” (NIV). Not only are harps and lyres different from each other, present-day harps and lyres also are different from ancient harps and lyres. This book details the differences between a “kinnor” and a “nevel,” thus giving the reader possession of a more accurate assessment of the appearance and sound of these instruments in biblical times. After providing an overview of references to instrumental music in the Bible in chapter one, the author devotes chapters two through four to the major classes of instruments: plucked strings, winds, and percussion. -
On Jewish Music
Jewish Music (excerpted from the Oxford Grove Music Encyclopedia) The earliest evidence of Jewish musical culture is found in the Old Testament. Hebrew music was established by King David between 1002 and 970 BC in the Temple of Jerusalem, where Levite musicians were in charge of instrumental and vocal performance. Biblical instruments include the ′asor (a string instrument, presumed to have had ten strings), halil (wind instrument, probably including flutes and reed instruments), &hdotb;atzotzerah (trumpet, probably used to produce rhythmic blasts on a single pitch), kaithros (probably a lyre), kinnor (probably a lyre, played by David for Saul: the most important melodic instrument of ancient Israel), metziltayim (probably pair of cymbals), minnim (probably string instrument), nevel (probably a lyre or a harp), qarna (animal horn played at Nebuchadnezzar's court), tof (probably a round frame drum like the tambourine but without jingles), ′ugav (probably a wind instrument) and the shofar (ram or ibex horn, used for signaling), the only instrument played in modern times. After the destruction of the Temple by the Romans in AD 70, instrumental music was banned; vocal forms, particularly psalm singing, survive to the present, however, apparently with little change, and are the oldest living forms of Jewish music. Other vocal forms are cantillation of the prose books of the Bible (including the Pentateuch, Prophets and Ruth) and virtuoso, improvisatory prayers and hymns, orally transmitted by cantor- composers. Unlike Islam, which has steadily expanded, influencing musical cultures from Spain to Indonesia, the creation of Israel in 1948 resulted in a sudden compression of Jews from widely dispersed regions. -
Siddur for Shabbat
úáùì øåãéñ Siddur for Shabbat úáùì øåãéñ Siddur for Shabbat David Singer, Editor Berkeley Hillel 5763 2003 i ii Contents Preface iv On Usage v Shabbat Evening Service 1 Shabbat Morning Service 43 Havdalah 95 Supplementary Prayers 97 Songs 103 iii Preface This siddur was first created by the Reform minyan at UC Berkeley, California in the spring of 2003. In deciding to compile this siddur, students embarked on an ambitious process: how could they best combine over twenty distinct creative service packets into one inclusive and comprehensive siddur which would suit the needs of the Berkeley Reform Jewish community’s prayer in all circumstances for years to come? Further, the prayer service, while in need of energy and creativity, was also worthy of respect and in due need of a certain amount of structure which service packets could not provide. It is our hope that this siddur meets that need, and accordingly that it can and will be used for Erev and Shacharit Shabbat and Havdalah services as well as song sessions. Further, it is our hope that this siddur will help to meet the same need in other youth and young adult minyanim for years to come. We thank the many people who have helped to make this siddur a reality, especially to those who spent countless hours compiling and editing. To David Singer, Melissa Loeffler, Jill Cozen-Harel, Becky Gimbel, David Abraham and Athalia Markowitz special thanks are due. The original printing of this siddur would not be possible if not for the generous financial support provided by Temple Beth El of Berkeley, CA. -
2015 Washington, D.C
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Indus Musicians in Mesopotamia
1 Indus Musicians in Mesopotamia 2 Bull Lyre of Indus Valley and 90 words that Harappans 3 May Have Spoken 4 5 Shail Vyas 6 Homi Bhabha Fellow, Mumbai 7 8 [email protected] 9 10 11 12 13 Abstract 14 15 Human is a musical creature. It is seen ubiquitously through times and spaces 16 that a certain percentage of human population is always musically inclined 17 irrespective of their profession. Music is also an integral part of many social 18 activities humans generally observe like religious practices, marriages, deaths 19 and what more. Due to the possible presence of Harappan population in 20 Mesopotamia, it may be surmised that a number of Harappan musicians and 21 some of their musical instruments could also have reached there. In this 22 investigation, crucial help could also come from the fact that many a times, 23 names of musical instruments travel with them. 24 25 26 On account of a very likely possibility of such an occurrence, a study of 27 archaeological and Sumerian textual records in Mesopotamia was strongly 28 suggestive of a significant presence of Harappan musicians and musical 29 instruments in Mesopotamia. In fact, study of Sumerian text has shown that 30 about 30 musical terminologies out of a total of nearly 60, in the categories such 31 as names of instruments, singers, names of songs and even musical notations, 32 etc. in Sumerian (PSD) are found to be phonetically and semantically very similar 33 to ancient Indian terms with some “Sumerianization”. The study also 34 demonstrated certain patterns in the way words were sumerianized.