Volume VII, Issue 1 October 26, 2013 22 Cheshvan 5774 Kol Hamevaser The Jewish Thought Magazine of the Yeshiva University Student Body Editor’s Thoughts Adam Friedmann, p. 3

The Magic of Zemirot Sima Grossman, p. 4 Music & Is Teshuva Fair? Alex Maged, p. 5 Spirituality Jewish Music for Carnegie Hall Moshe Rube, p. 7

Infinite Glue Elisha Pearl, p. 9

Music To My Ears Deborah Farber, p. 11

Prayer To A Beat Gabi Weinberg, p. 12

Interview With Cantor Beer Dovi Nadel, p. 14

Creative Arts Section pp. 15-16

www.kolhamevaser.com 2 KOL HAMEVASER A Akiva Weisinger Michal Schechter Alex Maged Miriam Khukhashvili Sima Grossman S Arieh Levi L Michal Schechter Sima Grossman C Dovi Nadel Kimberly Hay A Atara Siegel Adam Friedmann E Pinny Wasser www.kolhamevaser.com on Facebookor Twitter. our club’sevents. Findusonlineatkolhamevaser.com, or and toparticipateinthemagazine, theconversation,and discussing Jewishissuestoget involvedinourcommunity, shabbatonim. special events,speakers,discussion groups, conferences, and In additiontoitsprintmagazine, from RIETS Roshei Yeshivah, YU professors, and outside figures. contributors are undergraduates, althoughitincludesinput intellectually and creatively, and to mature into confident leaders. also provides opportunitiesforyoungthinkerstoengageJudaism views onavarietyofissuesthatfacetheJewishcommunity. It of itsreadership andservesasaforum forstudentstoexpress their magazine hopestofacilitatethereligious andintellectualgrowth Jewish issuesonthe Yeshiva Universitycampusandbeyond.The University studentbody, isdedicatedtosparking discussionof t a ditors opy dvertising ssocia aff We encourage anyoneinterested inwritingaboutor Kol Hamevaser Kol Hamevaser, A yout bout E W ditors E - te riters in K ditor E -C ol ditors M hief H theJewishThoughtmagazineof Yeshiva ispublishedmonthlyanditsprimary anger amev aser Kol Hamevaser how teshuvahworks. An explorationoftwophilosophicalapproachestounderstanding Is Teshuva Fair? 5 Alex Maged Sima Grossman Understanding thepowerofzemirottobringpeopletogether. The Magic of Zemirot 4 Jewish Music for Carnegie Hall 7 Is sophisticatedJewishmusicpossible?Ifso,whatstepsmustwetaketomakeitareality? Adam Friedmann Moshe Rube the destructionofBeitha-Mikdash. Thoughts fromoureditorinchiefontheroleofmusicspirituallivesafter Infinite Glue Editor’s Thoughts 3 An argumentforamoreprominentroleniggunandsonginJewishlife. Elisha Pearl Music To My Ears 11 What BrainImagingcanteachusabouttheprohibitionofKolIshah. Deborah Farber Prayer To A Beat 12 the Yeshiva University Student Body An analysisofthepermissibilitychangingtunestefilla. alsosponsors Gabi Weinberg The Jewish Thought Magazine of Interview with Cantor Beer 14 Considering thesignificanceofcontextualvarianceinTorah’s prohibitions ofmagic. Kol Hamevaser Dovi Nadel CREATIVE ARTS Art Review,ImpressionismandModern Understanding theconnectionbetweenImpressionismand story-telling techniqueoftheTanakh. Joshua Skootsky Images fromtheYeshivaUniversityMuseum Music &Spirituality

15 9 Volume VII Issue 1 Music & Spirituality Editors’ Thoughts

By: Adam Friedmann

Music is a ubiquitous human experience. out, having been crowned in the most contrary to our sensibilities. How can it be intellectual and spiritual growth together In the modern world especially, we are clarified manifestation of its intellect.”5 explained? in the months ahead. inundated with an endless flow of sounds shirah is a spiritual expression wherein We have already seen that shirah is ranging from the simplistic to the intricate, the soul enunciates an experience of the product of an acute divine encounter. 1 See Shemot Rabbah to Beshalah 23:4 which elicit a full spectrum of emotional God. The song constitutes a permanent Perhaps the aesthetic experience of which indicates that shirat ha-yam was the reactions. As Jews, we must ask ourselves record of the encounter which generated listening to music can also engender a first shirah. how to react to the daily experience of it. The Song of the Sea, with its powerful recognition of the Creator, albeit in a more 2 Mekhilta de-Rabi Yishmael, Beshalah music. This discussion must begin with a description of God’s sovereignty and its limited sense. The existence of the Beit 6. pragmatic question: What is the place of clear depiction of His presence in history ha-Mikdash concretized God’s presence in 3 Ibid, with emendations from music in our spiritual lives? What religious is the primary example of this spiritual- the world.11 From within the context of a Hagahot ve-Biurei ha-Gr”a where applicable. function does it fulfill? The archetypal musical expression. society which centered around the Temple All translations mine unless otherwise instance of music in the Torah is shirat This conception of music is highly service and which was legislated for by the noted. ha-yam, the Song of the Sea.1 The beauty idealistic. In everyday life we are not Sanhedrin12 the spiritually enlightening 4 See Birkhat ha-Netziv to Mekhilta de- of this song is familiar to us from our aroused by ruah ha-kodesh, and even if elements of any music could be appreciated Rabi Yishmael ibid, s.v. ve-shartah aleihem. daily prayers. The context of this shirah we were, this revalational model only and deployed in the service of God. By 5 Rabbi Avraham Yitzhak ha-Kohen is also well known. At the splitting of the accounts for the production of music. experiencing the sublime beauty of music Kook, Ein Ayah to Berakhot 35a, note 2. sea, Bnei Yisrael witnessed miracles of It does not address the consumption of and identifying this beauty with its Creator, 6 See Melachim II 3:? cf Pesahim 66b, unprecedented proportions.2 They were music. How then are we to place our the musical-aesthetic experience could and Shabbat 30b. exposed to the unobscured hand of God, everyday encounter with music into a be sanctified. Even those tunes which 7 See Sotah 48a and Gittin 7a. who was acting openly in history to save spiritual framework? To this end we may stemmed from societies as philosophically Admittedly, the Mishnah in Sotah there His chosen people. And yet, Tanakh is consider another characteristic of music. at odds with yahadut as Greece could ties the ban of music to the disbanding replete with stories of great miracles which Not only does shirah emanate from ruah be engaged without concern for undue of the Sanhedrin. Rambam, however, did not elicit shirah. We are led, therefore, ha-kodesh, we find that the converse is external influence. The loss of the Temple explicitly describes the ban as response to to ask what other factor catalyzed the also true. Exposure to music may lead destabilized this religious cultural context. the Temple’s destruction (Mishneh Torah experience of keriyat yam suf and allowed one to the heightened spiritual state Without it the values and ideologies of Hilchot Aveilut 3:14). for it to become the well-spring of song. required for prophecy.6 Is this influential those who produced music, with which 8 Hagigah 15b This missing element is identified by the power in music reserved for prophets and musical works are indelibly impressed, 9 This interpretation is advanced Mekhilta: prophecy? What kinds of music have the threatened to undermine and replace those by Maharsha to Hagigah 15b s.v. Aher mai. Great is faith before the Almighty potential for such inspiration? When the of the Torah.13 In this tumultuous setting He criticizes Rashi’s explanation on the for in the merit of faith the holy spirit Temple was destroyed our Sages banned we may truly say that the “ear which grounds that it does not account for the (ruah ha-kodesh) rested upon them the public performance of music.7 In the hears music should be uprooted.”14 Aher specifically Greek nature of the music in (Bnei Yisrael) and they sang a song, midst of a discussion about a different exposed himself to these influences and in question. We consider a potential defense as it is written “And they had faith topic the Gemara wonders why the vast the end their power was so hypnotic that of Rashi’s view against this criticism in Hashem and in Moses His servant. Torah knowledge of the infamous heretic even his Torah erudition was unable to presently. After this did Moses and Bnei Yisrael Aher did not protect him from falling to combat them. 10 Hagigah 15b s.v. zemer yevani lo sing.”3 heresy. In answer to this the Gemara offers Today we avail ourselves of leniencies pasak mi-beito. that Aher was vulnerable because “Greek which permit listening to music despite 11 See Berakhot 8a The position that the Song of the Sea was melodies never left his lips.”8 At first glance Hazal’s decree. Nevertheless it behooves 12 Consider Talmud Yerushalmi, the result of ruah ha-kodesh is broadened by we would assume a simple explanation of us to tread carefully, avoiding the potential Sotah 9:12 for an example of the extent the Mekhilta into a standard for all shirah.4 this response. An affinity for Greek music pitfalls of musical exposure, and instead of the Sanhedrin’s authority in cultural Unlike the Western school of music which is indicative of the systemic influence of harnessing the affective power of music matters. built an intellectual musical “language” Greek culture on Aher’s worldview. This and its strong aesthetic appeal as a platform 13 In the modern day the extent around tonal, and later atonal, structures, resulted in the weakening and eventual for enhancing our relationship with God. to which popular music shapes our or contemporary popular music which undermining of the Torah’s own influence.9 This approach to music is a complex one. conception of notions such as love, success, relies heavily on emotional expression, Rashi, however, takes a strikingly different It requires careful thought as it is applied and even suffering, and the insidiousness shirah is the result of neither intellectual, approach.10 He posits that Aher’s mistake to daily life. In this issue of Kol Hamevaser with which this influence is achieved are nor even emotional productivity. Rather was that he did not heed to the general we address some of the issues which arise uncanny. it is the impression of a revelational ban on music. Implied by this comment is as music is considered from halakhic and 14 Sotah 48a. experience. The spontaneous declaration that had the Temple still stood there would hashkafic perspective. The collective staff of shirah “indicates the elevation of the have been nothing problematic about of Kol Hamevaser welcomes its readers soul to lofty heights from which it looks Aher’s musical tastes. This conclusion runs to a new year. We look forward to much

Kol HaMevaser wishes Mazel Tov to editor-in-chief Adam Friedmann on his engagement to Sara Epstein of Toronto, Canada. Volume VII Issue 1 www.kolhamevaser.com 3 4 KOL HAMEVASER Ma’ale Adumim ortheancientcityofTsfat. others Iwould bewanderingaround the walking narrow myself streets ofMei’ahShe’arim,while find would I weeks Some hosts. our at meal our finished we after walk night a Friday and Iwouldtake cities forShabbat.Frequently my friends visit manydifferentneighborhoods and to year inIsraelIhadtheopportunity lost inthewords of myself find I that singing the in involved the will beon its feet, completely caught upin particularly intense,soonthewholeroom others tojointhem.Iftheatmosphere is hand motionsastheysing.Theytrytoget people are standing up and proudly doing along. Soon some of the more outgoing word in her each to pointing finger her with sitting is the shygirlwhosevoiceisrarely heard melody.up inthe as shegetscaught Even arm around the girlwho sits next toher she proclaims her teachers teach, is putting her “fluff” the at eyes her rolls who and who isnotthesocalled“mushytype,” girl on thetableas she beltsoutthetune.The her eyes closed, pounding unconsciously listening toJewishmusic is singingwith caught who Iknowwouldneverbe girl to noticesome interesting things.The caught upinit. talent competitions, yet itis hard not toget the singingmaynotbeabletowinany of some harmonymixedin.Thequality sing horrendously off tune. There is even others softly. Somesingintune,others whole room issinging.Somesingloudly, become self-appointedshushers.Soonthe throughout theroom. Some people are stillwhispersofconversation ringing auditorium. time,” themessage is passed along Koch “ girls attheseminaryShabbaton. about some in charge ofthehighschoolretreat. “How let’s singsome the dinincampdiningroom. “Girls, now,” shoutthesingingcounselorsover dwindled. “We are goingtosing mouthshas into theirrespective owner’s the rateatwhichforksare beingshoved food isgonefrom theserving plates,and one ofthethreemeals. Mostofthe Shabbat they playare similar. Itisthemiddleof The people are different, yettheroles that more recently, KochauditoriuminStern. school retreat, aseminaryShabbaton,or, sometimes my camp’s dining room, a high life hundreds oftimes.Thesettingis By: Sima Grossman The Magicof www.kolhamevaser.com Yet itisnotonlywhenIam actively And as Ilookaround the room, I start starts offThe familiartune softly. There A similar scene has played outinmy zemirot’s ancientwords andtunes. zemiros bentcher zemiros ?” shouts one table of zemirot asshesoftlysings ,” saystheteacher . Duringmy Zemirot Zemirot zemiros

of Hashem . . [is] more desirablethan to the words in taste.” from the comb( Hashem “Your love is sweeterthan honey power of can help us understand the source of the underpinnings behindthewords of bunch of other people. An analysis of the beyond merely singingagoodsongwith me, produces a senseofcomrade. However, to people frequentlyother with together the melodies are beautifulandsinging through thesingingof from alldifferent walksoflifecanconnect from us? Howhas it come to bethatJews ancient words toelicitsucharesponse could feelthe atmospherewe each otherthat andtelling in the window forafewminutes,taking of the spirit Wesinging. the in would standunderthe up caught ourselves find tunes, wewouldoften the not weknew fathers knewso well. Yet, whetheror other times they were the exact tunes our unfamiliar,Sometimes thetuneswouldbe same houses, we would hear them singing the zemirot all ofthese walks together—theShabbat there was always one thing that bonded The roads mayhavebeen different, but In the What isitabout zemirot zemirot 1 . As we passed next totheresidents’ The words zemirot zemer seem to haveapower that goes ourfamiliessingbackhome. kedushah . “ zemirot inft tsuf) mi’nofet Tehilim Yedid Nefesh “mi’nofet tsuf” “mi’nofet ofShabbat. thatenablesthese “The command zemirot , thanany ” wetell correlate ? True, zemirot

This concept is discussed in the words of wants ofus, we canalwaysdo us. And even if we stray from what God can create acloserbondbetweenGod and through doingGod’s commandments, we shall live.” which ifoneperformsthem, therebyhe how Godtaught us“decrees,tells usabout to God,IbnEzra,theauthorofthis live.” God answers, “No one shallsee me and “When shallIcomeandseeGod’sface?” in say. Thisisadirect quotefrom a also taughtthatthere existsahigherlevel in a Additionally, asRabbi Alan Haberexplains the Omnipotentthrough doingthe connection that is created between man and in the rather actions themselves,but the God. Thus,thevalueof utilized inordertools tobe toconnect of many ofwhomwerekabbalists, authors to describeloveofGod.Interestingly, the from cones ( in abundance, and sweeterthanhoneydrippings gold fine even than gold, le’lokim to connect to Hashem. “ with oneanother. possible relationships twobeingscanhave These three descriptions run thegamutof implying thatHashem is our master. Bnei Yisrael is called our “friend“ and “father,” while this of sentence first the In between HashemandHischosen nation. comparisons in describingtherelationship Yisrael Hashem is always referred to as Hashirim the Jewishpeopleasisexpressed in intensity thatexistsbetweenHashem and Hashem andusakintothepassionate a closerelationshipspeaks about between is hintingatinthewords “ of author the to Godiswhat Haber explainsthatthisdirect connection the use of of connectingwithGod,andthatiswithout mitsvot Tehilim yearning forarelationship with Hashemexpressedin the zemirotwhichmakes On Fridaynightwesingaboutourdesire AccordingHaber, toRabbi Tehilim zemirot Perhaps itisthepure shiur 8 Sincewecannotconnectphysically ’s lover, “ astheversein“ uses the same words to describe the ”—“my soulthirstsforGod” 5 them sounique. . However, whilein on themselves, viewed , which finishes off by saying, off finishes which , mitsvot 9 RabbiHaberpointsout that is called Hashem’s “servant,” nofet tsufim) nofet Yedid Nefesh Yedid Nefesh as intermediaries. Rabbi 6 Yedid Nefesh .” mitsvot 3 2 mi’nofet tzuf. , thekabbalists ” usesmultiple zemer This “Yedid Nefesh” Tsamah nafshi “Yedid Nefesh” Shir Hashirim mitsvot , Hashem isnotin teshuvah pasuk mitsvot ” uses zemer pasuk 7 , we Bnei Shir ” in 4 as . , .

in our our liveswhen weare feelinguninspired as a reminder for us. If we reach a point in experience whilesinging memory ofthefeelingsand desireswe that take timeandeffort tobuild.However, the relationshipsmere between humanbeings closer relationship withGod. After all, is notamagicformulaforcreatinga zemirot intensity thatweoftenfeelwhilesinging preview ofwhatthisrelationship willbe. a tiny we get Shabbat in thisworld.On unlike anyconnectionthatcanbecreated cultivating aconnectiontoHashemthatis main activityintheWorld toComewillbe the is clearthat is esoteric,it statement radiance of the their heads and takingpleasure from the only righteousones sitting withcrowns on and norelations,no eatinganddrinking Gemara describes is onesixtiethof Shabbat explanation giventothisphraseisthat day ofrest.”is theShabbat menuha proclaims “ are withinus. we are abletobringoutthesefeelingsthat of thisdesire. Whenwesingthesewords, The water, somysoullongsforyou,OGod” closeness, “As the deerlongsforbrooks of us our relationship withHashem,deepinside we donotalwaysfeelasifhaveaclose and reconnect toourspirituality. Although disconnect from the busyworld around us is atimeto It iswellknownthatShabbat the relationship withHashem expressed in Creator oftheWorld. cultivate acloserrelationship withthe the samegoals;bothcanbeutilizedto the Mikdash to the By comparingShabbat through worshippingHim with Yisrael Beit ha-Mikdash a reference tothe Haber explains that “dwellingplaces” is beloved are yourdwellingplaces.” tell God,“ yedidut rest, SabbathQueen.” Shabbat ha-malka “ of Shabbat. they wished, could turn from their way.” this What can we practically gain from the The last stanzaof“ Perhapsis thepure it for a yearning In “ Beit ha-Mikdash zemirot zemer zemirot Mah Yedidut, wenttoformaconnectionwithGod ? Surely thesingingof ” are takenfrom ”—“a foretaste oftheWorld to Come neshamah , weareand Shabbat that saying yiddeshkeit , “Thosewhohavegoneastray, if mah yedidutmishkenotekha whichmakesthem were writtenasanexpression een lm aB ym shabbat yom ha-Ba Olam me’ein Mah yedidutmenuhatekhat was the place where yearns for that feeling of feeling yearnsforthat ”—“how belovedisyour Volume VII Issue 1 shehina lm ha-Ba Olam canbeusedtoachieve ” welaudethesanctity , thinkingabout the Beit ha-Mikdash 12 Thewords “ .” Tehilim Olam ha-Ba zemirot 18 16 Although this Although Thetraditional Mah Yedidut as “there is

o unique. so can serve where we korbanot 13 Beit ha- . ,” “how 14 zemirot Rabbi 17 The . The Bnei mah 1011 15 ” . .

Music & Spirituality inspiration that singing zemirot has brought forth in us in the past can help us Is Teshuva Fair? Two Contemporary Views Regarding remember the desires that are harbored in the soul of every single Jew. the Mechanisms of Repentance Sima Grossman is a junior at SCW By: Alex Maged majoring in biology, and is a Copy Editor and Ever since we were children our Staff Writer for Kol Hamevaser. teachers have taught us to believe that God will forgive our misdeeds if we perform 1 Translation from Rabbi Sir Jonathan teshuvah. Year after year we review this Sacks, The Koren Siddur (Jerusalem, Israel: cardinal teaching of our faith, so that by Koren Publishers Jerusalem, 2009), 688. the time we have graduated out of the 2 Tehilim 19:9-11. Translation from The Jewish day school system we practically Book of Psalms With an Interlinear Transla- take it for granted. If we say sorry for tion (New York, NY: Meosrah Publication some wrong which we committed then Ltd., 2001), 44. of course God will pardon us – indeed, 3 Rabbi Alan Haber, “Zemirot Shab- why should He not? There is a neat bat: Yedid Nefesh,” YUTorah, available at: reciprocity to this arrangement which www.yutorah.org. appeals to our desire for some sort of 4 Ibd. higher order and predictability. Yet if we 5 Rabbi Sir Jonathan Sacks, The Koren take a step back for a moment, I think we Siddur (Jerusalem, Israel: Koren Publish- will reveal that as straightforward as it ers Jerusalem, 2009), 689. may come across, the notion of teshuvah 6 Rabbi Alan Haber, “Zemirot Shab- is anything but intuitive. After all, our bat: Yedid Nefesh,” YUTorah, available at: experience tells us that something done www.yutorah.org. cannot be undone; this idea has even 7 Tehilim 42:3. Translation from Rabbi been codified scientifically, under the Sir Jonathan Sacks, The Koren Siddur (Jeru- law of entropy.1 Had we not been told salem, Israel: Koren Publishers Jerusalem, otherwise, we would have expected the 2009), 394. spiritual realm to function in exactly the 8 Shemos 33:20. same way. Simply stated, man cannot 9 Translation from Rabbi Sir Jonathan change his past – at least not in concrete Sacks, The Koren Siddur (Jerusalem, Israel: terms. At first glance, then, something Koren Publishers Jerusalem, 2009), 394. seems unjust about his receiving “credit” 10 Rabbi Alan Haber, “Zemirot Shab- as though he had. It is for this reason bat: Tzoma Nafshi Le’lokim,” YUTorah, [of repentance] derived from love, the It is now possible to see the good, precisely that many texts struggle to 2 available at: www.yutorah.org. other to one due to fear. as well as the bad, consequences of define the parameters of forgiveness. For 11 Translation from Rabbi Sir Jona- In attempting to resolve a scriptural his act – and to attribute the former myself, the most eye-opening of these has than Sacks, The Koren Siddur (Jerusalem, dilemma, Reish Lakish unwittingly to him, since the meaning of his been Simon Wiesenthal’s The Sunflower, a Israel: Koren Publishers Jerusalem, 2009), exacerbates a philosophical one. act is no longer defined by what he symposium of sorts in which the world’s 394. Conventionally, repentance is conceived originally intended but by what leading thinkers and theologians debate 12 From the zemer “Mah Ye- of as a process which nullifies one’s sins. part he played in a [series of events] whether the author should have graced a didut.”Translation from Rabbi Sir Jonathan Reish Lakish takes it a step further. For whose [positive] outcome was only Nazi soldier who begged for forgiveness Sacks, The Koren Siddur (Jerusalem, Israel: this sage, repentance, ideally performed, now fully apparent in retrospect. upon his deathbed. Actually, it was Koren Publishers Jerusalem, 2009), 388. represents an opportunity to recast one’s To paraphrase Shakespeare’s Mark this text which first alerted me to the 13 Tehilim 84:2.Translation from The transgressions as merits – an opportunity Anthony, the good they did would “problem” of repentance, if you will, and Book of Psalms With an Interlinear Transla- not only to remove but also to revert the live after them; the bad was interred I highly recommend the work to anybody tion (New York, NY: Meosrah Publication moral force of one’s actions. with the past. That is how, through interested in probing one of the most Ltd., 2001), 235. If you are like me then you are probably repentance, deliberate sins are fundamental tenets of Jewish faith. 3 14 Rabbi Alan Haber, “Zemirot Shab- wondering: how does that work? This is accounted as merits. That said, these questions are not new bat: Ma Yedidut and Ka Ribon,” YUTorah, a question which Jewish scholars have ones. The Talmud, written 1500 years ago, available at: www.yutorah.org. been brooding over for centuries. Two Response #2: R. Akiva Tatz: relates the tension that gripped Reish 15 Tehilim 42:2. Translation from The contemporary thinkers have articulated The definition of complete Lakish as he grappled with this very Book of Psalms With an Interlinear Transla- what, at least in my opinion, constitute repentance [as defined in issue: tion (New York, NY: Meosrah Publication some of the best responses to this challenge. Maimonides’ legal code] means that Reish Lakish said: Great is Ltd., 2001), 112. Let us present them here and then unpack [the sinner] would not do the same repentance, for because of it 16 Translation from Rabbi Sir Jona- them together. thing again [if presented with the premeditated sins are accounted as than Sacks, The Koren Siddur (Jerusalem, same opportunity to do so]. That errors, as it is said: Return, O Israel, Israel: Koren Publishers Jerusalem, 2009), Response #1 – R. Jonathan Sacks: means that the weakness has been unto the Lord, thy God, for thou hast 388. Any act we perform has multiple eradicated – they’re higher than stumbled in thy iniquity. ‘Iniquity’ 17 Brakhot 57b. consequences, some good, some they were before. The person who’s is premeditated, and yet he calls it 18 Brakhot 17a. Translation is mine. bad. When we intend evil, the bad fallen is a person who had a fall in ‘stumbling.’ But that is not so! For consequences are attributed to us their character, the fall has been used Reish Lakish said that repentance because that is what we sought to to reveal that, and they’ve used the is so great that premeditated sins achieve. The good consequences opportunity now to eradicate the are accounted as though they were are not: they are mere by-products, problem. The person now uses that merits, as it is said: “And when the happenstance, unintended experience of fall in order to weld wicked turneth from his wickedness, outcomes... However, once one has together and eliminate the problem. and doeth that which is lawful and undergone complete repentance, They are now, through having fallen, right, he shall live thereby!” That is the original intent is cancelled out. a person who no longer has that no contradiction: One refers to a case Volume VII Issue 1 www.kolhamevaser.com 5 6 KOL HAMEVASER for interpersonal On theonehand, weseemtoreceive reward religious commandments, order todischarge one’s obligationofthe authorities rule that equivocal picture. Although several prominent a most find we though, codes, considerations. When we turn tothelegal questions ofthisnature hingeon words? final analysis, do actions speak louder than is itreally thethoughtthatcounts,or, inthe act”) (“guilty mens rea spheres were distinguished with theterms also relevant? InancientRomethesetwo she one’s actionspurely basedonwhatheor the moralityof one’s actions – do we judge of role the intention vis-à-vis outcome in determining on reflect to pause must we tension betweenthesetwoapproaches points ofdeparture. Tothe highlight analysis seems to reveal twodifferent may leadustothesamedestination,close cogently. Yetexplanations while their ethical underpinningsof www.kolhamevaser.com To the Jewish mind,ofcourse,all R. SacksandTatz bothspelloutthe merit. of howthetransgression becomes a his growth. That’soneunderstanding became part and parcel, as it were, of because thatwastheexperience he wouldn’tgiveitupforanything moment thathefell,retroactively – such anoccasion will relish the fell. A personwholooksbackon nafalti, kamti” inalienable partof their rise. the fallhasbecomeanintrinsicand problem. Themechanismisthat meant to do, 4

(“guilty mind”)and . Moresay, simplywemight – Ihaverisen or is what one mitsvot, kavanah 5 othersdisagree. teshuvah such as giving is required in actusreus because actually did hashkafic halakhic quite “Ki I 6 For [ReishLakish],repentance,

an opportunitytorecastone’s ideally performed,represents remove butalsotorevertthe moral forceofone’sactions. an opportunitynotonlyto think aboutthose actions,thereby claiming we can do is change theway we feel and undo hisactions, asthisisimpossible. All make anysense,cannot require manto From thisperspective, can beneutralizedbut never undone. By contrast, actions are irreversible: effects long aftersaid act oreventhastakenplace. change howIrelate toagivenactorevent intentions seem open for revision: I can and ethically. Rationally speaking,only ways of looking atthis issue: rationally back. to take what exactlyweshouldbetrying back thepast,as it were, we do not know question becausewhenweseektotake Judaism. This debate bearsdirectly on our intentions or outcomes matter more in cerebral. Inshort,itishard totellwhether at alltimesare, intheplainsense,wholly six explicitly physical action –thenagain,the commandments involve some form of meaning of what he or she is saying. one whorecites themmeditatesonthe areligious prayers are deemedinvalidunlessthe to fulfill requirement. intention specific the sick,evenlackingany and visiting transgressions asmerits– Allow me tosuggestthatthere are two mitsvot 9

which applyinallplacesand 7 On the other hand,certain the On teshuvah , ifitisto charity 8 Most it should be because, in reflecting upon reflecting in because, be should it is to receive credit forhis misdeeds then of intentseems necessary. Ifanindividual basic human most level, the on Still, artificial. is alittle arrangement rational termsthe treated thempoorlyinthepast.Maybe futureI doesnotchangethefactthat with more care andcompassioninthe others treating approach: first the through may be less direct than theone proposed Granted, theconnection to theinitialsin give riseto truly countas seem, asR.Tatzsins canonly suggests,that think abouttheissue in thislightitwould credit ontop? That seems unfair. Whenwe spiritual accounttozero – buttothrow in Perhaps weshouldrestore suchaperson’s has essentiallyreturnedto “square one.” misdeeds moving forward, thenheorshe remorse isthatonedoesnotrepeatone’s worse. Moreover,sole result ifthe ofone’s no betterjustbecausetheperpetratorfeels have toadmit.Certainlythevictimfeels the end of the day? Not very, wewould How morally potent is private regret, at accurate. seems muchmoreterms, thisexplanation were, as R. Sacks suggests. In purely logical their positiveoutcomesretroactively, asit actions matter more, ordointentions? conceptions found inJewishsources: do stemming from thetwocompeting to themechanismsof what seem to betwodifferent approaches terms, itisinteresting tomeditateupon spiritual plane.Still,inpurely theoretical level butalsoaprogression toahigher previous not onlyareturn tothesinner’s agreeideally, that, actions themselves.Iamsure bothwould mystically-oriented R.Tatzfocuses onone’s while themoreto focusonone’sintention philosophically-oriented R.Sacksseems it isinterestingmoreto notethatthe interpreting them.On the otherhand, above, forthere maybeotherwaysof reading of the tworesponses brought of repentance, aswehaveexplored. whether intention suffices for the purposes which ultimatelyendures. sin revealfacet ofone’sactions itselfasthe positivity withinthoseearliermoments of latent does the then have pursued.Only of kindnesswhichhe them, hehasbeenmovedtoperformacts The answerwouldseemtodependon to thedegree implied by ReishLakish? such an individual performed mistakes throughpositive action.Has conduct aimedatredeeming hisformer other hand,doesnotadoptanycourseof returns tohismisdeeds but who,onthe Consider theindividualwhonever from thesetwodifferent perspectives. minah what wouldappeartobethe And yet, something seems lacking. Ultimately, Iwouldnotinsistupon this Incidentally, itisinteresting tonote something (practicaldifference) whicharises mitsvot mitsvot beyond a mere rectification insomecausativesense. teshuvah if thosesinsactually teshuvah would nototherwise should feature , apparently teshuvah nafka not tostrayaftertheheart or eyes. oneness; (4)tofearGod;(5) toloveGod;(6) power besides God; (3) to believe in God’s believe inGod;(2)notto believeinany following the the same holds true for the first blessing of the rules that one must repeat the first verse of such result-oriented many interpersonal tent accompanyingit.R.Wasserman cites of theactionmuchmore than withthein ter proper executionoftheact.Fortheselat those whichare discharged through the tween R, ElchananWasserman, differentiates be musical purposes. to the tening the fulfill can one that rules See alsoRoshHashana28a,where Rava ma tention of fulfilling the keriat shema mud rules that onewhoreads thetextof implication ofBerachot13a,where theTal kavanah na 28b)allrule that Rashba (adloc)andRitva(RoshHasha Rosh Hashana28b. found on doing so.Thisincidentcanbe half havehim(i.e.R.Zeira)inmindbefore the individual blowing the opinion seems to beR.Zeira’srequest that this position.TheTalmudic source forthis sources commonlyadducedinsupportof onomy 11:13 and 26 mentators, alsorules thisway. SeeDeuter shana 7b),asunderstood by mostcom mitsvot simpletoremember.com the Personality,” availableat: Union, 2009),“TheFuture ofthePast.” Milford, CT: Maggid&TheOrthodox the BookofBeginnings Bible: Genesis, Conversation: AWeekly Reading of the Jewish halakha.com Classic Online Soncino, available at: in ausableform. poses of work can never befullyrecovered dynamics), energy expendedforthepur (also knownasthesecond law ofthermo and ontheWritingStafffor 9 8 7 6 5 4 3 2 1 Alex MagediscurrentlyaSophomoreatYU mitsvot shema shemoneh esrei. can nevertheless fulfill his obligation. his fulfill nevertheless can According tothe SeeMishnaBerura 60:7.Theauthor See Chananel (Berachot13a), Rabbenu TheBahag(Berachot2:7)rules that Yoma According tothelawofentropy Akiva Tatz, “Teshuva: Recreating mitsvot . Thiswouldseemtobetheclear require Jonathan Sacks, mitsvot Kovetz Shiurim if itwasnotrecited with , theconcernlieswithresult 86b.Translation courtesyofthe from the Torah without thein . shofar which require kavanah Volume VII Issue 1 apply constantly:(1)to if heblewthe mitsvot mitsvot mitsvot :16 for two scriptural mitzvah . TheRif(RoshHa . Sefer ha-hinukh II 23:6. Kol Hamevaser shofar donot . as examples of mitzvah Covenant & kavanah of

The author, on his be keriat she shofar kavanah

require (New www. www. of lis and the for . ------; Music & Spirituality Jewish Music for Carnegie Hall

By: Moshe Rube

The cliché goes, “Music is a language To elucidate, emotional/intellectual your soul. Advanced stages of this kind of emphasis on creating music that expresses of the heart.” As a Yeshiva University refers to the quality of the idea, while Torah can be seen in Hasidic works like the the angsts and joys of their hearts. However, music major, I believe this claim as long as advanced/simple refers to how the Tanya or Netivot Shalom3, whose authors as stated before, both ideals can become we take out the last three words. To say composer or Torah scholar develops the develop sophisticated emotional concepts advanced pieces of art. If a composer that music only speaks to the heart is like idea. For example, the Rav demonstrates saying that Torah only speaks to the mind. intellectual Torah when he defines different However, the music produced for public Jewish Like any other language, music can express religious personalities in Halackhic Man2. If intelligence, deep meaning, passion, the Rav had simply provided definitions, consumption remains strictly in the emotional and cleverness, or anything a master composer then his thoughts would have been in the simple stage. Most Jewish music we hear blaring on wishes. Different movements throughout simple stage. However, because the Rav both musical and Jewish history have builds strong foundations on each idea speakers, or sung during shul or at a kumzits consists given to modern times a variety of ways and makes connections to many aspects of of musical ideas with hardly any development. There to approach music and Judaism, ranging Judaism, forming a coherent philosophical from the emotional to the intellectual.1 We treatise, we can claim that Halakhic barely exists any forum for advanced Jewish music. can easily recognize the difference between Man represents advanced Torah. For Torah a scholar or composer who strives for ideas that tend to set emotions aflame rather maximum emotional expression and than the intellect, we look to many of the like dveykut, or cleaving to God, as well as builds his emotive or intellectual musical a scholar or composer who thrives on divrei Torah NCSY tells its participants. For other elements of inner Jewish experience ideas into a skillfully weaved, coherent intellectual exploration. However, we instance, I once heard a rabbi relate to teens for many pages. musical setting that can hold its ground must also recognize the difference between on a Chanukah Shabbaton that looking at The written word can also serve as an for longer than a few minutes, then we call another set of categories which I call the Chanukah candles without your glasses on illustration for these categories. Everyone that music advanced. Throughout history, advanced and the simple. puts you more in touch with the holiness of understands the difference between composers have developed different forms intellectual writing and emotional writing, to create advanced structures. For instance, but the difference between simple and the classical Sonata form developed by advanced writing requires clarification. Haydn has a composer state a few different Instances of simple writing include themes in a first section. In a second aphorisms and baby books, where the section, the composer combines all his author presents ideas and characters in presented themes in creative ways. The an undeveloped and one-dimensional more advanced the piece of music is, the stage. However, to write a good novel, the more each musical idea stated will fit in author is required to have an assortment with the greater whole. of different characters and plot elements One popular example of this is that all tie together to form an organized Beethoven’s Fifth symphony. The famous whole. Harry Potter deserves accolades first theme consists of four dramatic notes, because of Rowling’s ability to develop while the second theme is a sweet and the many characters and settings into one lyrical melody. Throughout the piece, story that converges towards the single Beethoven manipulates and combines stream of Harry’s struggle with Voldemort, both ideas with a sense of elegance and which climaxes at the end of The Deathly excitement. We can hear the opening Hallows. Almost everything she mentions rhythm in the background of the second has a point and hints to something that will theme as well, giving the Symphony an happen later on. Also, anyone who has even better sense of organized structure. seen a few episodes of Seinfeld can testify Like a good novel or movie, everything to the writers’ abilities to weave all kinds of comes together at the end in a satisfying plot elements and characters into a single way. However, if a composer just states his thread. musical idea with the minutest amount of The same system applies to music. development (as in the high part in a pop Musical ideas can be intellectual or song), then we call that piece simple.7 emotional. Many of the musical ideas of All categories have their time and place. Johann Sebastian Bach do not sound like Yet in our beloved Orthodox society we a man outpouring his emotions, but rather see a great discrepancy between the way like a scientist (as Bach described himself) we use music and the arts and the way we exploring all the possibilities of triadic use Torah and science. We have emotional, harmony.4 5 In today’s universities, many advanced, simple, and intellectual Torah. senior music professors write music with We have “chassidishe vorts”, thick books on complex intellectual frameworks instead of Torah philosophy, and hour long shiurim on the framework of feeling.6 the proper feelings we must have during Usually, the populace gravitates toward shofar blowing. Science, in our times, has music that treats emotional expression become incorporated into all fields of as the ultimate goal of music. Most of the Jewish study. Thank God. artists that we hear about from classical However, the music produced for public composers like Mozart and Beethoven to Jewish consumption remains strictly in pop and rock musicians place the greatest the emotional and simple stage. Most

Volume VII Issue 1 www.kolhamevaser.com 7 8 KOL HAMEVASER setting should have a place to go, butthey need for advanced music within aJewish is notmusicallythere. Peoplewhofeela morewhat slowlyonlyservestohighlight musical expression ofthewords significant ofprayer? Praying any hear don’t we if to sitinshulanylonger than necessary for actingthisway. Whyshouldwehave minutes. I donotblameanyoneormyself more whenTheMatrixends atashort136 for beg going tenminutesovertime,but admit itwhenwecomplainabout it whenwegotothemovie theater. We we gotothesymphonyhall. We admit emotional expression. sources, weadmitthat needadvanced forums, butnotinourmusic? our publications and community wide experience ofthemodernJewappearin Why dothediscussions of thecomplex emotional experienceofhearingthe the to sacrifices the of minutiae halachic technical the of fulfillment the equate we Leviim return ofthe“ in the heart.” through theintellect,butalsothrough the maintained, mayreach Godnotonly many Jewish philosophers and mystics of absolutenessandendlessness. Man, above the limitedandrelativeto rise totheheights and finitude of bounds the transcend to being finite the enables which for Him,through anecstaticexperience through hisgreat andpassionatelove states in in ourJewishlives. significance no has expression emotional if advanced music or anyadvanced an unsettlingnarrowness. food groups, wetreat ourmusicallifewith of allitsdifferentwhich wemustpartake Torah first.” as though itis our nourishment from hired be should the Rabbiis a GadolBatorah,the chazzan congregation needstohire aRabbiand when itstates,“Ifa musical experience emotional and a proper anddeep the importance of Arukh if atall.The or semiannualbasis, them onanannual Jewish music.However, weonlyinvite the mostaptsettingformore advanced skills toadvancethemusicwehearinshul, and modernCarlebachfollowers forum for advanced Jewish music. Cantors development. There barely existsany consists of musicalideaswithhardly any or sungduring Jewish musicwehearblaringonspeakers, www.kolhamevaser.com Aside from thehalakhicand plead we specifically, music Regarding to approach“Man isalsoable God This arrangement would be adequate testifies to testifies musaf to theirsong.” butcanonlyafford one,unless Worship oftheHeart prayerof the festivals for the Kohanim Shulhan shul Butitdoes. 11 With thisstatement, totheirservice,and We admititwhen orata emotional expressionhas 9 Jewish lives.Butitdoes. This arrangementwould While wetreat be adequateifadvanced music oranyadvanced no significanceinour :

10

8 The Rav havethe hashkafic chazzan Leviim kumzits tefilah .

his uniqueperspective. Nottomentionthe in depthbefore illuminating theTorah with physics, andRabbiSlifkinstudiedzoology Bang) Big the and fuse. terms, and the two can find where they can own termsthenmeetsscienceonits to combine it withTorah. Torah on its trying before field scientific chosen the in (preferablyof degrees)with attainment own terms. and Torah mustunderstandscience on its science intersection between master ofthe respecting scholarwho wishes to become a sense and historydictatethatanyself- 21 way. them intoTorah lifeinthebestpossible they the space need todevelopifwewantincorporate knowledge of fields give wish toimpart. As Iwillshow, wemust to properly containthedeep concepts we general musicallanguagepowerfulenough framework with asimplerealization. To advanceour Torah andscience.We canstartthough, took toproperly rectify theschism between music and Torah may take just as long as it our fulfill to place requirement to a simply and drab, need, theyhaveinsteadbecome repetitive, do not. st First westartwithscience,the To properly rectify theschism between century’s biggest Jewish hit. Common Jewish hit. century’s biggest Gerald Schroeder (author of While shuls should be fulfilling this 12 Years mustbespentinstudy , we must first make our make first must we , daven earned hisdoctoratein . musical an undeveloped Judaism upon to force Torah and Instead oftrying study in itsownterms. of field a as we must treat it Jewish musical life Genesis

tap intoits real power. Like science and science, Torah, or drama if we want to framework. we showcased highdramaticartwithinits honor oftheTorah increase tenfoldwhen halakhic boundary.then couldthe Only Torah’swithin our course,whilekeeping Namely, we lettherules of drama dictate the Jewishworldallowedforscience. that Instead, wedemandedthespacefordrama they getoutof the labor the just anotherhobbythatsome Jews do when and from ourselves. Drama would become would havelostrespect from ouraudience overtly Jewishthemes. Hadwedoneso, performing mediocre playswithmore on perfectingourdramaticartratherthan focusing the Jewishcommunityby within achieved success in implantingdrama shows thatrivalotheruniversities. We professional setdesigners, helpedmake Snider, aprofessional director, alongwith Twelve AngryMen, performances: stage privilege of participating infourtopquality Through mytimeat YU Ihavehadthe the Yeshiva CollegeDramaticsSociety. before integratingitwithTorah. Rav, whoreceived aPhDinphilosophy Only then will we access the true power most sophisticatedandpowerfulway. we beablefuseTorah andmusic in the music on itsownterms and respectingstudying our communityby feelings, wecancreate advanced music in and handle thedepthofourJewishtexts to unfit frameworks musical simplistic for attainment ofdegrees). Insteadofsettling rigorous study to master (preferably with traditions, andrules whichrequire yearsof drama, musicpossesses its ownhistory, We cannottreat musicdifferentlyfrom Towe lookto takethisevenfurther and 1776, TheForeigner, Mister Roberts. 13 . Onlythenwill beit midrash Lin .

Translation. Green simple. advanced orsomewhat somewhat can be composer and levelofdevelopment,music exists. Dependingontheskillof Cares if You Listen.” emotive elements. non-naturally “artificial,” with music his congregationlambasted himforloading Adolph Scheibeandevenhisown Bach fugueorToccata. direct thereader to You Tube tolistena the writingmedium. music. I havedonemybesthere through this conceptwithoutlisteningtohis dveykut 1994), 89foranexampleofadiscussion on (Jerusalem: Netivot Shalom Al ha-Torah: Devarim Society, 1991),4-95. Man man. religiosus development andcontrastingof Hassidic approaches tolearningTorah. musical realm, and the Italian Classicism (Emotional Music) in the Baroque (Scientific Intellectual Music) with grace ashul,oratleastCarnegieHall. will Jewishmusicbeworthyenoughto of emotionwithinJudaism,andonlythen advanced emotionalexpression. the musicallanguageandvaluein least recognize thebreadth anddepthof time forsuch study, butwecanallat advanced. stated, ithas its placebutis nowhere near and most other Jewish pop music. As progressions present inEliGerstnersongs, constantly repeating melodic and chordal House, 2003),5. on JewishPrayer Carmy (ed.), 9 8 7 6 5 4 3 2 1 13 12 11 10 (Philadelphia: The Jewish Publication

. It is impossible to fully understand Itisimpossibletofully

. Writer’s Translation. Writer’s Granted,manydonothave Forexample,considerthesimple, JosephBSoloveitchik,Sahlom OrahHayim53:24.Writer’s SuchasEitanKatzand Yehudah Obviously, plentyof gray area See Milton Babbitt’s essay “Who Johann Infact, musiccriticslike SeeShalomNoahBrazovski, Joseph B Soloveitchik, Forexample,considertheRav’s Forexample,compare German , cognitive man, and halakhic ahn mnh ve-Da’at Emunah Machon Worship of the Heart:Essays (Hoboken,NJ:KTAV Pub. Volume VII Issue 1

For furtherstudy I Lithuanian and Halakhic homo ,

Music & Spirituality Infinite Glue:Niggunim in Chabad, Yeshivot, and Beyond

BY: Elisha Pearl

“I have five days of music in my iTunes as the Alter Rebbe. The Alter Rebbe views However, Niggun is certainly not limited to they also have an exclusionary quality: library.” “When do you listen to it?” “In my Jewish observance as all-encompassing— the individual experience, and may wield different Jewish groups are set apart from room to chill out, or while I’m exercising.” that is to say, for the Alter Rebbe, Judaism tremendous power on the communal level. one another by the Niggunim they sing (or “[Clueless Freshman (a.k.a. Me)] Why isn’t demands a relationship between the Jew Niggun’s unique communal power can don’t sing). When a person is not familiar there any singing on campus? [Well-adjusted and God that must involve every faculty be demonstrated through stories like the with a particular group’s Niggunim, he Super Senior]No one has time.” of the human experience. According to the following one, which take place every or she can try to sing along, but will still Melody has been a critical part of Jewish Alter Rebbe, people possess different levels week on college campuses across North in a sense be excluded from the group. life from the dawn of the Jewish nation to of self-expression, ranging from physical America. In personal experience at Farbrengens the present day. 1 With the inception of actions, to speech, to thought, and finally In an upstate New York university, and Seudat Shelishit gatherings, people the Chasidic movement, sacred melody, or at the highest level, the subconscious will amid the raucous Friday night partying, a who knew the in-group’s Niggunim and Niggun,2 became an increasingly prominent of the soul. A Jew must use all of these different sort of party is taking place in a could begin Niggunim were immediately mode of Avodat Hashem, in theoretical faculties to fully connect to God.8 Niggun small house one block off campus. Yossie recognized as insiders, while those who discussion and in practice. Through an plays a critical role in reaching the peak and Bracha, the campus Chabad shaliakh could not were identified as outsiders. analysis of the spiritual qualities and of Divine service, which incorporates all couple, are seated around a crowded While some might deplore the potential historical uses of Niggun, we can better forms of human expression, because it is folding table, with a white, lace tablecloth. exclusiveness such a phenomenon creates, evaluate how we use Niggun within our the vehicle by which one can express the A sophomore sporting long curly hair by adding a deeper level of complexity own communities and to what extent depths of the soul.9 Wordless Niggunim to a group’s ethos, Niggunim become a we are satisfied with our current Niggun go a step further- unfettered by the means of solidifying a group’s shared practices. limitations of language, they achieve the identity. A group who shares deep, Imagine the following scene: the hour most exquisite and moving revelation of moving experiences together becomes hand on the clock resting in the back of the human soul. As Rav Yosef Yitzchak closer to each other and identify more the beit midrash moves to four p.m. It is Schneerson often said, “The tongue is the strongly, allowing them to accomplish Shabbat afternoon in Yeshiva, and the pen of the mind, the Niggun is the pen of more together. The deeper the connection time has come for the second stage of the soul.10” people share, the fewer the boundaries afternoon seder. The Yeshiva students close Niggun is not just a means of deep between them and their ability to act and their books, and begin pushing their tables self-expression. Perhaps even more interact as a unit. toward the center of the room to form one importantly, it is a vehicle for spiritual Particularistic Niggunim are used within long table. Everyone takes their seats, and journey, for one to access the depths group contexts on different occasions slowly wordless melodies begin to waft of his or her own soul, or to engage in to evoke memories of the past, as theme through the beit midrash- Niggun Seder has self-discovery and self-purification, and songs for leaders; as calls to action, to begun.3 Over the course of the next hour, ultimately through this process achieve contemplation, to express collective joy, the assembled students sing Niggunim teshuva and an intimate relationship with and to express intense gratitude to, or together, thereby experiencing and Hashem. Niggun is a primary medium by yearning for, Hakadosh Baruch Hu. Niggun perpetuating the living tradition of Niggun. which one can access the depth of feeling is a poignant means whereby a large Such is a typical Shabbat experience at necessary for this type of relationship group can share as one in expressing and Tomchei Temimim schools, the Chabad with Hashem, achieving the profound sharing such feelings, often when these movement’s global network of Yeshivot love of God that Jews are called upon to under a trendy cap complemented by a feelings are so profound such that they Ketanot and Gedolot. attain in the recitation of the Shema. Phish T-shirt plants his arm on Yossi’s transcend verbal expression. Niggun is a lynchpin of Chabad life While discussing the power of Niggun, long black coat. A junior wearing denim In Chabad philosophy, where each and religious experience.4,5 The Yiddish a word of caution is in order. I should shorts provides a similar contrast to Jewish individual is part of a larger, term Niggun stems from the Hebrew emphasize that it is not the Niggun itself Bracha’s long skirt. But as this motley integrated unit, the unifying and shared root N.G.N, a word often used to refer to that accomplishes these great things, it group shares Niggunim late into the night, identity building fostered by the Niggun is musical compositions in Tanakh6, songs is the Niggun singer’s internal state and these differences don’t seem to matter, the critical. It is a tool that allows Am Yisrael with earthly notes whose distinction is that intentions that do. Much like prayer, shared Niggun breaks down barriers if for to reach spiritual peaks as a community, they are dedicated to Hashem. Hasidut sees Niggunim mouthed without intent only a moment, and makes them one. and ultimately fulfill their duty as a itself continuing this hallowed tradition cannot be expected to move a person. Niggun has a striking ability to create manifestation of HaKadosh Baruch Hu’s will of sacred song, embodied by David ha- Niggun is simply a powerful tool that unity among disparate groups of Jews. and presence in this world. Melech and the Leviim7, to achieve a level can catalyze certain feelings that allow At Chabad Farbrengens,14 Jews who In this context, Niggun Seder in Chabad of divine service that has been largely the individual to achieve spiritual goals, usually might not have much meaningful Yeshivot can now be more fully appreciated. ignored since the destruction of the Beit ha- which often translate into tangible lifestyle conversation or commonality come The beit midrash is a place where Am Yisrael Mikdash. Niggun uses melody to engage the modifications.11 The Alter Rebbe saw the together, and while they sing together, attempts to connect to God through Torah voice and arouse the soul to serve Hashem, practice of Niggun as a continuation of their differences seem inconsequential. and tefillah, it is a place where tradition making it a primary method of spiritual songs found in the Tanakh, where the Leviim In the context of a Farbrengen, Jews from grows and continues; it is also a place connection. and David ha-Melekh would use song as highly disparate frames of reference are where the religious identity of young Jews To understand this phenomenon, it is a mode of passionate Avodat Hashem.12 able to share the experience of Niggun. is often formed. Applying the term Seder, necessary to investigate Chabad’s musical However, fundamentally, Niggun is just a Niggun belongs to all Jews, from the ex- a term normally reserved for formal study philosophy. The Niggun’s philosophical form of deep musical expression that may convict to the Torah scholar. Niggun is in of Gemara in the Beit Midrash context, to underpinnings certainly were nurtured be used for good or evil.13 a sense democratizing. All Jews, no matter Niggunim effectively puts them on the in the thought and practice of Baal Shem Thus far, we’ve discussed Niggun from their level of ritual comfort, are able to sacred level of Torah study, implying that Tov, but for Chabad, the crystallization of a general standpoint within the Alter’s participate together in this simple but the Niggun has a primary role in building Niggun philosophy truly begins with Rav Rebbe’s philosophy, and by extension briefly powerful form of Avodat Hashem. the Jewish people and their connection to Schneur Zalman of Liadi, Chabad’s first examined how the individual can use Although Niggunim can be a powerful Hashem. leader and author of the Tanya, also known Niggun to enrich his or her Avodat Hashem. force of internal Jewish unity, paradoxically If Niggun has such a sacred quality, what

Volume VII Issue 1 www.kolhamevaser.com 9 10 KOL HAMEVASER having abigger andbiggerimpact,” R. of actively recognize and employ the power that American Jewsareto beginning Carlebach Minynanim importance of what extent American Jews recognize the to gauge to difficult is it though that notes mitpallelim power Rosh Yeshiva, R. Reichman has seen the in thecontextof Hashem, andformanythisonlyhappens “enwrapped” intherelationship with argues R.Reichman,involvesbecoming from thedepthsoftheirheart.True prayer, wherebyall Jewscanengageinprayer Niggun do not speakHebrew as a native language, most Jews, eveninOrthodoxcommunities, comfortable in. Thus, in America, where when oneisprayinginalanguagehefeels in out one’sheart pouring can be a means of Reichman argues thatpraying out theheart”to of ten typesofprayeristhatallare forms The common denominator between these including Etkhanan references the modern American context. R. Reichman is amostcriticalmodeof Yeshiva Program at YU, argues that a stronger Reichman, alongtimeRosh Yeshiva inthe from relationship benefit with particular, in and the American Jewishcommunity could thebroader Jewishpopulation, itself. the perspectiveofsinger, notthesong community. a defines What it isamediumtosanctifyindividualand emotion inthecontextofdivineservice-- full rangeof the individual or communal expresses experience, the singer’s and the that, from theperspectiveofsinger to become a sufficient not is still it expression, cathartic creative experienceoranactofprofound expression. Butevenwhenmusicisa instead ofasameansdeepspiritual entertainment orquickemotionalrelease, many, music is merely used for cheap a capitalist,consumer driven ethos.For of consumptive fashion,becomingpart in themodern era are oftentreated ina perspective. Music and song or singer’s the twois simply a matterof the composer also comprise a pen ofthesoul.” as previously noted,“The however, theprocess is more spontaneous; conform toacertaingenre ofmusic.Often, changes themintoa that melodies gothroughprocess anexplicit separates itfrom an ordinary song? Some www.kolhamevaser.com Given theenrichingnature of The samenotesthatcompriseasongcan Niggun shefikhat ha-lev shefikhat servesasauniversallanguage Niggun 15 . “ , whichliststenmodesofprayer, rinah Niggun (congregants). R.Reichman Niggun has to electrifya room of Niggun Niggun , aword denoting song. ha-Kadosh Barukh Hu Sifrei 16 shefikut ha-lev shefikut Niggun.

ishere tostay, andits ) . A . maybeanindicator a meansof“pouring , thephenomenon of Niggun ; thedivide between Niggun on Niggun Inhisrole as tefillah Niggun Niggun ? R.Hershel Tefilla Parshat va-

. However, in Hebrew isasong andwill iseasier Niggun Niggun then is in the is the ). R. , study it,and consumeourselvesin its words expressed through thelimitedmediumof the expression of that which cannot be that is“thepenofthesoul” the uniquetranscendental spiritualtool enhancement ofspirituality. not toseemusic as asimpleaesthetic songs forspiritualpurposes,itisimportant relationship withGod.Evenwhenwesing our lifeasaJewishcommunity, andtoour another element to our spiritual lives, to of entertainment,it’sawayforusadd Jewish musicisn’tjustanothermeans from Chabad’s conception of spiritual toolsusedbythegreatest ofJews. childhood camp songs, but aspowerful Niggunim and adults of all ages, is to re-examine cusp ofadulthood people onthe young as ajuvenilerelic. Thechallengethen,for earth,’” Thesekidsleave they seethemselves as ‘more down to the American workforce mentality wherein shoulder more responsibility, or take on tends todecline]aspeoplegetolderand are intospirituality, [butthisfeeling part ofalarger issue; high-school students play amuchsmallerrole intheirlives.“It’s college ortheworkforce, same studentsleavehighschool and enter However, healsoobservedthatasthese are involved in outside of communities, high-school especially as an independent experience on influence that R. Reichman’soptimism,andrelated shared years, five past the for high-schools involved in Jewishsummer camps and the Universitypopulation. Nigguunim programming at YU that willmake R. Reichmansaidhehopestointroduce ya’esh they’re usedtogrowing up,butI’m not for peopletochangeif a self-selectinggroup. Hesays,“It’shard involved insinging tefillah role in religious experience outside of also feels that of to singminimallyduringprayerifatall. including thoseat Yeshiva University, was thegeneral trend of American Jewish congregations, when ago years twenty-five he says, is a tremendous change from Reichman claims.Thisgrowth of means ofentertainment,it’sawayforusaddanother conception ofNiggun.Jewishmusicisn’tjustanother element toourspirituallives,lifeasaJewish Ultimately, wehavemuch to learn A teaching fellow at MTA, who has been Although heemphasizes the importance Niggun Ultimately, wehavemuchtolearnfromChabad’s Niggun (despairing)from these people.” . Helamentedthatthepeople 19 community, andtoourrelationshipwithGod. . We should recognize itspower, andseethemnotaspleasant inenhancing tefillah relevant toabroader rangeof hasseenastrong riseinits Niggun , “Nearlyallkidsincamp Niggunim, Niggunim playsanimportant tefillah Niggun Niggunim Niggun ” he argues. are generally , R.Reichman 18 isn’twhat Niggun , allowing beginsto Niggun Niggun behind me- is 17 , .

needs a“ tions see ity of popular (2008): 205.Foranexampleofthe Placed Niggun,” See Aaron Sokoloff, “The Power of a Well including those outside of Orthodoxy. all elementsofJewishreligious expression, beyond theHasidicworldandpermeated its theosophical underpinnings has spread hot PublicationSociety, 1984). els ofhuman spiritual expression. explication of the some frequencymetaphor appearswith in the purest qualityof Avodat Hashem uses theLevitic shayahu praises God.Seealso the bookof throughoutquently prophecy. Theterm“ odies tocalmhimandallowattain cussion oftheHasidic fore, thisarticlewillgenerallylimititsdis ly withintheChabadmovement. There these aspectsare emphasizedmost strong cal underpinningsandpopularexpression, ilarity toChabad,bothintheirphilosophi Niggunim popular movement. Chabad asareligious philosophyandas and its philosophical and social place in 2001) for the best treatment of the and Chicago: University of Illinois Press, Koskoff, Notte Peharer in5666( student named a young tice wasstartedby to Tomchei Temimim tradition, theprac branch ofTomchei Temimim. According on Minkha Chasidei Chabad,Mevoh, manov (ed.) Tanakh College. lightning” resembling the flame that flashes out of the of experience, thereby achieving afresh type 3 2 8 7 6 5 4 1 Elisha Pearl isaSophomoreatYeshiva Avodat Hashem Alter Rebbe’smaamarim. Shabbat Theusageoftheterm See See Although allHasidicgroups use Iencouragethereader toread Ellen ForahistoryofJewishsongfrom See Niggun Seder Niggun tothemodernera,seeShmuelZal and 38:20. http://urj.org. Music inLubavitcherLife menagen , and may infactbearstrong sim Tanya II: 9 20 afternoon,dependingonthe Tanya Melakhim . Tehilim Kabalat Shabbat in non-Orthodoxcongrega Sefer HaNiggunim: Niggunei Alter Rebbe’s Alter as the final step in achieving Niggun 50 where the Journal ofSynagogueMusic ” (musician)toplaymel that is“theintenselove where David isheldeitherbetween foraparticularlyclear Tanakh Havakuk I Ahavat Hashem. Niggun

1905 (Brooklyn, NY: Ke nagen asaparadigmfor 2:15 where Elisha qualitativelev

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Communication, September, 2013 Yokhai 23:25 Shebalev.” 26 munity. usage hassinceextendedbeyondthiscom once limited to theChabadmovement, its of all persuasions. Although thetermwas take placeinmyriadcontexts,amongJews gatherings characterizedby Hitvaaduyot and negative spiritualexpressions of There the Shabbat SheBarach AdmorMiTzarfat B’Hokhmah etc. Part 2,p.341 Avodat Hashem was acriticalelementofMosheRabbeinu’s I, 92. Shaar HaBekhinahV is a quotefrom Lev,” “ clause, first The or referring toitas “the well-knownfact.” it tohisfatherinlaw most often attributing used thephraseofteninspokenaddresses Rav MenachemMendelSchneerson Rebbe, Rebbe itto in oneinstanceheattributes 5709 p.299foravariantversion)although Hebrew editionp.714,see mous “Wise Man,” (see it totheanony Most often,heattributed ple versions of it inhis spoken addresses. Yitzchak. Rav Yosef Yitzchak usedmulti in Chabadwritingsbefore Rav Yosef is somewhatmurky. Itneverappears Chagigah 1998, Nissan Mindel trans. The reference to in writing.” impossible to elucidate this matterclearly in the flashes out of the lightning, as is mentioned that flame the resembling love intense the and retreat” whichisthedistinctionof and harmony, inamannerof“advance with song and music, with tunefulness raise thevoiceofmelodyandthanksgiving, writes: “The service of the Levites was to 20 ibid. 19 18 17 16 s.v.DavarAkherVa-EtkhananElHashem 15 14 13 The 12 11 10 9 Esav See (the tongueisthepenofheart) (see See Tanya I,50. R.HershelReichman,Personal SifreiDevarimParshatVa-Etkhanan Farbrengens See of thisstatement Theattribution Alter Rebbe Ibid, note15. See Rav Reichman’s take on Gemara (Chagigah, as is foundon13b. Alter Rebbe SeferHaSikhot 5702 Tanya I, 50 See Torat MenakhemHivaaduyot5747 Tanya I,50. Sefer HaMaamarimSefer 5572,s.v.Be

Niggun. (Heb.) Tanya Mekhilta D’Rabbi Shimon Bar Shimon D’Rabbi Mekhilta . See ..aez ’ee, U’Patach B’Keter, s.v.Kametz Hovot HaLevavot Shaar Bet, Volume VII Issue 1 HaLashon Hu KulmusHa alsoargues that , Bi-lingual edition . Sefer HaMaamarim 5562 (Yid.) Also known as are Jewish communal refers totheintensely where the Likkutei Dibburim Niggunim Sefer HaSikhot ch. II).Itis p.122). The Alter Rebbe Yishmael " , p.282. Niggun Avodah Kehot Alter that - - - - - ,

Music & Spirituality Music To My Ears: A Scientific Elucidation ofKol Isha

BY: Deborah Farber

The interpretation of the prohibition to be in fact prohibitory.5 of psychiatrist Michael Hunter, changes a woman’s speaking voice, similar to her of hearing a female voice has evolved R. Saul Berman, a contemporary rabbi our perspective on the application of the singing voice, holds the potential to trigger through halakhic discussion. A woman’s and professor at Stern College for Women, modern prohibition of kol ishah. Along sensual thoughts in male listeners. In the voice, as assessed by the Jewish sages, points out a major issue with the rabbinic with Hunter, Professor Peter Woodruff’s halakhic realm, Meiri also recognized this is considered to be attractive and/or interpretations of kol ishah. The rabbis who group in the Department of Psychiatry notion in his claim equating a woman’s sensuous and therefore, the rabbis set up discussed this issue previously considered and the Division of Genomic Medicine singing voice with her speaking voice.13 laws to prohibit men from hearing female only the Gemara in Berakhot, which shed light on the true nature of a woman’s Hunter’s scientific experiment supports voices when necessary. The halakhic prohibits hearing a woman’s singing voice. voice, and, as a result, its classification as this halakhic opinion that the prohibition discussion of the prohibition of hearing However, they ignore the prohibition of ervah. Using functional magnetic resonance of kol ishah applies to both a woman’s a woman’s voice starts with the concept hearing a woman’s speaking voice, as imaging (fMRI), researchers monitored the singing voice and speaking voice. of “kol be-Ishah ervah” (a woman’s voice stated in the Gemara in Kiddushin. In R. brain activity of 12 men while the men Today, in Western culture, the is nakedness). This concept is primarily Berman’s article “Kol Ishah,” he regards the listened to voice recordings. The subjects prohibition of kol ishah is seldom applied discussed in two Talmudic sources: one in interpretation of Rabad of Posquieres to be received 96 stimuli consisting of voices to a woman’s speaking voice. While I am Berakhot and one in Kiddushin. In Berakhot, that were identifiably either male or female in no way offering a halakhic pesak, by several rabbis discuss the concept of ervah and unaltered in pitch, and voices that taking Hunter’s findings into account, (nakedness). R. Yitzchak teaches that a were gender-ambiguous (pitch-scaled) of we are able to recognize the reasoning woman’s hair is ervah, and R. Sheshet both males and females. The researchers behind those less prevalent opinions, opines that a woman’s legs are considered found major differences in the way the such as those of R. Alfasi and Rambam, ervah.1 Shmuel expresses the idea that voices were processed by the male brain who apply the prohibition of kol ishah to a woman’s voice is ervah.2 Shmuel’s depending on the gender of the voice a woman’s speaking voice in addition statement is fundamental to the concept stimulus. Male and female voices each to her singing voice. Even though these of Kol Ishah, which will be the focus of activated different areas of the brain in opinions may not be treated as halakhah le- the present discussion. Shmuel cites a male listeners.10 ma’aseh, this experiment gives us the ability poignant statement from Shir ha-Shirim The researchers found that perception to appreciate the basis of this approach, as proof of his position: “For your voice of a male voice results in activity in the ultimately teaching us that “eilu ve-eilu is sweet and your appearance attractive.”3 mesio-parietal precuneus of the brain, an divrei Elokim Hayim”-these and these are In the second passage that discusses area involved in episodic memory and the words of the living God”14 this concept, the Gemara in Kiddushin, imagining of sounds. In contrast, female R. Nahman asks R. Yehuda if he could voices resulted in activation of the right Deborah Farber is currently a senior at SCW send regards to Yalta, R. Nahman’s wife. anterior superior temporal gyrus (STG) and is concentrating in pre-health sciences. R. Yehuda responds, citing Shmuel that near the superior temporal sulcus (STS), a woman’s voice is ervah, and therefore significant because Rabad dealt with the an area functioning specifically in the 1 Berakhot 24a it would be inappropriate of him to send inconsistency between these two Talmudic perception of the melodic and emotive 2 Ibid. greetings to R. Nahman’s wife.4 sources. Rabad deems the restriction aspects of the human voice. This finding is 3 Shir ha-Shirim: 2:14, translation These two passages present several applicable to the woman’s speaking voice, consistent with the idea that brain processes mine. inconsistencies with regards to the not just her singing voice, as does Meiri.6 In that attempt to attribute human qualities to 4 Kiddushin 70a prohibition of listening to a woman’s his article, R. Berman also cites the opinions 5 Shulhan Arukh, Orakh Hayim, 75:3 voice. According to the Gemara in Berakhot, of R. Alfasi and Rambam. According to A recent study performed 6 Hidushei ha-Rashba Berakhot 25a the prohibition would seem to apply to a these two opinions, the prohibition of kol at the University of 7 Saul J. Berman, “Kol ‘Isha,” in Rabbi woman’s singing voice based on the source ishah applies to a woman’s speaking voice Joseph H. Lookstein Memorial Volume, ed. by in Shir ha-Shirim. However, the Gemara in in addition to her singing voice, and it Sheffield, under the Leo Landman (1980), 45-66 Kiddushin discusses the prohibition with seeks to ban the illicit social relationship guidance of psychiatrist 8 Rambam, Mishneh Torah, Hilkhot respect to a woman’s speaking voice. between a man and a forbidden woman.7,8 Michael Hunter, changes Keriyat Shemah 3:16 Prominent rabbis over the centuries seemed These two sources seem to indicate that 9 Magen Avraham to Shulhan Arukh, similarly torn about this compelling issue. hearing a woman’s speaking voice, along our perspective on the Orakh Hayim 75:6 Most German rishonim, including R. Eliezer with her singing voice, is included within application of the modern 10 Sokhi, D. S., Hunter, M.D., b. Yoel ha-Levi, interpret the sources in the prohibition of kol ishah. Wilkinson, I.D., Woodruff, P.W.R. (2005). Berakhot and Kiddushin as an indication that A widely accepted opinion regarding prohibition of kol ishah. Male and Female Voices Activate Distinct a man is prohibited from hearing a woman’s kol ishah is that of R. Gumbiner, commonly voices are more involved in the perception Regions in the Male Brain. NeuroImage. singing voice while reciting keriyat shemah. known as the Magen Avraham. He states of female voices than male voices.11 27:572-578. This ruling was made in order to avoid that the singing voice of a married woman Regarding the study, Hunter explains, 11 Ibid. distraction while partaking in religious is always forbidden, while her speaking “Voices allow the brain to determine 12 “Male and female voices affect activities that require one’s full attention. voice is permitted.9 This is a generally various factors about a person’s brain differently.” University of Sheffield. Later rabbis extended the application of accepted approach among many Orthodox appearance, including their sex, size and MediaCentre, 12 July 2005. available at this prohibition to other activities as well. communities. However, there is much age. It is much more complex than most www.sheffield.ac.uk Another rabbi who gives his pesak on the room for debate, given the plethora of people think and is an extremely important 13 Berakhot 24a issue of kol ishah is R. Yosef Karo, author halakhic discussion on the topic of kol ishah. tool for determining someone’s identity 14 Eruvin 13b of the Shulhan Arukh. He advises, rather Not only does the Talmud address the without having to see them.”12 The findings than prohibits, that one avoid hearing a issue of kol ishah, but scientific research from Hunter’s experiment allow us to re- woman’s singing voice, not her speaking also assesses how hearing a woman’s conceptualize our modern thoughts on kol voice, during keriyat shemah. Citing R. voice could potentially be perceived as ishah. Given that a woman’s speaking voice Yosef Karo, rather than merely advisory in sensuous. A recent study performed at the triggers a different part of the male brain nature, R. Moshe Iserless believes the law University of Sheffield, under the guidance than does a male voice, it is plausible that

Volume VII Issue 1 www.kolhamevaser.com 11 12 KOL HAMEVASER is Leviim Hakhamim in prayed islimited,there isanargument recordtemple. Whilethe onhowthe for the tefilllah daysystem a established by the prayer three the reflect to for prayer:someclaim prayer ismeant discomfort withmakingthisaddition. level there willbeconfusionandsome or snickers,butonamore fundamental this innovationmightinvitesomescorn into boxing inserting beat For thesereasons, Ihaveworriesabout power traditionhastoshapeourprayers. traditional tunes,and emphasizes the A community ofsortsresults from these breaks inthe their friendsduring time reminiscing with tunes, andwillspend from their yeshiva a hard timeadjusting yeshiva inIsraelhave a yearortwointheir return from spending Many who back.” even whenyoucome it’s notthesame, Yom Kippur leave yourhomefor of mine,“Onceyou paraphrase afriend of theiryouth.To departs from thetunes enjoy aprayerthat people cannotfully Yamim Noraim many centuries ago.During joined Jewishprayer concept—melodies is notanovel prayer Shabbat” wasborn. evening “Beat-Box a name. On thatFriday do thisforreal,”brainstormed wequickly turned tome and said, “Gabi, youneed to myown of beat to some I brought time first the providing a beattothetune.This was not Carlebach melody, I began to beat box, we allrose tosing Jew followingtheservicetogether. When a ConservativeJew, andanOrthodox of ajoke:RomanCatholic,Lutheran, Program. Infront ofmestoodtheopening the Tikvah-Straus HighSchoolSummer at Center Yale Universityasanadvisoron a KabbalatShabbatserviceintheSlifka Prayer ToABeat BY: Gabi Weinberg www.kolhamevaser.com meakev Traditionally, there are twosources Including songin This summerIsattowards thebackof Arakhin that accompanies the daily sacrifice daily the accompanies that wasinstitutedasareplacement tefillah temidim , prevents the sacrifice from being sacrifice preventsthe , as to whether the song ofthe astowhether 11a betweenR’Meirandthe , andwhenoneofthestudents davening – the daily sacrifices in the in sacrifices daily the – tefillah avot Mizmor le-David .

, and others claim shoud remainlynchpins davening “mesorah oftheJewish exceptional tunes,such this essentilamesorah, of theholidayservice, may needtoevolve we classifyaspartof strike whentryingto need toberevered-a as KolNidrei,which the prayers,butalso spruce uptheprayer is whathecallsthe be morerelevantto difficult balanceto experience”…these Important aswell while othertunes . Granted tothe service. avot

as welliswhat hecalls the “ recalling thecommandments. Important actually relates tomore thanmerely to “remember whathappened at Sinai” Ramban’s interpretation oftherequirement the Jewishexperience.He explains thatthe of part an integral tunes tobe traditional the Yamim Noraimandotherholiday considering the tunesthatweuse on and ideaswrittenbyR.H.Schacter, as a bookofrecollections oftheRav’sTorah R. Soloveichikis quoted in require more effort toalter. For example, considered evenmore sacred andwould are holidays important from tunes specific community. can changesbemadetobetterservethe more pertinentquestionis howandwhen issues of changing the Halakhic sources clearlytaketoheart (“Maharil”) melodies community evenasto its customaryprayer saying “ quotes aglossofRama,RavMoshe Isserles, “The Music of the Yamim Noraim.” this topicquiteextensivelyinhisarticle, Belz SchoolofJewishMusic,expoundson enough toinvalidatetheentire service. according toR.Meir, thesongwasintegral of theservice,and part was animportant however, according to all opinions music sacrifice, the while the of validity the prevent fact valid. R.Meirclaims that music does in Logically, onewouldpresumesome that Cantor Sherwood Goffin, a teacher at the One may not change the custom of a of custom the change not may One Hakhamim his effort torebuild so important thatin tunes of Maharil believedthe community as sacred asanyother should beconsidered to musical atmosphere tunes simplyadd a Maharil, notonlydo community prayer. to and integral tunes are important rather thatthese but were revealed atSinai, the tunesactually literally implyingthat them “ melodies, he dubbed compendium of As he compiled a for eachcommunity.” “authentic tradition melodies were determining which from townto of Europe hewent Jewish communities . 2 According tothe donot.Clearly, tefillah tefillah, mi-Sinai, Divrei ha-Rav , however the tefillah mesorah they also minhag tobe ” not 1 He of . 3 4 ,

some spiritualconsiderationsneedtobe that needconsideration.Ontheotherhand, the onehandthere are halakhicsensibilities into boxing of beat integration of expression andenhancementfor would seemtoprovide an alternativemode boxing beat tefillah, to changes acceptable new tunesisthecommonwaytomake singing portionoftheirservice. While using doors for howacommunitypracticesthe This transition of traditionopens new times fewmelodiesremain immutable. in service strike whentryingtospruce up theprayer to balance difficult a – revered be to need be more relevant totheprayers, but also tunes mayneedtoevolve while other remain lynchpinsoftheholidayservice, as partofthisessential tunes, suchasKolNidrei, whichweclassify experience of prayer. These exceptional overlooked andisbuiltintotheauditory the Jewishexperience”thatcannotbe Schacter, refers ustothe repetition of words, cited by R.Herschel A classicexamplewhere tuneslead tothe ofprayer and (2)makingsure nottorepeat words. the words into tunes fitting (1) result intwoseparatepointsofinterest: using songsandtunesin of interest come up when considering considerations exist. Two separatepoints boxing istobeproperly mixedinto taken intoconsideration as well ifbeat Two typesofissues will holdbackthe Based on themultitudeofmelodies used In thehalakhicsphere, acoupleof batei knesset and batei midrash mesorah tefillah pasuk tefillah , should , inour recited , which tefillah tefillah . On 5 . . rk, H 53:11, OH Arukh, meaning of words comes from the prohibiting repeating orchangingthe The earliestappearancesofsources problem. halakhic significant wordsa the change themeaningof embellishments that Halakhic authoritiesconsidercertain in thewordsdifferent taking meanings. pronunciations andreadings resulting fervor, to Bleich these acts did not “arouse spiritual “exhibitions of cantorial vanity.” According accomplishment,” or more caustically renditionsmusical designedtoexhibit to embellishtheprayerswithmusical when itwas, “common practice for cantors out howthisproblem hasalonghistory phenomenon. RabbiJ.D.Bleichpoints meaning of disruptuse ofmelodiesthat the actual the the wrote, orthatyouare makinga you are changingwhatthe one repeats words youmakeitlooklike expands on this issue by sayingthatwhen Schik, a19thcenturyhalakhicscholar, Moses, we maynotdivide.”TheMaharam state, “Anyversewhichwasnotdividedby both based in theTalmudic passages printed in for theproblem ofrepetition isatitscore repetitions are inappropriate. popular, R.Schachterexplainsthatthese k’kedem yameinu hadesh yameinu, sung withrepetitions as “ of “ while returning theTorah scroll totheark The problem ofrepeatingwords and tefillah aeh aen k’kedem yameinu Hadesh Megillah 9 ” andthecantorswouldbutcher . 8 22aand pesukim Volume VII Issue 1 where 13 is notamodern Ta’anit Hadesh, hadesh ,” popularly 7 27b,which Thesource th 6 Hakhamim century .” While hefsek Shulhan in 10

Music & Spirituality one must also be moved in his prayer and Tishrei 5769. interested in participating. The melodies 2 Shulhan Arukh; Orakh Hayyim, 619:1 used in tefillah serve the purpose of moving 3 Yaakov Molin; Sefer MaHaril, page one through prayer and keeping him 339 se’if 11 focused. I believe beat boxing could add 4 As quoted by Goffin, ibid. to participants’ focus by adding rhythm to 5 This is not to say all prayer services the service so it is not just the melodically need beat boxing, rather, if beat boxing inclined who enjoy the prayer. can be ruled as halakhically permissible, it The same folio in Arakhin mentioned would make sense to utilize it in communi- above in reference to song during the ties that would benefit from its integration bringing of sacrifices mentions the into prayer. importance of simha when involved in the 6 Lamentations 5:21 avodah, the sacrificial service, the simha 7 Schacter, Hershel; Jubilee Celebra- here referring to the songs the Leviim sang tion edition of the Belz School during the sacrifices. Interestingly, we 8 Maharam Schik, Orakh Hayyim Siman see that during this avodah, the way simha 31 is aroused is through song. The place of 9 Bleich, J.D, Contemporary Halakhic song in the house of worship is a common Problems (2), 34 theme in Tanakh as well and is implicit 10 For example dragging out the word in our tradition. At times embracing song Amen leads to incorrect pronunciation of during tefillah may remove some of the the word. Another common context for this solemnity associated with asking for mistake is when cantors put the emphasis something from or singing praise to God. on the beginning versus the end of the However, what does the prayer serve if a word (mi-leail and mil-ra), which changes connection cannot be forged between man the meaning of the words. Talmudist Solomon ibn Adret (Rashba) is occurred in Beit ha-Mikdash. In a Talmudic and his maker? It only creates a service 11 Magen Avraham 124:14 quoted as the prevailing opinion in terms passage from Yoma 38b, we are told that of distance, which is not conducive to a 12 ibid. of the problem of embellishment in the the Leviim would put their thumbs in their strong connection between man and God. 13 Shulhan Arukh, Orakh Hayyim 53:11 tunes during the prayers – saying it was mouths to sing. This is probably as close to I believe that adding beat boxing into 14 Rama, Orakh Hayyim 338:1 impermissible. actual beat boxing as one will find in the tefillah will enhance people’s prayer even 15 Bleich, J.D ibid. Tunes in prayer are not just an aesthetic Talmud, and it was a common practice of if some may see it as a frivolous practice. 16 Shulhan Arukh, Orakh Hayyim, 93:2 addition; the Magen Avrahram actually the Leviim in the Beit ha-Mikdash. While it may not be appreciated in certain 17 Ibid. 98:1 considers added tunes without words However, even if the halakhic issues environments, there are other places of part of tefillah. The ramification of this surrounding beat boxing could be resolved, worship that would appreciate a beat- opinion is that even at points when other hashkhafic caveats may still remain. R. centered addition. breaks would constitute a hefsek – such as Bleich points out the need for solemnity R. Bleich compares the traditional hazzan during birkhat kohanim – a tune may be in prayer and regards certain types of to one who makes prayer into a concert; inserted as long as they are not “too long” music inserted in tefillah as a “marring” of however, I believe not all concerts present (the definition of which is found in other the service with tunes that generate, “an the same feeling or outcome. In the case 11 sources). The responsibility of singing aura of a concert performance rather than of the hazzan where embellishment and 15 in prayer rests on the shaliah tsibor with of divine worship.” What, however, is showmanship takes center-stage, the built in safeguards against one who sings, participants in the prayer remain on the 12 “because he likes his voice.” Alternatively, However, what does sidelines as ancillary parts of the service, “if the shaliah tsibor sings because it adds to and this produces a dry experience for the happiness in his heart when praising the prayer serve if a many. This is reminiscent of a classical 13 God, he should be praised.” The leader connection cannot be music concert, where the audience only of the service needs to strike a delicate forged between man and rises at the end to appreciate the beauty balance between too much and too little and remains apart the rest of the show. music in the prayer. his maker? It only creates Alternatively, when adding a beat to the Fortunately, my initiative of “Beat Box a service of distance, music, the beit knesset can attain a sense Shabbat” does not touch on the question of a participatory concert, in which the of repetition or changing the meaning of which is not conducive community sings along like a group at a words because beat boxing will not change to a strong connection concert where everyone knows the songs the order or pronunciation that the hazzan and stands from start to finish – for those uses. The beat boxing provides a backup to between man and God. who know, a truly invigorating experience. the hazzan, much like a choir might provide Beat box Shabbat lends itself to group backup harmony. However, are there the source for the concept of the need for participation, and should serve a usually halakhic problems with simply making “solemnity of prayer?” In Orakh Hayim marginalized demographic and interest sounds with one’s throat and mouth on Hilkhot Tefillah we are advised on how to group. Perhaps it will open people up to Shabbat? A couple of questions similar properly compose oneself during Shemoneh a new and reinvigorating mode of prayer. to this one do arise in halakha. Although Esrei – “one should stand for tefillah in fear Perhaps tefillah with beat boxing can help whistling on Shabbat also involves and submission, not in laughter and levity change the vibes to rock the beit tefillah. possible imitation of a musical instrument, and busy with meaningless chatter and 16 R. Moshe Isserles allows the practice on not in anger, rather in a state of joy.” The Gabi is a senior at YC majoring in English, Shabbat to “call to your friends,” and does emphasis on focus recurs in the discussion and recently started studying Semikha at not mention any problem of doing it at any about one’s mental state during prayer RIETS. He has plans to write more about 14 other point. Based on this source, using as “in front of the shehinah” and one relevant topics in his future. your mouth to beat box to add to the prayer must, “remove all thoughts that ruin his 17 service should be allowed as well. Another concentration so he can properly pray.” 1 Goffin, Sherwood; The Music of the concept similar to beat boxing actually One obligation for prayer is focus, while Yamim Noraim, YU Rosh Hashana To-Go

Volume VII Issue 1 www.kolhamevaser.com 13 14 KOL HAMEVASER An Interview With Cantor Beer,Head of the Belz School of Jewish Music Jewish music? How old are some of the melodies Belz School of Music, howabout the mesorahof Institute were officiallyfounded. music departmentandCantorial Training couple of years without salary, fora untilthe his services volunteered he first, At about startingamusic department at YU. the during in the1940’s, he approached Dr. Belkin flee to Holocaust. When he arrived in New York forced was he and of aMusicconservatoryinGermany, school atthetime.Hehadbeenhead notch teachers. of prayerinanacademic manner from top- musical andliturgicalthe about structure just repeatingmelodies; Iwaslearning there, I saw a different world. I wasn’t the CantorialTrainingOnce Institute. called was then I tookclassesinwhat that came to YU, itwasonlyinmythird year [requirements forbeinga because Iwasstillyoungandunmarried at thetime,doingsowasquestionable and Yom Kippur services, even though, already beenthe fuss over me. By theageof nineteen, I had sounded good topeople;theymadeagreat that timeinalarge synagogue.Iguessit at mitzvah, ararity services atmybar specific hazzan? from a training? Didyoulearnyourtunes and inspiration intoourhomethrough tefillah baal a home where my father was a well known nusah their people with hazzanim hear in America today. There were great of prayerservicesthatyoudon’treally were European andgrew upwiththekind either from Europe orhadparents that lived in Borough Parkatthe time were the that time,peoplewere very inspired by great MosheandDavidKoussevitsky. At some ofthegreatest had a Borough Park in the fifties every synagogue born intoit.IlivedinBorough Park.In professional hazzan(cantor)? been theheadofschoolsince1985. 1967, andhas the BelzSchoolofMusicsince BY: Dovi Nadel www.kolhamevaser.com N Yuv mnind h msrh f the of mesorah the mentioned You’ve DN: Dr. Karl Adler wasdirector ofthe me howtolead CB: Myfathertaught DN: Didyouhavesomesortofformal CB: Iwouldsay, inaway, Iwasalmost DN: When wereyouinspiredtobecomea Cantor BernardBeerhasbeenonthestaff of hazzan tefillah (traditionalmelodies).Iwasraisedin hazzan and . . Themajorityofpeoplewho , andhebrought thiskindof . You were surrounded by aae tefillah ba’alei hazzan tefillot hazzanim forRoshHashanah , and with their , andwith hazzan who too,likethe ]. WhenI

inspired zemirot

r te fiil ue ta cn e usedfor be can that tunes official the are ones we mentioned,andmanyothers the melodies, These “official.” meaning word word “Skarb”comes from thePolish referred toas “Skarbova” tunes.The we mentionedbefore are alsosometimes The tunes. fixed have We sounds nice, they insertitintoprayer. hear,they any tunethat andbecauseit tunes orinsertingnewmelodiesintoprayers? Sefaradic Jews. were borrowed from themusicof that manyoftheGregorianthat Chants Sefaradic communities. Idelsohn proved world recording melodies of the various early 20 prove theexistenceofJewishmusic. In the to person first the be to known Idelsohn, by thefamous musicologist Abraham Zevi of the Beit ha-Mikdash. This was proven Jews. go backtothetimes Their melodies may Sefaradic belong tothe existence probably Jewish melodiesin most authentic days ofSinai. they gobacktothe are so sacred that melodies Rather, we treat the Moshe on time of to the back go they know that we absolutely Sinai referred toas These melodies are and theannualblessingsfordewrain. Kol Nidrei fall underthiscategory. Melodies such as tunes thatwesingduringthehighholidays tunes (melodiesfrom Sinai).Manyofthe are veryold, which werefer toas prayer. one ofagreat renaissance inthe nusah restored our old melodies and codified our to return tothe“originalmelodies.”He was indisarray. Hestartedthemovement the 14 also agreat time oftheMaharil,aleading generations. We knowthatduringthe have beenpassed from father toson for that wesing? CB: We dohaveaproblem. Peopletake DN: Whatareyourthoughtsonchanging In truth, the There are some tunes, whose origins CB: We don’tknowexactly. They notbecause . Inaway, onecouldlabelthetimeas th century, thestateofmusicin th century, hetravelledaround the , thevarious tunes for as if Har Sinai shaliah tsibbur they mi- . inGermany mi-Sinai posek an nusah Kaddish mi-Sinai tunes tefillah of d ,

melody ischanged. the meaning of prayer are lost when the words ofprayer. Thetraditionaltunesand was meanttobeaninterpretation ofthe was handeddownfrom fathertoson that enjoyed without the They cansingnicely, and theycanmanage in truth are relatively knowledgeable. capable volunteerstolead services.Many, the roleofprofessionalhazzan intefillah? and it isaboutmakingprayerbeautiful about; the almost anything, but the melody should fit You cansingcongregational melodies for of atextforniceCarlebachmelody. is supreme. You can’t sacrifice the meaning interpret thetext.Inother words, thetext understand thatmelodyismeantto of musiconprayerit’simportantto in generaldo not concentrateon the words. do not always seem to fit the words. People, of thetraditional a on theprayer even astoitscustomaryprayermelodies.” not changethecustom of acommunity ba-niggunim afilu ha-ir mi-minhag words. Butas the Maharil says “ the fit really that tunes great some had he there isnothingwrong withCarlebach; Holiday prayers].Now,High of the [part cannot changethem. you and fixed, are melodies These prayer. DN: How doyouthinkmusicenhances CB: Most people feel that they can relythey CB: Mostpeoplefeelthat on of DN: Towhatdoyouattributethedecline influence the about talk we When The Rav, inthe1970’s,commenting You can’tdoCarlebachfor hazzan nusah understandable. for using simpletunes instead . Thatiswhatproper hazzanut hazzan mi-sod hakhamim nusah . Also, the generation look athissongs,they prayer? hasdwindled. leader, butifyou was agreat prayer words, doyouagree? prayer’s the of instead latch on to the melody cause apersonto beautiful tune will that sometimes a inspire. You need music to don’t jive.It’sdry. without music CB: Carlebach said, been It’s DN: CB: Words . The nusah atah zocher nusah criticized - onemay al yishaneh isall that 1 God through prayer. a meaningfulandgenuine connectionto for every singleJew who wants to cultivate nusah world, for rabbis,buteveryoneinthe everyone. Justas Torah is not meantonly one’s voice properly should be agoalfor properly. Knowinghowtoprayanduse basics. Theydon’tteachthemhowtopray their grade, but need tobe means. It’samazing.Nowadays,children nusah They needguidance to learnwhat proper to read andunderstandprayersproperly. unworthy. congregation in prayer although he feels mind andvoicetoproperly represent the before God, andtoaskforthestrength of meant forthe loud. The prayerisinspiringthough.It parts areonly certain recited actually out It can even beomitted. According tosome, Granted, it’snotthemost important prayer. on RoshHashanaand Yom Kippur. hazzan would beamongsomeofmyfavorites. and appropriate for the text;I guess those hassidic tunes. Theyare beautiful,intricate, back tosomeoftheoldclassic going connect toprayer. development inorder toappreciate and basic right direction. People first have to learn the spirituality, buttheyare notfocused in the in prayer.spirituality Theyare lookingfor prayer? in needs spiritual people’s fulfill would nusah informal davening. synagogue anymorethe andprefer amore fast. Also, people donotlikeformality in Many justwantto“getridofdavening” areand they patience, move. alwaysonthe sociological change. Peopletodayhaveno 1 CB: Today, peopleneedtolearnhow DN: AnylastcommentstoYUstudents? CB: “Hineni DN: Doyouhaveafavoriteprayermoment? last 10years,I’veseenpeople CB: Inthe DN: Doyouhaveafavoritemelody? for looking definitely are People CB: to traditional DN:Doyouthinkareturn But itisalsoindicativeofamajor is not meant onlyfor is, where itcomes from, and whatit nusah Shulhan Arukh recites immediately before Mussaf ,it’sstructure anditshistorical talmidei hakhamim .” It is the prayer that the .” Itistheprayerthat hazzan yeshivot Volume VII Issue 1 ; Orakh Hayyim tohumblehimself end upmissingthe hazzanim by the thirdthe by , 619:1 , itis Music & Spirituality Creative Arts Images and information provided by the Yeshiva University Museum Impressionism and Jewish Art By: Joshua Skootsky

I had something I painted from my window in Le Havre: the sun in the fog and in the foreground some masts sticking up. They wanted to know its title for the catalogue; [because] it couldn’t really pass for a view of Le Havre. I replied, ‘Use Impression.’ Someone derived ‘Impressionism’ from it and that’s when the fun began.1 - Claude Monet

During World War II, Erich Auerbach, a German-Jewish professor of Philology, took refuge in Turkey, and wrote his masterwork, a collection of essays analyzing almost all of Western literature, titled Mimesis. The first essay, Odysseus’ Scar,2 compares the narrative structure of two examples from two literary traditions of antiquity: Greece and Israel, drawing on Homer’s Odyssey, and the Akeidah narrative from Genesis 22:1-19. In the Odyssey, “no contour is blurred… [the story is] orderly, perfectly well-articulated… brightly and uniformly illuminated, men and things stand out in a realm where everything is visible.”3 Literarily, Homer paints a picture exquisitely and uniformly, clearly, even copiously, defining events, people, and places. Auerbach asserts “The digressions are not meant to keep the reader in suspense, but rather to relax the tension. “4 In contrast, the Akeidah narrative depends on the blurring effect created by the economy of detail. “God says, ‘Take Isaac, thine only son, whom thou lovest.’ … he may be handsome or ugly, intelligent or stupid, tall or short, pleasant or unpleasant—we are not told. Only what we need to know about him as a character in the action, here and now, is illuminated.” 5 We are only told about the crux of the story: Isaac’s intense significance to Abraham. Extraneous details are omitted, and we never wander amidst the individual trees, unable to see the forest. The gestalt lies before our eyes, and we always feel the arc of the narrative.

II Paintings tell stories. The Pre-Raphaelite Brotherhood, a 19th-Century artistic movement based in England, gorgeously

Volume VII Issue 1 www.kolhamevaser.com 15 16 KOL HAMEVASER show thesea whipped intoafury. Instead, detail allof their clothing and jewelry, or to artist couldhave chosentoshowingreat The humans. defined sharply more the on deliberately blurred tofocusourattention human emotions.Thebackground was the humansdepictedand their displayof tones, alreadyits warm,earthy hintedtoby dancing” (Exodus 15:20, NIV). women followed her, withtimbrels and took atimbrel inherhand,andallthe “ identifies the woman as the biblical Miriam; triumphantly holds up a tambourine. This a dazzlingwhitebackground, athinarm very different goal.Inthecenter, setagainst restrains theuse of detailtoaccomplish a somewhat similartoTurner’s Yeshiva UniversityMuseum) usesapalate Song Miriam’s coin. and revealing are two sides of the same For anartist,visualorlyrical,concealing disrupt thenarrativetensionof discursion on Isaac’s hair colorwould on natural forces, in the same way thata in theseawouldtakeawayfrom thefocus wooden plank’sgrainandeverybubble the whale.To depictthehuntwithevery the elementalpowerofocean and of Art), Museum the Wolfe collection of theMetropolitan Joseph Turner’s distracting details.Forexample, without createsa story aunitedwork,telling which aspectsofthepieceblendtogether, of detailinanImpressionistic painting,in uses theblurringofdetailtotellastory. able tobelinkedastyleofpaintingthat Brotherhood, the the had just takenplace.” pictures, seeksto…makehimforget what ofidyllic wealth its self-sufficiency, and fashioned story… withallitselegance broadly narrated, charming,and subtly easily betransposed onto analysis, written for the Odyssey, could in Shakespeare’s despite thedecisiontoanchorpainting away from the larger narrativecontext, Ophelia expression, facial beatific unpained, her sight ofalifecutshort.Combinedwith suicide, but wedo not feelgrievedatthe river. the down floating a Ophelia see We of significance narrative larger the forget to viewer the causes flower and lily,leaf, the exquisitedetaillavishedonevery permanent collectionoftheTate Britain), painting viewer.the InSirJohnEverettMillais’ light, shade,andtexture. Theeffect stuns tree ofthenarrativeforest initsown compositions, showing us each unique detailed their deliberately complex www.kolhamevaser.com Then Miriam the prophet,Then Miriamthe Aaron’s sister, Samuel Hirzenberg’s oilpainting, III The blurred lines and the suppression Odyssey deliberatelyfocuses our attention iims Song Miriam’s Ophelia withthePre-Raphaelite , (from thecollections of the (c.1852,partofthe 8 Whalers Akeidah focusesthevieweron Hamlet 7 Since I havelinked emphasizesboth , too,shouldbe (1845,nowin . Auerbach’s Ophelia Whalers Perhaps Akeidah : “The , but 6

. oil painting, Wilhelm Wachtel’s certain elements in style to emphasize an Impressionistic see the effect of style. a photorealistic not topaintin deliberate decision created by the and mysteryare light. Themotion misty, ethereal dissolving into the lined face and flute defined, textured, and clearly the flutist, the of joyous features clothing and from thebright see energy coming We central the figure. reflecting and surrounding exists, the“background” ashadowy aura player flute the of independent anything that suggestion solid no is There defined. purples, and the background is evenless redsthe coolerbluesand balancingwith than Player obscuring theforest. style onceagainprevents thetrees from the scene.TheImpressionistic painting lavishes onlyjustenoughdetailtoset Hebrews who leftEgypt,butHirzenberg figures like areThe clothed song. Miriam’s on theirhandsandknees,more bow joinin figures few a adoration, or worship thevery of focus human salvation.Outstretched the armsin into fit to them of we see only afewpeople,and only enough We continueto Reuven Rubin’soilpainting, iims Song Miriam’s , uses an even brighter palette David , thewarm pinks and The Flute identify the figures, and to establish the to establish and figures, the identify and theroyal scepterinSaul’s,serveto David. ThemusicalharpinDavid’s hands, old man, Saul, and the boyishlyyouthful painting isthecontrastbetweentired Playing for King Saul underlying thepainting.Thesmoky, us from the dramatic human tension which wouldhavenecessarilydistracted additional level ofartisticinterpretation, realistic style, itwould have created an If Wachtel hadadoptedamore detailed, mix, andanewroyal purplewillemerge. his armgrows weak,thered and bluewill seems to be holding the blue away. When surrounded by a field of red, and Saul’s arm Saul wearsaroyalDavid is vest, but purple us, thattheboywillonedaytakehisthrone. eyes lookintoours,perhaps knowing,like dramatic tension betweenthetwo.Saul’s . The heart of beville Edition), Second Ab 1980, New York,lishers, beville Press Pub pressionism Im Book ofFrench Kelder, Chemistry atYC. junior majoringin photographic. have tobe does not always good narrative– painting –and more clearly. allow ustosee can paradoxically by skilledartists, style, wielded the Impressionistic imperfect lensof 1 Joshua is a

The Great Diane , (Ab Good the - - - - org mesis 1974) (Princeton: Doubleday Anchor, 1953,repr. Literature The Representationof Reality inWestern Scar,” inErich Auerbach, 125. 8 7 6 5 4 3 2 . vial a: www.metmuseum. at: available Ibid. availableat: Ibid. Ibid. available at: Auerbach, “Odysseus’Scar,” Erich Auerbach, , trans.Willard R.Trask. Volume VII Issue 1 www.westmont.edu www.tate.org.uk “Odysseus’s Mimesis: . Mi . -