Mbr Lecture Concert 070511

7/28/2019 Mbr Lecture Concert 070511

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The Music of the Bible Revealed

A Millenary Notation Deciphered

by

Suzanne Hak-Vantoura


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What is the Music of the Bible?

The Hebrew Masoretic Text

The musical accents (teammor )

The Masoretic syntactic analysis of the accents

The synagogue chants and the accentsHak-Vantoura's melodic analysis of the accents

Musical gestures (chironomy) behind the accents

Musical examples (prose and Psalms)


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History of the Hebrew Alphabet


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Genesis 1:1 in Ancient Hebrew

(ca. 10th- 9thcentury BC)

No vowel-points

No musical accents Periods may be present or absent in ancient

Hebrew documents


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Genesis 1:1 in Masoretic Hebrew

(The Jerusalem Bible, Koren Edition)

Square script introduced by Ezra (modified)

Musical accents

Vowel-points Other marks (including dagesh)

Punctuation at the end of the verse (sof pasuq)


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The Masoretic Text (Aleppo Codex)

Consonants

Accents

Vowel-points

Other marks (dagesh,

maqqaf, rafe,paseq)

Marginal notes (the

Masorahproperlyspeaking)

Text at left is

Jeremiah 10:23-25


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The Accents of Hebrew Scripture

Nineteen graphemes are used (some below, some

above the words)

Five are used both below and above the words Some may be used in combination on a word or syllable

Two systems of accents are used: one for the prose

books, one for Psalms, Proverbs & the body of Job


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Their Establishment & Transmission

Moses and other biblicalauthors

Ezra & Great Synagogue

Elders (Sons) of Bathyra

As delights they haveestablished the ta`ammiqra, giving the senseand interpreting its word

Karaites

Masoretes of Tiberias Scribes & grammarians

Printed editions (earlyversus best readings)


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Ancient Dead Sea Scrolls?

Scrolls of the Bible andsectarian MSS. werefound in a cave nearJericho in 800 AD

These were brought to

the Karaites in Jerusalem Within 20-50 years, the

earliest known MSS. withTiberian accents appear

Chumash Yer ichoiscited by Masorahas asource of variant readingsof consonants, accents,vowel-points and rafe


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Some Early Masoretic Manuscripts

Codex of the Prophets (895 AD)

Aleppo Codex (ca. 930 AD)

Codex Leningradensis (1009 AD) British Museum MS. Or. 4445 (ca. 925 AD [Israel

Yeivin] or possibly 820-850 AD [C.D. Ginsburg])


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The Overall Purpose of the Accents The Hebrew name of the accentste amm( ) comes

from the singular noun ta`am( ), literally taste,figuratively judgment, discretion, discernment

The verb root is ta`am( ), to taste, to perceive

In effect, the accents enable the reader and the listener todiscern and appreciate the senseof the often-ambiguousHebrew verbal text

In other words, the accents overall purpose is that ofexegesis through sound

Moshe ben Asher (fl. 895 AD) waxed rhapsodic about thetraditional role of the accents in this regard

The Kabbalists went even further, linking the accents tomystical communion with God Himself


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The Three Functions of the Accents

The accents are melodic(transcribing gestures

representing musical tones produced by the

mouth)

The accents are syntactic(dividing the verbaltext into verses, clauses and phrases and

connecting words within phrases)

The accents are rhythmic(indicating the

stressed syllables of the words and when the

stress falls on them)


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The Fundamental Question

Which function predominates?

1. The melodic?

2. The syntactic?

3. The rhythmic? Virtually all have realized the rhythmicfunction

is the least important

The debate therefore has centered on whetherthe melodicor the syntacticfunctionpredominates


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Did the Masoretes Invent the Accents?

The Tiberian accents appeared first in manuscripts inthe mid- to late 800s AD

The first tentative and incomplete commentary on them(Diqduq ha-Teamm) was written ca. 930 AD by thelast of the Masoretes (Aharon ben Asher)

The earliest known systematicanalyses (building on benAshers commentary) date from the 10th and 12thcenturies

Eliyahu ha-Levi (1538) gives a somewhat more detailedanalysis

Later treatises to the present add more and more detailsto the analysis

But who invents a system of notation and then leaves itto others to explain its details?


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A Close Shave with Occams Razor

The simplest and most complete explanation of the factsavailable is the closest to the truth (Occams Razor)

The evidence is not consistent with the Masoreteshaving inventedthe accents

Rather, it is consistent with the Masoretes havingreceivedthe accents themselves, but not the accentsoriginal meaning

The Masoretes therefore sought to decipherthe accentsas a notation of unknown meaning

The data given in the early treatises is consistent withwhat such a deciphering effort requiresThe Masoretes successors to the present have (willy-nilly) followed in their footsteps


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Deciphering an Unknown Notation

Requires an accurate transcription of theunknown notation

Requires a correct understanding of the

significance of the unknown notation Requires a reliable bilingual or virtual

bilingual (a Rosetta Stone) which is parallel tothe unknown notation and shares information incommon with it


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The Masoretic Syntactic Analysis

The Masoretes (according to Moshe ben Asher,

fl. 895 AD) began with an accurate transcription

of the accents

They began with the premise that the accentsare primarily syntactic, secondarily melodic

They used the Hebrew verbal syntax (phrase

structure) as their virtual bilingual for

deciphering the accents


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The Prose Accents

(Israel Yeivin)


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The Poetic Accents (Israel Yeivin)


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Weighing the Results

The Masoretic analysis cannot explain consistently whysome accents are below the words and some accents areabove them

It cannot explain consistently why some accents markthe stressed syllable and some do not

It gives signs with the same form different meaningsand signs with different forms virtually the samemeanings (all according to the verbal context)

It cannot explain consistently why the accents have theexact forms and positions that they do

It cannot explain why their forms follow no logical orderrelative to their use in dividing or connecting words

It gives many secondary names to the accents (many ofwhich are not used in modern grammars)


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The Synagogue Chant Traditions

Each community has its own tradition of chant

All have adapted themselves to the accents asinterpreted by the Masoretes and grammarians

They give different melodic renditions to different biblical

books and at different times of the liturgical yearThey show the influence of the music of the Jewishcommunities Gentile neighbors

Some attemptpartial and unsystematicexplanations of

the features and layout of the accentsIn addition, there are two basic levels of chant: primitivechants and tropes

Psalms are universally sung after the primitive fashion


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The Synagogue Accent Systems

Between 4th-7th centuries, two other systems of accentsand vowels appeared in Babylonia and Palestine (Landof Israel)

The Palestinian notation was still developing when theTiberian notation displaced it

The Babylonian notation was influenced and thensupplanted by the Tiberian notation

The Talmudists and Masoretes assumed that theTemple chant and the Synagogue chant were essentiallythe same

Therefore, commentators at the time assumed that theBabylonian, Palestinian and Tiberian accentsrepresented essentially the same thing


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The Babylonian Prose Accents

Used in the prose books (the Twenty-One Books)

Developed in the Babylonian Jewish community by the 7th century

Mostly uses letters corresponding to the names of the accents used Has two graphemes in common with the accents transcribed by the

Masoretes of Tiberias

These are not used in the same places relative to the words as aretheir Tiberian counterparts


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The Babylonian Poetic Accents

Used in the poetic books (Psalms, Proverbs and Job)

Developed in the Babylonian Jewish community by 7 th century

Mostly uses letters corresponding to the names of the accents used

Has two graphemes in common with the accents transcribed by theMasoretes of Tiberias

These are not used in the same places relative to the words as aretheir Tiberian counterparts


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The Masoretes Musical InterpretationThe Masoretes and their immediate successors were

familiar only with primitive chantNo written notation of medieval synagogue tropes isknown before the 16th century

The Masorah, the readers manuals until the 12thcentury and transcriptions by Obadiah the Norman all

indicate that primitive chant was the normPrimitive chant is characterized by simple rising andfalling melodic curves

The Tiberian accents (in part) were interpreted musicallyby Masoretes as markers of primitive chant

This interpretation does not explain anything significantabout the Tiberian accents

The Babylonian and Palestinian accents are probablymarkers of such unsystematic chants


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The Primitive Synagogue Chant in theMasorah

and the Early Treatises (Israel Yeivin)


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The Development of Tropes

With the rise of Islam, Jewish music as a whole wasinfluenced by the Great Tradition of Arabo-Persianmaqamat

Ethnomusicologist Johanna Spector documented howthe synagogue tropes were adapted from maqamat

Now the Tiberian accents were given melodic motifs(t ropes) to be sung on entire words

Professional Ashkenazi cantors took this process to itslimit (all prose accents were given tropes)

In other communities, only divisive accents (or even

major divisive accents) were given tropesThese motifs do not explain most features of theTiberian accents either


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Some Independent Analyses

Various scholars have begun with a more or lessaccurate transcription of the accents

Some began with the premise that the accents areprimarily melodic, secondarily syntactic

Their virtual bilinguals have been speculative, extra-

biblical standards (often the music of their own times)Others have used the Hebrew verbal syntax (phrasestructure) as their virtual bilingual for deciphering theaccents

Their premises, however, have denied the real nature ofthe accents and/or ignored many of their features

All these attempts have led to dead ends

An attempt based on the right premise and the rightvirtual bilingual has been lacking


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A Page Turns in History


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Composer, organist, teacher,music theoretician in Paris

Father was Turkish Jew; mother,Alsatian Jew

Learned from her father aboutaccents in Masoretic Text

As a composition student, learnedaccents were ancient, musicaland of unknown meaning

Began her decipherment whilehiding from the Nazis

Unable to finish her work untilafter her retirement in 1970

Published her original book andrecording in 1976

Suzanne Hak-Vantoura(1912-2000)


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Hak-Vantoura's Original Publications


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Some Later Publications


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Hak-Vantoura's Melodic Analysis

Suzanne Hak-Vantoura began with an accuratetranscription of the accents (the Letteris Edition)

She began with the premise that the accents areprimarily melodic, secondarily syntactic

She used the Hebrew verbal syntax (phrasestructure) as her virtual bilingual fordeciphering the accents

In effect, her analysis was the mirror image ofthat used by the Masoretes and their successorsto the present


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The Sublinear Accents

Top left: accents belowthe words in prose texts

These represent notes ofa modal scale (8 degrees= 1 octave)

Bottom left: accentsbelow the words in poetictexts (Psalms, Proverbs,body of Job)

These represent notes ofa modal scale (7 degrees)

The modality is diatonic-chromatic


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The Superlinear Prose Accents

Left margin: the sublinear accents have fixed meaning

Left to right after vertical line: the superlinear accents

have relative meaning (the pitch of each is relative to

that of the preceding sublinear sign)


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The Superlinear Poetic Accents

Left margin: the sublinear accents have fixed meaning

Left to right after vertical line: the superlinear accents

have relative meaning (the pitch of each is relative to

that of the preceding sublinear sign)


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The Ambitus of Biblical Chant


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Weighing the Results

Hak-Vantoura's deciphering key explains why someaccents are below the words and some accents areabove them

It explains consistently why some accents mark thestressed syllable and some do not (and why some are

shifted relative to a syllable or word) It gives signs with the same form the same essential

meaning, regardless of verbal context (but taking intoaccount its position below or above a word)

It explains consistently why the accents have the exactforms that they do

It arranges the forms of the accents in a logical order,depending on their tonal values

It assigns each accent within a system a single name


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Folk Song Versus Art Song The art songs of the Temple as reconstructed by Hak-Vantoura

and the folk songs of the ancient synagogues are fundamentallydifferent in their phrase structure (syntax)

It is not a question of presence or absence of emotion, but ofclassical training versus more or less trained improvisation

The earlier, so-called primitive synagogue chants use one basic

melodic formula adapted to an entire verse and then repeats it withlittle change verse after verse

The later tropes attach melodic formulae to specific words andaccents in most synagogue rites that use tropes, not all wordsand accents are so marked

In the Levitical and prophetic chants, when the syntax of the verballine changes, the syntax of the melodic line changes with it

At the same time, the melodic line changes to match the changes inverbal meaning

These are characteristics of ancient art song what the ancientGreeks called melos


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Is This Music Inspired?

Structurally, the melodies and the words had to have been created

by the same authors at the same time and then transmittedtogether with a high degree of accuracy

The melodies convey how the Hebrew Scriptures say what theysay the vocal inflection, which carries the thought behind thespeech

The melodies clarify the verbal syntax and expound the verbal

meaning (including the emotions and attitudes) simultaneously Moreover, the melodies convey much of the personalities of the

biblical authors In the Psalms especially, the melodies also clarify the technical

terms and reflect the vocal resources and instrumentalarrangements involved in the performance of the Psalms

Finally, the melodies convey much of the historical circumstances inwhich the various biblical texts were written

The accents are therefore part of Hebrew Scripture, and (to theextent they are accurately preserved and correctly interpreted)share in its divine inspiration


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Inspirational Versus Inspired

There is an important difference between inspirationalmusic and inspired music

Inspirational music conveys the thoughts and attitudesthat each musician and composer experiences whenreading the biblical texts, which (however valid they may

be) are always subjective Inspired music conveys objectively the thoughts and

attitudes of the biblical authors themselves, which arenot always the same as our subjective impressions oftheir works

Where the two differ, we ought to learn from theinspired example, which is part ofthe oracles of Godpreserved by the Jews despite themselves


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Psalm 137 (Sephardic Tradition, Jerusalem)


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`al na-ha-rot ba-vel

By the rivers of Babylon,

sham ya-shav-nu gam ba-kh-nu

There we sat down, yea, we wept

be-zokh-re-nu et ts-yon:

When we remembered Zion.


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`al `a-ra-vm be-to-kha

Upon the willows in the midst of it

ta-l-nu ki-no-ro-t-nu:

We hung our lyres.


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k sham she-e-lu-nu sho-v-nu

For there requested those who carried us captive

div-r shr ve-to-la-l-nu sim-ha

Words of a song, and our plunderers, mirth:

sh-ru la-nu mi-shr ts-yon:

Sing for us one of the songs of Zion!


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kh na-shr et shr A-do-nay

How shall we sing the song of the LORD

`al ad-mat ne-khar:

In a foreign land?


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im esh-ka-hekh ye-ru-sha-la-yim

If I forget you, O Jerusalem,

tish-kah ye-m-n:

Let my right hand forget (its skill)!


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tid-baq le-sho-n le-hi-k

Let my tongue cling to the roof of my mouth

im lo ez-ke-re-kh

If I do not remember,

im lo a-`a-le et ye-ru-sha-la-yim

If I do not exalt Jerusalem

`al rosh sim-ha-t:

Above my chief joy.


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ze-khor A-do-nay liv-n e-dom

Remember, O LORD, against the sons of Edom

et yom ye-ru-sha-la-yim

The day of Jerusalem,

ha-om-rm à-ru à-ru

Who said, Raze it, raze it,

àd hay-sod ba:

To its very foundation!


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bat ba-vel hash-du-da

Daughter of Babylon, who are to be destroyed,

ash-r sh-sha-lem lakh

Happy the one who repays you

et ge-mu-lekh she-ga-malt la-nu:

as you have served us!


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ash-r she-yo-hez ve-ni-pets

Happy the one who takes and dashes

et `o-la-la-yikh el ha-sa-la`:

Your little ones against the rock!


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`al na-ha-rot ba-vel

By the rivers of Babylon,

sham ya-shav-nu gam ba-kh-nu

There we sat down, yea, we wept

be-zokh-re-nu et ts-yon:

When we remembered Zion.


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`al `a-ra-vm be-to-kha

Upon the willows in the midst of it

ta-l-nu ki-no-ro-t-nu:

We hung our lyres.


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k sham she-e-lu-nu sho-v-nu

For there requested those who carried us captive

div-r shr ve-to-la-l-nu sim-ha

Words of a song, and our plunderers, mirth:

sh-ru la-nu mi-shr ts-yon:

Sing for us one of the songs of Zion!


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kh na-shr et shr A-do-nay

How shall we sing the song of the LORD

`al ad-mat ne-khar:

In a foreign land?


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im esh-ka-hekh ye-ru-sha-la-yim

If I forget you, O Jerusalem,

tish-kah ye-m-n:

Let my right hand forget (its skill)!

id b le h le hi k


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tid-baq le-sho-n le-hi-k

Let my tongue cling to the roof of my mouth

im lo ez-ke-re-kh

If I do not remember,

im lo a-`a-le et ye-ru-sha-la-yim

If I do not exalt Jerusalem

`al rosh sim-ha-t:

Above my chief joy.

e kh A d li d


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ze-khor A-do-nay liv-n e-dom

Remember, O LORD, against the sons of Edom

et yom ye-ru-sha-la-yim

The day of Jerusalem,

ha-om-rm à-ru à-ru

Who said, Raze it, raze it,

àd hay-sod ba:

To its very foundation!


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bat ba-vel hash-du-da

Daughter of Babylon, who are to be destroyed,

ash-r sh-sha-lem lakh

Happy the one who repays you

et ge-mu-lekh she-ga-malt la-nu:

as you have served us!


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ash-r she-yo-hez ve-ni-pets

Happy the one who takes and dashes

et `o-la-la-yikh el ha-sa-la`:

Your little ones against the rock!


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Psalms 134:3 (Choral Response)


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SOLO:

shr ha-ma-`a-lot

A Song of Ascents


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hi-ne bar-khu et A-do-nayBehold, bless the LORD,

kol `av-de A-do-nay

all servants of the LORD,


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ha-`om-dm bevet A-do-naystanding in the house of the LORD

ba-le-lot:

by night.


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se-u ye-de-khem qo-desh

Lift up your hands in the holy place,


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u-var-khu et A-do-nay:

And bless the LORD.


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CHORUS:

ye-va-rekh-kha A-do-nay mi-ts-yonThe LORD shall bless you out of Zion,


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`o-se sha-ma-yim va-a-rets:

The Maker of heaven and earth.

C d ti ith G t (Chi )


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Conducting with Gestures (Chironomy)

Chironomy in ancient Egypt was a precise art

It indicated exact tones

It could indicate simple harmonic intervals


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Egyptian Chironomy (Hans Hickmann)

Based on eleven-degree pentatonic scale Based on tonic(blue) and fifth(green) degrees Does not indicate modeused of itself


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Some Reconstructed Biblical Chironomy


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ku-m o-r k va o-rekhArise, shine, for your light has come,

ukh-vod A-do-nay `a-la-yikh za-rah:

And the glory of the LORD is risen upon you.


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k hi-ne ha-ho-shekh ye-kha-se e-retsFor behold, the darkness shall cover the earth,

va-`a-ra-fel le-u-mm

And deep darkness the people;


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ve-`a-la-yikh yiz-rah A-do-nayBut the LORD will arise over you,

ukh-vo-do `a-la-yikh ye-ra-e:And His glory will be seen upon you.


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ve-hal-khu go-yim le-o-rekhAnd nations shall come to your light,

um-la-khm le-no-gah zar-hekh:And kings to the brightness of your rising.


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se- sa-vv -na-yikh ur-Lift up your eyes all around, and see:

ku-lam niq-be-tsu va-u lakhThey all gather together, they come to you;


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ba-na-yikh me-ra-hoq ya-vo-uYour sons shall come from afar,

uv-no-ta-yikh `al tsad te-a-ma-na:And your daughters shall be nursed at your side.


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az tir- ve-na-hartThen you shall see and become radiant,

u-fa-had ve-ra-hav le-va-vekhAnd your heart shall fear and swell (with joy);


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ki ye-ha-fekh `a-la-yikh ha-mon yamFor the abundance of the sea shall be turned to you,

hl go-yim ya-vo-u lakh:The wealth of the Gentiles shall come to you.


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kh h d d


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-kha yash-va va-dad

How lonely sits

ha-`r ra-ba-t`am

The city that was full of people!

hay-ta ke-al-ma-na

She has become like a widow;


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ba-kho tiv-ke ba-lay-la

She weeps bitterly in the night,

ve-dim-`a-tah `al le-he-yah

And her tears are on her cheeks;

n lah me-na-hem mi-kol o-ha-v-hah

She has no comforter among all her lovers;


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kol re--hah bag-du vahAll her friends have dealt treacherously with her;

ha-yu lah le-oy-vm:They have become her enemies.


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vay-da-ber A-do-nay el mo-she le-mor:


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y y

And the LORD spoke to Moses, saying:

da-ber el a-ha-ron ve-el ba-nav le-mor


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Speak to Aaron and his sons, saying,

ko te-var-khu et be-n yis-ra-el


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y

This is the way you shall bless the children of Israel.

a-mor la-hem:


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Say to them:

ye-va-rekh-kha A-do-nay ve-yish-me-re-kha:


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The LORD bless you and keep you;

ya-er A-do-nay pa-nav e-l-kha


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The LORD make His countenance shine upon you,

v-hu-ne-ka:


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And be gracious to you;

yi-sa A-do-nay pa-nav e-l-kha


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The LORD lift up His countenance upon you,

ve-ya-sem le-kha sha-lom:


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And give you peace.

ve-sa-mu et she-m `al be-n yis-ra-el


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So they shall put My name on the children of Israel,

va-a-n a-var-khem:


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and I will bless them.


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le da vid miz mor


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l-da-vid miz-mor

A Psalm of David.

la-do-nay ha-a-rets um-lo-ah

The earth is the LORD's, and all its fullness,

te-vel ve-yosh-v vah:

The world and those who dwell therein.


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k hu `al ya-mm ye-sa-dah

For He above the seashas founded it,

ve-`al ne-ha-rot ye-kho-ne-ne-hah:

And above the watershasestablished it.


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m ya-`a-le ve-har A-do-nay

Who may ascend the hill of the LORD?

u-m ya-qum bim-qom qod-sho:

Or who may stand in His holy place?

ne-q kha-pa-yim u-var le-vav


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n-q kha-pa-yim u-var le-vav

He who has clean hands and a pure heart,

a-sher lo na-sa la-shav naf-sh

Who has not lifted up his soul to an idol,

ve-lo nish-ba le-mir-ma:

Nor sworn deceitfully.


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yi-sa ve-ra-kha me-et A-do-nay

He shall receive blessing from the LORD,

uts-da-qa me-e-lo-h yish-`o:And righteousness from the God of his salvation.


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ze dor dor-shav

This is the generation of those who seek Him,

me-vaq-sh fa-n-kha ya-`a-qov se-la:

Who seek Your face, (even) Jacob. Selah.

se-u she-`a-rm ra-sh-khem


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s u sh a rm ra sh khem

Lift up, O gates, your heads;

ve-hi-nas-u pit-h `o-lam

And be lifted up, O everlasting doors;

ve-ya-vo me-lekh ha-ka-vod:

And the King of glory shall come in!

m ze me-lekh ha-ka-vod


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m ze me lekh ha ka vod

Who is this King of glory?

A-do-nay i-zuz ve-gi-bor

The LORD, strong and mighty;

A-do-nay gi-bor mil-ha-ma:

The LORD, mighty in battle!

se-u she-`a-rm ra-sh-khem


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s u she a rm ra sh khem

Lift up, O gates, your heads;

us-u pit-h `o-lam

And lift up, O everlasting doors;

ve-ya-vo me-lekh ha-ka-vod:

And the King of glory shall come in!

m hu ze me lekh ha ka vod


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m hu ze me-lekh ha-ka-vod

Who then is this King of glory?

A-do-nay tse-va-ot

The LORD of hosts,

hu me-lekh ha-ka-vod se-la:

He is the King of glory! Selah.


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ha-le-lu-yah


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ha llu yah

Praise the LORD!

hal-le-lu av-d A-do-nay

Praise, O servants of the LORD,

hal-le-lu et shem A-do-nay:

Praise the name of the LORD!


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ye-h shem A-do-nay me-vo-rakh

Blessed be the name of the LORD

me-a-ta ve-`ad `o-lam:

From this time forth and forevermore!


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mi-miz-rah she-mesh `ad me-vo-o

From the rising of the sun to its going down,

me-hu-lal shem A-do-nay:

Worthy to be praised (is) the name of the LORD.


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ram `al kol go-yim A-do-nay

High above all nations (is) the LORD,

`al ha-sha-ma-yim ke-vo-do:

Above the heavens (is) His glory.


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m ka-do-nay e-lo-h-nu

Who (is) like the LORD our God,

ha-mag-b-h la-sha-vet:

Who dwells on high,


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ha-mash-pi-l lir-ot

Who humbles Himself to behold

ba-sha-ma-yim u-va-a-rets:

(The things) in the heavens and in the earth?


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me-q-m me-`a-far dal

He raises the poor out of the dust,

me-ash-pot ya-rm ev-yon:

Out of the ash heap He lifts the needy,


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le-ho-sh-v ìm ne-d-vm

That He may seat him with princes,

ìm ne-d-v à-mo:

With the princes of His people.

mo-sh-v à-qe-ret ha-ba-yit


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q y

He grants the barren woman a home,

em ha-ba-nm se-me-ha

(As) the joyful mother of children.

ha-le-lu-yah

Praise the LORD!


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shr ha-ma-`a-lot le-da-vid

A Song of Ascents. Of David.


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sa-mah-t be-om-rm l

I was glad when they said to me,


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`om-dot ha-yu rag-l-nu

Our feet have been standing

h h h


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bish-`a-ra-yikh ye-ru-sha-la-yim:

Within your gates, O Jerusalem!

h l h b h


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ye-ru-sha-la-yim hab-nu-yah

Jerusalem is built

k h h b l h h d


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ke-`r she-hub-ra lah yah-dav:

As a city that is compact together,

h h l h h h


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she-sham `a-lu she-va-tm shiv-t yah

Where the tribes go up, the tribes of the LORD,

` d l i l


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`e-dut le-yis-ra-el

(As a) testimony to Israel,

l h d l h A d


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le-ho-dot le-shem A-do-nay:

To give thanks to the name of the LORD.

k h h khi le i h


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k sha-ma yash-vu khis-ot le-mish-pat

For there are set thrones for judgment,

ki le d id


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kis-ot le-vt da-vid:

The thrones of the house of David.

h l he l e h l i


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sha-a-lu she-lom ye-ru-sha-la-yim

Pray for the peace of Jerusalem:

i h l h ikh


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yish-la-yu o-ha-va-yikh:

May they prosper who love you.

e h h l be h l kh


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ye-h sha-lom be-h-lekh

Peace be within your walls,

h l be e t ikh


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shal-va be-ar-me-no-ta-yikh:

Prosperity within your palaces.


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a dab ra na ha l m bakh


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a-dab-ra na sha-lom bakh:

I will now say, Peace be within you.

le ma `an bt A do nay e lo h nu


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le-ma- an bt A-do-nay e-lo-h-nu

For the sake of the house of the LORD our God

a vaq sha tov lakh:


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a-vaq-sha tov lakh:

I will seek good for you!


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ha-le-lu-yahPraise the LORD!


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ha-le-lu et A-do-nay min ha-sha-ma-yimPraise the LORD from the heavens;


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hal-le-lu-hu bam-ro-mm:Praise Him in the heights!


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hal-le-lu-hu khol mal-a-khavPraise Him, all His angels;


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hal-le-lu-hu khol tse-va-av:Praise Him, all His hosts!


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hal-le-lu-hu she-mesh ve-ya-re-ahPraise Him, sun and moon;


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ha-le-lu-hu khol kokh-v or:Praise Him, all you stars of light!

ha-le-lu-hu she-m ha-sha-ma-yimPraise Him, you heaven of heavens,


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ve-ha-ma-yim a-sher me-`al ha-sha-ma-yim:And you waters above the heavens!


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ye-hal-lu et shem A-do-nayLet them praise the name of the LORD,


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k hu tsi-va ve-niv-ra-hu:For He commanded and they were created.


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va-ya-à-m-dem la-àd le-ò-lamHe also established them forever and ever;


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hoq na-tan ve-lo ya-`a-vor:He made a decree which shall not pass away.


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ha-le-lu et A-do-nay min ha-a-rets


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ta-ni-nm ve-khol te-ho-mot:

esh u-va-rad she-leg ve-q-torFire and hail, snow and clouds;


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ru-ah se-`a-ra `o-sa de-va-ro:Stormy wind, fulfilling His word;


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he-ha-rm ve-khol ge-va-`ot


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`ets pe-r ve-khol a-ra-zm:

ha-ha-yaBeasts


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ve-khol be-he-maand all cattle;re-mesCreeping thingsve-tsi-por ka-naf:and flying fowl;

mal-kh e-retsKings of the earth


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ve-khol le-u-mmAnd all peoples;

sa-rmPrincesve-khol shof-t a-rets:

ba-hu-rmYoung men


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ve-gam be-tu-lotand also maidens;ze-qe-nmOld men`im ne-`a-rm:with children.

ye-hal-luet shem


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A-do-nayLet them praisethe name ofthe LORD;

knis-gav she-mole-va-do


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For exalted (is) Hisname alone;

ho-do `al e-retsve-sha-ma-yim:


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His glory (is) aboveearth and heaven.


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va-ya-rem qe-ren le-`a-mo


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liv-n yis-ra-el `am qe-ro-vo

ha-le-lu-yah


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Praise the LORD!

Mbr Lecture Concert 070511

Documents

Transcript of Mbr Lecture Concert 070511