| What Is Jewish Music? | | | | Klezmer is a very popular genre which can be |
| Jewish music can be studied from many | | | | seen in Hasidic and Ashkenazic Judaism, it is |
| diversified points of view. Among them historical, | | | | however deeply connected with the Ashkenazi |
| liturgical and non-liturgical music of the Hebrews | | | | tradition. |
| dating from the pre-Biblical times (Pharaonic | | | | Around the 15th century, a tradition of secular |
| Egypt); religious music at the first and second | | | | Jewish music was developed by musicians called |
| Solomon's Temples; musical activities immediately | | | | kleyzmorim or kleyzmerim. They draw on |
| following the Exodus; the seemingly impoverished | | | | devotional traditions extending back into Biblical |
| religious musical activities during the early middle | | | | times, and their musical legacy of klezmer |
| ages; the emergence of the concept of Jewish | | | | continues to evolve today. The repertoire is |
| Music in the mid-19th century; its nation-oriented | | | | largely dance songs for weddings and other |
| sense as coined by the landmark book Jewish | | | | celebrations. Due to the Ashkenazi lineage of this |
| Music in its Historical Development (1929) by A. Z. | | | | music, the lyrics, terminology and song titles are |
| Idelsohn (1882-1938) and finally as the art and | | | | typically in Yiddish. |
| popular music of Israel. | | | | Originally naming the musicians themselves in |
| Early emergences of Jewish musical themes and | | | | mid-20th Century the word started to identify a |
| of what may be called "the idea of being Jew" in | | | | musical genre, it is also sometimes referred to as |
| European music can be first seen in the works of | | | | "Yiddish" music. |
| Salamone Rossi (1570-1630). Following that they | | | | Sephardi |
| appear somewhat shaded in the works of the | | | | "Sephardi" literally means Spanish, and designate |
| grandson of the well known Jewish philosopher | | | | Jews from mainly Spain but also North Africa, |
| Moses Mendelssohn(1729-1786): Felix Mendelssohn | | | | Greece and Egypt. |
| (1809-1847). | | | | Following the expulsion of all non-Christians, forced |
| Fromental Halevy's (1799-1862) opera La Juive | | | | to convert to Christianism or to the exile in 1492, |
| and its occasional use of some Jewish themes is | | | | the very rich, cultivated and fruitful Jewish culture |
| opposed to the lack of "anything Jew" in his | | | | existing in Spain has migrated massively into the |
| almost contemporary fellow composer Jacques | | | | Ottoman Empire formed the main brach of Jews |
| Offenbach (1819-1880) who was actually Jew and | | | | living currently in Turkey. |
| grew up in straight Jewish tradition. | | | | Their language besides the Hebrew is called Ladino. |
| Interestingly the St. Petersburg Society for Jewish | | | | Ladino is a 15th. century of Spanish. Much of their |
| Music led by the composer-critic Joel Engel | | | | musical repertoire is in that language. The Sephardi |
| (1868-1927) reports on how they discovered their | | | | music mixes many elements from traditional |
| Jewish roots. They were inspired by the | | | | Arab, North African, Turkish idioms. |
| Nationalistic movement in the Russian Music | | | | In medieval Spain, "canciones" being performed at |
| personified by Rimsky-Korsakov, Cesar Cui and | | | | the royal courts constitued the basis of the |
| others, and records how set out to the Shtetls | | | | Sephardic music. |
| and meticulously recorded and transcribed | | | | Spiritual, ceremonial and entertainment songs all |
| thousands of Yiddish folksongs. | | | | coexists in Sephardic music. Lyrics are generally |
| Ernst Bloch's (1880-1959) Schelomo for cello and | | | | Hebrew for religious songs and Ladino for others. |
| orchestra and specially the Sacred Service for | | | | The genre in its spread to North Africa, Turkey, |
| orchestra, choir and soloists are attempts to | | | | Greece, the Balkans and Egypt assimilated many |
| create a "Jewish Requiem". | | | | musical elements. Including the North African |
| Mario Castelnuovo-Tedesco (1895-1968)'s | | | | high-pitched, extended ululations; Balkan rhythms, |
| Sephardic upbringings and their influences on his | | | | for instance in 9/8 time; and the Turkish maqam |
| music as they appear in his Second Violin | | | | modes. |
| Concerto and in many of his songs and choral | | | | Woman voice is often preferred while the |
| works; cantatas Naomi and Ruth, Queen of Shiba | | | | instruments included the "oud" and "qanun" which |
| and in the oratorio The Book of Jonah among | | | | are not traditionally Jewish instruments. |
| others are worth noting as well. | | | | Some popular Sephardic music has been released |
| Many scholars did not missed the Synagogue | | | | as commercial recordings in the early 20th |
| motives and melodies borrowed by George | | | | Century. Among the first popular singers of the |
| Gershwin in his Porgy and Bess. Gershwin | | | | genre were men and included the Turks Jack |
| biographer Edward Jablonski has claimed that the | | | | Mayesh, Haim Efendi and Yitzhak Algazi. Later, a |
| melody to "It Ain't Necessarily So" was taken | | | | new generation of singers arose, many of whom |
| from the Haftarah blessing and others have | | | | were not themselves Sephardic. Gloria Levy, |
| attributed it to the Torah blessing. | | | | Pasharos SefardÃes and Flory Jagoda. |
| In Gershwin's some 800 songs, allusions to Jewish | | | | Mizrahi |
| music have been detected by other observers as | | | | "Mizrahi" means Eastern and refers to Jews of |
| well. One musicologist detected "an uncanny | | | | Eastern Mediterranean and further to the East. |
| resemblance" between the folk tune "Havenu | | | | The music also mixes local traditions. Actually a |
| Shalom Aleichem" and the spiritual "It Take a Long | | | | very "eastern flavored" musical tradition which |
| Pull to Get There". | | | | encompasses Egypt, Syria, Jordan, Lebanon, Iraq |
| Most notcied contemporary Israeli composers are | | | | and as east as India. |
| Chaya Czernowin, Betty Olivera, Tsippi Fleisher, | | | | Middle Eastern percussion instruments share an |
| Mark Kopytman, Yitzhak Yedid. | | | | important part with the violin in typical Mizrahi |
| There are also very important works by non-Jew | | | | songs. The music is usually high pitched in general. |
| composers in the Jewish music. Maurice Ravel | | | | In Israel today Mizrahi music is very popular. |
| with his Kaddish for violin and piano based on a | | | | A "Muzika Mizrahit" movement emerged in the |
| traditional liturgical melody and Max Bruch's | | | | 1950s. Mostly with with performers from the |
| famous arrangement of the Yom Kippur prayer | | | | ethnic neighborhoods of Israel: the Yemenite |
| Kol Nidrei for cello and orchestra are among the | | | | "Kerem HaTemanim" neighborhood of Tel Aviv, |
| best known. | | | | Moroccan, Iranian and Iraqi immigrants - who |
| Sergei Prokofieff's Overture sur des Themes | | | | played at weddings and other events. |
| Juives for string quartet, piano and clarinet clearly | | | | Songs were performed in Hebrew but with a |
| displays its inspirational sources in non-religious | | | | clear Arabic style on traditional Arabic instruments: |
| Jewish music. The melodic, modal, rhythmical | | | | the "Oud", the "Kanun", and the "darbuka". |
| materials and the use of the clarinet as a leading | | | | Classic Hebrew literature, including liturgical texts |
| melodic instrument is a very typical sound in folk | | | | and poems by medieval Hebrew poets constitued |
| and non-religious Jewish music. | | | | the main source of lyrics. |
| Dmitri Shostakovich was deeply influenced by | | | | Music in Jewish Liturgy |
| Jewish music as well. This can be seen in many of | | | | There are a wide collection of, sometimes |
| his compositions, most notably in the song cycle | | | | conflicting, writings on all aspects of using music in |
| From Jewish Folk Poetry, and in the Second Piano | | | | the Judaic liturgy. The most agreed-upon facts |
| Trio. However his most outstanding contribution to | | | | are that the women voice should be excluded |
| the Jewish culture is without doubt the 13th. | | | | from religious ceremony and the usage of musical |
| Symphony "Babi Yar". | | | | instruments should be banned in Synagogue |
| How Many Jewish Musics? | | | | service. |
| The world-wide dispersion of the Jews following | | | | However some Rabbinical authorities soften those |
| the Exodus and its three main communities create | | | | straight positions but not regarding the exclusion |
| the basic kayout of the world-wide Jewish music. | | | | of the female voice. In weddings, for instance, the |
| Those communities in their geographical dispersion | | | | Talmudic statement "to gladden the groom and |
| covering all continents and their unique relations | | | | bride with music" can be seen as a way to allow |
| with local communities have given birth to various | | | | making instrumental and non-religious music at the |
| kinds of music as well as languages and customs. | | | | weddings but this was probably to be done |
| Following the exile, according to geographical | | | | outside the Synagogue. |
| settlements, Jews formed three main branches: | | | | The very influential writings of the Spanish Rabbi, |
| Ashkenazi, Sephardi and Mizrahi. | | | | also a physician and philosopher, Maimonides |
| Roughly they are located as follows: Ashkenazi in | | | | (1135-1204) on one hand opposed harshly against |
| Eastern and Western Europe, the Balkans, (to a | | | | all form of music not totally at the service of |
| lesser extend) in Turkey and Greece; Sephardi in | | | | religious worship and on the other hand |
| Spain, Maroc, North Africa and later in the | | | | recommended instrumental music for its healing |
| Ottoman Empire (Turkey); Mizrahi in Lebanon, | | | | powers. |
| Syria, East Asia, Iraq, Yemen, Egypt. | | | | Healing powers and mysterious formul hidden |
| The music of those communities naturally entered | | | | inside musical scores was commonly sought after |
| into contact with local traditions and evolved | | | | in music scores during middle-ages, renaissance |
| accordingly. | | | | and pre-Baroque epochs. Interestingly, in a |
| Ashkenazi and the Klezmer | | | | recently published fiction novel "Imprimatur" by |
| "Ashkenazi" refers to Jews who in the 9.th | | | | the musicologist Rita Monaldi and co-author |
| century started to settle on the banks of the | | | | Francesco Solti the whole plot is built-up around a |
| Rhine. | | | | composition of Salomone Rossi (1570-1630), an |
| Today the term "Ashkenazi" designate most of | | | | important Jewish composer. |
| the European and Western Jews. | | | | Jewish mystical treatises, like the Kabbala, |
| Besides the Hebrew, Yiddish is commonly used in | | | | particularly since the 13th. century often deal with |
| speech and songs. | | | | ethical, magical and therapeutic powers of music. |
| The traditional Ashkenazi music, originated in | | | | The enhancement of the religious experience with |
| Eastern Europe, moved to all directions from | | | | music, particularly with singing is expressed in |
| there and created the main branch of Jewish | | | | many places. |
| Music in North America. It includes the famous | | | | Even though there is no unified position concerning |
| Klezmer music. Klezmer means "instruments of | | | | music in the Jewish thought a common main ideas |
| song", from the Hebrew word klei zemer. The | | | | seems to emerge: that the music is the authentic |
| word come to designate the musician himself and | | | | expression of human feelings in religious and |
| it is somehow analogous to the European | | | | secular life. |
| troubadour. | | | | |