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Within the traditional Jewish community, cantoral and chasiddic melodies were the musical standard.. In the 1950s and early 1960s recordings began to be made of non-cantorial Jewish music, beginning with Ben Zion Shenker's recording of the music of the Modzitz chassidic sect [2] and Cantor David Werdyger's Gerrer recordings.
An early influence on Orthodox pop was the 1971 album Or Chodosh, the debut of an eponymous group created by Sh'or Yoshuv roommates Rabbi Shmuel Brazil, who would later create the group Regesh, and Yossi Toiv, later known as Country Yossi; the group performed at Brooklyn College with David Werdyger's son, the young Mordechai Ben David, opening for them.
The history of religious Jewish music is about the cantorial, synagogal, and the Temple music from Biblical to Modern times. The earliest synagogal music was based on the same system as that used in the Temple in Jerusalem. According to the Mishnah, the regular Temple orchestra consisted of twelve instruments, and the choir of twelve male singers.
For the modern Yemenite-Israeli musical phenomenon, however, see Yemenite Jewish music.) It was with the piyyutim (liturgical poems) that Jewish music began to crystallize into definite form. The cantor sang the piyyutim to melodies selected by their writer or by himself, thus introducing fixed melodies into synagogal music.
In the words of Peter Gradenwitz, from this period onwards, the issue is "no longer the story of Jewish music, but the story of music by Jewish masters." [ 24 ] Jacques Offenbach (1819–1880), a leading composer of operetta in the 19th century, was the son of a cantor, and grew up steeped in traditional Jewish music.
Within Modern Orthodox Judaism, many rabbis and scholars view the matter as a modern development that can be traced to changes in Jewish communal life in the nineteenth century. [ 24 ] [ 25 ] Thus, while the notion of da'as Torah is viewed by Haredi rabbis as a long-established tradition within Judaism, Modern Orthodox scholars argue that the ...
Klezmer (Yiddish: קלעזמער or כּלי־זמר) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. [1] The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions.
The Orthodox service, previously marked by its fervor, slowly changed into a "modern" synagogue ritual in an attempt to achieve the decorum that was thought to go with recognition by the state. Many aspects of the way in which prayer was rendered (and therefore the music) changed rapidly.