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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.
Jewish music is the music and melodies of the Jewish people. ... Rabinovitch, Israel, Of Jewish Music, Ancient and Modern, trans. from the Yiddish by A. M. Klein;
Omer Adam; Ayal Adler; Moshik Afia; Aharit HaYamim (End of Days); Chen Aharoni; Chava Alberstein; Alon De Loco; Jo Amar; Etti Ankri; Keren Ann; Yardena Arazi; Zohar Argov; Meir Ariel
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.
Mizrahi music (Hebrew: מוזיקה מזרחית muzika mizrachit Hebrew pronunciation: [ˈmuzika mizraˈχit], "Eastern music/Oriental music") refers to a music genre in Israel that combines elements from the Middle East, North Africa, and Europe; and is mostly performed by Israelis of Mizrahi Jewish descent. [1]
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.