The World of Jewish Music

By Dr. Marsha Bryan Edelman

During two thousand years of exile from Zion, Jews have become citizens of the world, absorbing the sounds of the larger majority cultures among whom they have lived.  The result is a wide variety in “traditional” Jewish musical forms and styles.  Let’s sample a few, just enough to provide a taste of the “world of Jewish music” and the many different sounds that are regarded as “traditional.”
 
The first sample is from the Sabbath morning service, a setting of the well-known piyyut (liturgical poem) Ein Keloheinu.  This is a version sung by the Jews of Morocco; although it might not be “traditional” to play instruments during a prayer service, the inclusion of accompanying instruments on this recording gives us a taste of the musical milieu that inspired the tune.

Example 1: Ein Kelohenu
 
With much attention focused these days on Baghdad, it is appropriate for us to explore music that had its roots in Babylonia (once a hub of Jewish life and learning).  The Jews of India (a now-dwindling community, as most of its members have moved to Israel) trace their heritage to Iraq, but have absorbed the sounds of their adopted home as well.  This anonymous text from the Rosh HaShanah liturgy asks God to “remember to have mercy on the day of judgement.”
 
Example 2: Hon Tahon
 
As the “global village” continues to shrink, we remarkably find Jews in new corners.  The Abayudaya of Uganda actually came to Judaism early in the 20th century, influenced by the philosophy of a local leader who adopted a form of Biblical Judaism after becoming disillusioned with the Christianity to which he had been exposed.  Occasional contact with Jewish travelers provided insights into mainstream Jewish practice, and the members of the community became increasingly familiar with the Hebrew language, and eventually, with musical practices of Jews from North America who visited the region.  However, the Abayudaya feel strongly that their own music, much influenced by the Luganda language and by local African culture (as well as Protestant hymn-singing) remains an important element of their tradition.  One leader of the community explained, “We need to sing our own traditional music… Why did God place some Jews in Uganda and some in America?  I think the purpose was to make it a colorful world.  We are one people, but like Jacob’s coat, we are a coat of many colors.”
 
Listen now to this “colorful” setting of Psalm 136.  The recurring refrain “God’s mercy endures forever” lends itself to the traditional “call and response” form popular among youth choirs and evangelical churches in the region, and sung in Luganda, the casual listener would find little to distinguish this song as part of Jewish practice.  However, the Abayudaya substitute the Hebrew word “Adonai” for the parallel Luganda word,  “Mukama” since that term is used by Christians to refer to Jesus.  In addition, the Abayudaya observe the traditional prohibition on the use of instruments on the Sabbath, but happily accompany their liturgical songs when they are sung at weddings and other community celebrations.  This recording includes several a cappella verses, then segues to a series of verses accompanied by electric keyboard, guitars, drums and the nine-stringed harps (adungu) native to the region.
 
Example 3: Psalm 136