Jewish music

Jewish music is the music and melodies of the Jewish people. There exist both traditions of religious music, as sung at the synagogue and domestic prayers, and of secular music, such as klezmer. While some elements of Jewish music may originate in biblical times, differences of rhythm and sound can be found among later Jewish communities that have been musically influenced by location. In the nineteenth century, religious reform led to composition of ecclesiastic music in the styles of classical music. At the same period, academics began to treat the topic in the light of ethnomusicology. Edward Seroussi has written, "What is known as 'Jewish music' today is thus the result of complex historical processes". A number of modern Jewish composers have been aware of and influenced by the different traditions of Jewish music.

The history of religious Jewish music spans the evolution of cantorial, synagogal, and Temple melodies since Biblical times.

The earliest synagogal music of which we have any account was based on the system used in the Temple in Jerusalem. The Mishnah gives several accounts of Temple music. According to the Mishnah, the regular Temple orchestra consisted of twelve instruments, and a choir of twelve male singers. The instruments included the kinnor (lyre), nevel (harp), shofar (ram's horn), ḥatzotzᵊrot (trumpet) and three varieties of pipe, the chalil, alamoth and the uggav. The Temple orchestra also included a cymbal (tziltzal) made of copper. The Talmud also mentions use in the Temple of a pipe organ (magrepha), and states that the water organ was not used in the Temple as its sounds were too distracting. No provable examples of the music played at the Temple have survived.

After the destruction of the Temple in 70 AD and the subsequent dispersion of the Jews to Babylon and Persia, versions of the public singing of the Temple were continued in the new institution of the synagogue. Three musical forms were identified by scholars of the period, involving different modes of antiphonal response between cantor congregation: the cantor singing a half-verse at a time, with the congregation making a constant refrain; the cantor singing a half-verse, with the congregation repeating exactly what he had sung; and the cantor and congregation singing alternate verses. All of these forms can be discerned in parts of the modern synagogue service.

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