Synagogue Song

Jonathan L. Friedmann is a professor of Jewish music history at the Academy for Jewish Religion California, extraordinary professor of theology at North-West University (NWU), South Africa, and a research fellow at NWU in musical arts in South Africa: resources and applications. He is the author, editor, or compiler of 19 books on music and religion. Visit his website at jonathanfriedmann.com.

Table of Contents



Preface     

Introduction     



I. Foundations, Functions and Figures     

What Is Sacred Music?     

Music and Civilization     

A Most Ancient Ritual     

Musical Supervisors     

Community and Liturgy     

Sacred Time, Sacred Sound     

Practical Functions of Synagogue Music     

A Resonant World     

Singing Metaphysics     

Sanctification     

Music as Language     

Beauty in Sacred Song     

Some Thoughts on “Traditional” Synagogue Music     

Creating a Synagogue Musical Tradition     

The Development of Jewish Music Traditions     

Judging Synagogue Song     

The Problems of Meaning     

Conformity and Survival     

Charismatic Tunes     

Jewish Youth and Musical Change     

Nusach Variations     

Sacred Classics     

Sing a New Song     

Musical Layers     

A Shir Koddesh     

Instruments of Worship     

Richard Dawkins and Synagogue Song     

Darwin, Heschel, Music, and Marriage     

Liturgical Hits     

The Legacy of Jack Gottlieb     



II. Spirituality, Emotions and Identity     

Religion, Emotion and Music     

The Divine Lover of Music     

To Edify and Glorify     

Six Songs in the Hebrew Bible     

Music, Prayer and Concentration     

An Instrument Divine     

Singing Is Believing     

From Heart to Heart     

Moods, Modes and Musical Meaning     

Mystery and Melody     

Singing, Health and Prayer     

Heart and Mind     

Serving God with Joy     

Niggunim and Augustine     

Holy Noises     

Songs Without Words     

Hymns of Praise     

Stereotyping Synagogue Sounds     

Singing for Joy     

Being the Music     

Absolute Music, Absolute Worship     

Fight Songs and Fighting Words     

Musical Taste, Musical Fact     

Ethnicity in Jewish Music     

Historicism and Futurism     

Music and the Mitzvah of Nostalgia     

Musical Minhag     

Identity and Memory     

Performing Identity     

Diversity and Balance     



III. Holidays and Liturgy     

Shabbat Singing     

Music and the Moods of Shabbat     

Opening Songs on Shabbat     

Vayekhulu and the Renewal of Time     

Reinterpretation Through Song     

Thanksgiving Every Week     

The Modern Origins of an “Ancient” Tune     

Springtime and the Song of Songs     

Song of Redemption     

Sound of the Sea     

Akdamut and the Power of Song     

Songs of Renewal     

Moses, Music and Eurocentrism     

The Curious Case of Kol Nidrei     

The Sound of Sincerity     

Rejoicing in Torah     

Songs of Victory and Light     

The Maoz Tzur Melody: Sacred or Sinful?     

Making Noise     

Music, Midrash and Megillah     

Tension and Release     

Aleinu: Its Storied Past and Sacred Melodies     

Adon Olam: Master of the World     

The Myth of Ein Keloheinu     

The Religious Roots of Hava Nagila     



IV. Cantors, Choirs and Congregations     

The Cantor at the Center of the World     

Singing and Prophecy     

Cantors and Levites     

More Than a Voice     

The Cantorial Ideal     

The Cantor’s Prayer     

Cantors, Rabbis, Hitters and Pitchers     

The Choir in Jewish History     

The Music of Heaven on Earth     

Unity, Participation and the Choral Experience     

From Choir to Congregation     

Why Congregations Sing     

A Blended Sound     

The Limits of Congregational Singing     

Good and Friendly Music     



Appendix: Jewish Music Research     

Bibliography     

Index