© 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.
The study of the world’s many and diverse music cultures has become an important part of the discipline of musicology. Often termed ‘ethnomusicology’, the resulting studies share the fundamental recognition that music is cherished by every society in the world. Like language, music is a universal means of individual and cultural expression. It is also infinitely varied. Music in any society has intrinsic value in its own right, and can tell us much about the culture in which it developed. The core of the SOAS Musicology Series comprises studies of different musics, analysed in the contexts of the societies of which they are part, and exploring repertories, performance practice, musical instruments, and the roles and impacts of individual composers and performers. Studies which integrate music with dance, theatre or the visual arts are encouraged, and contextualised studies of music within the Western art canon are not excluded.
Reflecting current ethnomusicological theory and practice, the editors recognize the value of interdisciplinary and collaborative research. Volumes may utilize methodologies developed in anthropology, sociology, linguistics and psychology to explore music; they may seek to create a dialogue between scholars and musicians; or they may primarily be concerned with the evaluation of historical documentation. Monographs that explore contemporary and popular musics, the effect of globalization on musical production, or the comparison of different music cultures are also welcomed.