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Journal
of

Synagogue
Music

May, 1995 . Iyar 5755 . Vol. XXIV . No. 1

From the Editor

Articles

The New Edition of "Siddur Sim Shalom"

The Cantillation of the Decalogue

A CI Student Speaks Out

The Traditional Jewish Sources of
Schoenberg's Kol Nidre Op. 39

Bonia Shur: An Authentic Jewish Voice

Special To the Cantors Assembly
An article about Bernie Finkel

Jack Chomsky 3
Eric Snyder 4

Pinchas Spiro 6

Joshua R. Jacobson 12

Yummy Gelfand 37

Lilli Kaufman 36

Charles Heller 39

Charles Davidson 49

Sing Unto the Lord

By Cantor Saul Z. Hammern

Index of Journal Articles

Part 1: Titles
Part 2: Authors

Review by
Rabbi Richard J. Margolis 58

Hazzan Jeffrey Shiovitz

JOURNAL OF SYNAGOGUE MUSIC

May, 1995 . lyar 5755 . Vol. XXIV . No. I

EDITOR: Eric M. Snyder

MANAGING EDITOR: Samuel Rosenbaum

REVIEW EDITOR: Robert Scherr

EDITORIAL BOARD: Ira Bigeleisen, Kenneth Cohen, Stephen

Freeclman, Edwin Gcrbcr, Paul Kowarsky. Brian Mayer. Eugene
Rosncr. Ruber! Scherr. David Silverstein.

OFFICERS OF THE CANTORS ASSEMBLY: Stephen J. Stein,

President; Abraham Lubin. Vice President. David Pwpis, Treasurer;
Henry Rosenblum, Secretary; Samuel Rosenbaum, Executive Vice
President.

JOURNAL OF SYNAGOGUE MUSIC is a semi-annual publication.

The subscription fee is $15 per year. All subscription correspondence
should be addressed to lournal Of Synagogue Music, Cantors Assem-
bly, 3080 Broadway, Suite 613, New York N. Y. 10027.

Articles and Letters to the Editor should be addressed to Hazsn Eric
M. Snyder, Editor, Journal of Synagogue Music, 1834 Meribrook Road,
Philadelphia, PA 19151. The telephone is (215) 877-9268. The fax is
(215) 877-9268. Please notify, that a fdX is being sent. Articles should
be typewritten and double-spaced. Music and musical examples should
be photo-ready. Material can also be sent on computer disks as

I ill I " t / ,y ii '/'/" (II ' _ , / i I'D,,, tOI

Windows 6.0 software or Macintosh 3 1/2" using PageMaker 1.2
software. For further questions, contact the editor.

FROM THE EDITOR

I am pleased to turn the reins of "power" of the Editorship of the

over to my colleague, Hazzan Eric Snyder.

A man of taste and discrimination, he is also up to date on the technology

which should make it easier to produce the Journal on a more regular basis.

As always, the Journal will depend on its readers and writers for a
regular supply of quality material. I call on all of you who "have an article
in you" (or a thesis or book, for that matter) to step forward. Send, fax or
e-mail it to your new editor! If you know of significant work being done
in the field of Jewish music (especially sacred Jewish music), tell the editor
about it and encourage those doing this work to submit the produce thereof
to the journal editor.

May the first fruits of synagogue music always be brought to the pages
of this Journal. Again, to all of you who have assisted me in past years,
heartfelt thanks. And to Eric, all good luck and best wishes...

-- Jack Chomsky

FROM THE EDITOR

It is with great humility that I face the challenge of becoming the next
editor of the Journal of Synagogue M US/C Like you, I have gleaned much
from the pages of the Journal during these past years. Now, as editor,
looking through the contents of the Journal with a more scrupulous eye,
I am especially proud of this, our professional publication.

All of us owe a debt of thanks to Hazzan Jack Chomsky, my colleague
and friend. Every issue that he has produced has been of the highest quality.
Under his stewardship, the Journal has presented articles which while
scholarly, have also been accessible to the vast majority of its readers. Jack
has also nurtured a most important aspect of the Journal - to bring the past
of the Cantorate together with the present. When brought together, past
and present light the way to the future of our beloved calling. I would
publicly like to thank Jack Chomsky for the caring he has shown for all of

This issue of the Journal presents a "working tool" that I am sure will
be invaluable to all Journal readers. Our colleague, Hazzan Jeffrey
Shiovitz, has created an index to all past journal articles, including music
and book reviews. The index is in two parts, part one by title , part two by
author. In the near future, I will outline plans to make available all back
issues of the Journal or individual articles. Anyone perusing issues of the
Journal from years past will find a wealth of knowledge and wisdom which
must again see the light of day.

Several years ago, Dr. Joshua Jacobson penned an article on Ta'amey
Hamikra. He now offers an in-depth study of The Cantillation of the
Decalogue. Once again, Josh presents a scholarly topic in a most acces-
sible manner.

Charles Heller tackles a monumental work in The Traditional J ewish
Sources of Schoenberg's Kol W/'dre OP. 39. Heller uncovers some rather
"jagged edges" beneath the smooth surface of this major composition.

In Bonia Shur: An Authentic J ewish Voice. Charles Davidson offers
a critique on the musical works of Bonia Shur, a man that Charles refers
to as "the resident composer for the Reform Movement". After reading this
article, many of our music libraries may need some extra shelves.

In the Review Section is an analysis of acassette ofcantorial recitatives
entitled Sing Unto the Lord, performed by Hazzan Saul Hammerman,
past president of the Cantors Assembly. The review is written by Rabbi
Richard Margolis, an aficianado of the cantorial art, familiar with the
cantorial styles of the "greats".

On another level, we present an article submitted by Bernie Finkel, a
Jewish disc jockey in Evanston, Illinois. At first glance, it might appear
that an article like this would be out of place in the journal of Synagogue
Music, but read the piece all the way through, and you will discover a very
engaging personality. Bernie Finkel, radio program, "The Jewish Commu-
nity Hour", has been on the air since 1963. For the last 20 years, Bernie
Finkel has been promoting Jewish issues of all types, including an
appreciation for Jewish music. It would be interesting to observe the
various Jewish radio programs around the country and see how they are
alike and how they differ. It might also be good for us to note the impact
that these programs have on the Jewish population and whether that impact
is carried into the synagogue.

Finally, in a section titled A CI Student Speaks Out, we have
selections by two students in the Cantors Institute. The first is a letter of
thanks from Yummie Gelfand, a recipient of the Cantors Assembly
Hazzanut Award. He relates the experience of growing up in the "Bible
Belt", where antisemitism is still alive and well. The second piece is the
text of a talk given by Cantors Institute student Lilly Kaufman, at a
breakfast for rabbinic and cantorial students. These students' contribu-
tions even so early in their careers underscores the need for our continued
commitment to the Cantors Institute, and provides two more reasons for
us to feel confident for the future.

Thank you all in advance for your articles, advice, and feedback. Feel
free to call or write to me about your thoughts and ideas. My address and

— Eric Snyder

THE NEW EDITION OF "SIDDURSIM SHALOM"

By PINCHAS SPIRO

It is common knowledge that the Conservative prayer book,
WbV D'tP "inp, published some ten years ago, has not been successful
in meeting its goals. A new and completely revised edition is now
being prepared. As one of the representatives of the Cantors Assembly
to the Prayer Book Commission, I was sent a rough draft of parts of the
contemplated revised edition in galley and pre-galley form. I was
specifically asked to submit my reactions, criticism and suggestions.

I was glad that the Cantors Assembly was given the opportunity for
some meaningful input before the revised edition became finalized.
(We did not have that opportunity when the original edition was
prepared.) I don't think that it is an exaggeration to say that as

TOy Ti^tf, we are the synagogue functionaries most directly involved
and concerned with the Hebrew contents of the prayer book. I,
therefore, regarded my assignment as a great opportunity and devoted
to it a great deal of time and consideration. As requested, I sent back a
detailed account of my reactions, my criticism and suggestions.

I don't know how my comments and suggestions were viewed by
the members of the Editorial Board, and I don't know whether they
have even been considered. I showed copies of my written comments
to several colleagues, fellow-representatives on the Prayer Book
Commission, and they urged me to share my ideas with the
membership of the Cantors Assembly. Following is a condensed
version of these ideas.

My main complaint concerned the structure of the original
Why D'tt> "ino. The quality which all traditional prayer book have in
common is a standard order of the prayers. No matter the prayer book,
one is always able to find his way and locate any service or prayer in
seconds. It is this basic ingredient that gives the worshipper the sense
of familiarity and of being at one with bK~\W bbz. After almost ten
years, I am still frustrated whenever I try to find my way through
why OW "IHD. Just to be different from all other prayer books is not
a goal we should seek to attain. Simply put: if it is not broken, why fix

PINCHAS SPIRO is the hazzan of Tifereth Israel Synagogue in Des Moines, li
author of a series of musical siddurim published by the Cantors Assembly an
numerous Ba'al Tefillah Institute throughout the country. Hazzan Spiro sen
Prayer Book Commission of the Rabbinical Assembly and the United Syna;

Another flaw of the original u'hw WW "inp is that it requires
the worshipper to constantly read instructions: which prayers to include
and which to skip, or to choose between several alternative versions of
the same prayer. (The MlJSdf Amidah for Rosh Chodesh is a prime
example; it is a virtual nightmare!) There are enough distractions as it
is to H3133 rhsn. The need to consult "a road map" at various parts of
the service forces one away from meaningful meditation.

I wonder why Why) D'W "ino has given up the effective common
practice of delegating alternative prayers, and those used only on
special occasions, to a space under a line? It is almost a universal
practice to use this device. I often wonder why it was necessary to add
the word (jolJi) to the text of the riKrin when it is used on only one day
during the entire year. Why not follow the custom of all prayer books
and use an asterisk with a note at the bottom of the page. I can
understand the need to make changes for compelling reasons and
principles, but why clutter the prayer book with insignificant
"innovations" (such as JTDnan ]W / nm?nriyn)?

I believe that it was a bad idea to arrange the CONTENTS of the
original ut>W DIP -irtD in such a way that only the main sections of the
services are given at the beginning, and the worshipper is directed to
find details of each section in another place. The entire contents of the
new edition should be given at the beginning.

I was personally delighted to see the many daring changes in the
text of the contemplated new version of vttoB UW "THO , changes
which reflect the current position of the Conservative Movement
concerning many issues, and specifically the place of the woman in the
service. I, therefore, suggested that it was high time to change the
archaic, "venerable" term READER, which is totally meaningless and
even misleading, to one that acknowledges the p r e s e n c e and
f u n c t i o n of the 113^ nhui or yV- I urgently recommended that
the Editorial Board change the dubious term "Reader" to another more
accurate one, be it Hazzan, Cantor, or even Leader. 1 hastened to add
that for congregations that do not have a professional functioning
Hazzan, the term Cantor or Leader (just like Ba'al T'flllah) can apply to
anyone leading the service and not necessarily to a professional
functionary.

In the current version of DrW D'W THC there is a small open box
CI which indicates the place in every prayer where the Leader of the
Service usually starts to chant the conclusion of the prayer, signaling to
the congregation that they may proceed to the next prayer. This is one
of the vital functions of the y'V ■ to keep the worshippers praying
together as a unified congregation. In most prayers, the concluding
words to be chanted consist of a full sentence and a complete thought.
On occasion, the chanting starts in the middle of a phrase and it cannot
stand on its own. I agonized over this problem in preparing the various

services which I have compiled: Should I leave it as it is practiced, or
should I start the conclusion at the beginning of the thought? (in
narittfy for instance, the entire paragraph consists of one long sentence,
and one would have to start from the beginning in order to make full
sense. Still, the custom is to start the concluding section with
D^1y Ijn nnyn rniqlni Ilto-p .) Finally, I came to the conclusion
that it doesn't really matter if the cantor starts in the middle of a
thought, since it is obvious that the part which he is chanting is only a
continuation of the complete prayer dawned softly. I found instances
in both the original and the revised versions of nl'jttf Dtp "inp where
the little open box D was placed arbitrarily and contrary to the wide-
spread custom among hazzanim. Two obvious examples come to
mind: (1) Page 340, in the conclusion leading into |t"iK bx, it is clear
that it is more logical to start

rather than

ut6k mm ^3-1373 \v..

(2) Page 350, rather than start with

wrhx mm Kin rrruw nnK,

it is preferable to start with either

nay? k^i pm ,n*raKi nm,
or even 7\nvJ thw? ,vb^m lnlD.

Rabbi Harlow included in his introduction the disclaimer that "local
custom should be followed when it differs from this guide."
Nevertheless, it deliberately goes against the practice of the great
majority of hazzanim. I must also mention the almost universal custom
among hazzanim to recite the text following the words -j^ W1JK DHin
silently, and to start chanting again at the end with

:|>nrn 1*73 16 '3 3iun.

Among the most beautiful of ancient n^DJin niKTOU are those that
are chanted to the Passover n'Ul'9 . By eliminating the D'UTa of
HlT rT]2 and niPa 1 . 1 ? nV , the Conservative Movement has effectively
dealt a death blow to an important portion of the remaining vital and
authentic HlKnpi3 . I fail to see the reason for eliminating these D'Ul'S
when others, less vital, remain intact. My urgent recommendation was
to restore the above-mentioned Q'pl'9 to the new edition. At the same
time, I indicated that I would favor further judicious abbreviations of

]bii rnn-p* and ntiyufin.

When I wrote the music for the "Preliminary Service For Sabbaths
And Holidays," I divided the 26 verses of Psalm 136, Hon zbtyb '3,
into units of three lines each. I did so after careful analysis of its
contents. Both the original and revised editions of DT7U? D'ttf "1110 mark a
space after every four lines. I was glad to see that the English version
of the new edition was divided into units of three lines. The Hebrew
text, however, still has a space after every four lines.

I voiced satisfaction that the editors of Dv7W D'W "ITTO provided
a special vowel symbol for all the tmyp D'vnp, although I would have
liked to see a more easily distinguishable and recognizable symbol.
1 expressed the hope that the absence of cantillation symbols (Tropes)
in rortlO and "inK'l was merely an oversight that will be corrected, and

While on the subject of Tropes, I pointed out that the Trope
JO""pn in the word IKT'l, in the section of nin> jnjn'l , marks the main
accent (jn^n). To put a }np, under the i is misleading since in this
prayer book the Ann indicates the main accent. It is true that in the
Torah there is a jnn, under the ', but it is not an accent mark. Its
function is to show us that the KW which follows is a yj kw.
Whenever a word in the Torah has both a Trope and a inn, it is the
Trope that indicates the main accent. The accent in ik~1"1 is, therefore,
on the last syllable. J '

I enthusiastically endorsed the idea of supplying English
transliterations for key congregational responses. It has been my
conviction that much of what ails our contemporary services is due to
the indisputable fact (which many of us, nevertheless, choose to ignore)
that the great majority of our congregants cannot adequately read
Hebrew, and a considerable number don't even know the Hebrew
alphabet. I have recently urged the Cantors Assembly to consider
compiling and publishing a Companion to DrJtt' D'W TltO that would
contain the transliteration of all congregational prayers along with the
music. In my position paper, I stressed the importance of making the
transliterations available, and I added that the music could serve as an
excuse for those who are too embarrassed to publicly admit that they
cannot read Hebrew. (I prepared an experimental prototype of such a
companion for my congregation and it has met with great success. Its
use made a significant difference. By the way, this Companion gave
our rabbi the opportunity to include an additional section with many of
his favorite English Responsive Readings.)

In connection with the system of transliteration, 1 pointed out many
inconsistencies. Mainly, it concerned the yi Klf. For example: Why
Berakhah, Pesukei De-zimra (with an e) while in other places, K'riat
Sh'ma (with an apostrophe)? An apostrophe is also used to separate
two consecutive vowels (V'yitpa'ar), but this, too, is not a consistent
practice since at times the separation is done with a dash (ba-agala). I
pointed out that it is important to refrain from putting an apostrophe
after a consonant unless the intention is to indicate a y) KW. I also
pointed out that there is an exception to the rule of identifying a y] K1U/
when it follows a rhm nyitfl • This exception is innn 11 with a piw ■
It is neither a JO KW nor a ru KW but a rynn KW ■ In
Israeli transliterated publications it is treated as a
mra . Consequently, it should be uv-yomeikhon uv-chayei etc.

I submitted a complete list of corrections for all the transliteration
errors that I found.

[The next segment was not submitted to the Prayer Book
Commission, but I would like to add it here. I must say that I am
personally opposed to the universally accepted method of making a
d i s t i n c t i o n in the transliterations of the 3 and the n . The

3 is transliterated as KH, while the n is transliterated as H with a dot
underneath. (Most typewriters and computers are incapable of printing
this!) Thus, the word nan will be transliterated as HAKHAM. Sure,
in correct Hebrew ^pellirig onetcannfot interthangla the 3 n
but in pronouncin g the word, both 3 and n sound exactly alike. (Only
some Yemenites are still able to make a pronunciation distinction
between the two.) Moreover, if it is important to distinguish the 3
from the n , why is it not equally important to make a distinction
between the K and the y . For example, both rrriK and nriy are
transliterated as ATAH. Yet, nriK means YOU, while any means
NOW. To carry it a step further, why not make a distinction

between the to and the o , between the n and the u , as well as
between the 1 and the 3 . It seems to me that Hebrew scholars don't
need the transliteration distinctions, and those who desperately need
transliterations, don't care about the distinction, and are totally
confused by the various transliteration spellings of the same sound.
Although this has been a long standing pet peeve of mine, I don't
really expect to see the established system changed. In my own publi-
cations, I adopted a uniform spelling for all sounds.]

While contemplating the new edition of uhw D'to *I1"T0 ,
I wondered aloud why a prayer book courageous and daring enough to
make significant changes in the text when it was necessary and correct,
had not tackled the obvious and glaring difficulty of making sense of
the introduction to the D^rO rp"D. The text reads as follows:

"U'niaK vkx.} "OvbK - Our God and God of our ancestors
ntoWnn H3-133 1D13 • bless us with the threefold blessing
rtriirDri rnin? - i n the Torah that is written
TT3V n\l)n 'T "757 • by Moses, your servant

A faulty diction is obviously involved in the words

rfcy nton 'T by rniron rnira.

The word rniron refers to the Torah, while the word rninKn refers to
the threefold blessing. The only way this line would make sense is by
reversing the words and making it:

■q-rny nton 'T ^y rnirq rrainsn .

This happens to be the way Rabbi Harlow actually translated it: "Bless
us, our God and God of our ancestors, with the threefold blessing
written in the Torah by Moses. Your servant, pronounced by Aaron and
by his descendants" etc.

I called the Commission's attention to a fine article, "Disputed
Phrasings In The Siddur" by A. Mishcon, published in The Jewish
Quarterly Review, Vol. VII, No. 4, April 1917. The solution of reversing
the words was offered by him in that article.

Rabbi Harlow wrote a masterful introduction to the original
nlby O'C -ino. I wish he had included a reference to the ubiq-
uitous congregational responses WW Trial Kin in? and 1»K-

Among the most beautiful prayers in Harlow's D'KTU D'13' 1 ? "11111)3
are the new ones which he introduced. I am always deeply moved
whenever I recite Hillel Bavli's rrhx Sk .^ mbsn J1K1, (page 4 12)
and tears always form in my eyes when I get to the ending. I wish he
had included similar new prayers in his Qv7u; D'W 1110. I mention it
because I found in the old (Silverman's) RA prayer book an inspired
ITOjja before naw nun, brilliantly written by Rabbi Robert Gordis. It
gives a totally new spin to the concept of rvoa-ij?, one which every
thinking modern person can accept. It is a touching and heart- warming
prayer that I wish would be included in the new uhw D'W "1110 •

And while on the subject of Silverman's old RA prayer book, I
must add that in the Shacharit Amidah, in the prayer

nivixn "i:6 wrfrK mrr inru kVi l
I much prefer Silverman's,

D>i/un ww> 16 inrnMa ux\

to Harlow's version. I feel very uncomfortable with the phrase,
D'^TV ffilf tib inn,lMa Oil especially when a large number of non-Jews
are in attendance as guests.

My comments and suggestions also included references to the
English parts of the prayer book, but they are not as crucial to us,
hazzanim, as the Hebrew parts. When the first edition of ubv> D'lP THD
was prepared, the Cantors Assembly was not given an opportunity to be
involved in the process. When it was completed, we were asked to
endorse it and help influence its acceptance in our congregations. With
the new edition, a number of representatives of the Cantors Assembly
have been invited to take an active part in its preparation and to offer
meaningful input. We have done so to the best of our ability. I hope
that our input will be seriously considered and implemented.

THE CANTILLATION OF THE DECALOGUE

By JOSHUA R. JACOBSON

Introduction

My use of the word "decalogue" in the title of this paper rather than the

more familiar "ten commandments," is deliberate. My motivation,

however, goes beyond the mere thrill of using a polysyllabic
euphemism.

First of all, whenever I say the phrase "The Ten Commandments" I can't
help but think of the Cecil B. DeMille movie. Secondly, as is well known,
"dibrot" doesn't mean "commandments," but rather "Divine utterances."*

Even the word "decalogue" (from the Greek for 'Yen words") may be
inappropriate, since not everyone agrees that there are ten
commandments, or how to count the ten. 3 The Samaritans count our
second diber as the first and add an altogether different tenth, based on
the injunction to carve the laws on Mount Gerizim. According to the
Sefer HaChinuch there are fourteen dibrot!'

Where does the first commandment end and the second commandment
begin? The writings of both Josephus5 and Philo6 reflect an opinion that
the decalogue begins with the words -\b m> nb and that the second diber
begins with the words "702 "\bnwyrtnb. Abraham Ibn Ezra and Shelomo
Norzi wrote that the second diber begins with the words WOTl Kb. Even in
the masoretic text itself there are two different traditions: in one the
second diber begins with -ft rrev kV, and in the other with bvs -\b nwnn 16.

The cantillation signs, the ta'amey hamikra, serve as a guide to reading
the scriptural text as it was understood by the Rabbinic authorities in
Tiberias some one thousand years ago. These intonation patterns can
assist us in understanding how the dibrot were counted by the
Masoretes who set the text in the form in which it has been known for
the past millennium. Furthermore, the te'amim hold the key to
understanding the history of the corruption of the masoretic text of the
decalogue.

The functions of the te'amim

The te'amim are graphemata placed under, over or between words in the
masoretic text. The three functions of the te'amim are, in brief:

JOSHUA R. JACOBSON serves as Professor of Music and Stotsky Professor of Jewish
Studies at Northwestern University. He also serves as Adjunct Professor of Jewish Music at

Hebrew College"'- Jewish Music Institute. He is the founder and director of the Zamir Chorale
of Boston.

melodic motif to which the attached word is

2. Most of the te'amim indicate syllabic stress-which syllable of the
word will receive the unique pitch level (usually higher, sometimes
lower) and tonic lengthening that lends it greater prominence.'

3. The te'amim also function as an elaborate system of punctuation,
symbols for parsing each verse into a hierarchy of syntactical
components.* The te'amim are a guide to the recursive dichotomy
inherent in every verse. For example, the siluk9 is the equivalent of
a period, indicating the end of each verse. The etnachta marks the
main dichotomy of each verse. The zakef and/or tipcha indicate the
next subdivision within the etnachta clause, and so on.

The cantillation of the decalogue is problematical. Even in the pre-
masoretic period there must have been two distinct traditions of
chanting, both of which were canonized by Ben-Asher. In the ensuing
centuries yet another tradition became so prevalent that the masoretic
cantillation was tampered with to suit this other interpretation.

Here is a brief example of how changing the te'amim can radically
change the meaning of the consonantal text. Te'amim are either
conjunctive or disjunctive. A conjunctive ta'am indicates that the word
is joined in meaning to the word which immediately follows. A disjunctive
ta'am indicates a syntactic separation following the word. Without
punctuation the following verse could be given at least three different

Example 1: Genesis 24:34.

.'33K DmiK "nil -II3J01

(1) with a disjunctive accent on ^y.

A servant said, "I am Abraham." : *pJN DT13K *T3fi "IIM^I

(2) with a disjunctive accent on nmax:

Abraham's servant said, "It is I." : 'piN Dnn3N *13£ "1D»»1
|3) with a disjunctive accent on -rax 1 !:

He said, "I am Abraham's servant." r'piX U7\~OH T3J) "IQtf'l
The third version is the masoretic punctuation."

The te'amim of the decalogue

The next example shows the decalogue from the twentieth chapter of
the book of Exodus, as it appears in the Biblia Hebraica Stuttgartensia,
which is based on the Leningrad Codex, wriien in 1009 ce.11

Example 2. The Decalogue in Biblia Hebraica
Stuttgartensia

» -.trial? rr-j>p orffQ pW TP*** 1 TW itf* nyr"<?» * ,
5 rrirr*'?»{ 7 bi^q i6j en 1 ? nirertfrnt'? » •px 1 ? nnpp ,.

,, Kb 7 » : W nnSbi -pnk'p a<$to W*S1 « •* I

-t nfljf "^Hi? 1 ? "?^i or-riK ni??« . :K ^ <tRhng;
nrr 1 ? injjtf ^z&n bvi >" •^sk'?!?- 1 '? ntroi Vajjn c<ny'

* l n$ nirr .■*» berTO '? " ""rtflft Tftf' 'ilVt T&PW "
•» -yaifo oi^3 njji D^-n^-^-rwnbTr-nK fiK^nKfo'pqfrt
- -nx Tpj '-• : •'-"TBhp'i. "natti cl^nx nryT ijjs p-fjj .«

».* : iilitfi*V.i2»r.'"n;yi -tjfi 'n?fo Harm-* 1 ? ^sn fvjS "lono

This passage looks confusing because there are two sets of te'amim,
superimposed one on the other. Both sets were canonized by the
Masoretes. There are three places in the Bible where we find this
phenomenon: the two occurrences of the decalogue (Exodus 20 and
Deuteronomy 5) and the expurgated saga of Reuven (Genesis 35:22). 12

The two sets of te'amim are called ta'amey ha-elyon and ta'amey ha-
tachton: the upper accents and the lower accents.

Ta'amey ha-elyon and ta'amey ha-tachton

Why did the Masoretes notate the decalogue with two sets of te'amim?
They reflect two different performance practices. The generally
accepted custom today is to use the ta'amey ha-tachton for all private
study of the text, and the ta'amey ha-elyon for all public recitation. 13

Compare the two versions as laid out in example 3. The ta'amey ha-
elyon arrange the decalogue into ten verses-one verse for each
commandment. This structure lends the public performance a certain
theatrical verismo. The ba'al keriya recreates the sound of the
theophany at Sinai. As a result of this division there are some very long
verses (2 and 4) and some very short verses (6, 7, 8). On the other
hand, the ta'amey ha-tachton represent the normal reading, leaving the
text of the decalogue in verses of more-or-less average length, not too
short, not too long. There are twelve verses. The two very long dibrot
(the second and fourth) comprise three and four verses, respectively,
while the four short dibrot (the 6th, 7th, 8th and 9th) are combined into

For this reason, Rabbi Shelomo Zalman Henna (1687-1 748) wrote that
the ta'amey ha-elyon are to be thought of as analogous to the "ketiv"-
an unnatural reading that is to be looked at but not vocalized. The
ta'amey ha-tachton are analogous to the "keri"-a more logical, natural
reading intended for use any time the words are actually read aloud."
Note that this interpretation is the opposite of the accepted practice.

Example 3: The two masoretic ver

sions of the decalogue in Exodus 20

pnnnn »nyD

ansa pKa'^ntortn into

ansa fTua'^Rsjvi ntfk

BHarrr-aa

anrm bti^k tj 1 ?' rwHP?

7lV"nto»n \kb ^-bv

■?j?b"b i b*iatfa ntfk
ruiiiip p^'a h#*o

bn 1 ? mnnefrrK 1 ?
b^k 1 ? hoh ntoto")

•?»6p b^ato nafti

rinrip p$a ne/ni

^ns 1 ? nnna a^aa niki

arft mnrn^rrK'?
*»si« *» Bnay'n rt^n

ny$-by rh$ ]\v ipb'

b^k 1 ? nan nMn
b ^tYisp nafc^V^k^

nwBtf-nN K£n a 1 ?
& «k$V team*

mrrotf-n* nfen »•?

hai?tn nnr nttfttf

i rqtf ^atfn d^")

nfcjm «? t^'s nin^

$hs ririR n^D-"??

^nQNi *pp» ^pqV

nirp n$y b^ir-ntftf *»

H$rrh»n b ; Dt?rf n*

D^-nato-'baTian VrrnR

" "•'lrattfri bva nan

o tinfftfci natfn ov-nijt

^pb natfn QV-nx *vd|

~~ 8
~~ 9

natf ^atf n bv*!

n&»rrK? td^S rrurb

^im i nriR r^RVo'ba

TOKT ^a» ^ai

p$rrnRi bnaqfrrn^

Da - ndk -T, ?s"nH\ 4 b>n _ n»t

' Vitfri bva nan

mn^a'ja-bjj

mnHtfo n^kn b»

^laK-nxi t 3 * - * 1 * naa
o TOE* TO 1 ?*

:nyiFl «"?

renn Kb

aSan xb
o : ngtf i» ^ina nwrrKb

o «^n Kb

o :3iin Kb

o iif# "i» *|sris nwrrRb

*?li?n n*a nbnn Kb

^|jjn ntfR nlinrrx 1 ?

YH&m *nW) ¥Jia*n ''ppi/i

^»n rva nbnn Kb

^6r\ ntfR inner*?

YHnm V)W) ¥wri < narr)

a ^'inb ntfR bbi

The New International Version of the Bible divides the decalogue into
sixteen verses. This division is arrived at by counting every verse
ending: both the elyon and the tachton.

Example 4: The decalogue (Exodus 20: 11-17) in the NIV.15

'You shall have no other

Exod. 20:4 'You shall not make for yourself an idol in the form of
anything in heaven above or on the earth beneath or in the waters

Exod. 20:5 You shall not bow down to them or worship them; for I, the
LORD your God, am a jealous God, punishing the children for the sin of
the fathers to the third and fourth generation of those who hate me,
Exod. 20:6 but showing love to a thousand generations of those who
love me and keep my commandments.

Exod. 20:7 'You shall not misuse the name of the LORD your God, for
the LORD will not hold anyone guiltless who misuses his name.

by keeping it holy.

Exod. 20:

:9 Six days you shall labor and do all your work,

Exod. 20:10 but the seventh day is a Sabbath to the LORD your God.
On it you shall not do any work, neither you, nor your son or daughter,
nor your manservant or maidservant, nor your animals, nor the alien
within your gates.

Exod. 20:1 1 For in six days the LORD made the heavens and the earth,
the sea, and all that is in them, but he rested on the seventh day.
Therefore the LORD blessed the Sabbath day and made it holy.

Exod. 20:12 "Honor your father and your mother, so that you may live
long in the land the LORD your God is giving you.

Exod. 20:13 'You shall not murder.

Exod. 20:14 "You shall not commit adultery.

Exod. 20: 15 "You

Exod. 20:16 "You shall not give false testimony against your neighbor.
Exod. 20:17 'You shall not covet your neighbor's house. You shall not
covet your neighbor's wife, or his manservant or maidservant, his ox or
donkey, or anything that belongs to your neighbor."

When comparing the ta'amey ha-elyon and ta'arney ha-tachton in their
vocalized versions, one can notice some subtle differences, some of
which affect the pronunciation of the text:

Example 5: Differences in Pronunciation

lrVvn 'bjo

linnnti 'njo

ir^»

"£"?»

vowel

nnito

nnnn

vowel

N]nDK^D _, ?9 rrfcyi

^ro^n-^ rpfeyj

dagesh

n?rp» **?

n^fi^

dagesh

"IS? 1 ' 1 **?

•HMO **

dagesh

sttn r^>

siatn a 1 ?

dagesh

These variant pronunciations are the result of the two different systems
of accents. For example (ex. 5f), a disjunctive accent (tipchah or
me'alya) on )6 requires a dagesh on the first letter of mm, but a
conjunctive accent (munach) on 16 causes the tav to be rafeh.

When the accent (ex. 5b) on nnnn is etnachta then the word takes the
pausal form, and the patach on the second syllable becomes a kamats.

Since the halachah is quite clear on the importance of the correct

pronunciation of each and every word, the Rabbinic authorities were

understandably concerned about identifying which version was
appropriate for the public reading.

The terminology of elyon and tachton

There are several explanations for the origin of the terminology "elyon"
and "tachton" in reference to the accents.

According to Rabbi Shelomo Zalman Henna (in his book Sha'arey
Tefillah, 172 5) the ta'amey ha-elyon (higher accents) indicate the
intonation of the words in imitation of the manner in which they were
uttered by God (Eyl Elyon). The ta'amey ha-tachton (lower accents)
are for the normal recitation by mortals.16

According to Rabbi Jacob Ben-Tsiyon Emden (1697-1 776) (in
L u'ach Eresh, 1768): the ta'amey ha-elyon are the "high accents"-
those which encompass a higher tessitura, while the ta'amey ha-
tachton, "the low accents," are generally in the lower pitch range .17

Example 6a. Some of the "high accents"

g. - r«h a-k.f »-gol p*-»r

Example 6b. Some of the "low accents"

tU i hjfjj ih^

The same author also points out that the ta'amey ha-elyon (upper
accents) are for the most part symbols that are placed above the
letters, while the ta'amey ha-tachton (lower accents) are placed
below the letters."

Example 7a. Some of the "upper accents"

ite *)j?r *Vao aha'

Example 7b. Some of the "lower accents"

P170 Tpn ansa

Rabbi Wolf Heidenheim (in his Eyn HaSofeir) points out that most of
the ta'amey ha-elyon are accents that are found at a significant
distance from the etnachta,-in other words, near the beginning of
a long clause. Here the word "elyon" is used in the same sense as
the word "mil'eyl." "Mil'eyl" means near the beginning (the top) of a
Word, "drtyon" neans neaa the beginning; of the versen t s

on the first words (those furthest from the end of the etnachta
clause) might be zarka, segol, geresh, pashta, zakef, etc.'* In the
following example the etnachta (the main division of the verse) falls
on the eleventh word. Because of the length of the clause we find
an abundance of these "upper" accents.

in Exod.

The ta'amey ha-tachton are the accents found near the end (i.e. bottom)
of a clause and will be common in short verses, in which there are no
words at a great distance from the end of either the etnachta or the siluk
clause. In example 9 there are only three words in the etnachta clause.
The "upper" accents are completely absent.

Example 9. The exclusive use of "lower accents" in Exod.
18:22

tn^n a»aa vtrn vy$Q inato Ban]

Rabbi Heidenheim's explanation is based a salient feature of the
decalogue according to the ta'amey ha-elyon: the extreme length of the
verses for the second and fourth dibrot-43 words, apiece. The extreme
brevity of the sixth, seventh and eighth dibrot (two words each) was
apparently overlooked.

Where does the first diber end?

A close reading of the first two dibrot reveals a problem of some
complexity. Most modem Jewish Pentateuchs and prayerbooks which
show the ta'amey ha-elyon combine the first two dibrot into one very
long verse.

Example 10. The first diber from the Koren Bible (ta'amey
ha-elyon).

jfiNjfin -K£fN 3»tjSk rnn> >sa«

onrw o>n?N }S n>n> kS o>iav rvao anm jn«a

-nS p*W? nnria i ansa -ltfxi nniia pxa 10m

Mj> b*yib* np> *5"jk »a onavn tfy brh mnritfri

uoy? □>ra*i- l wi o»jfn»-S» roa-Si; row fw ij$tf

tvfisfo ntfsfo ♦arfotS d»?SnS ion nfyi

This would seem quite odd if the aim of the ta'amey ha-elyon is to
present the dibrot as ten verses, one verse for each diber. According to

these sources, a congregant listening to the ba'al keriyah on Shavu'ot
would hear only nine dibrot. Where did this strange variation originate,
and how was it perpetuated and enshrined in tradition?

Here is the first diber as it appears with both ta'amey ha-tachton and
ta'amey ha-elyon in the Biblia Hebraica Stuttgartensia (a transcription of

the Leningrad manuscript of 1009):

Example 11. The first diber from the Biblia Hebraica
S tu ttgartensia.

-.nnzv rrap ansa j»ikd ?ppR$1n -$x tjt6r nyr bjx

The disjunctive word dhii* is punctuated with both siluk and etnachta.
The preceding word, n'M (obviously a conjunctive because of its
construct state) has both mercha and munach.

How do we know which accent belongs to ta'amey ha-elyon and which
belongs to ta'amey ha-tachton? To answer that question, let us look at
the short dibrot. Here is the sixth diber:

Example 12a. The sixth diber from the Biblia Hebraica
Stuttgartensia.

:n3-fikb>

In the ta'amey ha-elyon, the two words of this diber must stand alone as
a complete verse, therefore the word nnn must have a siluk as its
accent. There are two accents under the tsaddi: siluk and tipcha. Siluk
is on the left and tipcha is on the right. Since we know that siluk must be
the ta'am ha-elyon, we may hypothesize that the ta'amey ha-elyon are
written on the left and the ta'amey ha-tachton on the right, when they
appear under the same letter. The accents under the word j6 show the
same pattern. The required conjunctive for the siluk is tipcha (or
me'alya); it is written on the left. The required conjunctive for tipcha is
mercha which is written on the right.

Similarly, in the seventh diber, on the right we find ta'amey ha-tachton:
munach and etnachta, and on the left we find ta'amey ha-elyon: tipcha
(or me'alya) and siluk.

Example 12b. The seventh diber from the Biblia Hebraica
Stuttgartensia.

:r 1«»^

Look at another example, the word nnnn from the second diber. In the
ta'amey ha-elyon, because of the length of the verse, the accent is
geresh, placed above the tav. According to the ta'amey ha-tachton,
which divide the diber up into smaller verses, there would be an
etnachta under the tav, effecting the pausal form, altering the patach to
kamats. In BHS both patach and kamats are found under the tav. Note
that the vowel for the ta'am ha-elyon is written to the left of the vowel for
theta'am ha-tachton.

Example 13. nnnn from the second diber in the Biblia
Hebraica Stuttgartensia^

nnnn

The pattern is clear: if a word has two accents, both of which fall below
the same letter, the ta'am ha-tachton is written on the right and the
ta'am ha-elyon is written on the left.

Let us return now to the first diber (Ex. 11). The siluk on the word cnav is
written to the left of the etnachta. Therefore according to the ta'amey
ha-elyon the first diber should end on the word only. This punctuation is
consistent in the four masoretic codices (the Leningrad MS of 1009
c.e., British Museum MS 4445 (c. 925 c.e.), the Sassoon 507 MS and
the Sassoon 1053 MS (both probably 1 0th century)).20

Furthermore, in MS Sassoon 507, there is an interesting sidebar. The
editor has placed in the margin the incipit for each diber according to the
ta'amey ha-tachton. The first three markings look like this:

'nip -nyv ntnimn-nb

own -\b nw Kb D'-iay nun Dmn

minn b^ "roa -\b n»yn k"7 'ia by nmrw

-MKi nnnn pio ~wk\ bvnn wnwy -iiok

k^ nrtb mnnwn Kb pK 1 ? nnnn crna

py npa wp "7K im^K n *3:k o mavn

'Kju^7 D'i>n by\ wvhw bv D'33 bv nnx

:'myn nnivVi '3ni6 D's'jk'? ion rwyi

The marginalia imply that, according to the ta'amey ha-tachton, the
second verse begins with -\b nron j6; if so, the first verse ends on the

words us by. Therefore the siluk on onay cannot be ta'am ha-tachton
(the siluk for ta'am ha-tachton is on 'ja by), and so must be the ta'am
ha-elyon. 21

At the end of the book of Exodus there is a masoretic note stating that
there are 1209 verses in the entire book. This works out only if one
counts the decalogue as 12 verses (the enumeration according to
ta'amey ha-tachton). At the end of parashat Yitro the number of verses
in that one parashah is given as 72. We come to that number only if we
count the decalogue as 10 verses (the enumeration according to the
original ta'amey ha-elyon). So the masoretic word-counters made
allowances for both traditions-the decalogue as ten and as twelve
verses. None of the masoretic enumerations works if one counts the
decalogue as nine verses."

Rabbi Wolf Heidenheim found one more bit of evidence in support of the
authenticity of the siluk on onay. 23 Heidenheim claimed to posses a
very old machzor dating from 5018 (1258 c.e.). The torah reading for the
first day of Shavu'ot was written out according to the ancient custom of
public reading: each verse of the Hebrew Scripture was followed by its
Aramaic translation (Targum Yonatan). The first verse of the decalogue
ended unmistakably with the word nnay and there were ten verses for
the ten dibrot.

When and why did the text become corrupted?

The question then arises, at what point and why did the text become
corrupted?

Rabbi Mordecai Breuer cites the Rabbinic Bible (Mikra'ot Gedolot)
printed in Venice 1524-25 as the first source for the corrupted version. 24
The text is identical to that of most contemporary Rabbinic Bibles.

Example 15. A transcription of the first nine words of the
decalogue from the Venetian Mikra'ot Gedolot (1524-25)

D' j3» rva p dnsp pan TP**^ itf « TD^S i 1 ' *$ J &

Comparing example 15 with example 11, we notice two important
changes on the word onay. Originally the siluk had been written to the
left of the etnachta, now it is wriien to the right. (The conjunctives on
the word n»an have also been switched to match the new order of their
disjunctives.) The new arrangement implies that the ta'amey ha-
tachton-not the ta'amey ha-elyon-end the verse on the word onay.
The other implication is that in the ta'amey ha-elyon the first diber would
not end on may, but would extend all the way to the word >mi'n.

Example 16. The first diber of the decalogue from a
contemporary edition of Mikra'ot Gedolot.

rr» era? nfc ^yin t?k
nn.no i d$3 "i^Ki rnrp p^?

d : Tto ne&W ^n 1 ? d^n?

Was there a deliberate attempt to revise the text so that the first two

dibrot would be combined in the dramatic public reading? Rabbi Shelomo
Norzi (1560-1616) quoting the thirteenth century French Rabbi
Chizkiyah ben Manoach, wrote,

With regard to the dibrot '31K and "p rvm 16, there is a "neginah
gedolah" [i.e. ta'amey elyon?] to combine the two of them into
one verse, in recognition of the fact that they were both uttered
as one (ttik Tiro). How is this done? ... the word troy is
punctuated with revi'a.25

Norzi is referring to the fact that in these two dibrot (and in only these
two) God is speaking in the first person; in the rest of the decalogue,
God is referred to in the third person. To cite the Babylonian Talmud
(Makkot 24 :a), Diynu; rnuan >en , the first two dibrot were heard directly
from God's mouth.

Those who regarded the decalogue as "ten commandments" and not
"ten pronouncements" had difficulty explaining the verse beginning with
'33K. While some, such as Philo and Josephus, considered that verse an
introduction to the decalogue, others joined it to the next verse to
create one long commandment against idolatry.

Example 17. The first two dibrot, combined into one.

dtiVk -\b nir k"7 amy man onyn

ruran ^ai "70B ~[b rroyn k 1 ? 'is "?y wtik.

iwki mnn y-iio -wki bynn wawz -wv.

kVi DnV mnrwn Kb y-iK 1 ? nnnn trna

py ips Kjp ^k Tn"7K n 'Six '3 mayn

'kjb^ D'jaT "7V1 trwVw "7V tr:a by nan

:'niyn nnipVi 'arm 1 ? cs^k 1 ? ion rroyi

I am the LORD your God, who
brought you out of Egypt, out of
the land of slavery. You shall
have no other gods before me.
You shall not make for yourself
an idol in the form of anything in
heaven above or on the earth
beneath or in the waters below.
You shall not bow down to them
or worship them; for I, the LORD
your God, am a jealous God,
punishing the children for the
sin of the fathers to the third
and fourth generation of those
who hate me, but showing love
to a thousand generations of
those who love me and keep my

Abraham Ibn Ezra (1089 -1164) wrote in his commentary to Exodus
20:2, "I question how the verse >:jjk can be counted in the decalogue,
since it is neither a positive (nwv nnvn) nor a negative commandment
(nu/yn x'jrmyn)." Others, however, refuted that argument. If one
considers the decalogue as a covenant (rma) between God and Israel,
then the first diber (^m) presents God's obligation to His people, while
the next nine dibrot present Israel's obligation to God.26 Maimonides
(113 512 4) even goes so far as to state that >:uk really is a

con

The first positive commandment - this is the one in which we
were commanded to believe in the Divinity, to believe that there
is a First Cause and a Primal Purpose, the Prime Mover of all
existence. This is what the Exalted One said, ypb*. Vm. 8

The arrangement of the decalogue into paragraphs
standard Torah scroll also seems to contradict the masoretic
punctuation. There are ten paragraph endings in the decalogue (eight
setumot and two petuchot), but not all of them correspond to the ten
dibrot. The first paragraph ends on the words >niYa nnu/?i (not on dh3v,
the end of the first diber). The last diber (-rann vb) is divided into two
paragraphs.28 Indeed, many eminent scholars, among them Ibn Ezra,
argued for a reordering of the decalogue in which each -rann *b is a
separate diber.29

Example 18. The decalogue in the Torah Scroll.

tow wto^ww*» bwbfl&'fcsfoyn ^

ns 'nir rspy nVs wtw -pbx'rvn* dv»

rrt ran? ^sVriwp irawobs jn>7
-HV<w -rtptf -pft ^warw -\jyosi -pay

icjt sw 73^ ro* -as ltfnrw

nwn vw mwi visty "tinn'M* "wrm

Switching the order of the etnachta and the siluk on the word tniv
served to combine the first two dibrot of the ta'amey ha-elyon into one
long commandment, but it also posed a syntactic problem. The rules of
the masoretic punctuation dictate that etnachta, the major dichotomy,
can appear only once in each verse. As can be seen in example 16
above, it now appears (in ta'amey ha-elyon) twice in the newly elongated
first verse— once on omy and once on »k:w. Since this was
incompatible with the system, one of the etnachtas had to be
downgraded to the status of a lesser disjunctive. The solution to this
problem was to change the first etnachta to revi'a. At first the editors

were hesitant to tamper with the masoretic punctuation--the revi'a was
added but the etnachta was not removed (see example 16, above).

Eventually, however, the etnachta was removed altogether, leaving
only the revi'a as the ta'am ha-elyon on cmy. Then the words
onvn pKB "prmnn "rem, which had originally been a tipchah clause in
both elyon and tachton (see ex. 15) became a geresh clause to
accommodate the new revi'a clause.

Example 19: The first nine wordr of the decalogue
(ta'amey ha-elyon) from the Koren Bible.

onzv n*an onvo y-wa yhxp? ton yrfjK rrp b'JN

For hundreds of years this seems to have been the generally accepted
Ashkenazic practice for reading the decalogue. The original punctuation
was forgotten. Rabbi Wolf Heidenheim may have been the first scholar
in modern times to question the validity of the punctuation in the
Rabbinic Bible (Mikra'ot Gedolot).30 Heidenheim recommended that in
public the first nine words be chanted according to (what he assumed
was) the ta'amey ha-tachton, thus ending the first verse on onay. While
this did not correct the ta'amey ha-tachton, it at least resulted in a
correct reading of the ta'amey ha-elyon.

Today, even with the general availability of the early masoretic sources,
most contemporary editions of the Pentateuch published for synagogue
use still perpetuate the corrupted form of the decalogue with its reversal
of the elyon and tachton.31

: an^f npo crm pxo y j**vi ■#$ ^hSk .-tj-t
-ft rfomyb -.'^-^ crm. orrSj ft> ,t;t-j6 4 j
px? Sfft Ssfe? i bptf 3 -#x njwrr^pi i "?pp
crb rrpmmb : p j6 nnrv? i Dps -\0a nnpo *
1^ -ipis xp *?k jrbx .-rrr "?1k 7 crasn 161
rraftn :*$"&> ersvrfw, cryhyrby wiybv ripx 6
d s-tfiso 'jxfo *p>~$? cj&vb Ton 7

Example 20b. The first diber in the ArtScroll Machzor for
Shavu'ot.

rrjrp *b Dnay rvjn nnsrn Y1M ^nKYin -itfj? TprjSjj
-"751 1 "795 ^V-ntpyn Kb •'JQ-Vy ann*c d'si'js "tjV

mm '5'jijj ■•a n-nyn Kb) nrfo ainnipn-K 1 ? yiK 1 ? nnnn 1

^rrtxn ntftt/Vi 'an'j6 cd 1 ?*^ ipn n^yi wto 1 ? O'yin

Perhaps this article may contribute in some small way to a revival of the
original masoretic cantillation of the decalogue.

1 This article is based on a paper delivered at the annual conference of
the Association for Jewish Studies at the Park Plaza Hotel, Boston,
December 20, 1994.

2 Although there are several opinions as to the singular form of the word
"dibrot" (not to mention the term "devarim"), I shall use the term "diber"
rather than the colloquial form "dibrah," in this paper. See Jeremiah
5:13,

3 In the Pentateuch the decalogue is originally referred to, without a
number, asnnanor asn^Knonnn. Only well after the Sinaitic
theophany is the phrase nnrtn rrwj; utilized (Ex . 3 4:28, Deut. 4:13 and
Deut 10:4).

4 Seifer HaChinuch. Jerusalem: Mossad HaRav Kook, 1976 (first
publication Venice, 152 3), pp. 7 6 ff,

Antiquities, Book III, sections.

5 The Decalogue, 66 and 15 6.

7 The exceptions to this rule are the pre-positive and post-positive
te'amim, which are fixed in their position (either at the end or the
beginning of the word) and therefore cannot indicate syllabic stress.

8 I am utilizing the parsing system devised by Michael Pearlman in his
series which was initiated with the publication of Dapim LeLimud
Ta'amey HaMikra (7 vols. Jerusalem: HaMachon HaYisra'eli LeMusikah
Datit, 1962), See also the present author's article, "Ta'amey Hamikra: A
Closer Look" in The Journal of Synagogue Music, vol, 2 2, pp. 76-90.

9 The siluk is a small vertical line placed underneath the first letter of the
stressed syllable of the last word in each verse. It is sometimes called
"sof-pasuk."

10 Note that the strong disjunctive etnachta changes the syllabic stress
and final vowel in the word -rajd.

"Many of the examples in this article contain the sacred
Tetragrammaton. Please treat these pages with the same respect that
is accorded to a Chumash.

12 I will focus my analysis on the first version of the decalogue, found in
the twentieth chapter of the book of Exodus.

13 Formerly, the Ashkenazic custom was to use the ta'amey ha-tachton
not only for private study, but also for public reading during the regular
Sabbath cycle (Yitro and Ve'Etchanan), and to use the ta'amey ha-
elyon only for the public reading on the festival of Shavu'ot. This system
has a certain logic in the case of the decalogue in Exodus which is read
twice during the year: once during the Sabbath cycle and once on
Shavu'ot. But it raises the obvious question of why have two sets of
te'amim on the deuteronomic decalogue, which is read only in the
Sabbath cycle. The Ashkenazi custom nowadays is in accord with that
of the Sephardim. See Mordecai Breuer, Keter Aram Tsova
VeHaNusach HaMekubal She/ HaMikra (Jerusalem: Mossad HaRav
Kook, 1976) p. 57.

# Jacob Weinfeld, Ta'amey HaMikra (Jerusalem: Eshkol, 1972) p. 82. I
am grateful to Avraham Nappach for bringing this source to my
attention.

15 The Holy Bible, New International Version. The International Bible
Society, 1973.

16 Weinfeld, p. 100.

V Weinfeld, p. 85 (citing the work of Rabbi Y. Ben Chaviv in Eyn

Ya'akov).

18 Weinfeld, p. 85.

"Weinfeld, p. 91.

20 Breuer, p. 59.

21 Breuer, p. 59.

22 Quoted in Weinfeld, pp. 98-99.

23 Weinfeld, 97.

24 Breuer p. 61.

25 Shelomo Norzi, Minhat Shai. Mantua 1742-44. Reprinted as a
commentary to the text in Mikra'ot Gedolot. Tel Aviv: Yatso. (n.d.) (n.p.)
The problem of the replacement of etnachta with revi'a will be dealt with
shortly.

26 Encyclopedia Mikra'it (Jerusalem: Bialik Institute, 1954) vol. 2, p.
595, S.V. "Dibrot: Aseret Hadibrot."

27 Maimonides, Sefer Hamitsvot (Jerusalem: Mosad HaRav Kook, 1958)
p.u.

28 Maimonides, noticing this division in the Aleppo MS, considered it an
error. This parashah division is not found in the Leningrad MS, in which
the two innn nb phrases are combined into one paragraph.

28 Asher Weiser (ed.), Ibn Ezra: Peyrushey HaTorah LeRabeynu
Avraham Ibn Ezra (Jerusalem: Mossad HaRav Kook, 1 976) p. 231 .

30 Heidenheim, Eyn HaSofeir (Rodelheim, 1818-21), quoted in Breuer,
65-66.

31 One notable exception is the Birnbaum Machzor.

A CI STUDENT SPEAKS OUT

Text of an unusally warm and revealing Thank You NOTE to the Cantors
Assembly UPON receipt of the Cantors Assembly HAZZANUT Award

by WMMIE GELFAND

Dear Cantor Samuel Rosenbaum:

My name is Yummie Gelfand, and as a beneficiary of the Cantors
Assembly Hazzanut Study Award, I personally want to thank you for the
interest that the Assembly continues to demonstrate in helping Cantors
Institute students finance their education.. I would have written to you
sooner, but I got caught up in my classes here at the Seminary and then left
for a trip to Israel soon after that. I have enjoyed my first year here at the
Seminary very much, and I would like to share with you some of the
reasons why I am here.

Religion, music and education have always been the three spheres in
which I have lived. The religious sphere found its beginnings in a small
town in Florida in which I grew up, called Leesburg. This town is centered
in the midst of the "Bible Belt", a place that is often unaccepting of people
with different religions and views. I grew up relating and dealing with the
constant fact that I was a Jew, and therefore, I was different. I have various
memories of the neighborhood in which I lived, and the schools that I
attended. I vividly remember the day my sister came running home and
explained that the boy next door had thrown a brick at her while yelling,
"you damn Jew." I did not understand the words at the time, nor the
meaning behind them, but I do remember being scared and not understand-
ing what it all meant. School remained a puzzling place for me. I began
each day at school, standing and pretending to participate in the silent
prayer to their Lord Jesus Christ. Every month, I was handed miniature
New Testaments by visiting church members, and often my friends would
try to convince me to convert. 1 was excluded from many of the after school
activities in which my friends participated, because these activities were
either religious or church related. There were times that I hated being
Jewish, and there were times that I wished I could have been born
differently, but eventually, I learned to be proud of who I was.

I have many fond memories of my family and the closeness that we
developed throughout the years. Now, I understand just how hard my
parents worked to insure us a good Jewish education. Although my
family was not religious at the time, we were quite traditional, and

observed all of the holidays throughout the year. I remember Friday nights
in the home. Shabbat was always considered a special family time. My
three sisters and I would help mom set the table and prepare for Friday
night dinner. The entire family, including the dog with an occasional
howl, would sing the prayers before lighting the candles, drinking the
wine and eating the challah. However, Friday night dinners were more
than just a time for eating, they were a time for being openly Jewish in a
safe environment, and expressing and sharing ourselves in a supportive
family atmosphere

Our family would go to Beth Shalom, the local one room synagogue
in town, for Friday night services, a service that was held once a month. I
have fond memories of that little one room synagogue that accommodated
Jews from a mixture of various backgrounds. As a child, I remember we
were free to roam the synagogue. We explored every comer, turned the
pages of every prayer book and moved from one adult lap to another.
Although there was no ordained Rabbi, we had an acting volunteer from
the old country, who we called Rabbi Getzel Mularsky. More than
anything, I remember his beautiful baritone voice singing the prayers and
inspiring me through his music. He had a way with children, and was
always inviting us to come and sit on the bimah. As we grew older, he
allowed my sisters and I to help him run the services by singing the prayers
that we knew. At the time, I did not know what a Rabbi was or what going
to synagogue was all about, all I knew was that I went to synagogue that
one time a month, and felt so loved and cared for, that I could not wait to
come back the next time. Although, I did all of my formal training for my
Bat Mitzvah in an Orlando synagogue, I had my Bat Mitzvah in the
synagogue in Leesburg, where I had so many of these warm memories. As
an adult, I often visit home and always help conduct the Friday night
service. There have been many changes there since I have moved away.
The congregation is larger, there are young people with children, there is
a Sunday school, and there are plans for expansion. But the one thing that
has not changed since I left, is the warmth for the Jewish religion and
community that 1 feel every time I am there. I think that this synagogue was
the first place outside of my home that I felt accepted.

As soon as my sisters and I were old enough, my family joined an
Orlando synagogue, Ohev Shalom, so that we could study in the Sunday
and Hebrew schools and prepare for our Bat Mitzvahs. I remember
everyone falling out of bed early on Sunday mornings and sleepily making
the one hour commute to Orlando every week. At the beginning, I was
excluded from my peer group, because I did not socialize at the synagogue
during the week, however, when I became involved in the synagogue

youth group, and the USY chapter, I began to really enjoy my time there.
My first immersion into Jewish culture was through USY on Wheels. This
experience was disguised as a road trip, however, to me, it was a six week
crash course in "how to be a practicing Jew." I can tell you some of the
factual things I learned there, like Kashrut and prayers and rituals, but it is
hard to explain how deeply it effected me inside. All I can tell you, is that
when the trip was over, I did not want to let go of any thing I had learned,
and I could not wait to go on USY pilgrimage to Israel the following year.
That next year, when 1 arrived in Israel, I was pleasantly overwhelmed with
a Jewish experience in a country full ofhistory and rich Jewishcultural life.
I loved Israel, and while I was there I felt that my commitment to Judaism

While I was exploring my religious sphere in many ways, I was also
developing my musical sphere. My study of music began with a succession
of music teachers all of whom taught me different aspects of the art of
music. Descending from a family of music teachers that originated with
Leschitizky, my mother began my musical training in utero. At the age of
7, 1 started piano lessons with a local teacher and then I began taking
lessons at Rollins College in Orlando, where it was decided that I knew
enough to study with Katherine Carlo, a Juilliard graduate, and the pianist
for the Florida Symphony Orchestra. I soon realized there was more to
music than just pressing down the keys. I actually had to practice my
lessons now, for I would not dare show my face unprepared. During my
lessons Mrs. Carlo hovered like a hawkstalkingprey, jumping at the sound
of a wrong note, always ready to correct my mistakes. She used to pound
her fingers on my back so that I would feel the changing pressure to use for
different effects. There were two pianos in the room, and not a lesson went
by when she did not play through the pieces she had assigned me so that
I would know how they sounded when played correctly ! There were times
when I hated my lessons and her. Nevertheless, I attended them reli-
giously. Mrs. Carlo never simply handed out compliments. Thus, when
given, they were always well deserved, and I knew that I could be proud
of my work. We had a special relationship full of fear and awe. But under
the mask of strictness that she wore, She communicated how much she
cared for me, both as a teacher and a friend. She taught me how to express
myself using the keyboard and in some way she instilled in me the desire
to continue my musical education on my own.

My interest in the educational sphere began at a Jewish community
center in Florida, where I began teaching young children to swim. I
composed new lyrics to well known tunes, along with easy movements
that we could practice in the "kiddy" pool, allowing the children to adjust

slowly to swimming. For example, I changed the lyrics and movements to
the song "I've been working on the railroad" to "I've been working on my
wiggles, "which developed and coordinated the butterfly stroke. While
these songs were fun and exciting they also served the purpose of
introducing and familiarizing the children with the skills they would need
in order to swim. That is when I knew that I could successfully combine
my music skills with teaching.

Returning to college, I decided to try teaching there. When the
opportunity arose, I successfully auditioned for the position of musical
director for the Brandeis jazz-swing vocal octet. It was not just a matter of
teaching the music, but of preparing and foreseeing every intricate need of
the group. I became the music teacher, the accompanist, the director of
rehearsals, the choreographer of dancing, the master of conducting and the
referee of interpersonal relationships within the group. With each new
responsibility, I seemed to be filled with more and more energy. The desire
to teach began to grow within me.

As college came to an end, 1 decided to apply to the Teachers College
at Columbia University, where I could implement my new teaching ideas.
I finished my masters in early childhood special education and proceeded
to gain practical experience in the field, using a highly creative and musical
approach, and developing curriculums to integrate the needs of multiply
handicapped children. Through my teaching experiences both in the
Bronx and on the Lower East Side, I have worked with children and
families from various cultures and have developed a respect and under-
standing of cultural differences and difficulties. I have worked hard to
bring "at risk" families and children together to work in a neutral territory
in order to support a common cause, that of helping their children reach
their greatest potential.

Throughout my life I have lived in these three spheres, that of religion,
music and education. I came to the Seminary to continue my education and
to bring these three spheres together into a cohesive whole. My goal is to
combine my religious, musical and education interests to enrich the Jewish
people and community with the traditions of Judaism. In order to achieve
my goal, I chose to study in the fields of Jewish music and the HdZZdnut,
I see a Cantor as a religous role model, who is committed to Jewish
practice and rituals. I see a Cantor as a musician, who is able to enrich and
share Jewish liturgy, Jewish choral music, and new Jewish compositions.
And I see a Cantor, who responds to a wide range of human needs, and is
not only able to teach and pass on knowledge to those who are interested,
but also, to those who are difficult to reach.

I have spent my first year here taking courses that range from 1

ship to mishnah, learning more about Jewish life, and most importantly,
learning more about myself, and about where I fit in, and how I can use
my skills most effectively. This summer, I am taking a break from my
courses here at the Seminary, and I will be teaching 17 multiply handi-
capped children at a school on the lower east side, serving as a volunteer
pastoral assistant to a New York City Hospice care program which

College at Columbia and practicing my music as well as auditioning for
commercials and odd music jobs in my spare time. Thank you once again
for your generosity. I can promise you that the skills that I have learned
already, and have yet to learn here will never go to waste.

Sincerely,

Y ummie Gelfand

A CI STUDENT SPEAKS OUT

CANTORAL STUDENTS.
A first in Seminary .

Boker Tov.

I'm going to talk to you today about a topic that is not often discussed
when the talk turns to cantors, namely, leadership. It is my conviction that
in the Cantors Institute graduates of the next five years, the Jewish world
will find some genuine leaders.

As one example, nearly 2/3 of our upperclassmen and women are serving
congregations this year, in student pulpits, and others will work at teaching
jobs--this work in addition to the average of 24 credits of school work we
all sign up for every semester. Yes, you heard correctly, 24 credits per

As an example of leadership in the realm of innovative programming, one
of our students, Marcia Tilchin, is working with Camp Ramah to pioneer
a program whereby deaf Jewish children can enjoy the religious, educa-
tional and social benefits that a summer at Camp Ramah uniquely
provides. Also under discussion is a plan to bring deaf Jewish adults to
study in the rabbinic and graduate programs here at the Seminary. Isn't it
a wonderful irony that it takes a cantor to bring Judaism to the deaf.
And speaking of mitzvot, we are proud of the 100% participation of the
CI student body last year in the annual Tzedakah campaign run by Carole
Davidson. Carole, we plan to match that level of participation this year and
for many years to come.

Our students donate their time and talent as well as their cash. We
regularly perform individually or in ensembles at Seminary fund-raising
events and Torah Fund events, often gratis--but not always!

Our students are highly visible and active in student life on campus.
Yummie Gelfand and Josh Gluckstern-Reiss helped produce last year's
student play, and Josh is co-chair of this year's Kallah. Deborah Togut is
the weekday Shaharit gabbai in Schiff II and we can now take credit for
Jodi Sered who is the Shabbat and Chagim gabbai in Schiff II.
In the area of student advocacy, last year a committee of 4 students, Larry
our past president and my personal hero, Margo Heda, Jamie Gloth and
myself worked with the administration of the Seminary Library, to address
a problem of insufficient access for our students to the Sabin Music
Center, and we are very pleased that the renovation of the microfiche room

into an audio-visual room has taken into account our concerns, in effect

creating open stacks of the printed music collection, which allows us full-
time access to that portion of the Music Library's holdings.

Two years ago, Marcia Tichin began discussions with Rabbi Greenbaum
which led last year to the addition of a line item on our financial aid
package to address the expense of voice lessons for our students, an
expense that can run as much as $3,000 to $4,000 per year, per student,
over and above our tuition. Our financial aid package now recognizes
$1500 per year as part of our need calculation, and while that isn't the whole
amount, it is considerably better than nothing.

A discussion of leadership in the Cantors Institute would be incomplete
without some mention of Cantors in Concert and Cantors on Broadway.
The handbills on your tables describe these projects. And I am happy to
announce this morning that, thanks in part to the $24,000 the Class of '97
has raised for Cantors in Concert through performance fees and donations
in performances held at synagogues as nearby as Park Ave Synagogue and
as far away as North Suburban Synagogue Beth El in Chicago, 5 of us will
study in Israel this summer for two months, and one of us, Marcia, will
leave in a few hours for the academic year of study in Jerusalem!

So take these handbills home with you, show them to wealthy relatives
and friends, and tell them of our determinatioin to reinstate a program of
study in Israel for cantorial students on a permanent basis, tell them of the
serious need for fellowship and scholarship monies for cantorial students
and faculty so that our students' financial hardship can be better alleviated,
so that more of our faculty can be made full-time faculty, and so that we
can spend less time fund-raising and more time studying!

The examples of student efforts I mentioned above are all illustrative of
students who take responsibility for their own happiness and welfare, and
for the welfare of others around them. That is a characteristic of leadership
in my book. Another characteristic, also amply demonstrated above, is the
ability to mobilize the talents of others in the successful achievement of a
worthwhile goal.

I'd like to relate this aspect of leadership, mobilizing talents, to a text, one
not ordinarily associated with leadership at all, namely the two concluding
verses of parshat Re'eh. which are quoted in our Festival liturgy, in Musaf.
Three times every year shall all your males appear before the Lord your
God in the place which He shall choose, the Festival of Unleavened Bread,
the Festival of Weeks, and the Festival of Tabernacles, and you shall not
appear before God empty-handed. Each person according to his abilities,
according to the gifts which the Lord your God has bestowed upon him.
How do our people bring their gifts in today's age when there is no Temple?

Donations to the building fund? Well, yes. But that is insufficient.
Increasing synagogue attendance by some measurable percentage in the
course of a year? Yes, certainly. But that too is insufficient.

If the bodies are there but the lips do not move in prayer, the minds do not
engage in study and the hearts do not leap up in joy, at least occasionally,
and demand to offer their gifts to God, then we will have failed as
leaders.We will have failed in urging our people to fulfill what I read in this
text as a hova d'oraita, a positive obligation from the Torah, the re quire-
ment to bring something of themselves to the act of worship.

As important as it is for our leaders to mobilize fund-raising, political
action and other statistically measurable indicators of a thriving Jewish
community, and as able and willing as the cantors of t his generat ion are to
help in these vital efforts, still it is our primary job to mobilize the
intangible and the unmeasurable worship, the bringing of gifts which in
today's age might otherwise easily go un-given. In this effort we rabbis and
cantors are partners. We must be so if we are to survive. We must work
together out there, and we must begin by working together here, at JTS.
I'd like to offer a prayer for us all this morning.

May it be Your Will, Ribom Shel Okm, as we serve the Jewish commu-
nity this year, whether here at JTS or outside these gates, and in whatever
capacity, in student pulpits, as teachers and tutors, or as chaplains, that we
ourselves learn how to bring our gifts from God to God, and that in our

talents that lie dormant within our communities, to acknowledge them,
gather them to us, and weave them together into a vibrant and luminous
work of living art, namely a Jewish community and synagogue life.

For this effort to succeed we depend completely on Your manifold
blessings. Your blessing of learning first and foremost, Your blessings of
courage, optimism, energy and (dare I say it?), Your blessing of love and
respect for our people and for each other. Hashta ba'agala uviz'man kariv
v'imru amen.

THE TRADITIONAL JEWISH SOURCES OF
SCHOENBERG'S KOL NIDRE OP. 39

By Charles HELLER

Schoenberg's Kol Nidre' is a major contribution to the choral/orches-
tral repertoire as well as to religious literature. Yet if we wish to unravel
Schoenberg's creative insights from the traditional words and music we
must tread through a minefield of problems: a text that went through many
alterations, music that evolved over centuries, and differing ideas about
what the text actually refers to. It is not surprising that this confusion has
created some misunderstanding which is still found in recent writing about
this work.

It is a paradox that Kol Nidre is one of the most well-known passages
in the Jewish prayer book, yet its text is so unclear that over the centuries
many rabbinical authorities have tried to get rid of it. But because of its
associations, and especially its characteristic music, it has now become
well-loved and deeply revered. In this article we shall examine the
development of the traditional text and music, and the changes made by
Schoenberg to create a work that is both ancient and modern in spirit and
content.

Origin of the text

To begin with, Kol Nidre is not a prayer. It is a legal declaration made
just prior to the Eve of Yom Kippur (Day of Atonement), the culminating
day of the New Year services (in the Jewish calendar, each day begins at
sunset). This declaration, in Aramaic, annuls any vows that have been
unfulfilled. The text is full of synonyms and paraphrases but in essence is
a simple statement: "All vows we may make, we publicly renounce. Let
them be null and void". There are many theories as to why Kol Nidre was
first instituted 2, but it may have arisen as an attempt to safeguard the
sanctity of vows so that the New Year does not begin with any affairs left
unfinished. Unquestionably, Kol Nidre relates only to personal vows

CHARLES HELLER is Director of Music at Beth Emeth Bais Yehuda Synagogue, Toronto.

N Y.: Boelke-Bomurt Inc., 1980. This edition
Speech", ). Arnold Schoenberg Inst. 15 (1992): 18M81.

2. Encyclopedia Judaica ( 1971),

which do not affect anyone else, for example an undertaking to fast. All
promises concerning other people must be kept and the Kol Nidre formula
does not annul them in any way. However, the idea arose amongst non-
Jews in the Middle Ages, based on a superficial reading of the text, that
Jews habitually broke their oaths. This led to the cruel concept of the more
juduico, the Jews' oath, in which Jews in medieval Europe were required
to undergo physical humiliation when attending a court of law3. But as
Schoenberg wrote, the view that oaths may be cancelled on Yom Kippur
is "diametrically opposed to the lofty morality of all the Jewish command-
ments'^. It is extremely unfortunate that the English liner notes of the
recent CD aggravate this misapprehension'.

The text of K ol Nidre seems to have been created around the eighth
century6. Now at this early period there was no fixed Jewish prayer book'.
Each synagogue relied on its cantor to create or improvise prayers based
on well-established guidelines. As Jewish communities spread from the
Middle East through the Mediterranean region, they felt a need to refer to
the central rabbinical authorities in Babylon (now Iraq) regarding the
correct mode of prayer. When consulted about reciting /Co/ Nidre, these
authorities registered their disapproval. Amram Gaon (ninth century)
declared: " This is a foolish custom and it is prohibited to do if&
Nevertheless, Kol Nidre continued to be said. In the eleventh century,
Rabbi Meir ben Samuel made the text agree with Talmudic guidelines so
that it referred to vows that might be made in the coming year, rather than
vows made in the past year. Unfortunately, the original text remained side
by side with the emendation, both in the Aramaic and in translation, to
produce something like this: "All vows. ..wherewith we have vowed. ..from
this Day of Atonement unto the next..."19. Modern attempts have been made
to bring order to this chaoslO.

3. Louis Jacobs, A Guide to Yom Kippur (London: Jewish ( hronicle i'tiblications, 1957)pp.

:l Dessau dated 22 November
1941.)

5. Sony Classical S2K 44571 (I 990) The English (pp 26-27) is a garbled ubrdigement Of the
German.

6. Eric Werner, A Voice Still Heard...The Sacred Songs Of the Ashkenazic Jews (University
Purk: The Pennsylvania Stale University Press. 1976). pp. 35-38.

7. The evolution of the Jewish prayer book is described in Slejim Reif. Judaism mid Hebrew
Prayer (Cambinl itbritlge Uni\ s '9< n

8. A.Z. ldelsolm, "The Kol Nidre Tune", Hebrew Union ( allege Annual 1931. Reprinted in
J. Synagogue Music 3 (I 970): 33-49.

9 H. M. Adler und A. Dans, trans.. Service Of the Synagogue: Dup Of Atonement Evening
Service (London: Routledge und Kegan Paul Ltd., 1958) p. 15.

10. Philip Birnbaum turns High Holyday Prayei Book |\ > Hebrew Publishing Co.
1951), pp. 489-492.

Origin of the music

In the early stages of its history, Kol Nidre did not have the music we
associate with it. It was presumably recited or chanted in a simple way as
is done to this day in all sephardi (Mediterranean and oriental) communi-
ties. (The term "sephardi" includes Spanish Jews. Communities in central
and eastern Europe are called "ashkenazi". Most major North American
congregations, whose founders came from eastern Europe, follow the
ashkenazi rite.) Thus there is no basis for the widely-repeated belief that
the music of Kol Nidre is connected with the Spanish Inquisition. This was
first made clear by Idelsohn in 19318 and repeated by Eric Werner" b ut
their remarks have largely been ignored. The Spanish persecution of the
Jews, culminating in the Inquisition, did play a role in strengthening the
practice of reciting Kol Nidre, but had nothing to do with the music.
Schoenberg believed that Kol Nidre "originated in Spain" 14 but it is sheer
imagination to suggest a Catalan origin for the music, as was done by
Stuckenschmidtl2. Much Catalan folk music, such as the familiar Carol of
the Birds and Fum Fum Fum, is indeed based on the harmonic minor scale
which is used for the opening of Kol Nidre, but this does not mean that the
Kol Nidre tune is Catalan! For those Jews (termed conversos or, less
politely, marranos) who lived through persecution by outwardconversion
to Christianity, Kol Nidre acquired a new meaning: the forgiveness of
oaths to a new faith made under duress. These marranos would come to
the synagogue under cover of night. In order to give latecomers such as
these time to arrive, Rabbi Jacob Moelln of Mainz ("Maharil", 1356- 1427)
instituted the practice of prolonging the cantor's rendition of Kol NidreB.
In this way the convoluted melody arose. We may presume that the melody
familiar to us crystallized in the sixteenth century, as we find Rabbi
Mordecai Jaffa of Prague ( 1530- 16 12) referring to "the tune now sung'".
The earliest version of Kol Nidre in musical notation is a manuscript by
Ahron Beer of Berlin dating from about 17658.

Schoenberg's music

When preparing his setting Schoenberg was determined to base
himself solely on the traditional music, and he diligently studied the classic

I I Eric Werner, "Current Chronicle: France"Mus. Quart. 44 (/ 958;.- 242-244 (Review of

performance)

12.H.H. Stuckenschmidt. Arnold Schoenberg, trans. Edith Temple Roberts and humphrey

Searle (London: John Calder. 1959). p m

13 Werner, A Voice (see i, 6), p. 292 n 21

nineteenth century versions. It will be seen that as a result of centuries of
evolution, there is no one authorized text and melody, but rather an
"average" version. Schoenberg's notes 14 list six versions including the
following, with marginal comments: Weintraub ("gut"), Kornitzer
("but***" )> Schorr ("tradi"). Eric Werner, in his major study of synagogue
music Still Hfflfdl5, refers to Schoenberg's "unerring instinct" in

creating his own version of the melody out of the wealth of versions now
current 16.

The text and melody of Kol Nidre have long been ineradicably fixed
in Jewish liturgy. The sequence of short melodic motives produces an
overall melodic effect that to many commentators seems to illustrate a
movement from "pleading to hope" 10. This is the melody that generations
of Jews have become familiar with and to which, because of its association
with the holiest day of the year, they have a strong emotional attachment,
even though the text remains obscure. So we find a poor immigrant to
America, who had been avoiding the synagogue as it reminded him of his
bitter days in Europe, writing: " . ..listening to the good cantor, 1 forgot my
unhappy weekday life, the dirty shop, my boss, the bloodsucker, and my
pale, sick wife and my children. All of my America with its hurry-up life
was forgotten"." This sentimental attachment was noted by non-Jews who
used it to their advantage, most notably in the religioso version of Bruch
(which comes complete with a chorus of angels) but also in such melodra-
matic settings as Ketelbey's Sanctuary of the Heart. It was precisely this
sentiment, blurring the meaning of the text, which Schoenberg wished to
"vitriolise out"18.

The music of Kol N/dreas we now have it is an assemblage of medieval
motives with runs from later operatic convention. The highly characteris-
tic opening phrase is taken from the standard liturgical mode used for
penitential prayers, the selichu model9. There are clues in the music which
point to its origin in Germany at the beginning of the sixteenth century.

14. "Studien zu Kol Nidre", Manuscript #23. Arnold Schoenberg Institute.

3-9

17. issac Metzker, ed., A Bintel Brief Sixty years of letters from the Lower East Side to the
Jewish Daily forward (N. Y.: Ballantine Books, 1972), pp. 97-98.

18 Letter to Dessau (see note 4). Schoenberg a/so noted the "discrepancy between the
solemnity of the words and the sentimentality in which they arepresented" ("To Kol Nidre",
Manuscript MO, Arnold Schoenberg Insitute).

19. Joseph A. Levine, Synagogue Song in America (Crown Point, Ind.: White Cliffs Media
Company, 1989). pp. 122-126.

Characteristic motives may be compared to music of the minnesingers20
and to motives used in Bible chant which were current at that time and
place21. Music Example 1 compares one such motive" with German Bible
chant as still used today 23 and with Schoenberg's score (mm. 1 13- 116).
Such characteristic motives are known to cantors as misinai tunes, i.e. they
are venerated as if they had been handed down "from Mount Sinai" itself.
Schoenberg was correct in noting that the music of Kol Nidre was not
a melody as such, but a "number of flourishes'^. Ancient Jewish music, as
still used in Bible chant, is based on short motives that are used in
constantly changing sequences. As Egon Wellesz remarked: "The prin-
ciple of the formula is the basic principle of musical composition in the
Syro-Palestinian countries"24. Peter Gradenwitz, himself a colleague of

that - the rearrangement and "placing together" of pre-existing material. It
is uncanny that Schoenberg's method of composition by "developing"
variation" of melody should reflect an ancient Jewish tradition25.

Schoenberg's text

The commission to compose a new version of Kol Nidre came from
Rabbi Jacob Sonderling of Los Angeles, who like many Reform rabbis
before and since, was concerned with making the liturgy relevant to
modern-day life, especially when faced with such a controversial text as
Kol Nidre26. As we see from his notesl4, Schoenberg carefully studied the
liturgy of the entire Yom Kippur day in preparation for this composition,
since it related to a matter of deep concern to him: his return to Judaism
after "annulling" his own allegiance to Christianity. (He had converted to
Protestant Christianity in 1898 but underwent a form of readmission to
Judaism in Paris in 1933.)

Music of Post-biblical Judaism", in i. Wellesz ed., New Oxford
History f Music (Oxford.- 0. U.P.. 13571- vol. I pp. 329-330.

21.A.Z. Idelsohn, Jewish Musk in its Historical Development (N.Y.: Schocken Books, 1967),
pp. 35-71.

22. H. Weintruub. Schire Beth Adonai, 2nd ed. (Leipzig, 1901; reprint ed.. N Y : Sacred
Music Press, n.d.). Vol. 2 p. 168 We may mention here Weintruab;s striking use of
heterophony between the hoir and soloists, which foreshadows similar effects in Schoenberg, i
setting

23. J. H. Hertz, ed.. The Pentuteuch and Haftorahs (London: Soncino Press, 1990). P 1048
See also the Lithuanian chant in Levine (See n. IS) p. 227 Ex 36.

24. Egon Wellesz. "Words and Music in Byzantine Liturgy Mus 33 (I 947). 306307

25. Peter Gradenwitz., The Music of Israel: Its Rise and Growth through 5,000 years (N Y
W. W.Norton, 1949) p. 42.

26. Alexander L Ringer. Arnold Schoenberg: The Composerus Jew (Oxford. II P , 1990),
pp 76-77

Sonderling's approach to the text involved a remarkable insight: the
integration of Kol Nidre with its preceding texts. In order to understand
what Sonderling and Schoenberg achieved, we must look at the traditional
liturgy that surrounds the actual Kol Nidre text. There are numerous slight
variations to this throughout the world, but the following description is
based on the modern Orthodox Ashkenazi practice on which Sonderling
and Schoenberg based their work. (Note: in this article Hebrew phrases are
given in standard Israeli pronunciation. Schoenberg' s text uses German
pronunciation.)

The Kol Nidre prayer marks the beginning of the service for the Eve of
the Day of Atonement. Because it is a legal declaration, it must be recited
before sunset, since law courts do not sit at night. As it is still day, male
worshippers wear the prayer shawl (tallit). This, together with the unusu-
ally early hour gives this particular evening service an intense atmosphere
unlike any other. The service commences with a procession led by the
cantor and lay leaders each carrying a scroll of the Torah and chanting the
verse Or zarua, "Light is sown for the righteous" (Psalms 97: 1 1) (Music
example 2)27. There are no clear reasons given in the sources for reciting
this specific verse, except that its optimistic message is appropriate at this
solemn moment28. We shall see below how Sonderling interpreted this
verse. Having reached the reading desk, the cantor is flanked by two men
thus representing a law court. He declares: "Bishivah shel maalah..." "By
the authority of the heavenly and earthly courts, with the consent of the
Omnipresent and this congregation, we declare it lawful to pray with
sinners"10 (Music example 3)27. This statement was introduced by Rabbi
Meir of Rothenburg (thirteenth century) to conform with the talmudic
statement that the presence of sinners validates worship". It is possible that
Rabbi Meir's real intention was to make the presence of marranos accept-
able in the congregation, in which case this declaration was well suited to
Schoenberg's understanding of the purpose of Kol Nidre itself: the oppor-
tunity for Jews who had outwardly accepted the Christian faith to be
reconciled with their God". This is the meaning Schoenberg gave to this
passage and explains why he added these words to Sonderling's original

Music examples 2 and 3 belong to the same selichu prayer mode as Kol
Nidre'". This connection makes it easier to integrate these passages into the
music of the whole composition.

Now follows the Kol Nidre itself which is chanted three times; ideally

each repeat is louder and higher than the preceding, although in practice
this is hard to achieve with a conventional modern choral setting. The idea
of repeating the text was stressed by Maharil. This serves to emphasize its
importance as well as lengthen its recitalB.

After the congregation recites three Biblical verses (Num-

bers 15:26, 14: 19-20) expressing confidence in God's forgiveness, fol-
lowed by the shehecheyanu blessing recited on every holiday. This
concludes the unique Kol Nidre service: after a short break comes the
evening service, which follows the patterns of all festival evenings but
with many penitential prayers added.

Light is sown for the righteous

Sonderling's contribution was to preface Kol Nidre with a meditation
based on the verse "Light is sown for the righteous" which as we described
above is traditionally recited at this point. (Sonderling's version "A light
is sown for the pious" is also an acceptable translation.) His insight was
to link the ideas of light and repentance through the concept of the Primal
Light in the World to Come. He made use of the profound mythology of
kabbalah (Jewish mysticism): the creation of light, its subsequent destruc-
tion and its ultimate restoration.

According to this doctrine, the light which was formed at the very
outset of Creation was so powerful that it "broke the vessels" that were
intended to hold it. The Universe became filled with "sparks of light"
contained in impure "husks", and it is now up to humanity to elevate those
sparks and repair the Universe (tikkun olam), restoring it to its destined
purpose and harmony29. (This beautiful concept reflects the tension
between good and evil, spirit and matter, which has also concerned
Christian theologians over the centuries). In another version, the original
Primal Light of Creation was given to Adam to enable him to see from one
end of the Universe to the other. After the Fall it was removed and reserved
for the righteous in the World to Come, as it is written tight is sown for the
righteous ft

28. N. Scherman, H. Goldwurm and A. Gold, Yom Kippur Its Significance, La us und
Prayers. Artscroll Mesomh Series (N. Y: Mesomh Publications Ltd., 1989). p 134 The fact
that this verse is actually omitted in many prayer book editions suggests that its recital may
be bused on mystical teaching which is played down in mainstream Judaism.

29. this very rich mythology is described well in: Freema Gottlieb. The Lump Of God: A
Jewish Book Of Light Northvale, N.J.: Jason Aronson tnc . 1989. The classic text on this and
other aspects Of kabbalah is: Gershom Scholem, Major Trends in Jewish Mysticism
Jerusalem: Schocken. 1941.

30. Tsvi Hirsh Chotsh. » a m,,.',,t Tsvi (Lubin. Herszenhorn and Strazberger, 1925), P t tin
Yiddish)

Sonderling's original text il is awkward, although to be fair it seems
from the idioms and spelling that he was more at home in German than
English. The text even sounds embarrassed- it avoids mentioning God,
preferring to talk about an entity called "The Masterspirit". Schoenberg
largely reshaped both the message and the language of the text, revealing
the ear of a poet even in his newly-acquired English. This passage gave
Schoenberg the opportunity to begin his composition with a vivid musical
depiction of Creation. This is wholly appropriate to the entire work: one
of the main themes of the New Year liturgy is that God is supreme Ruler
of Creation; and it is also a recurring theme in Judaism that "the world was
created for the sake of Torah".

All vows

The actual text of Kol Nidre in Schoenberg's composition was written
by Schoenberg deliberately to stress that the "vows" being annulled were
in fact pledges of allegiance to a faith other than Judaism. Through his own
experience of anti-Semitism, Schoenberg took upon himself a public
declaration of his allegiance to Judaism and especially to the Jewish
concept of God: "One, Everlasting, Unseen, Unfathomable" (mm. 64-5).
An identical declaration is heard at the outset of Moses and Aaron.
Schoenberg felt that this affirmation of Judaism should have "the dignity
of a law, of an edict"4. This affirmation of faith was linked to his
achievement in composition, where unity of musical structure reflected
unity of purpose and ultimately the Unity (or uniqueness) of God. This was
what he had been created for, and what he had to do despite all obstacles.
He had become a prophet both for his ancestral faith and his own creative
work32.

To summarize: Schoenberg believed the Kol Nidre liturgy to be a
declaration that allowed outwardly converted Jews to be re-admitted to the
Jewish community, and he related this to his own conversion to Protestant-
ism and later re- affirmation of Judaism. These ideas are reflected in his
music, with its motives wholly based on traditional chant, and the specially
written text, enhanced by the Kabbalistic introduction by Rabbi Sonderling.

31. Am 1 1 I i i \\ 1 Reihe 13. Band IV (M lin I
/ Wien: U. E. 1977). pp. 36-37.

32. Alexander L. Ringer, "Arnold Schoenberg and the Prophetic Image in k
Schoenberg Inst. 1 (1976): 26-28

Schoenberg's Kol Nidre was first performed on the Eve of Yom Kippur
1938, and it was the composer's hope that it would become regularly
performed in synagogue worship'. But apart from the logistical problem
of finding space for a huge orchestra and chorus in a packed synagogue,
the question is: how can a personal utterance like this be used by the whole
community, many of whose members will not have had Schoenberg's
experiences? This is the challenge when creating liturgy: to give it both
universal and personal significance. For the present, this setting of Kol
Nidre has not made the move from the concert hall to the synagogue; but
it may nevertheless be regarded as a major contribution to Jewish literature
as well as to western music.

>,7ir rir^& n M 1M j J^^

BONIA SHUR: AN AUTHENTIC JEWISH VOICE

by Charles DAVIDSON

Those who have the musical works of Bonia Shur must be impressed
with his highly individualistic styles. They reflect an eclectic background
and vibrant dynamism much in the same manner that his personality and
musical gifts have overwhelmed literally hundreds of rabbinical and
cantorial students since his appointment as Professor and Director of
Liturgical Arts at Hebrew Union College Jewish Institute of Religion in
Cincinnati in 1974.

Frequently commissioned to compose secular as well as liturgical
works, Shur's extensive compositional output is impressive and of high
quality. In addition to hundreds of prayer text settings, mostly tailored for
Reform use and which oft-times vibrantly resonate with rhythmic syner-
gistic energies, Shur also proves to be quite capable of creating large
works, expertly orchestrated. His stage works, the pieces for symphonic
orchestra with chorus and soli, chamber music, settings for solo and
accompaniment, a cappella chorus pieces bursting with inventive descants
and counter-melodies all are unmistakenly stamped with Shur's imprima-
tur. His music has a solid harmonic basis and shows an affinity for the
special color and melodic turns of the Near East. His hassidic settings,
arrangements of Yiddish songs and original nigunnim all testify to an
immersion in the Jewish culture and folk-music of Eastern Europe as well
as Israel. Little wonder this, considering his background and life experi-
ences. Shur's music is an amalgam of his history.

Born in Dvinsk, Latvis, in 1923, he grew up in a traditional Jewish
community and was nurtured by a mother who instilled in him a deep,
warm love for people and a father who was a talented composer and
orchestrator. Shur was a Zionist youth enthusiast, when he his brother and
his father barely escaped the Nazi incursion into Latvia when they fled to
Uzbekistan, From there he was drafted into the Red Army and was sent to
the front where he was wounded. Recuperated, he became an officer and
fought on the German front lines. After the war, he conducted an ensemble
which gave concerts in Germany, Czechoslovakia and Austria. In Lodz,
Poland, Shur was again an active Zionist in the Chalutz Movememt and
toured the refugee camps with vocal-instrumental ensembles, encourag-
ing Jews he met there to go to Israel. He continued his musical studies at

CHARLES DAVIDSON is the Hazzan of Congregation Adath Jeshurun. Elkins Park. PA
He is the Nathan Cummings Professor of Nusah at the Cantors Institute of the lewish
Theological Seminary of America.

the Kunst Akademie of Munich.

Finally making aliyah to Israel himself in 1949, he joined a kibbutz and
studied composition with Israel's leading symphonist, Paul Ben- Harm,
and became a successful prize-winning and commissioned composer.

Shur emmigrated to the United States in 1960 and studied with
Castelnuovo-Tedesco and Roy Garris in Californis and became known as
a composer and conductor. He wrote music for films, TV and drama and
taught at the School of Fine Artsof the University of Judaism. He began to
compose liturgical music in 1964 and moved to Seattle, Washington
becoming Music Director of Temple De Hirsch Sinai .

An impressive figure personally, Shur has a great shock of blond hair,
jutting eyebrows and an intense, strongly accented delivery which
contribute to the mystique he projects when he is at his best; teaching,
lecturing and conducting his own music.

Among the most prominent features of his liturgical choral works are
a tendency to introduce a theme or melody in unison, often with a simple
rhythmic underpining either in the vocal line or accompaniment, and then
to develop counter-lines which complement the initial statement. He
approaches much of his choral music with an orchestrator's eye for color
and his feeling for grouped voices as woodwind or string or brass choirs.
His Hallel settings, particularly, exult in praising and glorifying the
Almighty with rhythmic and percussive phrasings directly related to the
accents of the Hebrew and suffused with exhuberant joy.

At a time when more and more American synagogues defend their use

is refreshing to find that there are alternate choices which have musical
validity.

Traditional elements pervade his music. He introduces elements of
"davonning" through choral intonation with marvelous result, infuses
other pieces with original "hasidic" nigunim, and he can develop simple
phrases such as "Amen" and "Ken y'hiratzon" into hypnotic mantras, Shur
even intrigues the knowledgeable listener with congregational "Amen"
responses on the proper scale degree in his festival prayer- setting for
"Ya'aleh v'yavo," uses the traditional responsorial form of "Baruch She-
amar,"begins the prayer "Etz Chayim"with "KiLekach Tov" and precedes
"Mi Chamocha" with the cantorial introduction "T'hilot Veil Elyon.." How
gratifying it is to see the music which results when a composer is
comfortable in "shul."

And above all throughout Shur's work there is a special concern for the
Hebrew work. Not only are the musical accents all correct but the
inflections and meanings of the Hebrew are reflected in the rhythms and

movements of the music. A nicely defined overarching development of
material is evident in all works that is particularly satisfying.

From the large body of his published and recorded works, this observer
was particularly moved by his major compositions for orchestra and voices
such as "The Pearl Street Market," commissioned for Cincinnati's Bi-
centennial and written ingeniously in three languages which were spoken
by the first generation of immigrants to that city, the fascinating "Six
Hours Before the Execution" (Script and Choreography by Fanchon
Shur),"Juliek" (From Elie Weisel's ight') u itions on a Theme From
Kindergarten"(From Robert Fulghum's "Uh-Oh"), and on a smaller scale,
a simple logogenic and haunting "Modeh Ani," the sensitive and haunting

enjoyable choruses "Yom Zeh L'Yisrael" and "Sim Shalom."

Regarding style, Shur is able to reflect his Near-Eastern affinities in a
particularly personal "Israeli" manner which is quite different from his
handling of serious, Holocaust related dramatic works such as the very
moving "The Last Walk" (Story by Jim Stone Goodman) with its dis-
jointed vocal line and harsh harmonic structure. All of his pieces are
infused with much imaginative writing.

Approximately 250 of his compositions are published and recorded.
Bonia Shur continues to create and to inspire others with his affirma-
tion of life and his great talent. In capturing Bonia Shur as their "resident"
composer, the Reform Movement has tapped into a genuine and articulate
Jewish voice that not only creates anew b
past for a new generation of worshippers.

SPECIAL TO THE CANTORS ASSEMBLY

Jewish radio is definitely not dead.

At least not according to Bernie Finkel, a former rabbinic student,
descendant of Israel-born Chazzawnim and Rabbawnim, and part-time
Cantor, who has also become a part-time " Jewish Disc Jockey".

An award-winning professional public relations and fund-raising
consultant who gave up the chance for a professional baseball career
because of his religious beliefs, Bernies sits in the radio station booth every
weekend spinning records, punching buttons, and making announcements
in English, Hebrew, and Yiddish.

Beneath the headset is a yarmulke/kippah; beneath that is a man whose
weekly program has earned him numerous citations from prestigious
organizations and institutions; religious leaders; government and civic
bodies; and political dignitaries from the President of the United States on
down, in appreciation of the public service he is providing.

When Bernie sits down at the radio microphone these days in the
Chicago suburb ofEvanston, he is approaching the 32nd anniversary of the
"Jewish Community Hour", and completion of his 20th year as producer,
owner, and host of the oldest continuously running radio show in
Chicagoland--probably the oldest anywhere.

On the air since 1963. the "Jewish Community Hour" is heard "live"
every Sunday from 1 1 a.m. to 12 noon on W.O.N.X.- 1590" at the top of
the A.M. dial" (except when a Jewish holiday falls on Sunday).

Conducted primarily in English, Bernie's is a variety show of music,
commentary, humor, special features, interviews, weather report; and
news happenings from Israel and about the Chicago area Jewish commu-
nity; and he plays listeners' requests.

Traditional, liturgical, rock, jazz, and klezmer style music is in He-
brew, Israeli, English, Chassidic, Pop Chassidic, Sephardic, Ladino,
Cantorial, Country Western, and Russian.

Whether conducting interviews, playing taped reports from Israel,
preparing special programs or editorials on current events, or just playing
records or CDs, Bernie calls on his experience as a journalism and
communications professional to conduct a unique weekly show.

"A program of entertainment, information, Jewish heritage and pride,
a little bit of religion, and the only one of its kind" is how Bernie describes
the "Jewish Community Hour".

With music as the core, Bernie does variety programs; special shows
about American and Jewish holidays; tells about Jewish history, laws, and

often relates his programs to the Parshat Havhe\ ih r. 1 1
reading of the week; current events (such as the current Israel-PLO Peace
Accord, the Gulf War, the airlift to Israel of Ethiopian Jews, Operation
Galilee, the International Olympics, the American hostages in Iran and
Lebanon. Anwar Sadat's visit to Israel parliament and the signing of the
peace treaty with Egypt and return of the Sinai Desert; the election of anew
American president; and the deaths of Golda Meir and Menachem Begin).

He sometimes editorializes; and spices up the show with humorous
sketches by well-known comedians and throughout the year, and on the
special shows he doesfor Mother's Day, American Independence Day,
Election Day, and his annual pre-High Holidays tribute to Cantors.

A descendant of the Goldzweig family of Rabbis and Cantors (his
uncle, Abraham, was founding Chazzan at Skokie Central Traditional
Congregation Bernie has spent about 20 years in Chicago, St. Louis, and
Kansas city as second service Cantor on the High Holidays; and still
participates in providing cantorial services at Skokie Valley Traditional
Synagogue in Skokie, II., where he is a member of the board of directors
and the ritual committee.

On his radio show he usually explains the music and lyrics-especially
when the words originate from sources such as the daily, holiday, and
festival prayers; the Torah, the Talmud, the Prophets, and the Psalms.

Of course, Bernie does special shows highlighting all the Jewish
holidays and festivals, such as the High Holidays, Succos, Chanukah,
Purim, Passover, and Shevuos; and his Thanksgiving show explains how
that American holiday is based on the harvest festival of Succos. He also
does special shows regarding historical Jewish calendar dates such as
Asara B' Teves (the fast day commemorating the siege of ancient Jerusa-
lem), Tu B'Shevat (Arbor Day in Israel), Lag B'Omer (the day commemo-
rating the ceasing of a plague that killed thousands of students of the
revered Rabbi Akiva during the Bar Kochba revolt against the Romans),
Shiva Assar B' Tammuz (the fast day commemorating the destruction of
both Holy Temples in ancient Jerusalem, and the day when many other
tragedies befell the Jewish people).

The monthly celebration of Rosh Chodesh (the new moon Hebrew
calendar month) also gets his airtime feature attention; he does shows
about Bar Mitzvah, Bat Mitzvah, and the Jewish wedding; and has done
shows about the quintecentennial of the Spanish Inquisition, the 50th
anniversary of Rambam, the Jewish astronauts, and the 100th anniversary
of the Statue of Liberty and Emma Lazarus' poem on it.

Awards for Public Service

As a result, since he took over the show at the request of the family of
its founder, his friend, the late Cantor Jerry Rabin, who passed away at the
end of 1975, the "Jewish Community service by the Chicago Rabbinical
Council, Chicago Board of Rabbis, Council of Traditional/Orthodox
Synagogues of Greater Chicago, Midwest Region of the National Federa-
tion of Jewish Men's Clubs, Israel Aliyah Center of the World Zionist
Organization, Religious Zionist of Chicago, Dr. Janusz Korczak B'nai
Brith Lodge of survivors of the Nazi Holocaust of World War II, the
Hebrew Theological College, Holocaust Monument Committee, Laor
Organization of Chicago of Holocaust survivors, the National Council of
Jewish Women, Hadassah Women, the Ida Crown Jewish Academy, and
the Association of Jewish Blind.

Bernie has received letters of congratulations from President of the
United States Ronald Reagan (himself a former radio announcer), U.S.
Senator Alan Dixon, whose congratulatory statement was published in the
Congressional Record; and State Senator Howard Carroll, whose con-
gratulatory resolution was adopted by the Illinois State Senate.

"Certificates of Appreciation" have come from Governors James
Thompson and Jim Edgar; proclamations for '"Jewish Community Hour'
Week" have been issued by the Mayors of Chicago, Evanston, and Skokie;
the Chicago City Council adopted a congratulatory resloution offered by
Aldermen Bernard Stone and Burton Natarus; laudatory letters have come
from Congregation B'nei Ruven, Congregation Anshe Motele, and
Skokie Valley Traditional Synagogue; and from U.S. Senator Paul Simon,
U.S. Congressman Sidney Yates, and Calvin Sutker when he was Illinois
State Representative.

Bernie has also been accorded wide publicity in major metropolitan
Chicago newspapers, suburban community newspapers, the Anglo-Jewish
press; and natioinally featured on WGN-TV's syndicated "Chicago's Very
Own", and Continental Cablevision.

First To Discuss Kashruth On the Air

When Bernie took over the show at the start of 1976 he conducted a
weekly bi-centennial feature on "Jews In American History"; and sepa-
rately produced Ida Crown Jewish Academy high school basketball
"Game of the Week" shows-the only time in the school's history that The
Academy's basketball games were heard on the air.

In a precedent-setting move, since assuming the helm of the show,

before Pesach each year Bernie has hosted his cousin. Rabbi Chaim T.
Goldzweig of Congregation Tiferes Moshe, Midwest representative of the
Union of Orthodox Jewish Congregations of America (U-O), and Rabbi
Hershel Shusterman of Congregation B'nei Ruven. who team up for an "on
the air" discussion, and to answer listeners questions about preparing
Kosher products for Passover.

Bernie has editorialized about subjects such as the current peace
accords between Israel and the PLO, the American Jewish Congress
fighting the court's decision that allowed the Lubavitch Chabad organiza-
tion to erect aChanukah Menorah on the Chicago Civic Center Plaza; Arab
sympathizer actress Vanessa Redgrave being given the lead in a TV movie
about the Nazi Holocaust; President Ronald Reagan's visit to the Nazi
cemetery in Bitburg, Germany; and the resignatiion of Andrew Young as
U.S. Ambassador to the United Nations.

Speaks Up for Jewish Rights

Wc editorialized on the July 4, 1976 Entebbe rescue in conjunction with
the American Revolution Bi-Centennial. and later interviewed a surgeon
who survived that hi-jacking; has talked about and editorialized on the
Nazi march in Skokie and devoted and entire show to call-in questions for
studio guest Mayor Albert Smith.

When Egypt's President AnwarSadat visited Prime Minister Menachem

Begin in Israel Bernie was "plugged in" early that morning to Mutual
News in Washington, D.C., recorded the proceedings at the Knesset in
Jerusalem, and re-broadcast most of their speeches on his show later that
morning. When Begin came to Evanston for an award from Northwestern
University Bernie covered and following Sunday in conjunction with the
citywide celebration of Israel's 30th anniversary. He also covered and
recorded President Jimmy Carter's visit to Skokie and played back a
segment of his speech on his show that related to human rights and the
Middle East; and when Begin and Sadat signed their peace agreement.
Bernie rebroadcast that Washington, D.C. ceremony on his show.

In their recent visits to Chicago to discuss Israel's and the settlers'
points of view in the current peace accords with the PLO. Vernic has
interviewed a representative of the Israel Embassy in Washington. D.C.
and rebroadcast the speeches of guests such as General Ariel Sharon and
others; has Broadcast portions of a protest march against dividing Jerusa-
lem that took place in front of the Israel Consulate in Chicago; has
interviewed Mark Langfan, an expert on whether or not Israel should give
up the Golan Heights: and has interviewed Shifra Hoffman head of

organization called '"victims of Arab Terror".

Bernie has done a series on "Jewish Ethics Through Story and Song".,
a series on Israel's First Forty Years"; interview features on the 85th
anniversary of Congregation B'nei Ruven, the 75th anniversary of the
Jewish Community Centers of Chicago with famed attorney Elmer Gertz,
Lubavitch-Chabad House of Greater Chicago, American Mizrachi (now
called "Amit") Women, The Ark social service agency for the needy,
Council for the Jewish Elderly, and the National Council of Synagogue
Youth (NCSY).

He has also discussed scouting with a visiting young girl scout; talked
about the Mikvah Jewish Ritual Bath and Family Purity with the Taharas
Hamishpacha Daughters of Israel organization; art with the famed Israeli
art&t Raggi Raphaeli; the work of the Holocaust Memorial Foundation of
Illinois with its president Erna Gans; techniques of novel writing with
Evanston Jewish authoress Serita Stevens; the work of the Jewish Defense
League with its founder the late Rabbi Meyer Kahane; and Jewish music
with Paul Zim and Martin Davidson.

At times Bernie ties in his show with other current activities in the
community such as the rotating hunger strike of Chicago area rabbis in
solidarity with Jewish dissidents in Russia, the annual '"Walk 'With
Israel", "Yom Hashoa" ("Holocaust Remembrance Day "--he was doing
Holocaust shows before the famed "firsfspecial by NBC-TV), "Yom
Hazikoron" ( "Israel Remembrance Day"), "Yom Ha-Atzmaot" (" Israel
Independence Day"), "Yom Yerushalayim" ("Jerusalem Re- Unification
Day", and "Operation Ezra" " Help for the Needy") of the Jewish Federa-
tion of Metropolitan Chicago.

Seeks More Advertisers to Expand the Show

Bernie says his estimated 50,000 listeners include non-Jews who have
called him from communities such as Sauganash and Schiller Park, and
who identify themselves as "Goy" when they send him greetings as
Chanukah time and the Jewish New Year.

As he is not an employee of the station, Bernie must rely on advertising
sponsorship support from the community to pay for the costs involved in
preparing and running the show, especially since the cost alone just for
station time has skyrocketed by more than 150 percent since he took over
the show. An independent producer he buys the time from WONX and

tional institutions, synagogues, and other for-profit and non-profit sources
who find it beneficial to promote their products, servic

special events, membership, educational and religious programming
through his show to market what they are offering to the people they want
to reach; he'll even play a selection of the special event, artist, chazzan, or
comedian at no extra cost, and he says, "You can't hear any of that in print
advertising".

Bernie is seeking sufficient advertising support to expand the "Jewish
Community Hour" to five times a week, with perhaps each airing being
devoted to a different theme, subject, or format. He has also been
researching the possibilities of syndicating the show in other markets.

A former newspaper reporter and publications editor Bernie Finkel is
an award winning consultant in public relations, fund raising association
management, and advertising who has also worked for and represented
various Jewish organizations and institutions in the Chicago area Jewish
community.

He is a past president and past honoree of the Academy Associates of
the Ida Crown Jewish Academy, a founder and past-president of the
Religious Zionists of Chicago (Skokie Chapter), and an alumnus of the
Hebrew Theological College.

Listed in "Who's Who In the Midwest". "Who's Who In Advertising",
and "Who's Who In the World", he has been a member of the Publicity club
of Chicago, which honored him with awards, the Public Relations Society
of America, and the National Society of Fund-Raising Executives.

Asked how his predecessor would react to the fact that the show is still
on the air, Bernie says: "Jerry would be pleasantly surprised, happy to
know it is appreciated by the community, and that it has received so much

providing".

SING UNTO THE LORD

By Cantor Saul Z. Hammerman
Reviewed by Rabbi Richard J. Margolis

I have just received a copy of Sing Unto the Lord, a cassette of cantorial
recitatives performed by Cantor Saul Hammerman, accompanied by
Bruce Eichler at the organ. As a life-long devotee of the cantorial art, I
could have asked for no finer gift. Throughout the nine selections pre-
sented in this tape, representatives of the synagogue liturgy for the Sabbath
and High Holidays, Cantor Hammerman is consistently impressive with
his extraordinary vocal talents, superb musicianship and artistic sensitiv-
ity.

First and foremost, Hammerman sounds like a cantor, whether render-
ing classical selections like V'ul Y'dei Avudecha by Israel Alter or modern
compositions such as Sh'mu Kolenu by Max Helfman and Avinu Malkemi
by my late mentor Max Janowski. In an age of imitation, the unmistakable
authenticity of Hammerman's renditions is welcome to the ear and good
for the Jewish soul.

There is a vast range of moods in synagogue music, and Cantor
Hammerman captures that diversity beautifully with the jubilant Uv'yom
Simchutchem juxtaposed with the plaintive Rachel M'vakah al Baneha.
Additionally, at the heart of all cantorial expression and interpretation lies
the basic nusach (modal chant) characteristic of each service. Hammerman
exemplifies faithful adherence to the Sabbath eve nusuch in R'tze
Vimnuchutenu and to the Sabbath morning chant in Birkat Kohunim, all the
while adding his own unique feeling and coloration,

Saul Hammerman is blessed with a rich tenor voice, replete with
ringing overtones. His ability to sustain the difficult register of G, A, and
B-flat (heard, for example, in the Alter V'ul Y'dei Avadechu) is strongly
reminiscent of the late Richard Tucker. Unlike many tenors with strong
upper ranges, Hammerman also maintains a healthy lower register, heard
in Haven Yukir Li of Pierre Pinchik and the modern Ahuvut Olum of Piket.
He sounds equally comfortable throughout the full range of his voice,
always maintaining an essential sweetness coupled with the subtle cry that
sets the cantor apart from the mere Jewish soloist.

It is difficult to reflect critically about any aspect of Sing Unto the Lord
but I did find the organ acccompaniment a bit "heavy handed," at times

RABBI RICHARD J. MARGOLIS is the spiritual leader of Beth Israel Congregation in
Owings Mills, Md. Rabbi Margolis is a prolifi fit. mddevotec of Jewish liturgical music.

The cassette reviewed here is available from faia Publications.

overshadowing the cantor's rendition. Also, in the spirit of the wonderful
authenticity Cantor Hammerman displays throughout this program, I was
a bit surprised at his vocal embellishments in the Haven Yakir Li of
Pinchik, with whom Hammerman once sang as a boy soloist. The high
ending Hammerman takes in this piece is far beyond the small second-
tenor range in which Pinchik himself actually sang.

Saul Hammerman's Sing Unto the Lord gladdens my soul, pleases my
ear, touches the depths of my Jewish heart and occasionally brings a tear
to my eyes. It will surely do the same for you.

INDEX: JOURNAL OF SYNAGOGUE MUSIC

By Hazzan Jeffrey SHOVITZ
Part 1 : Titles

Abba Yosef Weisgal at Eighty — An Appreciation.
J. Levine. II #2 Aug '69: 20-43

About This Issue. M. Shames. IV #1-2 Ap '72: 3

Abraham Baeronhis 150th Birthday. I.Lomfors.XV#2 Dec'85: 11-16

Adventures of a Bi bliog-raphy. A. Sendry . II #2 Aug '69: 15 19

Alfred Sendrey : In Memoriam. R. Strassburg. VI #4 J1'76: 13-20

A.M. Bernstein ( 1866- 1932): An Exploration in the Form of a Chronology.
A. Weisser. Ill #4 Dec '71: 22-30

America in East European Yiddish Folksong.
E.G. Mlotek. VI #2 Oct '75: 20-36

An American Hazzan in Sweden. M.J. Gerber. VI #3 Mr '76: 29-33

The 1984- 1985 American Jewish Composers Forum and Festival.
R. Eichaker. XVI #2 Dec '86: 52-58

An Analysis of Salomone Rossi's "Sonata detta la Moderns" ( 1613).
D. Chazanoff. VI #1 Ap '75: 3-7

An Analysis of Three Unaccompanied Recitatives of Max Wohlberg.

C. Davidson. XXII #1-2 Jl/Dec '92: 24-32

An Open Letter To Our Readers. D. Harran. IX # 1 Mr 79: 35-36

Antecedents to the Gonzaga Court of Salomone Rossi's Time.

D. Chazanoff. XIV #2 Dec '84:10-17

Are Children Good for a Synagogue? E.B. Gertel. XVI#1 Je '86: 37-42

JEFFREY SHIOVITZ is the Hazzan of Congregation Sons of Israel, Briarcliff Manor, NY.
He is the President of the Cantors Institute Alumni Association, and the editor of such
publications as "JM Echad". and Roni Vsimchi".

Articulating Music With Foreign Language Study. D. Chazanoff.
VI #2 Oct 75:3743

Aspects of Jewish Music in Contemporary Britain. A. Knapp.

XXII #1 -2 Jl /Dec '92: 53-61

)i raphical Sketch Joshua S Weisser ( 1888- 1952). A. Weisser.
VI#4 Jl 76: 9-12

Bar/Bat Mitzvah Instruction: A New Approach. M. Leubitz
IX Mr 79:13-16

Book Review: Encounter of East and West in Music. H. Avenery.
XH #2 Dec '82:49-52

Book Review: Project Manginot. R. Scherr.

XXIII #1-2 Jl/Dec '93:64-65

Book Review. The Music of the Jews in the Diaspora. A. Sendry.
HI #4 Dec '71:64

The British and Halevy's "La Juive". A. Zimmerman.
XI #2 Dec '85:28-33

The Butterfly Comes Home. C. Davidson.
XXIII#l-2 Jl/Dec '93: 25-32

Canadian Court on the Legal Status of the Hazzan.

V #2 Je 74: 35-42

A Cantor Travels Westward: From the Autobiography of Hirsch Weintraub.
trs. M. Shames and S. Igra. VI #1 Ap '75: 8-1 1

Cantors Assembly in Israel, July 1987. L. Bodoff.
XVm #2 Dec '88:33-37

The Cantor and the Rabbi: Ve Kara Zeh El Zeh Ve-Amar: Kadosh. W.
Lebeau. XX #2 Dec '90: 14-23

The Cantus Firmus of Arnold Schoenberg's "Kol Nidre". S. Weiss.
IX #2 Je 79: 3-9

The Case of the Lost Amen: Victim of an Erroneous Custom.
H.Kieval. XIX#1J1'89: 72-76

A Century of Idelsohn. B. Cohon. XII #1 Jl '82: 24-28

The Challenge of Synagogue Music: A Personal Statement.
E.B. Gertel. VI #2 Oct '75: 6-19

Changing Concepts of Hazzanut ( 1949). A. Katchko. IV # 1-2 Ap '72: I 3- 19

Chasidism in Jazz. J. Katz. II#4 Ap '70: 28-33

A Collector's Random Notes on the Bibliography of Jewish Music.
E. Mandel. I #2 Sep '67: 28-38

Commissioning Contemporary Composers to Write for the Synagogue:
The Historical Contribution of Hazzan David Putterman.
S. Pessaroff. VII#4,Oct '77: 7-14

The Commissioning Process. M. Gold. XVI #1 Je '86: 43-55

The Concept of Mode in European Synagogue Chant: An Analysis of the
Adoshem Malakh Shtejger. H. Avenary. VII #1 Nov '76: 45-47

The Concept of Musical Tradition in the Synagogue.
E. Werner. I#2 Sep' 67: 9-17

Congregational Singing. D.J. Putterman. I#4 Sep '68: 23-26

Contemporary Synagogue Music in America.
H. Fromm. II #3 Nov '69: 3- 15

The Contributions of Sholom Kalib. R. Neumann. VII #2 F '77: 43-46

Convention Proceedings: Honors convocation of The Jewish Theological Semi-
nary of America; Report of Executive Vice President, Samuel Rosenbaum; Address
by the President of the Rabbinical Assembly, Alexander Shapiro; Some Thoughts
on Hebrew Diction. P. Spiro. XV #1 Je '85.75- I 14

Creating Synagogue Music for America ( 1961).
A.W. Binder and others. IV #1-2 Ap '72: 69-80

The Cultural Leadership Role of the Cantor, I Heskes. Ill #3 Aug '7 I : 13- 16

David Kusevitsky (1911 - 1985): A Brief Retrospective.
S. Rosenbaum. XV #2 Dec '85: 3-S

The Days of Awe: A Trilogy. H. Berlinski. II#4 Ap '70: 3- 18

"Der Rebe Elimeylekh" — A Case of Pre-adaptation or Metempsychosis.

C. Heller. XVI #2 Dec '86: 47-5 1

The Development of the Office of Hazzan Through the Talmudic Period.
H.I. Sky. VIII#4 Dec '78: 3-32

Disputed Phrasing in the Siddur. A. Mishcon. II#1 F '69: 1 1-44

A Duty of Preservation and Continuity. I. Heskes. XIII #2 Jan '84: 45-52

The Earliest Notation of a Sabbath Table Song (ca 1508- 15 18).
I.Adler.XVI#2 Dec 86:17-37

Echoes of History in the Siddur. H. Kieval. XXIII #1-2 Jl/Dec '93: 6-20

The Emerging Image of the Conservative Cantor.
M. Wohlberg. VII #3 Je '77: 17-20

Epitaph for Jewish Music? S. Rosenbaum. 1 #4 Sep '68: 30-41

Eulogy for Hazzan Yehudah Mandel.

D. Katchen. XXIII #1-2 Jl /Dec '93:62-63

Eulogy for Hazzan Yehudah Mandel.
D. Tilman. XXIII #1-2 Je/Dec '93: 60-61

Evening Bar'chu for Shalosh Regalim: Will The Real Nusach Please Stand Up'?
B. Mayer. XXII #1 -2 Jl /Dec '92: 62-75

The Evolution of the Aleynu: 117 1 to The Present,
G.P. Karp. XII #1 Jl '82: 3-23

Fading Footprints. M. Wohlberg. VI #4 Jl '76: 21-26

A Festival of Jewish Music in Los Angeles.
R. Strassburg. XIII #1 Je 83: 7-8

Hist Music Copyright - 1623. V #2 Je '74: 13- 14

A Forum on Synagogue Music (1963).

H. Berlinski and others. IV #1 -2 Ap '72: 81-98

From the Introduction to "Kol Israel."

M. Levinson. I #1 F '67: 27-35; and 1 #2 Sep '67: 39-45

From Our Readers: Comments by Rabbi Jack Reimer; Services Are For
Everyone, Not Only the Leaders. Also, Services Are Not Meant To Be
"Restful ." I #3 Ja '68: 55

From Our Readers: Letter by David Gooding, Director of Music at The
Temple in Cleveland, Ohio. II #2 Aug '69: 55

From Our Readers: Letter by Abraham N. Oler, Rabbi of Temple Beth Tefilah
in East Hartford, Connecticut and Reply by Hazzan Levine of Temple Israel of
Wynnefield in Philadelphia, Pennsylvania. II #3 Nov '69: 46-47

From Our Readers: Exchange of Letters Between Professors Weisser and
Wohlberg. VI #2 Oct '75: 61-64

From Our Readers: Letter by Max Wohlberg. VI #3 Mr 76: 63

From Our Readers: Letter by William Belskin Ginsburg to Professor
Weisser; Exchange of Letters Between Richard Neumann and Sholom Kalib.
VTI#1 Nov '76:58-62

From Our Readers: Letter by Max Wohlberg. VII #4 Oct 77: 63

Genealogies of Two Wandering Hebrew Melodies.
E.Werner. XI #2 Dec '81:12-31

Gershon Ephros, 1890- 1978: A. Remembrance at His Centenary.
M. Wohlberg. XIX #2 Ji '89: 23-33

Gershon Sirota: An Appreciation. I. Fater. 11 #3 Nov '69: 16-21

Gleanings From "Di Hazzonim Velt".
S. Rosenbaum. X#l Jl '80: 37-44

Greetings to Max Wohlberg.

H. Weisgall and A. Weisser. VII #3 Je '77: 36

A Guide to Music Resources in Israel. Y. Zucker. XIX #1 Jl '89: 56-63

Haftarah for the Off-Key Singer. L. Hochberg. IX #1 Mr '79: 3- 12

"Haggadah": A Search for Freedom. P. Spiro. VI #3 Mr '76: 3- 11

Harmonizing Chart Melodies. M. Isaacson. XIV #1 Je '84: 42-45

Hasidic Music and Modzitz: A Short Overview.
V. Pasternak. XVHI #2 Dec '88: 9- 15

Hashirim Asher Lish'lomo:

Preface H. Weisgall, 47-48: Barekhu, 52-56. I #1 F '67: 46-56

Hashirim Asher Lish'lomo of Salomone Rossi.
H Fromm. V #2 Je '74: 3- 12

Havdalah - a Sabbath Pageant of Farewell.
P. Spiro. VIII #1 Ja '78: 6 11

The Hazzanic Recitative: A Unique Contribution to Our Music Heritage. G.
Ephros. VI #3 Mr '76: 23-28

Hazzanim and Hazzanut. P. Jassinowsky. VI #1 Ap '75: 12-42

A 1924 Hazzanim Jubilee. S. Rosenbaum. XIII #2 Ja 84: 3-7

The Hazzan - As Seen From A Seat in the Congregation. S. Rosenbaum.
XXIH #1-2 Jl /Dec '93: 43-54

The Hazzan as Spokesman of the Congregation.
M. Wohlberg. XV #2 Dec '90: 28-32

Hazzan Leib Glantz: On His 20th Yahrzeit.
A. Zimmerman. XIV #1 Je 84: 7-8

Hazzan Max Wohlberg: Servant of the Community.
S.Frost. VE#3 Je '77: 38

Hazzanut in Iran. L.D. Loeb. I #3 Ja '68: 3-6

Hazzanut for a Royal Occasion. C. Heller. XI #1 Je 85: 59-74

Hazzanut in Transition. M. Wohlberg. VII #3 Je '77: 5-16

Heinrich Schalit (18861976). H. Fromm. VI #4 Jl '76: 3-8

Helvetia • Israel - American: Identity in Bloch's Life and Music.
A. Knapp.XIX#2Dec'89: 5-16

Hesped 1992. S. Mendelson. XXIII #1 -2 Jl /Dec '93: 55-59

High Holy Day Melodies in the Portuguese Synagogue of Amsterdam. M.R.
Kantor. X #1 Jl '80: 45-62

High Holy Day Melodies in the Spanish and Portuguese Synagogues of
London. M.R. Kantor. X#2 Dec '80: 12-44

Historical Ethnomusicology: Reconstructing Falasha Liturgical History. K.K.

Shelemay. XIII #2 Ja '84: 8-34

The History of the Musical Modes of the Ashenazick Synagogue and Their
Usage. M. Wohlberg. IV #1-2 Ap '72: 46-61

'The Hush of Midnight": An American S'lichot Service: An Analysis. A.
Saltzman. XVII #1 Jl '87: 29-41

If 1 Forget Thee. M. Wohlberg. XVIII #2 Dec 88: 4-8

The Importance of Rossi in the Musical Life of the Mantuan Court. D.
Chazanoff. Ill #2 F '7 1: 20-23

Improving Experiences With the Volunteer Synagogue Choir.
E. Rosner. XXI #2 Dec '91: 13-24

The Incongruities of the Translations in the English Bibles of the Hebrew
Musical Terms in the Tanach. A. Senary. Ill #4 Dec '7 1: 8- 14

The Influence of Jewish Music and Thought in Certain Works of Leonard
Bernstein, A. Lubin. Ill #2 F '7 1: 3- 14

The Influence of Musical Illustrations in Certain Works of Leonard Bernstein.
A. Lubin. Ill #3 Aug '71: 17-22

The Influence of German-Jewish Composers on the American Syna-
gogue. H. Fromm. VII #4 Ckt '77: 15-30

The Influence of Salomone Rossi's Music: Part I.
D. Chazanoff. VII #4 Oct '77: 3-6

The Influence of Salomone Rossi's Music: Part II.
D. Chazanoff. IX#1 Mr '79: 26-32

The Influence of Salomone Rossi's Music: Part III.
D. Chazanoff. IX #3 Nov '79: 3- 13

The Influence of Salomone Rossi's Music: Part IV.
D. Chazanoff. X #2 Dec '80: 54-80

In Memoriam: A. W. Binder. S. Meisels. I#l F '67: 26

In Memory of Jan Peerce, Samuel Rosenbaum; His Last Concert, Jerome
Kopmar; A Personal Tribute, M.J. Silverman. XIV #2 Dec '84: 18-28

In The Mail: Robert Strassburg at 70. XV #2 Dec '85: 73-78

An Interpretation of the Sabbath Eve Liturgy.
L. Liebreich. IV #1-2 Ap '72: 20-30

Israel Goldfarb's "Shalom Alechem". P. Spiro. XVI #2 Dec. '86: 38-46

The Jewish Choral Tradition: Antiquity. L. Horowitz. IX#1 Mr'79: 19-25

A Jewish Mass or a Catholic Mitzvah'? J. Gottlieb. HI #4 Dec '7 1: 3-7

Jewish Music as a Bridge of Understanding.
LP. Goldberg. IV #3 Dec '72: 22-29

Jewish Music Versus Jewish Worship. J.R. Jacobson. VII #2 F '77: 47-50

The "Jewish" Works of Ernest Bloch. D.Z. Kushner. XIV #1 Je 84: 28-41

Joseph Achron on His 100th Birthday. P. Moddel. XVI #1 Je '86: S-20

Joseph Fisher: Master Printer and Great Hazzan.
A. Zimmerman. XVII #1 JI '87: 42-45

Joshua Samuel Weisser. P. Kavon. I #3 Ja '68: 16-42

Journals for Cantorial Music. A. Zimmerman. XX #2 Dec '90: 33-35

A Judeo-Spanish Romancero. I.J. Katz II #1 F '69: 45-59

The Kabbalat Shabbat Psalms: New Translations and Commentary. E.B.
Gertel. XI #2 Dec '81:3-11

Kingsley: A New Sound in the Synagogue. S. Meisels. II #3 Nov '69: 25-30

Kol Nidre: The Word in Absolute Music. A.S. Hyams. V #2 Je 74: 21-26

Kol Sason: A Complete Wedding Service (Review).
W.H. Brown. XVIII #1 Jl '88: 32

A Landmark Case. I #2 Sep '67: 18-27

A Landmark Case: Silverman vs Commissioner of Internal Revenue. V #1 Oct

73: 20-27

L'chah Dodi: A New Translation and Commentary.
E.B. Gertel. X #2 Dec '80:81-87

Lazar Weiner: Rebel With A Cause. S. Rosenbaum. XII #1 Je '82: 46-48

Lazar Weiner: A Tribute. A. Weisser. 1 #3 Ja '68: 43-45

The Legacy of Music Through the Ages. E. Gerson-Kiwi. 1 #1 F '67: 3-25

Leitmotifs in the Sephardic High Holy Day Liturgy. M.R. Kanter. XXI #2 Dec

'9 1: 33-52

A Letter From Lithuania. J. Barry. XXIII #1-2 Jl /Dec '93: 33-35

Letter from Israel. D. Bagley. Ill #1 Sep '70: 9- 10

A Look Back. S. Rosenbaum. XIII #1 Je '83: 3-6

Major Conceptions and Minor Deceptions.
M. Wohlberg. XVI #2 Dec 86: 8- 16

Making Midrash Out of Music: A Study of Katchko's Ki K'shimkha.
S. Gelfand. XIV #2 Dec '89: 17-27

Max Wohlberg: A Biographical Sketch and Preliminary Bibliography.
J. Price. VH #3 Je '77: 21-27

Max Wohlberg: A Brother's Tribute. H.L. Wohlberg. VU #3 Je '77: 37

Max Wohlberg: A Personal Memoir. M. Leifman. VII #3 Je 77: 33-34

Max Wohlberg: A Rabbi's Cantor. T. Steinberg. VI 1 #3 Je '77: 31

Max Wohlberg: A Son's Appreciation. J.A. Wohlberg. VII #3 Je 77: 28-30

Max Wohlberg: Affectionate Reminiscences.
M. Leifman. XXII #1-2 Jl/Dec '92: 9-23

Minhag Ashkenaz: A Millennium in Song. A. Lubin. VIII #4 Dec 78: 33-39

Miriam Weissbach and Her Melodies for Tehillim.
L.S. Weissbach. XXUI #1-2 Jl /Dec '93:2 1-24

Missinai-Melodies in the Modal Chant of Abba Yosef Weisgal.
J.A. Levine. XI#1 Jl '8 1: 3-25

Mitzvah and Beauty. G.D. Cohen. VU #3 Je 77: 43-45

Moses J. Silverman (1914- 1986): A Brief Retrospective.
S. Rosenbaum. XVI #1 Je '86: 3-4

Motivators and Motivation in Jewish Music. M. Shanok. V #3 Dec '74: 3-5

Music for a Centennial. M. Fargo. V #2 Je '74: 15-20

Music For Jewish Liturgy: Art For Whose Sake?
L. Bodoff. XVII #1 Jl '87: 17-24

Music For the Synagogue.

M. Castelnouvo-Tedesco. V #3 Dec 74: 9- 15

Music in the American Synagogue. S. Adler III #4 Dec 7 1: 1 S-2 1

Music in the American Synagogue. II. S. H. Adler. IV #3 Dec '72: 3- 13

The Music of Falashas. R. Solomon. XVIII #1 Jl '88: 9- 10

Music in the Synagogue: A Composer's Viewpoint.
P. Nagy-Farkas. VI #3 Mr '76: 12- 15

Music in Terezin. J. Karas. V #1 Oct '73: 7-19

Music and Musicians in the Works of Sholom Aleichem.
M. Wohlberg. VI #1 Ap '75: 43

Music Notes: Notice of the Annual Braemer Competition. Ill #3 Aug '7 1: 56

Music and Prayer in Reform Worship. S. Richards. IX #2 Je '79: 20-25

Music and Prophecy. D. Weintraub. XVI #1 Je '86: 30-36

Music Review: Anthology ot Hassidic Music.
V. Pasternak. XVI #2 Dec '86: 63-66

Music Review: Ashira Lashem B'chayai (Testament of Song),
ed. by C. Heller. XX #2 Dec '90: 39-41

Music Review: Biti, M. Isaacson; Eilu D'varim, B. Steinberg;

Encore Duets for Tenor and Baritone. C. Heller. XIV #1 Je '84: 62-63

Music Review: Family Shabbat Services and Melodies Featuring
Abraham Lubin. XIII #1 Je 83: 29-30

Music Review: The Lady of the Lake; Angel Levine.
E. Sigmeister. XV #2 Dec 85: 7 1-72

Music Review: A Song in Every Psalm, L. Bodoff; Mogen Ovos and

V'shomru, H.N. Tushman;

Jewish Theatre Songs, S. Klaff. XVII #1 Jl '87: 52-56

Music Review: Synagogue Music by Paul Kowarsky, J. Kopmar; Shirat Libi
by Jerome Kopmar. A. Lubin. XXIII #1-2 Jl /Dec '93: 66-68

Music Section: Alte Salomonische Gesange, Four High Holiday Pieces
Arranged. A. Melicher. II #2 Aug '69: 44-52

Music Section: Amanut Hachazanut (Shaharit For Shabbat).
A.B. Bimbaum. IH #3 Aug '71: 23-55

Music Section: Choral Classics; Nowakowsky Fragments.
XIII #1 Je '83: 3476

Mu i( Section: Compositions From the Repertoire of Hazzan Gershon
Saposhnik. VII #4 Oct '77: 35-62

Music Section: "Die Schonsten Lieder der Ostjuden".
VIII #4 Dec '78: 42-66

Music Section: Excerpts from Ashira Lashem B'chayai (Testament of Song)
ed. by C. Heller; Mimkomcho, M. Taube; Esa Einai, A.M. Himelstein, arr. R.
Smith. XX 12 Dec '90:42-56

Music Section: Excerpts from Lieder-Zamelbuch farder Yiddisher Shul un
Familieh. IV #3 Dec '72: 37-62

Music Section: Five Psalms, M. Weissbach; Shiru Shir Chadash - Hallel
Contest Winners - Pitchu Li, E. Berkovits; Adonai Z'charanu, S. Gerwirtz;
Hal'lu Et Adonai, Hodu, Y. Zucker; Amar Rabbi Elazar, C. Heller; Psalm 93,
D. Katz; Haneirot Halalu, D. Katz. XXffl #1-2 Jl /Dec '93: 73-90

Music Section: A Fragment From the Musical Repertoire of the Eighteenth
Century Amsterdam lewish Portuguese Community. II #3 Nov '69: 36-44

Music Section: From Rinat Hahechal: Ona B'choach, Hashkivenu, Z. Talman;
Sefer Ran'nu Tzadikim. M. Lieberman. XIII #2 la '84: 53-87

Music Section: From the Children's Song Collection of J. Engel.
V #1 Oct '73: 32-72

Music Section: VI # I Ap '75: 50-60

Music Section: 33 Israelitische Synagogengesange fur den Tagesgottesdienst,
B'Zalel ben lzchok Eisig Bran, II #4 Ap '70: 34-76

Music Section: Ki K'shimkha, A. Katchko; Hashkiveinu, J. Koussevitsky/D.
Lefkowitz; Mikolot Mayim Rabim, J. Lefkowitz, an. J. Golden.
XIX#2Dec'89:40-46

Music Section: Kiddush, L. Lewandowski; V'shomru, H.C. Adler; Zocharti
Loch, E. Kirschner. HI #1 Sep '70: 29-32

Music Section: Lider Zamelbukh, M. Shalit. XII 12 Dec '82: 53-97

Music Section: Malchioth, Zichronoth, W'shoforoth.
H. Fischer. XI #2 Dec '81: 41-59

Music Section: Malkhuyot, Zichronot, Shofarot, B. Bran.
IV #4 My '73:28-54

Music Section: Malchuyot, Zichronot, Shofrot, P. Ulanowsky; Organ Prelude
for Yamim Noraim. J. Beimel. XVHI#1 Jl '88: 33-56

Music Section: Mechalkel Chajim, E. Kirschner; Mi Chomocho, E. Kirschner. I
#2Sep'67: 51-52

Music Section: Memorial Service, Three Psalms for Male Voices.
S. Sulzer. Ill #2 F '7 1: 24-30

Music Section: Mi Shebeirach by M. Wohlberg, air. J. Ness; Hashkiveinu, B.
Tarsi; AmarRabi Yosei by M. Wohlberg, air. D. Katz.
XXII#l-2Jl/Dee'92:97-115

Music Section: A New Nusach for the Shalosh Regalim.
I. Kessler. XXI #1 II '9 1: 60-68

Music Section: Poet'n Zingen, Poets Sing; A Portfolio of Four Songs by
Yiddish Poets arranged by Lazar Weiner. XII #1 le '82: 49-7 1

Music Section: R'tze, I. Schlosberg; Bo'i Wesholom, D. Eisenstadt; Yismach
Moshe, A.M. Bernstein. VI #2 Oct 75: 5 1-60

Music Section: Selected Songs, M. Milner, Intro.
A. Weisser. VI#4 II '76: 49-57

Music Section: Selected Tunes From the Portuguese lews Congregation of
Amsterdam. VI #3 Mr '76: 37-62

Music Section: S'rniroth L'el Chaj Synagogenesange,
M.G. Lowenstamm. Ill #4 Dec '7 1: 3 1-59

Music Section: Synagogengesange, A Volume of Five Compositions,
A. Nadel, For Hazzan and Choir on Sabbath Eve. 1 #4 Sep '68: 53-67

Music Section: Torah Service From "Schirah Chadashah,"
H.C. Adler. VHI #1 Ja '78: 34^18

Music Section: Tov L'hodos, A. Berger; Cantorial Duet: Av Harachamim,
Brody/Salkov; A Gentle Musaf for Shabbat
C. Morris. XVII #1 Jl '87: 57-74

Music Section: Tsur Hayeinu, P. Kowarsky. arr. C. Hello:
XIX#1 Jl '89: 114-124

Music Section: Two Recitatives by J. Rapoport arr. C. Heller: B'rich Sh'mei,
Anenu. XVIII #2 Dec '88: 42-52

Music Section: Two Songs of Solomon Sulzer, Die Briefe, An Sie; Psalm 30, A
New Setting for Choir and Organ of Selected Verse.
L. Rothfarb. XV #2 Dec '85: 47-70

The Musical Basis of Nusach Hatefillah (1952).
L. Glantz. IV #2 Ap '72: 31-45

Musical Bridge Between Israel and Los Angeles.
R Strassburg. XVIIM II '88: 29-31

The Musical Legacy OfHazzan Gershon Ephros.
P. Spiro. IX#2 Je'79: 10-19

Musical Life and Traditions of the Portuguese Jewish Community of
Amsterdam in the 18th Century. 1. Adler. V #3 Dec '74: 3 1-59

The Need for a New History of Jewish Music: A Preliminary Study.
A. Weisser. II #2 Aug '69: 3- 14

New Areas in Nusach: A Serial Approach to Hazzanut
J.A. Kessler. V #1 Oct '73: 3-6

A New Jewish Opera: "Miriam and The Angel of Death".
B.W. Belfer. XIV #1 Je '84: 3-6

A New Look at Music in Jewish Education.
J.K. Eisenstadt. Ill #1 Sep '70: 3-8

A New Work Recorded: Psalms of Israel: A Hallel Oratorio, I. Miron. P.
Spiro. V #2 Je 74: 49-50

The Nigun of Jewish History. Y. Burg. XIX #1 Jl '89: 64-7 1

Notes on Music Old and New. M. Wohlberg. Ill #2 F '71: 15-19

Nusach Hat'fillah: A Model Curriculum for The Teaching of Cantorial
Students. XVII #1 Jl '87: 25-28

Nusach Notes. M. Wohlberg. XXI #2 Dec '9 1: 25-32

On Church Music. C.S. Lewis. VIII #1 Ja '78: 27-3 1

On Preservation and Renewal of the Music of the Synagogue.
A. Herzog. I #4 Sep '68: 1422

On The History and Technique of T'kiat Shofar.
G.T. Clark. XVHI #1 Jl '88: 5-8

The Old Hazz'n of Krev: A Legend from Hazzanic Folklore.
M. Kusevitsky. XI #2 Dec '8 1: 3740

The Oldest Jewish Choir. J. Jacobson. XX #2 Dec '90: 2427

The "Organ Controversy" Reconsidered. E.B. Gertel. VIII #1 Ja '78: 12-26

The Origins and Identification of the Nusach L'hol of Frankfurt Am Main.
Mayer. XIX#1 Jl '89: 6-55

Origins and Aspects of Early American Psalmody.
C. Polin-Schalf. IV My '73: 9- 12

Other Newly Published Music. 1#3 Ja '68: 54

Outline for A Project in Synagogue Music. S. Kalib. VIII #4 Dec '78: 40-4 1

The Patterson Jewish Folk Chorus. R. Snyder. XVIU #1 Jl '88: 1 1-28

Personal Articles of Faith. M. Levinson. I #4 Sep '68: 27-29

The Phenomenon of Non-Acceptance of the Unfamiliar.
A. Lubin. VII #1 Nov '76: 4446

Pirkei Hazzanut: Personal Experiences Concerning Job Opportunities,
His Father. M. Wohlberg. I #1 F '67: 57-59

Pirkei Hazzanut (1954- 1962). M. Wohlberg. XVII #1 Jl '87: 47-S 1

Pirkei Hazzanut: Variations in Synagogue Music.
M. Wohlberg. 1 #2 Sep '67: 4648

Pirkei Hazzanut: Personal Experiences; the Arrival of His Piano,

His Change in Position from Choir Member to Hazzan for Rosh Hashanah.

M. Wohlberg. I #3 Ja '68: 49-52

A Practical Proposal to Upgrade the Level of Taste in the Music in the Syna-
gogue. A.M. Rothstein. X #2 Dec 80: 3- 11

Prayer: A Lost Art, S. Rosenbaum. 1 #2 Sep '67: 3-8

The Prayers of David ... Are Ended. M. Wohlberg. X #1 Jl '80: 3-9

Preservation and Change in the Musical Tradition ofthe Karaite Jews in Israel and
in the United States. J. Hirshberg. XVI #1 Je '86: 2 1-29

Proceedings: The Cantorate Faces the Challenge of Our Times; A One-Day
Seminar Sponsored by the Cantors Assembly and the American Conference Of
Cantors, Wednesday, Dec. 26,1984 at Hebrew Union College- Jewish Instituteof
Religion, New York. XIV #2 Dec ' 84: 29-66

A Psalm of Celebration To Leo Rosen bluth at 80.
A. Mannerheim. XV #2 Dec '85: 17- 18

Psalmody. J.A. Levine. XII #2 Dec '82: 3442

A Quarter Century of Synagogue Music in America.
C. Davidson.II#l F'69: 3-10

Recollections of Early Years of the Cantors Assembly West Coast
Region, 1947- 1956. J. Blackman. XXI #2 Dec '9 1: 53-57

Recollections and Reflections. M. Wohlberg. XXII # 1-2 Jl /Dec '92: 5-8

Record Review: Cantor Charles Bloch. A. Mizrahi. XI #2 Dec '8 1: 63-64

Record Review: The Days of Awe, S. Kalib. J.A. Levine. VII #2 F '77: 5 I

Record Review: "From Strength to Strength". XIV #2 Dec '84: 67

Record Review: Jewish Yemenite Songs from the Diwan, Sephardi Songs
from the Balkans. XV #1 Je'85: 115-118

Record Review: Lazar Weiner Songs. M. Kula II #3 Nov '69: 45

Record Review: Music From Anshe Emet Synagogue.
M. Shames. VI#1 Ap '75: 50-61

Record Review: The Russian Jewish Composers, Vo. I & II.
XI#1 Jl '81: 79-80

Record Review: Shiron Hadash, Gershon Ephros; Across the Generations. XIII

#1 Je '83: 3033

Record Review: "Synagogal Art Music of the 17th- 18th Centuries".
XTVffl Je '84: 60-61

Recording Review: Family Shabbat and Festival Medley, S. Friedman; Various
Recordings, S. Gerwitz. XXIII #1-2 Jl /Dec '93: 69-72.

Records in the Jewish School: A Lesson and Approach.
I. Goldberg. VII #1 Nov ' 76: 35-43

Reflections and Reminiscences. S. Meisels. XVIII #2 Dec ' 88: 16-30

The Rejuvenation of the Weekday Modes.
P. Spiro. XI#1 Jl '81: 26-50

The Religious Element in Schoenberg's Work.
K.H. Womer. X#l Jl'80: IO-19

Remembering the Departed: Biographical Sketches of Cantors Assembly
Members, S. Mendelson and S. Rosenbaum. XXI #1 Jl '9 1: 40-5 1

Renew the Old, Sanctify the New: Notes From My Tenth Trip to Israel.
M. Wohlberg. XIV #2 Dec ' 84: 3-9

Report of the Executive Vice President, Samuel Rosenbaum.
XXIII #1-2J1/Dec '93:43-54

A Report on the History of the American Cantorate Project.
M. Slobin. XVI #2 Dec '86: 4-7

Report on a Trip to Moscow. M. Gerber. XV #2 Dec '85: 19-27

Reprise: The Kol Nidre Tune. A.Z. Idelsohn. Ill #1 Sep '70: 33-49

Reprise: Song and Singers of the Synagogue in the 18th Century.
A.Z. Idelsohn. Ill #2 F ' 7 1: 43-70

Reprise: What is "Optimal" for the Human Voice.
L.A.Kalben. III#2F'71: 31-42

Research On Voice Productions From Diverse Traditions: An Appeal to
Hazzanim. H.B. Rothman. XXI#2Dec '91: 5-12

Results ot a Commissioning Project. P. Spiro. 11 #3 Nov '69: 3 1-35

A Review and Analysis of the First Book of Canzonettes for Three Voices by
Salomone Rossi, Ebreo. D. Chazanoff . XV #1 Je '85: 3-58

Review of New Music: Adonoy Moloch, L. Weiner; Silent Devotion and May
The Words, W. Brenner; Forget Thy Affliction, H. Berlin&i; Hava N'halela, T.
Jochsberger; Melodies of Israel, T. Jochsberger, Yiddishe Dichter in Gesang, ed.
M. Yardeini; Preliminary Service for Sabbaths and Festivals, P. Spiro. C.
Davidson. I #2 Sep '67: 49-50

Review of New Music: Avot, Zachreynu Lachaymin, S. Adler; Kaddish for
STichot, M. Isaacson; Uvachodesh hash'vii, S. Friedman; Entreat Me Not To
Leave Thee, L. Avery; Songs of Praise, M. Gold. XI #1 Jl '8 1: 74-78

Review of New Music: B'kol Zimra, T.H. Jochsberger; Six Short Hebrev

Anthems, H. Fromm; Shirat Atideinu, A. Yolkoff; Hashkivenu, M. Goldman;
Agada, H. Coppersmith; Tot-at Emet, Arranged H. Coppersmith. C. Davidson.
I#l F'67: 60-61

Review of New Music: Cradle of Fire, M. Isaacson, Shaarei Shirah. UAHC.
XVin#2Dec'88: 38-41

Review of New Music: David Finko's "Hear, Israel".
B. Kazansky. XIX #1 Ji '89: 104-1 13

Review of New Music: Hallel V'zimrah, G Ephros.
M.J. Silverman. II#2 Aug '69: 53-54

Review of New Music: Hebrew Songs for All Seasons, S.C.Searles; Two
High Holiday Settings, S. Hodkinson; Hashirim Asher L'Yehudah,
L. Rosenbluth; Psalm 23, M. Isaacson. IX#4 Mr '80: 39-44

Review of New Music: Heichal Han'ghina V'hatfilah, T. Greenberg; Neginot
Todros, T. Greenberg. R. Neuman. VI #4 Ji '76: 27-48

Review of New Music: Hinay Ma Tov, G. Kingsley; V'shamru, S.A. Sargon;
Silent Devotion From Shim 1' Adonai Shir Chadash, G. Kingsley; Hanadneda,
words G. Nahshon, music A. Rigai; Ahavot Olam, E.J. Baker; The Lord Is My
Shepherd, G Kingsley; Acquainted With The Night,
R. Frost. M. Isaacson. VI #3 Mr '76: 3435

Review of New Music: "Kabbolas Shabbos".
H.Klein. VHI# 4 Dec '78:67

Review of New Music: Ki Lekach Tov, S. Richards, Heritage of Music: The
Music of the Jewish People, J.K. Eisenstein; l'David Mizmor, C. Davidson. V
#1 Oct '73: 28-3 1

Review of New Music: L'chu N'ran'noh, B. Siegel.
M. Kula. II #2 Aug '69: 55

Review of New Music: The Last Judgment, S. Rosenbaum and L. Weiner; The
Lord is My Strength, B. Penn; Elegy for Organ, H. Berlinski; Cause Us Lord
Our God, A. Rozin; Westrode Through the Waves, J. Chajes; Aria of Lapidoth,
J. Chajes. C. Davidson. I #3 Ja '68: 53

Review of New Music: L'cha Anu Shira, B. Steinberg; Zecher L'maaseh, L.
Weiner; Memorial Cantata, H. Fromm. J. Gottlieb. V #2 Je '74: 43-48

Review of New Music: New Year's Service for Young People,
J. Gottlieb; Psalms of Woe & Joy, R. Starer. X #2 Dec '80: 88

Review of New Music: Psalm 139, W. Benson; Blessed is The Match,

L. Avery; Hebrew Songs for The Beginning Beginners, R. Norman;

Jewish Easy Piano Pieces, M. Kessler; Avadim Hayinu, S. Richards;

In Days of Awe, M. Goldman; Yism'chu, M. Cohen; You Shall Love The Lord

Your God, M. Horvi t; Kaddish, M.D. Levy; Psalm 12 1, A. Aloni.

XH#1 Je '82: 72-75

Review of New Music: Psalm XXX, H. Berlinski; Psalm 137, S. Richards;

Sabbath E • Icrvii R Sta 1 i Hu hi i vlidni i ( David n II yonLibi

Sabbath Eve Service, M. Isaacson; Five Opening Anthems, H. Fromm; Shabbat

Nusach S'fard, E. Rosenberg; Meditation For Organ, A. Howit.

III#4Dec'7 1:60-63

Review of New Music: Sabbath Eve Service, J. Druchman. M. Isaacson.
V#3Dec'74:60-62

Review of New Music: Shir L'yom Hashabos, Weiner; Preserve Me, God,
li v i M.in CiundoElReyNimrod, Scalericade Oro Los Bilbilicos,

Neumann; Kol Sason, Isaacson; Three Biblical Songs, Isaiah, Ezekiel, Ruth,
Weiner; In Memoriam, Berlinski. B. Steinberg. IV#4 My '73: 23-27

Review of New Music: Shirat Miriam L' Shabbat, M. Gideon; Anim Zemirot, S.
Sargon; B'ni, M. Isaacson; Music for a Mourners Service, M. Helfman; All the
World, H. Fromm; Eli Tziyon, H. Fromm; Areshet Sefatenu, S. Richard; B'yom
Din, H. Fromm. IX #3 '79: 87

Review of New Music: Shirei Rozumni, reed W. Lipton.
Y. Mandel. ffl #3 Aug '7 1: 56

Review of New Music: The Song of Esther, I. Miron and A. Sokes; Four
Compositions, F. Piket; STichot Service, L. Glantz; Yizkor, S. Secunda and S.
Rosenbaum; Ani Chavatselet Hasharon, S. Bugatch; Hark My Beloved, E.J.
Barkan; Grant Us Peace, M. Helfman; Six Yiddish Art Songs, L. Weiner; By The
Rivers of Babylon, E.M.Goldman; Psalm 98, M. KesleihuUi I niii vi

R. Starer. I #4 Sep '68: 42-52

Review of New Music: Songs of the Chassidim, V. Pasternak; Hallel and the Three

Festivals, L. Glantz; Miqra'ey Musica, S. Hofman; The Key of See, H. Fromm;
Edge of Freedom, R. and D. Smolover; And None Shall Make Them Afraid, I.
Miron; I Have a Dream, E. Siegmeister and E. Mablcy; Kochve Voker, M.
Wohlberg; El HayTadim b'Yisrael, A. Salkov.
J. Gottlieb. II #1 F '69: 59-62

Review of New Music: Traditional Sabbath Songs for the Home.
N. Levin and V. Pasternak. XI #2 Dec '8 1: 60-62

Review of New Music: Three Sayings ot Hillel, S. Richards.
M. Shames. VIII #1 Ja '78: 32-33

Review of New Music: Twelve Songs, L. Weiner; Ladino Songs, R. Neumann;
Maariv: Evening Devotion, H. Fromm. IX#1 Mr '79: 37-5 1

Review of New Music: Yo M'enamori: D'un Aire, R. Neumann; Una Matic;
DeRuda, R.Neumann; Yismechu, S. Sargon; Chatsi Kaddish, S. Adler;
Mighty Hand, M. Goldman, Lecha Dodi, M. Goldman: Sonata tor Piano. H.
Fromm; Set Me As A Seal, J.M. Berman; Ha-am Haholchim Bachoshech, L. 1
Klass. IX #2 Je> 79: 42-45

Review of New Records: Out of Silence; A Singing of Angels.

C. Davidson. II #1 F '69: 62-63

Review of Performances: Hazzan Louis Danto in Recital.
S. Kalib. X #2 Dec. '80: 92-93

Review Section: Evening, Mom & Noon: The Sacred Music of Jack
Gottlieb; Shaarei Shabbat/Musical Mazel Tov; Nishmat Adam.
XXII#l-2Jl/Dec '92: 91-96

Review Section: The Golden Age of Cantors: Masterpieces of the
Synagogue, R. Scherr; Yamim Noam, Volumes I & II.
M. Simon. XXI #2 Dec' 9 1:58-62

Review Section: Shir Hadash. R.S. Scherr. XVI #1 Jl '91: 50-59

The Road Ahead. S. Rosenbaum. XXI #1J1 '91: 28-39

The Right Kind of Prayers. S. Chiel. VII #3 Je '77: 39-42

"Rock"ing the Temple. D.J. Putter-man. II #3 Nov '69: 22-24

Rosh Hashanah 1966. S.M. Porticha and M.J. Silverman.
I#l F'67: 36-40

Rossi, Monteverdi and Rubens: An Unlikely Triumvirate of Baroque Begin-
nings. D. Chazanoff. XV #2 Dec '85: 6- 10

The Sabbath Eve Amidah: A New Translation and Commentary.
E. B. Gertel. X#l Jl '80: 2036

Salomone Rossi and Claudio Monteverdi.

D. Chazanoff. IV#3 Dec '72: 30-34

Salomone Rossi, Ebreo. D. Chazanoff. Ill #1 Sep '70: 24-28

Salomone Rossi and His Company of Musicians.
D. Chazanoff. V #2 Je '74: 27-34

Salomone Rossi's "Hashirim Asher Li'Shelomo."
D. Chazanoff. VI #3 Mr '76: 16-22

Salomone Sulzer, 1804- 1890. E. Mandell. 1 #4 Sep '68: 3- 13

Salomone Sulzer and the Seitenstettengasse Temple.
M. Wohlberg. II #4 Ap '70: 19-24

A Sampling of Max Wohlberg's Craftsmanship and Talent.
VII #3 le '77: 4663

Mordecai Sandberg: His Compositions and His Ideas.
C. Heller. XIV # 1 Je ' 84: 9-27

Arnold Schoenberg's "Kol Nidre" and The Jewish Elements in His Music.
H.H. Stuckenschmidt. XI # 1 Jl '8 1: 5 1-57

A Second Landmark Case. I #3 Ja '68: 7- 15

A Sell-Study in Jewish Liturgy: Introduction.
S. Rosenbaum. XX #2 Dec '90: 4-5

A Self-Study in Jewish Liturgy: Liturgy of the Rosh Hashanah Musaf Service.
H. Kieval. XX #2 Dec '90:6-13

Shiru Lo: Aspects of Congregational Singing.
M. Wohlberg. XIII U Ja '84: 35-44

A S'lichot Happening. R. Strassburg. IX #1 Mr ' 79: 17- 18

Some Classic Studies in Liturgy. H. Sky. Ill #3 Aug '7 1: 3- 12

Some Preliminary Notes For a Future History of Hazzanut in America.
W. Belskin Ginsburg. VII #2 F '77: 23-42

Some Preliminary Notes on a Study of the Jewish Choral Movement.
J. Jacobson. XVI #2 Dec '86: 59-62

Some Reflections on the Design and Use of the Pipe Organ in the
Synagogue. R. Swan. II #4 Ap '70: 25-27

Some Reflections on Two Genres of Berakhah.
S.P. Wachs. XXII #1-2 Jl /Dec '92: 33-52

Some Thoughts on the Hazzanic Recitative.
M. Wohlberg. IX #3 Nov '79: 82-86

Something Different: A Dozen New Ideas.
S. Rosenbaum. IX #3 Nov '79: 14-81

A Song for The Heart. D. Bagley. XVIII #2 Dec '88: 3 1-32

The Songs of the Beis Hamedresh. S. Rosenbaum. V #3 Dec '74: 22-30

The Sound of Singing in the Catskills. M. Yardeim. X #1 Jl '80: 63-65

The Spirit of Jewish Prayer. A.J. Heschel. XIX #1 Jl '89: 77-103

Edward Stark: American Cantor - Composer At the Turn of the Century.
J.S. Zucker. XIII #1 Je '83: 14-28

A Statistical Analysis of Bar/Bat Mitzvah Preparation.
K.B. Cohen. XIV #1 Je '84: 4659

The Structure of the Synagogue Prayer Chant.
B.J. Cohon. XI #1 Jl '81: 58-73

The Subject of Jewish Music: A Review of Nulman's "Concise
Encyclopedia of Jewish Music." M. Wohlberg. VI #2 Oct' 75: 4450

Surviving Future Shock. S. Rosenbaum. IX #2 Je '79: 2640

Surviving Future Shock: Some Other Views. C. Davidson, D. Tilman,
M. Isaacson. IX U Mr '80: 9-31

Symbols of Faith in the Music of Leonard Bernstein.
J. Gottlieb. X #2 Dec '80: 45-53

Synagogue Chants of the Twelfth Century. 1. Adler. Ill #1 Sep '70: 11-23

Synagogue Music is Dead. M. Isaacson. VI »2 Oct '75: 3-5

Synagogue Music in Eighteenth Century Amsterdam
R. Staum. IV #3 Dec '72: 14-20

The Synagogue Music of Ben Steinberg. M. Isaacson. IV #3 Dec '72: 35-36

Synagogue Music - Traditional and Modem I 1948). C. Vinaver and Dr. K.
List. IV#l-2 Ap '72: 4-12

The Synagogue Youth Choir. An Experience in Education.
J.B. Kopmar. VH #2 F '77: 16-22

Ta'amey Hamikra: A Clover Look.

J.R. Jacobson. XXII #1 -2 Jl /Dec '92: 76-90

A Talk With Lazar Weiner. K. Cohen. XII #1 Jc '82: 29-45

The Task of the Hazzan ( 1957). A.J. Heschel. TV #1-2 Ap '72: 62-68

The Tetragrammaton In Music. H. Fromm. VIH #1 Ja '78: 3-5

Theological Reflections on Music in Prayer.
E.B. Gertel. VIII #1 Nov '76: 2634

They Were Four A. Zimmerman. XI #2 Dec '81: 32-36

Todros the Cantor. M Miner. VI #1 Ap '75: 43-49

To Gershon Ephros: In Lieu of A Kaddish.
hi. Wohlberg. IX #1 Mr '79: 33-33

To The Hazzan M. S. Fisher. IV #3 Dec '72: 2 I

Tonality and Motivic Interrelationships in the Performance ■ Practice of
Nusach. B. Tarsi. XXI #1 JI '91: 3-27

The Torah Reading Rqgram at Congregation Adath Jeshurun.
C. Davidson. XII #2 Dec 'X2: 4348

Toward "Die 2 1 st Century: Creating the Future in Jewish Music.
M. Isaacson. XIX #2 Dec '89:37-39

Trends in Contemporary Jewish Music. P. Gradenwit/. I#l F '67: 41-45

Traditional Jewish Material in Schoenberg's "A Survivor From Warsaw".
C. Heller. IX #4 Mr ' 80: 3-8

A Tribute to Hazzan Max Wohlberg. G. Ephros. VII #3 Je '77: 32

Two Sabbath Eve Prayers: New Translations and Commentary.
E.B. Gertel. IX #4 Mr '80: 3238

Understanding the Role of the Hazzan. A. Lubin. IV U My '73: 3-8

A Unique Chapter in the History of the American Cantorate.
M. Wohlberg. VII #lNov '76: 3-25

Using Recordings Creatively in the Classroom.
I. Goldberg. IV #4 My '73: 13-22

Varying Concepts of Ne'imah and Their Place in Liturgy
M. Wohlberg. V #3 Dec '74: 16-2 1

Video Review: "Great Cantors of the Golden Age". XV #2 Dec '90: 36-38

Samuel Vigoda's "Legendary Voices:. M. Wohlberg. XII #2 Dec '82: 30-33

Weiner's Cantata on Bontche Schweig. 1. Emiot. I #3 Ja '68: 46-48

A Welsh "Grace?" C. Polin. V#3 Dec '74: 6-8

Who Become Clergymen'? J. H. Bloom. XII #2 Dec '82: 3-29

Women As Cantors. J. Hauptman. XVII #1 Jl '87: 4-8

Woman as Messenger of the Congregation.
B. Greenberg. XVII #1 Jl '87: 9- 16

The Wonder of the Psalms ( 1965). M. Samuel. IV #1 -2 Ap '72: 99- 106

Yalkut Zimrotai: Appraisal and Applause. P. Spiro. XIII #1 Je ' 83: 9- 13

Yom Kippur, 1986. S. Robles. XVU #1 Jl ' 87: 46

Yehudah Mandel: Appointed on Recommendation of the Rogochover Gaon.
A. Zimmerman. XIX #2 Dec '89:34-36

Part 2: Authors

ADLER, Israel

The Earliest Notation of a Sabbath Table Song (ca. 1508-
15 18). XVI #2 Dec '86: 17-37

Musical Life and Tradition of the Portuguese Jewish Commu-
nity of Amsterdam in the 18th Century.
V #3 Dec '74: 31-59

Synagogue Charts of the Twelfth Century. Ill #1 Sep '70: 1 1-

ADLER, Samuel H.

Music in the American Synagogue. Ill #4 Dec '7 1: 15-21

Music in the American Synagogue. IV #3 Dec '71: 3-13

AVENARY, Hanoch

The Concept of Mode in European Synagogue Chant: An Analy-
sis of the Adoshem Malak Shtejger. VII #1 Nov '76: 47-57

BAGLEY, David

Letter from Israel. Ill #1 Sep '70: 9- 10

A Song for the Heart. XVIII #2 Dec '88: 3 1-32

BARRY, Jerome

A Letter From Lithuania. XXIII #1-2 Jl/Dec '93: 33-35

BELFER, Ben W.

A New Jewish Opera: "Miriam and the Angel of Death". XIV
#1 Je '84: 3-6

BERLINSKY, Herman

The Days of Awe: A Trilogy. 11#4 Ap '70: 3- 18

BERLINSKY, Herman and others

A Forum on Synagogue Music ( 1963). IV #1-2 Ap '72: 8 1-98

BINDER, A. W. and others

Creating Synagogue Music for America. IV #1-2 Ap '72: 69-

BIRNBAUM, A. B.

Music Section. 11 1#3 Aug 71: 23-55

BLACKMAN, Julius

The Hazzan - As Seen From A Seat in the Congregation.
XXIII #1-2 Jl/Dec '93: 33-35

Recollection on Early Years of the Cantors Assembly West
Coast Region, 1947- 1956. XXI #2 Dec '91: 53-57

BLOOM, Jack H.

Who Become Clergymen? XII #2 Dec '82: 3-29

BODOFF, Lippman

Cantors Assembly in Israel, July 1987. XVIII #2 Dec '88: 33-

Music For Jewish Liturgy: Art For Whose Sake? XVII #1 Jl

'87: 17-24

BROWN, Warren H.

Kol Sason: A Complete Wedding Service. XVIII #1 Jl '88: 32

BURG, Yosef

The Nigun of Jewish History. XIX #1 Jl '89: 64-7 1

CASTELNUOVO-TEDESCO, Mario

Music for the Synagogue. V #3 Dec '74: 9- 15

CHAZANOFF, Daniel

An Analysis of Salomone Rossi's Sonata Detta La Modern
(1613). VI #1 Ap '75: 3-7

Antecedents to the Gonzaga Court of Salomone Rossi's Time.

XIV #2 Dec '84: 10-17

Articulating Music With Foreign Language Study. VI #2 Oct

'75: 37-43

Canzonettes for Three Voices by Salomone Rossi, Ebreo.

XV #1 Je '85: 3-58

The Importance of Rossi in the Musical Life of the Mantuan
Court. Ill #2 F '7 1: 20-23

The Influence of Salomone Rossi's Music: Part I. VII #4 Oct
77:3-6

The Influence of Salomone Rossi's Music: Part II. ix #1 Mr

79: 26-34

The Influence of Salomone Rossi's Music: Part III. IX #3

Nov 79: 3- 13

The Influence of Salomone Rossi's Music: Part IV. X #2 Dec

A Review and Analysis of the First Book of Canzonettes for
Three Voices by Salomone Rossi, Ebreo. XV #1 Je '85: 3-58

Rossi, Monteverdi, and Rubens: An Unlikely Triumvirate of
Baroque Beginnings. XV #2 Dec '85: 6- 10

Salomone Rossi and Claudio Monteverdi. IV #3 Dec '72: 30-

Salomone Rossi and His Company of Musicians. V #2 Je '74:
27-34

Salomone Rossi, Ebrio. Ill #1 Sep '70: 24-28

Salomone Rossi's Hashirm Asher Li'Shelomo. VI #3 Mr '76:
16-22

CfflEL, Samuel

The Right Kind of Prayers. VII 13 Je '77: 39-42

CIARK, Guylene Tree

On the History and Technique of T'Kiat Shofar. XVIII #1 JI

COHEN, Gershon D.

Mitzvah and Beauty. VII #3 Je '77: 43-45

COHEN, Kenneth

A Statistical Analysis of Bar/Bat Mitzvah Preparation. XIV #1
Je '84: 46-59

A Talk With Lazar Weiner. XII #1 Je '82: 29-45
COHON, Baruch J.

A Century of Idelsohn. XII #1 Je '82: 24-28

The Structure of the Synagogue Prayer Chant. XI #1 Jl '81:
58-73

DAVIDSON, Charles

An Analysis of Three Unaccompanied Recitatives of Max
Wohlberg. XXII #1-2 Jl/Dec '92: 24-32

The Butterfly Comes Home. XXIII #1-2 Jl/Dec '93: 25-32

Nusach Hat'fillah: A Model Curriculum for the Teaching of
Cantorial Students. XVII #1 Jl '87: 25-28

A Quarter Century of Synagogue Music in America. II #1 F
'69: 3-10

Review of New Music: Adonoy Moloch, Lazar Weiner; Silent
Devotion and May the Words, Walter Brenner; Forget Thy
Affliction, Herman Berlinski; Hava N'halela, Tzipora
Jochsberger; Melodies of Israel, Tzipora Jochsberger;
Yiddishe Dichter in Gesang, ed. Mordicai Yardeini; Prelimi
nary Service for Sabbaths and Festivals, Pinchas Spiro. I #2
Sep '67: 49-50

Review of New Music: Blkol Zimra, Tzipora H. Jochsberger;
Six Short Hebrew Anthems, Herbert Fromm; Shirat Atideinu,
Arthur Yolkoff; Hashkivenu, Maurice Goldman; Agada, Harry
Coppersmith; Torat Emet, Arranged Harry Coppersmith. I #1
F '67: 60-61

Review of New Music: The Last Judgment, Samuel
Rosenbaum, Lazar Weiner; The Lord is My Strength, Bennett
Penn; Elegy for Organ, Herman Berlinski; Cause Us Lord
Our God, Albert Rozin; We Strode Through the Waves, Julius
Chajes; Aria of Lapidoth, Julius Chajes. I #3 Ja '68: 53

Review of New Music: The Song of Esther, Issacher Miron,
Avrom Soltes; Four Compositions, Frederick Picket; S'lichot
Service, Leib Glantz; Yiskor, Sholom Secunda, Samuel
Rosenbaum; Ani Chavatselet Hasharon, Samuel Bugatch;
Hark My Beloved, Emanuel J. Barkan; Grant Us Peace, Max
Helfman; Six Yiddish Art Songs, Lazar Weiner; By the Rivers
of Babylon, Edward M. Goldman; Psalm 98, Julius Chajes;
Hear My Prayer, Minnetta Kessler; Friday Evening service,
Robert Starer. I #4 Sep '68: 42-52

Review of New Music: Songs of the Chassidim, Velvel
Pasternak; Hallel and the Three Festivals, Leib Glantz;
Miqra'ey Musica, Shlomo Hofman; The Key of See, Herbert
Fromm; Edge of Freedom, Ray and David Smolovcr; And
None Shall Make Them Afraid, Issachar Miron; I Have a
Dream. Elie Siegmeister and Edward Mabley; Kochvc Voker,
Max Wohlberg; El Hay'ladim b'Yisrael, Abraham Salkov. II
#1 F '69: 59-62

Review of New Records:

Out of Silence: A Singing of Angels II #1 F '69: 62-63

Surviving Future Shock: Some Other Views. IX #4 Mr '80:

The Torah Reading Program at Congregation Adath Jeshurun.
XII #2 Dec '82: 43-48

EICHAKER, Ronald

The 1984- 1985 American Jewish Composers Forum and
Festival. XVI #2 Dec '86: 52-58

EISENSTEIN. Judith

A New Look at Music in Jewish Education. Ill #1 Sep '70: 3-8

EMIOT. Israel Weiner' s Cantata on Bontche Scweig. I #3 Ja '68: 46-48

EPHROS, Gershon

The Hazzanic Recitative: A Unique Contribution To Our
Music Heritage. VI #3 My '76: 23-28.

A Tribute to Hazzan Max Wohlberg. VII 13 Jc '77: 32

FARGO, Milford

Music for a Centennial. V #2 Je '74: 15-20

FATER, Issachar

Gershon Sirota: An Appreciation. II #3 Nov '69: 16-21

FISHER, Mitchell Salem

To the Hazzan. IV #3 Dec '72: 2 1

FROMM, Herbert

Contemporary Synagogue Music in America. II #3 Nov '69:
3-15

Hashirim Asher LiSh'lomo of Salomone Rossi. V #2 Je '74:
3-12

Heinrich Schalit (1886-1976). VI #4 Jl '76: 3-8

The Influence of German- Jewish Composers on the American
Synagogue. VII #4 Oct '77: 15-30

The Tetragrammaton in Music. VIII #1 Ja '78: 3-5

FROST, Shimon

Hazzan Max Wohlberg: Servant of the Community.
VII #3 Je '77: 38

GELFAND, Shoshana

Making Midrash Out of Music: A Study of Katchko's Ki
K'shimkha. XIX #2 Dec '89: 17-27

GERBER, Maynard J.

An American Hazzan in Sweden. VI #3 Mr '76: 26-33

Report on a Trip to Moscow. XV #2 Dec '85: 19-27

GERSON-KIWI, Edith

The Legacy of Music Through the Ages. I #1 F '67: 3-25

GERTEL, Elliot B.

Are Children Good for a Synagogue'? XVI #1 Je '86: 37-42

The Challenge of Synagogue Music: A Personal Statement. VI
#2 Oct '75: 6- 19

The Kabbalat Shabbat Psalms: New Translations and Com-
mentary. XI #2 Dec '81: 3- 11

L'chah Dodi: A New Translation and Commentary. X #2 Dec
'80: 81-87

The 'Organ Controversy' Reconsidered. VIII #1 Ja '78: 12-

The Sabbath Eve Amidah: A New Translation and Commen-
tary. X #1 Jl '80: 20-36

Two Sabbath Eve Prayers: New Translations and Commen-
tary. IX #4 Mr '80: 32-38

Theological Reflections on music in Prayer. VII #1 Nov '76:
26-34

GINSBERG, W. Belskin

Some Preliminary Notes For a Future History of Hazzanut in
America. VII #2 F '77: 23-42

GLANTZ, Lieb

The Musical Basis of Nusach Hatefillah ( 1952). IV #1-2 Ap
'72: 31-45

GOLD, Morton

The Commissioning Process. XVI #1 Je '86: 43-55

GOLDBERG, Ira P.

Jewish Music as a Bridge of Understanding. IV #3 Dec '72:

Records in the Jewish School: A Lesson and Approach. VII
#1 Nov '76: 35-43

Using Recordings Creatively in the Classroom. IV #4 My

'73: 13-22

GOTTLIEB, Jack

A Jewish Mass or a Catholic Mitzvah. Ill #4 Dec '71: 3-7

Review of New Music: L'cha Anu Shira, Ben Steinberg;
Zecher L'maaseh, Lazar Weiner; memorial Cantata, Herbert
Fromm. V #2 Je '74: 43-48

Symbols of Faith in the Music of Leonard Bernstein. X #2
Dec '80: 45-53

GRADENWITZ, Peter

Trends in Contemporary Music. I #1 F '67: 41-45

GREENBERG, Blu

Woman as Messenger of the Congregation. XVII #1 Jl '87: 9-

HARRAN, Don

An Open Letter To Our Readers. IX #1 Mr '79: 35-36

HAUPTMAN, Judith

Women as Cantors. XVII #1 JI '87: 4-8

HELLER, Charles

"Der Rebe Elimeylekh" - A Case of Pre-adaptation or
Metempsychosis. XVI #2 Dec '86: 47-5 I

Hazzanut for a Royal Occasion. XV #1 Je '85: 59-74

Mordecai Sandberg: His Compositions and His Ideas. XIV #1
Je '84: 9-27

Traditional Jewish Material in Schoenberg: "A Survivor From
Warsaw. II IX #4 Mr '80: 3-8

HERZOG, Avigdor

On Preservation and Renewal of the Music of the Synagogue.
I #4 Sep '68: 14-22

HESCHEL, Abraham Joshua

The Spirit of Jewish Prayer. XIX #1 Jl '89: 77-103

The Task of the Hazzan (1957). IV #1-2 Ap '72: 62-68

HESKES, Irene

The Cultural Leadership of the Cantor. Ill #3 Aug '7 1: 13- 16

A Duty of Preservation and Continuity. XIII J2 Ja '84: 45-52

HIRSHBERG, Jehoash

Preservation and Change in the Musical Tradition of the
Karaite Jews in Israel and in the United States,
XVI #1 Je '86: 21-29

HOCHBERG, Lottie

Haftarah for the Off-Key Singer. IX #1 Mr '79: I- 12

HOROWITZ, Linda

The Jewish Choral Tradition: Antiquity. IX #1 Mr '79: 19-25

HYAMS, Ario S.

Kol Nidre: The World in Absolute Music. V #2 Je '74: 2 1-26

IDELSOHN, Abraham Zevi

Reprise: The Kol Nidre Tune. Ill #1 Sep '70: 33-49

Reprise: Song and Singers of the Synagogue in the 18th
Century. Ill #2 F '71: 43-70

ISAACSON, Michael

Harmonizing Chant Melodies. XIV #1 Je '84: 42-45

Review of New Music. V #3 Dec '74: 60-62

Review of New Music: Hinay Ma Tov, Gershon Kingsley;
V'shamru, Simon A. Sargon; Silent Devotion From Shim
Ladonai Shir Chadash, Gershon Kingsley; Hanadneda, words
Gad Nahshon and music Amiram Rigai; Ahavot Olam,
Emanuel J. Barker; The Lord Is My Shepherd, Gershon
Kingsley; Acquainted With the Night, Robert Frost. VI #3 Mr
'76: 34-35

Synagogue Music Is Dead. VI #2 Oct '75: 3-5

The Synagogue Music of Ben Steinberg. IV #3 Dec '72: 35-

Surviving Future Shock: Some Other Views. IX #4 Mr '80:

29-3 1

Toward the 21st Century: Creating the Future in Jewish
Music. XIX #2 Dec '89: 37-39

JACOBSON, Joshua R.

Jewish Music Versus Jewish Worship. VII #2 F '77: 47-50

The Oldest Jewish Choir. XX #2 Dec '90: 24-27

Some Preliminary Notes on a Study of the Jewish Choral
Movement. XVI #2 Dec '86: 59-62

Ta'amcy Hamikra: A Closer Look. XXII #1-2 Jl/Dec '92: 76-

JASSINOWSKY, Pinchos

Hazzanim and Hazzanut. VI #1 Ap '75: 12-42

KALIB, S holom

Outline for a Project in Synagogue Music. VIII #4 Dec '78:

40-4 1

Review of Performances: Hazzan Louis Danto in Recital. X
#2 Dec '80: 92

KALLEN, Leo A.

Reprise: What Is 'optimal' for the Human voice. Ill #2 F '7 1:
3 1-42

KANTER, Maxine Ribstein

High Holy Day Hymn Melodies in the Portuguese Synagogue
of Amsterdam. X #1 Jl '80: 45-62

High Holy Day Melodies in the Spanish and Portuguese
Synagogues of London. X #2 Dec '80: 12-44

Leitmotifs in the Sephardic High Holy Day Liturgy. XXI #2
Dec '91: 33-52

KARAS, Joza

Music in Terezin. V #1 Oct '73: 7-19

KARP, Gail Posner

The Evolution of the Aleynu: 1171 to the Present. XIIJ1 Je

' 82: 3-23

KATCHEN, David

Eulogy for Hazzan Yehudah Mandel. XXIII #1-2 Jl/Dec '93:
62-63

KATCHKO, Adolph

Changing Concepts of Hazzanut (1949). IV #1-2 Ap '72 13-

KATZ, Israel J.

A Judeo-Spanish Romancero. II #1 F '69: 45-59

KATZ, John

Chasidism in Jazz. II #4 Ap '70: 28-33

KAVON, Paul

Joshua Samuel Weisser. I #3 Ja '68: 16-42

KESSLER, Jack A.

New Areas in Nusach; A Serial Approach to Hazzanut. V #1
Oct '73: 3-6

KIEVAL, Hayyim

The Case of the Lost Amen: Victim of an Erroneous Custom.
XIX #1 Jl '89: 72-76

Echoes of History in the Siddur. XXIII #1-2 Jl/Dec '93: 6-20

A Self-Study of Jewish Liturgy: Liturgy of the Rosh Hashanah
Musaf Service XX #2 Dec '90: 6- 13

KNAPP, Alexander

Aspects of Jewish Music in Contemporary Britain. XXII il-2
Jl/Dec '92: 53-61

Helvetia - Israel - America: Identity in Bloch's Life and
Music. XIX #2 Dec '89: 5 16

KOGEN, David C.

Max Wohlberg: A Tribute. VII #3 Je '77: 35

KOPMAR, Jerome B.

In Memory of Jan Peerce: A Personal Tribute. XIV #2 Dec

The Synagogue Youth Choir: An Experience ii
VTI #2 F '77: 16-22

KULA, Morton

Record Review: Lazar Weiner Songs. II #3 Nov '69: 45

Review of the New Music; L'chu N'ran'noh, Benjamin
Siegal. II #2 Aug '69: 55

KUSEVITSKY, Moshe

The Old Hazz'n of Kiev: A Legend from Hazzanic Folklore.
XI #2 Dec '8 1: 37-40

KUSHNER, David Z.

The "Jewish" Works of Ernest Bloch. XTV #1 Je '84: 28-41

LEBEAU, William

The Cantor and Rabbi, Ve Kara Zeh El Zeh Ve-Amar:
Kadosh. XX #2 Dec '90: 14-23

LEIFMAN, Morton M.

Max Wohlberg: A Personal Memoir. VII #3 Jc '77: 33-34

Max Wohlberg, Affectionate Reminiscences. XXII #1-2 Jl/
Dec '92: 9-23

LEUBITZ, Martin

Bar/Bat Mitzvah Instruction: A New Approach. IX #1 Mr
'79: 13-16

LEVINE, Joseph A.

Abba Yosef Weisgal at Eighty - An Appreciation. II #2 Aug
'69: 20-43

Missinai-Melodies in the Modal Chant of Abba Yosef
Weisgal. XI#1 Jl '81: 3-25

Psalmody. XII #2 Dec '82: 34-42

Record Review: The Days of Awe, Sholom Kalib. VII #2 F
'77: 51

LEVINSON, Morris

From the Introduction to 'Kol Israel. I #1 F '67: 27-35; and I
12 Sep '67: 39-45

Personal Articles of Faith. I #4 Sep '68: 27-29

LEWIS, C. S.

On Church Music. VIII #1 Ja '78: 27-31

LIEBREICH, Leon

An Interpretation of the Sabbath Eve Liturgy. IV #1-2 Ap
'72: 20-30

LOEB, Laurence D.

Hazzanut in Iran. I #3 Ja '68: 3-6

LOMFORS, Ingrid

Abraham Baer on his 150th Birthday. XV #2 Dec '85: 1 1- 16

LOWENSTAMM, Max G.

Music Section: S'miroth L'el Chaj Synagogengesange. Ill #4
Dec '71: 31-59

LUBIN, Abraham

The Influence of Jewish Music and Thought in Certain Works
of Leonard Bernstein. Ill #2 F '7 1: 3- 14; and III #3 Aug '7 1:

17-22

Minhag Ashkenaz: A Millenium in Song. VIII #4 Dec '78:
33-39

The Phenomenon of Nonacceptance of the Unfamiliar. VII #1
Nov '76: 44-46

Understanding the Role of the Hazzan. IV #4 My '73: 3-8

MANDEL, Eric

A Collector's Random Notes on the Bibliography of Music. I
#2 Sep '67: 28-38

Salomone Sulzer, 1804- 1890. I #4 Sep '68: 3- 13

MANDEL, Yehuda

Review of New Music: Shiru Rozumni. re-ed William Lipton.
Ill #3 Aug '7 1:56

MANNERHEIM, Augustin

A Psalm of Celebration to Leo Rosenbluth at 80. XV #2 Dec
'85: 17-18

MAYER, Brian

Evening Bar'chu for Shalosh Regalim: Will the Real Nusach

Please Stand Up'?

XXn #1-2 Jl/Dec '92: 62-75

The Origins and Identification of the Nusach L'hol of Frank-
furt Am Main. XIX #1 Jl ' 89: 6-55

MEISELS, Saul

In Memorium: A. W. Binder. I #1 F '67: 26

Kingsley: A New Sound in the Synagogue. II #3 Nov '69: 25-

Reflections and Reminiscences. XVIII #2 Dec '88: 16-30

MENDELSON, Solomon

Hesped 1992. XXIII #1-2 Jl/Dec '93: 55-59

Remembering the Departed: Biographical Sketches of Cantors
Assembly Members. XXI # 1 Jl '9 1: 40-5 1

MINER, Michael

Todros the Cantor. VI #1 Ap '75: 43-49

M1SHCON, A.

Disrupted Phrasing in the Siddur. II #1 F '69: 1 1-44

MLOTEK, Eleanor Gordon

America in East European Yiddish Folksong. VI #2 Oct '75:

MODDEL, Philip

Joseph Achron On His 100th Birthday. XVI #1 Je '86: 5-20

NAGY-FARKAS, Peter

Music in the Synagogue: A Composer's Viewpoint. VI #3 Mr
'76: 12-15

NEUMANN, Richard

Brief Music Reviews: Heichal Han'ghina V'hatfilah, Todros
Greenberg; Neginot Todros, Todros Greenberg.
VI #4 Jl '76: 27-48

The Contributions of Sholom Kalib. VII #2 F '77: 43-46

PASTERNAK, Velvel

Hasidic Music and Modzitz: A Short Overview. XVIII #2
Dec '88: 9-15

PESSAROFF, Sam

Commissioning Contemporary Composers to Write for the
Synagogue: The Historical Contribution of Hazzan David
Putterman. VII #4 Oct '77: 7-14

POLIN, Claire

A Welsh 'Grace?' V #3 Dec '74: 6-8

POLIN-SCHAFF, Claire

Origins and Aspects of Early American Psalmody. IV #4 My
'73: 9-12

PORTICHA, Stuart M. and Moses J. Silverman
Rosh Hashanah 1966. I #1 F '67: 36-10

PRICE, Joseph

Max Wohiberg: A Biographical Sketch and Preliminary
Bibliography. VII #3 Je '77: 21-27

PUTTERMAN, David J.

Congregational Singing. I #4 Sep '68: 23-26

"Rock"ing the Temple. II #3 Nov '69: 22-24

RICHARDS, Stephen

Music and Prayer in Reform Worship. IX #2 Je '79: 10- 19

ROBLES, Steve

Yom Kippur, 1986. XVII #1 Jl '87: 46

ROSENBAUM, Samuel

David Kusevitsky ( 19 I 1- 1985): A Brief Retrospective. XV #2

Epitaph for Jewish Music ? I #4 Sep '68: 30-41; and IV #1-2
Ap '72: 106-1 16

Gleanings from "Di Hazzanim Velt. 1 1 X #1 Jl '80: 37-44

In Memory of Jan Peerce. XIV #2 Dec '84: 18

Lazar Weiner: Rebel With A Cause. XII #1 Je '82: 46-48

A Look Back. XIII #1 Je '83: 3-6

Moses J. Silverman ( 19 14- 1986): A Brief Retrospective. XVI
#1 Je '86: 3-4

A 1924 Hazzanim Jubilee. XIII #2 Ja '84: 3-7

Prayer: A Lost Art. I #2 Sep '67: 3-8

Remembering the Departed: Biographical Sketches of Cantors
Assembly Members. XXI #1 Jl '9 1: 40-5 1

Report of the Executive Vice President. XXIII #1-2 Jl/Dec
'93:43-54

The Road Ahead. XXI #1 Jl '9 1: 28-39

A Self-Study in Jewish Liturgy: Introduction. XX #2 Dec '90:
4-s

Something Different: A Dozen New Ideas. IX #3 Nov '79:
14-81

The Songs of the Beis Hamedresh. V #3 Dec '74: 22-30

Surviving Future Shock. IX #2 Je '79: 26-40

ROSNER, Eugene D.

Improving Experiences with the Volunteer Synagogue Choir.
XXI #2 Dec '91: 13-24

ROTHMAN, Howard B.

Research on Voice Productions from Diverse Traditions: An
Appeal to Hazzanim. XXI 12 Dec '9 1: 5- 12

ROTHSTEIN, Arnold M.

A Practical Proposal to Upgrade the Level of Taste in the
Music in the Synagogue. X #2 Dec '80: 3- 11

SALTZMAN, Arnold

"The Hush of Midnight" An American S'lichot Service: An
Analysis. XVII #1 Jl '87: 29-41

SAMUEL, Maurice

The Wonder of the Psalms (1963). IV #1-2 Ap '72: 99- 106

SENDREY, Alfred

Adventures of a Bibliography. II #2 Aug '69: 15 19

Book Review: The Music of the Jews in the Diaspora. Ill #4
Dec '71: 64

The Incongruities of the Translations in the English Bibles of
the Hebrew Musical Terms in the Tanach.
IU #4 Dec '71: 8-14

SHAMES, Morton

About This Issue. IV #1-2 Ap '72: 3

Record Review: Music From Anshe Emet Synagogue. VI #1
Ap '75: 50-61

Review of New Music: Three Sayings of Hillel, Stephen
Richards. VIII #1 Ja '78: 32-33

SHAMES, Morton and Shoshanna Igra, trs

A Cantor Travels Westward, From the Autobiography of
Hirsch Weintraub. VI #1 Ap '75: 8-1 1

SHANOK, Morton

Motivators and Motivation in Jewish Music. V #3 Dec '74: 3-

SHELEMAY, Kay Kaufman

Historical Ethnomusicology: Reconstructing Falasha
Liturgical History. XIII #2 Ja '84: 8-34

SILVERMAN, Moses J.

In Memory of Jan Peerce: His Last Concert. XIV #2 Dec '84:
19-26

Review of New Music: Hallel V'zimrah, Gershon Ephros. II
#2 Aug '69: 53-54

SKY, Hyman I.

The Development of the Office of Hazzan Through the
Talmudic Period. VIII #4 Dec '78: 3-32

Some Classic Studies in Liturgy. Ill #3 Aug '71: 3-12

SLOBIN. Mark

A Report on the History of the American Cantorate Project.
XVI #2 Dec '86: 4-7

SNYDER, Robert

The Paterson Jewish Folk Chorus. XVIII #1 JI '88: 11-28

SOLOMON, Robbie

The Music of Falashas. XVIII #1 Jl '88: 9- 10

SPIRO, Pinchas

"Haggadah": A Search for Freedom. VI #3 Mr '76: 3- 11

103

Havdalah - A Sabbath Pageant of Farewell. VII #1 Ja '78: 6-

Israel Goldfarb's "Shalom Alechem". XVI #2 Dec

The Musical Legacy of Hazzan Gershon Ephros. IX #2 Je
79: 10-19

A New Work Recorded: Psalms of Israel; A Hallel Oratorio,
Issachar Miron. V #2 Je '74: 49-50

The Rejuvenation of the Weekday Modes. XI #1 Jl '81: 26-50

Results of a Commissioning Project: Kochve Voker - Morn-
ing Stars. II #3 Nov '69: 13-35

Some Thoughts on Hebrew Diction. XV #1 Je '85: 105-1 14

Yalkut Zimrotai: Appraisal and Applause. XIII #1 Je '83: 9-

STAUM, Roger

Synagogue Music in Eighteenth Century Amsterdam. IV #3
Dec '72: 14-20

STEINBERG, Ben

Review of New Music: Shir L'Yom HaShabos, Weiner;
Preserve Me, God, Berger; Noches, Noches, Cuando el Rey
Nimrod, Scalerica de Oro, Los Biblicos, Neuman; Kol Sason,
Isaacson; Three Biblical Songs: Isaiah, Ezekiel, Ruth, Weiner;
In Memoriam, Berlinski. IV #4 My '73: 23-27

STEINBERG, Theodore

Max Wohlberg: A Rabbi's Cantor. VII #3 Je '77: 31

STRASSBURG, Robert

Alfred Sendrey: In Memoriam. IV #4 JI '76: 13-20

A Festival of Jewish Music in Los Angeles. XIII #1 Je '83: 7-

A Musical Bridge between Israel and Los Angeles. XVIII #1
Jl '88: 29-31

104

A S'lichot Happening. IX #1 Mr '79: 17-18

STUCKENSCHMIDT, Hans H.

Arnold Schoenberg's "Kol Nidre" and the Jewish Elements in
his Music. XI #1 JI '81: 5 1-57

SULZER, Solomon

Music Section: Memorial Service, Three Psalms for Male
Voices. Ill #2 F '71: 24-30

SWAN, Robert

Some Reflections on the Design and Use of the Pipe Organ in
the Synagogue. II 14 Ap '70: 25-27

TARSI, Boaz

Tonality and Motivic Interrelationships in the Performance-
Practice of Nusach. XXI #1J1 '9 1: 5-27

TILMAN, David

Eulogy for Hazzan Yehudah Mandel. XXIII #1-2 Jl/Dec '93:
60-61

Surviving Future Shock: Some Other Views. IX #4 Mr '80:

VINAVER, Chemjo and Dr. Kurt List

Synagogue Music - Traditional and Modern (1948). IV #1-2
Ap '72: 4-12

WACHS, Saul P.

Some Reflections on Two Genres of Berakhah. XXII #1-2 Jl/
Dec '92: 33-52

WAREMBUD, Norman H.

WEINTRAUB, David

Music and Prophecy. XVI #1 Je '86: 30-36

WEISS, Sam

The Cantus Firmus of Arnold Schoenberg's "Kol Nidre". IX
#2 Je '79: 3-9

WE1SSBACH, Lee Shai

Miriam Weissbach and Her Melodies for Tehillim. XXIII #1 -
2 Jl/Dec '93: 21-24

WEISSER, Albert

A.M. Bernstein (1866-1 932): An Exploration in the Form of a
Chronology. Ill #4 Dec '7 1: 22-30

Autobiographical Sketch: Joshua S. Weisser (18881952). VI
#4 Jl '76: 9-12

Lazar Weiner: A Tribute. I #3 Ja '68: 43-45

The Need for a New History of Jewish Music: A Prelimi-
nary Study. II #2 Aug '69: 3- 14

WEISSGALL, Hugo and Albert Weisser

Greetings to Max Wohlberg. VII #3 Jl '77: 36

WERNER, Eric

The Concept of Musical Tradition in the Synagogue. I #2 Sep
'67: 9-17

Genealogies of Two Wandering Hebrew Melodies. XI #2 Dec
'81: 12-31

WORNER, Karl H.

The Religious Element in Schoenberg's Work. X #1 Jl '80:

10-19

WOHLBERG, Harry I.

Max Wohlberg: A Brother's Tribute. VII #3 Jl '77: 37

WOHLBERG, Jeffrey A.

Max Wohlberg: A Son's Appreciation. VII #3 Jl '77: 28-30

WOHLBERG, Max

The Emerging Image of the Conservative Cantor. VII #3 Jl
'77: 17-20

Fading Footprints. VI #4 Jl '76: 21-26

Gershon Ephros, 1890- 1978: A Remembrance at His Cente-
nary. XIX #2 Dec '89: 28-33

The Hazzan as Spokesman of the Congregation. XX #2 Dec

Hazzanut in Transition. VII #3 JI '76: 2 1-26

The History of the Musical Modes of the Ashkenazik Syna-
gogue and Their Usage. IV #1-2 Ap '72: 46-61

If I Forget Thee. XVIII #2 Dec '88: 4-8

Major Conceptions and Minor Deceptions. XVI #2 Dec '86:
8-16

Music and Musicians in the Works of Sholom Aleichem. VI
#1 Ap '75: 43

Notes on Music Old and New. Ill #2 F '71: IS 19

Nusach Notes. XXI #2 Dec '91: 25-32

Pirkei Hazzanut ( 1954- 1962). XVII #1 Jl '87: 47-5 1

Pirkei Hazzanut. Personal Experiences Concerning: Job
Opportunities; His Father. I #1 F '67: 57-59

Pirkei Hazzanut. Personal Experiences: The Arrival of His
Piano; His Change in Position From Choir Member to Hazzan
for Rosh Hashanah. I #3 Ja '68: 49-52

Pirkei Hazzanut: Variations in Synagogue Music. I #2 Sep
'67: 46-48

The Prayers of David ... Are Ended. X #1 Jl '80: 3-9

Recollections and Reflections. XXII #1-2 Jl/Dec '92: 5-8

Renew the Old, Sanctify the New: Notes From My Tenth Trip
to Israel. XIV #2 Dec '84: 3-9

Salomone Sulzer and the Seitenstettengasse Temple. II #4 Ap
'70: 19-24

Samuel Vigoda's "Legendary Voices". XII #2 Dec '82: 30-

Shim Lo: Aspects of Congregational Singing. XIII #2 Ja '84:
35-44

Some Thoughts on the Hazzanic Recitative. IX #3 Nov '79:

The Subject of Jewish Music: A Review of Nulman's "Con-
cise Encyclopedia of Jewish Music".
VI #2 Oct '75: 44-50

To Gershon Ephros: In Lieu of A Kaddish. IX #1 Mr '79: 33-

A Unique Chapter in the History of the American Cantor-ate.
VII #1 Nov '76: 3-25

A Unique Chapter in the History of the American Cantorate
(II). VH #2 F '77: 3- 15

Varying Concepts of Ne'imah and Their Place in Liturgy. V
#3 Dec '74: 16-21

ZIMMERMAN, Akiva

The British and Halevy's "La Juive". XV #2 Dec '85: 28-33

Hazzan Leib Glantz: On His 20th Yahrzeit. XIV #1 Je '84:

Joseph Fisher: Master Printer and Great Hazzan. XVII #1 Jl

'87: 42-45

Journals for Cantorial Music. XX #2 Dec '90: 33-35
They Were Four. XI #2 Dec '8 1: 32-36

Yehudah Mandel: Appointed on Recommendation of the
Rogochover Gaon. XIX #2 Dec '89: 34-36

ZUCKER, Jeffrey S. (Yosef)

Edward Stark: American Cantor-Composer At the Turn of the
Century. XIII #1 Je '83: 14-28

A Guide to Music Resources in Israel. XIX #1 Jl '89: 56-63

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