So this edition is going to be rather academic as I would like to introduce you all to the concept of Jewish liturgical music, commonly known as the music used in the religious services of the Jews.
The Bible and the Talmud record that spontaneous music making was common among the ancient Jews on all important occasions, religious and secular. Hebrew music was both instrumental and vocal. Singing was marked by responsorial, antiphonal, and refrain forms, and singing and dancing were accompanied by instruments. Yes, instruments. The first instruments mentioned in the Bible are the kinnor, evidently a lyre similar to the kithara, and the ugab, possibly a vertical flute. Other instruments, more of ceremonial than of musical value, included the hasosra, a trumpet, and the shofar, a ram’s or goat’s horn, the least musical of all and the only one still in use to this day.
When the kingdom of Israel was established, music was developed systematically. The part played by music in the Temple was essential and highly developed. New instruments were the nevel, a harp; the halil,possibly a double oboe; the asor, a 10-stringed instrument probably like a psaltery; and the magrepha, an instrument of powerful sound, used to signal the beginning of the service. Various types of cymbals originally used in the Temple were prohibited after its restoration. Ritual music was at first only cantillation, i.e., recitative chanting, of the prose books of the Bible. Later the prayers and biblical poetry were chanted, presumably in a modal system similar to the ragas of Hindu music or the maqamat of Arab music, i.e., melodies with improvisations.
After the destruction of Jerusalem under Roman rule in AD 70, much of the chant was preserved among congregations of Middle Eastern Jews and arguably remains intact today, but the instrumental music was lost when the dispersed peoples, as an act of mourning, ceased playing instruments. A system of mnemonic hand signs for traditional chant had been developed in the Temple, and after the Dispersion this became the basis for the development of a system of notation. In the 9th cent., Aaron ben Asher of Tiberias perfected the te’amim, or neginoth, a system of accent signs.
With the growth in importance of the synagogue came the rise of the Hazzan, or Cantor. Among the Sephardic Jews in Arab-dominated Spain, Arab music had great influence and was introduced into the synagogue. Later the Ashkenazim accepted some of the melodic forms of German folk song and Italian court song.
In the early 19th cent., instruments were introduced into some German synagogues. In the reform movement of the 19th cent., the Cantor was eliminated, the organ was employed, and Jewish hymns were written in the vernacular and often set to tunes of Protestant hymns. Reaction against this movement brought a more moderate reform in which the Viennese Cantor Salomon Sulzer (1804–90) was an outstanding figure. Sulzer aimed to restore the traditional cantillation, but without improvisation, and to make use of new music composed for the synagogue. He used the organ and included hymns in the vernacular. Sulzer’s compositions, together with those of Louis Lewandowski (1821–94), another great reformer and the leading Cantor of his day in Berlin, form the basis of much modern synagogue music. We still use a lot of their settings in our services every Shabbat.
So, there you have it; a brief history of Jewish liturgical music. Where do we go from here? As always, I look forward to seeing you at temple.
