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| | Liturgica.com | Liturgics | Jewish Liturgics | Chant Development | Jewish Liturgical Music - Part 2 |
 | | Later, during the eleventh and twelfth centuries in Spain and elsewhere, Hebrew poetry was written according to Arabic patterns and was structured after the Arabic qasida or muwashah forms. |
 | | These patterns were based on a Hebrew adaptation of the Arabic principle of differentiating short from long syllables [19], a consideration that now had to be added to such older factors as rhyming patterns, acrostic signatures, and the requisite allusions to biblical verses. |
 | | Hebrew poetry and synagogue melodies were constructed according to the Andalusian nuba, an extended suite form, unified by specific melodic modes and rhythmic patterns, and using both songs and instrumental pieces, except in certain circumstances e.g., on Shabbat, when (as we saw) instruments are not permitted when vocal imitations of instruments occurs. |
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