The Lachmann Problem tells an unknown story about a well-known German musicologist, Robert Lachmann (1892-1939), best known among scholars whose interest centers on Arabic music. After being ousted by the Nazi regime, Lachmann arrived in Palestine in 1935 to join the staff of The Hebrew University of Jerusalem. However, many University officials misunderstood his interests, which was primarily based on a conception that the unfamiliar field of musicology was a “luxury” which the University could ill afford at the time. Presented in this volume are letters and documents, published for the first time, revealing not only a picture of life in Palestine during the 1930’s, but providing new information on the early stages of comparative musicology and offer new insights into the thinking of its founding fathers. Others of these documents betray the daily routines, working style and methodology as well as the unanticipated hardships which Robert Lachmann encountered. These are embedded in letters to parents, correspondence with former colleagues, progress reports, lectures and radio lectures, and petitions to academic and bureaucratic authorities and several brilliant attempts to introduce non-European music to Europeans, and Orientals, Arabs and Jews alike, who were urged to cherish their musical heritage. These documents were chosen primarily for their relevance to an unsung chapter in the history of musicology, which epitomizes Robert Lachmann’s trying times. Audio CD attached on back cover - Features musical examples recorded by Lachman and incorporated in his radio lectures - "Oriental music"

This special collection of studies is dedicated to Prof. Israel Adler, the founder of the Jewish Music Research Centre of the Hebrew University in Jerusalem. It includes a variety of articles on diverse issues related to different Jewish musical cultures. General topics such as the problematic and the development of the concept of Jewish music are discussed in this volume amid specific articles on Ashkenazi and Sephardi liturgical music, kabbalistic writings on music, Jewish composers and performers, the presence of non-Jewish music genres in Jewish musical cultures and more.

Mark Warshavsky was born in Odessa in 1848 and was a poet-composer of many famous Yiddish folksongs. It was Sholom Aleichem who first "discovered" Warshavsky with whom he often appeared in cultural evenings in Kiev. Like some of the early songs of Gebirtig - Warshavsky's songs too became folksongs, the lyrics and melodies spread like wildfire among the Jewish masses. The appearance of Warshavsky's Der Alef Beys, or as it quicky became known from its first words Oyfn Pripetchek, caused a real revolution in the minds of orthodox as well as progressive Jews in Eastern Europe."

Mordechai Gebirtig was one of the most influential and popular writers of Yiddish songs and poems. Born in 1877, he became a prolific poet and song writer, using everything he saw, heard and knew about people.

This books discusses the songs of the Beatles.

For four years between 1982 and 1986 the Jewish Music Research Centre hosted research seminars devoted to the Jewish oral traditions. Researchers in different fields (linguistics, musicology, literature and folklore) met and worked together and dealt with shared material that they approached with their own tools and research habits in the attempt to achieve results of an interdisciplinary type. Several topics were chosen – biblical and post-biblical cantillation; aspects of the Judeo-Spanish folk song; specific rituals of the Hassidic communities and the majority of studies are to be found in the present volume.