Shbahoth Songs Of Praise In The Babylonian Jewish Tradition

Sara Manasseh brings a significant, but less widely-known, Jewish repertoire and tradition to the attention of both the Jewish community (Ashkenazi, Sephardi, Oriental) and the wider global community. The book showcases thirty-one songs and includes English translations, complete Hebrew texts, transliterations and the music notation for each song. The accompanying downloadable resources include eighteen of the thirty-one songs, sung by Manasseh, accompanied by 'ud and percussion. The remaining thirteen songs are available separately on the album Treasures, performed by Rivers of Babylon, directed by Manasseh - : www.riversofbabylon.com. While in the past a book of songs, with Hebrew text only, was sufficient for bearers of the tradition, the present package represents a song collection for the twenty-first century, with greater resources to support the learning and maintenance of the tradition. Manasseh argues that the strong inter-relationship of Jewish and Arab traditions in this repertoire - linguistically and musically - is significant and provides an intercultural tool to promote communication, tolerance, understanding, harmony and respect. The singing of the Shbahoth (the Baghdadian Jewish term for 'Songs of Praise') has been a significant aspect of Jewish life in Iraq and continues to be valued by those in the Babylonian Jewish diaspora.

Sara Manasseh brings a significant, but less widely-known, Jewish repertoire and tradition to the attention of both the Jewish community and the wider global community. The book showcases thirty-one songs and includes English translations, complete Hebrew texts, transliterations and the music notation for each song. The accompanying CD includes eighteen of the thirty-one songs. The remaining thirteen songs are available separately on the album Treasures (www.riversofbabylon.com). Manasseh argues that the strong interrelationship of Jewish and Arab traditions in this repertoire - linguistically and musically - is significant, and she provides an intercultural tool to promote communication, tolerance, understanding, harmony and respect.

This book explores the extraordinary differentiation of the Baghdadi Jewish community over time during their sojourn in India from the end of the eighteenth century until their dispersion to Indian diasporas in Israel and English-speaking countries throughout the world after India gained independence in 1947. Chapters on schools, institutions and culture present how Baghdadis in India managed to maintain their communities by negotiating multiple identities in a stratified and complex society. Several disciplinary perspectives are utilized to explore the super-diversity of the Baghdadis and the ways in which they successfully adapted to new situations during the Raj, while retaining particular traditions and modifying and incorporating others. Providing a comprehensive overview of this community, the contributions to the book show that the legacy of the Baghdadi Jews lives on for Indians today through landmarks and monuments in Mumbai, Pune and Kolkata, and for Jews, through memories woven by members of the community residing in diverse diasporas. Offering refreshing historical perspectives on the colonial period in India, this book will be of interest to those studying South Asian Studies, Diaspora and Ethnic Studies, Sociology, History, Jewish Studies and Asian Religion.

Music in the Hebrew Bible investigates musical citations in the Hebrew Bible and their relevance for our times. Most biblical musical references are addressed, either alone or as a grouping, and each is considered from a modern perspective. The book consists of one hundred brief essays divided into four parts. Part one offers general overviews of musical contexts, recurring musical-biblical themes and discussions of basic attitudes and tendencies of the biblical authors and their society. Part two presents essays uncovering what the Torah (Pentateuch) has to say about music, both literally and allegorically. The third part includes studies on music's place in Nevi'im (Prophets) and the perceived link between musical expression and human-divine contact. Part four is comprised of essays on musical subjects derived from the disparate texts of Ketuvim (Writings).

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

Arab-Jewish Literature: The Birth and Demise of the Arabic Short Story offers an account of the development of the art of the Arabic short story among the Arabized Jews during the twentieth century. An anthology of sixteen translated stories are included as an appendix to the book.

Ethnomusicology and its Intimacies situates intimacy, a concept that encompasses a wide range of often informal social practices and processes for building closeness and relationality, within the ethnomusicological study of music and sound. These scholarly essays reflect on a range of interactions between individuals and communities that deepen connections and associations, and which may be played out relatively briefly or nurtured over time. Three major sections on Performance, Auto/biographical Strategies, and Film are each prefaced by an interview with a scholar or practitioner with close knowledge of the subject that links the chapters in that section. Often drawing directly on fieldwork experience in a variety of contexts, authors consider how concepts of intimacy can illuminate the ethnographic study of music, addressing questions such as: how can we understand ethnomusicological and ethnographic research and performance as processes of musically mediated intimacy? How are the longstanding relationships we develop with others particularly intimated by and through musicking? How do we understand the musically intimate relationships of others and how do these inflect our own musical intimacies? How does music represent, inscribe, constrain, or provoke social or personal intimacies in particular contexts? The volume will appeal to all scholars with interests in music and how it is used to construct relationships in different contexts around the world.

Based on the author's fieldwork in Ghana with the Asante and Denkyira ivory trumpeters, this book draws on interviews, field recordings, oral traditions, written accounts, archaeological evidence, transcriptions and linguistic analyses to situate the Asante trumpet tradition in historical culture. There are seven ntahera trumpet ensembles in residence at the Asante Manhyia Palace in Kumase, and ntahera trumpets are blown at every Akan court.