Mahpach legarmeh

Stress mark or accent unicode block Hebrew
character	׀ ֤
Unicode	U + 05C0 U + 05A4
Mahpach Legarmeh	מַהְפַּ֤ך לְגַרְמֵ֣הּ׀
Mehupach Legarmeh	מְהֻפַּ֤ך לְגַרְמֵ֣הּ׀

Mahpach legarmeh ( Hebrew מַהְפַּ֤ך לְגַרְמֵ֣הּ׀) or Mehupach legarmeh ( Hebrew מְהֻפַּ֤ך לְגַרְמֵ֣הּ׀) is a trope (from Greek τρόπος ; tropos , dt .: emphasis, melody, tone, song and transliteration of Yiddish טראָפּtrop) in the Jewish liturgy and is one of the Ta'amei Sifrei Emet ( Hebrew טַעֲמֵי סִפְרֵי אֱמֶ"ת ). In this context, the term trope is often equated with the corresponding accents, as a. represent musical motifs.

description

Appearance - Ta'amei Sifrei Emet (א״מת)

Mahpach legarmeh is a trope and a disjunctive accent that appears in the poetic books. Therefore, this accent is one of the Ta'amei Sifrei Emet ( Hebrew טַעֲמֵי סִפְרֵי אֱמֶ"ת ). א״מת is an acronym consisting of the first letters of the three books in which the trope occurs:

1. Book of Job or Hebrew אִ יוֹב
2. Book of Proverbs or Hebrew מִ שְלֵי
3. Book of Psalms or Hebrew תְ הִלִּים

Emergence

The symbol of Mahpach legarmeh has two parts and consists of the symbol of Mahpach and the vertical line Pasek ׀ .

Appear

The conjunctive accent zinnorite appears in the context of Mahpach legarmeh or Asla legarmeh .

There are disjunctive accents of different levels: Kaiser (disjunctive accent of the 1st level), König (disjunctive accent of the 2nd level), Herzog (disjunctive accent of the 3rd level) and Graf (disjunctive accent of the 4th level).

Mahpach legarmeh is king after Etnachta . Mahpach Legarmeh is also a duke before kings and count before dukes .

accent	character	rank	position
Kings and dukes in the poetic system (disjunctive accents of the 2nd and 3rd levels):
Ole we-Jored	Ole (U + 05AB) ↱ Jored (U + 05A5) ↓	king	Beginning of verse
Asla Legarmeh	Asla (U + 05A8) ↑ Legarmeh (U + 05C0) ←	king	instead of Ole we-Jored
Revia mugrasch	Geresch Muqdam (U + 059D) ↗ Revia (U + 0597) ↑	king	to Atnach
Schalschelet gedola	Schalschelet (U + 0593) ↑ Legarmeh (U + 05C0) ←	king	to Atnach
Mahpach Legarmeh	Mahpach (U + 05A4) ↓ Legarmeh (U + 05C0) ←	king	to Atnach
Dechi	Dechi (U + 05AD) ↘	duke	before Atnach or the King Revia
Mahpach Legarmeh	Mahpach (U + 05A4) ↓ Legarmeh (U + 05C0) ←	duke	instead of Dechi
Zinnor	Zinor (U + 05AE) ↖	duke	before Ole we-Jored

literature

William Wickes: A treatise on the accentuation of the three so-called poetical books on the Old Testament, Psalms, Proverbs, and Job. 1881 ( archive.org ).
William Wickes: A treatise on the accentuation of the twenty-one so-called prose books of the Old Testament. 1887 ( archive.org ).
Arthur Davis: The Hebrew accents of the twenty-one Books of the Bible (K "A Sefarim) with a new introduction. 1900 ( archive.org ).
Francis L. Cohen: Cantillation . In: Isidore Singer (Ed.): The Jewish Encyclopedia . tape III . KTAV Publishing House, New York, S. 542-548 (1901-1906).
Solomon Rosowsky: The Cantillation of the Bible. The Five Books of Moses . The Reconstructionist Press, New York 1957.
James D. Price: Concordance of the Hebrew accents in the Hebrew Bible . Volume I: Concordance of the Hebrew Accents used in the Pentateuch . Edwin Mellon Press, Lewiston, New York 1996, ISBN 0-7734-2395-8 .
Joshua R. Jacobson: Chanting the Hebrew Bible. The art of cantillation . 1st edition. Jewish Publication Society, Philadelphia 2002, ISBN 0-8276-0693-1 .
Joshua R. Jacobson: Chanting the Hebrew Bible. Student Edition . The Jewish Publication Society, Philadelphia 2005, ISBN 0-8276-0816-0 ( books.google.co.uk - limited preview).
Ronald H. Isaacs: A Taste of Torah. An Introduction to Thirteen Challenging Bible Stories . URJ Press, New York City 2006, OCLC 62755617 .

Individual evidence

^ Jacobson (2002), p. 407.
^ Jacobson (2002), p. 930: "Aramaic a disjunctive Accent in the poetic books".
^ Jacobson (2002), p. 407.
^ Jacobson (2002), p. 407.
^ Jascha Nemtsov: The new Jewish school in music. Volume 2 , Otto Harrossowitz-Verlag, Wiesbaden 2004, p. 72: "The most important part of this musical tradition were the biblical cantillations or tropes, short motifs with which the Holy Scriptures are recited".
^ Jascha Nemtsov: Jewish art music in the 20th century. Volume 3. Otto Harrossowitz-Verlag, Wiesbaden 2006, p. 203: "When you hear the church modes, you notice ... old synagogue motifs (tropics)".
^ Jascha Nemtsov: Jewish music. Volume 8. Encyclopedic finding aid for the archive of the “New Jewish School”, Otto Harrossowitz-Verlag, Wiesbaden 2008, p. 138: “Synagogal Bible recitations also called cantillation… their short motifs (called tropes in Eastern Jewish tradition)… The tropics were not only formed the formal substance of these works, at the same time they shaped them spiritually in the spirit of synagogue music "

^ Jacobson (2002), p. 3: Trop. «In Yiddish, the lingua franca of the Jews in Northern Europe […], these accents came to at known as trop . The derivation of this word seems to be from the Greek tropos or Latin tropus ».

↑ Solomon Rosowsky: The cantillation of the Bible. The Five Books of Moses . The Reconstructionist Press, New York 1957 .: "Cantillation proceeds according to the special graphic signs - tropes or accents - attached to every word in the Bible." In connection with a footnote to tropes : "In this work we use the term trope ( Greek tropos - turn) long accepted in Jewish practice. "

^ Jacobson (2002), p. 407: the poetic books [...] disjunctive accents

↑ Jacobson (2002), p. 407: "Tsinnorit combines with mahapakh to form mehuppakh metsunnar, also a rare mark, variant of mahapakh that serves mainly azla legarmeh but appears also in the other contexts where mahapakh and illuy appear."

^ Gesenius: "The division of the disjunctive accents into Imperatores, Reges, Duces, Comites," ( Gesenius' Hebrew Grammar / 15th The Accents )

^ Jacobson (2002), p. 407: "A verse may be divided into one, two or three stichs. A one-stich verse is divided by dehi, which looks like tipcha but is under the last letter of the word. In a two-stich verse, the first stich ends with atnach. In a three-stich verse, the first stich ends with oleh ve-yored, which looks like mahpach (above the word) followed by tipcha, on either the same word or two consecutive words, and the second stich ends with atnach. Major disjunctives within a stich are revia qaton (immediately before oleh ve-yored), revia gadol (elsewhere) and tzinnor (which looks like zarqa). The last stich may be divided by revia megurash, which looks like geresh combined with revia. Minor disjunctives are pazer gadol, shalshelet gedolah, azla legarmeh (looking like qadma) and mehuppach legarmeh (looking like mahpach): all of these except pazer are followed by a pesiq. Mehuppach without a pesiq sometimes occurs at the beginning of a stich. »

[1] Jacobson (2002), p. 407.

[2] Jacobson (2002), p. 930: "Aramaic a disjunctive Accent in the poetic books".

[3] Jacobson (2002), p. 407.

[4] Jacobson (2002), p. 407.

[5] Jascha Nemtsov: The new Jewish school in music. Volume 2 , Otto Harrossowitz-Verlag, Wiesbaden 2004, p. 72: "The most important part of this musical tradition were the biblical cantillations or tropes, short motifs with which the Holy Scriptures are recited".

[6] Jascha Nemtsov: Jewish art music in the 20th century. Volume 3. Otto Harrossowitz-Verlag, Wiesbaden 2006, p. 203: "When you hear the church modes, you notice ... old synagogue motifs (tropics)".

[7] Jascha Nemtsov: Jewish music. Volume 8. Encyclopedic finding aid for the archive of the “New Jewish School”, Otto Harrossowitz-Verlag, Wiesbaden 2008, p. 138: “Synagogal Bible recitations also called cantillation… their short motifs (called tropes in Eastern Jewish tradition)… The tropics were not only formed the formal substance of these works, at the same time they shaped them spiritually in the spirit of synagogue music "

[8] Jacobson (2002), p. 3: Trop. «In Yiddish, the lingua franca of the Jews in Northern Europe […], these accents came to at known as trop . The derivation of this word seems to be from the Greek tropos or Latin tropus ».

[9] Solomon Rosowsky: The cantillation of the Bible. The Five Books of Moses . The Reconstructionist Press, New York 1957 .: "Cantillation proceeds according to the special graphic signs - tropes or accents - attached to every word in the Bible." In connection with a footnote to tropes : "In this work we use the term trope ( Greek tropos - turn) long accepted in Jewish practice. "

[10] Jacobson (2002), p. 407: the poetic books [...] disjunctive accents

[11] Jacobson (2002), p. 407: "Tsinnorit combines with mahapakh to form mehuppakh metsunnar, also a rare mark, variant of mahapakh that serves mainly azla legarmeh but appears also in the other contexts where mahapakh and illuy appear."

[12] Gesenius: "The division of the disjunctive accents into Imperatores, Reges, Duces, Comites," ( Gesenius' Hebrew Grammar / 15th The Accents )

[13] Jacobson (2002), p. 407: "A verse may be divided into one, two or three stichs. A one-stich verse is divided by dehi, which looks like tipcha but is under the last letter of the word. In a two-stich verse, the first stich ends with atnach. In a three-stich verse, the first stich ends with oleh ve-yored, which looks like mahpach (above the word) followed by tipcha, on either the same word or two consecutive words, and the second stich ends with atnach. Major disjunctives within a stich are revia qaton (immediately before oleh ve-yored), revia gadol (elsewhere) and tzinnor (which looks like zarqa). The last stich may be divided by revia megurash, which looks like geresh combined with revia. Minor disjunctives are pazer gadol, shalshelet gedolah, azla legarmeh (looking like qadma) and mehuppach legarmeh (looking like mahpach): all of these except pazer are followed by a pesiq. Mehuppach without a pesiq sometimes occurs at the beginning of a stich. »