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September 13, 2012 - Image 97

Resource type:
Text
Publication:
The Detroit Jewish News, 2012-09-13

Disclaimer: Computer generated plain text may have errors. Read more about this.

note, or `do:"
According to Sinclair, the shofar's
influence made its way into other
music forms after the Second Temple
was destroyed in 70 C.E.
"When the Romans burned the
House of God and exiled the Jewish
people, they also exiled our music," he
says. "They took it into captivity and
made it sing for a new master'
Specifically, early Christians, who at
the turn of the Common Era were still
a fringe sect of Judaism, incorporated
music they heard in the Temple into
their own practice. As Christianity
developed in Rome, the orches-
tral psalms of the Levites blended
with Grecian influences to form the
Freddie Mercury led Queen into musical
Gregorian chant. Like the music of the
glory
with countless powerful rock bal-
Temple, Gregorian chants had a single
lads
that
may have evolved from a very
melody, based on a diatonic scale.
familiar instrument.
"The mesmerizing quality of the
to isolate the exact effect of the shofar,
chant comes from an exquisite longing
it has surely left its mark on songs like
always to return to the root note of the
"Bohemian Rhapsody": Containing a cap-
scale, the tonic—to return to 'do': Sinclair
pella,
ballad, opera and hard-rock sections,
says.
the song is an elemental depot of all musi-
Gregorian chants laid a foundation for
cal forms built upon Temple music, even
Renaissance music, which built on Temple
ending gracefully on "do."
music's monophonic form by adding har-
In the words of Sinclair, "Music can
monies and multiple layers of interwoven
come to us like a familiar voice caressing
melodies. The subsequent Classical Period
employed instrumental melody-dominated our souls with the shared knowledge of
our deepest sadness, and it can fly with our
homophony, adding chordal support to
highest elation. Music consoles and exalts
Temple music's single-melody form. Most
only because it, itself, can connect to the
popular music today uses melody-domi-
two extremities of feeling."
nated homophony, with one voice accom-
panied by chordal instrumentation.
Jacob Nash is a freelance writer and owner of
Contemporary genres — jazz, blues,
BandBrands.net Graphic Design. His hobbies
rock, pop, hip-hop, etc. — blend features
include songwriting and spectator collegiate
of ethnic and cultural folk rhythms with
Quidditch.
components of the Temple's, and the sho-
far's, musical legacy. While it is difficult

L'Shanah
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gweet Sosentias

ltzhak Perlman and Cantor Helfgot

tions of the music.
CD selections include a stately and dra-
matic arrangement of "Sheyibone Bays
Hamikdosh:' a tune Perlman remembers
from Shabbat morning prayers in Israel; the
operatic "Shoyfer Shel Moshialch:' written by
Abraham Goldfaden, father bf the Yiddish
theater; the shepherd's lament "Romanian
Doyne"; "Dem Trisker Rebn's Nign:' a song
Perlman learned from his klezmer collabo-

rators; "Mizmor L',Dovid:' a setting of Psalm
23; and "A Dudele which comes from the
folk rather than the liturgical tradition.
The album wraps up with "Kol Nidrei:'
the famous prayer for Yom Kippur, in a
simple chamber-music setting that contrasts
tastefully with past grandiose arrangements
familiar to fans of singers like Richard
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September 13 - 2012

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