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In the words of Peter Gradenwitz, from this period onwards, the issue is "no longer the story of Jewish music, but the story of music by Jewish masters." [24] Jacques Offenbach (1819–1880), a leading composer of operetta in the 19th century, was the son of a cantor, and grew up steeped in traditional Jewish music. Yet there is nothing about ...
Klezmer (Yiddish: קלעזמער or כּלי־זמר) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. [1] The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions.
In the Ashkenazi world, the main impetus towards composed Jewish music came in early 19th century Vienna, where Salomon Sulzer composed settings for a large part of the synagogue service, reflecting traditional Jewish music but set in a style reminiscent of Schubert, who was a friend and contemporary.
The traditional penitential intonation transcribed in the article Ne'ilah with the piyyut "Darkeka" closely reproduces the music of a parallel species of medieval Latin verse, the metrical sequence "Missus Gabriel de Cœlis" by Adam of St. Victor (c. 1150) as given in the Graduale Romanum of Sarum. The mournful chant characteristic of ...
Hava Nagila" (Hebrew: הָבָה נָגִילָה, Hāvā Nāgīlā, "Let us rejoice") is a Jewish folk song. It is traditionally sung at celebrations, such as weddings, Bar/Bat Mitzvas, and other festivities among the Jewish community. Written in 1918, it quickly spread through the Jewish diaspora.
The project, founded by David Matouk Betesh, is dedicated to the memory of his great-grandfather, cantor Gabriel A Shrem, a former instructor at Yeshiva University's Cantorial Institute (Philip and Sarah Belz School of Jewish Music), cantor of B'nai Yosef Synagogue and editor-in-chief of the "Shir uShbaha Hallel veZimrah" pizmonim book. The ...
Sephardic music has its roots in the musical traditions of the Jewish communities in medieval Spain and medieval Portugal. Since then, it has picked up influences from Morocco, Greece, Bulgaria, and the other places that Spanish and Portuguese Jews settled after their expulsion from Spain in 1492 and from Portugal in 1496.
However, even during the 20th century some Jewish composers often quoted Jewish music within non-Jewish contexts; for example, Gershwin used liturgical melodies and Hebrew songs for a few numbers in Porgy and Bess, and many also believe that the opening clarinet glissando in his Rhapsody in Blue is a reference to klezmer.