Volume 16, Number 2 - Cantors Assembly

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32 preceding strophes; the change begins at the second hemistich of verse 2 (melodic component “i”), where the descending melody breaks through the barrier of the Finalis Fa and is carried on to a cadential caesura on Re; afterwards, at the first hemistich of verse 3, it comes to rest on La (component "j”), thus reinforcing our sense of a temporary touch of the mode of Re. From the beginning of the second hemistich of verse 3 and to the end of the strophe the melody returns to the usual form. The two components “i” and “j” appear only once, that is, in strophe IV, in the whole piyyut. Here one cannot connect the melodic modification to the poetic pattern. Perhaps it illustrates the quest for melodic variation technique used in settings of strophic poems, a technique considered to be a widespread practice among Jews, and already encountered in the oldest documents of Jewish music notated by Ovadiah the Norman Proselyte (see note 5).35 Another possibility is that the anonymous composer of the melody wanted to express himself lyrically precisely in this strophe (an ornamental version of the blessing for Jerusalem in the grace after meals) which is entirely devoted to supplications for the mercy of God on the people of Israel, Zion and the Temple, and for salvation and the coming of the Messiah. In contrast to the other strophes it does not contain any reference to the material matters (such as bread, wine and food in general) associated with the Sabbath meal. We shall now sum up our main findings with the help of the summary tabulation of Transcription II (Fig. 3). The only component common to all the parts of the melody, including strophe I, is the cadential formula “b,” which figures at the end of every strophe. An examination of the location of other common melodic components revealed an interesting phenomenon: the formal striving towards a unified structure is especially concentrated in the outer structural units, and becomes weaker as we turn to the inner units. This can be seen on all levels of the analysis: At the top of the scale of identities are the outer verses 1 and 4; the melodic sentence E of verse I is common to all the principal strophes, as is the melodic sentence H of verse 4, except of course for strophe V. On a lower grade of the scale of identities we find the outer hemistichs of the internal verses, that is, the first hemistich of 35. Avcnary’s insistence on the “principle of varied repetition” apparently holds good in Jewish music of all periods and countries. H. Avenary, Hebrew Hymn runes: Rise and Development of a Musical Tradition (Tel-Aviv, 197 1) p. 15. See also pp. 24.3 I, 33.
Figure 3: Summary Tabulation of Transcription II verse 2 and the second hemistich of verse 3; here we can see the similarity of the melodic components “f" (of verse 2) and ‘*err (of verse 3). in all the principal strophes, except V. The main melodic variations (apart from the structural change in V) are found in the internal hemistichs of verses 2 and 3; here there is melodic identity only in verse 3 of II and III. From all this emerges a successful blending of a melody eager to be moulded to its poetic text, but at the same time preserving a non
Page 1 and 2: � Cantors Assembly � December 1
Page 3 and 4: FROM THE EDITOR With this issue we
Page 5 and 6: Another category of reports will be
Page 7 and 8: The entire book is prefaced by a ch
Page 9 and 10: On the spur of the moment I telepho
Page 11 and 12: language; and in a deeper sense, pe
Page 13 and 14: the cantor will not be satisfied wi
Page 15 and 16: cantorate to forget all differences
Page 17 and 18: THE EARLIEST NOTATION OF A SABBATH
Page 19 and 20: manuscripts containing Hebrew music
Page 21 and 22: The anonymous text (see Appendix) c
Page 23 and 24: the strophes are given at the begin
Page 26 and 27: 26 niggfinim mis-sinar~.2~ But apar
Page 28 and 29: Transcription II In this transcript
Page 30 and 31: 30 Poetic Pattern Melodic Pattern 1
Page 34 and 35: 34 negligeable degree of freedom fr
Page 36 and 37: 36 Appendix The text given below fo
Page 38 and 39: 38 ISRAEL GOLDFARB’S “SHALOM AL
Page 40: 40 RABBI ISRAEL QOLDFARB - D.H.L. 2
Page 43 and 44: FRIDAY EVENING MELODlES Sholom Alec
Page 45: h&Lo - do& bo - ruch hu FRIDAY EVEN
Page 48 and 49: 48 To begin with, the verse "Der Re
Page 50 and 51: 50 been well summarized by Gavin de
Page 52 and 53: 52 THE 1984-1985 AMERICAN JEWISH CO
Page 54 and 55: phase of the project. Armed with ne
Page 56 and 57: 56 of Milwaukee. As a result, I per
Page 58 and 59: will inform me of their activities
Page 60 and 61: 60 But all was not smooth sailing f
Page 62 and 63: 62 Alas, the United Jewish Choral S
Page 64 and 65: In his introductory remarks Dr. Sch
Page 66 and 67: 66 arranged. It must be left raw in

Volume 16, Number 2 - Cantors Assembly

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