Israel sings

From the dancer from Caesarea, who designed the performances in the Roman theater during the time of the Amora Rabbi Abbahu, to other figures from different periods who played Gentile music. The artistic performances of Jews reflect the complex combination of culture

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

Victory dances and worship in the post-biblical period - a look at cultural and religious phenomena in the historical landscape

Dancing in the Bible: an external expression of inner feelings and experiences, from manifestations of worship to victory in battle

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

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

In this chapter we will review the development of stringed instruments

It has already been mentioned several times the brave connection forged between Greek and Hellenistic philosophy and music - the Pythagorean school that attributed a supreme moral value to music, the Platonic school that insisted on the relationship between music and nature

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

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.

The shofar that stars on Rosh Hashanah and Yom Kippur was a central instrument among the wind instruments in a temple. next to the trumpets. He was converted from his previous roles as an announcer of important events - coronations of kings and wars and became

The music in the temple was an important element in the celebrations of the three pilgrimages, with the many pilgrims who arrived in Jerusalem

One of the cardinal areas that highlighted the image of the second temple was the pilgrimage three times a year. The Ascensions, both as a framework and as a means, in which the many areas of the people's attachment to his temple were expressed and revealed.

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.

From harp and violin, through bells, trumpets and of course up to trumpets - each instrument had special instructions during the Second Temple period

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 the way

The music customs in the temple during the Maccabean and Hasmonean times are under Greek influence

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

The Second Temple was characterized by musical accompaniment to the hymns of praise, and musical ceremonies intended for the pilgrims

Holistic and vocal music occupied a very important place in the biblical period and it is a matter of emphasis - the absence of a prominent and unique connection to worship specifically. The poetry that was common was secular and it included songs of sand, wine, feasting and debauchery. Here

This series deals with music and the historical foundations woven together in the fabric of both general and vocal music from the return of Zion to the fourth century AD, where next to the question: what they sang, what they played and on what instruments, the reference stands out