Relevant bibliographies by topics / MUSIC / Religious / Jewish

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'MUSIC / Religious / Jewish'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "MUSIC / Religious / Jewish"

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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.

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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying professi
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Brautbar, Shirli, Peter La Chapelle, and Jessica Hutchings. "The Valley of the Dry Bones." Journal of Popular Music Studies 32, no. 2 (2020): 191–213. http://dx.doi.org/10.1525/jpms.2020.32.2.191.

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This article explores Jewish contributions to, and influence on, the country music and bluegrass genres, arguing that there have been four key phases of Jewish-country interaction and that in recent years country and bluegrass Jews have taken a largely religious and liturgical turn as singer-songwriters in these genres. The first sections of this article identify several important stages of interaction, beginning with a phase between the 1940s and 1960s when Jews challenged antisemitism and sought assimilation and acceptance, a period in the 1970s when iconoclasts such as Kinky Friedman and Sh
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Kelman, Ari Y., and Jeremiah Lockwood. "From Aesthetics to Experience: How Changing Conceptions of Prayer Changed the Sound of Jewish Worship." Religion and American Culture 30, no. 1 (2020): 26–62. http://dx.doi.org/10.1017/rac.2020.4.

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ABSTRACTThis article tracks changes in conceptions of American Jewish congregational prayer music during the second half of the twentieth century, paying specific attention to the late 1960s and early 1970s. During those years, more than fifty albums of new American Jewish synagogue music were released. These drew on the sounds of folk and rock music, and they represented a shift from the sounds of classical cantorial synagogue music. These changes have largely been understood as a shift away from cantorial styles, which emphasized performance and virtuosity, and toward more accessible and mor
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Cohen, Judah M. "Ruth Katz. “The Lachmann Problem”: An Unsung Chapter in Comparative Musicology. Jerusalem: The Hebrew University Magnes Press, 2003. 415 pp. CD encl.; David M. Schiller. Bloch, Schoenberg & Bernstein: Assimilating Jewish Music. New York: Oxford University Press, 2003. x, 199 pp.; Marsha Bryan Edelman. Discovering Jewish Music. Philadelphia: Jewish Publication Society, 2003. xii, 396 pp. CD encl." AJS Review 28, no. 2 (2004): 398–403. http://dx.doi.org/10.1017/s036400940440021x.

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Jewish music study is a loosely unified field that brings together strands from several scholarly traditions. Researchers trained in historical musicology typically use document study, note analysis, and contemporary aesthetic writings to examine how questions of “Jewishness” manifest themselves in the works of selected composers. Ethnomusicologists frequently utilize ethnographic fieldwork methods developed for studying musical practices of Jewish communities within a broad cultural and symbolic system. Jewish music researchers in Israel commonly focus on comparative cultural projects intende
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Davis, Ruth. "Pizmon: Syrian-Jewish Religious and Social Song." Yearbook for Traditional Music 19 (1987): 141. http://dx.doi.org/10.2307/767903.

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Pivoda, Ondřej. "Žalmové kompozice Pavla Haase." Musicologica Brunensia, no. 2 (2023): 69–77. http://dx.doi.org/10.5817/mb2023-2-6.

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Pavel Haas's psalm compositions, or fragments of them, represent the only three works that relate more closely to the Jewish faith and that set to music the religious text used in Jewish liturgy. Haas was educated in the Jewish religion at both the grammar school and the secondary school, and his father was involved in Czech-Jewish associations and in the Brno Jewish religious community. However, it is difficult to determine what role the Jewish faith played in the composer's life. The setting of the 19th Psalm for tenor and organ to a German text dates from 1916 and may have been somehow rela
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Beck, Guy L. "Shared Religious Soundscapes: Indian Rāga Music in Jewish, Christian, and Islamic Devotion in South Asia." Religions 14, no. 11 (2023): 1406. http://dx.doi.org/10.3390/rel14111406.

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Music has played a central role in Indian religious experience for millennia. The origins of Indian music include the recitation of the sacred syllable OM and Sanskrit Mantras in ancient Vedic fire sacrifices. The notion of Sound Absolute, first in the Upanishads as Śabda-Brahman and later as Nāda-Brahman, formed the theological background for music, Sangīta, designed as a vehicle of liberation founded upon the worship of Hindu deities expressed in rāgas, or specific melodic formulas. Nearly all genres of music in India, classical or devotional, share this theoretical and practical understandi
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Marks, Essica. "Music, History, and Culture in Sephardi Jewish Prayer Chanting." Religions 12, no. 9 (2021): 700. http://dx.doi.org/10.3390/rel12090700.

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This article presents the study of a Jewish liturgical genre that is performed in main sections of Jewish prayer services. This liturgical genre is called “prayer chanting”. The term refers to the musical performance by the cantor of the prose texts in Jewish prayer services. The genre of prayer chanting characterizes most Jewish liturgical traditions, and its central characteristic is a close attachment of the musical structure to the structure of the text. The article will examine musical, cultural, and historical characteristics of prayer chanting of two Sephardi Jewish traditions and will
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Friedheim, Emmanuel. "Jewish Society in the Land of Israel and the Challenge of Music in the Roman Period." Review of Rabbinic Judaism 15, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/157007012x622926.

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Abstract During the Second Temple period, music had an important role in Jewish society. Alongside it was Greek music, which at times made inroads into Jewish cultural life. However, the Jewish institutions of the time managed to filter out the religious and cultural influences of this foreign musical tradition. After the destruction of the Temple, by contrast, Hebrew sources point to pagan ritual music that had significant, damaging influence on Jewish society. The sages tried to counter this influence through sermons, but, surprisingly, not by absolute prohibition. The influences of pagan mu
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Cohen, Judah M. "Whither Jewish Music? Jewish Studies, Music Scholarship, and the Tilt Between Seminary and University." AJS Review 32, no. 1 (2008): 29–48. http://dx.doi.org/10.1017/s0364009408000020.

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In this essay, I explore the history of what has conventionally been described as “Jewish music” research in relation to parallel developments in both ethnomusicology and Jewish studies in the American academic world during the twentieth century. As a case study, I argue, the issues inherent in understanding Jewish music's historical trajectory offer a complex portrait of scholarship that spans the discourses of community, practice, identity, and ideology. Subject to the principles of Wissenschaft since the second half of the nineteenth century, Jewish music study has constantly negotiated the
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Dissertations / Theses on the topic "MUSIC / Religious / Jewish"

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Katz, Tyler. "Amidah - תפילת העמידה". Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6777.

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Amidah - תפילת העמידה – for soprano voice, clarinet, cello, and piano – is a liturgical work in three movements that uses common Jewish prayers as its text. These three movements focus on specific prayers that can be found in the Amidah, the central portion of a Jewish prayer service. This work uses prayers that can be performed on a Friday evening Shabbat service. The first movement focuses on accompanimental music to the Silent Amidah, a silent prayer. The prelude uses the traditional Jewish melody of the opening prayer of the Amidah, Adonai S’fatai Tiftach (אדני שפתי תפתח), leading directly
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Silverman, Gregory Carmine. "The Influence of the Reformed Jewish Movement and Religious Belief on Text-Setting in Darius Milhaud's Service Sacré." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311577.

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The music and texts of the Jewish liturgy are commonly called the Sacred Service. Choral settings of this liturgy form a distinct genre of choral music. Despite the rich history and influence of the text itself, relatively few composers have set it chorally. Among the two most influential settings are Avodath Hakodesh (1933) by Ernest Bloch and Darius Milhaud’s Service sacré (Sacred Service) of 1947. Temple Emanu-El Reformed Congregation in San Francisco commissioned both under the leadership of Cantor Reuben Rinder, and the two pieces have many similarities. The focus of the present rese
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Jütte, Robert. "“I Will Sing and Make Music”: Jewish music and musicianst Throughout the ages. - (The Nineteenth Annual Klutznick-Harris Symposium. - Creighton University, Omaha. Nebraska, 29.10-30.10.2006)." Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2255/.

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Teeple, Samuel. "The New Reform Temple of Berlin: Christian Music and Jewish Identity During the Haskalah." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1525882116113423.

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Wurbs, Janina. "Diana Matut: Dichtung und Musik im frühneuzeitlichen Aschkenas : Ms. opp. add. 4o 136 der Bodleian Library, Oxford (das so genannte Wallich-Manuskript) und Ms. hebr. oct. 219 der Stadt- und Universitätsbibliothek, Frankfurt a. M.. - (Studies in Jewish History and Culture ; Bd. 29) [rezensiert von] Janina Wurbs." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/6175/.

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rezensiertes Werk: Diana Matut: Dichtung und Musik im frühneuzeitlichen Aschkenas : Ms. opp. add. 4o 136 der Bodleian Library, Oxford (das so genannte Wallich-Manuskript) und Ms. hebr. oct. 219 der Stadt- und Universitätsbibliothek, Frankfurt a. M. (2 Bände). - (Studies in Jewish History and Culture ; 29). Leiden [u.a.]: Brill, 2011. - 461 S. ISBN (Set) 978-90-04-18194-6 ISBN (Band I) 978-90-04-20598-7 ISBN (Band II) 978-90-04-20599-4
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Yatskaya, Svetlana. "Music and liturgy in early Christianity." Diss., 2001. http://hdl.handle.net/10500/1119.

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The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, a
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"Bozena Muszkalska (Poznan/Polen) “Po całej ziemi rozchodzi sie ich dzwiek”. Muzyka wzyciu religijnym Zydów aszkenazyjskich [“Their voice goes out into all the earth . . .”. Music in the religious life of the Ashkenazi Jews], Wydawnictwo Uniwersytetu Wrocławskiego: Wrocław 2013, 157 S., ISBN 978-83-229-3395-4 [Zusammenfassung]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2015. https://ul.qucosa.de/id/qucosa%3A16174.

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The author (of the book) examines the religious musical traditions of Jews from Central and Eastern Europe, especially from the regions situated within the borders of pre-WWII Poland. These traditions are presented in a broader historical context, from the biblical times until today, as well as a geographical context, with the author outlining the main musical idioms of the Jewish Diaspora. The source basis comprises sound material collected during field research carried out in Poland and other Eastern European countries (between 2002 and 2013).
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Books on the topic "MUSIC / Religious / Jewish"

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Shiloah, Amnon. The dimension of music in Islamic and Jewish culture. Variorum, 1993.

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Grian, ed. Ibn Gabirol: (Avicebrón), 1020-1053 : Caballero de la palabra. Editorial Almuzara, 2009.

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Ts, A. Ashirah la-H. be-ḥayai: Shirat ḥayeha shel ha-ishah ha-tsadḳanit Marat Mirl Maḥlah Shts'aransḳị, 29 Adar, 727-24 Tamuz, 763. Bet Yaʻaḳov, 2004.

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Devorah, Berzon, ed. Boruch learns about shabbos. The Judaica Press, 2014.

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Skar̲iyā, Sakkar̲iya, Gamliel Ofira та Johnson Barbara C. 1940-, ред. Yefefiyah: Shirat ha-nashim shel Yehude Ḳeralah, ʻarikhat ha-maḳor bi-Malayalam ṿe-targum le-ʻIvrit. Mekhon Ben-Tsevi le-ḥeḳer ḳehilot Yiśraʼel ba-Mizraḥ, Yad Yitsḥaḳ Ben- Tsevi ṿeha-Universiṭah ha-ʻIvrit bi-Yerushalayim, 2005.

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Israel-Charly, Malka, ed. Gan beśamim. Gasṭliṭ, 1993.

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Portnoy, Marshall. The art of Torah cantillation: Ta-amei Hamikra = [Ṭaʻame ha-Miḳra] : a step-by-step guide to chanting Torah. UAHC Press, Transcontinental Music Publication, 2000.

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Lenard-Cook, Lisa. Dissonance: A novel. SFWP, 2014.

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Gamliʼeli, Benny. ʻUri dabri shir: Demut ha-yehudiyah ṿeha-muslemit be-shirat ha-nashim be-Teman. ha-Agudah le-ṭipuaḥ ḥevrah ṿe-tarbut, 2020.

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Peter, Baumann Max, Becker Tim 1973-, and Woebs Raphael 1969-, eds. Musik und Kultur im jüdischen Leben der Gegenwart. Frank & Timme, 2006.

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Book chapters on the topic "MUSIC / Religious / Jewish"

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Shragg, Lior. "New Music for Old Prayers." In The Oxford Handbook of Community Singing. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197612460.013.8.

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Abstract This chapter examines the role music plays in communal performances of religious devotion and the construction of social identity within Black Lemba and Rusape Jewish communities in Zimbabwe. A study of the musical practices of Lemba Jews reveals how the combination of local music styles with Hebrew text creates a new genre of Jewish liturgical music. In contrast, composers in the Rusape Jewish community create new music for worship in the vernacular dialect, although they similarly incorporate local music practices. Drawing on transcription, analysis, and interviews, this chapter off
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Mohn, Christine. "Sjelen i kroppen: Sang og musikk i jødisk tradisjon." In Musikk og religion: Tekster om musikk i religion og religion i musikk. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.177.ch12.

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Song is an inseparable part of Jewish prayer and other religious rituals. The earliest written sources describe how musically accompanied rituals are pleasing to God, and commentators from all periods of Jewish history emphasize the role of song in beautifying and intensifying prayer and religious devotion. Metaphorically speaking, the religious texts and rituals comprise the body of Judaism, while the melodies are likened to its soul. Outside of the synagogue, song and music accompany virtually all ritual celebrations and festivities. Non-religious Jews often cite music as a major and highly
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Bradley, Ian. "Nuns and menorahs." In Music of the Night. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197699775.003.0005.

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Abstract Two classic musicals, The Sound of Music and Fiddler on the Roof, portray dedicated religious communities, Catholic and Jewish, respectively, in a way that borders on the reverential. This chapter analyses the significant religious influences involved in the creation of these two works, notably the contribution of the Dominican nun, Sister Gregory, to the plotting of The Sound of Music, the considerable care that Richard Rodgers took with the liturgical music, and the major role played by Jerry Robbins in making Fiddler on the Roof more Jewish. Reactions to the portrayal of religious
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Bradley, Ian. "Jewish and Catholic influences in operetta." In Music of the Night. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197699775.003.0002.

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Abstract This chapter uncovers religious influences in the lives and works of major composers in both the golden and silver ages of operetta. Particular attention is paid to Jacques Offenbach, and to the Jewish and Catholic influences on his work. There is also discussion of Offenbach’s Jewish and Roman Catholic contemporaries in mid-nineteenth-century Paris, who composed both sacred and theatre music, and brief reference is also made to religious influences on some of the pioneers of Viennese operetta. The second half of the chapter focuses on Franz Lehár, exploring the influence of his Catho
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Malinovich, Nadia. "The Media and the Arts." In French and Jewish. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113409.003.0007.

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This chapter focuses on the expansion of the Jewish press, the development of a lively Jewish art and music scene, and the strengthening of the interfaith movement. It discloses the creation of a wide variety of journals of differing Zionist, literary, and religious orientations that marked an important change in contemporary French Jewish life. It also investigates the journals that served as a vehicle to discuss new developments in the Jewish associational and cultural life of the day and provided a forum to discuss diverse aspects of Jewish culture and history. The chapter discusses the pro
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Wood, Abigail. "Sonic Collectivity at the Kotel ha-Maʿaravi (Western Wall)." In The Oxford Handbook of Jewish Music Studies. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.19.

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Abstract The Western Wall Plaza in Jerusalem is a core space of Jewish collectivity. Its weighty historical roots have drawn Jews to pray in this location for centuries. As an iconic space, the Kotel stands alone among contemporary Jewish spaces, unequalled in terms of size, topography, and religious significance. Yet since its capture by the Israeli army in 1967, lack of agreement among Israel’s political and religious echelons regarding the development of the space has left an almost blank architectural canvas, affording different groups to imagine new popular ritual contexts for the perform
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Summit, Jeffrey A. "Reimagining Spiritual Experience and Music." In The Oxford Handbook of Jewish Music Studies. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.17.

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Abstract Leaning on Rabbi Abraham Isaac Kook’s poem of the “fourfold song” as a typology of categories, this chapter examines music and spiritual experience in (liberal) Jewish worship in the United States in the twenty-first century. Kook’s four categories—the song of the self, the song of one’s people, the song of humanity, and the song of all existence—provide a structure to consider a developing focus on spirituality in Jewish congregational prayer and song. Ethnographic interviews with prayer leaders who have built reputations for constructing worship services where music is a core compon
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Guesnet, François, Benjamin Matis, and Antony Polonsky. "Introduction." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0001.

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This chapter focuses on Jewish musicians and Jewish music-making in the Polish lands. It examines the astounding variety of music of all genres and styles produced by musicians of Jewish heritage in Europe since 1750. It also places the modern study of Jewish music between Jewish studies, cultural studies, and the anthropology of music as a fascinating opportunity for a multi-disciplinary approach to the issues of Jewish musical life. The chapter explores the activities and creativity of Jewish musicians as they worked in the Polish–Lithuanian Commonwealth and its successor states. It describe
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Crowdus, Miranda L. "Remembering the Destruction, Re-animating the Collective." In The Oxford Handbook of Jewish Music Studies. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.4.

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Abstract As elsewhere in eastern and southern Europe, many Jewish communities in Greece were almost completely destroyed during the Holocaust, which resulted in the near erasure of many distinctive religious and cultural practices. Among these erased communities were the Romaniote Jews, an Indigenous Judeo-Greek population distinct from the Sephardic Jews who arrived in Greece following the Spanish Inquisition. The cultural losses included their musical practices, which were largely orally transmitted. A few Romaniote leaders and practitioners continue the musical-liturgical traditions today i
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Trochimczyk, Maja. "Jewish Composers of Polish Music after 1939." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0020.

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This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most importan
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