Since the dawn of time, Jewish music has been transmitted orally. Except three manuscript fragments of Ovadia the Proselyte in the 12th century [1] and some biblical cantillations of the 15th and 16th centuries
[2].
It was not until the 17th century that the first written lusic played in a Jewish context appeared in Italy, Amsterdam and Comtat Venaissin. And these works are really modern since they borrow the musical language of the time: the baroque!
[1] Cf. Israel Adler, "Les chants synagogaux notés au XIIe siècle (ca 1102-1150) par Abdias le prosélyte normand", Revue de Musicologie, 51, 1965, pp. 19-51.
[2] Il s’agit notamment de cantillations bibliques notées par des humanistes chrétiens désireux d’étudier les textes bibliques dans leur version originale. Cf. J. Böschenstein (Codex hebraicus, Munich, vers 1500), Johannes Reuchlin (De accentibus et orthographia linguae hebraicae, Haguenau, 1518), ou encore Sebastian Münster (Institutiones grammaticae in hebream linguam, Bâle, 1524).
Read the feature article about Jewish Baroque music
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[1] Cf. Israel Adler, "Les chants synagogaux notés au XIIe siècle (ca 1102-1150) par Abdias le prosélyte normand", Revue de Musicologie, 51, 1965, pp. 19-51.
[2] These include biblical cantillations noted by Christian humanists eager to study the biblical texts in their original version. Cf. J. Böschenstein (Codex hebraicus, Munich, around 1500), Johannes Reuchlin (De accentibus et orthographia linguae hebraicae, Haguenau, 1518), or Sebastian Münster (Institutiones grammaticae in hebream linguam, Bâle, 1524).
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