Israel sings

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 human nature and moral condition, and similarly the Aristotelian school. These philosophies penetrated Judea during the days of Roman rule

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. It was transformed from its previous roles as an announcer of important events - coronations of kings and wars and became a ritual instrument, and from the horn of Yael it was preceded by the horn of Eyal

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. Much of the music in the temple focused on these days of pilgrimage

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

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 a way that until then was considered as foreign worship

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 lack 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 and there there were spontaneous single service following events

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, while alongside the question: what they sang, what they played and on what instruments, the treatment of the political, economic, social foundations stands out, and certainly the religious and ritual ones acted at the forefront of the musical stage and within it