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A fascinating and mysterious discovery — the new semiotic method of decoding of musical characteristics of the ta’ame miqra (cantillation diacritics) symbol codes — reveals the nature of the Torah and the other Jewish Scriptures as complementary musical poems that transcend all imagination.

The Discovery
After two millennia of silence in exile, a rare and mysterious discovery has revealed the nature of the timeless Book of All Books—the Torah—as a work of poetic perfection and wondrous musicality. A new decoding of the Masoretic ta’ame miqra (cantillation diacritics) shows that they convey melodic instructions and musical rhythms that reveal the composition of Scripture with astounding precision and consistency. They illuminate the Biblical text as a perfectly rhymed opera that was composed in the full range of known musical and poetic styles worldwide. Each and every word in the Torah, the cornerstone of the Jewish, Islamic, and Christian scriptures, plays a vital role in this Divine song. Therefore, one may state that this book embodies the most sublime and extraordinary artistic perfection known to humankind. In addition, it has been discovered that the other books of the Old Testament, including Psalms, of course, are also written in the form of perfect rhymed musical works in all their parts, without exception.

In other words, the holy Torah—the best-known book in the world, the work that Jews read unrelentingly, day and night, day in and day out—is in fact a unitary, rhymed song of mammoth scope and immense complexity. Furthermore, the cantillation marks, their use forgotten for two millennia, are signs that show us how to read, or to be more precise to sing, this Divine song. By using the newly discovered method to analyze the musical styles in the Torah, we find that the Torah accommodates melodies and rhythms in contemporary genres such as opera, Latin and South American styles, and even jazz and rap, in rhythms that correspond perfectly to all the rules of modern poetic and musical technique. The extent, complexity, and professional level of the songs transcend the imagination from every possible standpoint.

This musical phenomenon has great religious and even historical implications. It reveals the magnificence of the Jewish culture in the Land of Israel, the nation’s developed musical and intellectual life, and the advanced level of art that flourished in its capital, Jerusalem, in the epochs preceding the destruction of the Second Temple. Through this discovery we may hear and understand the sounds of joy, exultation, and song of the ancient Jewish culture. It exposes us to the bold and impressive musical colors of ancient prayer, the customs of the festivals, and the elation that gripped the congregation of worshippers as they sang before the holy and timeless Creator of all cultures. This discovery also sheds new light on what happened during the era when the Land of Israel was occupied by its enemies and reveals the circumstances of the misappropriation of the unique Biblical musical styles and techniques, and their diffusion among the nations. Therefore, one may state that the discovery opens for rediscussion the entire historical origin of world poetic and musical art and reveals difficult facts relating to deceit and genocide against the background of racism, evil, pursuit of pride, and a culture of falsehood.

The illustration of ta’ame miqra symbols

The illustration of ta’ame miqra symbols

As we know, the ta’ame miqra (cantillation diacritics) accompany almost all of Scripture. In addition to the vowel diacritics, they appear on all sides of the written letter—before, above, and below—and are manifested graphically in short or long lines, arcs, and arrows. The ta’ame miqra were meant to indicate the way the written words should be sung aloud and show how words within sentences are connected. Some of them instruct the reader to pause between two words; others tell us to link words and read them as one. This is all we have been knowing until this moment, and then…

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