[HANASHIR:8038] Re: What makes a song Jewish?

[Burton A. Zipser <zipmusic...>]

        Karen Daniel raised a most interesting question when she 
asked "What makes a song JEWISH?" Perhaps the following may suggest 
an answer.
        Anyone who has ever studied ethnomusicology (a fancy term for 
music which has a distinctive "flavor" based on elements which 
reflect certain qualities associated with the traditional mentods of 
expression found within an ethnic group) finds that music begins with 
a simple reaction to the need to express oneself with more than 
words.  The simplest examples are words associated with emotions, 
religious associations, or work experiences.  In the first category 
are those tunes found in all cultures: lullabies.  Laments or 
expressions of joy fall into the same category, but are more diverse. 
Melodies have also evolved from praise or prayer reactions. Think of 
the ardent evangelical minister who preaches in such an emotional 
manner that his voice rises (from excitement), or falls (when 
considering internal, contemplative ideas). In the last category we 
find sea chanties, war dances, rain and growth dances, etc.
        In deciding what is "Jewish", it helps to start with a 
composer who has a Jewish heritage and experience. He/she uses 
familiar sources (prayers, folk melodies handed down in the 
community, melodies from other communities added to the body of music 
appropriate to an area or isolated ethnic entity. Such melodies, 
being familiar to the people, often evolve into a more formal state 
when a religious expression or prayer is grafted onto the melody.  (A 
classic example familiar to pianists is the Arcadelt "Ave Maria" (in 
3/4) which started out as a 6/8 melody used by Michelangelo for a 
poem on the fickleness of women!)
        As Jews have been nomadic throughout their history, they have 
acquired the flavor of the locality in which they have resided for 
extended periods. Ladino words and music are such an example.  I once 
attended a s'lichot service led by a visiting Roumanian cantor.  Very 
few of the melodies sounded familiar except for the concluding 
"Yigdal" which had some aspects of other versions of the same prayer.
        There are other specifics:  The use of scales and modes which 
have been traditionally associated with the performance of Jewish 
songs; certain harmonic progressions or patterns which Jews 
associated with music with which they are familiar; the obvious use 
of Hebrew and Yiddish words and idioms; and the way in which the 
singer performs the music.  Because we are a people who have learned 
to chant some (or many) of our prayers, there is also the urge to hum 
or sing along with the performer.
        For those with less musical background or education, the 
simplest answer might be that one may instinctively "know" a Jewish 
song even though you may not be able to explain why.

        Burton Zipser, Director, IAJM

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