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Shofar Shofar Blowing the shofar.. A shofar (/ ʃ oʊ ˈ f ɑːr / [1] shoh-FAR; from שׁוֹפָר , pronounced ⓘ) is an ancient musical horn typically made of a ram's horn, used for Jewish ritual purposes.
In Ashkenazi and Sephardic communities, it is customary to hear 100 or 101 or 102 sounds in the synagogue on Rosh Hashanah morning, although the minimum requirement is to hear 30 sounds. The sounds are scheduled as follows: 30 shofar blasts are sounded to fulfill the mitzvah of shofar blowing, after the Torah reading and before Mussaf. In many ...
Jewish music is the music and ... (tambourine), shofar (ram's horn ... many Jewish composers sought to create a distinctly Jewish national sound in their music.
The cacophonous wail of the shofar was loud, mournful and lasted nearly two minutes as dozens of Jews blew on rams' horns Sunday to wake up others to the plight of the estimated 100 hostages still ...
"Turning round". Originally written like a sideways U, like a U turn. In printed books, it has a V shape, possibly because that was easier for the early printers to make. In Sephardi communities it is called shofar mehuppach, "reversed horn", either because of the above reason, or because it faces the other way from shofar holekh (munakh).
The shofar is traditionally blown on weekday mornings, and in some communities also in the afternoon, for the entire month of Elul, the month preceding Rosh Hashanah. The sound of the shofar is intended to awaken the listeners from their "slumbers" and alert them to the coming judgment. [41] [39] The shofar is not blown on Shabbat. [27]
Religious Jewish Music in the 20th century has spanned the gamut from Shlomo Carlebach's nigunim to Debbie Friedman's Jewish feminist folk, to the many sounds of Daniel Ben Shalom. Velvel Pasternak has spent much of the late 20th century acting as a preservationist and committing what had been a strongly oral tradition to paper.
The music may have preserved a few phrases in the reading of scripture which recalled songs from the Temple itself; but generally it echoed the tones which the Jew of each age and country heard around him, not merely in the actual borrowing of tunes, but more in the tonality on which the local music was based.