(Tara Books). An exhaustive examination of the history, form, and meaning of Jewish musical traditions, with enough general historical background to place the music in solid context. The author has effectively marshalled her vast subject matter with a topical and chronological approach. This book will be appreciated and useful to laymen as well as students, academicians, and professional musicians. 6 x 9 .
Perspectives on Jewish Music presents five unique and engaging explorations of Jewish music. Areas covered include self-expression in contemporary Jewish secular music, the rise of popular music in the American synagogue, the theological requirements of the cantor, the role of women in Sephardic music and society, and the personal reflections of a leading figure in American synagogue music. Its wide-ranging topics and disciplinary approaches give evidence for the centrality of music in Jewish religious and secular life, and demonstrate that Jewish music is as diverse as the Jews themselves. From these studies, readers will gain an appreciation of both what Jewish music is and what it does. This book will be useful for students, practitioners, and scholars of Jewish secular and religious music and Jewish cultural studies, as well as ethnomusicologists specializing in Jewish or religious music.
Quotations on Jewish Sacred Music is a collection of over 700 quotations culled from an array of sources, including rabbinic and theological texts, sociological and anthropological studies, and historical and musicological examinations. The book is divided into five chapters: What Is Jewish Music?; Spirituality and Prayer; Hazzan-Cantor; Cantillation-Biblical Chant; and Nusach ha-Tefillah-Liturgical Chant. Taken as a whole, these quotations demonstrate both the centrality of music in Jewish religious life and the diversity of thought on the subject. They can be used with profit in sermons, speeches, and papers, and may be read in order or selectively. This is a valuable and easy-to-use reference book for scholars, musicians, synagogue staff, and anyone else seeking concise thoughts on major aspects of Jewish sacred music.
Emotions in Jewish Music is an insider’s view of music’s impact on Jewish devotion and identity. Written by cantors who have devoted themselves to the study and execution of Jewish music, the book’s six chapters explore a wide range of musical contexts and encounters. Topics include the spiritual influence of secular Israeli tunes, the use and meaning of traditional synagogue modes, and the changing nature of Jewish worship. The approaches are both personal and scholarly, describing the experiential side of Jewish music in both practical and philosophical terms. Emotions in Jewish Music reveals much about the emotional aspects of Jewish musical expression.
Solo Vocal Works on Jewish Themes: A Bibliography of Jewish Composers is a comprehensive and annotated compendium of stage, concert, and liturgical compositions written by Jewish composers from every known time period and country. Kenneth Jaffe has amassed nearly 3,000 large-scale musical works for solo voice(s) on Jewish themes, written by Jewish composers. The works include over 400 cantatas, 150 oratorios, almost 300 operas, more than 100 sacred services, 20 symphonies, and more than 350 stage works, including Yiddish theatre, Purim and sacred plays, multi-media pieces, and musical theatre. In addition, original song cycles and liturgical services arranged for a modest to large complement of instruments are also included. The works are organized by composer and subdivided by genre, and each entry is fully annotated, detailing the title, opus, voicing and instrumentation, text source, commission, year completed, year and location of the premiere, the year of publication and the publisher (if any), the location of scores, and the duration of the work. The works are then broken down by theme, such as Biblical themes, works for children, works of the Holocaust or Jewish suffering and persecution, interfaith works, and wedding music. They are then cross-referenced by voice type, arrangement, and by title. A list of libraries and publishing houses of Jewish music rounds out this invaluable reference.
Throughout history, music has been a fixture of Jewish religious life. Musical references appear in biblical accounts of the Red Sea crossing and King Solomon's coronation, and music continues to play a central role in virtually every Jewish occasion. Through 100 brief chapters, this volume considers theoretical approaches to the study of Jewish sacred music. Topics include the diversity of Jewish music, the interaction of music and identity, the emotional and spiritual impact of worship music, the text-tone relationship, the musical component of Jewish holidays, and the varied ways prayer-songs are performed. These distillations of complex topics invite a fuller appreciation of synagogue song and an understanding of the ubiquitous presence of music in Jewish worship.
Social Functions of Synagogue Song: A Durkheimian Approach by Jonathan L. Friedmann paints a detailed picture of the important role sacred music plays in Jewish religious communities. This study explores one possible way to approach the subject of music's intimate connection with public worship: applying sociologist mile Durkeim's understanding of ceremonial ritual to synagogue music. Durkheim observed that religious ceremonies serve disciplinary, cohesive, revitalizing, and euphoric functions within religious communities. Drawing upon musical examples from different composers, regions, periods, rites, and services, Friedmann demonstrates how Jewish sacred music performs these functions.
Singing the Land: Hebrew Music and Early Zionism in America examines the proliferation and use of popular Hebrew Zionist music amongst American Jewry during the first half of the twentieth century. This music—one part in a greater process of instilling diasporic Zionism in American Jewish communities—represents an early and underexplored means of fostering mainstream American Jewish engagement with the Jewish state and Hebrew national culture as they emerged after Israel declared its independence in 1948. This evolutionary process brought Zionism from being an often-polemical notion in American Judaism at the turn of the twentieth century to a mainstream component of American Jewish life by 1948. Hebrew music ultimately emerged as an important means through which many American Jews physically participated in or ‘performed’ aspects of Zionism and Hebrew national culture from afar. Exploring the history, events, contexts, and tensions that comprised what may be termed the ‘Zionization’ of American Jewry during the first half of the twentieth century, Eli Sperling analyzes primary sources within the historical contexts of Zionist national development and American Jewish life. Singing the Land offers insights into how and why musical frameworks were central to catalyzing American Jewry’s support of the Zionist cause by the 1940s, parallel to firm commitments to their American locale and national identities. The proliferation of this widespread American Jewish-Zionist embrace was achieved through a variety of educational, religious, economic, and political efforts, and Hebrew music was a thread consistent among them all.
