1,720,960 research outputs found
Adonai S'fatai Tiftach
No full textA simple setting of the opening phrase that leads in to the Amidah.
“...O Lord, open my lips, so that my mouth may declare Your praise…”
Meir constructs a gentle and very singable piece utilizing a simple motif in a repeated musical sequence.Level of difficulty: easyA simple melody for solo voice and piano.Musical score with this item: Voice and Pian
Avinu Shebashamayim
No full textA setting of part of the text that comprises the Prayer for the Welfare of the State of Israel (T’filah Lishlom Ham’dinah) and combines both Hebrew and English text.
"Heavenly Father, Israel’s Rock and Redeemer, bless the State of Israel, the first flowering of our redemption. Shield it under the wings of Your loving-kindness and spread over it the Tabernacle of Your peace…"
It was written in approximately 2000.
Versions include:
Voice and piano
Voice, SATB and piano
Voice, SATB, piano and strings
Voice and orchestra
Although written for inclusion in prayer services, it is also an extremely effective concert piece.
The music begins with an evocative and very distinctive introduction which hints at the intimate and more passionate sections that are to come.
The voice part begins with a contemplative and soulful melody with simple accompaniment - prayerful and personal.bThe tune, now with a fuller and warmer accompaniment, repeats and is extended before the opening text and music are repeated as a refrain.
The piece then shifts to English and a more determined section with rhythmic accompaniment that gives the piece energy and drive. Each English phrase is interrupted by a plaintive phrase in hebrew: “ Heavenly Father…”.
For the English sections “bless our land with peace O God”, the music starts gently, becoming more expressive at “let us say Amen”. before a reprise of the opening Hebrew text and melody.
The piece ends in a gentle and prayerful way.Level of difficulty: mediumA sophisicated setting for Cantor and professional choir. 3 performances: 1) Meir Finkelstein 2) Meir Finkelstein live at B’nai Torah Congregation, Boca Raton, Florida, May 21, 2009
3) Combined cantors, April 29, 2020 - Israel’s 72nd Anniversary. “virtual performance.” Arrangement by Chris Hardin.Musical score with this item: Voice and Piano; Voice and Orchestr
Avi Mori
No full textAvi, Mori (my father, my teacher) is a heartfelt song, with original lyrics, describing the cherished memories of one’s departed father.
A perfect concert piece, if programmed thoughtfully.Level of difficulty: mediumAn evocative song in a more popular idiom. Recordings: 2 performances: 1) Meir Finkelstein 2) Cantor Chayim FrenkelMusical score with this item: Voice and Pian
Adonai, Adonai
No full textThis is one of Meir’s earliest liturgical compositions - a setting of the text recited at the S’lichot Service (Penitential Prayers) which begins the High Holy Day period.
“...The Lord, the Lord, compassionate and gracious God, slow to anger, abounding in loving-kindness and truth, extending loving-kindness to a thousand generations, forgiving iniquity, rebellion and sin, and absolving [the guilty who repent]…”
Written when he was Cantor of Sinai Temple in Los Angeles, California, Meir made full use of the 16-voice professional choir (hence the multiple choral divisis) and organ (the many bars of sustained chords in the accompaniment are evidence of this).
After a short instrumental introduction, the choir enters alone with a strong harmonic statement over a pedal D. It is both reverent and rooted, befitting the name of God. The choir continues, still without the Cantor, with a gentle set of chordal clusters depicting God’s compassion, graciousness, loving-kindness and truth.
The Cantor’s entry repeats the choir’s opening material and immediately moves in to a more dramatic section of solo statement and choral response. It is operatic in nature and the tension is built up through deliberate harmonic choices and the deft use of pedal notes.
The Cantor reprises the choir material until rachum v’chanun with the choir returning with staggered entries at v’rav chesed and a disarming sudden unison for ve’emet (truth).
The shift in to G major is completely unexpected but is perfectly aligned to the text (extending loving-kindness to a thousand generations). The music flows with interjections by the Cantor, before it winds down for a reprise of the opening material introduced by the Canto, while the chorus is still singing v’nakei.
The final chord needs careful balancing so that the second soprano E is heard within the D minor open fifths.Level of difficulty: advancedA sophisicated setting for Cantor and professional choir. Recording: Live S'lichot Service: Sept 7, 1985, Sinai Temple, Los Angeles.Musical score with this item: Cantor, SATB and Pian
Adir Adireinu
No full textThe text appears as part of the Musaf service on High Holy Days and Festivals at the end of the K’dushah.
“...Glorious is our Glorious One, Lord our Master, and glorious is Your name throughout the earth. Then the Lord shall be King over all the earth; on that day the Lord shall be One and His name One…"
Adir Adireinu was composed in approximately 2010 when Meir Finkelstein was Cantor at Shaarey Zedek in Southfield, Michigan, outside Detroit. It was written for Olivia Brodsky, a young soloist in the Congregation, who had sung other pieces at services. Olivia went on to study for the cantorate and graduated from Hebrew Union College in 2021.
The piece is a simple melodic setting with built-in repeats of each section. Sequential in nature and easily memorized, the tune could be sung by the congregation.
Adopting a gentle ¾ rhythm, the choir establishes the mood of the piece in a four measure introduction. The simple melodic line is revealed first by the mezzo-soprano with choral accompaniment, before the choir repeats the theme, punctuated by the soloist.
At m.21, the melody is developed as the Cantor joins the soloist in 3rds and imitative responses.
Finally, the choir begins a final more assertive section for the text “then the Lord shall be King…”. The soloists return for the final words of the paragraph, singing in 3rds before the piece concludes using the traditional High High Holiday motif of a descending minor triad, in the Cantor’s part.Level of difficulty: mediumA charming setting for duet and a cappella SATB.Musical score with this item: Full scor
Hashkiveinu IX
No full textA pop setting written to be sung at the Friday evening service.
“...Help us lie down, O Lord our God, in peace and rise up, O our King, to life.
Spread over us Your canopy of peace. Direct us with Your good counsel, and save us for the sake of Your name…"Level of difficulty: easyAn attractive "pop" setting. Meir Finkelstein, Canto Rachel Goldman and Cantor Chayim Frenkel. Recorded live at the Hobby Center, Houston, Texas, May 23, 2018 in a concert in tribute to Rabbi David Rosen on his retirement.Musical score with this item: Cantor and Pian
Kol Han'shama
No full textA setting of parts of the text of Psalm 150.
“...Praise Him with blasts of the shofar; praise Him with the harp and lyre.
Praise Him with timbrel and dance; praise Him with strings and flute.
Praise Him with clashing cymbals; praise Him with resounding cymbals.
Let all that breathes praise the Lord. Hal’luyah!…”
This is one off a number of Jewish “pop” compositions written in 1975 while Meir was cantor at Beth Hillel Congregation in Chicago. They were eventually recorded on a shoe-string budget and released on the Israeli Hed Arzi label.
Stylistically, it’s a catchy toe-tapping melody, reminiscent of the music of the Carpenters, Neil Sedaka, Burt Bacharach and others.
It is particularly suited for children’s voices but exists also as an SATB arrangement.Level of difficulty: easyA toe-tapping pop song. A contemporary take on the piece, performed by Cantor Netanel Herstik, posted to YouTube, August 19, 2019.Musical score with this item: Voice and Pian
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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