Pashtayim

Stress mark or accent unicode block Hebrew
character	֙֨
Unicode	U + 0599 U + 05A8
Pashtayim (Ashkenazi)	פַּ֨שְׁטַיִם֙
(Shene) pashtin (Ashkenazi)	שְׁנֵ֨י פַּשְׁטִין֙
Tere kadmin (Sephardic)	תְּרֵי קַדְ֨מִין֙
Tere kadmin (Sephardic)	תְּרֵ֨י קַדְמִין֙
(Schene) paschtin (Italian)	שְׁנֵ֨י פַּשְׁטִין֙
Teren Fischtin (Yemeni)	תְּרֵ֨ין פִשְׁטִין֙

֙֨

Pashtayim ( Hebrew פַּ֨שְׁטַיִם֙) is a trope (from Greek τρόπος ; tropos , dt .: emphasis, melody, tone, song and transliteration of Yiddish טראָפּ trop ) 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.

description

תּרֵ֨י קַדְמִין֙ (Sephardic)

In the Ashkenazi tradition, the accent symbol Pashtayim ( Hebrew פַּ֨שְׁטַיִם֙; en .: double pashta) called. In the Sephardic tradition it is called Tere kadmin ( Aramaic : תּרֵ֨י קַדְמִין֙). In the Italian tradition it is also called Shene pashtin ( Hebrew שְׁנֵ֨י פַּשְׁטִין֙) called. In the Yemeni tradition it is also called Teren Fischtin (Aramaic: תְּרֵ֨ין פִשְׁטִין֙).

symbol

Pashtayim consists of the doubled symbols of the Pashta . However, the Sephardic tradition prefers the term double kadma ( Tere kadmin ; Aramaic: תּרֵ֨י קַדְמִין֙).

Jacobson, however, rejects the double kadma and thus the Sephardic tradition. What speaks against Jacobson and in favor of the Sephardic tradition of the double kadma is that kadma has the same symbol as Pashta . Both are distinguished solely by the position of the symbol. In Trope Kadma , the stress sign is always above the first syllable of the word. In Trope Pashta, however, the stress mark appears above the last syllable of the word. In this case, the same symbol appears on both the first syllable of the word and the last syllable of the word.

Against the Sephardic tradition of the double kadma , Jacobson argues that kadma is exclusively a conjunctive accent indicating the connection with the following word.

commitment

Pashtayim is used when the stress is not on the last syllable, even though there is a Pashta there. Then a second Pashta is placed over the first letter of the stressed syllable at the beginning of the word.

Jacobson illustrates this with the examples Deuteronomy 4.25 BHS (פֶּ֨סֶל֙), Deuteronomy 1.22 BHS (אֹתָ֨נוּ֙), Deuteronomy 1.22 BHS (אֶת־הַדֶּ֨רֶךְ֙), Deuteronomy 1.31 BHS (בְּכָל־הַדֶּ֨רֶךְ֙), Deuteronomy 1.33 BHS (בַּדֶּ֨רֶךְ֙), Genesis 24.67 BHS (הָאֹ֨הֱלָה֙).

Combinations

Sakef katon	Munach	Pashtayim	Mahpach or Mercha
֔	֣	֙֨	֤ ֥

If the previous word refers to the word marked with Pashtayim , it is emphasized with a conjunctive accent: it can be the accented Mahpach or Mercha . If the accents two or more syllables apart, then mahpach as connectors to Paschtajim used. When the accents are placed together, the conjunctive accent mercha is used as a connector to Pashtayim . Munach and Sakef katon ( Hebrew זָקֵף קָט֔וֹן) can also be successors to Pashtayim . Jacobson illustrates this for the combination consisting of Pashtayim , Munach and Sakef katon using the example of Genesis 12.11 BHS (וַיֹּ֨אמֶר֙ אֶל־שָׂרַ֣י אִשְׁתֹּ֔ו). For the combination consisting of Mahpach , Pashtayim , Munach and Sakef katon , Jacobson illustrates this using the example of Genesis 12.19 BHS (לָמָ֤ה אָמַ֨רְתָּ֙ אֲחֹ֣תִי הִ֔וא).

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).

Individual evidence

^ 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 not only formed the formal substance of these works, they also shaped them spiritually in the spirit of synagogue music "

↑ Langenscheidt, p. 206: "טַעַם stress" "טְעָמִים stress sign" "טַעֲמֵי הַמִּקְרָא stress sign of the Bible".

↑ 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. "

^ Jacobson (2005), p. 53 and p. 221.

↑ Dalman, p. 449: תְּרֵי - two

↑ Dalman, p. 449: תְּרֵין - two

↑ נוסח תימן Yemenit . Tradition on YouTube.com

^ Jacobson (2005), p. 221: " Kadmah is never doubled."

^ Jacobson (2002), p. 221.

^ Jacobson (2005), p. 221: " Kadmah is a conjunctive, indicating ... a Connection with the following word."

^ Jacobson (2005), p. 221: " Kadmah placed over the center of the first letter of the stressed syllable."

^ Jacobson (2005), p. 53: "If the stress is not on the last syllable, a second pashta may be placed over the first letter of the stressed syllable."

^ Jacobson (2005), p. 221: "If the pashta word isn't accented on the last syllable, a second pashta is placed over the first letter of the stressed syllable."

^ Jacobson (2005), p. 54.

^ Jacobson (2005), p. 55.

[1] 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".

[2] 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)".