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Mouths Filled with Song: British Reform Judaism Through the Lens of Its Music

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Mouths Filled with Song: British Reform Judaism Through the Lens of Its Music Durham E-Theses MOUTHS FILLED WITH SONG: BRITISH REFORM JUDAISM THROUGH THE LENS OF ITS MUSIC BORTS, BARBARA How to cite: BORTS, BARBARA (2014) MOUTHS FILLED WITH SONG: BRITISH REFORM JUDAISM THROUGH THE LENS OF ITS MUSIC , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10797/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 MOUTHS FILLED WITH SONG: BRITISH REFORM JUDAISM THROUGH THE LENS OF ITS MUSIC Barbara Borts A thesis submitted in fulfilment of the requirements For the degree of Doctor of Philosophy Department of Theology and Religion, Durham University 2014 1 | P a g e ABSTRACT The Movement for Reform Judaism [MRJ] - has been undergoing substantial changes in its style and patterns of worship. The introduction of a new prayer book has been accompanied by a pronounced focus on the music of the various synagogues, as a key element in the re- envisioning of prayer and spirituality in 21st century congregations. These have taken place within the context of the wider context of synagogue renewal, which surfaced first in the USA as Synagogue 2000 (now Synagogue 3000), entailing study, reflection and implementation of a variety of different changes in the hope of attracting and retaining Jews in synagogue services. This thesis focuses on the relationship between forms of liturgical and ritual music and patterns of spirituality and identity within the UK Reform Jewish world during a period of significant social change. ‘Getting the music right’ is, for some, a major aspect in synagogal renewal and commands a central place in the focus on Judaism into the twenty-first century. Focusing on attitudes towards and experiments with music afford a distinctive manner to access the complexities involved in the interplay of diverse community traditions and contemporary pressures for change. The complexities of this examination are mirrored in the interdisciplinary perspective of this thesis, as it encompasses the theoretical resources of theological, historical, and social scientific disciplines. Through the historical expansion of the movement, and the synagogues in which I have engaged in ethnographic research, we will note the shifts in movement and synagogal musical cultures, each affording a unique perspective on music in worship. Each helps to elucidate a little bit what constitutes the perspectives and preoccupations of the Anglo-Reform Jewish world. 2 | P a g e Table of Contents ABSTRACT ............................................................................................................................... 2 List of Diagrams and Illustrations.............................................................................................. 8 Declaration ................................................................................................................................. 9 Copyright ................................................................................................................................... 9 Acknowledgements .................................................................................................................. 10 TRANSLITERATIONS AND TRANSLATIONS.................................................................. 11 DEDICATION ......................................................................................................................... 12 CHAPTER ONE - OVERTURE ............................................................................................. 13 1.1 Genesis of an Idea ....................................................................................................... 13 1.2 Declining Appearances ............................................................................................... 13 1.3 Who, What, and How? ................................................................................................ 16 1.4 Why Music? ................................................................................................................ 18 1.4.1 Music and Emotions ............................................................................................ 19 1.4.2 The Functions of Music ....................................................................................... 20 1.4.3 Music and Synagogue Transformation ................................................................ 25 1.4.4 Contemporary Musical Transformation ............................................................... 26 1.4.5 Musical Renewal in the Contemporary Reform World ....................................... 27 1.4.6 Jewishness of Music ............................................................................................ 29 1.5 Research Methodology and Issues .............................................................................. 31 CHAPTER TWO – REFORM JUDAISM: FROM TEMPORALITY TO SPATIALITY, FROM OBLIGATION TO CHOICE ...................................................................................... 35 2.1 Overview ..................................................................................................................... 35 2.2 The Separate Sphere Known as ‘Religion’: The Place of Ritual Practice .................. 35 2.3 Informed Choice; Ritual Meaningfulness ................................................................... 36 2.4 The Ascendancy of Space over Time ......................................................................... 37 2.5 The Attenuation of Worship ....................................................................................... 39 2.6 Prayer Language: The Words of our Mouths ............................................................. 40 CHAPTER THREE - A MUSICAL HISTORY OF THE UK REFORM WORLD ............... 43 3.1 The Inception of this Chapter ..................................................................................... 43 3.2 Introduction to Reform Judaism In Great Britain ....................................................... 44 3.3 The Founding of the West London Synagogue Of British Jews ................................ 46 3.4 West London Synagogue Forms of Prayer ................................................................. 47 3 | P a g e 3.5. Choir, Organ, and Songbooks .................................................................................... 48 3.6 The Music of Bevis Marks at WLS ............................................................................ 51 3.6.1 Westernizing Jewish Liturgical Music................................................................. 53 3.7 Verrinder’s Contribution ............................................................................................. 54 3.7.1 The Place of Music at WLS ................................................................................. 56 3.7.2 Verrinder’s Musical Influences............................................................................ 57 3.7.3 Congregation Reception ....................................................................................... 58 3.7.4 Performance ......................................................................................................... 59 3.7.5 Decision-Making.................................................................................................. 59 3.7.6 Music is a Thing of Beauty .............................................................................. 60 3.8 Percy Rideout and Maurice Jacobson ......................................................................... 62 3.9 Marc Raphael .............................................................................................................. 65 3.9.1 The Hymnal ..................................................................................................... 66 3.9.2 Raphael and Richardson ...................................................................................... 69 3.10 Sydney Fixman, Arnold Richardson and Christopher Bowers-Broadbent ............... 70 3.11 The Other Founding Synagogues.............................................................................. 71 3.11.1 Bradford Congregation ...................................................................................... 71 3.11.2 Northwestern Reform Synagogue – Alyth Gardens .......................................... 72 3.12 The Association of British Synagogues .................................................................... 75 3.13 The Association of Synagogues of Great Britain ..................................................... 75 3.14 The RSGB – Reform Synagogues of Great Britain .................................................. 77 3.15 The Music Committee – First Iteration – The Music Index ..................................... 77 3.16 Prayerbook Revision 1977 ........................................................................................ 80 3.17.1 The Music Committee
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