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| Preface | |
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| Introduction | |
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| Identity and Character of Jewish Music | |
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| A Musical Tower of Babel | |
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| Jewish Identity | |
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| Has All Jewish Music a Common Source? | |
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| The Antiquity of Oriental Jewry's Musical Traditions | |
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| Problems of Methodology in the Study of Jewish Music | |
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| The Sources | |
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| Ancient Hebrew Sources | |
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| The Wonderful Power of Music | |
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| Symbolic Significance of the Halil | |
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| Writings of the Judean Wilderness Sect | |
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| Literary Evidence | |
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| Travelers Describe a Jewish Wedding in Tangier, Morocco | |
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| Romanelli Visits Tangier | |
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| Delacroix Visits Tangier | |
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| Alexandre Dumas in Tangier | |
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| The Science of Music - Texts from Islamic Countries | |
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| The Seeker by Shem-Tov ben Yosef ibn Falaqera | |
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| The Second Period in the History of Texts and Jewish Music | |
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| Writings by Jews in Christian Centers | |
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| Musical Literature in Italy in the Sixteenth-Seventeenth Centuries | |
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| Music and Religion | |
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| Alien Melodies Encroach on the Prayers | |
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| The Cantor's Role in Integrating New and Alien Music | |
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| The Attitude of Rabbinical Authorities to Alien Melodies | |
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| Grief over the Temple's Destruction Rules out Music | |
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| Music as a Force Evoking Joy | |
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| The Concept of Music in Religious Doctrine | |
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| The Origin of Music According to the Homiletic Commentaries | |
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| Conceptual Tenets as Mirrored in Reality | |
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| Singing Inside and Outside the Synagogue | |
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| What the Melody Expresses | |
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| Musical Instruments | |
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| Cantillation | |
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| The Biblical Accents | |
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| The Functions of the Biblical Accents | |
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| How the Tradition of Accented Reading Is Transmitted | |
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| The Piyyut as a Factor in the Development of Synagogal Music | |
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| Prosodic and Formal Elements in Ancient and Classical Piyyutim | |
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| Quantitative Meter | |
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| Syllabic Meter | |
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| Strophic Songs | |
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| The Ashkenazic Piyyut | |
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| Integration of Melody and Text | |
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| Creativity in the Singing of Piyyutim | |
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| The Steiger | |
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| Ways of Performing the Songs | |
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| Responsorial Singing | |
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| Music in the World of the Mystic | |
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| Music and Meditation | |
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| Music and Prophecy | |
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| Man as Protagonist of the Drama of the Universe | |
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| The Struggle against Evil Forces and the Realm of Darkness | |
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| The Shofar | |
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| The Universal Harmony | |
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| The Whole Cosmos Sings | |
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| Influence of Kabbalistic Mystical Theories on Song | |
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| The Sabbath | |
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| Nocturnal Singing | |
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| The Baqqashot | |
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| Social Aspects of the Baqqashot | |
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| Kabbalistic Symbols and Ideas Penetrate Paraliturgical Song | |
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| Summary | |
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| Non-Synagogal Music - Between Sacred and Secular | |
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| Singing in and out of the Synagogue - Basic Distinctions | |
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| Music and Musical Performance | |
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| Events and Occasions | |
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| Events Associated with the Jewish Calendar | |
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| General Festive Gatherings | |
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| The Life Cycle | |
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| Distinctive Traits of Women's Singing | |
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| The Characteristics of Women's Songs | |
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| Folk Creativity and Performance Practice | |
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| How Is Creativity in Unwritten Songs Expressed? | |
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| The Yemenite Diwan | |
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| Repertoire of Ballads and Judeo-Spanish Songs | |
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| The Hasidic Niggun | |
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| Jewish Musical Ensembles | |
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| The Dance | |
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| Dance in Ancient Israel | |
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| Dance in the Jewish Diaspora | |
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| Rabbinical Attitude toward Dance | |
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| Selected Dance Traditions | |
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| The Dance in Modern Israel | |
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| Ethnic Dance in Israel Today | |
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| Looking Backward and Forward | |
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| Continuity and Change | |
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| A Convergence of Divergent Outlooks | |
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| The Quest for National Identity and Style | |
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| Oriental Musicians' Part in Elaborating the New Style | |
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| The Emergence of Ethnicity | |
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| Directions of Change in Ethnic Music: A Typology of Stylistic Dynamics | |
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| Epilogue | |
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| Notes | |
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| Bibliography | |
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| Index | |