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Nevertheless the melodic content of this cantillation differs in each Diaspora area and is transmitted by a purely oral tradition (cf. On the other hand, the masoretic accents serve as universal indicators of certain melodic motives for the cantillation of some of the biblical books (according to principles basically common to all Jewish communities), and their syntactical and grammatical function is supported by a written tradition of doctrine and discussion. Even European Jewry adopted the tone script of the surrounding culture only in a few communities during certain periods and only for certain sections of its total musical activity. On the one hand, no tone script, in the European sense of the term (one sound = one symbol) was evolved in Jewish musical culture. A particularly complicated case is that of musical notation. All the factors listed above are present, but in entirely different proportions – both absolutely and for each Diaspora area and period. The source situation of Jewish music is completely different. Among the latter, the most important source is the folk music of the area, which survives both in tone and word by a purely oral tradition, except for a few accidental notations made in the past by curious savants, and is in itself the subject of a parallel discipline – ethnomusicology. There the sources of information can be ranked as follows: compositions by individuals, created and preserved by musical notation theoretical treatises historical documents instrumental relics evidence from the visual arts (iconography) and complementary evidence from the fields of religion, the verbal arts, philosophy, political history and other complementary evidence exploited at the discretion of each scholar. The problem can be most easily understood by a comparison with the source situation of Europeanhistorical musicology.
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They have also determined the nature and location of the sources, which the musicologist must explore in order to obtain his facts. These factors shaped the character of the mainstream of Jewish music. Through their dispersion, the Jews came into contact with a multiplicity of regional musical styles, practices, and ideas, some of which were more closely related to their own patrimony (as in the Near East and around the Mediterranean) and others intrinsically different (as in Europe north of the Alps and the Pyrénées).
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This defines the scope of inquiry without prejudicing its results, leaving it free to undertake the tasks of description, analysis and whatever conclusions may be drawn.Īs in all other national and ethnic cultures, the musical dimension of Jewish culture is both determined by its origins and modified by its history in proportions peculiarly its own. The most workable definition of Jewish music would seem to be the functional one proposed by Curt *Sachs: "Jewish music is that music which is made by Jews, for Jews, as Jews" (in his opening lecture, to the First International Congress of Jewish Music, in Paris 1957). The collection and examinations of the inheritanceĪfter the foundation of the state of israelĬomposition, Second and Third Generations Incipient Westernization of Ashkenazi Song The humanistic approach to letters and musicĮfforts to establish art music in the synagogueĬonsolidation of the oriental style of jewish music Major themes characterizing their approach Migration and blending of music styles (c. Performance and Practice of Synagogue Song The formation of concepts of jewish music (12th–14th centuries) Integration in the Realm of Secular Music 70–500 C.E.)Įvolution of the Basic Pattern and Creation of New Forms (c. The roots of synagogue song in the near eastern communities (c. Written sources of direct and circumstantial evidenceĪrchives and important collections of jewish music collections This article is arranged according to the following outline: INTRODUCTION