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.

“engaging...extensive in-depth research”—Journal of Synagogue Music.

• Table of ContentsPreface      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