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</style><div class="Box"><table class="" cellspacing="5"><tbody><tr><th colspan="2">Pazer:<br>Trope in der jüdischen Liturgie</th></tr><tr><td style="vertical-align: middle;">Zeichen:</td><td><span class="singleChar" style="padding:0;">֡</span></td></tr><tr><td>Codepunkt:</td><td>U+05A1</td></tr><tr><td>Unicode-Name:</td><td>HEBREW ACCENT PAZER</td></tr><tr><td>Codeblock:</td><td><a href="Unicodeblock_Hebr%C3%A4isch" title="Unicodeblock Hebräisch">Unicodeblock Hebräisch</a></td></tr><tr><td style="vertical-align: middle;">Pazer</td><td style="font-size: x-large; font-family: SBL Hebrew; direction: rtl;">פָּזֵ֡ר</td></tr><tr><td style="vertical-align: middle;">Pazer qatan</td><td style="font-size: x-large; font-family: SBL Hebrew; direction: rtl;">פָּזֵר קָטָ֡ן</td></tr><tr><th colspan="2">Teamim beider Systeme</th></tr><tr><th colspan="2">A) Akzente der 21 Bücher<br>(Prosa-System)<br>1. trennende („beherrschende“) Akzente</th></tr><tr><td colspan="2"><table style="width:100%;"><tbody><tr><td class="singleChar" style="padding:0;">ֽ  </td><td><a href="Sof_pasuq" title="Sof pasuq">Sof pasuq</a></td><td> </td><td class="singleChar" style="padding:0;">֑</td><td><a href="Etnachta" title="Etnachta">Etnachta</a></td></tr><tr><td class="singleChar" style="padding:0;">ֶ</td><td><a href="Segol_(Trope)" title="Segol (Trope)">Segol (Trope)</a></td><td> </td><td class="singleChar" style="padding:0;">֓ ׀</td><td><a href="Schalschelet_gedola" title="Schalschelet gedola">Schalschelet gedola</a></td></tr><tr><td class="singleChar" style="padding:0;">֔</td><td><a href="Zaqef_qaton" title="Zaqef qaton">Zaqef qaton</a></td><td> </td><td class="singleChar" style="padding:0;">֕</td><td><a href="Zakef_gadol" title="Zakef gadol">Zakef gadol</a></td></tr><tr><td class="singleChar" style="padding:0;">֗</td><td><a href="Rewia" title="Rewia">Rewia</a></td><td> </td><td class="singleChar" style="padding:0;">֖</td><td><a href="Tipcha" title="Tipcha">Tipcha</a></td></tr><tr><td class="singleChar" style="padding:0;">֮</td><td><a href="Zarqa_(Trope)" title="Zarqa (Trope)">Zarqa (Trope)</a></td><td> </td><td class="singleChar" style="padding:0;">֙</td><td><a href="Paschta" title="Paschta">Paschta</a></td></tr><tr><td class="singleChar" style="padding:0;">֚</td><td><a href="Jetiw" title="Jetiw">Jetiw</a></td><td> </td><td class="singleChar" style="padding:0;">֛</td><td><a href="Tewir" title="Tewir">Tewir</a></td></tr><tr><td class="singleChar" style="padding:0;">֜</td><td><a href="Geresch_(Trope)" title="Geresch (Trope)">Geresch (Trope)</a></td><td> </td><td class="singleChar" style="padding:0;"> </td><td><a href="Gerschajim_(Trope)" title="Gerschajim (Trope)">Gerschajim (Trope)</a></td></tr><tr><td class="singleChar" style="padding:0;">֡</td><td><a class="mw-selflink selflink">Pazer</a></td><td> </td><td class="singleChar" style="padding:0;">֟</td><td><a href="Qarne_para" title="Qarne para">Qarne para</a></td></tr><tr><td class="singleChar" style="padding:0;">֠</td><td><a href="Telischa_gedola" title="Telischa gedola">Telischa gedola</a></td><td> </td><td class="singleChar" style="padding:0;">֣ ׀</td><td><a href="Munach_Legarmeh" title="Munach Legarmeh">Munach Legarmeh</a></td></tr></tbody></table></td></tr><tr><th colspan="2">2. verbindende („dienende“) Akzente</th></tr><tr><td colspan="2"><table style="width:100%;"><tbody><tr><td class="singleChar" style="padding:0;">֣</td><td><a href="Munach" title="Munach">Munach</a></td><td> </td><td class="singleChar" style="padding:0;">֤</td><td><a href="Mahpach" title="Mahpach">Mahpach</a></td></tr><tr><td class="singleChar" style="padding:0;">֥</td><td><a href="Mercha" title="Mercha">Mercha</a></td><td> </td><td class="singleChar" style="padding:0;">֦</td><td><a href="Mercha_kefula" title="Mercha kefula">Mercha kefula</a></td></tr><tr><td class="singleChar" style="padding:0;">֧</td><td><a href="Darga_(Trope)" title="Darga (Trope)">Darga (Trope)</a></td><td> </td><td class="singleChar" style="padding:0;">֨</td><td><a href="Qadma" title="Qadma">Qadma</a></td></tr><tr><td class="singleChar" style="padding:0;">֩</td><td><a href="Telischa_qetanna" title="Telischa qetanna">Telischa qetanna</a></td><td> </td><td class="singleChar" style="padding:0;">֪</td><td><a href="Jerach_ben_jomo" title="Jerach ben jomo">Jerach ben jomo</a></td></tr><tr><td class="singleChar" style="padding:0;">֖</td><td><a href="Majela_(Trope)" title="Majela (Trope)">Majela (Trope)</a></td><td> </td><td></td><td></td></tr></tbody></table></td></tr><tr><th colspan="2">B) Ta'amai Sifre Emet<br>(poetisches System)<br>1. trennende („beherrschende“) Akzente</th></tr><tr><td colspan="2"><table style="width:100%;"><tbody><tr><td class="singleChar" style="padding:0;">ֽ  </td><td><a href="Sof_pasuq" title="Sof pasuq">Sof pasuq</a></td><td> </td><td class="singleChar" style="padding:0;">֫ ֥</td><td><a href="Ole_we-Jored" title="Ole we-Jored">Ole we-Jored</a></td></tr><tr><td class="singleChar" style="padding:0;">֑</td><td><a href="Etnachta" title="Etnachta">Etnachta</a></td><td> </td><td class="singleChar" style="padding:0;">֗</td><td><a href="Rewia_gadol" title="Rewia gadol">Rewia gadol</a></td></tr><tr><td class="singleChar" style="padding:0;">֝ ֗</td><td><a href="Rewia_Mugrasch" title="Rewia Mugrasch">Rewia Mugrasch</a></td><td> </td><td class="singleChar" style="padding:0;">֓ ׀</td><td><a href="Schalschelet_gedola" title="Schalschelet gedola">Schalschelet gedola</a></td></tr><tr><td class="singleChar" style="padding:0;">֮</td><td><a href="Zarqa_(Trope)" title="Zarqa (Trope)">Zarqa (Trope)</a></td><td> </td><td class="singleChar" style="padding:0;">֗</td><td><a href="Rewia_qaton" title="Rewia qaton">Rewia qaton</a></td></tr><tr><td class="singleChar" style="padding:0;">֭</td><td><a href="Dechi" title="Dechi">Dechi</a></td><td> </td><td class="singleChar" style="padding:0;">֡</td><td><a class="mw-selflink selflink">Pazer</a></td></tr><tr><td class="singleChar" style="padding:0;">֤ ׀</td><td><a href="Mahpach_legarmeh" title="Mahpach legarmeh">Mahpach legarmeh</a></td><td> </td><td class="singleChar" style="padding:0;">֨ ׀</td><td><a href="Asla_legarmeh" title="Asla legarmeh">Asla legarmeh</a></td></tr></tbody></table></td></tr><tr><th colspan="2">2. verbindende („dienende“) Akzente</th></tr><tr><td colspan="2"><table style="width:100%;"><tbody><tr><td class="singleChar" style="padding:0;">֣</td><td><a href="Munach" title="Munach">Munach</a></td><td> </td><td class="singleChar" style="padding:0;">֥</td><td><a href="Mercha" title="Mercha">Mercha</a></td></tr><tr><td class="singleChar" style="padding:0;">֬</td><td><a href="Illuj" title="Illuj">Illuj</a></td><td> </td><td class="singleChar" style="padding:0;">֖</td><td><a href="Tipcha" title="Tipcha">Tipcha</a></td></tr><tr><td class="singleChar" style="padding:0;">֢</td><td><a href="Atnach_hafuch" title="Atnach hafuch">Atnach hafuch</a></td><td> </td><td class="singleChar" style="padding:0;">֤</td><td><a href="Mahpach" title="Mahpach">Mahpach</a></td></tr><tr><td class="singleChar" style="padding:0;">֨</td><td><a href="Qadma" title="Qadma">Qadma</a></td><td> </td><td class="singleChar" style="padding:0;">֓</td><td><a href="Schalschelet" title="Schalschelet">Schalschelet</a></td></tr><tr><td class="singleChar" style="padding:0;">֘</td><td><a href="Zinnorit" title="Zinnorit">Zinnorit</a></td><td> </td><td></td><td></td></tr></tbody></table></td></tr></tbody></table></div>

<p><b>Pazer</b> <span style="font-family:'SBL Hebrew','Ezra SIL',serif; font-size:xx-large; line-height:normal; direction:rtl;">◌֡</span>, <span style="font-style:normal;font-weight:normal"><a href="Hebr%C3%A4ische_Sprache" title="Hebräische Sprache">hebräisch</a></span> <bdo dir="ltr"><style data-mw-deduplicate="TemplateStyles:r238817682">

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</style><bdi dir="rtl" lang="he-Hebr" class="Hebr hebrew" style="unicode-bidi:isolate;font-style:normal">פָּזֵר</bdi></bdo> ist eine Trope in der jüdischen Liturgie zählt zu den biblischen Satz-, Betonungs- und Kantillationszeichen <a href="Teamim" title="Teamim">Teamim</a>, die im <a href="Tanach" title="Tanach">Tanach</a> erscheinen. Es wird auch <i>Pazer qatan</i> <span style="font-style:normal;font-weight:normal"><a href="Hebr%C3%A4ische_Sprache" title="Hebräische Sprache">hebräisch</a></span> <bdo dir="ltr"><bdi dir="rtl" lang="he-Hebr" class="Hebr hebrew" style="unicode-bidi:isolate;font-style:normal">פָּזֵר קָטָן</bdi></bdo> genannt. Pazer qatan bedeutet kleines Pazer im Gegensatz zu Pazer gadol, dem großen Pazer, das auch Qarne para genannt wird.

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<div class="mw-heading mw-heading2"><h2 id="Begriffe">Begriffe</h2></div>

<th>Trope

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<td>von <span style="font-style:normal;font-weight:normal"><a href="Altgriechische_Sprache" title="Altgriechische Sprache">altgriechisch</a></span> <span lang="grc-Grek" class="Grek" style="font-style:normal"><br>τρόπος</span> <i>tropos</i><br>über <span style="font-style:normal;font-weight:normal"><a href="Jiddisch" title="Jiddisch">jiddisch</a></span> <bdo dir="ltr"><bdi dir="rtl" lang="yi-Hebr" class="Hebr hebrew" style="unicode-bidi:isolate;font-style:normal"><br>טראָפּ</bdi></bdo> trop<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><br>dt.: Betonung,<br>Melodie

</td></tr></tbody></table><p>Das hebräische Wort <bdo dir="ltr"><bdi dir="rtl" lang="he-Hebr" class="Hebr hebrew" style="unicode-bidi:isolate;font-style:normal">פָּזֵ֡ר</bdi></bdo> bedeutet übersetzt Verteilung oder Verbreitung. Dies bezieht sich auf die große Anzahl von Noten in der Melodie. Es zeigt, wie weit die Göttlichkeit auf die Worte verteilt ist.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup>

</p><div class="mw-heading mw-heading2"><h2 id="Symbol">Symbol</h2></div>

<p>Das Symbol für Pazer ähnelt einem nach oben gespiegelten h, oder, wie in der <a href="Biblia_Hebraica_Stuttgartensia" title="Biblia Hebraica Stuttgartensia">Biblia Hebraica Stuttgartensia</a>, einem kleinen T, das um 90° gegen den Uhrzeigersinn gekippt ist. Es steht über dem Konsonanten der ersten betonten Silbe.

</p>

<div class="mw-heading mw-heading2"><h2 id="Grammatik">Grammatik</h2></div>

<p>Als „Graf“ teilt Pazer ein Verssegment auf der untersten Ebene.<sup id="cite_ref-Jacobson-74_4-0" class="reference"><a href="#cite_note-Jacobson-74-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Pazer teilt Gruppen mit Rewia, Paschta, Tewir oder Zarkqa als übergeordnetem Trenner. Manchmal unterteilt es ein Geresch-Segment.<sup id="cite_ref-Jacobson-74_4-1" class="reference"><a href="#cite_note-Jacobson-74-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Sein Segment hat dabei keine untergeordneten disjunktiven Tropen mehr. Es kann aus einem einzigen Wort bestehen, es kann aber auch bis zu 6 mal Munach enthalten.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup>

</p><p>Häufig folgt einem Pazer-Segment ein Geresch-Segment.<sup id="cite_ref-Jacobson-74_4-2" class="reference"><a href="#cite_note-Jacobson-74-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Dem Pazer geht in der Regel bei einem Zwei-Worte-Segment ein Munach voraus. Dieser Munach wird bei einem Drei-Worte-Segment wiederholt.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Dem Pazer kann auch ein Telischa gedola oder ein Telischa qetanna folgen. In einigen Fällen folgt dem Pazer-Segment ein weiteres Pazer-Segment.

</p><p>Pazer wird verwendet, um ein Wort beim Singen deutlich zu verlängern.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Damit soll die Bedeutung des jeweiligen Wortes stärker hervorgehoben und betont werden.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> In seltenen Fällen wird Pazer durch das noch stärker ausgestaltete Qarne para ersetzt, das deswegen auch Pazer gadol genannt wird, ohne dass das einer grammatikalischen Regel folgt. In diesem Fall soll etwas Bedeutsames im Text hervorgehoben werden.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Melodie">Melodie</h2></div>

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<td><i>De accentibus, et orthographia, linguae Hebraicae</i><br><a href="Johannes_Reuchlin" title="Johannes Reuchlin">Johannes Reuchlin</a>: Pazer

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<th colspan="2"><span id="verschiedene_Kantilenen"></span>verschiedene Kantilenen

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<td colspan="2">Beispiele für das Prosa-System<br>aus der <a href="Jewish_Encyclopedia" title="Jewish Encyclopedia">Jewish Encyclopedia</a><sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</td></tr></tbody></table>

<p>Mit welcher Melodie die Kantilene zu einer Trope zu singen ist, hängt sowohl von der Position im Tanach als auch von der zugrundeliegenden Tradition ab. So gehören die Melodien für die Torah meist der hypoäolischen <a href="Kirchentonart" title="Kirchentonart">Kirchentonart</a> an. In den Prophetenbüchern hingegen wurde in der sephardischen und aschkenasischen Tradition dorisch gesungen.

</p><p>In der aschkenasischen Tradition wurde in der Torah zwischen gewöhnlichem (hypoäolischem) Vortrag und dem in Bußpredigten (mixolydisch) unterschieden.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup>

</p><p>Die <a href="#verschiedene_Kantilenen">rechts</a> angegebenen Melodien sind recht lebhaft, aber ohne festes Tempo zu singen.

</p>

<div class="mw-heading mw-heading2"><h2 id="Vorkommen">Vorkommen</h2></div>

<p>Pazer gehört sowohl zum prosaischen als auch zum poetischen <a href="Teamim#Systeme:_Die_21_Bücher_und_die_Emet" title="Teamim">System der Teamim</a>.

</p>

<th>Teil des Tanach

</th>

<th>Pazer

</th></tr>

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</td>

<td style="text-align:right">154

</td></tr>

<tr>

</td>

<td style="text-align:right">420

</td></tr>

<tr>

<td><a href="Ketuvim" class="mw-redirect" title="Ketuvim">Ketuvim</a>

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<td style="text-align:right">284

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<td>Gesamt

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<td style="text-align:right">858

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<p>Die Tabelle zeigt das Vorkommen von Pazer in den 21 Büchern.<sup id="cite_ref-Price5_12-0" class="reference"><a href="#cite_note-Price5-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Literatur">Literatur</h2></div>

<ul><li>William Wickes: <a rel="nofollow" class="external text" href="http://www.archive.org/details/treatiseonaccent00wickuoft"><i>A treatise on the accentuation of the twenty-one so-called prose books of the Old Testament.</i></a> 1887.</li>

<li>William Wickes: <a rel="nofollow" class="external text" href="http://www.archive.org/details/treatiseonacpoet00wickuoft"><i>A treatise on the accentuation of the three so-called poetical books on the Old Testament, Psalms, Proverbs, and Job.</i></a> 1887.</li>

<li>Arthur Davis, <a rel="nofollow" class="external text" href="http://www.archive.org/details/hebrewaccentsoft00daviuoft"><i>The Hebrew accents of the twenty-one Books of the Bible (K"A Sefarim) with a new introduction.</i></a> 1900.</li>

<li>Francis L. Cohen: <cite style="font-style:italic">Cantillation</cite>. In: Isidore Singer (Hrsg.): <cite style="font-style:italic"><a href="Jewish_Encyclopedia" title="Jewish Encyclopedia">The Jewish Encyclopedia</a></cite>. <span style="white-space:nowrap">Band<span style="display:inline-block;width:.2em"> </span>III</span>. KTAV Publishing House, New York 1906, <span style="white-space:nowrap">S.<span style="display:inline-block;width:.2em"> </span>542–548</span> (<a rel="nofollow" class="external text" href="http://www.jewishencyclopedia.com/articles/3986-cantillation">jewishencyclopedia.com</a>).<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.atitle=Cantillation&rft.au=Francis+L.+Cohen&rft.btitle=The+Jewish+Encyclopedia&rft.date=1906&rft.genre=book&rft.pages=542-548&rft.place=New+York&rft.pub=KTAV+Publishing+House&rft.volume=III" style="display:none"> </span></li>

<li>James D. Price: <cite style="font-style:italic">Concordance of the Hebrew accents in the Hebrew Bible</cite>. I) Concordance of the Hebrew Accents used in the Pentateuch. Edwin Mellon Press, Lewiston (New York) 1996, ISBN 0-7734-2395-8.<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.au=James+D.+Price&rft.btitle=Concordance+of+the+Hebrew+accents+in+the+Hebrew+Bible&rft.date=1996&rft.genre=book&rft.isbn=0773423958&rft.place=Lewiston+%28New+York%29&rft.pub=Edwin+Mellon+Press&rft.volume=I%29+Concordance+of+the+Hebrew+Accents+used+in+the+Pentateuch" style="display:none"> </span></li>

<li>Joshua R. Jacobson: <cite style="font-style:italic">Chanting the Hebrew Bible</cite>. The art of cantillation. 1. Auflage. Jewish Publication Society, Philadelphia 2002, ISBN 0-8276-0693-1 (<a rel="nofollow" class="external text" href="http://books.google.co.uk/books?id=cAhkCXAEy6kC">books.google.co.uk</a>).<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.au=Joshua+R.+Jacobson&rft.btitle=Chanting+the+Hebrew+Bible&rft.date=2002&rft.edition=1.&rft.genre=book&rft.isbn=0827606931&rft.place=Philadelphia&rft.pub=Jewish+Publication+Society" style="display:none"> </span></li>

<li>Avigdor HaLevi Nebenzahl: <cite style="font-style:italic">Tit’haru! The Ten days of repentance</cite>. Feldheim Publishers, Jerusalem / Nanuet, NY 2004, ISBN 1-58330-718-4 (hebräisch: <cite class="lang" lang="he" dir="auto" style="font-style:italic"><bdo dir="ltr"><bdi dir="rtl" lang="he-Hebr" class="Hebr hebrew" style="unicode-bidi:isolate;font-style:normal"><span dir="auto" style="font-style:normal">תטהרו</span></bdi></bdo></cite>).<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.au=Avigdor+HaLevi+Nebenzahl&rft.btitle=Tit%E2%80%99haru%21+The+Ten+days+of+repentance&rft.date=2004&rft.genre=book&rft.isbn=1583307184&rft.place=Jerusalem+%2F+Nanuet%2C+NY&rft.pub=Feldheim+Publishers" style="display:none"> </span></li>

<li>Joshua R. Jacobson: <cite style="font-style:italic">Chanting the Hebrew Bible</cite>. Student Edition. The Jewish Publication Society, Philadelphia 2005, ISBN 0-8276-0816-0.<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.au=Joshua+R.+Jacobson&rft.btitle=Chanting+the+Hebrew+Bible&rft.date=2005&rft.genre=book&rft.isbn=0827608160&rft.place=Philadelphia&rft.pub=The+Jewish+Publication+Society" style="display:none"> </span></li>

<li>Melila Hellner-Eshed, Nathan Wolski: <cite style="font-style:italic">A river flows from Eden. The language of mystical experience in the Zohar</cite>. Stanford University Press, Stanford (Kalifornien) 2009, ISBN 978-0-8047-7624-0 (hebräisch: <cite class="lang" lang="he" dir="auto" style="font-style:italic"><bdo dir="ltr"><bdi dir="rtl" lang="he-Hebr" class="Hebr hebrew" style="unicode-bidi:isolate;font-style:normal"><span dir="auto" style="font-style:normal">נהר יצא מעדן : על שפת החוויה המיסטית בזוהר</span></bdi></bdo> – Ṿe-nahar yotse me-’Eden : ’al śefat ha-ḥaṿayah ha-misṭit ba-Zohar</cite> Tel Aviv 2005.).<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.au=Melila+Hellner-Eshed%2C+Nathan+Wolski&rft.btitle=A+river+flows+from+Eden.+The+language+of+mystical+experience+in+the+Zohar&rft.date=2009&rft.genre=book&rft.isbn=9780804776240&rft.place=Stanford+%28Kalifornien%29&rft.pub=Stanford+University+Press" style="display:none"> </span></li>

<li>Chani Haran Smith: <cite style="font-style:italic">Tuning the soul: music as a spiritual process in the teachings of Rabbi Naḥman of Bratzlav</cite> (= <cite style="font-style:italic">IJS studies in Judaica</cite>. <span style="white-space:nowrap">Band<span style="display:inline-block;width:.2em"> </span>10</span>). Brill, Leiden; Boston 2010, ISBN 978-90-04-18960-7.<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.au=Chani+Haran+Smith&rft.btitle=Tuning+the+soul%3A+music+as+a+spiritual+process+in+the+teachings+of+Rabbi+Na%E1%B8%A5man+of+Bratzlav&rft.date=2010&rft.genre=book&rft.isbn=9789004189607&rft.place=Leiden%3B+Boston&rft.pub=Brill&rft.series=IJS+studies+in+Judaica" style="display:none"> </span></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Einzelnachweise">Einzelnachweise</h2></div>

<li id="cite_note-1"><span class="mw-cite-backlink"><a href="#cite_ref-1">↑</a></span> <span class="reference-text">Jacobson (2002), S. 3: Trop. «In Yiddish, the <i>lingua franca</i> of the Jews in Northern Europe […], these accents came to be known as <i>trop</i>. The derivation of this word seems to be from the Greek <i>tropos</i> or Latin <i>tropus</i> ».</span>

</li>

<li id="cite_note-2"><span class="mw-cite-backlink"><a href="#cite_ref-2">↑</a></span> <span class="reference-text">Hellner-Eshed, S. 264–265.</span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><a href="#cite_ref-3">↑</a></span> <span class="reference-text">Wickes übersetzt Pazer mit shake oder trill, also schütteln oder trillern und bezieht diesen Namen auf die musikalische Ausführung des Zeichens. Wickes, poetical books S. 17. <span class="-print"><a rel="nofollow" class="external text" href="https://www.archive.org/details/treatiseonacpoet00wickuoft/page/n31/mode/1up">Digitalisat</a></span><span style="display: none;"><a rel="nofollow" class="external free" href="http://vorlage_digitalisat.test/1%3D%7B%7B%7B1%7D%7D%7D~GB%3D~IA%3Dtreatiseonacpoet00wickuoft~MDZ%3D%0A~SZ%3Dn31~doppelseitig%3D~LT%3D~PUR%3D">http://vorlage_digitalisat.test/1%3D%7B%7B%7B1%7D%7D%7D~GB%3D~IA%3Dtreatiseonacpoet00wickuoft~MDZ%3D%0A~SZ%3Dn31~doppelseitig%3D~LT%3D~PUR%3D</a></span>.</span>

</li>

<li id="cite_note-Jacobson-74-4"><span class="mw-cite-backlink">↑ <sup><a href="#cite_ref-Jacobson-74_4-0">a</a></sup> <sup><a href="#cite_ref-Jacobson-74_4-1">b</a></sup> <sup><a href="#cite_ref-Jacobson-74_4-2">c</a></sup></span> <span class="reference-text">Joshua R. Jacobson: <i>Chanting the Hebrew Bible.</i> 2005, S. 74.</span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><a href="#cite_ref-5">↑</a></span> <span class="reference-text">James D. Price: <i>Concordance of the Hebrew accents in the Hebrew Bible: Concordance ….</i> 1. Band, S. 235 f.</span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><a href="#cite_ref-6">↑</a></span> <span class="reference-text">Joshua R. Jacobson: <i>Chanting the Hebrew Bible.</i> 2005, S. 74–75.</span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><a href="#cite_ref-7">↑</a></span> <span class="reference-text">Chani Haran Smith: <i>Tuning the soul: music as a spiritual process in the teachings of Rabbi Naḥman of Bratzlav.</i> S. 29.</span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><a href="#cite_ref-8">↑</a></span> <span class="reference-text">Avigdor HaLevi Nebenzahl: <i>Tit’haru! The Ten days of repentance.</i> S. 162.</span>

</li>

<li id="cite_note-9"><span class="mw-cite-backlink"><a href="#cite_ref-9">↑</a></span> <span class="reference-text">James D. Price: <i>Concordance of the Hebrew accents in the Hebrew Bible: Concordance ….</i> 1. Band, S. 239.</span>

</li>

<li id="cite_note-10"><span class="mw-cite-backlink"><a href="#cite_ref-10">↑</a></span> <span class="reference-text"><cite style="font-style:italic">The <a href="Jewish_Encyclopedia" title="Jewish Encyclopedia">Jewish Encyclopedia</a></cite>. <span style="white-space:nowrap">Band<span style="display:inline-block;width:.2em"> </span>3</span>, <span style="white-space:nowrap">S.<span style="display:inline-block;width:.2em"> </span>543</span>.<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.btitle=The+Jewish+Encyclopedia&rft.genre=book&rft.pages=543&rft.volume=3" style="display:none"> </span></span>

</li>

<li id="cite_note-11"><span class="mw-cite-backlink"><a href="#cite_ref-11">↑</a></span> <span class="reference-text"><cite style="font-style:italic">The <a href="Jewish_Encyclopedia" title="Jewish Encyclopedia">Jewish Encyclopedia</a></cite>. <span style="white-space:nowrap">Band<span style="display:inline-block;width:.2em"> </span>3</span>, <span style="white-space:nowrap">S.<span style="display:inline-block;width:.2em"> </span>539</span>.<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rfr_id=info:sid/de.wikipedia.org:Pazer&rft.btitle=The+Jewish+Encyclopedia&rft.genre=book&rft.pages=539&rft.volume=3" style="display:none"> </span></span>

</li>

<li id="cite_note-Price5-12"><span class="mw-cite-backlink"><a href="#cite_ref-Price5_12-0">↑</a></span> <span class="reference-text">James D. Price: <i>Concordance of the Hebrew accents in the Hebrew Bible: Concordance ….</i> 1. Band, S. 5.</span>

</li>

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