Cantillation

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Cantillation is the ritual chanting of readings from the Hebrew Bible in synagogue services. The chants are written and notated in accordance with the special signs or marks printed in the Masoretic text of the Hebrew Bible (or Tanakh) to complement the letters and vowel points. These marks are known in English as accents and in Hebrew as טעמי המקרא ta`amei ha-mikra or just טעמים te`amim. (Some of these signs were also sometimes used in medieval manuscripts of the Mishnah.) The musical motifs associated with the signs are known in Hebrew as niggun or neginot (not to be confused with Hasidic nigun) and in Yiddish as טראָפ trop: the equivalent word trope is sometimes used in English with the same meaning.

A primary purpose of the cantillation signs is to guide the chanting of the sacred texts during public worship. Very roughly speaking, each word of text has a cantillation mark at its primary accent and associated with that mark is a musical phrase that tells how to sing that word. The reality is more complex, with some words having two or no marks and the musical meaning of some marks dependent upon context. There are different sets of musical phrases associated with different sections of the Bible. The music varies with different Jewish traditions and individual cantorial styles.

The cantillation signs also provide information on the syntactical structure of the text and some say they are a commentary on the text itself, highlighting important ideas musically. The tropes are not random strings but follow a set and describable grammar. The very word ta'am means "taste" or "sense", the point being that the pauses and intonation denoted by the accents (with or without formal musical rendition) bring out the sense of the passage.

There are two systems of cantillation marks in the Tanakh. One is used in the twenty-one prose books, while the other appears in the three poetical books of Psalms, Proverbs and Job. Except where otherwise stated, this article describes the "prose" system.

The current system of cantillation notes has its historical roots in the Tiberian masorah. The cantillation signs are included in Unicode as characters 0591 through 05AF in the Hebrew alphabet block.

The names of the cantillation signs are not quite the same as between the Ashkenazi, Sephardi, Italian and Yemenite traditions; for example Sephardim use qadma to mean what Ashkenazim call pashta, and azla to mean what Ashkenazim call qadma. In this article, as in almost all Hebrew grammars, the Ashkenazi terminology is used. The names in other traditions are shown in the table below.

Functions of cantillation signs

The cantillation signs serve three functions:

• Syntax: They divide biblical verses into smaller units of meaning, a function which also gives them a limited but sometimes important role as a source for exegesis. This function is accomplished through the use of various conjunctive signs (which indicate that words should be connected in a single phrase) and especially a hierarchy of dividing signs of various strength which divide each verse into smaller phrases. The function of the disjunctive cantillation signs may be roughly compared to modern punctuation signs such as periods, commas, semicolons, etc.
• Phonetics: Most of the cantillation signs indicate the specific syllable where the stress (accent) falls in the pronunciation of a word.
• Music: The cantillation signs have musical value: reading the Hebrew Bible with cantillation becomes a musical chant, where the music itself serves as a tool to emphasise the proper accentuation and syntax (as mentioned previously).

The syntactical function

In general, each word in the Tanach has one cantillation sign.[1] This may be either a disjunctive, showing a division between that and the following word, or a conjunctive, joining the two words (like a slur in music). Thus, disjunctives divide a verse into phrases, and within each phrase all the words except the last carry conjunctives.

The disjunctives are traditionally divided into four levels, with lower level disjunctives marking less important breaks.

1. The first level, known as "Emperors", includes sof pasuq / siluq, marking the end of the verse, and atnach / etnachta, marking the middle.
2. The second level is known as "Kings". The usual second level disjunctive is zaqef qaton (when on its own, this becomes zaqef gadol). This is replaced by tifcha when in the immediate neighbourhood of sof pasuq or atnach. A stronger second level disjunctive, used in very long verses, is segol: when it occurs on its own, this may be replaced by shalshelet.
3. The third level is known as "Dukes". The usual third level disjunctive is revia. For musical reasons, this is replaced by zarqa when in the vicinity of segol, by pashta or yetiv when in the vicinity of zakef, and by tevir when in the vicinity of tifcha.
4. The fourth level is known as "Counts". These are found mainly in longer verses, and tend to cluster near the beginning of a half-verse: for this reason their musical realisation is usually more elaborate than that of higher level disjunctives. They are pazer, geresh, gershayim, telishah gedolah, munach legarmeh and qarne farah.

The general conjunctive is munach. Depending on which disjunctive follows, this may be replaced by mercha, mahpach, darga, qadma, telisha qetannah or yerach ben yomo.

One other symbol is mercha kefulah, double mercha. There is some argument about whether this is another conjunctive or an occasional replacement for tevir.

Disjunctives have a function somewhat similar to punctuation in Western languages. Sof pasuq could be thought of as a full stop, atnach as a semi-colon, second level disjunctives as commas and third level disjunctives as commas or unmarked. Where two words are syntactically bound together (for example, pene ha-mayim, "the face of the waters"), the first invariably carries a conjunctive.

The cantillation signs are often an important aid in the interpretation of a passage. For example, the words qol qore bamidbar panu derekh YHWH (Isaiah 40-3) is translated in the Authorised Version as "The voice of him that crieth in the wilderness, Prepare ye the way of the Lord". As the word qore takes the high-level disjunctive zaqef qaton this meaning is discouraged by the cantillation marks. Accordingly the New Revised Standard Version translates "A voice cries out: 'In the wilderness prepare the way of the Lord'," while the New Jewish Publication Society Version has "A voice rings out: 'Clear in the desert a road for the LORD'."

The phonetic function

Most cantillation signs are written on the consonant of the stressed syllable of a word. This also shows where the most important note of the musical motif should go.

A few signs always go on the first or last consonant of a word. This may have been for musical reasons, or it may be to distinguish them from other accents of similar shape. For example pashta, which goes on the last consonant, otherwise looks like qadma, which goes on the stressed syllable.

Some signs are written (and sung) differently when the word is not stressed on its last syllable. Pashta on a word of this kind is doubled, one going on the stressed syllable and the other on the last consonant. Geresh is doubled unless it occurs on a non-finally-stressed word or follows qadma (to form the qadma ve-azla phrase).

The musical function

Cantillation signs guide the reader in applying a chant to Biblical readings. This chant is technically regarded as a ritualized form of speech intonation rather than as a musical exercise like the singing of metrical hymns: for this reason Jews always speak of saying or reading a passage rather than of singing it.[2] (In Yiddish the word is leyen 'read', derived from Latin legere, giving rise to the Jewish English verb "to leyn". In Spanish and related languages it is decir 'say'.)

The musical value of the cantillation signs serves the same function for Jews worldwide, but the specific tunes vary between different communities. The most common tunes today are as follows.

• Among Ashkenazi Jews:
  • The Polish-Lithuanian melody, used by Ashkenazic descendants of eastern European Jews, is the most common tune in the world today, both in Israel and the diaspora.
  • The Ashkenazic melodies from central and western European Jewry are used far less today than before the Holocaust, but still survive in some communities, especially in Great Britain. They are of interest because a very similar melody was notated by Johann Reuchlin as in use in Germany in his day (15th-16th century, C.E.).
• Among Sephardi and Mizrahi Jews:
  • The "Jerusalem Sephardic" (Sepharadi-Yerushalmi) melody is the one most widely used today in Israel, and is also used in some Sephardic communities in the diaspora.
  • The Greek/Turkish/Balkan, Syrian and Egyptian melodies are related to the Jerusalem Sephardic melody. They are more sparingly used in Israel today, but are still heard in the Diaspora, especially in America.
  • There are two Iraqi melodies, one close to the Syrian melody and traditionally used in Baghdad (and sometimes in Israel), and another more distinctive melody originating in Mosul and generally used in the Iraqi Jewish diaspora.[3]
  • The Moroccan melody is used widely by Jews of Moroccan descent, both in Israel and in the diaspora, especially France. It subdivides into the Spanish-Moroccan, heard in the northern coastal strip, and the Arab-Moroccan, heard in the rest of the country.
  • The Spanish and Portuguese melody is in common use in the Spanish and Portuguese Sephardi communities of Livorno, Gibraltar, the Netherlands, England, Canada, USA and other places in the Americas. It is closely related to the Spanish-Moroccan melody.
• The Italian melody is still used in Italy, as well as in one Italian synagogue in Jerusalem and one in Istanbul.
• The Yemenite melody can also be heard in Israel today.
• There has been an attempted reconstruction of the original melody by Suzanne Haïk-Vantoura, on the basis of the shapes and positions of the marks and without any reference to existing melodies, as described in her book and LP's La musique de la Bible révélée (see here).

Traditional melodies

Ashkenazic melodies