Ashman 1 Ashley Ashman RLST 206.

001 May 5, 2011 Music in Judaism, Christianity, and Islam Judaism, Christianity, and Islam are all monotheistic religions with an emphasis on the importance of Gods role in the universe. Within each religion there are very independent beliefs about most topics, including roles of women, family dynamics and ways to worship. An area that is important in all three religions, but is not discussed at great lengths is utilizing music within religious worship. Using music in religious worship not only can help solidify messages that each group wants to convey, but also adds a greater sense of spirituality and connection to God. Although music is part of each religion in a unique way, some clarification is necessary to understand the varying roles that it has. Through the exploration of how each religion has used music throughout its history the role can clearly be explained. It is also important to discuss the instrumentation used within each religion, the different musical genres that subgroups of each religion prefer, and specific scriptures and other verbal influences on the songs of the religion. After discussing all of these aspects the relationship between music and each specific religion will be exceedingly apparent. Music and its role in Judaism has been a much debated topic for centuries. Jonathan Sarna says that debates over music have been a featuresince at least the beginning of the nineteenth century(1). In the 18th and early 19th centuries the music within the synagogue was usually monophony, with only one melodic line, all if members of the congregation wanted to join in singing then they had to sing it in the same octave and not add any harmony or embellishments to that melody; this was enforced to make sure that the music of the hazzan,

Ashman 2 the trained vocalist of the synagogue, was not altered (. A famous Venetian composer, Benedetto Marcello, took some of the melodies and published a collection of those pieces. He even went so far as use the songs he found to create other melodies and songs for small ensembles (Seroussi 153). Gradually synagogues started to adapt homophony songs, where there are at least two different vocal lines; usually the division was simply male voice and female voice where the females sang higher pitches than those sung by the men. This is similar to the homophonic music of Christianity. This choral style was adapted and slightly altered the musical tradition of the religion. Then another evolution began to occur, the adaption of actually unisex choirs and then gradually the adaptation of mixed choirs. This change from the cantor and the rest of the congregation to choir and congregation was a complete transformation. According to Corrigan and his co authors, reform worship offered powerful moments of religious transport through music(230) this leads to the assumption that music was not just part of religious worship, but it also could enhance the level of worship within individuals. The cantor and congregational vocal singing was not the only form on musical worship in the synagogue. Along with voice, instruments were also used occasionally within the musical worship of the Jewish faith. Originally instrumental music was not allowed in the synagogue, it also was not allowed to be played in the home during holidays and on the Sabbath. Gradually synagogues started to have organs in their temples and it was allowed because it could assist the vocal part of the service (Sarna, 201). There was still some controversy about whether or not organs should be used during the mid 19th century, but overtime it has become more and more accepted.

Ashman 3 There are many songs whose verses are taken directly from a scripture within a religious book. One that is much used scripture comes from Deuteronomy 4:44 and is completed in Numbers 4:37, it says Vezot ha-Torah asher sam Mosheh lifneei Benei Yisrae al pi Adonai beyond Moshehl this is sung when the Sefer Torah is raised (Cohen, 407). The translation of this sentence is and this is the law that Moses set before the children of Israel, according to the word of the Lord by the hand of Moses(Cohen 407). Another example is from Psalm 24, this is used very often on Rosh Hashanah, the earth is the Lords, and the fullness thereof; the world, and they that dwell therein (Randhofer 243). On special occasions, is called the Hallel, which consists of Psalms 1113-118. Usually Psalm 92 is performed during the services of Shabbat (Randhofer 245-246). These specific instances again exemplify the importance of music in religious observances. Unlike Judaism and Islam, Christianity has not had as much of a debate about the importance of music within the religion. Some believe that through music the worshipers could say they felt transported to heaven(Corrigan ,381). This statement would allow for the assumption that music can further intensify a persons religious experience. Some of the earliest written down melodies are considered Gregorian chant. They do not have a set meter nor do they really have a set rhythm. The earliest Gregorian chants were for solo voices but as the religion evolved so did the music, it became denser and more complex. Around the sixth century Hildegard, one of the earliest female composers, wrote out many of the more complex melodies that she had composed. She started to have mixed vocal ensembles which were different than the unisex groups previously (Corrigan 381-382). Along with the work of Hildegard, Tertullian also wrote many Gregorian chants and he challenged the work of his fellow composers consistently, he too led to the evolution of the Gregorian chant (Crocker 2).

Ashman 4 Centuries after Hildegard, Tertullian and the Gregorian chants, two very influential German composers, Johann Bach and George Handel, created different types of worship music. These two men were extremely important because they were seen as forward thinking men and their compositions are timeless. Bach wrote over 400 chorales, usually for four voices, but only about 200 of those melodies are written down and still accessible today (Randel, 126). Handel composed in a variety of different styles, but one pertinent work was the Messiah oratorio. In this piece the main focal point is Jesus life and ultimate death. Because of this emphasis on Jesus the piece is typically performed around Christmas time and again at Easter. This piece has soloists, full choir, and very intricate instrumentation, but not organ. These two composers were necessary to continue to move the music into the future (Randel, 128). Christianity has numerous scriptures that are used as a subject of many songs within the church. Colossians 3:16 says that a psalm is a melodious and wise blessing and the apostle calls a psalm as spiritually song. Many of the scriptures are psalms and they are applicable to the life of a Christian. The words of Bible are taken and put to music to try and create the same message as that which the Bible creates. Another explanation for music in Christianity is in Ephesians: speak to one another with psalms, hymns, and spiritual songs. Sing and make music in your heart to the lord (Ephesians 5:19-5:21). In Margaret Pettys article Hymns, Music and Spirituality she discusses music in the community is the one expression that allows all of us to join together with our entire beings-bodies, souls, and spirits- to mender service to God. (73).The unity that music creates allows for Christians to take another step to praising God in a wonderful manner. The Christian Bible specifically tells its followers to make music as a tribute to the Lord, and that is what they do.

Ashman 5 Within Christianity, there has been a large amount of different music that has emerged, all have the same goal, which is to praise God with their music. Along with hymns, and a cappella also called choral style songs, there is Alternative Christian, Gospel, Spirituals and numerous other Christian genres. Alternative Christian is a more contemporary genre, it still strives to glorify God but not in a traditional way, not similar to hymns or chorals (Browne, 173). Gospel is based off of hymns and has rhythmical characteristics similar to R&B and jazz. Gospel became mainstream during the Civil Right movement and has continued to cater to a significant population. Spirituals, specifically during the time of slavery have influenced much of our culture today. Not only are there songs based off of those original songs, but also the lyrics of these songs were continually used during the civil rights movement, their messages were applicable to the situation that the African American people of this era were facing. These different musical genres within the Christian faith allow for its participants to connect with a specific genre and then they can further their spiritual journeys. The third religion, Islam has a slightly different musical history than the previous two religions. There is an assumption that Muslims believe that music is blasphemous and should not be a part of their lives; Karin van Niewerk discusses how Islamists generally have a strained relationship with art and entertainment, but that does imply that the relationship has evolved. Van Niewerk argues that because of the Committee for the Advancement of Virtue and Elimination of Vice in Saudi Arabia, they banned music and singing. This banning, although some decades ago, has continued to have a negative effect on how music is embraced within the religion and the perception that those outside of the religion have. Although it is believed that all Islam does not approve of musical worship, Sufism always has. They traditionally approved of

Ashman 6 music in the cultivation of spirituality (Corrigan, Denny et al 415). In reality music is a vital part of Islam, Shiism, sunnism, and Sufism all the same. Guy Beck expresses that the Quran has a melodic and rhythmic quality that is often demonstrated when chanting directly from scriptures (91), this statement alone exemplifies how music is a fundamental part of the text which then is continued through other religious practices. The recitation of scriptures from the Quran in a rhythmic and melodic manner is referred to as tajwid. Along with the scriptures themselves having a musical quality, there are many religious events where music is a key element; specifically the call to prayer, weddings, funerals, and holiday celebrations. The call to prayer, or adhan in Arabic, occurs five different times a day and the prayer that is associated with this daily ritual is usually sung (Nasr). Another example of music being critical in religious worship is that of many Muslim weddings. Many weddings have their musical selections include nasheeds; a nasheed is rhythmic chanting based on love of the Prophet and Allah (Encyclopedia Britannica). Similarly, at Muslim funerals there is an emphasis on music, there are very specific canons that are sung at funerals to honor the dead. Holiday celebrations and rituals, such as Ramadan and the beginning of many fasts, have specific pieces that drums and horned instruments perform as tradition (Nasr). All in all music is an integral part of the observance of Islam despite the disagreement of some. The more common instruments used in Islamic worship music include the tabl, shahin, arghanun, nay and voice. The tabl, or tabor, is a small drum and is typically used along with the shahin, pipe (Farmer). These two instruments are most often played simultaneously by one musician; they are called Shahin-Tabbal. Al Farabi created the arghanun, the organ. Al Farabis construction of the arghanun in the 10th century ended up influencing music in many other parts of the world (Encyclopedia Britannica). Another

Ashman 7 instrument commonly used is the nay; it is a vertical flute, compared to the Western idea of horizontal flutes. This vertical flute is very frequently used as a solo instrument where as the other instruments are used as accompaniment or simultaneously with another instrument (Farmer). Finally, voice, although not accepted by all the different branches of Islam, is iconic is Sufism specifically. The voice is held in very high regard and those who use their voice to praise Allah are deemed as messengers from him (Beck 91). Below are some musical excerpts, each picture corresponds to one religion. The first is a song in Hebrew; it is read from right to left just as Hebrew is. This is different than mainstream Western music, which is read from right to left. In this excerpt you see there is no stated key nor is there a time signature anywhere within the piece. The double lines denote the end of a phrase and for there to be a slight pause, as a rest would if there were a set time signature and rests were used. Although there is no key signature as the notes move up and down the pitch that is sung should also be altered. The song is just one example of early Judaic music that was used in Synagogues to further the religious experience of its congregation. The second musical excerpt is a Gregorian Chant; again it is very different from the Western music that is used today. In this specific song the syllables are written underneath each note when is supposed to occur. Similar to the Hebrew melody there is no key signature nor a time signature. This allowed for singers to take liberties with how long they held each syllable or each note, this personal choice allowed for a relationship to form between the singer, the text and ultimately God. This relationship is what is meant when Christians say praising God with music.

Ashman 8 The third musical example is a fragment of a melody played by multiple instruments. Unlike the other two examples there is a clef, in this case G Clef (treble clef) and there is a clear sense of ascending and descending notes, however there is no sense of tonality. There is no defined key based on the music, this is similar to the two other previous musical examples. Another difference between this Islamic example and the musical excerpts from Judaism and Christianity is that there are actual note values and accidentals denoting a specific change in pitch which is clearly recognizable to musicians who are used to Western musical notation. Although this is an instrumental piece the set note value of whole note within it is still relevant, since the other two excerpts do not use specific values. The multi-faceted analysis of musical worship in Judaism, Christianity and Islam is a very intricate process; there are numerous aspects that need to be explored in order to create a complete description. The information that all of the researchers, theorists, and specialists had on this information allowed for an educated conclusion to be drawn. Through analyzing and understanding their work it is exceedingly easy to see the importance of music in religious worship, enhanced spirituality and cultivation of relationships with God. The numerous aspects including scriptures used, instrumentation, and history of each religions music all were important in understanding the role of music in all three of these monotheistic religions.

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Image from Seroussi article

Image from Burkhart Anthology

Image from Farmer article

Ashman 10 Works Cited Beck, Guy. Sacred Sound: experiencing Music in World Religions. Ontario: Wilfrid Laurier University Press, 2006. Print. Browne, Pat. The Guide to United States Popular Culture. Ohio: Bowling Green State University Popular Press, 2001. Print. Burkhart, Charles and William Rothstein, eds. Anthology for Musical Analysis. Belmont Wadsworth Group/Thomson Learning, 2008.3. Print. Cohen, J. Vezot Ha-Torah: A liturgical Reassurance. Judaism. 40.4. 1991: 407-419. Online. Corrigan John, Frederick Denny, Carlos Eire, and Martin Jaffee. Jews, Christians, Muslims: A comparative introduction to monotheistic religions. New Jersey: Prentice Hall. 1998. Print. Cosgrove, Charles. Clement of Alexandria and Early Christian Music. Journal of Early Christian Studies. 14.3. 2004: 224-282. Online. Crocker, Richard. An Introduction to Gregorian Chant: Volume 1. Connecticut: Yale University Press. 2000. Print. Farmer, George. The Religious Music of Islam. Journal of the Royal Asiatic Society of Great Britain and Ireland. 1/2. 1952: 60-65. Online The Holy Bible. King James Version. Kraidy, Marwan. Islamic Popular Culture. Common Ground News Service. University of Pennsylvania Scholarly Commons. November 2006: n.p. Online. Music and Islam. Encyclopedia Britannica Online.2010. Online. Nasr, Seyyed. Islam and Music: The views of Ruzbahan Baqli, the Patron Saint of Shiraz. Studies in Comparative Religion. 10.1. 1976. Online.

Ashman 11 Petty, Margaret. Hymns, Music and Spirituality. European journal of Theology. 19.1.2010: 6976. Online. Randel, Don. The Harvard Dictionary of Music. Boston, Massachusetts: Harvard University Press. 2003. Print. Randhofer, Regina. Singing the songs of ancient Israel: ta c ame emet and oral models as criteria for layers of time in Jewish Psalmody. Journal of Musicological Research. 24.3/4. July December 2005: 240-264. Online. Sarna, J. The Question of Music in American Judaism: Reflections at 350 years. American Jewish History. 91.2. June 2003: 195-203. Online. Seroussi, Edwin. In Search of Jewish Musical Antiquity in the 18th- Century Venetian Ghettos: Reconsidering the Hebrew Melodies in Bendetto Marcellos Estro Poetico-Armonico. The Jewish Quarterly. 93. 1/2. July-October 2002: 149-199. Online Van Nieuwkerk, Karin. Creating an Islamic Cultural Sphere: Contested notions of art, leisure and entertainment. Contemporary Islam. 2.3. November 15 2008: 169-176. Online.