Judaism and Islam One God One Music, Merav Rosenfeld-Hadad offers the first substantial study of the history and nature of the Jewish Paraliturgical Song, which developed in the Arabo-Islamic civilization between the tenth and the twentieth centuries.
Commonly portrayed as clashing cultures, Judaism and Islam appear here as complementary and enriching religio-cultural sources for the Paraliturgical Song’s texts and music, poets and musicians, as well as the worshippers.
Relying chiefly on the Babylonian-Jewish written sources of the genre, Rosenfeld-Hadad gives a fascinating historical account of one thousand years of the rich and vibrant cultural and religious life of Middle Eastern Judaism that endured in Arabo-Islamic settings. She convincingly proves that the Jewish Paraliturgical Song, like its people, reflects a harmonious hybridization of Jewish and Arabo-Islamic aesthetics and ideas.
Merav Rosenfeld-Hadad, Ph.D. (2010), The University of Cambridge, is a musicologist who specialises in Middle Eastern cultures and musics. Her recent publications include “‘There on the Poplars [Arabs] We Hung Up [Rely On] Our Lyres [Jewish Music]’ Rabbi ‘Ovadyah Yosef’s Halakhic Rulings on Arabic Music” (Brill, 2017).
Table of contents
Acknowledgments List of Figures List of Tables List of Music Examples List of Appendices
The 1954 Miṣḥaf as a Holy Book of Paraliturgical Songs
The 1954 Miṣḥaf as a History Book of Paraliturgical Songs
The Paraliturgical Practice and Text: Typical Features Emerging from the Written Sources
The Paraliturgical Melody: Characteristics Emerging from Both the 1906 and the 1954 Mṣāḥif
Conclusion Appendices Bibliography Discography Online Songs Online Interviews and Documentary Formal Interviews (Tel-Aviv, Jerusalem) Index
All interested in the history, religion, culture and music of Jews and Muslims of the Middle East, and the past interaction between Judaism and Islam including their ideas and peoples.