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Chabad niggunim are admired across Hasidism for their intellectual content, expressing the aim in Chabad to investigate Hasidic philosophy using the mind as the route to the heart. The second Rebbe , Dovber Schneuri , distinguished between mainstream Hasidic emotional "enthusiasm" in worship, that is fostered outwards, and the Chabad ideal of ...
The Niggun of Four Stanzas or the Niggun of Daled Bavos ("Niggun of Four Gates"), is a wordless tune of the Chabad-Lubavitch Hasidim, composed by the first Rebbe of Chabad-Lubavitch, Rabbi Schneur Zalman of Liadi. [1] The Niggun of Four Stanzas is of a slower tempo and in a minor key, characteristic of meditative "dveikus niggunim."
At farbrengens it is customary to sing Hasidic melodies known as niggunim (singular: niggun). Chabad tradition contains many hundreds of such tunes, both slow and soul-stirring, and fast and lively. The goal is for the niggun to inspire and open the hearts of the participants. Zemiros are not sung.
Pinson, DovBer, Inner Rhythms: The Kabbalah of Music, Jason Aronson, Inc. 2000. Excellent chapters on the history of Jewish music, the various types and uses of Hasidic nigunim, etc. Stern, Shmuel, Shirat HaLev (Trans The Song of the Heart) Translated by Gita Levi.
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.
Chabad adherents switch between standard English and a "Jewish English" which is a Jewish variety of English with influences from Yiddish, textual Hebrew and modern Hebrew. [ 7 ] Song and music – Like many other Hasidic groups, Chabad attaches importance to singing Chabad Hasidic nigunim (melodies), usually without words, and following ...
He saw jazz and its related dancing styles as a force for moral decay, and sought to cure it by bringing back traditional folk dances. In doing so, Ford rewrote the cultural history of the dance ...
Many other jazz artists also borrowed from black gospel music. Before World War II, American churches, black and white, regarded jazz and blues with suspicion or outright hostility as "the devil's music". It was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings or ...