Primary Sources: Judaism 1. For each primary source give five adjectives that describe the source. 2. Then for numbers 2, 3, and 4 answer the following questions in 2 or more sentences. You must include at least one proof for each answer. A proof is a fact that backs up what you are saying. 3. Dig deep and think outside the box, be creative. 4. Put your answers in your SSNB or use Notability to write them on this document and file them in your social studies folder. A. 8 Levels of Charity B. 10 Commandments C. Psalms 150 (YouTube) D. Hava Nagila (You Tube)
Source: Mishneh Torah, Laws of Charity, 10:7-14 Maimonides 8 Levels of Charity Note: The list is organized from most honorable to least honorable way to give charity. 1. Investing in a poor person in a manner that they can become self-sufficient. 2. Giving to the poor without knowledge of the recipient and without allowing the recipient to know your identity. 3. Giving to the poor with knowledge of the recipient but without allowing the recipient to know your identity (anonymous giving). 4. Giving to the poor without knowledge of the recipient but allowing the recipient to know your identity. 5. Giving to the poor without or before being asked. 6. Giving to the poor after being asked. 7. Giving to the poor happily but inadequately. 8. Giving to the poor unwillingly. Source: Exodus 20:2-14 The Ten Commandments 1. I am the Lord your God, Who brought you out of the land of Egypt, out of the house of bondage. 2. You shall have no other gods before Me. You shall not make for yourself a graven image, nor any manner of likeness of any thing that is in heaven above, that is in the earth beneath, or that is in the water under the earth. You shall not bow down to them, nor serve them 3. You shall not carry the Lord your God s name in vain... 4. Remember the Sabbath Day, to make it holy. Six days you shall labor and do all your work; but the seventh day is a Sabbath unto the Lord your God. On it you shall not do any manner of work -- you, your son, your daughter, your manservant, your maid-servant, your cattle, and your stranger that is within your gates 5. Honor your father and mother 6. You shall not murder. 7. You shall not commit adultery 8. You shall not steal. 9. You shall not bear false witness against your neighbor. 10. You shall not covet your neighbor's house; you shall not covet your neighbor's wife nor anything that is your neighbor's.
Psalm 150 Praise you YAH Praise God in His sanctuary: Praise Him in the expanse of His power. Praise Him for His mighty deeds: Praise Him for His abundant greatness. Praise Him with sounding of shofar: Praise Him with the harp and lyre. Praise Him with frame-drum and dance: Praise Him with strings and ugav. 1 Praise Him with melodic cymbals: 2 Praise Him with clanging cymbals. 3 All of the breath shall praise they YAH Praise you YAH Insights Psalm 150, the last of the collective manuscripts found in the Hebrew book of Psalms. Thematically grouped as one of the HAL'LU YAH manuscripts 4, Psalm 150 is also the only manuscript in the Book of Psalms in which the HAL'LU YAH (meaning: praise you YAH), which brackets the main composition as an opening and closing statement, is found in both the Hebrew texts and the Greek Septuagint translations. Bracketed by the HAL'LU YAH, the main body of the composition consists of five verses and a type of closing statement referred to as a Tag. ( HAL'LU YAH verses 1-5 Tag HAL'LU YAH) Looking at only the literary content and structure of this simple, yet beautifully written work, we find that each progressive section introduces an important element of the overall theme of 'praising YAH.' Taking each thought as it is developed, we see that the scope of this work extends into both the musical and social system of the Hebrew people.hal'lu YAH - opening call to "praise YAH" Where is He to be praised? (vs. 1) "in His Sanctuary" and "in the expanse of His power" Why is He to be praised? (vs. 2) "for His mighty deeds" and "for His abundant greatness" How is He to be praised? (vs. 3-5) "with the sounding of shofar" (associated with the Levite priests) "with the harp and lyre" (associated with the Levite musicians) "with the frame-drum and dance and with strings and ugav" (associated with the common people) "with melodic cymbals" (associated with the Levite singers) "with clanging cymbals" (associated with the common people) Who is to praise Yah? (closing Tag) "all who have breath" http://www.musicofthebible.com/psalm150.htm https://www.youtube.com/watch?v=kwo0rn97as4
https://www.youtube.com/watch?v=jq0dvqnkohs Hava Nagila s Long, Strange Trip The unlikely history of a Hasidic melody https://www.youtube.com/watch?v=bgrzh3w-f-c https://www.youtube.com/watch?v=xzweltjnxzy By Dr. James Loeffler June 12, 2006 If there is one Jewish song known by Jews and non-jews alike, it is undoubtedly Hava Nagila. From its obscure origins in early twentiethcentury Palestine, the song has gone on to become a perennial favorite at weddings, bar and bat mitzvahs, and Jewish and non-jewish cultural events around the world. With its short lyrics and simple yet distinctive melody, Hava Nagila has been recorded hundreds of times by musicians ranging from Neil Diamond, the Barry Sisters, and Harry Belafonte to the contemporary pop singer Ben Folds and the Serbian Gypsy brass band legend Boban Marcovic. Yet for all of its widespread popularity, few know the history of this global Jewish hit. Eastern European Origins Like many modern Israeli and popular Jewish songs, Hava Nagila began its life as a Hasidic melody in Eastern Europe. There the tune was sung as a nigun (wordless melody) among the Sadigorer Hasidim, who took their name from the small town of Sadigora in Bukovina (present-day Ukraine), where the Rizhiner Rebbe, Reb Yisroel Friedman (1798-1850) had settled from Russia and established his court in 1845. At some point around the turn of the last century, a group of Sadigorer Hasidim immigrated to Jerusalem and brought the nigun with them. There the melody might have remained in the cloistered world of Jerusalem s Hasidic communities if not for one man, Avraham Zvi Idelsohn the father of Jewish musicology. Idelsohn was born in 1882 in Foelixburg (Filzburg), a small town in the Courland province of Tsarist Russia (present-day Latvia). He trained as a cantor in Russia and studied classical music in conservatories in Berlin and Leipzig before settling in Jerusalem sometime after 1905. He soon became active as a musician, music teacher, and scholar in the Jewish community there. As a passionate Zionist, Idelsohn sought to collect and preserve the folk music of Jewish communities from around the world, using a phonograph to record the traditional melodies of Yemenite, Russian, German, Moroccan, and other communities he encountered in Jerusalem. At the same time, he sought to pioneer a new style of modern national music that would unify the Jewish people as they returned to their historic homeland in Palestine. To that end, he arranged and composed many new Hebrew-language songs based on traditional melodies. These modern songs with ancient roots quickly became popular as new Hebrew folk songs, sung in kibbutzim, moshavot, and printed in songbooks in the Jewish yishuv and beyond. Among them was Hava Nagila. The Lyrics Idelsohn transcribed the Sadigorer melody in 1915, while serving as a bandmaster in the Ottoman Army during World War I. In 1918 he selected the tune for a celebration concert performance in Jerusalem after the British army had defeated the Turks. Arranging the melody in four parts, Idelsohn added a Hebrew text derived from Psalms: The words echo the biblical verse: This is the day that God has made. We will rejoice and be glad in it Ze ha-yom asah adonai, nagila ve-nismeha bo (Psalms 118:24). Years later, one of Idelsohn s students, Cantor Moshe Nathanson, claimed that he had suggested the verse to his teacher. Whatever the original lyrical inspiration, the song was an immediate hit. http://www.myjewishlearning.com/article/hava-nagilas-long-strange-trip/
Hava Nagila (English Translation) Let's rejoice, let's rejoice, Let's rejoice and be happy. Let's rejoice, let's rejoice, Let's rejoice and be happy. Let's sing, let's sing, Let's sing and be happy. Let's sing, let's sing, Let's sing and be happy. Well, well, I'm very well, that my joy has become compete. Next to you time stops, In your arms I lose my mind, Hold me till the day. dance dance dance my love. We dance because in the barns the wheat is stored, This is the last day of harvest, We dance on this fertile and proud land, that will see other furrows again. We dance with thinking anymore, about the difficulties we've been given, to lift this grain, that we will sell tomorrow. We dance, hair in the wind, and if from time to time, Your body holds my body Just a little stronger. Awake, awake brothers, awake brothers with a happy heart, Awake brothers with a happy heart, Awake brothers with a happy heart, Awake brother! Awake brothers with a happy heart. Hava Nagila Hava nagila, hava nagila Hava nagila venis'mecha Hava nagila, hava nagila Hava nagila venis'mecha Hava neranena, hava neranena Hava neranena venis'mecha Hava neranena, hava neranena Hava neranena venis'mecha Bien, bien, je suis si bien que ma joie devient complète Près de toi le temps s'arrête, dans tes bras je perds la tête Serre-moi jusqu'au jour, danse danse danse mon amour Dansons car dans les granges le blé se range C'est le dernier jour des moissons Dansons sur cette terre fertile et fière Qui reverra d'autres sillons Dansons sans plus penser au mal qu'on s'est donné Pour faire lever ce grain qu'on vendra demain Dansons cheveux au vent et si de temps en temps Ton corps serre mon corps juste un peu plus fort Uru, uru achim, uru achim belev same'ach Uru achim belev same'ach, Uru achim belev same'ach Uru achim! uru achiiiiiim Belev sameeeeaaaaach