Passport to Jewish Music: Its History, Traditions, and by Irene Heskes
By Irene Heskes
The goal of this e-book is to offer a survey of Jewish song to light up its precise function as a replicate of background, culture, and cultural historical past. The 27 topical chapters were positioned inside a changed chronological viewpoint to provide a old photo of almost each very important improvement in Jewish track. The e-book represents a end result of numerous many years of the author's devoted exertions and scholarly research during this field.
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Extra resources for Passport to Jewish Music: Its History, Traditions, and Culture
She served as Idelsohn's personal secretary and translator-editor during his years in Cincinnati. With her son Rabbi Baruch Joseph Cohon, in 1951 she prepared and privately issued a new edition of Idelsohn's Jewish Song Book for Synagogue, School and Home (Cincinnati: Bloch Publishing, 1928 and 1929). 8. Abraham Z. : Greenwood Press, 1981). 22 Passport to Jewish Music 9. Abraham Z. , New York: Schocken Press, 1966). 10. , Millwood, N. : Kraus Reprint, 1969). Numerous scattered entries. : Greenwood Press, 1985).
My family is well, but I am in the category of a lo yitzlakh, a man who is a Mure. As it appears, my time is over and there is nothing left for me but to meditate and examine my past life and its incomplete work. I cannot do anything more but to think only of the past. With my blessings to you for a good New Year, yourfriendAbraham Zevi. * * Finally, by August 1937, he could no longer write his letters by hand and with onefingerpainfully typed this note to Ephros: Idelsohn and Ephros 19 Dearfriend:Although my lingering illness has made correspondence practically impossible, you havefrequentlybeen in my thoughts.
Consequently, Hucke's citation of different versions from a 1763 cantorial notation, and alternatives given by Idelsohn and Wemer, belie his refutations, for these versions are consistent with the time-honored orally transmitted flow of Jewish liturgical chant; that is, there are vocalized variants, but the significant melodic essence has been maintained by the singers in pious respect. A colleague of Hucke, Leo Treitler, has also refuted the hypotheses advanced by Eric Wemer. In his article "The Early History of Music Writing in the West,"2* Treitler writes: "The principal recent proponent of a derivation of Latin neumatic writing from ecphonetic notation is Eric Wemer.