© 2012 – Routledge
Sara Manasseh brings a significant, but less widely-known, Jewish repertoire and tradition to the attention of both the Jewish community (Ashkenazi, Sephardi, Oriental) and the wider global community. The book showcases thirty-one songs and includes English translations, complete Hebrew texts, transliterations and the music notation for each song. The accompanying CD includes eighteen of the thirty-one songs, sung by Manasseh, accompanied by 'ud and percussion. The remaining thirteen songs are available separately on the album Treasures, performed by Rivers of Babylon, directed by Manasseh - : www.riversofbabylon.com. While in the past a book of songs, with Hebrew text only, was sufficient for bearers of the tradition, the present package represents a song collection for the twenty-first century, with greater resources to support the learning and maintenance of the tradition. Manasseh argues that the strong inter-relationship of Jewish and Arab traditions in this repertoire - linguistically and musically - is significant and provides an intercultural tool to promote communication, tolerance, understanding, harmony and respect. The singing of the Shbahoth (the Baghdadian Jewish term for 'Songs of Praise') has been a significant aspect of Jewish life in Iraq and continues to be valued by those in the Babylonian Jewish diaspora.
'Sara ManassehÂ´s Shbahoth is a wonderful anthology of hymns sung by Iraqi Jews and a window into the musical and religious life of this ancient community. It comes along at a time when this aspect of middle-Eastern Jewish popular culture has joined with Jewish and Israeli popular culture, thereby gaining an unexpectedly wide audience. The twenty-five poems included in the book are accompanied by translations and all the historical and literary information needed for their full enjoyment and understanding.' Raymond Scheindlin, Professor of Medieval Hebrew Literature at The Jewish Theological Seminary, USA 'Shbahoth - Songs of Praise in the Babylonian Jewish Tradition, which is part of the SOAS Musicology Series, demonstrates linguistic and musical prowess covering Hebrew, Arabic, and English, as well as musical and textual mastery.' The Journal of Indo-Judaic Studies
Contents: Preface; Prelude; Historical, social and musical background; The poetry in its historical context; Song texts and music notations; Coda; Glossary; Bibliography; Discography, videography, websites; Indexes.
SOAS Musicology Series is today one of the world’s leading series in the discipline of ethnomusicology. Our core mission is to produce high-quality, ethnographically rich studies of music-making in the world’s diverse musical cultures. We publish monographs and edited volumes that explore musical repertories and performance practice, critical issues in ethnomusicology, sound studies, historical and analytical approaches to music across the globe. We recognize the value of applied, interdisciplinary and collaborative research, and our authors draw on current approaches in musicology and anthropology, psychology, media and gender studies. We welcome monographs that investigate global contemporary, classical and popular musics, the effects of digital mediation and transnational flows.