^{page 209 note 1} It must be noted, however, that although they are able to speak Hebrew, many Israelis, having received their education in the lands of their birth, continue to speak their native languages in their homes. Nevertheless the number who do so is dwindling.

^{page 210 note 2} Probably less than one per cent of Israeli vocal compositions are intended for liturgical use.

^{page 210 note 3} The Hebrew word for ‘Old Testament’.

^{page 210 note 4} See Exod. xv, 20–21; 1 Sam. xviii, 6–7; Neh. xii, 27–40.

^{page 210 note 5} Babl. Soṭah, 30b; Sukkah, 38b.

^{page 210 note 6} I should like to acknowledge at this point my gratitude to Mr. N. A. Jairazbhoy for drawing the musical examples for printing.

^{page 211 note 1} The following scheme of transliteration from Hebrew is used. Consonants (in order of the Hebrew alphabet): ’ b, v; g; d; h; w; z; ḥ; ṭ; y; k, kh; l; m; n; s;‘; p, ph; ṣ; q; r; Ś, š; t. Vowels: ǎ, a; ě, ē; i, ī;o,ō u. Compound vowels are shown as short vowels. Šewa is indicated by ͤ.

^{page 211 note 2} Sepher hakuzari, book II, paragraphs 69–74.

^{page 211 note 3} It is of interest to note that in the opera Ruth (with English text based on the biblical story) by the contemporary English composer Lennox Berkeley, the time signatures change relatively infrequently in comparison with those of Israeli vocal works with Hebrew biblical texts.

^{page 211 note 4} The underlined syllables in the transliteration receive the stress.

^{page 211 note 5} See p. 36 of his book Madrīkh mĕtōdī ‘A methodical guide to the choral songs of Israel’ (in Hebrew), printed by the Department of Education and Culture of the General Federation of Jewish Labour in Israel.

^{page 212 note 1} See example 9 in this article, where the last two word a of the verse are sung twice. Also see example 10.

^{page 212 note 2} And-to a certain extent-the Yemenite Jews.

^{page 213 note 1} In this connexion see the article by the Israeli composer, Shalmon, Karel, entitled ‘Problems of old songs in a revived language’, Journal of the International Folk Music Council, xII, 1960CrossRefGoogle Scholar.

^{page 213 note 2} In a compilation of melodies entitled ‘Sabbath and festival music for the home’ (London, 1951), edited by the experienced synagogue choirmaster Bernard Cousin, the following note is appended to three of the tunes : ‘The correct accentuation of some of the words has had to be sacrificed in order to preserve the character of this melody ’. The expression, ‘correct accentuation’ refers to that of the Sephardic communities, and the note indicates that had the editor insisted on a total substitution of the Sephardic accentuation in a melody whose words were sung originally with the Ashkenazic accentuation, the resulting shifts of the accents would entail musical changes which would alter the initial character of the melody.

^{page 213 note 3} In his Thesaurus of Hebrew oriental melodies(Leipzig, 1914Google Scholar–32), II.

^{page 214 note 1} Most Hebrew words have either two or three syllables.

^{page 214 note 2} Latoga (meaning ‘to the toga’) refers to the garment worn by the ancient Romans, and is the only non-Semitic word in the passage.

^{page 214 note 3} Madrīkh mětŋdī, 35.

^{page 215 note 1} In Hebrew grammar this phenomenon is known as šͤwa na‘.

^{page 216 note 1} A comparison of examples 9, 10, and 11 with example 13 reveals the opposing attitudes of East and West with regard to ornate melody. Generally speaking, for the Western listener ornate melody detracts from the expressive power of a text, whereas for the Oriental listener ornate melody adds to it.

^{page 216 note 2} See explanation in the preceding paragraph.

^{page 216 note 3} See Gradenwitz, P., The music of Israel, New York, 1949Google Scholar, ch. ii–iii

^{page 216 note 4} At present, the majority of composers in Israel came there from other lands. This was caused by the influx of European musicians to Israel as a result of the rise of Nazism. However (provided that a similar influx from Russia and Russian-dominated countries does not occur in the near future), in another 20 to 30 years the majority of Israeli composers will be nativeborn.

^{page 216 note 5} See examples 8a and 8b.

^{page 217 note 1} A. Z. Idelsohn concluded that present-day biblical cantillation among the Jews still preserves some of the characteristics of the Hebrew melos of biblical times. On the basis of Idelsohn's findings, several Israeli composers have consciously made biblical cantillation motives the foundation of certain of their musical works in the hope of showing the way to a national Israeli style in art music. In this connexion see Idelsohn, A. Z., Jewish music, New York, 1948Google Scholar, ch. iii.

^{page 217 note 2} This is the accentuation which is indicated by the biblical cantillation symbols.

^{page 218 note 1} A girl's name.