Accurately what is Jewish Music?
Jewish music can be studied from many varied points of view. One of them historical, liturgical and non-liturgical music of the Hebrews dating from the pre-Biblical times (Pharaonic Egypt); spiritual music at the first and second Solomon’s Temples or wats; musical activities immediately pursuing the Exodus; the relatively impoverished religious musical activities through the early middle age ranges; the emergence of the concept of Jewish Music in the mid-19th 100 years; its nation-oriented sense as coined by the milestone book Jewish Music in its Historical Development (1929) by A. Z. Idelsohn (1882-1938) and finally as the art and popular music of Israel. free trap beats instrumentals
Early on emergences of Jewish musical technology themes and of what may be called “the concept of being Jew” in European music can be first seen in the works of Salamone Rossi (1570-1630). Following that they appear somewhat shaded in the works of the grandson of the well known Jewish philosopher Moses Mendelssohn(1729-1786): Felix Mendelssohn (1809-1847).
Fromental Halevy’s (1799-1862) ie La Juive and it is occasional use of some Jewish themes is compared to the possible lack of “anything Jew” in his almost modern-day fellow composer Jacques Offenbach (1819-1880) who was actually Jew and grew up in straight Jewish traditions.
Interestingly the St. Petersburg Society for Jewish Music led by the composer-critic Joel Engel (1868-1927) studies how they learned their Jewish roots. They were inspired by the Nationalistic movement in the Russian Music personified by Rimsky-Korsakov, Cesar Cui and others, and records how arranged out to the Shtetls and meticulously recorded and transcribed thousands of Yiddish folksongs.
Ernst Bloch’s (1880-1959) Schelomo for cello and orchestra and specially the Sacred Service for band, choir and soloists are attempts to make a “Jewish Requiem”.
Mario Castelnuovo-Tedesco (1895-1968)’s Sephardic upbringings and the influences on his music as they seem in his Second Violin Concerto and in many of his songs and choral works; cantatas Naomi and Ruth, Queen of Shiba in addition to the retorico The Book of Jonah among others are worthy of noting as well.
Various scholars did not overlooked the Synagogue motives and melodies borrowed by George Gershwin in his Porgy and Bess. Gershwin biographer Edward Jablonski has believed that the melody to “It Ain’t Necessarily So” was taken from the Haftarah blessing and others have attributed it to the Torah blessing.
In Gershwin’s some 800 tunes, allusions to Jewish music have been detected by other observers as well. One musicologist detected “an uncanny resemblance” involving the folks tune “Havenu Shalom Aleichem” and the spiritual “It Take a Long Move to Get There”.
Just about all notcied modern day Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Symbol Kopytman, Yitzhak Yedid.
You can also get very important works by non-Jew composers in the Jewish music. Maurice Ravel together with his Kaddish for violin and piano based on a traditional liturgical tune and Max Bruch’s famous arrangement of the Yom Kippur prayer Kol Nidrei for cello and band are among the best known.