The CCM debate revisited in another thread reminded me of this fascinating work.
As many know, the Masoretic Texts of the Old Testament are punctuated with 'accent marks,' the meaning of which is uncertain. However, a late French musicologist, who was also Jewish, approached them as musical notation, and developed a translation key, which, when applied consistently throughout the entire text reveals a 'beautiful liturgical music.'
I think she was on to something, though otherwise-invested OT scholars unhindered by any kind of real musical expertise reject her hypotheses and experiments.
She, and many who admire her work, believe the 'original melodies' of the Old Testament, especially the Psalms, are preserved. I don't think there is any evidence of that, but I do think it likely that the Masoretes preserved the Temple tradition of the First Century. Anyway...
As many know, the Masoretic Texts of the Old Testament are punctuated with 'accent marks,' the meaning of which is uncertain. However, a late French musicologist, who was also Jewish, approached them as musical notation, and developed a translation key, which, when applied consistently throughout the entire text reveals a 'beautiful liturgical music.'
I think she was on to something, though otherwise-invested OT scholars unhindered by any kind of real musical expertise reject her hypotheses and experiments.
She, and many who admire her work, believe the 'original melodies' of the Old Testament, especially the Psalms, are preserved. I don't think there is any evidence of that, but I do think it likely that the Masoretes preserved the Temple tradition of the First Century. Anyway...