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David's Punishment As a Window Into the Torah As a Song
David’s Punishment for Singing ‘Study of King David’ (Julia Margaret Cameron, 1866) Thy statutes have been my songs in the house of my ְִזרמוֹת ... וּיָה - ִליקּח ֶיHֻ -- גוּימר ְֵבּיְבָת גוּימר pilgrimage." Ps 119:54 1 In an enigmatic aggada the Talmud seems to exhort King David for his extolling the divine in Psalm 119:54 by describing the Torah as a song: Thy statutes have been my songs. The gemoroh seems to critique David for reducing the Torah to a mere song. Let us examine this midrash to explore the depths of what Torah seems to mean to the rabbis and what song represents. The critique is based on their reading of the pericope in II Samuel chapter 6 that describes the moving of the Ark from Kiryat Ye’arim to Jerusalem and the tragic consequences that ensued and the delay of that movement resulting from the tragedy. Prooftexts And they set the ark of God upon a new cart, and brought it out of 3 ג את ִַַויֶּכּרבוּ ְ - הןוֲֹאר ִ,יםֱָא5ה ֶאל - חָהָלגֲﬠ ָ,הָשֲׁד ָ,הָשֲׁד חָהָלגֲﬠ the house of Abinadab that was in the hill; and Uzzah and Ahio, the ִַויּ ָשֻּׂאהוּ, ִמֵבּית ֲאִביָנָדב ֲאֶשׁר ַבִּגְּבָﬠה; ְוֻﬠָזּא ְוַאְחיוֹ, .sons of Abinadab, drove the new cart ,אבנדִבינְבּאנ יתה ,םגֲֵָ ִיֲֶָֹ - החָלֲגָהﬠ ָָ.הֲשׁדָ And they brought it out of the house of Abinadab, which was in the 4 ד ִַויּ ָשֻּׂאהוּ, ִמֵבּית ֲאִביָנָדב ֲאֶשׁר ַבִּגְּבָﬠה, ִﬠם, ֲארוֹן .hill, with the ark of God, and Ahio went before the ark י;ֱם5הָהא ְַחאִו ,הְוֹי לcֹל ריָהֵאְנִפֵ ָ.ןוֹ And David and all the house of Israel played before the LORD with 5 ה ְוָכל ְָוִודד -
Jewish Community and Identity in the Early Modern Period
EMW - Workshops EWM 2009 EARLY MODERN WORKSHOP: Jewish History Resources Volume 6: Reading across Cultures: The Jewish Book and Its Readers in the Early Modern Period, 2009, The Radcliffe Institute for Advanced Studies at Harvard University, Cambridge, MA Table of Contents Technology, Preservation, and Freedom of Expression · Bernard Cooperman, University of Maryland, USA A ruling against rabbis who have sought to delay the printing of the Zohar Responsa of Rabbenu Nissim of Gerona The "imprimatur" by Isaac de Lattes A publisher in service of his readers: prefaces to Amsterdam 1711 edition of the Tsene Rene · Shlomo Berger, University of Amsterdam, The Netherlands Tsene Rene Shlomo Lutzker's Introduction to Magid Devarav Le-Ya'akov · Moshe Rosman, Bar-Ilan University, Israel Shlomo Lutzker's Introduction to Magid Devarav Le-Ya'akov: Likutei Amarim Leon Modena's Ari Nohem Between Print and Manuscript · Yaacob Dweck, Princeton University, USA The Roaring Lion The Paratexts of Judah Marcaria: Addressing the (Imagined) Reader in Mid-Sixteenth-Century Italy · Adam Shear, University of Pittsburgh, USA Abraham Klausner, Minhagim Levi ben Gershon (Gersonides) The Book of Rabbi Mordecai 1 EMW - Workshops EWM 2009 Putting Hebrew Books in Order · Avriel Bar-Levav, The Open University of Israel, Israel The lips of those who are asleep Jews under Surveillance: Censorship and Reading in Early Modern Italy · Federica Francesconi, University of California-Los Angeles, US 1. Rules for the expurgation of the Hebrew Books 2. Report regarding Hebrew Books -
Haggadah Vita
The Haggadah Vita I knew that the Golden Age was all about me, and it was we who had been blind to it, but that it had never passed away from the world. A.E., Candle of Vision Sixth Edition, © 2009, Alan Muskat available along with a Leader’s Edition at www.AlanMuskat.com About the Haggadah...................................................................................................................................................1 Welcome.........................................................................................................................................................................2 Urhatz, Where we begin..............................................................................................................................................3 Kadesh, Introductions.................................................................................................................................................3 5769............................................................................................................................................................................4 Haggadah, The Telling................................................................................................................................................5 Pharaoh Pharaoh.....................................................................................................................................................5 Mitrayim’s Nile........................................................................................................................................................5 -
Michael Strassfeld Papers Ms
Michael Strassfeld papers Ms. Coll. 1218 Finding aid prepared by John F. Anderies; Hebrew music listed by David Kalish and Louis Meiselman. Last updated on May 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2016 December 14 Michael Strassfeld papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 7 Related Materials........................................................................................................................................... 8 Controlled Access Headings..........................................................................................................................8 Collection Inventory.................................................................................................................................... 10 Series I. Education.................................................................................................................................10 Series -
For, Lo, the Winter Is Past, the Rain Is Over and Gone; The
"For, lo, the winter is past, the rain is over and gone; the flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land; The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away..." Song of Solomon 2:11-13 COUNCILS AND KINGS 17 fter proceeding through customs, I left the port area and headed for a Christian youth hostel in Haifa. I had only enough money left for three nights at the hostel; and Aso I registered for three nights, and was led to a bunk in a large, airy room. After unpacking my few possessions, I sat down on the bunk and at once began to feel sorry for myself. Until the Bible classes were to begin in two weeks' time, I had nothing to do and nowhere to go and almost no money left whatsoever. And constantly over the past weeks I had worried about Mike and Joey. I missed them so much, and began even to resent their step-mother, who now was able to care for them in all the ways that I longed to. As I had nothing and there was no clear direction from the Lord, all I did was to sit on the bunk and make myself as gloomy as possible. Some time passed before there was a soft knock at the door to my room. The director of the youth hostel came in with his wife. -
Mcneil Robinson As Choral Musician a Survey of His Choral Works for the Christian and Jewish Traditions Jason Allen Wright University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2017 Mcneil Robinson as Choral Musician A Survey of his Choral Works for the Christian and Jewish Traditions Jason Allen Wright University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Wright, J. A.(2017). Mcneil Robinson as Choral Musician A Survey of his Choral Works for the Christian and Jewish Traditions. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4210 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. MCNEIL ROBINSON AS CHORAL MUSICIAN A SURVEY OF HIS CHORAL WORKS FOR THE CHRISTIAN AND JEWISH TRADITIONS by Jason Allen Wright Bachelor of Music East Carolina University, 2003 Master of Music University of North Carolina at Greensboro, 2004 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2017 Accepted by: Larry Wyatt, Major Professor Alicia Walker, Committee Member Andrew Gowan, Committee Member Julie Hubbert, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Jason Allen Wright, 2017 All Rights Reserved. ii DEDICATION This document is dedicated to God, who knew me before I was born and gave me the gift of music. To my parents, Tommy A. and Ruby N. Wright, who gave me life and who continue to love and support me throughout my life and musical journey. -
Sephardic Dissertation Post-Defense
Informed and Informative: New Choral Arrangements of Sephardic Music Sarah Riskind A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2018 Reading Committee: Giselle Wyers, Chair Geoffrey Boers JoAnn Taricani Program Authorized to Offer Degree: School of Music University of Washington !i © 2018 Sarah Riskind !ii Abstract Informed and Informative: New Choral Arrangements of Sephardic Music Sarah Riskind Chair of the Supervisory Committee: Giselle Wyers School of Music In the choral field, there is an opportunity for greater awareness and understanding of Sephardic Jewish music. A small but significant number of choral arrangements exist, but it is difficult for conductors to acquire the knowledge necessary to inform their singers and audience members effectively. This study discusses how published choral arrangements of Judeo-Spanish, or Ladino, music reflect the Mediterranean heritage of Sephardic Jews, in addition to their origins in medieval Spain and Portugal. Three new arrangements created by the author as a central part of the dissertation show how musical techniques and background information can convey nuances about Sephardic history and culture. They reflect features such as the Turkish makam modal system, heterophonic textures, Mediterranean-inspired vocal production recommendations, and instruments native to the regions of the Sephardic diaspora. The romance “Lavaba la Blanka Ninya,” the copla “Esta Noche de Purim,” and the cantiga de novia “Las Kazas de la Boda” demonstrate how arrangers can be more transparent about the Western influences on music from other cultures. !iii TABLE OF CONTENTS 1. Introduction 1 1.1. Judaism and Multiculturalism 1 1.2 Approaches to Non-Western Repertoire 3 2. -
SHEMOT Hebrew Book of Exodus
EŷNjƮèŃðŇĀŘôŘųƀŶɈ þŗƱĘƫŸǯð ɕɌɈɖɔ 2 ëAņŖŠŸŶ ëŸǬă ųǫĈŖŠŸ ëģǖþƭ Ŧǐë Ĉîė ƻûų ûŸǰĈŘɈ ŃûǘŦŵŖŠŸ ŃINjĔĘ ƐĐĘřĘ ŃǯřŠ ǯŖŠŸ ƐńĐ ĘĀ ŖîĨ ĀĘǮŶŠŸŸ EŶģĐņëŸɅ 3 We present our many thanks to Our God-Father and to Our King of Kings, to His Imperial Majesty, HAILE SELLASSIE I’s Kingdome in the Glorious name of Iyesus Kristos, Our Saviour – Our Lord of Lords. AMEN AND AMEN. 4 THE BIBLE SOCIETY OF HIS IMPERIAL MAJESTY (BSHIM) PUBLISHED BY: H.H. RAS IADONIS TAFARI, & H.H. WOIZERO TEHETENA GIRMA-ASFAW OF THE LION OF JUDAH SOCIETY (LOJS) IMPERIAL PUBLISHERS TO THE H.I.M. UNIVERSITIES,COLLEGES & CHRISTIAN [TEWAHEDO]CHURCHES 1991-2011 BSHIM-LOJ 5 ©2011 by LION OF JUDAH SOCIETY PUBLISHERS & IYOBELYU [JUBILEE]PRINTING PRESS ISBN All rights reserved. No part of this publication may be reproduced or transmitted for commercial purposes, except for brief quotations in printed reviews, without written permission of the publishers’. Churches and other noncommercial interests may reproduce portions of this book without the express written permission of the LOJS PUBLISHERS, provided that the text does not exceed 500 words and that the text is not material quoted from another publisher. When reproducing text from this book, include the following credit line: “From Shemot Hebrew Book of the Exodus: Torah Portion, introduction & compilation by Ras Iadonis Tafari,’ re-published and new printing by the Lion of Judah Society. Used by permission.” All English-language scripture quotations, unless otherwise noted, are taken from the King James Version of the 1611 A.D. Holy Bible [KJV]. All Amharic-language scripture quotations, unless otherwise noted, are taken the Emperor’s Bible, the 1961/2 A.D. -
The Threshing Floor CD Released January 29, 2010
The Threshing Floor CD released January 29, 2010 About The Threshing Floor In the Bible, the threshing floor was a place that drew people together. Villagers brought their crops to this circle of packed earth or paving stones at harvest to separate the grain from the chaff. The threshing floor was the setting for many of life’s most important cycles and several biblical stories. More than just an everyday place, the threshing floor transformed over time into something sacred: King David purchased one in Jerusalem to serve as a sacred altar, which became the foundation for the first Temple. Our music, like the threshing floor, draws our loving community near to be nourished by the work of so many of its talented members. And like the transformation of King David’s floor into a sacred space, the music of Congregation Bet Haverim uplifts seemingly commonplace or secular pieces, uncovering their inner spiritual depth and holiness. The threshing floor is a fitting metaphor for Congregation Bet Haverim. Like other Reconstructionist Jewish communities, we wrestle with our traditions in an ongoing effort to separate what remains meaningful from that which no longer serves us. This is an evolving process, like the synagogue itself, which was founded by a small group of gay and lesbian Jews. Bet Haverim, or “house of friends,” is now a diverse community embracing all Jews and their loved ones, committed to innovations built upon solid Jewish traditions and values. This CD, our second collection, offers Jewish music from distant lands and times alongside works from other traditions and songs composed and arranged by members of our own chorus. -
Pardes-Entire Book
Agnon’s Moonstruck Lovers !"# $%&' %( $%&') *& +),-#.* /0.10,# Ilana Pardes 2&*3#,)*14 %( 5-)"*&'1%& 6,#)) Seattle and London # The Biblical Ethnographies of “Edo and Enam” and the Quest for the Ultimate Song $% and Enam,” one of Agnon’s most enigmatic tales, a renowned Agnonian riddle that has generated as many readings as the dog “EBalak, opens with the narrator’s puzzlement at &nding his friends, the Greifenbachs, “so dark and distracted” before traveling abroad. 'e story takes place in Jerusalem under the British Mandate (a(er “the war”), a time of instability, and the Greifenbachs, who are about to leave for a vacation in Europe, fear that their house will be plundered during their absence ()*+). 'ey do have a tenant, Dr. Ginat, but given that he is constantly on &eld trips connected with his philological-ethnographic researches, he is rarely at home. 'e narrator’s heart beats fast on listening to his friends. Both Ginat and his famous discovery of the Enamite hymns move him with unexpected force. Ginat, he informs us, published articles on the grammar of Edo, but what made him “truly famous was his discovery of the Enamite Hymns . they were not only a new-found link in a chain that bound the beginnings of recorded history to the ages before, but—in themselves—splendid and inci- sive poetry.” One thing, however, surprised the narrator. “All these scholars a,rmed that the gods of Enam and their priests were male; how was it that they did not catch in the hymns the cadence of a woman’s song?” ()*-–*"). -
Contemporary Jewish Music in America
Contemporary Jewish Music in America BY MARK KLIGMAN J EWISH MUSIC IN AMERICA has become a growth industry over the past few decades. Over 2,000 recordings of Jewish music are cur- rently available, with close to 250 new releases produced each year. And although most listeners and consumers are aware of only a few per- formers, more than 400 artists and groups are engaged in creating and performing this music.1 Beyond the impressive numbers, the Jewish music being created, per- formed, preserved, and disseminated today in America not only reflects the vast changes that have taken place in American Jewish life, but rep- resents a quintessentially American Jewish phenomenon. The scope of contemporary Jewish music encompasses a wide range of genres and styles, including music for the synagogue, folk and popular music on religious themes, Yiddish songs, klezmer music, Israeli music, and art music by serious composers. Every sector of the Jewish commu- nity—from the most right-wing Orthodox to the most secular—partic- ipates in the Jewish music endeavor, creating, performing, and listening to the particular music that meets its taste and needs. Jewish music is sung and performed in synagogues of all sizes and types, in schools, commu- nity centers, and summer camps, at organizational conclaves, and in col- lege campus auditoriums or in concert halls as august as Carnegie Hall. Ironically, at a time when Jewish commitment is declining,2 Jewish musi- cal self-expression is on the upswing. Note: The author gratefully acknowledges the following -
SELECTED POEMS of Solomon Ibn Gabirol the Lockert Library of Poetry in Translation
SELECTED POEMS OF Solomon Ibn Gabirol The Lockert Library of Poetry in Translation Editorial Advisor: Richard Howard ✦ FOR OTHER TITLES IN THE LOCKERT LIBRARY, SEEPAGE327 SELECTED POEMS OF Solomon Ibn Gabirol X Translated from the Hebrew by PETER COLE PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Copyright 2001 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY All Rights Reserved Grateful acknowledgment is due to the National Endowment for the Humanities for its support of this project. Some of these poems were first published in Parnassus and the Treasury of World Poetry (Norton, 1998) Grateful acknowledgment is made for permission to reprint the diagram on page 34, Copyright Raphael Loewe, from Ibn Gabirol, by Raphael Loewe (Peter Halban, 1989). The original appears in the Oxford Arabic manuscript, Huntington 382. Library of Congress Cataloging-in-Publication Data Ibn Gabirol, 11th cent. [Poems. English. Selections] Selected poems of Solomon Ibn Gabirol / translated from the Hebrew by Peter Cole. p. cm. — (The Lockert library of poetry in translation) Includes bibliographical references. ISBN 0-691-07031-8 (alk. paper) — ISBN 0-691-07032-6 (pbk. : alk. paper) 1. Ibn Gabirol, 11th cent.—Translations into English. I. Cole, Peter, 1957– II. Title. III. Series PJ5050.I3 A23 2000 892.4'12—dc21 00-044124 This book has been composed in Dante The paper used in this publication