Jewish Music

What is Jewish Music?

Jewish music can be learned from various points of view. Among them are history, liturgical and non-liturgical music dating from pre-biblical times (Pharaonic Egypt); religious music in the first and second temples of Solomon; music activities immediately after the Release; religious music activities that seemed poor in the middle ages; the emergence of the concept of Jewish Music in the mid-19th century; race-oriented minds created by landmarks Jewish Music in its Historical Development (1929) by A. Z. Idelsohn (1882-1938) and eventually Israel's popular art and music.

The early emergence of the theme of Jewish music and what could be called the "idea of ​​being Jewish" in European music can be seen for the first time in the work of Salamone Rossi (1570-1630). As a result, they appear quite shy in the works of the great grandson of Jewish philosopher Moses Mendelssohn (1729-1786): Felix Mendelssohn (1809-1847).

Fromental Halevy's (1799-1862) opera La Juive and sometimes used some of the Jewish themes against the deficiency of "anything Jewish" in his almost contemporary contemporary composer Jacques Offenbach (1819-1880) and was raised in a straightforward Jewish tradition.

Interestingly, St. Paul's Music Petersburg for Jewish Music led by composer Joel Engel (1868-1927) reports on how they discovered their Jewish roots. They were inspired by the Nationalistic movement in Russian Music named by Rimsky-Korsakov, Cesar Cui and others, and recorded how Shtetls featured and carefully recorded and copied thousands of Yiddish.

Ernst Bloch (1880-1959) Schelomo for cello and orchestra and in particular Holy service for the orchestra, choir and soloist was an attempt to create a "Jewish Requiem".

Sephardic musician Mario Castelnuovo-Tedesco (1895-1968) and their influence on his music as they appeared in it Second Violin Concerto and in many of his songs and works; cantatas Naomi and Ruth, Queen Shiba and in oratorio The book of Jonah it should be noted, among others.

Many scholars do not miss the motif and melody borrowed by George Gershwin Porgy and Bess. Gershwin biographer Edward Jablonski claims that the song "It doesn't have to be"taken from the blessing of Harkah and others contributed it to the blessing of the Torah.

In Gershwin's 800 songs, Jewish musical performances have been detected by other observers as well. A musician detects "mysterious similarities" between folk songs "Havenu Shalom Aleichem"and spiritual"It took Long Long to Get There".

The most notable contemporary Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Mark Kopytman, Yitzhak Yedid.

There are also very important works by non-Jewish composers in Jewish music. Maurice Ravel with him Kaddish for violin and piano based on traditional liturgical melody and Max Bruch's famous arrangement of Yom Kippur prayers Kol Nidrei for cellos and orchestras are among the most popular.

Sergei Prokofieff Overture sur des Themes Juices for string quartets, pianos and clarinets clearly show a source of inspiration in non-religious Jewish music. Melodic materials, capital, rhythm and the use of clarinet as a leading melody instrument are very typical sounds in Jewish and non-Jewish music.

Dmitri Shostakovich was deeply influenced by Jewish music. This can be seen in many of his compositions, especially in the song cycle From Jewish Poetry, and inside The Second Piano Trio. However, his most significant contribution to Jewish culture is without a doubt 13th. Symphony "Pig Yar".

How Much Jewish Music?

The spread of the whole Jewish people following the Exodus and its three major communities created Jewish music worldwide. They are a community in their geographical spread that covers all continents and their unique relationship with the local community has given birth to many kinds of music, language and customs.

Following the exile, according to geographical settlement, the Jews formed three main branches: Ashkenazi, Sephardi and Mizrahi.

They are roughly located as follows: Ashkenazi in Eastern and Western Europe, Balkans, (lower) in Turkey and Greece; Sephardi in Spain, Morocco, North Africa and later in the Ottoman Empire (Turkey); Visit in Lebanon, Syria, East Asia, Iraq, Yemen, Egypt.

Music from these communities naturally links with local traditions and grows accordingly.

Ashkenazi and Klezmer

"Ashkenazi" refers to Jews who in the 9th century began to settle on the banks of the Rhine River.

Today the term "Ashkenazi" refers to most European and Western Jews.

In addition to Hebrew, the Yiddish language is commonly used in speech and song.

Traditional Ashkenazi music, originating in Eastern Europe, moved in all directions from there and created a major branch of Jewish Music in North America. It includes Klezmer's famous music. Klezmer means "instrument of song", from the Hebrew word klei zemer. The word came to refer to the musician himself and was somehow analogous to the European keeper.

Klezmer is a very popular genre found in Hasidic and Ashkenazic Judaism, but it is very much associated with the Ashkenazi tradition.

Around the 15th century, the secular Jewish music tradition was developed by musicians called kleyzmorim or kleyzmerim. They incorporated a long tradition of devotional service to the Bible, and their klezmer music legacy continues to grow today. The repertoire mainly dances to songs for weddings and other festivals. Because of the Ashkenazi lineage of this music, the lyrics, terms and titles of the songs are usually in Yiddish.

Originally named by its own musicians in the mid-20th century, the word became known for its music genre, sometimes also referred to as "Yiddish" music.

Sephardi

"Sephardi" literally means Spain, and refers to Jews from Spain, but also North Africa, Greece and Egypt.

Following the expulsion of all non-Christians, forced to convert to Christianity or into exile in 1492, Spain's rich, cultured and fruitful Jewish culture migrated extensively into the Ottoman Empire forming the main Jews living in Turkey .

Their language other than Hebrew is called Ladino. Ladino is 15th. Spain. Most of their music collections are in that language. Sephardi music blends many elements from traditional Arabic, North African, Turkish idioms.

In medieval Spain, "canciones" performed in the royal court were the foundation of Sephardic music.

Spiritual songs, ceremonies and entertainment all coexist in Sephardic music. Lyrics are generally Hebrew for religious songs and Ladino for others.

Genres spread across North Africa, Turkey, Greece, the Balkans and Egypt have assimilated many musical elements. Includes North African high blood pressure; Balkan rhythm, for example in 9/8; and Turkish maqam mode.

Female voices are often favored while instruments include "oud" and "qanun" which are not traditional Jewish instruments.

Some popular Sephardic music was released as a commercial recording in the early 20th century. Among the most famous singers in the genre are men and include Turks Jack Mayesh, Haim Efendi and Yitzhak Algazi. Later, a new generation of singers emerged, many of whom were not sephardic themselves. Gloria Levy, Pasharos Sefardies and Flory Jagoda.

Mizrahi

"Mizrahi" means East and refers to Jews from the Middle East and further to the East.

Music also incorporates local traditions. In fact, the "east flavored" music tradition covers Egypt, Syria, Jordan, Lebanon, Iraq and the east like India.

Middle Eastern percussion instruments share important parts with violin in typical Mizrahi songs. Music generally grows in general.

In Israel today, Mizrahi music is very popular.

The "Mizrahit Musical" movement emerged in the 1950s. Mostly with entertainers from Israeli neighborhoods: the "Kerem HaTemanim" Yemeni neighborhood in Tel Aviv, Morocco, Iranian and Iraqi immigrants - who perform at weddings and other events.

The songs are performed in Hebrew but in clear Arabic style with traditional Arabic instruments: "Oud", "Kanun", and "open".

Classical Hebrew literature, including liturgical texts and poems by medieval Hebrew poets, was the main source of the lyrics.

Music in Jewish liturgy

There is a vast collection of, sometimes contradictory, writings on all aspects of music use in Judaik liturgy. The most agreed fact is that women's voices should be excluded from religious ceremonies and the use of musical instruments should be banned in the synagogue service.

However, some Rabbinical authorities softened the position but did not address the exclusion of women's voices. In weddings, for example, the Talmudic statement "to raise awareness of the groom and the bride with music" may be seen as a way of making instrumental and non-religious music at weddings, but this may be done outside the Synagogue.

The influential writings of the Spanish Rabbi, also a physician and philosopher, Maimonides (1135-1204) on the one hand strongly opposed all forms of music that did not fully worship religion and instead directed instrumental music for its healing power.

The healing powers and mysterious formulas hidden in the musical score are often sought after in medieval music scores, revivals and pre-Baroque times. Interestingly, in a newly published fiction novel "Imprimatur"by musician Rita Monaldi and co-author Francesco Solti the whole plot was built around the composition of Salomone Rossi (1570-1630), an important Jewish composer.

Jewish mystical references, such as Kabbala, have been around since the 13th. centuries often deal with ethical, magical and therapeutic music. Increased religious experience with music, especially with singing expressed in many places.

Although there is no unanimous position on music in Jewish thought, the same basic ideas appear: music is an authentic expression of human feelings in religious and secular life.

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