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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.
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.
Abie Rotenberg (Hebrew: אברהם יום טוב רוטנברג) is a prolific Orthodox Jewish musician, composer and entertainer from Toronto, Ontario, Canada.. Rotenberg grew up in Queens, New York, surrounded by other up and coming religious Jewish musicians, including Eli Teitelbaum, who directed the first Pirchei boys choir, as well as Rabbi Baruch Chait and Label Sharfman who attended ...
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 .
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 Yeshiva Boys Choir also known as (YBC) is a contemporary Jewish religious music boys choir. The choir is conducted by Yossi Newman, and their songs are composed, arranged and produced by Eli Gerstner. Quickly after their first album, they became well known around the Orthodox Jewish community. They went on to release many hit songs, and ...
The melodies of the zemirot vary greatly from one Jewish community to another, a result of the adaptation of Jewish liturgical content to what was available, namely local tunes and/or styles of music amid non-Jews. Hence, repertoires will differ among the diverse Jewish exilic communities in which they originated.
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.