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Journal articles on the topic 'Cantillation'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

al Faruqi, Lois Ibsen. "The Cantillation of the Qur'an." Asian Music 19, no. 1 (1987): 1. http://dx.doi.org/10.2307/833761.

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2

Puca, A. "Steve Reich and Hebrew Cantillation." Musical Quarterly 81, no. 4 (1997): 537–55. http://dx.doi.org/10.1093/mq/81.4.537.

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3

Harrán, Don. "In Search of the ‘Song Of Zion’: Abraham Portaleone on Music in the Ancient Temple." European Journal of Jewish Studies 4, no. 2 (2010): 215–39. http://dx.doi.org/10.1163/102599911x573341.

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AbstractAbraham Portaleone’s massive disquisition on the Ancient Temple (Sefer shiltei ha-gibborim, 1612) stands alone among Hebrew writings of the early seventeenth century. Of its ninety chapters, ten along with comments in various appendices present his views on the so-called ‘Song of Zion’ (Psalms 137:3), or music sung and played by the Levites for worship in the Temple. Portaleone takes off from the premise that its components, thought to have gradually been forgotten by the Hebrews in their wanderings after 70 CE, were, from earliest times, imitated and preserved by Christians in their a

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4

Mrad, Nidaa Abou. "Quelques réflexions sur la cantillation religieuse en Méditerranée." La pensée de midi N° 28, no. 2 (2009): 53–65. http://dx.doi.org/10.3917/lpm.028.0053.

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5

Boris Kleiner. "Rhythm in Yemenite Cantillation: Masoretic Accents and Syllabic Time." Hebrew Union College Annual 88 (2017): 297. http://dx.doi.org/10.15650/hebruniocollannu.88.2017.0297.

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6

Prajapati, Dr Neha, Dr Mita Kotecha, Dr Amit Mishra, and Dr Sukha ram. "Importance Of Cantillation (Chanting) –A Divine Remedy In Ayurveda." International Research Journal of Ayurveda & Yoga 03, no. 07 (2020): 242–51. http://dx.doi.org/10.47223/irjay.2020.3711.

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7

Carasik, Michael. "Exegetical Implications of the Masoretic Cantillation Marks in Ecclesiastes." Hebrew Studies 42, no. 1 (2001): 145–65. http://dx.doi.org/10.1353/hbr.2001.0007.

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8

Roy, Bruno. "La cantillation des romans médiévaux: une voie vers la théâtralisation." Le Moyen Français 19 (January 1986): 148–62. http://dx.doi.org/10.1484/j.lmfr.3.125.

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9

Tania Notarius. "“Double Segmentation” in Biblical Hebrew Poetry and the Poetic Cantillation System." Zeitschrift der Deutschen Morgenländischen Gesellschaft 168, no. 2 (2018): 333. http://dx.doi.org/10.13173/zeitdeutmorggese.168.2.0333.

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10

Ness, Steven R., Dániel Péter Biró, and George Tzanetakis. "Computer-assisted cantillation and chant research using content-aware web visualization tools." Multimedia Tools and Applications 48, no. 1 (2009): 207–24. http://dx.doi.org/10.1007/s11042-009-0357-x.

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11

Lundberg, Johan M. V. "Dots, Versification and Grammar." Dead Sea Discoveries 29, no. 3 (2022): 366–87. http://dx.doi.org/10.1163/15685179-02903005.

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Abstract The Syriac gospel of Matthew is divided into sentences by means of pausal accent dots, both single clause sentences and complex sentences. This article explores the relationship between these pausal accent dots and verse division, comparing the Syriac dotting system with Greek punctuation marks and Hebrew accents. All three traditions divide the text into larger and smaller sections. In the Hebrew Bible the smaller sections are often classified as verses that are further subdivided through cantillation marks, typically called accents. This article explains why the Syriac dots, also ca

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12

김은정. "A Study on the Cantillation of King SunJo(宣祖) and royal sons-in-law". Yeol-sang Journal of Classical Studies ll, № 28 (2008): 41–80. http://dx.doi.org/10.15859/yscs..28.200812.41.

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13

Fleck, Einav. "Additions of Conjunctive Vav (“and”) in 1QIsaa: Evidence for the Role of Language Processing Strategies." Journal of Biblical Literature 141, no. 3 (2022): 467–90. http://dx.doi.org/10.15699/jbl.1413.2022.4.

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Abstract This article identifies one type of conjunctive vav (“and”) addition in 1QIsaa that accounts for over one-third of the 241 vav additions in the scroll. In these cases, vav serves to resolve structurally ambiguous verses in the biblical text of Isaiah. In 84 percent of the cases, vav resolves the ambiguous verses in a manner that accords with well-known language processing strategies. It is therefore argued that processing strategies were operative during the copying of 1QIsaa. Notably, more than half of vav additions that accord with processing strategies result in a verse division th

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14

Talmon-Heller, Daniella. "Scriptures as Holy Objects: Preliminary Comparative Remarks on the Qurʾān and the Torah in the Medieval Middle East". Intellectual History of the Islamicate World 4, № 1-2 (2016): 210–44. http://dx.doi.org/10.1163/2212943x-00401011.

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Jews and Muslims have developed similar perceptions about the divine origins of their respective sacred scriptures, including their aural and graphic forms. How to transcribe the accurate and authentic text was debated and eventually prescribed in detail in each tradition, but ultimately each religion adopted a different strategy. The Jewish tradition—which distinguishes between liturgical reading and study—developed two discrete formats of the Pentateuch. The ancient form of the scroll with the text inscribed in scripta defectiva was reserved for liturgical use, while the newer codex, written

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15

Friel, David M. "Readers and Hearers of the Word: The Cantillation of Scripture in the Middle Ages by Joseph Dyer (review)." Antiphon: A Journal for Liturgical Renewal 27, no. 2 (2023): 265–67. http://dx.doi.org/10.1353/atp.2023.a914288.

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16

Curry, Robert. "Readers and Hearers of the Word: The Cantillation of Scripture in the Middle Ages by Joseph Dyer (review)." Parergon 40, no. 2 (2023): 223–24. http://dx.doi.org/10.1353/pgn.2023.a914796.

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17

Martani, Sandra. "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213." Plainsong and Medieval Music 12, no. 1 (2003): 15–42. http://dx.doi.org/10.1017/s0961137103003024.

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The cantillation of the Scriptures played an important role in the complex matrix of symbols that is the Byzantine liturgy. Beginning in the ninth century, a special type of notation called ‘ekphonetic’ was developed to indicate in the lectionaries the formulae used in the chanting of the appointed scriptural pericopes. Gradually, over the course of the thirteenth and fourteenth centuries the system fell into disuse, and the meaning of the notational signs was forgotten. Unfortunately, no surviving Byzantine theoretical treatises explain the system; hence the only sources of information about

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18

Knapp, Alexander. "Ashkenazi Pentateuchal Chant: A Sixteenth-Century German-Christian Interpretation." European Journal of Jewish Studies 6, no. 1 (2012): 23–69. http://dx.doi.org/10.1163/187247112x637551.

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Abstract Much attention has been given to the pioneering achievements of the Christian Hebraists of the sixteenth century in transcribing the essential elements of traditional Torah chant into Western musical notation. One of these transcriptions, however, is unique. Johannes Reuchlin’s De Accentibus et Orthographia Linguae Hebraicae of 1518 contains not only the ‘accents of biblical recitation’ themselves, but also a complete four-part harmonization of these tropes by one of Reuchlin’s students, Christoph Schilling, in the German choral style of the period. Although Schilling’s arrangement of

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19

Скурко, Евгения Романовна, and Ангелина Васильевна Щевелёва. "Implementation of the Jewish Musical Tradition in the Opera “Uriel Akosta” by Valentina Serova." Музыкальная академия, no. 4(772) (December 21, 2020): 118–31. http://dx.doi.org/10.34690/116.

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Статья посвящена малоизвестной опере «Уриель Акоста» Валентины Серовой - русского композитора, общественного деятеля, музыкального критика. Определяется идея оперы, очерчивается главный драматургический конфликт, а также рассматривается один из важнейших интонационных пластов оперы, связанный с еврейской народной и синагогальной музыкой. Выявляются особенности их претворения на уровнях ладовой, интонационно-ритмической и фактурной организации музыкального текста. В качестве примера претворения народной песенной традиции анализируется Колыбельная. Принципы речитации и кантилляции, типичные для

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20

TALBOT, MICHAEL. "ANTONIO VIVALDI (1678–1741) JUDITHA TRIUMPHANS Sally-Anne Russell (mezzo-soprano), David Walker (countertenor), Sara Macliver (soprano), Fiona Campbell (mezzo-soprano), Renée Martin (mezzo-soprano) / Cantillation / Orchestra of the Antipodes / Attilio Cremonesi and Benjamin Bayl ABC Classics 476 6957, 2008; two discs, 118 minutes." Eighteenth Century Music 7, no. 1 (2010): 158–60. http://dx.doi.org/10.1017/s1478570609990698.

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21

BURGESS, GEOFFREY. "JEAN-PHILIPPE RAMEAU (1683–1764) CASTOR & POLLUX Jeffrey Thompson, Hadleigh Adams, Celeste Lazarenko, Margaret Plummer, Paul Goodwin-Groen, Anna Fraser, Pascal Herington, Mark Donnelly / Pinchgut Opera; Cantillation, Orchestra of the Antipodes / Antony Walker, Erin Helyard Pinchgut Live PG003, 2013; two discs, 139 minutes." Eighteenth Century Music 12, no. 1 (2015): 111–14. http://dx.doi.org/10.1017/s1478570614000487.

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22

Lataifeh, Mohammed, Ashraf Elnagar, Ismail Shahin, and Ali Bou Nassif. "Arabic audio clips: Identification and discrimination of authentic Cantillations from imitations." Neurocomputing 418 (December 2020): 162–77. http://dx.doi.org/10.1016/j.neucom.2020.07.099.

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23

Korn, Agnes. "Parthian ž." Bulletin of the School of Oriental and African Studies 73, no. 3 (2010): 415–36. http://dx.doi.org/10.1017/s0041977x1000039x.

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AbstractThis article argues that the opposition between Old Iranian *č and *ǰ was preserved in Manichaean Parthian not only word-initially, but also in postvocalic position, at least at the time of the introduction of the Manichaean script. The approach is phonological, and attempts to show that Pth. /č/ (< OIr. *č), written <c> and <z̈>, and Pth. /ž/ (< OIr. *ǰ and *ž), written <j>, are consistently distinguished in the Manichaean script. Pth. /č/ may have developed a postvocalic allophone [ǰ] (not affecting the phonematic opposition), which might have been a motivatio

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24

Pitcher, Sophia L. "Towards a prosodic model for Tiberian Hebrew: An intonation-based analysis." Stellenbosch Papers in Linguistics Plus 63, no. 1 (2021). http://dx.doi.org/10.5842/63-0-934.

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This study advances a preliminary framework for conceptualising the prosodic nature and structure of Tiberian Hebrew (TH) represented by the ṭaʿămê hammiqrāʾ through an analysis of an extant Ashkenazi cantillation tradition. The ṭaʿămê hammiqrāʾ (lit. “the senses of the reading [viz. Scripture]”) are notations added by medieval scribes to the written text of the Hebrew Bible to preserve and transmit its oral performance. Modern prosodic theory and the musical concept of conjunct and disjunct melodic motion are used to demonstrate that the ṭaʿămê hammiqrāʾ have a highly structured i

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25

Kahana, Miriam. "Targum Jonathan to the Prophets and the Masoretic Cantillations." Aramaic Studies, October 7, 2020, 1–15. http://dx.doi.org/10.1163/17455227-bja10010.

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Abstract This article compares the Targum with Masoretic cantillations. The comparison between the different reading traditions shows agreement in everything concerning the division between one verse and the next. Usually, there is agreement in the division within each verse as well, particularly when both the cantillations and the Targum respond to an ideological or exegetical problem in the text. Juxtaposing the cantillations and the Targum in this manner may also reveal aspects of the stages of development of these two interpretative tools in relation to one another. Comparing Targumim and

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26

Davies, Ruth F. "From Wax Cylinder to Metal Disc: Transplanting Robert Lachmann’s “Oriental Music” Project from Berlin to Jerusalem on the Eve of World War II." World of music (new series) 12, no. 2 (2024). http://dx.doi.org/10.59998/2023-12-2-1428.

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Of the multidisciplinary cohort of scholars associated with the Berlin Phonogramm-Archiv in its formative decades, it is Robert Lachmann (1892–1939) who, in his approach to fieldwork and the importance he attached to it, comes closest to adopting the methods of classic ethnomusicology. In April 1935, having been dismissed from his post in the Prussian State Library under the Nazi racial laws, he took up a temporary appointment at the newly founded Hebrew University of Jerusalem with a mission to create an Archive of Oriental Music. He brought with him copies of his entire collection of some 50

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27

Forbes, Dean A., and Francis I. Anderson. "The Andersen-Forbes Computational Analysis of Biblical Hebrew Grammar." Journal for Semitics 27, no. 1 (2018). http://dx.doi.org/10.25159/1013-8471/2936.

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The Andersen-Forbes BH database is based upon the text of L, having omitted cantillations, corrected obvious errors, segmented or ligatured orthographic words by rule, and resolved homographs. Each segment has an associated set of grammatical features and an assistive gloss. Our linguistic preferences favour data-driven over theory-driven analyses, language performance over language competence, and quantitative over qualitative language models. In our research, we rely on successive approximations, planning at least one step ahead at each stage. In representing grammatical structure, we opt fo

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