Tuesday, August 31, 2004
On Singing Pesukim
Here's the post on J- music in halacha promised by Hirhurim.Here's his take on singing pesukim:
The distinction that "Simcha" makes with regard to there being a specific prohibition on turning parts of Shir Hashirim into songs was also made by Rav Moshe ZT"L (Iggeros Moshe Yoreh Deah2:142) where he suggests it as a justification for the common practice of singing pesukim at simchas (which he opposed), but he concludes "v'tzaruch iyun lamekeilim."
Despite this, though, the common practice is to permit the singing of pesukim and most of the music marketed to the Orthodox community does use pesukim as lyrics. I am curious as to sources that explicitly permit this, though, so if anyone has them and could pass them on...
With regard to using pesukim from Shir Hashirim...even though all seem to agree that the Gemara does prohibit this, there are still many Orthodox performers who compose, play, and record songs using texts from Shir Hashirim. Examples of such songs that are frequently played at weddings (or used to be played) include Hashmeini by Shlomo Carlebach, Kol Dodi by D'veykus (or MBD), and Dodi Li.
There is, yet, an additional consideration. The Gemara in Sanhedrin (101a) states that one may not sing verses from the biblical book Shir Ha-Shirim as a song because one is turning holy words into a song. The Ra'avyah extends this to all biblical verses. However, my impression (and I believe I heard this in the name of R. Yoshe Ber Soloveitchik) is that most posekim reject this extension and apply this statement only to Shir Ha-Shirim. It is very easy to take that particular book out of context and use it as a love song. This is obscene and sacrilegious (and I have seen it done, but that is another story). On this, see R. Reuven Margoliyot's Margoliyos Ha-Yam on Sanhedrin 101a.I don't know where he gets the idea that most poskim reject the Ra'avyah's view. In fact, Rashi on the daf holds that the prohibition applies to all of Torah.
The distinction that "Simcha" makes with regard to there being a specific prohibition on turning parts of Shir Hashirim into songs was also made by Rav Moshe ZT"L (Iggeros Moshe Yoreh Deah2:142) where he suggests it as a justification for the common practice of singing pesukim at simchas (which he opposed), but he concludes "v'tzaruch iyun lamekeilim."
Despite this, though, the common practice is to permit the singing of pesukim and most of the music marketed to the Orthodox community does use pesukim as lyrics. I am curious as to sources that explicitly permit this, though, so if anyone has them and could pass them on...
With regard to using pesukim from Shir Hashirim...even though all seem to agree that the Gemara does prohibit this, there are still many Orthodox performers who compose, play, and record songs using texts from Shir Hashirim. Examples of such songs that are frequently played at weddings (or used to be played) include Hashmeini by Shlomo Carlebach, Kol Dodi by D'veykus (or MBD), and Dodi Li.
Classical vs. Country
The Shaigetz is comparing the music of Daniel Barenboim and Borat. Guess who comes out ahead!
Sunday, August 29, 2004
Hirhurim Mutarim!
Hirhurim on "Contemporary Jewish Music":
1) One person raises the issue of the prohibition against “shirei agavim.” (I think his classification of all rock music as such is mistaken). He also asserts that it’s “better to put J lyrics (but not pesukim) to classy Gospel tunes.” This is something that is more clearly problematic. Finally, he raises the issue of zecher l’mikdash and whether or not it is permissible to listen to music b’zman hazeh.
2) Another commenter raises the issue of "assuni banecha k'kinor".
3) A third party asks if there are any halachik restrictions on listening to Carlebach music.
In response, Simcha writes:
With regard to Shirei Agavim:
Krach Shel Romi
Yechave Da’as (vol.2:5)
Tzitz Eliezer (vol.13:12)
With regard to listening to religious music:
Sefer Hachassidim (238) (There are varying versions of the text. It’s in the Mossad Rav Kook edition.)
Iggeros Moshe (Yoreh Deah 2:111)
On listening to music nowadays:
Sotah 48A
Gittin 7A
(See Rashi, Tosafos, and the Meiri there. Also see the Hagahos Rema on the Mordechai).
Rambam (Hilchos Ta’anis 5:14)
Note: There are three different ways to interpret Rambam’s position, Tur, Ma’aseh Rokeach, and Kneses Hagedola.
Shulchan Aruch (Hilchos Tisha B’av 560:3) (There’s a machlokes between the Mechaber and the Rema.)
Iggeros Moshe (Orach Chaim 166 and Orach Chayim vol. 3:87)
Az Nidberu (vol.8:58)
On singing pesukim:
Sanhedrin 101A
See Rashi and Iggeros Moshe (Yoreh Deah vol.2:142)
With regard to Carlebach music:
Iggeros Moshe Even Haezer 96 is alleged by some to have been about Carlebach, but it does not name him.. The teshuva is titled: “Bidvar Nigunim Sheasa Adam Kasher Sheachar Zman Niskalkel V’sani Shumaneih Im Yesh L’nagnam Al Chasunos."
Some of the best and nicest Jewish bloggers are the Jewish Music bloggers. Ever since I started following blogs I have seen the JM-bloggers railing against certain musicians who appear to be ruining Jewish music. As a consumer rather than a producer of Jewish music, allow me to respectfully voice a different opinion...
...I listen to music for two reasons - to inspire me and to entertain me. Inspiring music is of the Carlebach or Regesh variety (maybe even hazzanus) - frequently slow, the tune fits the words, everything comes together and uplifts the soul. Entertaining music is anything that entertains me. Many years ago, it would have been Billy Joel or the Police. Nowadays, it is only Jewish music but really anything that sounds good and does not have filthy or stupid lyrics. If the tune does not fit the lyrics, I don't care. I just want a decent song in my head to relax me. I'd pull out an old Billy Joel tape except his songs are almost all about peritzus or narrishkeit. I listen to this kind of music when I'm driving tired or am simply trying to relax after an exhausting week. I don't care if the melody is simple or anything like that. I would not even notice if the song is slightly off-key...
...Music that is fun and relaxing - and does not have filthy or idiotic lyrics - is OK in my book. Cultural biases about what kind of music is entirely unacceptable (as a child of the 70s and 80s, I find disco beats and electric guitar solos to be offensively "goyish," particularly at weddings) are just a way of old people like me being old-fuddy-duddies and complaining about kids today and their loud music.The commentors on this post raise a number of potential halachik issues.
1) One person raises the issue of the prohibition against “shirei agavim.” (I think his classification of all rock music as such is mistaken). He also asserts that it’s “better to put J lyrics (but not pesukim) to classy Gospel tunes.” This is something that is more clearly problematic. Finally, he raises the issue of zecher l’mikdash and whether or not it is permissible to listen to music b’zman hazeh.
2) Another commenter raises the issue of "assuni banecha k'kinor".
3) A third party asks if there are any halachik restrictions on listening to Carlebach music.
In response, Simcha writes:
Posts on halakhah require more preparation than this one had. B"n sometime this weekend I'll address the halakhic issues (rightly) raised in these comments.In the interest of helping out a fellow blogger, here are some sources on these issues.
With regard to Shirei Agavim:
Krach Shel Romi
Yechave Da’as (vol.2:5)
Tzitz Eliezer (vol.13:12)
With regard to listening to religious music:
Sefer Hachassidim (238) (There are varying versions of the text. It’s in the Mossad Rav Kook edition.)
Iggeros Moshe (Yoreh Deah 2:111)
On listening to music nowadays:
Sotah 48A
Gittin 7A
(See Rashi, Tosafos, and the Meiri there. Also see the Hagahos Rema on the Mordechai).
Rambam (Hilchos Ta’anis 5:14)
Note: There are three different ways to interpret Rambam’s position, Tur, Ma’aseh Rokeach, and Kneses Hagedola.
Shulchan Aruch (Hilchos Tisha B’av 560:3) (There’s a machlokes between the Mechaber and the Rema.)
Iggeros Moshe (Orach Chaim 166 and Orach Chayim vol. 3:87)
Az Nidberu (vol.8:58)
On singing pesukim:
Sanhedrin 101A
See Rashi and Iggeros Moshe (Yoreh Deah vol.2:142)
With regard to Carlebach music:
Iggeros Moshe Even Haezer 96 is alleged by some to have been about Carlebach, but it does not name him.. The teshuva is titled: “Bidvar Nigunim Sheasa Adam Kasher Sheachar Zman Niskalkel V’sani Shumaneih Im Yesh L’nagnam Al Chasunos."
Friday, August 27, 2004
No More Dirty Looks
Alice Cooper clarifies his position.
I find it ironic that the ads on the side of this article include include one for a Barry Manilow concert, one Night Live" and a performance of Cats.
I find it ironic that the ads on the side of this article include include one for a Barry Manilow concert, one Night Live" and a performance of Cats.
I Want My J-TV
Psycho Toddler has Lenny Solomon's memories of the time Kesher appeared on the Joe Franklin Show.
Thursday, August 26, 2004
Rabbi, Your Speech Was Wonderful!
In reponse to our post, "The Bar Mitzvah Speech", Rhondda writes:
Hi Dm,
It's been my experience in a lot of different communities that Lubavitch rabbis, on the whole get it "right" more often than not. I asked our local one to do a class for the sunday school (this was back when we had a community sunday school; albeit with mostly reform/ not halachically jewish kids) when I was running it; he was fabulous. He explained chabad hassidut in understandable language in a really down-to-earth way. Most impressive. I think that b'c so many chabad families are sent out as "shlichim", they're trained as "salesmen" - and I mean that in a good way - they present the product well, honestly, and without insulting people. And they can do an enormous amount of good.
Sometimes traditional "yeshivish" rabbis, on the other hand, "preach to the choir", and miss opportunities to "sell" frumkeit. They also often lack people skills that are desperately needed in frum communities. As Deng Xiao-Ping once famously said: It doesn't matter if the cat is black or white as long as it catches mice.
More Forthcoming Music
Drummer Aaron Alexander's album of original klezmer/punk/free jazz music, entitled "Midrash Mish Mosh" is out on Tzadik Records at the end of September. You can preview a few of the tracks on his website here. Interesting music by some great musicians!
The band's lineup is:
Merlin Shepherd - clarinet
Greg Wall - sax & clarinet
Frank London - trumpet
Curtis Hasselbring - trombone
Brad Shepik - guitar
Fima Ephron - bass
Mike Sarin - drums (R)
Aaron Alexander - drums (L)
The band's lineup is:
Merlin Shepherd - clarinet
Greg Wall - sax & clarinet
Frank London - trumpet
Curtis Hasselbring - trombone
Brad Shepik - guitar
Fima Ephron - bass
Mike Sarin - drums (R)
Aaron Alexander - drums (L)
Wednesday, August 25, 2004
JM Chesed Stories cont.
We began a series on JM chesed a bit ago with these earlier posts. In this series, our focus is on chesed within the JM community that people aren't aware of. Many people are aware of the numerous performers who give of their time to perform for the sick and/or disabled. We're looking to highlight the areas people are not aware of.
A few more examples:
Some musicians have made themselves available to play for free or at significantly discounted rates in cases of need. One example: A divorced mother who was struggling financially needed to make a Bar Mitzvah for her twin boys. Her Rav spoke to a bandleader about the situation and he agreed to do the affair for very little money. After the bandleader was on board, the Rav recommended the band to this women. To this day, she is not aware that the bandleader and her rabbi had spoken prior to her call, and that she received a tremendously discounted rate.
Some musicians have made strong efforts to reach out to the "at-risk" kids in their communities. In one case that we know of, the bandleader hired one of them as his roadie, bringing him along on gigs and paying him for his help, even though many of those situation didn't require a roadie. I believe that the responsibilty and stability of "doing something" and the friendship and mentoring of the bandleader had a tremendous impact on stabilizing this young man's life.
Many musicians have volunteered their time to perform for free for various tzedaka events and at rallies in support of Israel. Much of the time, these contributions seem to go unnoticed.
There's more... perhaps later.
A few more examples:
Some musicians have made themselves available to play for free or at significantly discounted rates in cases of need. One example: A divorced mother who was struggling financially needed to make a Bar Mitzvah for her twin boys. Her Rav spoke to a bandleader about the situation and he agreed to do the affair for very little money. After the bandleader was on board, the Rav recommended the band to this women. To this day, she is not aware that the bandleader and her rabbi had spoken prior to her call, and that she received a tremendously discounted rate.
Some musicians have made strong efforts to reach out to the "at-risk" kids in their communities. In one case that we know of, the bandleader hired one of them as his roadie, bringing him along on gigs and paying him for his help, even though many of those situation didn't require a roadie. I believe that the responsibilty and stability of "doing something" and the friendship and mentoring of the bandleader had a tremendous impact on stabilizing this young man's life.
Many musicians have volunteered their time to perform for free for various tzedaka events and at rallies in support of Israel. Much of the time, these contributions seem to go unnoticed.
There's more... perhaps later.
What's In A Name?
Found the source for the contemporary minhag of naming new kosher wedding halls in New York Ateres whatever." Its based on the bracha of Kiddush Levana where it says: "Shetischadesh ateres... sheheim asidim l'hischadesh k'mosah."
Seriously, why do people feel compelled to name every new hall Ateres??? In the last few years we've gotten Ateres Chaya, Ateres Shlomo, Ateres Avrohom, Ateres Charna, and Ateres Chynka. If it hasn't happened yet, then its only a matter of time before a lot of people show up at the wrong affair.
Incidentally, I know of instances where musicians got confused and went to the wrong hall. For example, several years back, I was playing at Le Chateau and a trumpet player who was supposed to be at El Caribe walked in and joined us for the badekin.
Seriously, why do people feel compelled to name every new hall Ateres??? In the last few years we've gotten Ateres Chaya, Ateres Shlomo, Ateres Avrohom, Ateres Charna, and Ateres Chynka. If it hasn't happened yet, then its only a matter of time before a lot of people show up at the wrong affair.
Incidentally, I know of instances where musicians got confused and went to the wrong hall. For example, several years back, I was playing at Le Chateau and a trumpet player who was supposed to be at El Caribe walked in and joined us for the badekin.
Tuesday, August 24, 2004
Rabbinic Condemnation
Recently, I spoke with a Rav who teaches Chassan classes and as a result attends weddings quite often. He wanted to know why there are no good new songs.
The Bar Mitzvah Speech
A while back, I posted posted about a speech a Chabad rabbi had given at a Bat Mitzvah I’d played. One reader wrote:
A recent Bar Mitzvah I was at illustrates the point. The Bar Mitzvah boy’s family includes a lot of non-Orthodox relatives from out-of-town. Some are not religious, and some are Conservative. One cousin, himself recently “Bar-Mitzvahed”, is considering attending the local pluralistic Jewish high school in his hometown. His concern, as his mom explained to me, was whether or not he was good enough at the Jewish stuff to attend. I sat next to this boy in shul and his Hebrew reading skills are fine.
When the rabbi got up to speak, he spoke in “Frumspeak, rather than English. The boy turned to me after the rabbi’s speech and said: “I didn’t understand a word he said. It was all conjunctions and “Chhh!” His mom was upset because she thinks that this negative experience could impact on whether or not he decides to go to the Jewish school next year. His confidence definitely took a hit.
I’m not blaming the rabbi for this; he had no way of knowing that aspect of the situation. However, the shiny colorful kippot and colorful prayer shawls at the otherwise Orthodox davening should have tipped him off that a large percentage of the guests would not understand him if he spoke “yeshivish.” As a result, he missed an opportunity to share some Torah and chizuk with people who were open to it. I don’t believe that rabbis necessarily need to dumb down their Divrei Torah for the sake of some less or non-observant relatives, but I do think that a little sensitivity in terms of their presentation can go a long way.
Although I'm somewhat biased being a Lubavitcher, I'd say that Chabad Rabbis like the one at the bas mitzvah "get paid" for not talking down to not so frum people.I happened to have thought that the rabbi involved showed a much greater awareness of his audience then other rabbis in the same situation would have.
A recent Bar Mitzvah I was at illustrates the point. The Bar Mitzvah boy’s family includes a lot of non-Orthodox relatives from out-of-town. Some are not religious, and some are Conservative. One cousin, himself recently “Bar-Mitzvahed”, is considering attending the local pluralistic Jewish high school in his hometown. His concern, as his mom explained to me, was whether or not he was good enough at the Jewish stuff to attend. I sat next to this boy in shul and his Hebrew reading skills are fine.
When the rabbi got up to speak, he spoke in “Frumspeak, rather than English. The boy turned to me after the rabbi’s speech and said: “I didn’t understand a word he said. It was all conjunctions and “Chhh!” His mom was upset because she thinks that this negative experience could impact on whether or not he decides to go to the Jewish school next year. His confidence definitely took a hit.
I’m not blaming the rabbi for this; he had no way of knowing that aspect of the situation. However, the shiny colorful kippot and colorful prayer shawls at the otherwise Orthodox davening should have tipped him off that a large percentage of the guests would not understand him if he spoke “yeshivish.” As a result, he missed an opportunity to share some Torah and chizuk with people who were open to it. I don’t believe that rabbis necessarily need to dumb down their Divrei Torah for the sake of some less or non-observant relatives, but I do think that a little sensitivity in terms of their presentation can go a long way.
How To Be A Good Music Consumer
I've been meaning to write a guide to being a good music consumer for a while, but haven't had the time. In the meantime, here's one idea.
Recently, I received a call from a man who'd taken my card at a wedding our band played two years ago. He was calling because his son had recently gotten engaged and he wanted to book our band for the affair. He explained that he'd taken our card and made some notes on it at that event and that was why he was calling us. He then read us the notes he'd jotted down at that affair:
In the past, I've recommended that people take a note of bands that are playing too loudly and refrain from patronizing them. If you're at an event where the band is particularly bad -- and we've all been at such events -- by all means take note of that as well. In that case, though, it's unethical to ask the band for their card.
Recently, I received a call from a man who'd taken my card at a wedding our band played two years ago. He was calling because his son had recently gotten engaged and he wanted to book our band for the affair. He explained that he'd taken our card and made some notes on it at that event and that was why he was calling us. He then read us the notes he'd jotted down at that affair:
jazzy, talented, low volume, creative, leibidikThis is a great idea. I'd like to suggest that if you're at an affair and you're enjoying the music, then take the band's card and jot down what about their performance you liked. Keeping a file of these cards will help to ensure that you remember (and consider) them when you are planning your own simcha!
In the past, I've recommended that people take a note of bands that are playing too loudly and refrain from patronizing them. If you're at an event where the band is particularly bad -- and we've all been at such events -- by all means take note of that as well. In that case, though, it's unethical to ask the band for their card.
Monday, August 23, 2004
Gotta Love Those Faux Kasketlich!
Ben Chorin on the Safed Klezmer festival:
For all the Jewish music afficianados, I'll just say that the Klezmer thing reminded me of the San Gennaro festival I would occasionally stumble into in Little Italy in the olden days. Big crowds eating greasy and/or sugary food with the occasional musical performance. The only good news was that the Little One made it to the bathroom in the nick of time and I talked all the progeny out of cotton candy. And I did get to hear a fiddler on a roof play a medley from... Let's just forget the whole thing.
Under The Chupa
Baynonim is complaining about weddings including the singing under the chupa.
Singers who won't coordinate: A friend of the couple, usually, is chosen to sing the two boruch habas and, perhaps, an Im eshkochaich too Does the singer/friend ever meet with the band beforehand to discuss pacing and keys? Does he even let the band know the tune he'll use? No. Of course not. He just gets up and starts to sing; after a few chords the band picks it up and fills in a few weak background notes. How hard would it be to do it right? How hard could it be to make it look as if this wedding element was given some thought?In my experience, some type of conversation about which melody is being used does frequently occur during the smorg, but the point still stands. Its better to let the band know in advance --meaning before the affair -- so that if it's a song they either don't know or haven't played in a while, they can review it and/or bring the sheet music.
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