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Jewish music is the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and in domestic prayers, and of secular music, such as klezmer .
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.
Because Mediterranean Israeli music was so popular within the Mizrahi Jewish communities, which were quickly becoming a large percentage of Israel, the natural outcome would be a continuous playback on the local radio station. However the national government restricted the play of Mizrahi music because it was not considered ‘authentic Israeli.’
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.
Jewish liturgical music is characterized by a set of musical modes.. The prayer modes form part of what is known as the musical nusach (tradition) of a community, and serve both to identify different types of prayer and to link those prayers to the time of year or even time of day in which they are set.
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.
The music of Israel is a combination of Jewish and non-Jewish music traditions that have come together over the course of a century to create a distinctive musical culture. For almost 150 years, musicians have sought original stylistic elements that would define the emerging national spirit. [ 1 ]
However, even during the 20th century some Jewish composers often quoted Jewish music within non-Jewish contexts; for example, Gershwin used liturgical melodies and Hebrew songs for a few numbers in Porgy and Bess, and many also believe that the opening clarinet glissando in his Rhapsody in Blue is a reference to klezmer.