Jewish Music Elementary

Home , Abie Rotenberg, Avraham Fried, Dudu Fisher, Gad Elbaz, Jewish music, Klezmer

PREMIUMPREMIUM TORAHTORAH COLLEGECOLLEGE PROGRAMSPROGRAMSTaTa l l

February 2019 Elementary Jewish Music

- Study Guide - The Jewish Music exam focuses on Jewish music, from Biblical times until the contemporary era. Students are expected to display knowledge of the history of Jewish music, understand the traditional relationship between music and religion, and identify different types of music, such as klezmer,chazzanus , Chassidic niggunim, Ladino folksong, Yiddush folksong, Israeli folk music, yeshivish music, and many more. The exam is based on the material found in the text, Jewish Music: An Orthodox Perspective, from Biblical Times to the Modern Era, which is accompanied by a CD of selected Jewish music. The exam includes three sections:

I. Multiple Choice 30 multiple choice questions [33.3% of the grade]

II. Short Answers 10 short-answer questions (from a choice of 13) [33.3% of the grade]

III. Listening Questions 10 multiple choice questions [33.3% of the final grade]

NOTE: Students are expected to provide answers that are based on the readings from the assigned text, even in cases where there may be an additional correct answer.

This Study Guide is the property of TAL and MUST be returned after you take the exam. Failure to do so is an aveirah of gezel.

In this Study Guide you will find: • The syllabus with study questions on each section of the reader (page 4). • A sample exam (page 30). Please use the sample exam to familiarize yourself with the type of questions that will be asked. • Helpful hints for answering exam questions. To prepare for the examination, study from the TAL Reader: Jewish Music: An Orthodox Perspective, from Biblical Times to the Modern Era. You are expected to read through the entire TAL Reader and remember the main ideas and the names of the key people, but you are not responsible to know every detail. Exam questions will be drawn only from the information needed to answer the study questions listed below. (You will not be tested on any information found in the footnotes of the reader). Note: You are required to know the Hebrew names of the instruments referred to in the syllabus by their Hebrew names.

Elementary Jewish Music

— Syllabus —

Introduction • What place does music have in avodas Hashem?

PART 1: MUSIC IN THE PERIOD OF TANACH AND THE BEIS HAMIKDASH

A. Music in Tanach • What are some of the purposes of music?

1. Sources in the Bible (Chumash) a. Yuval, the originator of music – the harp and flute • What instruments did Yuval invent? • For what reasons did he invent them? b. In the times of the Avos – celebrations • Where do we see in the Chumash that it was customary to have songs and music at celebrations? c. The song of the angels. • How do we know that the angels sing to Hashem in Heaven? d. Shirah – Divinely inspired songs of praise to Hashem • How many divinely inspired songs (shirah) will there be in the history of the world? • What are some examples of these shirah? • What is the defining quality of shirah? • In what manner was the song at the Yam Suf sung by Moshe and the people?

• What musical instruments did the women play to accompany the shirah? • Is there a relationship between song and poetry? • Why is HaAzinu called a song? e. Music in the Mishkan • What musical instruments were attached to the Kohen Gadol’s me’il (robe)? f. Instruments of awe and for signaling – the shofar and trumpet • Where in the Torah do we see the shofar being sounded? • What does this indicate about the nature and purpose of the instrument? • What were the two silver trumpets used for in the desert? • In what situations did Hashem command the Jews to sound trumpets, and why? • Why is the sound of the shofar appropriate for the Days of Awe?

2. Sources in the Prophets and Writings (Nach) a. Celebrations • At what sort of occasions in the times of Nach was it customary to have songs, music and dancing? b. A means to attain prophecy • How did the prophets utilize music in their avodas Hashem, and why? • How did David HaMelech raise the spirits of Shaul HaMelech? c. Songs of praise to Hashem • What are some examples of the ten shirah in Nach? • According to the words of Sefer Tehillim, what role should song and music play in a person’s personal avodas Hashem? • What is Hallel? At what times is it sung? d. Special songs • Shir HaShirim: • Who wrote Shir HaShirim? • According to Rashi, what is it about?

• Perek Shirah: • What is Perek Shirah? • Who was the author of Perek Shirah?

3. Musical instruments in Biblical Times a. String instruments • What was the difference between the design and sound of the kinor and the nevel? b. Wind instruments • What was the ugav? • In what situations was it used? • What is a shofar made from? What sounds does it produce? • What were trumpets used for? c. Percussion instruments • What are examples of percussion instruments that were used in Biblical times? • What was the tof? Who would play it and in what situations? d. Dance • What place did dance have in avodas Hashem in Biblical times? • What are some examples in Tanach where music is accompanied by dance?

B. Music in the Beis HaMikdash

1. The song of the Levi’im in the Beis HaMikdash • What would the Levi’im sing as the daily korbanos were offered up? • How are these songs of the Levi’im remembered in the synagogue? • Was the essential part of the Levi’im’s song vocal or instrumental? • Were non-Levi’im allowed to sing in the Beis HaMikdash? • At what age could a Levi begin singing as part of the choir in the Beis HaMikdash, and until what age could he continue? • What was the minimum and maximum number of singers in the choir of Levi’im?

• Why were boys allowed to be part of the choir? Why were they given the nickname tz’arei—pain causers?

2. The orchestra and musical instruments in the Beis HaMikdash • What was the minimum number of instruments played in the Beis HaMikdash — on non-festival days and on festival days? • What were the instruments? • Who would sound the trumpets?

3. The service in the Beis HaMikdash • What was the magrephah and what kind of sound did it produce? • At what point during the song of the Levi’im did the Kohanim sound the trumpets? • What was the style of music in the Beis HaMikdash?

4. The influence of the music of the Beis HaMikdash on the rest of the nation • Did the music in the Beis HaMikdash influence the music of the people?

C. The Style of Music in Ancient Israel • What is folk music? • What is distinctive about Jewish folk music?

1. Monophony • Was the music in the Beis HaMidkash and in Biblical times in general monophonic or polyphonic?

2. Antiphony • How did Moshe and the Jews sing shirah at the Yam Suf? • How would an adult shaliach tzibur (prayer leader) say Hallel on behalf of a congregation that did not know the words, and how would the congregation respond? • How would a child shaliach tzibur say Hallel on behalf of a congregation that did not know the words, and how would the congregation respond?

D. Cantillation (Te’amim) • By what names are the cantillation symbols generally known? • What is their purpose, and why is it appropriate that they are called te’amim?

1. The origin of the te’amim • What is the origin of the te’amim? • How was knowledge of the te’amim passed down from one generation to the next?

2. The punctuation system • Where and when was the present day system for recording the te’amim developed?

3. Traditional melodies • Do different communities have the same melodies for the te’amim? Ashkenazi melodies • What are some of the general melodies of the te’amim according to the Ashkenazi tradition?

E. The Shaliach Tzibur • Why did the Anshei Knesses HaGedolah institute the Shemoneh Esrei? • Why did it become necessary to have a shaliach tzibur? • Why is it important that the shaliach tzibur be a righteous individual?

The voice of the shaliach tzibur • Why is it important for a shaliach tzibur to have a melodious voice? • What is the essential quality of a shaliach tzibur – that he be righteous or have a melodious voice? • Is it permissible for a shaliach tzibur who has a nice voice to lengthen the prayer service?

PART 2: SYNAGOGUE MUSIC FROM THE DESTRUCTION OF THE BEIS HAMIKDASH UNTIL THE 1900S

A. The Prohibition Against Music • Why were limitations placed on music in secular settings (like wine houses) following the destruction of the Beis HaMikdash? • What made the tanna Elisha Ben Avuyah lose his faith? • What was the attitude of the early rabbis toward Greek music?

1. Music that enhances a mitzvah • At what celebrations is music permitted? Can wine be served? • What kind of songs is it permissible to sing? Can wine be served? • According to the minhag in Jerusalem, what music is played at weddings?

2. Music in secular settings • What are the two main opinions about the permissibility of listening to music for personal enjoyment?

B. The Rise of the Chazzan • What conditions led to the rise of the professional chazzan in the seventh century in Babylonia?

C. Modes of Prayer • How are the prayer modes identified/named?

1. Ashkenazi prayer modes • What the three main Ashkenazi prayer modes? • How can a chazzan adapt the prayer modes?

2. Secular influences • Was the music in the synagogue influenced by local non-Jewish music?

D. The Piyut and the Music of the East • What is a piyut and who is a paytan? • What are the sources for the melodies of the piyutim?

1. Thepiyutim of the Babylonian/Mizrachi Jews, from 8th–14th century • What is the difference between rhythmic and modal music? • How did Arabic music influence Jewish synagogue music from the eighth century? • Why did Rav Hai Gaon and others speak out against having too many piyutim in the services? The origin of piyutim in the synagogue. • What is the origin of reciting piyutim in the synagogue? Adon Olam. • To whom is authorship of the piyut Adon Olam usually attributed? • When is it traditionally recited each day?

2. Pizmonim • What are pizmonim? • When are they sung? • What is the origin of reciting pizmonim outside the prayer services?

3. Bakashot • What are bakashot? • When are they sung? What is their origin? Well-known bakashot. • What are some well-known bakashot?

E. The Synagogue Song of the Ashkenazim (until the end of the sixteenth century) • Where and during which period did Rabbi Eliezer Kallir write piyutim? • What influences shaped the creation of “Ashkenazi song”?

1. Festival tunes • Why are there distinctive tunes for each of the holy days? • What are some of the special prayers that were set to tunes in the 11-15th centuries? • How many times is the piyut Kol Nidrei customarily chanted and in what manner is it chanted? • When is the prayer HaMelech recited and in what manner? • When is the piyut Unesaneh Tokef recited? • When is the piyut VeHaKohanim (“And the Priests”) recited?

2. The decline of Ashkenazi synagogue song • What was the Maharil’s contribution to synagogue music? • Why did the rabbis of the 16th century often criticize the songs of the chazzanim?

3. The importance of customs • Why is it forbidden to change the local tunes and piyutim?

F. Synagogue Song in Eastern Europe (till the seventeenth century) • There are no study questions on this section.

G. Lecha Dodi and the Kabbalists of Safed • Where, during which period, and by whom was Lecha Dodi written? • When and where did the Kabbalas Shabbos service begin? What did it involve? • By what period was the custom to recite Kabbalas Shabbos universal?

H. New Music: Harmony and Choirs (Europe, 17th–19th century) • Where and during what period did synagogues begin to employ choirs and use organs and have special Kabbalos Shabbos services?

1. Salomone Rossi • Who was Salomone Rossi?

• What kind of music did he compose for the synagogue? How did his music influence synagogue music?

2. The establishment of choirs • How widespread was the establishment of choirs during this period? • How did the “new music” affect the role of the chazzan? • Is it permissible to borrow non-Jewish tunes and adapt them for the synagogue? According to most halachic sources, when is borrowing non-Jewish tunes not permissable? What are some of the reasons why rabbis of the 17th century criticized the chazzanim?

3. The Influence of Eastern European Chazzanim • There are no study questions on this section.

4. The German Reform Movement • When and where was the first German Reform Temple established? • Which aspects of the traditional synagogue service did the Reform Temples abandon? What changes did they introduce? Salamon Sulzer • Who was Salamon Sulzer? • What innovations did he introduce to synagogue music? Louis Lewandowski • Who was Louis Lewandowski? • What popular work did he compose?

I. The Golden Age of Cantors/Chazzanim in America • What socio-political changes contributed to the influx of chazzanim to America, leading America to become the world center of chazzanus?

1. Yossele Rosenblatt • Why was Rosenblatt considered one of the greatest cantors of all time? • What type of voice have the great chazzanim generally had?

2. The end of an era • What social and other changes led to the decline of chazzanus in America, particularly in Orthodox synagogues?

3. The Modern Cantorate / 4. Congregational Singing There are no study questions on these sections.

PART 3: JEWISH FOLK MUSIC AND CONTEMPORARY MUSIC

• How is Jewish folksong distinct from the folksong of other peoples?

Common themes. • What are some common themes of Jewish folksongs?

A. Zemiros • What are zemiros? When are they usually sung? • How do we know the names of the authors of zemiros?

1. Shalom Aleichem • When is Shalom Aleichem sung? • What is it about?

2. Well-known zemiros • Who composed Dror Yikra? • Who composed Tzamah Nafshi and Ki Eshmerah Shabbos? • Who composed Yedid Nefesh? • Who composed Askinu Seudasa? • Who composed Kah Ribbon?

B. Sephardic and Ladino Folksongs • How did the Ladino language came into being? • What are the Eastern and Western traditions in Sephardic music?

Modern Mizrachi music • What is Mizrachi music?

C. Ashkenazi Folk Music

1. West European folksongs • What were the general themes of the lyrics of the Judeo-German folksongs? • What was the origin of the tunes of these folksongs?

2. Eastern European Yiddish folksongs • In what way were the folksongs of the Jews of Eastern Europe more genuinely of a folk character than those of Western Europe? • How did the Yiddish language come into being? • Which Jews are credited with the creation of Yiddish folksong?

3. Badchanim • What is a badchan? • What was his role at a wedding and what sort of songs would he usually sing there?

D. Klezmer • What is the meaning of the term klezmer? • What type of music did klezmer bands originally play? • Where did they play their music?

1. Instruments • Which instruments were traditionally favored by klezmer bands and why?

2. Style • What are some characteristics of klezmer music?

3. Modern klezmer • Which genre of music was a major influence on klezmer in the United States? • In what period was there a klezmer revival? • Who is credited with bringing about the renaissance of klezmer? What instrument does he play? • Who is Chilik Frank?

E. Chassidic Song • What is the attitude of Chassidism toward music? • How did the niggunim of the Chassidic Rebbes spread throughout Eastern Europe?

1. Niggunim • According to Chassidism, why are songs without words often preferred over songs with words? • What vocal sounds often accompany niggunim?

2. Styles • There are no study questions on this section.

3. Making holy the profane • What is the Chassidism’s approach to “borrowing” non-Jewish melodies? • What is the reasoning behind this practice?

4. Chassidic courts of music a. Kaliver niggunim • According to the first Kaliver Rebbe, what was the original source of the non- Jewish tunes that he adapted? b. Chabad niggunim • What was the purpose of the unique tunes created by Chabad Chassidism? c. Music of Modzitz • What was the influence of the Modzitz court on the musical life of Eastern European Jewry? • How were the Rebbes of Modzitz involved with music? d. Music of Belz Chassidim • Why did the Belzer Rebbe recently introduce music into his Chassidus?

F. Israeli Folksong • What was the subject matter of the early Zionist songs, and of the patriotic songs post-1948?

• What was the attitude of the Zionist establishment to music?

Popular songs • What is the name of the Israeli National anthem? • What are some other popular Israeli tunes?

G. Contemporary Music

1. Jewish music in the 1960s , 1970s, and 1980s a. Shlomo Carlebach • Who was Shlomo Carlebach? • What were some of his nicknames? • How did he use his music to influence non-religious Jews? • How was Carlebach’s music different than the Jewish music from before his time? • How can his music be described? • From where did he draw the lyrics in his songs? • What was the impact, popularity, and legacy of his music? b. Early Jewish Music Groups of the Contemporary Era (Post-Carlebach) • Which musical groups followed Carlebach? • What was the background of these musicians? • What was unique about the Diaspora Yeshiva Band’s music? • Who was Moshe Yess? What was his duo called? What was his most famous song? • What are examples of boys’ choirs? Where do they perform? • Who are the Piamentas? How can one describe their style of music? • What is Shlock Rock?

2. Jewish music (1990s through today) a. Yeshivish music • What is the background of the singers in this genre? • Who are some popular, contemporary Jewish music singers?

b. Choirs • What are examples of boys’ choirs? (Also see section 1b.above.) c. A cappella • What is a cappella music? • What are some contemporary Jewish music groups that sing a cappella? d. Rock • What is Reva L’Sheva, and what type of music do they play? • What are some contemporary Jewish rock groups?

• Profiles of Singers/Songwriters a. Abie Rotenberg • Who is Abie Rotenberg? • How can one describe his style of music? b. Mordechai Ben David • Who is Mordechai Ben David? What is his real name? What is his nickname? • How can one describe his style of music? c. Avraham Fried • Who is Avraham Fried? • How can one describe his style of music? d. Yaakov Shwekey • Who is Yaakov Shwekey? • What are two of his most famous songs?

3. Modern Israeli Music • What types of music have influenced Modern Israeli music?

• Profiles of Singers/Songwriters a. Shuli Rand • Who is Shuli Rand? • How can one describe the style and content of his music?

b. Gad Elbaz • Who is Gad Elbaz? • What was his first smash hit?

4. Lyrics from Torah pesukim • What would be the reason to forbid singing songs with lyrics from Torah verses? • What is the justification for singing songs with lyrics from Torah verses?

5. The Influence of Non-Jewish Music on Contemporary Jewish Music • What made Rabbi Elisha Ben Avuyah lose his faith? • How can music influence a person spiritually? a. Secular lyrics • Is it permissible to listen to modern secular songs? b. What is authentic Jewish music? • How has modern Jewish music been influenced by non-Jewish music? • Is it permissible to listen to secular tunes that have Jewish lyrics? • What is the argument to forbid non-Jewish music today, despite the fact that in the past non-Jewish music with Jewish lyrics was even sung in the synagogue? • What is authentic Jewish music? • Why is it sometimes difficult to distinguish between Jewish and non-Jewish music (or to determine whether or not a song is “Jewish”)? • What have rabbis said recently about music at Jewish weddings?

In Conclusion: Jewish Music of the Future • There are no study questions on this section.

Key Terms

[People, Songs, and Concepts] a cappella Elisha Ben Avuyah Abie Rotenberg Festival tunes Adi Ran Flute (chalil, pl. challilim) Adon Olam Folksong Adonai Malach Gad Elbaz Ahavah Rabbah General Torah melody Alter Rebbe’s Niggun German Reform Movement Antiphony Giora Feidman Ari Zal (Rabbi Yitzchak Luria) Golden Age of Cantors Ashkenazi melodies for te’amim Greek Music Askinu Seudasa HaAzinu Avraham Fried Haftorah melody Badchan (pl. badchanim) Harmony Bakashot Hallel Benny Friedman HaMelech (Festival Tune) Boys’ choirs Harp Cantillation (te’amim) HaTikva Chabad niggunim Israeli folksong Chaim Adler Jewish folk music Chassidic song Kabbalists of Safed Chazzan (pl. chazzanim) (cantor) Kabbalas Shabbos Chazzanus Kah Ribbon Chilik (Yechiel) Frank Kaliver niggunim Choirs Ki Eshmerah Shabbos Cymbals (metzaltayim) Kinor Dance Klezmer Diaspora Yeshiva Band Kohen Gadol’s me’il robe Dror Yikra Kol Nidrei Drums (tof) Ladino Eastern European folksongs Lecha Dodi

Louis Lewandowski Rabbi Eliezer Kallir Lyrics from Torah verses (pesukim) Rabbis’ Sons Maccabeats Rashi and the Rishonim Magen Avos Reva L’Sheva Magrephah Rhythmic music Maharil’s influence on synagogue music Rock music Megama Salamon Sulzer Miami Boys’ Choir Salomone Rossi Mizrachi music Secular lyrics Modal music Sefer Tehillim Modern Israeli music Sepharadi-Yerushalmi melody Monophony Sephardic and Ladino folksongs Mordechai Ben David (MBD) Shaliach Tzibur Moshe Yess Shalom Aleichem Music and prophesy Shemoneh Esrei Music at weddings Shir HaShirim Music in secular settings Shirah (and the ten divinely inspired Music of Belz Chassidim songs) Music of Modzitz Shirah at the Yam Suf Music that enhances a mitzvah Shlock Rock Musical instruments in the Beis Shlomo Carlebach HaMikdash Shofar My Zaidy Shuli Rand Nevel Shevarim Niggun (pl. niggunim) Song of the Levi’im in the Beis HaMikdash Paytan Te’amim (cantillation marks) Percussion instruments Tekiah Perek Shirah Tiberian system of te’amim Piamentas The Song of the Well Piyut (pl. piyutim) Tenor voice Pizmon (pl. pizmonim) Teruah Polyphonic Tof Prayer Modes Trop Prohibition against music Trumpets (chatzotzaros)

Tz’arei (pain causers) Yeshiva Boys Choir Tzamah Nafshi Yeshivish music Ugav Yiddish folksong Unesaneh Tokef Yossele Rosenblatt VeHakohanim Yaakov Shwekey Yuval Yedid Nefesh Zemer (pl. zemiros)

- CD Selections -

This study pack comes with a CD of Jewish music. These 60 selections correspond to the various kinds of Jewish music described in the TAL Reader, and are referred to in the text by a music note symbol and the number that refers to the list of titles that follows. During the exam, you will listen to 10 excerpts from these music selections, and will need to answer a multiple choice question about each one. You will be asked questions that require you to: • identify the different shofar sounds — that it is tekiah, shevarim, or teruah. • identify the different types of readings from Tanach (Krias HaTorah and Haftorah) — that it is an Ashkenazi Torah reading, Sefardi Torah reading, Ashkenazi rendition of Megillas Esther, Sefardi rendition of Megillas Esther, or a reading of Megillas Eichah. • place a song into the category of music in which it belongs — that it is klezmer, a Chassidic niggun, a Ladino folksong, a Yiddush folksong, Israeli folk music, Yeshivish music, a cappella, Jewish rock, etc. For example, if you hear a clip of chazzanus, you should be able to identify the piece of music as chazzanus and not klezmer, etc. Similarly, if you hear a clip of klezmer music you should be able to identify it as such. • categorize songs according to their function. For example, which songs are considered synagogue music, which are folk songs, and which are Shabbos zemiros. • recognize Carlebach songs as Carlebach songs

Aside from Carlebach songs which have the unique sound known as Carlebach-style music, you are not expected to be able to identify an individual piece of music by the specific group, singer, composer, or year. NOTE: These guidelines for Listening Questions do not apply to the other sections of the exam. Thus, if there is a study question about a specific piece of music, such as knowing that Yess’s most famous song was “My Zaidy”, then you are of course expected to answer multiple choice and short answer questions related to that specific information. You will not, however, have to listen to part of “My Zaidy” and be asked to identify it as Moshe Yess’s song. The following is a list of the songs (or pieces of music) that are found on the CD. They

JewishMusicElemSP v01 Page 23 of 35 © 2019 by Torah Accreditation Liaison. All Rights Reserved. Elementary Jewish Music are listed in the order in which they are arranged on the CD. Note: For each title in the list there is related information about the song (or piece of music) in parenthesis, such as when the song was recorded. Complete information was not always available, despite efforts to research and present accurate sources. Dates when the song was produced (not the date the song was written or composed) are noted; approximate dates are marked with a “c.” (abbreviation for circa). It is important to note that you will not necessarily be asked any questions about the information in parenthesis or even the song titles. You will only be asked questions that follow the above guidelines.

Shofar

1. Shofar (tekiah, shevarim, teruah) 0:36

Te’amim 2. Krias HaTorah Ashkenazi 0:55 3. Kriat HaTorah Sefardi 1:16 4. Megillas Eicha Ashkenazi 1:28 5. Megillas Esther Ashkenazi 1:44 6. Megillas Esther Sefardi (Moroccan) 1:09

Chazzanus 7. Al Chet (c. 1920s, siddur, Yossele Rosenblatt) 4:23 8. Anenu (c. 1950s, siddur, Moshe Koussevitsky) 7:04 9. Unesaneh Tokef (c. 2000, machzor, Chaim Adler) 8:07

Synogogue 10. Adon Olam (first section, c. 2008, singer: Yossi Azulay, second section, singers, Pestivals) 1:57 11. Yigdal (singer: Uri Brenner) 4:09 12. Al Naharot Bavel (composer: Salomone Rossi) 2:26

13. Seu Shearim (composer: Louis Landowski, singers: Ramatayim Choir) 3:30

Kabbalos Shabbos/Zemiros 14. Lecha Dodi (unknown) 4:35 15. Dror Yikra (singer: Tzion Golan) 2:02 16. Boruch Kel Elyon (singers: Camp Sdei Chemed choir) 2:03 17. Yom Zeh L’Yisrael (2011, singer: Asaph Naveh Shalom) 7:00

Piyut 18. Simchu Na (c. 1980s, words: Ben Ish Chai, singers: Shlomo Mualem and David Haba) 2:44

Festival Songs 19. Al HaNissim (1974, melody: Dov Frimer, singer: Izhar Cohen) 3:18 20. Maoz Tzur (Shmusic) 5:40 21. Echad MiYodea 1:17

Ladino Folksong 22. Avraham Avinu (singer: Yehoram Gaon) 2:20

Yiddish Folksongs 23. Oifen Priperchik (c. 1880, words: M.M. Warshavsky, singer: Dudu Fisher) 1:50 24. Unzer Shtetl Brent (1938, song: Mordechai Gebertig) 3:44

Klezmer 25. Klezmer’s Freilach (2008, clarinetist: Giora Feidman) 3:52 26. Unzer Toyrele (2008, musicians: Shtetl Band Amsterdam) 2:39 27. Chabad Niggun Simcha (musicians: Lev V’Maayan, clarinetist: Chilik Frank) 3:18

Chassidic Music 27. Chabad Niggun Simcha (see above) 3:18 28. Bobover Mitzva Tantz (Bobov) 2:24 29. Alter Rebbe’s Niggun (Lubavitch) 3:05 30. Berditchever Niggun (Berditchiv) 2:27 31. Gerrer March (Ger, singers: Shira Choir, musicians: Aaron Teitlebaum Orchestra) 1:16 32. Modzitzer Lecha Dodi (Modzitz) 2:09 33. Shabbat Kodesh (Breslov, pianist and singer: Asaph Neve Shalom) 3:21

Israeli Music 34. Sisu Et Yerushalayim (1972, Melody: Akiva Nof, Singers: Darom Duo) 3:33 35. Eretz Chalav U’dvash (1956, Melody: Eliyahu Singer, Singer: Shimshon bar Noy) 2:50

Carlebach 36. Od Yishama (c. 1960s, composer and singer: Shlomo Carlebach) 4:24 37. Ki Va Moed (c. 1960s, composer and singer: Shlomo Carlebach) 5:21

1960s-1980 Yeshivish and/or Jewish Folk Music 38. Hal’lu (1967, composers and singers: the Rabbis’ Sons) 3:01 39. Achenu (1971, composers and singers: Rashi and the Rishonim) 3:24 40. Pitchu Li (1980, composers, singers, musicians: Diaspora Yeshiva Band) 3:11 41. My Zaidy (1980, singers and composer: Megama, Moshe Yess) 4:30

1980s Yeshivish and/or Jewish Rock Music 42. Rikud Rishon (1980s, musicians: Piamentas) 2:38 43. Just One Shabbes (1981, Mordechai Ben David) 5:24

44. There’s No Place Like Home (1984, Journeys, composer and singer, Abie Rotenberg) 4:13 45. Lev Tahor (c. 1985, Dveykus, composer and singer, Abie Rotenberg and Label Sharfman) 4:29 46. Avraham Yagel (1988, singer: Avraham Fried) 3:18

1990s-2000s Contemporary Yeshivish and/or Jewish Rock 47. Mi Adir (1997, Aish, composers and singers: Abie Rotenberg and Shlomo Simcha 5:36 48. Ken Tehiyeh Lanu (1990s, composers and singers: Reva L’Sheva) 3:29 49. Anachnu Maaminim (2001, Mordechai ben David) 4:36 50. Atah Kadosh (c. 2004, Adi Ran) 4:37 51. Vezakeni (2006, singer: Boruch Levine) 5:10 52. Rachem (2006, Melody: Pinky Weber, Singer: Yaakov Shwekey) 5:10 53. Ana BeKoach (2007, Shai Barak) 2:34 54. Rak Elokim (2008, Chaim Yisrael) 3:10 55. Od Yishama (2005, musicians and singers: Moshav Band) 4:00 56. Yesh Tikva (2012, Song: Ari Goldwag and Miriam Yisraeli, Singer: Benny Friedman) 3:40

A Cappella 57. HaMalach HaGoel (2010, Maccabeats) 4:39 58. Lo Alecha (2004, singers: Lev Tahor) 3:53

Boys’ Choir Music 59. Shabbos Yerushalayim (1988, singers: Miami Boys Choir) 4:53 60. V’Ohavta (2005, singers: Yeshiva Boys Choir) 3:57

Guidelines For Answering Exam Questions

- Multiple Choice Guidelines - You may find it useful to keep in mind the following general principles when answering multiple choice questions: • Read the question CAREFULLY and make sure you understand what is being asked. • Look for key words or phrases in the question, such as “except,” “most important,” “compare.” • Read all the choices before choosing an answer. • Eliminate obviously wrong choices even if you are not sure what the right answer is. (If you mark the obviously incorrect answers, this will save you time when you come back to re-read the question, as the second time you will only have to consider two or three choices instead of four.) • Skip questions that are very difficult, rather than sitting and agonizing over them, and come back to them at the end. • Pace yourself so that you do not spend too much time on any one question. • If you are not sure of the right answer, make a guess. You do not lose points for guessing.

- Short Answer Guidelines - To receive full credit for an answer, you must provide accurate information. Points are deducted for clearly false or illogical answers. Make sure you answer the question in full. Although strictly speaking, you are not being graded on the mechanics of writing, your overall grade will inevitably be affected by the quality of your writing. Please note that although one spelling error will not count against you, it is important to express yourself clearly, spell correctly, construct grammatically correct sentences, and avoid fragments and run-ons. You should also do your best to write clearly. Illegible papers will not be graded. Scrap paper is available during the examination so you can sketch an outline of your answer before writing the final version in your answer booklet.

- Listening Questions Guidelines - As part of the exam, you will listen to 10 short excerpts of that are from the CD of Jewish Music selections that comes with this study pack, and will need to answer a multiple choice question about each one. It is advisable to read the exam question before listening to the excerpt to see what you will be asked about. For example, the question might ask what type of music the song is and give a number of options. You should consider the options while you listen to the music excerpt. You will then be able to select the option that best answers the question.

Elementary Jewish Music — Sample Examination —

This examination consists of the following three sections:

I. Multiple Choice Answer all 10 questions. (On the formal exam, this section will have 30 questions.)

II. Short Answers Answer all 3 questions. Write answers of about 40 words to answer each question. (On the formal exam, you will choose 10 out of 13 questions.)

III. Listening questions. Listen to the song. You will find it on the CD provided with the study pack. Then answer the related multiple choice question. (On the formal exam, you will be given 10 short music clips to listen to [i.e., excerpts from songs/pieces of music that are on the study pack CD], and will have to answer a multiple choice question related to each one.)

Time: This sample exam should take you about half an hour. You will have one and a half hours to complete the formal exam. The answers to all questions in this sample examination can be found on pages 35-36. NOTES: a. Since you are required to answer in black ink, be sure to bring a black pen to your exam. b. Accustom yourself to outlining your answers on scrap paper and writing essays clearly. Illegible exams will not be graded. c. The lowest passing score on this exam is 70. You will not get credit for a score below 70, though in the case of a failed or illegible paper, you may be able to retake the exam after waiting six months. Grades for transcripts are calculated as follows: A = 90–100% B = 80–89% C = 70–79%

I. Multiple Choice Directions: Answer all of the following 10 questions. For each question, select the best out of the four choices.

1. Who was the first person to invent music? A. Yuval B. Enosh C. Avraham D. Yaakov

2. What musical instruments was it customary to play at family or national celebrations in Biblical times? A. drums (tof) B. harp (kinor) C. pipes/flutes (chalil) D. all of the above

3. Which of the following people is a popular, contemporary Orthodox singer? A. Mordechai ben David B. David ben Avraham C. Avraham ben David D. Yaakov ben Avraham

4. The signs that indicate how to chant the Torah are called A. te’amim B. trop C. neginos D. all of the above

5. Which people sang in the Beis HaMikdash as the daily korbanos (offerings) were offered up? A. Kohanim B. Levi’im C. a select group of Yisraelim D. talented singers selected from all groups

6. Yossele Rosenblatt was a A. cantor B. folk singer C. klezmer musician D. badchan

7. Louis Lewandowski was a A. cantor from the Golden Age of cantors B. composer who published a book for cantors C. singer who combined Jewish music and folk music D. singer who combined Jewish music and rock music

8. Which of the following musical groups plays music that has a sound that combines Carlebach-style melodies with rock music? A. The Rabbi’s Sons B. Lev Tahor C. Reva L’Sheva D. Rashi and the Rishonim

9. Perek Shirah is A. an allegorical love song about the relationship between Hashem and the Jewish people B. a group of verses from Tanach describing how all the creations sing Hashem’s praises C. a set of psalms praising Hashem that are sung on major holidays and Rosh Chodesh D. a song about the miracles that happened during the Jewish people’s exodus from Egypt

10. Which of the following groups sings a capella music? A. Megama B. Maccabeats C. Simply Tsfat D. HaLev V’HaMaayan

II. Short Answer Questions Directions: Answer all 3 questions. Write answers of about 40 words to answer each question.

1. List three of the ten divinely inspired songs that are recorded in the Chumash and Nevi’im.

2. How many times is the piyut Kol Nidrei customarily chanted on Yom Kippur and why?

3. How can Mordechai Ben David’s music be described?

III. Listening Question Listen to the song “Rachem” (song #52 on the CD provided with the study pack).

Question. This song is an example of A. yeshivish music B. rock music C. chazzanus D. klezmer

Elementary Jewish Music — Answer Key —

I. Multiple Choice

Sources 1. A 1:A:1a 2. D 1:A:1b, 2a 3. A 3:G:2 4. D 1:D:intro 5. B 1:B:1 6. A 2:I:1 7. B 2:H:4 8. C 3:G:2d 9. B 1:A:2d 10. B 3: G: 2c

II. Short Answer Questions

1. List three of the ten divinely inspired songs that are recorded in the Chumash and Nevi’im. Three examples of divinely inspired song which are included in the Torah are: Shiras HaYam (at Yam Suf), Shiras HaBe’er (the Song of the Well, praising the well of Miriam), HaAzinu, and Shiras Devorah. [1:A:1d, 2c]

2. How many times is the piyut Kol Nidrei customarily chanted on Yom Kippur and why? Kol Nidrei is recited three times. Each time the chazzan recites it, he does so more loudly than the previous time. The increasing volume is intended to intensify the congregation’s mood of awe as Yom Kippur is beginning. [2:E:1]

3. How can Mordechai Ben David’s music be described? Mordechai Ben David blends traditional Chassidic singing with modern and popular music techniques, including jazz, pop and rock music. Ben David’s music is considered “soul touching” and “spiritually uplifting,” with most of the lyrics based on passages from the Tanach, siddur, and zemiros. (Other songs, composed in English, Yiddish and Modern Hebrew, carry religious themes such as the sanctity of Shabbos and the yearning for Mashiach. Some of his songs have carried political messages.) [3:G:2b]

III. Listening Question

Answer: A.