Perspectives on Jewish Music: Secular and Sacred by Jonathan L. Friedmann

By Jonathan L. Friedmann

Views on Jewish tune provides 5 special and fascinating explorations of Jewish song. components lined comprise self-expression in modern Jewish secular track, the increase of renowned tune within the American synagogue, the theological requisites of the cantor, the position of ladies in Sephardic tune and society, and the non-public reflections of a number one determine in American synagogue song. Its wide-ranging themes and disciplinary techniques supply facts for the centrality of track in Jewish spiritual and secular lifestyles, and reveal that Jewish track is as various because the Jews themselves. From those reviews, readers will achieve an appreciation of either what Jewish tune is and what it does. This ebook could be valuable for college students, practitioners, and students of Jewish secular and spiritual song and Jewish cultural stories, in addition to ethnomusicologists focusing on Jewish or spiritual track.

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I realize that if Jews were to disappear because of the emergence of a broader human culture, which advances past ethnic and religious divides, well, I would be just fine with that. I have my doubts, but if the world ever gets there, and if this music is still played, let it lose its Jewishness. 38 What is clear from this exposition is that musical composition/performance/ analysis and identity construction are—at least in this case—entangled processes that exist in dialectic tension with one another.

Ribot, Marc. ” Unpublished paper. 2002. ———. html (1 June 2008). Rodriguez, Roberto. Telephone interview by author. Digital audio recording. New York, New York. 3 November 2007. Rothenberg, Ned. Liner notes to Inner Diaspora. Tzadik 8114. Compact disc. 2007. ———. Interview by author. Digital audio recording. Brooklyn, New York. 14 March 2007. ———. ” 224–41 in Arcana II: Musicians on Music, edited by John Zorn. New York: Hips Road, 2007. Schechter, Basya. Interview by author. Mini-cassette recording.

As previously noted, the early reformers portrayed Reform Judaism as essentially similar to Christianity. This agenda led, quite naturally, to a deliberate overhaul of Jewish ritual, which included the elimination of liturgical texts considered repetitious, superstitious, ethnocentric, or anti-Christian. In this new environment, the hazzan’s role was minimized and in some cases abandoned. Most centrally, nusach hatefillah, the traditional vocal movements within the Hebrew modes that cantors had historically employed to interpret the liturgy, gave way to more Western-inspired choral and later congregational singing.

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