Jews & Music
Jewish Music
The Jewish- musical relationship stands on the continuum of genuine respect and admiration. The undying expression language of Jews taking role in prayer among other aspects of worship makes Jewish music unique in its right. The enjoyment, tranquility and redemptive effect derived from the music is significant which goes a long way in lifting the spirit of those in need. Music plays a significant role in the Jewish community, whose movements extend into history, preservation, and growth which evidently marks it as a vital component in the Jewish way of life.
Some History!
Music has been a part of Jewish life since biblical times, and remains integral to the Jewish religious and cultural experiences. At the moment of Israel’s birth as a nation — the Exodus from Egypt — the Bible tells us that Moses led the people of Israel in a song of divine praise. Music was part of the sacrificial worship in the Temple, and later became part of synagogue prayer services and at-home religious observance. Jewish music tends to blend unique elements with aspects that reflect the cultures in which Jews have lived, composed, played instruments, and sung.
Cantillation
Hebrew cantillation, trope, or te'amim is the style of chanting ritual readings in synagogue services.
Cantillation marks are known in English as 'accents', 'notes' or trope symbols, and in Hebrew as taʿamei ha-mikra (טעמי המקרא) or just teʿamim (טעמים). Some of these signs were also sometimes used in medieval manuscripts of the Mishnah. The musical motifs associated with the signs are known in Hebrew as niggun or neginot and in Yiddish as trop (טראָפ).
There are multiple traditions of cantillation. Within each tradition, there are multiple tropes, typically for different books of the Bible and often for different occasions. For example, different chants may be used for Torah readings on Rosh Hashana and Yom Kippur than for the same text on a normal Shabbat.
The Nigun
From the time of its emergence in the 18th century, the Hasidic movement turned to music and dance as powerful forms of Jewish religious expression. One result was the Hasid ic nigun (Hebrew for “melody”; plural nigunim), a new genre of Jewish vocal music. Often described as a mystical musical prayer or a spiritual language beyond words, the Hasidic nigun is a fundamental part of all Ashkenazi culture and is, in the words of one Hasidic master, “the pen of the soul.”
In place of words, repeated “nonsense” syllables (such as bam-bam-bam and doi-doi-doi) are used. Nigunim are also performed in a distinctive expressive vocal style with dramatic inflections similar to cantorial music.
Klesmer Music
Around the 15th century, a tradition of secular (non-liturgical) Jewish music was developed by musicians called kleyzmorim or kleyzmerim (קלעזמער or כּלי־זמר) by Ashkenazi Jews in Eastern Europe. The repertoire is largely dance songs for weddings and other celebrations.
The traditional style of playing Klezmer music, including tone, typical cadences, and ornamentation sets it apart from other genres. Although Klezmer music emerged out of a larger Eastern European Jewish musical culture that included Jewish cantorial music, Hasidic Niguns, and Yiddish theatre music, it also borrowed from the folk musics of Central and Eastern Europe and from cosmopolitan European musical forms. It evolved into an overall style which has recognizable elements from all of those other genres.
Sephardic Music
Sephardic music was born in medieval Spain, with canciones being performed at the royal courts. It has picked up influences from across Spain, Morocco, Argentina, Turkey, Greece and further abroad. There are three types of Sephardic songs—topical and entertainment songs, romance songs and spiritual or ceremonial songs. Lyrics can be in several languages, including Hebrew for religious songs, and Ladino (Judeo-Spanish).
These song traditions spread from Spain to Morocco (the Western Tradition) and several parts of the Ottoman Empire (the Eastern Tradition). Sephardic music adapted to each of these locals, assimilating North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish maqam mode.
Israeli Music
In its relatively short life so far, the state of Israel has created a rich musical tradition of folk, popular, and classical music. Israel’s diverse immigrant population — and their native-born offspring — has fused their many musical traditions, from both the East and the West, to create an authentic Israeli sound. Before statehood, the Zionist movement used folk music to instill in Jews the ideals of the movement. As European musicians emigrated, a rich tradition of classical music was born in Israel. And more recently, Israeli musicians have created distinctive pop tunes, reflecting the unique roots of the musicians as well as the culture and politics of the Jewish state.