Majela (trope)

Stress mark or accent unicode block Hebrew
character	֖
Majela	מָאיְלָ֖א
Me'ajela	מְאַיְּלָא
Dechuja	דְחוּיָּה
Netuja	נְטוּיָ֖ה
Example with Silluq	לְדֹרֹ֖תֵיכֶֽם׃
Example with Silluq	לְהֵ֖חַלֹּֽו׃
Example with Etnachta	וַיֵּ֖צֵא־נֹ֑חַ
Example with Etnachta	בְּשָׁבֻעֹ֖תֵיכֶ֑ם

Majela ( Hebrew מָאיְלָ֖א) ֖ or Meʾajela (מְאַיְּלָא) also Dekhuya (דְחוּיָּה) or Netuyah (נְטוּיָ֖ה) is a trope (from ancient Greek τρόπος tropos , German 'emphasis, melody, tone, song' and transliteration from Yiddish טראָפּtrop) in the Jewish liturgy and is one of the biblical stress marks Teamim ( Hebrew טַעֲמֵי הַמִּקְרָא) that appear in the Torah and other books. In this context, the term trope is often equated with the corresponding accents, as a. represent musical motifs. Majela is a second accent that is next to the first accent of Silluq or Etnachta on the same word.

Possible combinations

The symbol of Majela (English: mayela) looks like the symbol of Tipcha. Majela replaces Meteg before Silluq or Etnachta, making it Majela. Majela appears as the second accent on a closed syllable. Majela can be combined with Silluq and Etnachta.

Majela and Silluq

Sof pasuq / Silluq ( Hebrew סִלּֽוּק / סוֹף פָּסֽוּק;)	Majela ( Hebrew מָאיְלָ֖א)
׃ ֽ	֖
Majela and Sof pasuq / Silluq can appear together on one word. Majela appears as the second accent on a closed syllable. Jacobson illustrates this and a. using the examples Numbers 15.21 BHS (לְדֹרֹ֖תֵיכֶֽם׃), Leviticus 21.4 BHS (לְהֵ֖חַלֹּֽו׃).

Majela and Etnachta

Etnachta ( Hebrew אֶתְנַחְתָּ֑א)	Majela ( Hebrew מָאיְלָ֖א)
֑	֖
Majela and Etnachta can also appear together on one word. Majela appears as the second accent on a closed syllable. Jacobson illustrates this and a. using the examples Genesis 8.18 BHS (וַיֵּ֖צֵא־נֹ֑חַ), Numbers 28.26 BHS (בְּשָׁבֻעֹ֖תֵיכֶ֑ם).

literature

English

William Wickes: A treatise on the accentuation of the twenty-one so-called prose books of the Old Testament (1887)
William Wickes: A treatise on the accentuation of the three so-called poetical books on the Old Testament, Psalms, Proverbs, and Job , (1887)
Arthur Davis: The Hebrew accents of the twenty-one Books of the Bible (K "A Sefarim) with a new introduction (1900)
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 ).

Ivrit

Mordechai Breuer = מרדכי ברויאר: Ta ' ame ha-be-Miḳra 21 Sefarim uve-sifre Emet = טעמי המקרא בכ"א ספרים ובספרי אמ"ת . Hotsaʼat Mikhlalah = הוצאת מכללה, Jerusalem 1982, OCLC 16982483 (742).
Ezra Zion Melamed = עזרא ציון מלמד: Ta ' ame ha-Miḳra loading [...] = טעמי המקרא בדברי פרשני המקרא, בתוך: מחקרים במקרא בתרגומיו ובמפרשיו . Hotsaʼat Magnes = הוצאת מאגנס, Jerusalem 2007 (ה'תשמ"ד (5744)).
Simha Kogut = שמחה קוגוט: Ha-Mikra Bein Taamim le-Parshanut = המקרא בין טעמים לפַּרְשָׁנוּת . Hotsaʼat Magnes = הוצאת מאגנס, Jerusalem 2007 (ה'תשמ"ד (5744)).
Zechariah Goren = זכריה גורן: Ta'amei ha-Miḳra ke- Parshanut [HaTorah…] = טעמי המקרא כפַּרְשָׁנוּת . Sifriyat Helal ben Ḥayim-Hakibbutz Hameuchad = הילל בן חיים-הקיבוץ המאוחד, Tel Aviv 1995.
Ronit Shoshani = רונית שושני: Tafkidim ha-mekori shel ta'amei ha-Mikra = תַּפְקִידם המְקוֹרִי של טַעֲמֵי הַמִּקְרָא . In: Moshe Bar-Asher and Haim Eleazar Cohn = משה בר-אשר וחיים אלעזר כהן (eds.): Masat […] = מַשְׂאַת אַהֲרֹן: מחקרים בלשון מוגשים לאהרן דותן . Publisher, Jerusalem, p. 469–486 ( books.google.de - תש"ע).

Individual evidence

↑ Jacobson (2002), p. 398, p. 552 and p. 931 as mayela : (aramaic) a secondary accent (resembling tippeha) that is found on the same word as silluq or etnachta
^ Jacobson (2002), p. 398.
^ Jacobson (2002), p. 398.
↑ Jacobson (2002), p. 398 and p. 931 as mayela : (aramaic) a secondary accent (resembling tippeha) that is found on the same word as siluk or etnachta
↑ Gesenius: 21. (־֖) מְאַיְּלָא Meʾayyelā or מָֽאיְלָא Mâyelā, a variety of Ṭiphḥa, serves to mark the secondary tone in words which have Sillûq or ʾAthnâḥ, or which are united by Maqqēph with a word so accentuated, eg וַיֵּצֵ֖א־נֹ֑חַ Genesis 8:18. ( Gesenius' Hebrew Grammar / 15. The Accents )
^ 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 and 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 biblical recitations also called cantillation ... their short motifs (called tropes in Eastern Jewish tradition) ... The tropics not only formed the formal substance of these works, they also shaped them spiritually in the spirit of the 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 ».
↑ Langenscheidt Achiasaf Concise Dictionary Hebrew-German. Langenscheidt, Berlin 2004, p. 206: "טַעַם emphasis" "טְעָמִים stress sign" "טַעֲמֵי הַמִּקְרָא stress sign of the Bible". OCLC 57476235
↑ Price, p. 6.
↑ 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. "
^ "Placement: secondary-impositive" Jacobson (2002), p. 398.
↑ "mayela: (aramaic) a secondary accent (resembling tippeha) that is found on the same word as siluk or etnachta" Jacobson (2002), p. 931.
↑ Jacobson (2002), p. 398: (Placement) secondary-impositive
↑ Jacobson (2002), p. 931 as " mayela : (aramaic) a secondary accent (resembling tippeha) that is found on the same word as siluk or etnachta "
↑ Jacobson (2002), p. 552: Before siluk : Lev. 21: 4, Num. 15:21
^ Jacobson (2002), p. 552: Before etnahta : Gen. 8:18, Num. 28:26.

[1] Jacobson (2002), p. 398, p. 552 and p. 931 as mayela : (aramaic) a secondary accent (resembling tippeha) that is found on the same word as silluq or etnachta

[2] Jacobson (2002), p. 398.

[3] Jacobson (2002), p. 398.

[4] Jacobson (2002), p. 398 and p. 931 as mayela : (aramaic) a secondary accent (resembling tippeha) that is found on the same word as siluk or etnachta

[5] Gesenius: 21. (־֖) מְאַיְּלָא Meʾayyelā or מָֽאיְלָא Mâyelā, a variety of Ṭiphḥa, serves to mark the secondary tone in words which have Sillûq or ʾAthnâḥ, or which are united by Maqqēph with a word so accentuated, eg וַיֵּצֵ֖א־נֹ֑חַ Genesis 8:18. ( Gesenius' Hebrew Grammar / 15. The Accents )

[6] 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 and tropes, short motifs with which the Holy Scriptures are recited".

[7] 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)".

[8] 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 biblical recitations also called cantillation ... their short motifs (called tropes in Eastern Jewish tradition) ... The tropics not only formed the formal substance of these works, they also shaped them spiritually in the spirit of the Synagogue Music "

[9] 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 ».

[10] Langenscheidt Achiasaf Concise Dictionary Hebrew-German. Langenscheidt, Berlin 2004, p. 206: "טַעַם emphasis" "טְעָמִים stress sign" "טַעֲמֵי הַמִּקְרָא stress sign of the Bible". OCLC 57476235

[Price6-11] Price, p. 6.

[12] 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. "

[13] "Placement: secondary-impositive" Jacobson (2002), p. 398.

[14] "mayela: (aramaic) a secondary accent (resembling tippeha) that is found on the same word as siluk or etnachta" Jacobson (2002), p. 931.

[15] Jacobson (2002), p. 398: (Placement) secondary-impositive

[16] Jacobson (2002), p. 931 as " mayela : (aramaic) a secondary accent (resembling tippeha) that is found on the same word as siluk or etnachta "

[17] Jacobson (2002), p. 552: Before siluk : Lev. 21: 4, Num. 15:21

[18] Jacobson (2002), p. 552: Before etnahta : Gen. 8:18, Num. 28:26.