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Ancient Hebrew music, like much Arabic music today, was probably monophonic; that is, there is no harmony. Niebuhr refers to the fact that when Arabs play on different instruments and sing at the same time, almost the same melody is heard from all, unless one of them sings or plays as bass one and the same note throughout.
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.
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.
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.
Werner writes that "unique in the history of music is the firm belief in the purifying and sin-atoning power of the Temple's music, ascribed to both chant and instruments." [9] The music had to be free from blemish or fault, and avoided magical elements. Even the High Priest's garment had symbolism: (Exod. 28:34–35): "a golden bell and a ...
Kinnor (Hebrew: כִּנּוֹר kīnnōr) is an ancient Israelite musical instrument in the yoke lutes family, the first one to be mentioned in the Hebrew Bible.. Its exact identification is unclear, but in the modern day it is generally translated as "harp" or "lyre", [2]: 440 and associated with a type of lyre depicted in Israelite imagery, particularly the Bar Kokhba coins.
Over time many of these chants have been written down and standardized, yet the practice of improvisation still exists to this day. Early studies in the history of Jewish Prayer Modes concluded that the musical scales used were based upon ancient Biblical cantillation, [1] but modern scholarship has questioned the validity of these findings.
Efim Alexandrov, the author, art director and soloist of the project, Honoured Artist of the Russian Federation, singer and custodian of Yiddish song tradition, was awarded for his cultural activities including this project, with the Russian National Award “Person of the Year” in 2001 [1] and the “Person of the Year – 5764” Award of the Federation of Jewish Communities of Russia in ...