[HANASHIR:12159] Re: Samuel Adler's Comments

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

        When discussing music used in any religious institution, and 
Judaism is not the only religion in which this discussion is/has been 
taking place, it is necessary to realize that tradition seems to be 
preferred in classical music (symphonic and operatic), while music in 
a more "easily digested" form is appreciated and enjoyed because it 
may not require great intellectual involvement in order to 
participate.
        In the Catholic Church, since Vatican II, the traditional 
chants were replaced with melodies in English. The process resulted 
in music which, when borrowed from the Portestant tradition, is 
appreciated, while newer hymns have little success because the poetry 
may be absent or may not fit the rhythm of the musical phrasing.  In 
the Moravian Church, tradition is so strong (the music of the Church 
is essentially pre-1830 in style and new compositions strive to 
emulate the earlier tradition), and is highly prized and appreciated.
        In the Protestant Church, unison hymn singing is enjoyed and 
new hymns are added as the congregation appreciates their beauty of 
melody or verse.  But in the modern evangelical congregation, an 
improvised style using modern instruments and popular styles has 
grown up and, using "gospel" techniques, has proven to be attractive 
to many congregations.
        What has happened in Judaism?  The tradition of great solo 
voices and choral and organ compositions still flourishes, but the 
lack of music education in the public schools, the experience of 
summer camps (where cantors and other synagogue musicians have not 
always been present) plus the presence of "top 40", MTV, and the 
rebellion of youth which has been doing "it's thing" since the 1960s, 
has produced a congregation which has two groups:  older members who 
are comfortable with traditional presentation, and younger members 
who sometimes find it hard to understand what unamplified vocal and 
choral performance has to offer.
        In some congregations the modern idiom has succeeded when the 
melody has an understandability and shape which reinforces the text. 
The best example is the Friedman "Mi Shebayrach".  I won't discuss 
"spirituality" as part of the experience because no one has properly 
defined the process.  In Reform services I find the chanting of 
"V'ahavtah" a problem because it uses trope, but the Hebrew in the 
Prayer Book has no trope symbols.  Are we to therefore learn 
something only by rote procedures?  At other services there may be a 
song leader who does not involve the congregation, a choir which 
shows little animation and may not even face the congregation, and 
where the congregation, if it sings, may only "go through the 
motions" without any involvement or enthusiasm because they may not 
truly understand the meaning of the words.
        There may never be an answer to this question, whether 
formality or informality is the congregational emphasis, until the 
members of the congregation come into the sanctuary with the same 
interest in participating in the service as rabbis, cantors, solists, 
choirs, and instrumentalists require of themselves.

        (And may your congregation relect your own dedication and 
effort during the coming year), Burton Zipser, Intl. Archive of 
Jewish Music