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Dr. Yechiam Sorek reviews the development of Jewish music in antiquity – from the Bible to the Mishnah and Talmud period.
A series of articles by Dr. Yechiam Sorek on Jewish music in ancient times, from the Bible and the Return to Zion to the Mishnah and Talmud period. The series examines singing and playing, musical instruments, temple and synagogue music, dance, and the influences of surrounding cultures, in historical, social, religious, and political contexts.
Chapter 37
From the dancer from Caesarea, who designed the performances in the Roman theater during the time of the Amora Rabbi Abba, to other figures from different periods who played Gentile music, the artistic performances of Jews reflect the complex combination of Jewish culture and foreign influences.
Chapter 36
During the period of the Mishna and the Talmud, that is, the second-fourth/fifth centuries AD, women's dances disappeared at social events. It is possible that the leaders of the generation were behind the absence of the female dance. That is, Sages
Chapter 35
Victory dances and worship in the post-biblical period - a look at cultural and religious phenomena in the historical landscape
Chapter 34
Dancing in the Bible: an external expression of inner feelings and experiences, from manifestations of worship to victory in battle
Chapter 33
Music in ancient times was not only a means of pleasure as it is today but also had mystical and heavenly effects.
Chapter 32
This chapter actually concludes most of the research, except for a chapter on dance that will follow. Several reasons combined to push this issue to the margins of the present study
Chapter 31
The Mishna ruled that among the husband's duties to his wife was the concern for her burial, and "even a poor man in Israel, no less than two flute players (we used to be flute players) and a mourner (at least one)" (Mishna Ketubut 4:XNUMX)
Chapter 30
Continuation of the review on the various musical instruments that were used in the temple at the end of the Second Temple, with Greek influence
Chapter 29
In this chapter we will review the development of stringed instruments
Chapter 28
In this chapter, I will seek to highlight the following points in its various sections: a distinction between the musical instruments in the Bible and those of the period under discussion, and the various implications of this; the extent of the influence of Greekism and Hellenism on musical instruments; were there Jewish musical instruments…
Chapter 27
Mourning Melodies and Ancient Traditions: Roman and Greek Influence in Jewish Mourning Songs
Chapter 26
In the Jewish music after the Holocaust, signs of Greek-Hellenistic and Roman influence were embedded, and from it various aspects emerge as a result of the involvement of sages
Chapter 25
The Jews in the Greek-Hellenistic space were more involved in everything related to Greek customs that penetrated Judaism such as the hemansion and especially music
Chapter 24
The strong connection that was forged between Greek and Hellenistic philosophy and music has already been mentioned several times - the Pythagorean school that attributed a supreme moral value to music, the Platonic school that emphasized the connection between music and human nature and moral status, and similarly...
Chapter 23
King Herod sought, in accordance with Roman policy, to integrate the Jewish kingdom under his leadership into the global culture of the Roman-Hellenistic Empire
Chapter 22
Compared to the countless sources concerning the music in the temple, there is little information about the sand music, and yet the research brings up interesting things
Chapter 21
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
Chapter 20
The beginning of the institution of the synagogue is rooted in the gatherings of the people in the temple in the days of Ezra the scribe and the reading of the Torah from his mouth. At first, the gathering was intended for Torah reading, while the liturgical element was added later, such as midrash and Torah study.
Chapter 19
Rabbi Yochanan ben Zakhai, who moved from Jerusalem to Livna and made major changes in religious practice after the Holocaust, is also responsible for the disappearance of the vocal music of the Temple, and the transition of only vocal music to the synagogues, with one exception - the shofar
Chapter 18
One of the important pieces of evidence that broke a window into the image of the rebellion and its nature, was folded, as mentioned in the treasure trove of the bloom of coins that was discovered in the sector of the battles, including those depicting musical instruments
Chapter 17
During the Second Temple period, cut off from the music of the Temple, a reclusive sect lived and operated in which music played an important role, both in its daily life and in its plan for the future, for the Day of Judgment. It was this music that contributed, among other things, to its inner strength and prowess…
Chapter 16
The shofar, which is played on Rosh Hashanah and Yom Kippur, was a central instrument among the wind instruments in the Temple, alongside the trumpets. It underwent a transformation from its previous role as an announcer of important events - the coronations of kings and wars - and became a ritual instrument, and a sounding board for…
Chapter 15
The music in the temple was an important element in the celebrations of the three pilgrimages, with the many pilgrims who arrived in Jerusalem
Chapter 14
One of the cardinal areas that highlighted the second image of the temple was the pilgrimage three times a year. The pilgrimages, both as a framework and a means, were where the many areas of the people's connection to their temple came to expression and discovery. Much of the music in the temple focused on the days…
Chapter 13
The architectural changes that Herod introduced in the temple he built that were not in the Second Temple until his time included facilities intended for music - such as a pulpit and steps for funerals, chambers for musical instruments and more
Chapter 12
We have already discussed the importance of the body known as the "funeral guards." Here we will point out another body called the "flowers of the priesthood." The flowers of the priesthood occupied a particularly prominent place in the issue of Yom Kippur, since in this ceremony the figure of the High Priest arose,...
Chapter 11
The most striking thing about the traditions is that singing in the Temple was an inseparable part of the actual work, from the work of the Temple to the point of distinguishing that even "singing" is "work." This work, it should be noted, has its origins in the establishment of music in the Temple for centuries...
Chapter 10B
In the past we pointed to the important family element found in the temple's musical system. This phenomenon was common in neighboring Egypt and Mesopotamia. So much so that it took shape towards the establishment of musical guilds with a family foundation. Turns out there were a lot of musical roles
Chapter 10A
From harp and violin, through bells, trumpets and of course up to trumpets - each instrument had special instructions during the Second Temple period
Chapter 9
In the second temple in Jerusalem, sacrifices were made, twice a day, for the peace of the emperor and the peace of Rome, as a practice that spread from the time of the emperor Augustus onwards - a period corresponding to the reign of King Herod) and was associated with bravery in music, in a way that until then was considered as foreign worship
Chapter 8
During the time of the last Jewish kings, the Roman government rarely interfered with the internal affairs, therefore an orderly continuation was possible with regard to the Temple and within it - the musical management
Chapter 7
The music customs in the temple during the Maccabean and Hasmonean times are under Greek influence
Chapter 6
In this chapter I will review the development of temple music from the end of the days of Ezera and Nehemiah until the outbreak of the Maccabean rebellion
Chapter 6
An article in the Department of Psychology offers a new theory about the connection between music and survival: "Because of the rewarding values of music, humans continue to learn and pass it on to future generations, and not necessarily through specific genetic traits as we have thought until today"
Chapter 5
The music in the temple on the days of Shibat Zion went through several incarnations while changing from loud-rhythmic music to mixed and pleasant music
Chapter 4
The Second Temple was characterized by musical accompaniment to the hymns of praise, and musical ceremonies intended for the pilgrims
Chapter 3
In this chapter I would like to highlight the special and significant contribution of the captains of the return to Zion - Zerubbabel ben Shealtiel and Yehoshua ben Yehozedek (516-538 BC) and especially that of Ezra and Nehemiah (432-458 BC) in regards to Jewish music in the Temple
Chapter 2
Vocal and instrumental music occupied a very important place in biblical times and was of particular interest – the lack of a prominent and unique connection to worship itself. The singing that was widespread was secular and included songs of sabbath, wine, feasting and debauchery. Here and there were spontaneous single services…
Chapter 1
This series deals with music and the historical foundations woven together in the fabric of both instrumental and vocal music from the Return to Zion to the fourth century CE, where alongside the question: what did they sing, what did they play and on what instruments, the reference to the political, economic, social foundations stands out and of course...
