Reprinted with permission from Eli Barnavi’s A Historical Atlas of the Jewish People, published by Schocken Books.
Were it possible to hear in modern melodies traces of levitical singing in the Temple, or the playing of instrumental music by both elite and simple folk in biblical times, it might be said that Jewish music is one of the oldest musical traditions in the world. However, ancient Hebrew music was transmitted solely by way of an oral tradition, leaving no written records. Furthermore, the destruction of the Temple, exile, and dispersion, have fragmented this musical heritage into a multitude of regional traditions which over time have absorbed different local influences. Scholars attempting to uncover common roots underlying the elements accumulated over the centuries, have proposed interesting, but entirely unfounded, hypotheses.
There is however sufficient evidence to describe certain stages in the evolution of Jewish music after the destruction of the Temple. The first basic change occurred in the transition from a ceremonial ritual of singing and playing by a professional order of musicians–the levitical singers in the Temple–to the more intimate and simple form of unaccompanied chanting in the synagogue.
The text and its message were the primary object of prayers and biblical readings chanted in a simple melodic pattern. Therefore, any member of the congregation could lead in prayer as a “delegate of the community” (sheliah zibbur). After the completion of the Talmud, a system of accents and vocalization indicators (taamei mikra), prescribing how the reader was to organize his recitation, was gradually established. Most of the diaspora followed the musical intonation invented in Tiberias in the tenth century, but the style was gradually transformed in each region through the influence of local musical traditions. This “learned art” of biblical chanting became one of the driving forces of Jewish musical evolution. The Ashkenazi style was the first to be transcribed into musical notes by Christian humanists in the early sixteenth century.
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