Reading motivated by the Torah and prayers was an important, immanent element, in imparting the Torah and midrashes and Sages went into the depth of the importance of the Na'ima which served as an important means of sharpening the memory and flourished from the Mishna period onwards
Didactic-religious aspect
The synagogue was also used as a place for Torah reading, study and seminary. Reading the Holy Scriptures in public, and in particular the cycle, was accompanied by singing and singing. It was mainly established already in the first century CE, however, its main flowering - spread during the Mishna period and onward, that is, from the generation of destruction onwards.
This motivated reading was an important, immanent element, in imparting the Torah and midrashes, and the Sages went into the depth of the importance of the Naima, which served as an important means of sharpening the memory. Thus, for example, Rabbi Yehoshua, who is known to be among the Levites-poets, one of the leading sages of the second generation to the Holocaust, noted: "All the learner Torah and forgetfulness, like a woman who gives birth and buries." And Rabbi Akiva answered him, as a parable According to him and their examination of public teaching: "A singer every day a singer every day" (Talmud Babili, Sanhedrin, end of p. 1-head of p. 2). Rabbi Akiva, one of the greats of the generation, who was present in the world of the synagogue, uttered a rooted teaching Well in the landscape of learning Torah, in light of the closeness of the above passages, that is, if you learn Torah with pleasure, you are guaranteed not to forget it. And this instruction of his became an institutional foundation in the Sage tradition.
The sages of the third century AD especially highlighted this teaching and demanded the power of music as a huge force, as a means of teaching, the strings of midrashim. And in the name of Rabbi Yochanan, one of the greatest of the generation of sages who arose for the people of Israel in the third century AD, something was said that, in my humble opinion, served as a trumpet and stage to raise an idea that is very fundamental in the whole issue under discussion. Rabbi Yochanan said: "Anyone who sings in a non-pleasant and different manner without singing, about whom the scripture says: 'And I also gave them bad laws' (Ezekiel 25:XNUMX) (Talmud Babli Megillah XNUMX p. XNUMX). These words, not only that, may teach us how far the Sages' knowledge of the importance of music as a tool, as a means of teaching, of studying the Torah (for memorization and memorization). The generation was great at that time, and thus it takes on a special dimension and a special status, and yet: from the spirit of the installation I learned that We have before us a clear tendency of the Sages to establish rivets regarding the necessity and indispensability of music as an extremely important element in the entire religious being that he practiced in the synagogue and even outside of it.
The seriousness of things may even indicate a special situation, a special reality, the result of the acute crisis that befell the Land of Israel during this period. This crisis gave its signs in the Jewish community, when it, or at least a part of it, did not fulfill mitzvot and religious obligations. Sages were particularly sensitive to this issue, and especially in those days when things were not right. And how interesting it is for the subject of our discussion, that the sages chose as a musical means, among other means, to bring the situation to its rectification and improvement.
This period brought before the public for the first time the figure of the "interpreter", who demanded the words of the preacher, and brought to the public gathered in the synagogue. "Interpreters" used to spice up their words with rhymes, to find clues to the hearts of the listeners and, for example, from the mouth of Rabbi Yossi of Ma'on in the Tiberian synagogue to the priests: "Why should I come to look at the Oriyata (do not look at the Torah) / No Yahvet to look at the 24th of Menta" (Talmud Yerushalmi Sanhedrin chapter 2. 20 p. 3) and about them the midrash said in this language: "These The interpreter, who raise their voices in song to make the people sing" (Kohelat Rabbah 7:12). That is, time and again music was used as an important means in the sanctified system of the synagogue.
This issue brings us back to the problematic question: Did the Jews have music notes? We have already dealt with this question in one of the previous chapters and sought to show that there is no authoritative, precise and clear information on this. But since the discussion was about the music of the temple earlier, and now the topic under discussion is the synagogue, it is appropriate to refer to new testimonies in this regard.
Well, only in the Talmud does a terminus technicalus appear called "punctuation of flavors, or "flavors of the Torah". These terms were used by the sages of Babylon, with the exception of only one mention of the Land of Israel, and were dated to the third century AD, considering the term clear
It is true that medieval commentators such as Rashi, the Rash, Rabbi Ovadia of Bartanura, and others, tended to see the above terms as related to some musical writing. However, let's not forget that this is a commentary that has passed from the date of the Talmudic memorials in question to the date of this commentary Over 600 years have passed - a period of time that was not only long and protracted, but witnessed the development of singing in the synagogue and many changes in the situation Judaism. Moreover, it is a Judaism that is widespread among different countries and the medieval commentators covered not one but two customs and ways that were embedded in the European countries of those days. Therefore, any anachronistic projection from the medieval period to the Talmudic period seems to me to be careless and irresponsible From the historiosophical point of view.
More than that, the examination of the Talmudic context in which all the above-mentioned mentions were settled clearly shows that this is some kind of means of understanding the Bible. And indeed, even in a later period the term "flavors" included a musical meaning to this day, but the Talmudic mentions as they are, on the background on the narrative background -Descriptions from which they are taken do not provide us with a reasonable basis and it is sufficient to assume that they are indeed musical notes.
It must be assumed, both with regard to temple music and synagogue music, that it is a study method based on oral tradition. A tradition that, despite its secrecy during the Second Temple period, and despite its explosiveness during the Mishna and Talmud periods, the Sages have not yet chosen any graphic method to accurately record its instruction. It gave her a special dimension and garnet, such that the majesty of a magical sanctity was overlaid on them.
the shofar
In the previous chapter, I sought to highlight the extent of Ribaz's contribution to imparting the sound of the shofar among the Jewish public, despite the destruction of the house and the transformation of this instrument into the one and only one that the synagogue was blessed with.
The shofar, whose sounds were heard mainly on Rosh Hashanah and Yom Kippur, received during the Mishna and Talmud periods the deep symbolism of the binding of Yitzchak according to the sources that put the following sentence as spoken by the hero: "Blow before me with a ram's shofar so that I may remind you of the binding of Yitzchak ben Avraham and I will be upon you as if you had bound yourselves before me ..." (Talmud Babili Rosh Hashanah 16 p. 1- p. 2), considering an intrusive statement And has a power that gives both the shofar and the ram (horn of the ram = shofar) and not to mention the linguistic context between shofar and shofar.
It should be noted that the shofar sometimes took on the function of the trumpet which was accepted in the days of the Second Temple, and for example, to order the entrance and exit of Shabbat with blasts, a role that is unique to the cantor of the Knesset. Rabbi Shimon ben Gamaliel the president emphasized that compared to the Israelite custom of blowing the shofar six times, the Babylonians blew only five.
The period after the destruction of the Second Temple emphasized the duty of each and every person in Israel to commit to the takiya, while during the days of the 2nd Temple, the takiya in the temple was reserved for the appointed only. This obligation, the Sages argued, was fulfilled despite the fact that "and not everything is in the blowing of a shofar..." (Talmud Babili Rosh Hashanah 29 p. 2), and even in the words of Rabbi Shimon ben Gamaliel in the general instruction that "the voice (of the shofar) should be thin or thick, or a bundle - kosher, all the voices are melodious (in the shofar)" (ibid.), one can learn about the difficulty in producing defined sounds from this instrument, from the shofar, and therefore all are kosher. This is a kind of revolution with an inclusive, popular, "democratic" meaning. And the fact that the production of beautiful sounds from this instrument, from the shofar, which was in terms of both art and craft, should not be used as an excuse by those who sought to exempt themselves from the impeachment. It is therefore a musical instrument, no doubt, with which the Sages sought to bring all of Israel closer to the diverse world of religion, and this is definitely a kind of social reform that is a silent revolution. Indeed, the sources tell us about a father teaching his son and instructing his students to stick in the shofar
This testimony, and especially the sipa in it, was an unprecedented innovation. A testimony that has no equal from the popular aspect in the Second Temple period, and its appearance in the Mishna period is like the Sage's recognition of the importance of this tool.
The many instructions related to the shofar - the way of blowing, the way of handling the instrument (the shofar) and its maintenance, may bring us closer and closer to the assumption that this instrument, not only acquired its world during the period of the Mishna and the Talmud, but that the Sages made sure to maintain certain rules attached to it so that it would not become This is a hoax and not among the general public who were involved in it, and this is because it is not about the music of the temple, in which special supervisors were separated for the instruments, but in the period Shazal demanded that the tool be made public, for use by everyone in Israel.
From the sages we hear about a discussion of special cases such as - coating the shofar from the inside or in the "place to put its mouth" (Yerushalmi Talmud Rosh Hashanah chapter 3 18 p. 4), plugging a hole in the shofar and more. And it is interesting to know that the sages permitted the performance of such and similar actions under one express condition: that this would not harm the sound of the shofar, and hence could delay the blowing. And thus teach us about the great importance they attributed to its natural sounds. Therefore, for example, it was allowed to brush the shofar with water or wine so that its voice would be clear.
We have already insisted several times on the fact that producing Arab sounds that are pleasant to the ear from the shofar was a completely difficult task, and only a few, talented and skilled ones, succeeded in doing so. And now, during the period of the Mishna and the Talmud, when the instrument under discussion became a popular instrument, there was a fear that the noise in the sacred classes and ceremonies would turn into one big cacophony. Sages were willing to sacrifice the sonority of the arab at the expense of the social-public goal, but in spite of all this, the sages asked not to harm, as much as possible, the sound effect of the shofar, and as evidence of this the aforementioned traditions settled in the sources.
Another reference, which indicates the importance they attributed to the shofar, was found in Rabbi Elazar's article: "And the tena, the shofar, and all its instruments postpone the Sabbath" (Talmud Babili Shabbat 11 p. 1), as the rulings of the Second Temple days, that musical instruments delay the sacrifices.
The shofar's place in a more dignified ceremony was during a fast, when then it was not the priests who blew but the priests who blew according to the instructions of the Knesset cantor.
In the margins of the discussed section, the question came up again - is the main thing to sing with the mouth or with the instrument? This question became more acute in light of the importance attributed to the Shofar. Well, we can say in a general sentence, because during the Mishna period the main part of singing was with the mouth and not with the instrument. In the synagogue, vocal music was the main thing and not an afterthought, and next to it came the horn of the shofar. This constellation is in no way similar to the musical system used in the second temple.
Third century AD onwards
As mentioned, we saw that various musical effects were mainly the property of the third century AD and onwards, and this time we opened with an external testimony, the testimony of Clemens of Alexandria, that the year 202 AD found him in the Land of Israel, where he had the opportunity to listen to Jewish music and read the Holy Scriptures. This music attracted his heart to such an extent that he found it to be the most suitable for prayer and thanksgiving in the Christian church much, much more than the pagan Greek music.
I have no shadow of a doubt that Greek music, which was saturated with a rich variety of musical instruments, was much more developed than Jewish music. If so, what was the use of this sage (Clemens of Alexandria) in his regulation?! I think so, and I rely on the Sipa in his words, emphasizing the pagan Greek music. In other words, his claim was not based on a purely musical basis. It seems to me that Clemens was influenced precisely by the musical ritualism that is widespread in the synagogue - "and all the people sing" as a ritual that symbolized holy unity. And it was this experience that helped him, apparently, to formulate a philo-liturgical-Jewish and anti-instrumental Greek opinion. Furthermore, we cannot rule out the possibility that the music he heard also had a very nice musical effect, which probably strengthened his above-mentioned argument and demand.
And it is interesting for the matter in the same matter Netaim, that as for the prayer, the sources of the period in question emphasized that the voice of the Arab in the prayer, an examination of necessity is. These praised Israel sitting in the synagogue and praying: "In the direction of knowledge, with one voice, with one opinion and taste" (Song of Songs Zota 16:15). Then God listens to their voice. And it is important, the tradition testified, that the hallelujah should be read "with one mouth, with one voice, with one voice" (Song of Songs Rabbah 94:XNUMX). In other words, the unity and uniformity that characterized the music is what paved the way to the heart of God. And even the midrash, in another place, which he emphasized - "because your voice is evening in prayer" (Mikhilta Darbi Ishmael, in Shelah XNUMX, Horowitz-Rabin edition, p. XNUMX), is well rooted in the landscape of the time and the subject discussed here.
The sources of the period demanded a lot, much more prominently than the second century AD, about the singing of the angels, the angels who sang in honor of the Almighty. And we have already dealt with this topic, namely the highlighting of the temple-of-above as an entrance to the temple-of-below. And here, in a general instruction - The army of angels as an entrance to the army of worshippers, when these and those raise the horn of the musical effect.
The sources of the period are full of praise for poetry in general, for everything special embodied in it - the heavenly power and associated it with the "Athalta Degaula". Rabbi Tanchuma said that "the time has come for Israel to sing hymns to God" and in the continuation of the above midrash the verse appeared: "The time has come for the Temple to be built" (Ibid. 28:25-31) as a very interesting and significant idea that the renewal of the Temple and the presence of the Shekinah in place will take place if Israel will sing to G-d. And in this spirit we will understand the Midrash: "The wings of your voice - in the houses of the churches" (Pasikta Darev Kahane the words of Jeremiah XNUMX) and next to him, from the mouth of Rabbi Elazar ben Pedath: "My dove in the feast of the rock ... make me hear your voice ... this is the song ... because your voice is evening ... - this is the song ..." (Shirim Rabbah XNUMX:XNUMX)
Such a statement is certainly revolutionary in the subject of our discussion.
Sages, born of the period in question, often used the term "Kales", an examination of joy that includes singing praises to God. And lest this term, which does not appear in the Bible and in sources prior to the third century, originates from the Greek = "kalos"), whether from a religious situation or from a secular conjuncture.
The sources decorated the kilos as pearls of praise of holiness, such as the belief that the ministering angels pray to God, only after the people do so. Or: "Each kilos and kilos that Israel separates from G-d, G-d sits between them" Song of Songs Rabbah 21:XNUMX). And to such a degree of faith, that a person is not born except to slander God, and he who slanders is guaranteed eternal life.
There is no doubt that the Sages were influenced by the custom that was very prevalent in the period in question. It was the custom of honors that the citizens of the cities showed respect to the local rulers. Perhaps this is a reinforcement of the aforementioned Greek nomenclature. In other words, this term became well known to the Jews and the Sages sought to use it for their own purposes: to increase the awareness of motivated prayer among the Jewish audience. In other words, as a foreign secular custom, God must be seen as a ruler who demands that he be respected in "Kilosin".
It should be noted that even the "Voice" won an honorable place among the sages of the period in question. The voice, its combinations, its distribution, its height and its strength, and there is no such thing as a position suspended in the air. It was deeply rooted in the landscape of the time and the subject discussed here.
At the end of this section, I would like to trace that phenomenon, that is, why precisely in the third century AD and onwards, the importance of music in the context of prayer in the synagogue stood out and increased, much, much more than the period that preceded it.
It seems that the key to this must be sought in the special conditions of the time and in Judaism. The period in question programmed as the period of Roman Anarchy. Knew many crises: military, political, social, economic and even religio-cultural. The Land of Israel suffered quite a bit from the bad fruits of this period: rampant inflation, heavy tax burden, abject poverty, decline from the land and more. It is possible, even if very narrowly, to assume that the Sages sought a way of emphasizing the value of prayer in the synagogue to trap the public in the aforementioned precipice around the religious center in question. And it is also possible to assume that the Messianic awakening of the period in question was linked in one way or another to the topic under discussion. However, Again, this is just a guess.
In conclusion, it was said that the institution of the synagogue, which arose at the beginning of the Second Temple, and the prayer as an important element in it, i.e. the motivated prayer, which is established towards the end of the Temple days, became especially important from the destruction onwards, as a sort of inheritance of the Temple, and then the music, the liturgy, which Like it as an element that captures and unites the public.
More of the topic in Hayadan:
