{"id":55,"date":"2022-11-08T22:00:59","date_gmt":"2022-11-08T22:00:59","guid":{"rendered":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/salamone-rossi\/"},"modified":"2023-01-28T16:08:43","modified_gmt":"2023-01-28T16:08:43","slug":"salamone-rossi","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/salamone-rossi\/","title":{"raw":"Salamone Rossi","rendered":"Salamone Rossi"},"content":{"raw":"<div class=\"salamone-rossi\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">In this chapter you will<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<ul>\r\n \t<li>be introduced to an important composer of the Renaissance era<\/li>\r\n \t<li>learn about the challenges a Jewish composer faced in Europe in that era<\/li>\r\n \t<li>consider what was involved in bringing Jewish scriptural and other texts together with the European musical language and system of notation<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nThis chapter explores the pioneering influence Jewish composer Salamone Rossi had on both composition and the printing of Hebrew music. We <a href=\"https:\/\/www.jewishvirtuallibrary.org\/salamone-de-rossi\" target=\"_blank\" rel=\"noopener\">know far less about him<\/a> than we would like. Rossi lived during the period known as the Renaissance (roughly the fourteenth to the seventeenth centuries). While there was indeed a great deal of artistic and other forms of activity that is of great interest during that time, the notion that prior to that European cultures stagnated and produced little of interest or significance is mistaken\u2014at best a serious exaggeration of the situation, as our discussion of music from that era (and in particular the music and biblical interpretation of Hildegard of Bingen) hopefully makes clear. Jews in European kingdoms in Rossi\u2019s time faced a great deal of <a href=\"https:\/\/jewish-music.huji.ac.il\/content\/salamone-rossi\" target=\"_blank\" rel=\"noopener\">discrimination<\/a>.[footnote]On this context, see Jane S. Gerber, <a href=\"https:\/\/doi.org\/10.2307\/j.ctv1228hnt.10\" target=\"_blank\" rel=\"noopener\"><em>Cities of Splendour in the Shaping of Sephardi History<\/em><\/a> (Liverpool: Liverpool University Press, 2020), 124\u201370.[\/footnote] This makes his status as a successful and influential figure in the musical life of his time and place all the more noteworthy, and this is yet another reason to wish we knew more about his life than we do.\r\n<p class=\"import-p\" style=\"text-indent: 36pt\">Rossi played a significant role in the Italian musical scene in the era of the <a href=\"https:\/\/zamir.org\/resources\/music-of-salamone-rossi\/rossi-overview\/\" target=\"_blank\" rel=\"noopener\">Renaissance<\/a>, when there was a shift away from polyphonic music (music in which several voices sing separate lines) to music that had one solo voice plus an <a href=\"https:\/\/zamir.org\/resources\/music-of-salamone-rossi\/rossi-monograph\/\" target=\"_blank\" rel=\"noopener\">accompaniment<\/a> that was notated using the bass or low notes (referred to in this context as <em>basso continuo<\/em>). This innovation involved not just different combinations of elements but experimentation with intervals (jumps between notes) that were not characteristic of earlier music, although in the context of his time, Rossi\u2019s approach was still largely conservative. Rossi also contributed to <a href=\"https:\/\/www.myjewishlearning.com\/article\/salamone-rossi-synagogue-choral-music\/\" target=\"_blank\" rel=\"noopener\">synagogue music<\/a> and was involved in what represents the first printed book of music for a synagogue. Yet because <a href=\"https:\/\/soundcloud.com\/lydia-cevidalli\/salomone-rossi-salmo-12-lamnatseach-al-hasheminit-a-3-voci\" target=\"_blank\" rel=\"noopener\">he composed in a contemporary European style<\/a>, some of his Jewish contemporaries viewed his influence on Jewish music as an unacceptable departure from tradition.<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt\">Here is Joshua Jacobson commenting on Rossi\u2019s significance, followed by Rossi\u2019s setting of Psalm 137.[footnote]The Zamir Chorale of Boston is conducted by Joshua Jacobson in this performance shared by the conductor to his own YouTube channel. Recorded at the Sacred Bridges concert at Our Lady Help of Christians Parish in Newton, Massachusetts.[\/footnote]<\/p>\r\n[embed]https:\/\/www.youtube.com\/watch?v=oEt8D9jRsrY[\/embed]\r\n<p class=\"import-p\" style=\"text-indent: 36pt\">If you have listened to other music from this period, such as that of Thomas Tallis, you will hear similarities, including in music that would have been performed in churches rather than synagogues. The language sung in Rossi\u2019s setting is the original <a href=\"https:\/\/www.cpdl.org\/wiki\/index.php\/Lamnatseach_al_hagitit_-_For_the_chief_musician_on_the_gitit_(Salamone_Rossi)\" target=\"_blank\" rel=\"noopener\">Hebrew<\/a>, but the <em>musical<\/em> language is one he shared with his European contemporaries.[footnote]See Judith I. Haug, \u201c<a href=\"http:\/\/www.jstor.org\/stable\/25162387\" target=\"_blank\" rel=\"noopener\">Hebr\u00e4ischer Text: Italienische Musik: Sprachbehandlung in Salomone Rossis Psalmvertonungen (1622\/23)<\/a>,\u201d <em>Archiv F\u00fcr Musikwissenschaft<\/em> 64, no. 2 (2007): 105\u201335, on how characteristics of the Hebrew language required Rossi to approach setting the text differently than he might have in if working in Latin or a European vernacular.[\/footnote] Rossi also composed various <a href=\"https:\/\/earlymusicseattle.org\/salomone-rossi-a-transitional-figure\/\" target=\"_blank\" rel=\"noopener\">other musical works<\/a> of the sorts popular in his time. His output was by no means limited to sacred music. In some instances (for example, Rossi\u2019s contemporary Thomas Weelkes) there is clear evidence of Rossi\u2019s influence on others\u2019 compositions.[footnote]See Eric Lewin Altschuler and William Jansen, \u201c<a href=\"https:\/\/www.jstor.org\/stable\/1004594?origin=crossref#metadata_info_tab_contents\" target=\"_blank\" rel=\"noopener\">Thomas Weelkes\u2019s Text Authors: Men of Letters<\/a>,\u201d <em>Musical Times<\/em> 143, no. 1879 (2002): 23\u201324.[\/footnote]<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt\">After a long period of relative neglect, Rossi has received renewed attention since the twentieth century. American composer <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/salamone-rossi-suite\/\" target=\"_blank\" rel=\"noopener\">Lukas Foss wrote a suite dedicated to Rossi<\/a>. With hindsight, we can see that Rossi played a part in the <a href=\"https:\/\/www.myjewishlearning.com\/article\/salamone-rossi-synagogue-choral-music\/\" target=\"_blank\" rel=\"noopener\">shift between the musical eras of the Renaissance and the Baroque<\/a> (which we talk more about in chapter 25). You can <a href=\"https:\/\/www.earlymusicsources.com\/youtube\/rossi\" target=\"_blank\" rel=\"noopener\">learn more about Rossi\u2019s music in the video and accompanying text on the Early Music Sources website<\/a>. You can browse the book he published in digitized form courtesy of the <a href=\"https:\/\/archive.org\/details\/imslp-asher-lesholomo-rossi-salamone\/PMLP197232-Hashirim_-_ALTO\/page\/n9\/mode\/2up\" target=\"_blank\" rel=\"noopener\">Internet Archive<\/a> as well as on the International Music Score Library Project (<a href=\"https:\/\/imslp.org\/wiki\/Hashirim_asher_leSholomo_(Rossi,_Salamone)\" target=\"_blank\" rel=\"noopener\">IMSLP<\/a>). Many <a href=\"https:\/\/www.youtube.com\/watch?v=zWGxUn02vk0\" target=\"_blank\" rel=\"noopener\">recordings<\/a> of his works are available in addition to those included in this chapter.<\/p>\r\n\r\n<div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\"><span style=\"text-align: initial;font-size: 1em\">For Further Reading and Listening<\/span><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Altschuler, Eric Lewin, and William Jansen. \u201cThomas Weelkes and Salamone Rossi: Some Interconnections.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Musical Times<\/em><\/span> 145, no. 1888 (2004): 87\u201394.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Einstein, Alfred. \u201cSalamone Rossi as Composer of Madrigals.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Hebrew Union College Annual<\/em><\/span> 23, no. 2 (1950): 383\u201396.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Harr\u00e1n, Don. <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Salamone Rossi: Jewish Musician in Late Renaissance Mantua<\/em><\/span>. New York: Oxford University Press, 2003.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">\u2014\u2014\u2014. \u201cA Tale as Yet Untold: Salamone Rossi in Venice, 1622.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Sixteenth Century Journal<\/em><\/span> 40, no. 4 (2009): 1091\u20131107.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">\u2014\u2014\u2014. \u201cTradition and Innovation in Jewish Music of the Later Renaissance.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Journal of Musicology<\/em><\/span> 7, no. 1 (1989): 107\u201330.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Kligman, Mark. \u201cTwo Significant Musicological Events: Commemorating Salamone Rossi (ca. 1570\u2013ca. 1628) and Eric Werner (1901\u20131988).\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Musica Judaica<\/em><\/span> 16 (2001): 109\u201317.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Massip, Vincent, conductor. \u201cRossi: Lamnatseach, psaume 8.\u201d Produced by Anne-Laure Charrier. CLC Productions, 2010. Alexander Street.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Wandor, Michelene. \u201cSalamone Rossi, Judaism and the Musical Canon.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">European Judaism: A Journal for the New Europe<\/em><\/span> 35, no. 2 (2002): 26\u201335.<\/p>\r\n<p class=\"hanging-indent\"><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n&nbsp;\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"salamone-rossi\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">In this chapter you will<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<ul>\n<li>be introduced to an important composer of the Renaissance era<\/li>\n<li>learn about the challenges a Jewish composer faced in Europe in that era<\/li>\n<li>consider what was involved in bringing Jewish scriptural and other texts together with the European musical language and system of notation<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>This chapter explores the pioneering influence Jewish composer Salamone Rossi had on both composition and the printing of Hebrew music. We <a href=\"https:\/\/www.jewishvirtuallibrary.org\/salamone-de-rossi\" target=\"_blank\" rel=\"noopener\">know far less about him<\/a> than we would like. Rossi lived during the period known as the Renaissance (roughly the fourteenth to the seventeenth centuries). While there was indeed a great deal of artistic and other forms of activity that is of great interest during that time, the notion that prior to that European cultures stagnated and produced little of interest or significance is mistaken\u2014at best a serious exaggeration of the situation, as our discussion of music from that era (and in particular the music and biblical interpretation of Hildegard of Bingen) hopefully makes clear. Jews in European kingdoms in Rossi\u2019s time faced a great deal of <a href=\"https:\/\/jewish-music.huji.ac.il\/content\/salamone-rossi\" target=\"_blank\" rel=\"noopener\">discrimination<\/a>.<a class=\"footnote\" title=\"On this context, see Jane S. Gerber, Cities of Splendour in the Shaping of Sephardi History (Liverpool: Liverpool University Press, 2020), 124\u201370.\" id=\"return-footnote-55-1\" href=\"#footnote-55-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a> This makes his status as a successful and influential figure in the musical life of his time and place all the more noteworthy, and this is yet another reason to wish we knew more about his life than we do.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt\">Rossi played a significant role in the Italian musical scene in the era of the <a href=\"https:\/\/zamir.org\/resources\/music-of-salamone-rossi\/rossi-overview\/\" target=\"_blank\" rel=\"noopener\">Renaissance<\/a>, when there was a shift away from polyphonic music (music in which several voices sing separate lines) to music that had one solo voice plus an <a href=\"https:\/\/zamir.org\/resources\/music-of-salamone-rossi\/rossi-monograph\/\" target=\"_blank\" rel=\"noopener\">accompaniment<\/a> that was notated using the bass or low notes (referred to in this context as <em>basso continuo<\/em>). This innovation involved not just different combinations of elements but experimentation with intervals (jumps between notes) that were not characteristic of earlier music, although in the context of his time, Rossi\u2019s approach was still largely conservative. Rossi also contributed to <a href=\"https:\/\/www.myjewishlearning.com\/article\/salamone-rossi-synagogue-choral-music\/\" target=\"_blank\" rel=\"noopener\">synagogue music<\/a> and was involved in what represents the first printed book of music for a synagogue. Yet because <a href=\"https:\/\/soundcloud.com\/lydia-cevidalli\/salomone-rossi-salmo-12-lamnatseach-al-hasheminit-a-3-voci\" target=\"_blank\" rel=\"noopener\">he composed in a contemporary European style<\/a>, some of his Jewish contemporaries viewed his influence on Jewish music as an unacceptable departure from tradition.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt\">Here is Joshua Jacobson commenting on Rossi\u2019s significance, followed by Rossi\u2019s setting of Psalm 137.<a class=\"footnote\" title=\"The Zamir Chorale of Boston is conducted by Joshua Jacobson in this performance shared by the conductor to his own YouTube channel. Recorded at the Sacred Bridges concert at Our Lady Help of Christians Parish in Newton, Massachusetts.\" id=\"return-footnote-55-2\" href=\"#footnote-55-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<p><iframe id=\"oembed-1\" title=\"Halleluyah (Psalm 146) by Salamone Rossi\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/oEt8D9jRsrY?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt\">If you have listened to other music from this period, such as that of Thomas Tallis, you will hear similarities, including in music that would have been performed in churches rather than synagogues. The language sung in Rossi\u2019s setting is the original <a href=\"https:\/\/www.cpdl.org\/wiki\/index.php\/Lamnatseach_al_hagitit_-_For_the_chief_musician_on_the_gitit_(Salamone_Rossi)\" target=\"_blank\" rel=\"noopener\">Hebrew<\/a>, but the <em>musical<\/em> language is one he shared with his European contemporaries.<a class=\"footnote\" title=\"See Judith I. Haug, \u201cHebr\u00e4ischer Text: Italienische Musik: Sprachbehandlung in Salomone Rossis Psalmvertonungen (1622\/23),\u201d Archiv F\u00fcr Musikwissenschaft 64, no. 2 (2007): 105\u201335, on how characteristics of the Hebrew language required Rossi to approach setting the text differently than he might have in if working in Latin or a European vernacular.\" id=\"return-footnote-55-3\" href=\"#footnote-55-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a> Rossi also composed various <a href=\"https:\/\/earlymusicseattle.org\/salomone-rossi-a-transitional-figure\/\" target=\"_blank\" rel=\"noopener\">other musical works<\/a> of the sorts popular in his time. His output was by no means limited to sacred music. In some instances (for example, Rossi\u2019s contemporary Thomas Weelkes) there is clear evidence of Rossi\u2019s influence on others\u2019 compositions.<a class=\"footnote\" title=\"See Eric Lewin Altschuler and William Jansen, \u201cThomas Weelkes\u2019s Text Authors: Men of Letters,\u201d Musical Times 143, no. 1879 (2002): 23\u201324.\" id=\"return-footnote-55-4\" href=\"#footnote-55-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt\">After a long period of relative neglect, Rossi has received renewed attention since the twentieth century. American composer <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/salamone-rossi-suite\/\" target=\"_blank\" rel=\"noopener\">Lukas Foss wrote a suite dedicated to Rossi<\/a>. With hindsight, we can see that Rossi played a part in the <a href=\"https:\/\/www.myjewishlearning.com\/article\/salamone-rossi-synagogue-choral-music\/\" target=\"_blank\" rel=\"noopener\">shift between the musical eras of the Renaissance and the Baroque<\/a> (which we talk more about in chapter 25). You can <a href=\"https:\/\/www.earlymusicsources.com\/youtube\/rossi\" target=\"_blank\" rel=\"noopener\">learn more about Rossi\u2019s music in the video and accompanying text on the Early Music Sources website<\/a>. You can browse the book he published in digitized form courtesy of the <a href=\"https:\/\/archive.org\/details\/imslp-asher-lesholomo-rossi-salamone\/PMLP197232-Hashirim_-_ALTO\/page\/n9\/mode\/2up\" target=\"_blank\" rel=\"noopener\">Internet Archive<\/a> as well as on the International Music Score Library Project (<a href=\"https:\/\/imslp.org\/wiki\/Hashirim_asher_leSholomo_(Rossi,_Salamone)\" target=\"_blank\" rel=\"noopener\">IMSLP<\/a>). Many <a href=\"https:\/\/www.youtube.com\/watch?v=zWGxUn02vk0\" target=\"_blank\" rel=\"noopener\">recordings<\/a> of his works are available in addition to those included in this chapter.<\/p>\n<div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\"><span style=\"text-align: initial;font-size: 1em\">For Further Reading and Listening<\/span><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Altschuler, Eric Lewin, and William Jansen. \u201cThomas Weelkes and Salamone Rossi: Some Interconnections.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Musical Times<\/em><\/span> 145, no. 1888 (2004): 87\u201394.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Einstein, Alfred. \u201cSalamone Rossi as Composer of Madrigals.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Hebrew Union College Annual<\/em><\/span> 23, no. 2 (1950): 383\u201396.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Harr\u00e1n, Don. <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Salamone Rossi: Jewish Musician in Late Renaissance Mantua<\/em><\/span>. New York: Oxford University Press, 2003.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">\u2014\u2014\u2014. \u201cA Tale as Yet Untold: Salamone Rossi in Venice, 1622.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Sixteenth Century Journal<\/em><\/span> 40, no. 4 (2009): 1091\u20131107.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">\u2014\u2014\u2014. \u201cTradition and Innovation in Jewish Music of the Later Renaissance.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Journal of Musicology<\/em><\/span> 7, no. 1 (1989): 107\u201330.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Kligman, Mark. \u201cTwo Significant Musicological Events: Commemorating Salamone Rossi (ca. 1570\u2013ca. 1628) and Eric Werner (1901\u20131988).\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">Musica Judaica<\/em><\/span> 16 (2001): 109\u201317.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Massip, Vincent, conductor. \u201cRossi: Lamnatseach, psaume 8.\u201d Produced by Anne-Laure Charrier. CLC Productions, 2010. Alexander Street.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt;margin-right: 36pt\">Wandor, Michelene. \u201cSalamone Rossi, Judaism and the Musical Canon.\u201d <span style=\"border: none windowtext 0pt;padding: 0\"><em class=\"import-i\">European Judaism: A Journal for the New Europe<\/em><\/span> 35, no. 2 (2002): 26\u201335.<\/p>\n<p class=\"hanging-indent\">\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-55-1\">On this context, see Jane S. Gerber, <a href=\"https:\/\/doi.org\/10.2307\/j.ctv1228hnt.10\" target=\"_blank\" rel=\"noopener\"><em>Cities of Splendour in the Shaping of Sephardi History<\/em><\/a> (Liverpool: Liverpool University Press, 2020), 124\u201370. <a href=\"#return-footnote-55-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-55-2\">The Zamir Chorale of Boston is conducted by Joshua Jacobson in this performance shared by the conductor to his own YouTube channel. Recorded at the Sacred Bridges concert at Our Lady Help of Christians Parish in Newton, Massachusetts. <a href=\"#return-footnote-55-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-55-3\">See Judith I. Haug, \u201c<a href=\"http:\/\/www.jstor.org\/stable\/25162387\" target=\"_blank\" rel=\"noopener\">Hebr\u00e4ischer Text: Italienische Musik: Sprachbehandlung in Salomone Rossis Psalmvertonungen (1622\/23)<\/a>,\u201d <em>Archiv F\u00fcr Musikwissenschaft<\/em> 64, no. 2 (2007): 105\u201335, on how characteristics of the Hebrew language required Rossi to approach setting the text differently than he might have in if working in Latin or a European vernacular. <a href=\"#return-footnote-55-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-55-4\">See Eric Lewin Altschuler and William Jansen, \u201c<a href=\"https:\/\/www.jstor.org\/stable\/1004594?origin=crossref#metadata_info_tab_contents\" target=\"_blank\" rel=\"noopener\">Thomas Weelkes\u2019s Text Authors: Men of Letters<\/a>,\u201d <em>Musical Times<\/em> 143, no. 1879 (2002): 23\u201324. <a href=\"#return-footnote-55-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><\/ol><\/div>","protected":false},"author":3,"menu_order":2,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"part":127,"_links":{"self":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/55"}],"collection":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":14,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/55\/revisions"}],"predecessor-version":[{"id":951,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/55\/revisions\/951"}],"part":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/parts\/127"}],"metadata":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/55\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/media?parent=55"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapter-type?post=55"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/contributor?post=55"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/license?post=55"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}