He learned to understand trope, the cantillation marks that indicate the music of the chant, and learned to read the Hebrew without vowels, as it appears in the Torah.
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Spanish and Portuguese traditional cantillation has several unique elements. Torah cantillation is divided into two musical styles. The first is the standard used for all regular readings. A similar but much more elaborate manner of cantillation is used on special occasions.
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Ole (Hebrew: ) a cantillation mark found in Psalms, Proverbs, and Job (the books). Ole is also sometimes used as a stress marker in texts without cantillation.
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The current system of cantillation notes has its historical roots in the Tiberian masorah. The cantillation signs are included in Unicode as characters U+0591 through U+05AF in the Hebrew block.
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Cantillation signs mark stress and punctuation. Metheg may mark secondary stress, and maqqaf conjoins words into one stress unit, which normally takes only one cantillation mark on the final word in the unit.
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A similar chant is used for the prose parts of the book of Job on the Ninth of Ab. There is no cantillation mode for the books of Psalms, Proverbs and the poetic parts of Job. The chant for the Psalms in the Friday night service has some resemblance to the cantillation mode of the Oriental traditions, but is not dependent on the cantillation marks.
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Some manuscripts of early Rabbinic literature contain marks for partial or systematic cantillation. This is true of the Sifra, and especially of Genizah fragments of the Mishnah.For a full study see Israel Yeivin, Cantillation of the Oral Law. Leshonenu 24 (1960), pp.
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Despite the comparatively late process of codification, some traditional sources and some Orthodox Jews hold the pronunciation and cantillation to derive from the revelation at Sinai, since it is impossible to read the original text without pronunciations and cantillation pauses. also pages 250–255 The combination of a text ( mikra), pronunciation ( niqqud) and cantillation ( te`amim) enable the reader to understand both the simple meaning and the nuances in sentence flow of the text.
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During the Shacharit services of the High Holidays, the cantillation for the Torah reading is different from the usual cantillation that is used for Shacharit during the rest of the year. During the Mincha service of Yom Kippur, the cantillation for the Torah reading is done in the "ordinary" mode that is used on weekdays and Shabbat during the year. The reason given for this is by this time, the congregation is already anticipating a return to normal life.
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Cantillation is far from universal among tonal languages, but Fuzhou Catholics in Fujian have a similar practise.
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Spanish and Portuguese Torah cantillation has been notated several times since the 17th century. The melodies now in use, particularly in London, show some changes from the earlier notated versions and a degree of convergence with the Iraqi melody.That is, the older melody used in Mosul and in most of the Iraqi Jewish diaspora, as distinct from the Baghdadi melody, which belongs to the Ottoman family: see Cantillation melodies and Sephardic cantillation. The rendition of the Haftarah (prophetic portion) also has two (or three) styles.
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As a note of cantillation in the reading of the Torah, the Geresh is printed above the accented letter: ב֜. The ' (lit. 'a Geresh made earlier'), a variant cantillation mark, is also printed above the accented letter, but slightly before (i.e. more to the right of) the position of the normal Geresh: ב֝.
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Melodies for tifcha, as for all other cantillation marks, is different in different traditions. The diagrams below show the Polish-Lithuanian tradition.
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Cantillation is an Australian vocal ensemble founded in 2001 by Antony Walker and Alison Johnston. They were founded alongside orchestras Sinfonia Australis and Orchestra of the Antipodes. Cantillation often performs with the Pinchgut Opera and appear on many ABC Classics albums. Albums they appear on include Teddy Tahu Rhodes' The Voice (ARIA winner) and David Hobson's Handel Arias (ARIA nominee).
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Medieval sources speak of three cantillation melodies, for Torah, Nevi'im and Ketuvim respectively. Today the position is more complicated. Oriental Sephardic communities preserve cantillation systems for the three poetic books, namely Psalms, Proverbs and the main part of Job (usually a different melody for each of the three books). No such systems exist in the Ashkenazi or Spanish and Portuguese traditions.
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15 (1992) pages 29-30. The Haftarot for the morning of Tisha b'Av, and for the Shabbat preceding it, are, in many synagogues, predominantly read to the cantillation melody used for the public reading of the Book of Lamentations, or Eicha. Leonard Bernstein employed the Haftarah cantillation melody extensively as a theme in the second movement ("Profanation") of his Symphony No. 1 ("Jeremiah").
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Cantillation has a more limited use than vowel pointing, as it is only used for reciting the Tanakh, and is not found in children's books or dictionaries.
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In mainstream parlance, Ta'am Elyon refers to the alternate cantillation used to read the Ten Commandments. However, in the Moroccan community, it is also used to refer to the special cantillation used in certain sections of the Torah portions of Beshalach and Yitro. Specifically, Ta'am Elyon refers to the alternate tune in the Tarḥa and Sof Pasuk cantillations at the end of certain verses in those Torah portions.
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Three systems of Hebrew punctuation (including vowels and cantillation symbols) have been used: the Babylonian, the Palestinian and the Tiberian, only the last of which is used today.
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The Munach (Hebrew: , also spelled Munah or Munakh), translating to English as "to rest," is a common cantillation sound. In Sephardi and Oriental traditions it is often called Shofar holekh. It is marked with a right angle below the corresponding word.The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot ... By Marshall Portnoy, Josée Wolff, page 26 The munach is found in various groups, including the Katon, Etnachta, and Segol groups.
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Genesis 1:9: And God said, "Let the waters be collected." Letters in black, niqqud (vowel points) and d'geshim (gemination marks) in red, cantillation in blue. Hebrew cantillation is the manner of chanting ritual readings from the Hebrew Bible (or ) in synagogue services. The chants are written and notated in accordance with the special signs or marks printed in the Masoretic Text of the Bible, to complement the letters and vowel points.
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Tevir (Hebrew: , with variant English spellings including T'vir and Tebir) is a cantillation mark commonly found in the Torah, Haftarah, and other Hebrew biblical books. It can be found independentlyA Hebrew grammar: containing a copious and systematic development of the ... By Samuel Ransom, page 207 or it can follow any number of other cantillation marks, very commonly a Mercha or Darga.Chanting the Hebrew Bible By Joshua R. Jacobson, page 113 The Hebrew word תְּבִ֛יר translates into English as broken.
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Learning the accents and their musical rendition is now an important part of the preparations for a bar mitzvah, as this is the first occasion on which a person reads from the Torah in public. In the early period of the Reform movement there was a move to abandon the system of cantillation and give Scriptural readings in normal speech (in Hebrew or in the vernacular). In recent decades, however, traditional cantillation has been restored in many communities.
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Gershayim (, with variant English spellings) is a cantillation mark that is found in the Torah, Haftarah, and other books of the Hebrew Bible. The Hebrew word translates into English as double geresh.
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2nd ed. Detroit: Macmillan Reference USA, 2007. p. 321. The Masoretes devised the vowel notation system for Hebrew that is still widely used, as well as the trope symbols used for cantillation.
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Early studies in the history of Jewish Prayer Modes concluded that the musical scales used were based upon ancient Biblical cantillation,Cohon, 17 but modern scholarship has questioned the validity of these findings.
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Meteg is a vertical bar placed below a character next to the niqqud for various purposes, including marking vowel length and secondary stress. Its shape is identical to the cantillation mark sof pasuq.
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Karne parah (Hebrew: , also spelled Qarnei Farah and other variant English spellings) is a cantillation mark found only once in the entire Torah (Numbers 35:5), and once in the Book of Esther, immediately following the identically unique Yerach ben yomo. The symbol of the Karne para is that of the Telisha ketana and gedola together. The melody, likewise, is that of these two more common cantillation sounds put together. The Hebrew words קַרְנֵי פָרָ֟ה translate into English as cow's horns.
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Another obscure work of Sambari, Porat Yosef (פורת יוסף) is only extant in a unique manuscript in the Alliance Israélite Universelle library. The work deals exclusively with the topics of Massorah and biblical cantillation.
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Mitchell includes musical transcriptions of the temple psalmody of Psalms 120–134 in his commentary on the Songs of Ascents. Regardless of academic research, Sephardic Jews have retained a tradition in the Masoretic cantillation.
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A primary purpose of the cantillation signs is to guide the chanting of the sacred texts during public worship. Very roughly speaking, each word of text has a cantillation mark at its primary accent and associated with that mark is a musical phrase that tells how to sing that word. The reality is more complex, with some words having two or no marks and the musical meaning of some marks dependent upon context. There are different sets of musical phrases associated with different sections of the Bible.
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The cantillation signs also provide information on the syntactical structure of the text and some say they are a commentary on the text itself, highlighting important ideas musically. The tropes are not random strings but follow a set and describable grammar. The very word ta'am, used in Hebrew to refer to the cantillation marks, literally means "taste" or "sense", the point being that the pauses and intonation denoted by the accents (with or without formal musical rendition) bring out the sense of the passage.
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Moroccan Jews also have a distinct cantillation when reading the Haftara. The Moroccan cantillation for the Haftara can be further subdivided into the tune used by the general Moroccan community and that of the Spanish Moroccan community. Generally, this difference can be observed on ordinary Shabbatot, but on holidays, the Spanish Moroccans use the same tune as the general Moroccan community. Furthermore, there is a custom among some Moroccans to use the Spanish Moroccan tune for the Haftara that is read on Tisha B'Av.
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Some traditions of Qur'an reading utilize reciting tones, although it should be clarified that in Islam, Qur'anic recitation is not considered a form of music. For example, the tulaba ("students of Islam" in Arabic) of Morocco recite the Qur'an and chant hymns for special occasions using one or two reciting tones. Among the Jews of Yemen, cantillation of the Torah follows a distinctive practice that may be of great antiquity. Typical cantillation uses a system of signs, each of which represents a fixed musical motif.
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His latter years he spent in New York, where he taught at the Cantors' Institute of the Jewish Theological Seminary. His magnum opus, "The Cantillation of the Bible: Five Books of Moses", was published in 1957.
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The cantillation used for Tehillim can also be subdivided into the Moroccan and the Spanish Moroccan rites. The tune used by Spanish Moroccans is that which is used to read Psalms at funerals by other Moroccans.
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The Zakef katan (זָקֵף קָטָ֔ן, with other variant English spellings), often referred to simply as "Katan," is a cantillation mark commonly found in the Torah, Haftarah, and other books of the Hebrew Bible. The note is the anchor and final one of the Katon group, which also can include the Mapach, Pashta, Munach, or Yetiv. It is one of the most common cantillation marks. There is no limit to the number of times the Katan group can appear in a verse, and often, multiple Katan groups appear in succession.
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Within the worldwide Roman Catholic Church, Vietnamese liturgical practise is distinct in its extensive use of cantillation: all prayers and responses during the Mass are either sung or chanted, but never spoken. Thus, the Lord's Prayer is recited differently during the Mass than in a private setting. Gregorian chant is not used in a Vietnamese-language Mass; it is entirely omitted from Vietnamese translations of the Roman Missal and Order of Mass. It is suspected that cantillation in Lao and Hmong Catholic liturgies is due to Vietnamese influence.
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Gershayim between the penultimate and last letters ( e.g. ) marks acronyms, alphabetic numerals, names of Hebrew letters, linguistic roots and, in older texts, transcriptions of foreign words. Placed above a letter ( e.g. ) it is one of the cantillation marks.
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For assistance readers often use a Tikkun, a book in which the text of the Torah appears in two side-by-side versions, one identical to the text which appears in the Torah, and one with niqqud and cantillation.
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These formal breaks will be indicated in the list of parashot for Psalms. The special poetic cantillation and layout are not implemented for the narrative opening and conclusion of the book of Job (1:1-3:1 and 42:7-17).
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In 1393 Duran wrote a dirge on Abraham ben Isaac ha-Levi of Gerona, probably a relative; three letters containing responsa, to his pupil Meïr Crescas; and two exegetical treatises on several chapters of II Samuel, all of which have been edited as an appendix to the Ma'aseh Efod. In the introduction, he discusses music, contrasting two varieties, cantillation (ta'amei ha-miqra) and post-Biblical hymns (piyyutim). He states that while the latter appeals to the senses, the former appeals to the mind. He prefers cantillation, following his belief that the Torah is perfect, and uses it for both liturgical reading and study.
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Where two words are written in the construct state (for example, pene ha-mayim, "the face of the waters"), the first noun (nomen regens) invariably carries a conjunctive. The cantillation signs are often an important aid in the interpretation of a passage. For example, the words qol qore bamidbar panu derekh YHWH (Isaiah 40:3) is translated in the Authorised Version as "The voice of him that crieth in the wilderness, Prepare ye the way of the LORD". As the word qore takes the high- level disjunctive zakef katon this meaning is discouraged by the cantillation marks.
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Cantillation signs, to record the melody sung, were in use since ancient times; evidence of them can be found in the manuscripts of the oldest extant copies of Psalms in the Dead Sea Scrolls and are even more extensive in the Masoretic text, which dates to the Early Middle Ages and whose Tiberian scribes claimed to be basing their work on temple-period signs. (See Moshe ben Asher's 'Song of the Vine' colophon to the Codex Cairensis).For discussion on the origins and antiquity of the Masoretic cantillation, see D.C. Mitchell, The Songs of Ascents (Campbell: Newton Mearns 2015): 122-137.
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There are two systems of cantillation marks in the Tanakh. One is used in the twenty-one prose books, while the other appears in the three poetical books of Psalms, Proverbs and Job. Except where otherwise stated, this article describes the "prose" system.
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An example of a Hebrew keyboard. The Unicode Hebrew block extends from U+0590 to U+05FF and from U+FB1D to U+FB4F. It includes letters, ligatures, combining diacritical marks (Niqqud and cantillation marks) and punctuation. The Numeric Character References is included for HTML.
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Reich is one of the founders of the minimalist movement in music.Schwarz, p. 9Ross, p. 474 While his work takes inspiration from Baroque music, Igor Stravinsky, jazz, Hebrew cantillation and West African and Balinese music,Schwarz, pp. 51–52, 71–73, 78–79, 83–86Ross, pp.
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Another important endeavour of the society was the publication of a "Song Collection for Jewish Schools and Home." This songbook was a monumental six volumes, and includes, in addition to folksongs collected by Kisselgoff and others, original art songs and a section on cantillation of religious texts.
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The Shabbat during Chol HaMoed on Sukkot is known as Shabbat Chol Hamoed Sukkot and in addition to the designated Torah reading, maftir, and haftarah readings for that day, Ecclesiastes (Kohelet) is read aloud in synagogue in its entirety with special cantillation prior to the Torah reading during services.
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The names of the cantillation notes (Te'amim) used by Moroccan Jews are similar to those used by other Sephardic communities, although their tunes are different. Moroccan Te'amim generally fit into the Makam scales of Zidane and Higaz while Yerushalmi Te'amim are considered to be classified as Makam Sigah.
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However, the Ashkenazic yeshiva known as Aderet Eliyahu, in the Old City of Jerusalem, uses an adaptation of the Syrian cantillation-melody for these books, and this is becoming more popular among other Ashkenazim as well. In all communities there are special cantillation melodies for Lamentations and Esther, and in some communities for the Song of Songs. Otherwise, the melody for the book of Ruth is considered the "default" melody for books of the Ketuvim not otherwise provided for. The "prose" passages at the beginning and end of the book of Job, as read on Tisha B'Av, may be read either to the tune of Ruth or to one resembling that for the Song of Songs.
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The haftarah is read with cantillation according to a unique melody (not with the same cantillation melody as the Torah). The tradition to read Nevi'im with its own special melody is attested to in late medieval sources, both Ashkenazic and Sephardic. A medieval Sephardic source notes that the melody for the haftarot is a slight variation of the tune used for reading the books of Nevi'im in general (presumably for study purposes), and Jews of Iraqi origin to this day preserve separate "Neviim" and "Haftarah" melodies. Note that although many selections from Nevi'im are read as haftarot over the course of the year, the books of Nevi'im are not read in their entirety (as opposed to the Torah).
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The Unicode and HTML for the Hebrew alphabet are found in the following tables. The Unicode Hebrew block extends from U+0590 to U+05FF and from U+FB1D to U+FB4F. It includes letters, ligatures, combining diacritical marks (niqqud and cantillation marks) and punctuation. The Numeric Character References are included for HTML.
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The symbol is called a gershayim and is a punctuation mark used in the Hebrew language to denote acronyms. It is written before the last letter in the acronym, e.g. . Gershayim is also the name of a note of cantillation in the reading of the Torah, printed above the accented letter, e.g. .
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"A Day of Crying: The funeral of Hacham Baruch" eulogy. Community Magazine Special Commemorative Section, p. 64. As a public service, he recorded the Hebrew Psalms with the proper ta'amim (cantillation). The recordings were released to the public during his lifetime, and have been posted online after his death on the DailyTehillim.
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The Shabbat during Chol HaMoed on Passover is known as Shabbat Chol Hamoed Pesach and in addition to the designated Torah reading, maftir, and haftarah readings for that day, the Song of Songs (Shir HaShirim) is read aloud in synagogue in its entirety with special cantillation prior to the Torah reading during services.
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The standard, used for most haftarot, is nearly identical with that of the Moroccan nusach. A distinctly more somber melody is used for the three haftarot preceding the ninth of Ab (the "three weeks".) On the morning of the Ninth of Ab a third melody is used for the Haftarah—although this melody is borrowed from the melody for the Book of Ruth. There is a special melody used for the Book of Esther: in London it is a cantillation system in the normal sense, while in New York and Amsterdam it is chant-like and does not depend on the Masoretic symbols. The books of Ruth, read on Shavuot, and Lamentations, read on the Ninth of Ab, have their own cantillation melodies as well.
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The three poetic books of Psalms, Proverbs and Job are collectively known as Sifrei Emet (see the article on Ketuvim). These three books share a unique system of cantillation unlike that of the other 21 books in Tanakh, a system designed to highlight the parallelisms in their verses. In the Tiberian masoretic codices, the unique system of cantillation for Sifrei Emet is complemented by a scribal layout unlike that of the rest of the Bible: Instead of the three narrow columns per page typical of these codices, Sifrei Emet are written in two wide columns per page. In each line of these wide columns text begins on the right, followed by a gap, and then continued by further text until the left margin of the column.
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Orchestra of the Antipodes is an Australian early music ensemble founded by Antony Walker and Alison Johnston. They play baroque music on early instruments. They were founded alongside vocal ensemble Cantillation and the Sinfonia Australis orchestra. They received a nomination for the 2012 ARIA Award for Best Classical Album with their album Bach: Brandenburg Concertos.
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The Rivia (Hebrew: , also sometimes called Rivi'i, with other variant English spellings) is a cantillation mark commonly found in the Torah, Haftarah, and other biblical texts. Rivia meaning - Blessing, 'Gift of God'. Rivia is considered to have medium strength. It is stronger than a Pashta or Tevir, but weaker than a Zakef or Tipcha.
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Jean-François Zygel at the Philharmonie Luxembourg. Jean-François Zygel (born 23 November 1960 in Paris) is a French pianist, improviser, composer and improvisation teacher for piano at the Conservatoire de Paris. He is also known for his work in introducing classical music on television and radio. Zygel's music is nourished by synagogue cantillation.
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Pashta (Hebrew: ) is a common cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is part of the Katan group. Its mark symbol is identical to that of the Kadma. While Kadma and Pashta use the same symbol, Pashta is distinct from Kadma in the placement of the symbol.
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The Unicode Hebrew block (U+0590-U+05FF) follows Windows-1255 by encoding both letters and vowel-points in the same relative positions as Windows-1255. Unicode goes further in encoding cantillation marks in lower positions. Unicode Hebrew is always in logical order. For modern applications UTF-8 or UTF-16 is a preferred encoding.
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Catholics at a Ho Chi Minh City church, praying Hail Mary in đọc kinh style ' () is the Vietnamese Catholic term for reciting a prayer or sacred text. In communal worship settings, ' is characterized by cantillation, or the ritual chanting of prayers and responses. To Westerners, this form of prayer can be mistaken for song.
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Gershayim is also the name of a note of cantillation in the reading of the Torah, printed above the accented letter. Remaining graphs are in the Alphabetic Presentation Forms block: Note: In Yiddish orthography only, the glyph, ' (), pronounced , can be optionally used, rather than typing ' then ' (). In Hebrew spelling this would be pronounced . is written ' then ' ().
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Sinfonia Australis is an Australian early music ensemble founded by Antony Walker and Alison Johnston. They play on period instruments. They were founded alongside vocal ensemble Cantillation and the Orchestra of the Antipodes. Along with Gerard Willems received a nomination for the 2004 ARIA Award for Best Classical Album with their album Beethoven Complete Piano Concertos.
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The Illuy or Iluy (Hebrew: ) is a Trope (from Yiddish טראָפּ "trop") in the Judaic Liturgy. It is one of the cantillation marks used in the three poetic books: Job, the Book of Proverbs, and the Psalms. Accordingly, it is a special mark belonging to the Ta'amei Sifrei Emet (meaning, the accent signs of the books of truth).
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Bernays wore clerical vestments, delivered edifying sermons in pure German, had a choir accompany prayers and introduced strict decorum. He forbade spitting on the floor, screaming, stomping, loudly correcting the reader during the cantillation and the like. His conduct drew many of the Temple's congregants back to the old community, practically resolving the conflict.Meyer, pp. 58-61.
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To practice for the Torah reading, a baal keriah will usually use a special book called a Tikkun. This contains two copies of the text in parallel columns. One column has the text as it appears in the handwritten Torah scroll, without vowels or other markings. The other column contains the vowelized and punctuated text with the cantillation marks.
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Behrman House (1989). though many rabbis, including Maimonides, have opposed this custom since one may come to think that the Ten Commandments are more important than the rest of the Mitzvot.Covenant & Conversation Yitro 5772 Chief Rabbi. Retrieved 24 May 2015 In printed Chumashim, as well as in those in manuscript form, the Ten Commandments carry two sets of cantillation marks.
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Segol ( also known as Segolta, with variant English spellings), is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. The Segol occurs together with a preceding Zarka, sometimes with a Munach preceding one or both. The Segol group is considered to be a disjunctive. It occurs in place of the Katan group or a Zakef gadol.
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Mahpach (Hebrew מַהְפַּ֤ך, with variant English spellings) is a common cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is part of the Katan group, and it frequently begins the group. The symbol for the Mahpach is <.Chanting the Hebrew Bible By Joshua R. Jacobson, page 54 Mahpach is always followed by a Pashta.
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Most cantillation signs are written on the consonant of the stressed syllable of a word. This also shows where the most important note of the musical motif should go. A few signs always go on the first or last consonant of a word. This may have been for musical reasons, or it may be to distinguish them from other accents of similar shape.
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"One of the terrific things is that Karin's grandmother's need to perform has finally come out." Karin starred in some 150 performances of Lotte's Gift, including a four-week season at The Edinburgh Fringe in 2009. Schaupp released Spain in 2009 which features works by Rodrigo, Bacarisse and Castelnuovo-Tedesco. It was recorded with The Tasmanian Symphony Orchestra and the choir Cantillation.
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Goswell argues that the arrangement "suggests we should understand the books of Joshua - Kings as illustrating and applying the theology and ethics of the Pentateuch." Gregory Goswell, "The Hermeneutics of the Haftarot," Tyndale Bulletin 58 (2007), 100. The haftarah is sung in a chant (known as "trope" in Yiddish or "Cantillation" in English). Related blessings precede and follow the Haftarah reading.
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Several attempts have been made to decode the Masoretic cantillation, but the most successful is that of Suzanne Haïk-Vantoura (1928–2000) in the last quarter of the 20th century.S. Haïk-Vantoura, La musique de la Bible révélée (Robert Dumas: Paris, 1976); Les 150 Psaumes dans leurs melodies antiques (Paris: Fondation Roi David, 1985). Although some have dismissed Haïk-Vantoura's system, Mitchell has repeatedly defended it, showing that, when applied to the Masoretic cantillation of Psalm 114, it produces a melody recognizable as the tonus peregrinus of church and synagogue.D.C. Mitchell, The Songs of Ascents: Psalms 120 to 134 in the Worship of Jerusalem's temples (Campbell: Newton Mearns 2015); 'Resinging the Temple Psalmody', JSOT 36 (2012) 355–78; 'How Can We Sing the Lord's Song?' in S. Gillingham (ed.), Jewish and Christian Approaches to the Psalms (Oxford University Press, 2013) 119–133.
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Some members also sang with the Sydney Chamber Choir and subsequently with Walker's professional choir Cantillation. The Singers' first recording, Sydney Dreaming (ABC Classics 454 510-2, 1996) showcased Anne Boyd's As I Crossed a Bridge of Dreams and Veni sancte spiritus--veni creator by Jennifer Fowler. They are featured in Raffaele Marcellino's commission for the Sydney Olympic Games, Heart of Fire (ABC 465 948-2, 2000).
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The Shalshelet (Hebrew: ) is a cantillation mark found in the Torah. It is one of the rarest used, occurring just four times in the entire Torah, in Genesis 19:16, 24:12, and 39:8, and in Leviticus 8:23. The four words accented with the shalshelet mark all occur at the beginning of the verse. The Hebrew word שַׁלְשֶׁ֓לֶת translates into English as chain.
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Etnachta (Hebrew: , with variant English spellings) is one of the most common cantillation marks in the Torah and Haftarah. It is the anchor for the Etnachta group, which in full consists of four different trope sounds, not all of which are always present. These are Mercha, Tipcha, Munach, and its namesake Etnachta. The Etnachta group marks the end of the first segment of a verse.
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As with other Sephardic communities, Shir Hashirim is chanted during Kabbalat Shabbat as well as at the end of the Seder. This too has its own unique cantillation in the Moroccan community. Megillat Ruth, which is traditionally read on Shavuot, has a tune which is very similar to that of Shir Hashirim, with some minor differences. The book of Job also has a similar tune.
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Zakef Gadol (Hebrew: , with variant English spellings) is a cantillation mark that is commonly found in the Torah and Haftarah. It is represented by a vertical line on the left and two dots one on top of the other on the right. The Zakef gadol is one of two versions of the Zakef trope. The other is the Zakef katan, part of the Katan group.
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It would be better to imagine a two-pass algorithm: the first pass recognizes the letter, and the second pass recognizes the diacritics (niqqud + cantillation). However, this would require development in Jochre – it’s hard to guess how much without analyzing further. Note that Yiddish doesn’t suffer from the same difficulty, since there is very little niqqud used, and only in certain fixed places (e.g. komets aleph, etc.).
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After Minha prayers on Friday the prevalent custom is to read the Song of Songs, which is known in Hebrew as Shir Hashirim. In other Sephardic customs, this is read prior to Minha. As is common in other parts of the prayer service, Shir Hashirim is usually divided up among the congregants with one congregant reciting one of the eight chapters in the Song. Shir Hashirim has its own unique cantillation.
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Many of his liturgical recordings were composed by the noted composer Yaakov (Jacob) Rapoport. Hershman himself did not compose music. In 1925, Pinchas Yasinovski composed a piece for Hershman entitled "At the end of days" ("Vehaya Beacharit Hayamim"), for the inauguration of the Hebrew University campus at Mount Scopus, near Jerusalem. The text is from the Book of Isaiah and the tune is based on traditional cantillation notes.
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Telisha (Hebrew: ) is one of two cantillation marks found in the Torah, Haftarah, and other books of the Hebrew Bible. There are two versions of the Telisha: Telisha ketana () and Telisha gedola (), the latter of which has a longer melody and higher peak. The Telisha trope can occur independently or can follow a Pazer or one of several other trope sounds. The Telisha ketana must be followed by a Kadma.
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Moroccan cantillation (also referred to as Moroccan Te'amim, ( or ) refers primarily to the style and tune used by Jews of Moroccan descent when reading the Torah. It may also refer to the tune used when reading the other books of the Tanach, and to a lesser degree, the Mishna. The Moroccan rite is distinct from other Sephardic, Yemenite and Ashkenazic cantillations and is considered to be a category unto itself.
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Pinchgut Opera is a chamber opera company in Sydney, Australia, presenting opera from the 17th and 18th centuries performed on period instruments. Founded in 2002, Pinchgut stages two operas each year in Sydney's City Recital Hall. It also performs concerts in both Sydney and Melbourne. The company utilises the professional chamber choir Cantillation as its chorus and has engaged both the Sirius Ensemble and the Orchestra of the Antipodes.
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His father, Moses ben Asher, is credited with writing the Cairo Codex of the Prophets (895 CE). If authentic, it is among the oldest manuscripts containing a large proportion of the Hebrew Bible. Umberto Cassuto used this manuscript as the basis of his edition of the Hebrew Bible. Aaron ben Asher himself added vowelization and cantillation notes, and mesorah to the Aleppo Codex, correcting its letter-text according to the masorah.
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It describes Christian doctrine on the Paschal mystery in the style of Second Sophistic period. It was originally conjectured to have probably been recited with the kind of cantillation customary in scripture reading.Wellesz E.J. "Journal of Theological Studies", 44 (1943), pp. 41-52 Its first editor, Campbell Bonner, entitled it mistakenly On the Passion.Cf. Bonner, C. (1936) The Homily on the Passion by Melito, Bishop of Sardis, pp. 107-119.
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These became the foundations for the Cantillation of the Torah (Ta'ameiHa'Mikrah) and the Jewish prayer modes (Nusach Ha'Tefila). Glantz continued to be active in the Zionist movement as one of its outstanding leaders. He was nominated to be a delegate at no less than eleven World Zionist Congresses from 1921 till 1961—the last two as a delegate representing Israel. Glantz lived in Israel for the last ten years of his life (1954–1964).
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Traditional chant accentuation derives from the Syriac standard, which was instituted by the scholars known as the Masoretes in the Middle Ages. The form is similar to that codified by the Hebrew grammarians of Tiberias for Jewish cantillation of the Bible. It features dot notation above, below, and to the side of words in the text. The names of the notations are expressive, reflecting the style of Syriac Bible reading and chant in general.
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The Babylonian system uses cantillation similarly to the Tiberian system. The oldest manuscripts (which use the simple system) mark only disjunctive accents (pauses), do not write the accent over the stressed syllable, and do not mark mappiq, while later manuscripts do. In the simple system there are only eight types of pause, and they are denoted by small Hebrew letters written after the word, in much the same way as the punctuation of the Quran.
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The character repertoire contains 897 glyphs, covering the Latin, Greek and Cyrillic alphabets with a wide range of diacritics. In January 2014 Israeli type designer Yanek Iontef released an extension font covering the Hebrew alphabet with support for Niqqud (but not Cantillation marks) for early access. The extension font went on to become popular and to be used by prominent institutions such as Tel Aviv University in its 2016 rebranding, and by the Haaretz website.
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Levita taught Hebrew to Egidio, and copied Hebrew manuscripts—mostly related to the Kabbalah—for the cardinal's library. The first edition of Levita's Baḥur (Rome, 1518) is dedicated to Egidio, to whom Levita dedicated his Concordance (1521). The 1527 Sack of Rome sent Levita into exile once more, back to Venice, where he worked as a proofreader and taught Hebrew. Levita published at Venice a treatise on the laws of cantillation entitled Sefer Tuv Ta'am.
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The first edition generated harsh criticism by Jewish audiences, possibly because of its numerous errors, albeit mostly minor issues in the cantillation and pronunciation marks, and possibly because of the involvement of the apostate Pratensis.Raz-Krakotzkin, p. 109 In a second edition edited by Yaakov b. Hayim Adonijah hundreds of such errors were fixed, and though it still generated criticism, it nonetheless served as the standard upon which future printings of Mikraot Gdolot were based.
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In general, each word in the Tanach has one cantillation sign. This may be either a disjunctive, showing a division between that and the following word, or a conjunctive, joining the two words (like a slur in music). Thus, disjunctives divide a verse into phrases, and within each phrase all the words except the last carry conjunctives. (There are two types of exception to the rule about words having only one sign.
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All pizmonim can be classified under different maqams (musical modes), of which there are about ten in common use. Maqam ajam, which sounds a little like a Western major scale, is the thematic maqam that contains many holiday melodies. Maqam hijaz, which corresponds to the Phrygian dominant scale, is the thematic maqam that contains many sad melodies. Maqam sikah (or sigah), containing many three-quarter-tone intervals, is used for the cantillation of the Torah.
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The cantillation marks which guide the singing of the text written in the printed texts of the Five Scrolls are drawn from the same set of markings as the notes in the Humash (Pentateuch). However, the tune in which they are read varies depending on the scroll. Esther is read in a happier tune than the sad tune of Lamentations. Traditionally, Ecclesiastes, Ruth, and Song of Songs are read with the same festive tune.
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The Philip and Sarah Belz School of Jewish Music is a music school that focuses on Jewish music. It is part of Yeshiva University and its Rabbi Isaac Elchanan Theological Seminary in New York City. Classes are held in the Schottenstein Center on Yeshiva University's Wilf Campus in Manhattan. Courses include nusah hatefilah (prayer chant), cantillation (biblical chant), voice, piano, music theory, history of Jewish music and liturgy, safrut (Hebrew calligraphy), and Sephardic hazzanut (cantorial).
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Mercha kefula (מֵרְכָא כּפוּלָ֦ה, with variant English spellings) is a rare cantillation mark that occurs 5 times in the Torah (once in Genesis, once in Exodus, once in Leviticus, and twice in Numbers) and once in the Haftarah (for Behaalotecha and for the intermediate Shabbat for Chanukah, in the Book of Zechariah.) The Hebrew words מֵרְכָא כּפוּלָ֦ה translate into English as double mercha. This name is given since the mark that is used appears like two merchas.
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The Guardian obituary 24 November 1999 Cantillation for violin and orchestra, Op. 4, was completed in 1988 and first performed in 1991. Between 1988 and 1994 she worked on the Cello Concerto, Op. 5, which was subsequently recorded by Alexander Baillie and the BBC Scottish Symphony Orchestra under Martyn Brabbins for the NMC label. On the same record is her Ballade (1929) for cello and piano, in which Alexander Baillie is accompanied by pianist Martina Baillie.
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It is probable that the simpler melody was originally a teaching mode. Today however it is the mode in general use, and is also an ancestor of the "Jerusalem-Sephardic" melody. Some communities had a simplified melody for the Prophets, distinct from that used in reading the Haftarah: the distinction is mentioned in one medieval Sephardic source.The article on "Cantillation" in the Jewish Encyclopedia shows tunes for "Prophets (other readings)" for both the Western Sephardi and the Baghdadi traditions.
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In printed books, it has a V shape, possibly because that was easier for the early printers to make. In Eastern communities it is called shofar mehuppach, "reversed horn", because it faces the other way from shofar holech (munach) ;Mercha:"Lengthener", because it prolongs the melody of the word that follows. In modern usage it sometimes means "comma", but this usage is taken from the cantillation sign. ;Mercha- kefulah:Kefulah means "double", because it looks like two merchas together.
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In 1957, he established an independent studio, and in 1961 founded Koren Publishers Jerusalem. Korngold worked painstakingly on the project, correcting typesetting errors of previous editions, and creating a new font, Koren Bible Type to enable the text to be as accurate and legible as possible. The text, vocalization, and cantillation were based on a Bible edition of the early 19th century German Jewish grammarian and masoretic scholar Wolf Heidenheim. Avraham Meir Habermann, Daniel Goldschmidt, and Meir Medan proofread and edited the text.
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The medieval version of the cursive script forms the basis of another style, known as Rashi script. When necessary, vowels are indicated by diacritic marks above or below the letter representing the syllabic onset, or by use of matres lectionis, which are consonantal letters used as vowels. Further diacritics are used to indicate variations in the pronunciation of the consonants (e.g. bet/vet, shin/sin); and, in some contexts, to indicate the punctuation, accentuation and musical rendition of Biblical texts (see Cantillation).
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Ktiv menuqad ( , literally "writing with niqqud") is text in Hebrew supplemented with niqqud diacritics. In modern Israeli orthography niqqud is seldom used, except in specialised texts such as dictionaries, poetry, or texts for children or for new immigrants. An example of ktiv menuqad is a tikkun, a book in which the text of the Torah appears in two side-by-side versions, one identical to the text which appears in the Torah (which uses ktiv haser), and one with niqqud and cantillation.
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Zarka or zarqa (, with variant English spellings) is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is usually found together with the Segol, with a Munach preceding either or both. The symbol for a Zarka is a 90 degrees rotated, inverted S.Chanting the Hebrew Bible By Joshua R. Jacobson, page 61 The Hebrew word translates into English as scatterer, since it is a scattering of notes. Zarka is part of the Segol group.
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The names of some of the cantillation signs differ in the Ashkenazi, Sephardi, Italian and Yemenite traditions; for example Sephardim use qadma to mean what Ashkenazim call pashta, and azla to mean what Ashkenazim call qadma.Technically, qadma/azla before gerish is a different sign from qadma before other disjunctives, even though they look identical. Sephardim reserve azla for the first of these: the second is qadma meḥabber. In this article, as in almost all Hebrew grammars, the Ashkenazi terminology is used.
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Aside from his contributions to both SUMS and AICSA, Macpherson has been involved in many other arts organisations. He has been a member of the Sydney Chamber Choir, the Opera Australia Chorus and Cantillation. He has acted as chorus master for Sydney Philharmonia Choirs. Macpherson, as an accomplished orchestral conductor, has conducted the Taverner Consort of Voices, the Sydney Chamber Choir, the Sydney University Symphony Orchestra, the SBS Radio and Television Youth Orchestra, the Sydney Youth Orchestra, and the Orange Regional Conservatorium .
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The structure but not the sound of Jewish cantillation influenced the composition, particularly of the flute and piccolo melodies . The work is cast in a single movement about 15 to 18 minutes long, in a quick meter. Its core is a syncopated piano ostinato, superimposed over transposed and shifted versions of itself. The woodwinds and strings play fragmented versions of these figures in unison with the pianos, as well as melodies of their own and slow drones in the background.
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He wrote music for the Society and helped organise its earliest publication. He continued an active member, even though from 1911 to 1918 he lived in Tiflis, where he also interested himself in Georgian and Armenian music, and from 1917 to 1918 he was head of the Conservatoire. During this period he also wrote an opera Tsar Yulian (Emperor Julian) (which he later destroyed), and researched Jewish music of the Caucasian region. He was particularly interested in styles of cantillation (nigun).
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Geresh (, with variant English spellings) is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is most often found together with the Kadma, in which case the pair is known as Kadma-V'Azla, but it can also be found independently, in which case it is referred to as Azla Geresh or simply as Geresh. The Geresh occurs 1733 times in the Torah in the Kadma-V'Azla pair, and 1112 times separately. The Hebrew word translates into English as driving out.
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Ekphonetic notation consists of symbols added to certain sacred texts, especially lectionary readings of Biblical texts, as a mnemonic device to assist in their cantillation. Ekphonetic notation can take a number of forms, and has been used in several Jewish and Christian plainchant traditions, but is most commonly associated with Byzantine chant. In many cases, the original meaning of ekphonetic neumes is obscure, and must be reconstructed by comparison with later notation. Joseph Huzaya introduced ekphonetic notation into Syriac in the early 6th century.
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Darga (Hebrew: ) is a cantillation mark commonly found in the Torah, Haftarah, and other books. The symbol for the Darga resembles a backwards Z.Chanting the Hebrew Bible By Joshua R. Jacobson, page 45 The Darga is usually followed by a Tevir.Chanting the Hebrew Bible By Joshua R. Jacobson, page 113 It is most often found in places where a Tevir clause has two words that are closely related.Chanting the Hebrew Bible By Joshua R. Jacobson, page 168 The Hebrew word דַּרְגָּא translates into English as step.
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One of his primary instruments was the guitar, which Ishimoto played himself during recording sessions. Although the title was for the PSP, the team did not want to hold back despite hardware limitations, recording a quantity of tracks unusual for a spin-off Final Fantasy title. Wherever possible, the recording was done live. The orchestral and choral elements were performed by the Sydney Symphony Orchestra and the Cantillation chamber choir, and the recording and mixing of these tracks was done at the Sydney Opera House.
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His opera Deronda was based on the title character in George Eliot's novel Daniel Deronda, a Victorian era English Jew who combines proto-Zionism with Kabbalistic ideas. The Fire and the Mountains is a cantata he wrote that memorializes the Holocaust. The choral piece Trope for Orchestra integrated cantillation used in public readings of the Torah in synagogue. His 1985 two-act opera Dreyfus was based on the trial and conviction of the unjustly accused French officer Alfred Dreyfus and the anti- Semitism it aroused in France.
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Code page 856 (CCSID 856) (also known as CP 856 and IBM 00856), is a code page used under DOS for Hebrew in Israel. Like ISO 8859-8, it encodes only letters, not vowel-points or cantillation marks. As non-localized issues of DOS (except for Hebrew MS-DOS a.k.a. HDOS) had no inherent bidirectionality support, Hebrew text encoded using code page 856 was usually stored in visual order; nevertheless, a few DOS applications, notably a word processor named EinsteinWriter, stored Hebrew in logical order.
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For example, two common prayer books are titled "Tehillat Hashem" and "Avodat Hashem." Or, a person may tell a friend, "Hashem helped me to perform a great mitzvah today." and this handle itself can also be used in prayer.For example, in the common utterance and praise, "Barukh Hashem" (Blessed [i.e. the source of all] is Hashem), or "Hashem yishmor" (God protect [us]) The Masoretes added vowel points (niqqud) and cantillation marks to the manuscripts to indicate vowel usage and for use in ritual chanting of readings from the Bible in Jewish prayer in synagogues.
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There is no tradition of reading Ecclesiastes. Most Spanish and Portuguese communities have no tradition of liturgical reading of the Shir haShirim (Song of Songs), unlike Ashkenazim who read it on Pesach and Oriental Sephardim who read it on Friday nights. However in the two weeks preceding Pesach a passage consisting of selected verses from that book is read each day at the end of the morning service. The chant is similar but not identical to the chant for Shir haShirim in the Moroccan tradition, but does not exactly follow the printed cantillation marks.
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A page from the Aleppo Codex, showing the extensive marginal annotations. By long tradition, a ritual Sefer Torah (Torah scroll) could contain only the Hebrew consonantal text – nothing added, nothing taken away. The Masoretic codices however, provide extensive additional material, called masorah, to show correct pronunciation and cantillation, protect against scribal errors, and annotate possible variants. The manuscripts thus include vowel points, pronunciation marks and stress accents in the text, short annotations in the side margins, and longer more extensive notes in the upper and lower margins and collected at the end of each book.
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In the second half of the 19th century, the Romaniote community of Greece made an effort to preserve the Romaniote liturgical heritage of Ioannina and Arta, by printing various liturgical texts in the Hebrew printing presses of Salonika.The Jewish Museum of Greece, The Jewish Community of Ioannina: The Memory of Artefacts, 2017, p. 40 (Booklet). Today, the Romaniote Liturgy follows (with slight differences) the mainstream Sephardic usage, while the Romaniotes and the Jews of Corfu have preserved their old and own Judaeo-Greek and Hebrew piyyutim, their own way of cantillation and their special customs.
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One of these, the Tiberian system, eventually prevailed. Aaron ben Moses ben Asher, and his family for several generations, are credited for refining and maintaining the system. These points are normally used only for special purposes, such as Biblical books intended for study, in poetry or when teaching the language to children. The Tiberian system also includes a set of cantillation marks, called trope or , used to indicate how scriptural passages should be chanted in synagogue recitations of scripture (although these marks do not appear in the scrolls).
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Code page 862 (CCSID 862) (also known as CP 862, IBM 00862, OEM 862 (Hebrew), MS-DOS Hebrew) is a code page used under DOS in Israel for Hebrew. Like ISO 8859-8, it encodes only letters, not vowel-points or cantillation marks. As DOS had no inherent bidirectionality support, Hebrew text encoded using code page 862 was usually stored in visual order; nevertheless, a few DOS applications, notably a word processor named EinsteinWriter, stored Hebrew in logical order. Code page 862 was replaced by Windows-1255 in Windows 3.
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Paulina Ruth Davis was born on 15 July 1877 at Friarfield House, Derby, the second of two children of Louisa () and Arthur Davis. Her father's family were secular Jewish precision instrument makers, who had immigrated to England from Bavaria in the early nineteenth century. A civil engineer by trade, Arthur Davis became religiously observant and mastered the Hebrew language, becoming an accomplished Hebraist noted for his study of cantillation marks in the Tanakh. The family moved to Kilburn, London when Nina was six weeks old, later settling in Bayswater.
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The Sof passuk (Hebrew: , end of verse, also spelled Sof pasuq and other variant English spellings, and sometimes called סלוק silluq) is the cantillation mark that occurs on the last word of every verse in the Tanakh. Some short verses contain only members of the sof passuk group. The Sof passuk can be preceded by the marks Mercha, Tipcha, and Mercha in that order, including either all or some of these. However, these Merchas and Tipchas do not necessarily have the same melody as those in the Etnachta group.
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Mercha (Hebrew: , also spelled Merkha and other variant English spellings) is a cantillation mark commonly found in the Torah, Haftarah, and other books that are chanted. Mercha is found in several trope groups, though the melody varies from one use to the next. It is the beginning of the Etnachta group, can be found either once or twice preceding the Sof passuk, or can occasionally precede the Pashta in the Katon group or a Tevir. Mercha appears in the Torah 9117 times—the second most of any trope sounds.
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ABC Classics has worked with some of Australia's greatest musicians. As well as all the major Australian symphony orchestras, their artists include Yvonne Kenny, Geoffrey Lancaster, Jayson Gillham, Richard Tognetti, Sara Macliver, Teddy Tahu Rhodes, Slava Grigoryan, Gareth Koch, David Hobson, Karin Schaupp, Diana Doherty, Roger Woodward, Gerard Willems, Omega Ensemble, Cantillation, Sydney Children's Choir, Gondwana Voices and Saffire (the Australian Guitar Quartet). They have a strong emphasis on Australian compositions, with their Australian Composers Series recorded in conjunction with the Tasmanian Symphony Orchestra being a major milestone in Australian Music.
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Yetiv (יְ֚תִיב) is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It is found in the Katon group in some occurrences in lieu of the more common Mahpach-Pashta clause, generally on one- or two- syllable words. The Yetiv uses the same < symbol as the Mahpach, but when it is present, the < comes at the beginning of the word, unlike in a Mahpach, it is placed under the letter of the first syllable that is stressed. It is found to the right of the vowel.
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Special prayers are recited when the Torah scroll is removed from the ark (see Torah reading), and the text is chanted, rather than spoken, in a special melodic manner (see Cantillation and Nigun). Whenever the scroll is opened to be read it is laid on a piece of cloth called the mappah. When the Torah scroll is carried through the synagogue, the members of the congregation may touch the edge of their prayer shawl (tallit) to the Torah scroll and then kiss it as a sign of respect.
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Cf. Shulchan Aruch (Yoreh De'ah §274:7 [6]): "A book [of the Law] that is punctuated is invalid, and even if they had removed from it the punctuation symbols; so, too, a division of verses [in the Torah] is invalid." Addenda (Moses Isserles): "And this refers, specifically, to when he made the biblical cantillation symbol with ink, etc." Yemenite Torah scrolls traditionally had also the additional feature where the top corners of each leather sheet of parchment were folded backwards, immediately following the leather's treatment and before the actual writing.
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Henle composed mostly for mixed choirs accompanied by organ, revolutionary at the time, given the traditionally strict separation of men and women in the synagogue. During Henle's thirty-four years as main cantor in Hamburg, he also worked as an author, developed the choirs of the reform synagogue, trained future singers and cantors, and was chairman of the German Association of Cantors for more than fifteen years. Henle reintroduced biblical cantillation and Ashkenazi pronunciation at the Hamburg synagogue. Until then the cantors of the Hamburg synagogue had used Sephardic recitative and Portuguese pronunciation of Hebrew.
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Cantillation marks indicate prosody. Other uses include the Early Cyrillic titlo stroke ( ◌҃ ) and the Hebrew gershayim ( ), which, respectively, mark abbreviations or acronyms, and Greek diacritical marks, which showed that letters of the alphabet were being used as numerals. In the Hanyu Pinyin official romanization system for Chinese, diacritics are used to mark the tones of the syllables in which the marked vowels occur. In orthography and collation, a letter modified by a diacritic may be treated either as a new, distinct letter or as a letter–diacritic combination.
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When read in the synagogue, these five books are sung with cantillation (see below). In most communities, Esther is the only book accompanied by blessings before and after. But certain communities adopted the custom of the Vilna Gaon to recite blessings before the other four megillot as well. As indicated above, however, only two of the megillot are traditionally read in all Jewish communities, Esther on Purim and Lamentations on the Ninth of Av. The practice of reading the other three books on the Three Pilgrimage Festivals is widespread but by no means universal.
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Yerach ben yomo (, with variant English spellings, also known as Galgal), is a cantillation mark that appears only one time in the entire Torah (Numbers 35:5), and once in the Book of Esther. In these occurrences, it is followed immediately by a Karne parah, another mark that is found only once in the entire Torah.Biblia Hebraica Leningradensia By Aaron ben Moses Ben-Asher, page 22 The symbol for this trope is an upside-down Etnachta.Chanting the Hebrew Bible By Joshua R. Jacobson, page 76 The Hebrew words translate into English as day-old moon.
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Torahs in Ashkenazi Synagogue (Istanbul, Turkey) Torah reading () is a Jewish religious ritual that involves the public reading of a set of passages from a Torah scroll. The term often refers to the entire ceremony of removing the Torah scroll (or scrolls) from the ark, chanting the appropriate excerpt with traditional cantillation, and returning the scroll(s) to the ark. It is distinct from academic Torah study. Regular public reading of the Torah was introduced by Ezra the Scribe after the return of the Jewish people from the Babylonian captivity (c.
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For the prayers during Parashas Bo, Beha'alotecha, and Eqeb, parashas that are the "third" in their respective books, maqam Sigah is used. It is also applied on holidays. This maqam is linked to the holiday of Purim due to the abundance of pizmonim related to the holiday in this maqam (no doubt because the maqam is of Persian origin, and the events of the book of Esther take place in Persia). This maqam is also of importance because it is the maqam that is always used for the cantillation of the Torah.
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Documentation is available here and . Meanwhile, open-source OCR software supporting other Jewish languages written in Hebrew script is in development, namely, Jochre for Yiddish, being developed by Assaf Urieli. Urieli explains the difficulty of supporting Hebrew with diacritics in OCR software: :the possible combinations are huge: 27 letters if you include the final forms × 9 niqqudim (more if we consider biblical niqqud) × cantillation marks. This means for an algorithm based on classification (such as Jochre), there are far too many classes, and it’s virtually impossible to get sufficient representation in an annotated training corpus.
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Modern musicological practice has extended the concept of mode to earlier musical systems, such as those of Ancient Greek music, Jewish cantillation, and the Byzantine system of octoechos, as well as to other non- Western types of music (; ). By the early 19th century, the word "mode" had taken on an additional meaning, in reference to the difference between major and minor keys, specified as "major mode" and "minor mode". At the same time, composers were beginning to conceive of "modality" as something outside of the major/minor system that could be used to evoke religious feelings or to suggest folk-music idioms .
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The current received text finally achieved predominance through the reputation of the Masoretes, schools of scribes and Torah scholars working between the 7th and 11th centuries, based primarily in the cities of Tiberias, Jerusalem, and in Babylonia under the Rashidun, Umayyad, and Abbasid Caliphates. According to Menachem Cohen these schools developed such prestige for the accuracy and error-control of their copying techniques that their texts established an authority beyond all others. Differences remained, sometimes bolstered by systematic local differences in pronunciation and cantillation. Every locality, following the tradition of its school, had a standard codex embodying its readings.
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The following variations of the Etnachta group can occur:The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot … By Marshall Portnoy, Josée Wolff, page 12 #Mercha, Tipcha, Munach, Etnachta #Mercha, Tipcha, Etnachta #Tipcha, Munach, Etnachta #Tipcha, Etnachta #Munach, Etnachta #Etnachta In other words, the Tipcha can occur without a Mercha, but not vice versa. The Etnachta can occur without Munach, but not vice versa. And the Etnachta can occur without a Tipcha, but not vice versa. The Munach is normally included when the word bearing the Munach is closely related to the word bearing the Etnachta.
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Tifcha (, also spelled Tifkha, Tipcha and other variant English spellings) is a cantillation mark commonly found in the Torah, Haftarah, and other books that are chanted. In Sephardic and Oriental traditions, it is called Tarcha, meaning "dragging" or "effort". The Tifcha is found in both the Etnachta group as the second member of that group, and in the Sof passuk group, though the melody varies slightly in each. While it is a weak sound, it is considered to be stronger than a TevirChanting the Hebrew Bible By Joshua R. Jacobson, page 9 The Hebrew word טִפְחָ֖א translates into English as diagonal.
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Users of Arabic usually write long vowels but omit short ones, so readers must utilize their knowledge of the language in order to supply the missing vowels. However, in the education system and particularly in classes on Arabic grammar these vowels are used since they are crucial to the grammar. An Arabic sentence can have a completely different meaning by a subtle change of the vowels. This is why in an important text such as the ' the three basic vowel signs (see below) are mandated, like the ḥarakāt and all the other diacritics or other types of marks, for example the cantillation signs.
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The tune for chanting is more joyous, and pauses are made to allow the congregation to drown out the villain's name, Haman. Like the Torah scroll, the Megillah contains no vowels, punctuation or cantillation markings, and the text must be learned beforehand. As with the Torah scroll, blessings are recited before and after the reading, which lasts from 10–30 minutes. Unlike any other reading during the year from other Scriptures, the baal korei must chant every word from the scroll, and each congregant must hear each word in order to fulfill the commandment of the Megillah.
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This is normally referred to as High Tangamim or High Na'um. It is used for special portions of the Torah reading, principally the Ten CommandmentsIn printed Hebrew Bibles, the Ten Commandments have two sets of cantillation marks: the ta'am 'elyon or "upper accentuation" for public reading and the ta'am taḥton or "lower accentuation" for private study. The term "High Tangamim" for the melody in question is borrowed from the ta'am 'elyon, for which it is used. but also Chapter 1 of Bereshit (on Simchat Torah), the Shirat ha-Yam, the Song of Moses, the concluding sentences of each of the five books and several other smaller portions.
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Alkan's three settings of synagogue melodies, prepared for his former pupil Zina de Mansouroff, are further examples of his interest in Jewish music; Kessous Dreyfuss provides a detailed analysis of these works and their origins.Kessous Dreyfuss (2013), 47–173. Other works evidencing this interest include no. 7 of his Op. 66\. 11 Grands préludes et 1 Transcription (1866), entitled "Alla giudesca" and marked "con divozione", a parody of excessive hazzanic practice;Conway (2012), 235 and the slow movement of the cello sonata Op. 47 (1857), which is prefaced by a quotation from the Old Testament prophet Micah and uses melodic tropes derived from the cantillation of the haftarah in the synagogue.
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Kehila Kedosha Janina, New York The Romaniotes traditionally gave to a child a mystical document known as an "aleph". This hand-painted "birth and circumcision certificate" was created by a family member and then handed down. The aleph was written in mystical codes for the purpose of warding off the wiles of Lillith, Adam's first wife. The Romaniotes are well known for their hymns in Judaeo-Greek and Hebrew, for their special way of cantillation, based on the Byzantine melosRoss, M. S., Europäisches Zentrum für Jüdische Musik, CD-Projekt: Synagogale Musik der romaniotischen Juden Griechenlands [Synagogal Music of the Romaniote Jews from Greece], 2016-.
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Monks chanting, Drepung monastery, Tibet, 2013 Some examples include chant in African, Hawaiian, and Native American, Assyrian and Australian Aboriginal cultures, Gregorian chant, Vedic chant, Qur'an reading, Islamic Dhikr, Baháʼí chants, various Buddhist chants, various mantras, Jewish cantillation, and the chanting of psalms and prayers especially in Roman Catholic (see Gregorian chant or Taizé Community), Eastern Orthodox (see Byzantine chant or Znamenny chant, for examples), Lutheran, and Anglican churches (see Anglican Chant). Chant practices vary. Tibetan Buddhist chant involves throat singing, where multiple pitches are produced by each performer. The concept of chanting mantras is of particular significance in many Hindu traditions and other closely related Indian religions.
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Kadma (Hebrew קַדְמָ֨א, with variant English spellings) is a common cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. It can be found by itself preceding certain trope groups, or together with a Geresh, in which case, the pair is known as "Kadma-V'Azla." Kadma has the same symbol as the Pashta, though Kadma is distinct from Pashta in the placement of the symbol. In a Kadma, the symbol is always placed on the accented syllable, while Pashta is placed on the last letter and also on the accented syllable if the last syllable is not the accented one.
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Koren Publishers Jerusalem was founded in 1961 by Eliyahu Koren, who sought to publish the first Hebrew Bible designed, edited, printed, and bound by Jews in nearly 500 years."People of the Book" in Israel Bibliophile, Spring 1986. The first printed Hebrew Bibles from Italy (1488) were printed by Jews, but after Daniel Bomberg’s 1517 Venice printing, all editions up to the 20th century had non-Jewish publishers or printers, and errors had found their way into the text. The text, vocalization, and cantillation for The Koren Bible were based on an early 19th-century Bible edition of German-Jewish grammarian and masoretic scholar Wolf Heidenheim.
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Some communities had a simplified melody for the Torah, used in teaching it to children, as distinct from the mode used in synagogue. (This should not be confused with the lernen steiger used for studying the Mishnah and Talmud.) For example, the Yemenite community teaches a simplified melody for children, to be used both in school and when they are called to read the sixth aliyah. The simplified melody is also used for the reading of the Targum, which is generally performed by a young boy. Conversely, the Syrian community knows two types of Torah cantillation, a simpler one for general use and a more elaborate one used by professional hazzanim.
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Babylonian Biblical manuscripts from the Geonic period contain no cantillation marks in the current sense, but small Hebrew letters are used to mark significant divisions within a verse. Up to eight different letters are found, depending on the importance of the break and where it occurs in the verse: these correspond roughly to the disjunctives of the Tiberian system. For example, in some manuscripts the letter tav, for tevir (break), does duty for both Tiberian tevir and zaqef.In more than one tradition, the melodic outline of darga tevir is similar to that of (mahpach) pashta zaqef qaton, though their syntactical functions are not quite the same.
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In general, it may be observed that the Palestinian and Tiberian systems are far more closely related to each other than either is to the Babylonian. This system of phrasing is reflected in the Sephardic cantillation modes, in which the conjunctives (and to some extent the "near companions" such as tifcha, pashta and zarqa) are rendered as flourishes leading into the motif of the following disjunctive rather than as motifs in their own right. The somewhat inconsistent use of dots above and below the words as disjunctives is closely similar to that found in Syriac texts.Segal, J. B., The Diacritical Point and the Accents in Syriac: Oxford 1953, repr.
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Although there is ample evidence that the scribes attempted to place the gaps in the middle of the lines at the points where the cantillation divides the verses, they often did not succeed in doing so because of space limitations. Modern editions based upon the Aleppo Codex have implemented the idea fully by allowing wide full- page columns for Psalms, Proverbs, and Job.Editions which have implemented the poetic layout in full includeJerusalem Crown: The Bible of the Hebrew University of Jerusalem (2000); Mikraot Gedolot Haketer, ed. Menachem Cohen (Bar-Ilan University, 1992-present) on Psalms (two volumes); and theSimanim editions of Psalms and the full Tanakh (Feldheim, 2005).
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"Birkhot Hahaftarah" pages 112-115, and Ismar Elbogen, Jewish Liturgy: A Comprehensive History (German 1913, English transl. 1993, Philadelphia, Jewish Publ'n Society) pages 147-148; Shlomo Katz, The Haftarah: Laws, Customs & History (2000, Silver Spring, Md.: Hamaayan/The Torah Spring) pages 40-41, 94, 96, 99. etc. The first blessing, chanted before the haftarah portion read, uses the same melody as the haftarah chant itself, also in minor mode. For this reason, many prayerbooks print this first blessing with the cantillation marks used in the Bible itself for the books of the Prophets, possibly the only instance of a non-biblical text to be equipped with such marks.
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Since Nevi'im as a whole is not covered in the liturgy, the melodies for certain rare cantillation notes which appear in the books of Nevi'im but not in the haftarot have been forgotten. For more on this, see Nevi'im. As a generality, although the Torah was chanted in a major key (ending in a minor key), the haftarah is chanted in a minor key (as is the blessing before the reading of the haftarah) and ends in a pentatonic mode (and the blessings following the haftarah reading are also pentatonic).Macy Nulman, "The Liturgical and Musical Development and Significance of the Haftarah", Journal of Jewish Music & Liturgy, vol.
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Biblical Hebrew as preserved in the Hebrew Bible is composed of multiple linguistic layers. The consonantal skeleton of the text is the most ancient, while the vocalization and cantillation are later additions reflecting a later stage of the language. These additions were added after 600 CE; Hebrew had already ceased being used as a spoken language around 200 CE. Biblical Hebrew as reflected in the consonantal text of the Bible and in extra-biblical inscriptions may be subdivided by era. The oldest form of Biblical Hebrew, Archaic Hebrew, is found in poetic sections of the Bible and inscriptions dating to around 1000 BCE, the early Monarchic Period.
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See "Rare scroll fragment to be unveiled," Jerusalem Post, May 21, 2007. and the Aleppo Codex (once the oldest complete copy of the Masoretic Text, but now missing its Torah section) dates from the 10th century. The term "Keter" (crown, from the Arabic, taj) originally referred to this particular manuscript, Over the years, the term Keter came to refer to any full text of the Hebrew Bible, or significant portion of it, bound as a codex (not a scroll) and including vowel points, cantillation marks, and Masoretic notes. Medieval handwritten manuscripts were considered extremely precise, the most authoritative documents from which to copy other texts.
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The Mishnah was and still is traditionally studied through recitation (out loud). Jewish communities around the world preserved local melodies for chanting the Mishnah, and distinctive ways of pronouncing its words. Many medieval manuscripts of the Mishnah are vowelized, and some of these, especially some fragments found in the Genizah, are partially annotated with Tiberian cantillation marks. Today, many communities have a special tune for the Mishnaic passage "Bammeh madliqin" in the Friday night service; there may also be tunes for Mishnaic passages in other parts of the liturgy, such as the passages in the daily prayers relating to sacrifices and incense and the paragraphs recited at the end of the Musaf service on Shabbat.
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In Masoretic manuscripts (and some printed editions), Psalms, Proverbs and Job are presented in a special two-column form emphasizing the parallel stichs in the verses, which are a function of their poetry. Collectively, these three books are known as Sifrei Emet ( sip̄rēi ʾemeṯ "documents of truth" - an acronym of the titles of the three books in Hebrew, איוב, משלי, תהלים yields Emet, which is also the Hebrew for "truth"). These three books are also the only ones in the Hebrew Bible with a special system of cantillation notes that are designed to emphasize parallel stichs within verses. However, the beginning and end of the book of Job are in the normal prose system.
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The symphony is written in a single movement of 22 variations and is approximately 45 minutes in length. Ronald Weitzman writes, "The form of Schnittke's Fourth Symphony [is] at once cross- shaped and spherical.... The composer draws musically on the three main strands of Christianity--Orthodox, Catholic, Protestant--while underlying this is a three-note semitone interval motif representing synagogue chant, thus symbolizing the Jewish source of Christianity." The result, Ivan Moody writes, is that Schnittke "attempts to reconcile elements of znamennïy and Gregorian chant, the Lutheran chorale and Synagogue cantillation ... within a dense, polyphonic orchestral texture"Moody, New Grove (2001), 22:566. A tenor and a countertenor also sing wordlessly at two points in the symphony.
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Tanakh is available as a keyed-in digital Hebrew text with vowels (niqqud) in all of the above software packages. Tanakh with both vowels and cantillation signs is available in the Mikra'ot Gedolot Haketer package and as online freeware from Mechon Mamre, Hebrew Wikisource and Base HaSefer (see the latter three below). All of these versions are based on the Aleppo codex, but Mechon Mamre's edition is based on the editing method of Rabbi Mordecai Breuer, which differs slightly from the Mikra'ot Gedolot Haketer edition in some small details. Hebrew Wikisource is similar to both of these versions (see a full description) and the text at Base HaSefer is based on that of Hebrew Wikisource.
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The musical structure of the Ashkenazi Kol Nidrei is built upon a simple groundwork, the melody being an intermingling of simple cantillation with rich figuration. The opening of Kol Nidre is what the masters of the Catholic plainsong term a "pneuma", or soul breath. Instead of announcing the opening words in a monotone or in any of the familiar declamatory phrases, a hazzan of South Germany prefixed a long, sighing tone, falling to a lower note and rising again, as if only sighs and sobs could find utterance before the officiant could bring himself to inaugurate the Day of Atonement.Abraham Zvi Idelsohn analyzed the melody of Kol Nidre in his article "Der Juedische Tempelsang" in Guido Adler ed.
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A zakef segment, which includes either a zakef gadol or katan, will either be followed by another zakef segment or the Etnachta group, usually starting with a Mercha.Chanting the Hebrew Bible By Joshua R. Jacobson, page 148 The Zakef gadol generally functions as a separator between two segments of a verse.The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot ... By Marshall Portnoy, Josée Wolff, page 36 Words that bear the zakef gadol are generally short with no preceding conjunctive.Chanting the Hebrew Bible By Joshua R. Jacobson, page 117 It is used in situations where a Zakef katon would be expected, but where there is only a single word.
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It is still in use in the liturgy of the Roman Catholic Church (despite a decline of chant in the late twentieth century), of some Middle Eastern sects and in synagogues to direct the singing of liturgical songs (Hebrews probably learned cheironomy from Egyptians), and, more rarely, in some ancient Western religions. The New Grove Dictionary of Music and Musicians comments that the method is particularly developed in traditions lacking a written notation, including Vedic, Byzantine and Roman chants. Jewish religious cheironomy can also be found as mnemonic signs in printed Hebrew Bibles, appearing above, below and amidst the text to be sung, to guide the cantor in his rendition of Biblical readings: see Cantillation.
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The system of cantillation signs used throughout the Tanakh is replaced by a very different system for these three poetic books. Many of the signs may appear the same or similar at first glance, but most of them serve entirely different functions in these three books. (Only a few signs have functions similar to what they do in the rest of the Tanakh.) The short narratives at the beginning and end of Job use the "regular" system, but the bulk of the book (the poetry) uses the special system. For this reason, these three books are referred to as sifrei emet (Books of Truth), the word emet meaning "truth", but also being an acronym (אמ״ת) for the first letters of the three books (Iyov, Mishle, Tehillim).
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The chant of early Christianity through to the end of the 5th century had its root in the Synagogue, from whence early Christians borrowed the traditions of the chanting of psalms, singing of hymns and cantillation. There is some evidence from Acts of the Apostles that early Christians stayed close to contemporary Jewish traditions, for example Acts 2:46-47 states that "with one accord in the Temple, and breaking bread from house to house did eat their meat with gladness and singleness of heart, praising God, and having favour with all the people". Socrates of Constantinople wrote that antiphony was introduced into Christian worship by Ignatius of Antioch (died 107) after he saw a vision of two choirs of angels.A.C. Zenos, ed.
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Closeup of Aleppo Codex, Joshua 1:1 Tiberian Hebrew is the canonical pronunciation of the Hebrew Bible or Tanakh committed to writing by Masoretic scholars living in the Jewish community of Tiberias in ancient Galilee under the Abbasid Caliphate. They wrote in the form of Tiberian vocalization,Tiberian Hebrew Phonology: Focussing on Consonant Clusters, Andries W. Coetzee which employed diacritics added to the Hebrew letters: vowel signs and consonant diacritics (nequdot) and the so-called accents (two related systems of cantillation signs or te'amim). These together with the marginal notes masora magna and masora parva make up the Tiberian apparatus. Though the written vowels and accents came into use in around 750 CE, the oral tradition that they reflect is many centuries older, with ancient roots.
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Wyer's first such composition was Miles Standish, using the text by Henry Wadsworth Longfellow. It was initially advertised as being a new work by "Felix Weidelmann", but Wyer's authorship was revealed during its premiere. The work's success was such that the pair was soon invited to perform at the St. Louis College Club, Shurtleff College (Alton), the Wednesday Club, and for an entertainment in honor of the National Federation of Women's Clubs. Wyer set the tragedy Paolo and Francesca by Stephen Phillips—based on the historical characters of Francesca da Rimini and her lover and married brother-in-law, Paolo Malatesta—to music in 1914; she characterized the composition as a "Cantillation for Reader with Piano accompaniment", and also incorporated three songs for baritone.
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This is mostly used when the piece changes to free time after having had a time signature. # Instead of a time signature, a large is written on the stave. # Note heads alone are used, without time values (typically black note heads without stems) # The passage is marked "recitativo" or "parlando" Examples of musical genres employing free time include Gregorian chant, the petihot used as transitions between Baqashot in Sephardic Jewish cantillation, nusach, layali, early types of organum, Anglican chant, the préludes non mesurés of 17th-century French lute and keyboard music, the alap of Hindustani classical music, Javanese pathetan, the hora lungă of Romania, the urtiin duu of Mongolia, the Zulu izibongo, free improvisation, free jazz and noise music. Cadenzas are most often in unmeasured rhythm, and so is recitative.
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In general there are no symbols for the conjunctives, though some late manuscripts use the Tiberian symbols for these. There is also no equivalent for low-grade disjunctives such as telishah gedolah: these are generally replaced by the equivalent of zaqef or revia. Nothing is known of the musical realization of these marks, but it seems likely that they represent breaks or variations in a set melody applied to each verse. (A somewhat similar system is used in manuscripts of the Qur'an to guide the reader in fitting the chant to the verse: see Qur'an reading.) This system is reflected in the cantillation practices of the Yemenite Jews, who now use the Tiberian symbols, but tend to have musical motifs only for the disjunctives and render the conjunctives in a monotone.
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Since at least 916 the Tanakh has contained an extensive system of multiple levels of section, paragraph, and phrasal divisions that were indicated in Masoretic vocalization and cantillation markings. One of the most frequent of these was a special type of punctuation, the sof passuq, symbol for a full stop or sentence break, resembling the colon (:) of English and Latin orthography. With the advent of the printing press and the translation of the Bible into English, Old Testament versifications were made that correspond predominantly with the existing Hebrew full stops, with a few isolated exceptions. Most attribute these to Rabbi Isaac Nathan ben Kalonymus's work for the first Hebrew Bible concordance around 1440.Moore, G.F. The Vulgate Chapters and Numbered Verses in the Hebrew Bible, pages 73–78 at JSTOR.
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While worship in the Temple in Jerusalem included musical instruments (), traditional Jewish religious services in the Synagogue, both before and after the last destruction of the Temple, did not include musical instruments given the practice of scriptural cantillation. The use of musical instruments is traditionally forbidden on the Sabbath out of concern that players would be tempted to repair (or tune) their instruments, which is forbidden on those days. (This prohibition has been relaxed in many Reform and some Conservative congregations.) Similarly, when Jewish families and larger groups sing traditional Sabbath songs known as zemirot outside the context of formal religious services, they usually do so a cappella, and Bar and Bat Mitzvah celebrations on the Sabbath sometimes feature entertainment by a cappella ensembles. During the Three Weeks musical instruments are prohibited.
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In addition to this, the dagger was also used in notations in early Christianity, to indicate a minor intermediate pause in the chanting of Psalms, equivalent to the quaver rest notation or the trope symbol in Hebrew cantillation. It also indicates a breath mark when reciting, along with the asterisk, and is thus frequently seen beside a comma. In the 16th century, the printer and scholar Robert Estienne (also known as Stephanus in Latin and Stephens in English) used it to mark differences in the words or passages between different printed versions of the Greek New Testament (Textus Receptus). Due to the variations as to the different uses of the different forms of the obelus, there is some controversy as to which symbols can actually be considered an obelus.
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Jewish liturgy does not use readings from the Book of Job in the manner of the Pentateuch, Prophets, or Five Megillot, although it is quoted at funerals and times of mourning. However, there are some Jews, particularly the Spanish and Portuguese Jews, who do hold public readings of Job on the Tisha B'Av fast (a day of mourning over the destruction of the First and Second Temples and other tragedies).The Connection Between Tisha B’Av and Sefer Iyov (Job) Orthodox Union The cantillation signs for the large poetic section in the middle of the Book of Job differ from those of most of the biblical books, using a system shared with it only by Psalms and Proverbs. The Eastern Orthodox Church reads from Job and Exodus during Holy Week.
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The earliest labors of the Masoretes included standardizing division of the text into books, sections, paragraphs, verses, and clauses (probably in the chronological order here enumerated); the fixing of the orthography, pronunciation, and cantillation; the introduction or final adoption of the square characters with the five final letters; some textual changes to guard against blasphemy and the like (though these changes may pre-date the Masoretes – see Tikkune Soferim below); the enumeration of letters, words, verses, etc., and the substitution of some words for others in public reading. Since no additions were allowed to be made to the official text of the Bible, the early Masoretes adopted other expedients: e.g., they marked the various divisions by spacing, and gave indications of halakic and haggadic teachings by full or defective spelling, abnormal forms of letters, dots, and other signs.
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Torah reading (; ') is a Jewish religious tradition that involves the public reading of a set of passages from a Torah scroll. The term often refers to the entire ceremony of removing the scroll (or scrolls) from the Torah ark, chanting the appropriate excerpt with special cantillation (trope), and returning the scroll(s) to the ark. In Yeshivish, it is also called "laining" (lein is also spelt lain, leyn, layn; from the Yiddish , meaning simply "to read" originally). Regular public reading of the Torah was introduced by Ezra the Scribe after the return of the Judean exiles from the Babylonian captivity ( BCE), as described in the Book of Nehemiah.. In the modern era, adherents of Orthodox Judaism practice Torah reading according to a set procedure they believe has remained unchanged in the two thousand years since the destruction of the Temple in Jerusalem (70 CE).
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The Masoretes () were groups of Jewish scribe-scholars who worked between the 6th and 10th centuries CE, based primarily in early medieval Palestine in the cities of Tiberias and Jerusalem, as well as in Iraq (Babylonia). Each group compiled a system of pronunciation and grammatical guides in the form of diacritical notes (niqqud) on the external form of the biblical text in an attempt to standardize the pronunciation, paragraph and verse divisions and cantillation of the Jewish Bible, the Tanakh, for the worldwide Jewish community. The ben Asher family of Masoretes was largely responsible for the preservation and production of the Masoretic Text, although there existed an alternative Masoretic text of the ben Naphtali Masoretes, which has around 875 differences from the ben Asher text. The halakhic authority Maimonides endorsed the ben Asher as superior, although the Egyptian Jewish scholar, Saadya Gaon al-Fayyumi, had preferred the ben Naphtali system.
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Antony Walker is an Australian conductor, who currently resides in Washington, D.C. He has held the positions of Musical Director of Sydney Philharmonia Choirs, Chorus Master and staff conductor of Welsh National Opera, and is currently Artistic Director and Conductor with Washington Concert Opera and Music Director of Pittsburgh Opera. He co-founded Pinchgut Opera, the vocal ensemble Cantillation and the orchestras Sinfonia Australis and Orchestra of the Antipodes. Educated at Sydney Grammar School, and an Honors graduate of the University of Sydney, Walker trained as a singer (tenor), pianist, cellist and composer, and is well known for being a supportive "singer's conductor" as well as being passionate about training young singers. At The Metropolitan Opera in New York Walker has led performances of Gluck's Orfeo ed Euridice, The Barber of Seville, The Magic Flute, and Les Pêcheurs de Perles, as well as the National Council Auditions Grand Finals Concert in 2016.
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On 8 January 1817 she was married by her parents to the 56-year-old General Kern, whom she professed to detest thoroughly. After they settled in Saint Petersburg, Anna flirted with a number of Romantic poets, but her chief claim to fame was a love affair with Pushkin in the summer of 1825, during her stay with relatives in Trigorskoe, a manor adjacent to Mikhailovskoye, where the great poet was living in exile. "Lately, our land has been visited by a beauty, who sings the Venetian Night in a heavenly way, in the manner of the gondolier's cantillation", Pushkin wrote to his friend Pyotr Pletnyov. Kern was one of many liaisons in Pushkin's life and she would not have become the most famous of his mistresses were it not for the poem that Pushkin put between the pages of the second canto of Eugene Onegin which he presented to her on the day of their parting.
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The writing systems used for some languages, such as the Hebrew alphabet and the Arabic alphabet, do not ordinarily mark all the vowels, since they are frequently unnecessary in identifying a word. Technically, these are called abjads rather than alphabets. Although it is possible to construct simple English sentences that can be understood without written vowels (cn y rd ths?), extended passages of English lacking written vowels can be difficult to understand; consider dd, which could be any of dad, dada, dado, dead, deed, did, died, diode, dodo, dud, dude, odd, add, or aided. (But note that abjads generally express some word-internal vowels and all word-initial and word-final vowels, whereby the ambiguity will be much reduced.) The Masoretes devised a vowel notation system for Hebrew Jewish scripture that is still widely used, as well as the trope symbols used for its cantillation; both are part of oral tradition and still the basis for many bible translations—Jewish and Christian.
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By the 2nd century BCE, Jewish groups began calling the books of the Bible the "scriptures" and they referred to them as "holy", or in Hebrew כִּתְבֵי הַקֹּדֶשׁ (Kitvei hakkodesh), and Christians now commonly call the Old and New Testaments of the Christian Bible "The Holy Bible" (in Greek , ) or "the Holy Scriptures" (, ).Bible Hub – The NT generally uses 1124 (graphḗ) for the Hebrew Scriptures (the OT) – but see also 2 Tim 3:16 and 2 Pet 3:16. 1124 (graphḗ) was used for the Hebrew Scriptures as early as Aristeas (about 130 bc; so MM) The Bible was divided into chapters in the 13th century by Stephen Langton and into verses in the 16th century by French printer Robert Estienne and is now usually cited by book, chapter, and verse. The division of the Hebrew Bible into verses is based on the sof passuk cantillation mark used by the 10th-century Masoretes to record the verse divisions used in earlier oral traditions.
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In the parts of the service where the ḥazzán would traditionally have a more solistic rôle, the basic melodies are embellished according to the general principles of Baroque performance practice: for example, after a prayer or hymn sung by the congregation, the ḥazzán often repeats the last line in a highly elaborated form. Two- and three-part harmony is relatively common, and Edwin Seroussi has shown that the harmonies are a reflection of more complex, four-part harmonies in written sources from the 18th century. The recitative style of the central parts of the service, such as the Amidah, the Psalms and the cantillation of the Torah is loosely related to that of other Sephardi and Mizraḥi communities, though there is no formal maqam system as used by most of these.An example of this recitative style can be heard in the first part of the 2002 BBC TV serial Daniel Deronda, where (now emeritus) Reverend Halfon Benarroch can be heard chanting the psalms that begin the Afternoon Service.
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Reaching the age of bar or bat Mitzvah signifies becoming a full-fledged member of the Jewish community with the responsibilities that come with it. These include moral responsibility for one's own actions; eligibility to be called to read from the Torah and lead or participate in a minyan; the right to possess personal property and to legally marry on one's own according to Jewish law; the duty to follow the 613 laws of the Torah and keep the halakha; and the capacity to testify as a witness in a beth din (rabbinical court) case. Many congregations require pre-bar mitzvah children to attend a minimum number of Shabbat prayer services at the synagogue, study at a Hebrew school, take on a charity or community service project and maintain membership in good standing with the synagogue. In addition to study and preparation offered through the synagogue and Hebrew schools, bar mitzvah tutors may be hired to prepare the child through the study of Hebrew, Torah cantillation and basic Jewish concepts.
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