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Grammaticahebraicaet graeca [Paris:Egide Gourmont,1508], fol. 17v; after Ruderman,Worldof a RenaissanceJew, pp. 19, 101). Stansby, 1611],p. 232; or in its lateredition[Glasgow:J. MacLehose,1905],p. 371). 57. Thus his grandsonIsaac Halevi reportedin his introductionto Modena'sMagen wa-herev["Shieldand Sword"](Milan:BibliotecaAmbrosiana,MS Q139 Sup, fols. 2-3), quotedby AbrahamGeigerin his Leon de Modena,seine Stellungzum Talmud,zur Kabbala undzum Christentum(Breslau:Sulzbach,1856), fols. 11-12, esp.

Seferhayyei ", In'j71t ,7s 28. As clear from two lettersthat Modena'sson Mordekhaiwrote, in 1604, to his uncle Moses Simha (cf. Igrot rabbi YehudaArie mim-Modena,pp. 94-95). "(the firstpartafterExod. fnlr i v ) TK,,). portionsinsertedfor entertainmentbetween the acts of plays, there is a rich literature,including,among others, WolfgangOsthoff's Theatergesangund darstellendeMusikin der italienischenRenaissance (Tutzing:Hans Schneider,1969) andNino Pirrotta'sLi due Orfei:da Polizianoa Monteverdi (Turin:Einaudi,1969).

Tl N Dnr 141. mnr nb'lz tab 'lN 17•7sm fl V balb-n x 1 ow nav nno ixnx n 3,. ' 'elot Nx 7xl7z,n 3T-i (Sheh.... n 1 1rt "u-t'srhvo pp. 177-178). u-tshuvot, 44 DON HARRAN Had Modena dealt with the thirdpoint, that is, the largerquestionof whetherpartmusic is permittedin the synagogue,he would doubtlesshave reinforcedhis basic inclinationtowardits usagethere,as is clearfromat least two sources:his first responsum,publishedin 1605, then again in 1622 in connectionwith SalamoneRossi's Hebrew"Songs";andthe informationon the music academythat Modenaran from the late 1620s on--its members rehearsedpart songs for performancein the synagogueand elsewhere(see below).

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