Trop Belle.

Hebrew cantillation is the manner of chanting ritual readings from the Hebrew Bible in synagogue services. The chants are written and notated in accordance with the special signs or marks printed in the Masoretic Text of the Bible, to complement the letters and vowel points.

These marks are known in English as 'accents' (diacritics), 'notes' or trope symbols, and in Hebrew as () or just (). Some of these signs were also sometimes used in medieval manuscripts of the Mishnah. The musical motifs associated with the signs are known in Hebrew as or (not to be confused with Hasidic nigun) and in Yiddish as (): the word ''trope'' is sometimes used in Jewish English with the same meaning.

There are multiple traditions of cantillation. Within each tradition, there are multiple tropes, typically for different books of the Bible and often for different occasions. For example, different chants may be used for Torah readings on Rosh Hashana and Yom Kippur than for the same text on a normal Shabbat.

History

Three systems of Hebrew punctuation (including vowels and cantillation symbols) have been used: the Babylonian, the Palestinian and the Tiberian, only the last of which is used today.

Babylonian system

Babylonian Biblical manuscripts from the Geonic period contain no cantillation marks in the current sense, but small Hebrew letters are used to mark significant divisions within a verse. Up to eight different letters are found, depending on the importance of the break and where it occurs in the verse: these correspond roughly to the disjunctives of the Tiberian system. For example, in some manuscripts the letter ''tav'', for ''tevir'' (break), does duty for both Tiberian ''tevir'' and ''zaqef''. In general there are no symbols for the conjunctives, though some late manuscripts use the Tiberian symbols for these. There is also no equivalent for low-grade disjunctives such as ''telisha gedolah'': these are generally replaced by the equivalent of ''zaqef'' or ''revia''.

Nothing is known of the musical realization of these marks, but it seems likely that they represent breaks or variations in a set melody applied to each verse. (A somewhat similar system is used in manuscripts of the Qur'an to guide the reader in fitting the chant to the verse: see ''Qur'an reading''.)

This system is reflected in the cantillation practices of the Yemenite Jews, who now use the Tiberian symbols, but tend to have musical motifs only for the disjunctives and render the conjunctives in a monotone. It is notable that the Yemenite Jews have only eight disjunctive motifs, thus clearly reflecting the Babylonian notation. The same is true of the Karaite mode for the haftarah; while in the Sephardi haftarah modes different disjunctives often have the same or closely similar motifs, reducing the total number of effective motifs to something like the same number.

Palestinian system

The Babylonian system, as mentioned above, is mainly concerned with showing breaks in the verse. Early Palestinian manuscripts, by contrast, are mainly concerned with showing phrases: for example the ''tifcha-etnachta'', ''zarqa-segolta'' and ''pashta-zaqef'' sequences, with or without intervening unaccented words. These sequences are generally linked by a series of dots, beginning or ending with a dash or a dot in a different place to show which sequence is meant. Unaccented words (which in the Tiberian system carry conjunctives) are generally shown by a dot following the word, as if to link it to the following word. There are separate symbols for more elaborate tropes like ''pazer'' and ''telisha gedolah''.

The manuscripts are extremely fragmentary, no two of them following quite the same conventions, and these marks may represent the individual reader's aide-memoire rather than a formal system of punctuation (for example, vowel signs are often used only where the word would otherwise be ambiguous). In one manuscript, presumably of somewhat later date than the others, there are separate marks for different conjunctives, actually outnumbering those in the Tiberian system (for example, ''munach'' before ''etnachta'' has a different sign from ''munach'' before ''zaqef''), and the overall system approaches the Tiberian in comprehensiveness. In some other manuscripts, in particular those containing Targumim rather than original text, the Tiberian symbols have been added by a later hand. In general, it may be observed that the Palestinian and Tiberian systems are far more closely related to each other than either is to the Babylonian.

This system of phrasing is reflected in the Sephardic cantillation modes, in which the conjunctives (and to some extent the "near companions" such as ''tifcha'', ''pashta'' and ''zarqa'') are rendered as flourishes leading into the motif of the following disjunctive rather than as motifs in their own right.

The somewhat inconsistent use of dots above and below the words as disjunctives is closely similar to that found in Syriac texts. Kahle also notes some similarity with the punctuation of Samaritan Hebrew.

Tiberian system

By the tenth century, the chant in use in medieval Palestine had clearly become more complex, both because of the existence of ''pazer'', ''geresh'' and ''telisha'' motifs in longer verses and because the realization of a phrase ending with a given type of break varied according to the number of words and syllables in the phrase. The Tiberian Masoretes therefore developed a comprehensive notation with a symbol on each word, to replace the fragmentary systems previously in use. In particular, it was necessary to invent a range of different conjunctive accents to show how to introduce and elaborate the main motif in longer phrases. (For example, ''tevir'' is preceded by ''mercha'', a short flourish, in shorter phrases but by ''darga'', a more elaborate run of notes, in longer phrases.) The system they devised is the one in use today, and is found in Biblical manuscripts such as the Aleppo Codex. A Masoretic treatise called ''Diqduqe ha-teʿamim'' (precise rules of the accents) by Aaron ben Moses ben Asher survives, though both the names and the classification of the accents differ somewhat from those of the present day.

As the accents were (and are) not shown on a Torah scroll, it was found necessary to have a person making hand signals to the reader to show the tune, as in the Byzantine system of neumes. This system of cheironomy survives in some communities to the present day, notably in Italy. It is speculated that both the shapes and the names of some of the accents (e.g. ''tifcha'', literally "hand-breadth") may refer to the hand signals rather than to the syntactical functions or melodies denoted by them. Today in most communities there is no system of hand signals and the reader learns the melody of each reading in advance.

The Tiberian system spread quickly and was accepted in all communities by the 13th century. Each community re-interpreted its reading tradition so as to allocate one short musical motif to each symbol: this process has gone furthest in the Western Ashkenazi and Ottoman (Jerusalem-Sephardi, Syrian etc.) traditions. Learning the accents and their musical rendition is now an important part of the preparations for a bar mitzvah, as this is the first occasion on which a person reads from the Torah in public.

In the early period of the Reform movement there was a move to abandon the system of cantillation and give Scriptural readings in normal speech (in Hebrew or in the vernacular). In recent decades, however, traditional cantillation has been restored in many communities.

Different systems for different sets of books

There are two systems of cantillation marks in the Tanakh