[HANASHIR:5154] Re: trop analysis and origins

[BZcantor <BZcantor...>]

In a message dated 02/04/2000 10:13:16 AM Eastern Standard Time, 
goldnbrg (at) frontiernet(dot)net writes:
>
> Has anyone traced the development of different minchagim of different 
> synagogues or communities and the effort to "codify" trop charts in the 
> 20th century. What is similar, what is different? How did one system of  
> trop become adopted by HUC vs. JTS vs. the world? Here in Rochester 
> it seems that every synagogue has it's own variation.
>
There is a set of tapes available in Israel from the Institute for Sacred 
Music
in the Heichal Shlomo building attached to the Great Synagogue in Jerusalem.
They are being sold through Or-Tav, an Israeli music publishing house now run 
by Yossi Zucker.  These tapes have the trope traditions for several different 
world Jewish communities, and there are several versions for each community; 
Torah, Haftarah, and Esther at a minimum for each.  There is a nice chart from
Idelsohn's "Jewish Music" reprinted in EJ volume 11 which compares the trope
muisc of many communities, and if you can find a set of Idelsohn's "Thesaurus 
of Oriental Hebrew Melodies" (reprinted by Ktav), there is lots of trope 
music in
those volumes.  

The story with "JTS and HUC trope" is simply a function of Rosowsky and
Binder teaching similar versions for so many decades to so many hundreds
of Rabbis and Cantors.  Rosowsky did the research in Europe and Palestine
(pre-State), and taught it at JTS.  Binder brought that material to HUC, and
taught there for many years.  Between them, they taught a whole generation
of clergy in both movements.  

> also is there any reason why the Kadma, which introduces the first 
> Haftarah blessing, is so frequently sung as a pashta?

This is a perfect example of how Ashkenazic practice can become less 
precise over the years.  Many people who chant trope are not aware of
the punctuation function with its elaborate levels of disjunctives and
conjunctives, so they don't perceive the very different function of a Kadma
versus a Pashta.  For me, when I listen to someone chant the Brachot
and Haftarah, I know from that very first word in the first Bracha whether
or not this will be an accurate musical presentation.  If the person chanting
misses that first Kadma, chances are they will not have two melodies for 
Telisha Gedola versus Ketana, and chances are they will not have a clear
melody for the Munach Legarmei either.  Does this matter?  It makes me
a little sad to see the musical tradition deteriorate, but I also am in favor
of congregants getting up to do what they can whever they are willing.
On the other hand, I think that those of us who teach this subject should
know what we are doing, and model all the details.  If we don't, then how
can there be any hope of keeping alive this beautiful and ancient tradition?

Pardon the soapbox style - I guess I'm pretty passionate about preserving
and passing on what we can, as best we are able.

                                        Cantor Neil Schwartz

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