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Drash
for Shabbat B'Shalach Parshat B’Shalach and its corresponding Haftara contain two beautiful examples of ancient Near-Eastern heroic or epic poetry or song in the Song at the Sea and the Song of Devorah. While I could say a lot about the texts themselves, I find that what interests me more now is the association of Shabbat Shira, when this section is read, with Jewish liturgical musical performance and what Jewish music is or is not in contemporary society. Just what is Jewish music? I have often wondered what the criteria is for music to be called Jewish? Does it only have to be written by a Jew? If that’s all, what do we do with the pieces like White Christmas or Easter Parade that are composed by a Jew but are not Jewish at all in theme? So that is out. Does it have to be both written by a Jew and have a Jewish theme? If so then we lose out on numerous beautiful pieces such as Sing Unto God from Judas Maccabeus by Handel, or the equally lovely but less well known and completely different choral arrangement of Set Me as A Seal Upon Your Heart from Shir HaShirim by contemporary classical composer Rene Clausen. So that is out, too. Some would say that Jewish music must sound "Jewish". But what does "Jewish" sound like? If we look across our musical history, it becomes quite obvious that we have always borrowed from the surrounding culture. For example the music of Salamone Rossi is renaissance madrigal in style, texture and harmony. The Kol Nidre melody as we know it today was influenced by western musical tradition, and one of the most beautiful and popular arrangements was written by Max Bruch, a non-Jew. The Cochin Jewish community in India developed its own unique musical tradition, and in doing so incorporated elements from the surrounding South Indian cultures. The Sun on the Treetops falls into the category of music known as art song that was popular from the mid-19th through the mid-twentieth century and is characterized by sweet melodies and romantic words. More recently Jewish musicians such as Debbie Freidman, Rick Calvert and Sam Glaser were influenced by the secular folk music popularized in the late 1960’s and early 1970’s by Jews and non-Jews. Many times the only way to tell if the music is Jewish or not is by the words. I believe that the lyrics must have a Jewish theme. If it is to be used in liturgy, the musical compositional setting must be appropriate for use in liturgy and the words should either be from the liturgy or compliment it. When I look at it that way, I see the vast number of compositions available to us, regardless of who wrote them or what they sound like. Almost every genre is there: from all periods of classical music to folk, all styles of rock, pop, gospel, disco, reggae, rap, bluegrass, and more. Possibly even country western, although I have not had the good or misfortune to hear any. We stand at a "sea" of musical "reeds". We have no Moses to split it for us and take us across to tell us what Jewish music is. We are going to have to decide that for ourselves, as every Jew and every synagogue has ever done within the framework of our liturgy. Perhaps that is why we don’t have hymnals. As a musician, I would like to believe that we will continue to recognize what is great from our past and also recognize what is great in contemporary music and hold on to it. Yet I often wonder if this is too much to hope for, given the state of music education in our schools and to some extent in our houses of worship. We will have to wait and see what the future brings and hope for the best. My wish for all of us here tonight is this: as you walk through your "sea of reeds" pick the songs you love and hold on to them for the future. Be prepared for disagreement with anyone and everyone from the rabbi and cantor to your family and even the guy sitting next to you at services. Music is subjective to begin with and when did two Jews ever agree on anything anyway? Always keep an open mind. If you do, you may be pleasantly surprised when you hear something new. But, if you don’t happen to enjoy a new piece, remember that you don’t have to like everything out there. Respect it for what it is and its place in our musical tradition. Remember that the music that keeps you coming back may not be the same music that intrigues the person sitting next to you. Don’t be afraid to hang on to the old traditional music as well as embrace the new pieces. They all have a place and great music does not deserve to be lost. Finally, never ever forget to listen for the singing. A great Jewish song may come to you from likely or unlikely places including your synagogue, symphony hall, a rock concert, or even the high school or college garage band down the street. Above all make sure to join in, even if you music teacher said you had tin ear or sounded like a sick seagull. Trust me, you will be glad you did, for what really matters in the end is for all of us to join together to "sing unto God a new song." Shabbat Shalom.
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