[HANASHIR:15232] In re to Janet Pape's comments on traditional music

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

Janet:
        I sympathize with your problem.  It is not a new situation, 
but has been a matter of discussion ever since Jews who moved to the 
United States encountered the problem of reconciling the American 
"way-of-life" with Jewish tradition.  Cantor Sholom Kalib discussed 
the problem at great length in the first volume of his book on the 
tradition of the "Eastern European Synagogue".   However, you should 
first ask:
1.  Have I or the rabbi of the congregation ever bothered to explain 
the liturgical significance of the prayer or text for which the 
musical selection has been created?  The answer is probably "no".
2.  The question of a musical selection which is treated as a solo 
performance presumes that it is part of a context in the service. 
Illustration:  In the past five years, it has become the practice to 
use trope with the "V'ahhavta".  No one explains why this is a new 
practice. and, outside of blessings used with the Torah and Haftarah 
portions, may be the only time trope is used in the service. The 
version of the text frequently does not show the trope symbols, so 
that the congregation can follow the various alterations and know why 
a specific melodic idea is used.  You need to educate the 
congregation in what is (supposed to be) happening.
3.  If a solo selection exists in different versions, let the members 
of the congregation know something about the cantor or composer who 
created the musical setting.
4.  Are you performing with choir and organ/piano as indicated in the 
original music?  If not, this might be part of the problem.
5.  The placement of the solo in the total service is also important. 
For example, what is heard before or after the sermon? Does the solo 
relate to the sermon?  If not, what is the reason for including it?
6.  Without having any idea about your performing ability, are you 
presenting the solo in a key which may be too high or too low for 
you?  If done with a choir and the original solo was for a male 
singer, the female voice in conjunction with the mixed choir does not 
always mesh accousitically.
7.  In terms of traditional musical selections, do you sometimes use 
a male choir? Or a male choir with children's voices on the soprano 
and alto parts?
8.  And finally, how often are such solos presented?  If associated 
with holidays or special occasions, the congregation may look forward 
to the solo.  Otherwise, the reaction may have nothing to do with how 
you performed the solo, but rather to how your congregation has been 
trained.
        Hope this helps.        B'shalom,       Burton A. Zipser

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