![]() ![]() Representatives of the various teams involved in this comparative research gathered at the CESCM in Poitiers for a workshop organised by the fesmar Partnership (Deconfundamus linguam eorum: Methodological Overview for the ‘Tower of Bibles’ Project, January 24, 2020), where they discussed the details for future plans and collaborations, deciding, among others things, to continue the experimental collective research concerning the musical instruments terminology in the vernacular translations of the psalms. This may reflect not only the cultural and temporal differences between the disparate Jewish medieval communities who produced them, but also the production circumstances of each, cross-cultural influences from their Christian neighbours, and responses of Jewish patrons, artists, scribes and audiences to the visual cultures and soundscapes of the times and places in which they lived. Visions of music-making and sound feature prominently in the decoration programs of all four manuscripts, yet there is great variety in their purpose, function and meaning. ![]() It discusses a selection of images of music and sound from four temporally and/or geographically distinct medieval Hebrew manuscripts: the Parma Psalter, a thirteenth-century book of psalms produced in Italy the fourteenth-century Barcelona Haggadah, a liturgical manuscript for the festival of Passover produced in Spain the Tripartite Mahzor, a fourteenth-century Ashkenazic liturgical cycle from south Germany and the Oppenheimer Siddur, an Ashkenazic book of daily prayers made by a scribe-artist for private family use in 1471 in Germany. ![]() This paper was presented at the Colloque Musiconis in Chartres, France in 2015, with the collection published in 2021. ![]()
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