Bøker av Jonathan L. Friedmann

In the Hebrew Bible and stories loyal to it, Goliath is the stereotypical giant of folklore: big, brash, violent, and dimwitted. Goliath as Gentle Giant sets out to rehabilitate the giant's image by exploring the origins of the biblical behemoth, the limitations of the ';underdog' metaphor, and the few sympathetic treatments of Goliath in popular media. What insights emerge when we imagine things from Goliath's point of view? How might this affect our reading of the biblical account or its many retellings and interpretations? What sort of man was Goliath really? The nuanced portraits analyzed in this book serve as a catalyst to challenge readers to question stereotypes, reexamine old assumptions, and humanize the ';other.'

William Sharlin was a cantor, synagogue composer, teacher and musicologist. Raised in an Orthodox household, he turned toward Universalism and the liberal Reform movement. Drawing on interviews conducted with Sharlin late in life, the author chronicles the career of one of the most inventive and creative figures in the history of the cantorate.

We are in something of a golden age of music research. Technological advances have merged with philosophical interests to produce an array of distinct yet converging studies illuminating the musical nature of our species. This book adds a unique and compelling voice to this body of literature, which is ever growing in sophistication and popularity.

Investigates musical citations in the Hebrew Bible and their relevance for our times. Most biblical musical references are addressed, either alone or as a grouping, and each is considered from a modern perspective.

Social Functions of Synagogue Song: A Durkheimian Approach by Jonathan L. Friedmann paints a detailed picture of the important role sacred music plays in Jewish religious communities. This study explores one possible way to approach the subject of music's intimate connection with public worship: applying sociologist mile Durkeim's understanding of ceremonial ritual to synagogue music. Durkheim observed that religious ceremonies serve disciplinary, cohesive, revitalizing, and euphoric functions within religious communities. Drawing upon musical examples from different composers, regions, periods, rites, and services, Friedmann demonstrates how Jewish sacred music performs these functions.

Quotations on Jewish Sacred Music is a collection of over 700 quotations culled from an array of sources, including rabbinic and theological texts, sociological and anthropological studies, and historical and musicological examinations. The book is divided into five chapters: What Is Jewish Music?; Spirituality and Prayer; Hazzan-Cantor; Cantillation-Biblical Chant; and Nusach ha-Tefillah-Liturgical Chant. Taken as a whole, these quotations demonstrate both the centrality of music in Jewish religious life and the diversity of thought on the subject. They can be used with profit in sermons, speeches, and papers, and may be read in order or selectively. This is a valuable and easy-to-use reference book for scholars, musicians, synagogue staff, and anyone else seeking concise thoughts on major aspects of Jewish sacred music.

In a 100 brief, self-contained chapters, this considers theoretical approaches to the study of Jewish sacred music and explores the central functions and properties of Jewish prayer song. Major topics include the diversity of Jewish music, the interaction of music and identity, the emotional and spiritual impact of worship music, the text-tone relationship, the musical component of Jewish holidays, and the varied ways prayer-songs are performed.

Explores the intricate and multifaceted nature of biblical music through a detailed look into four major episodes and genres: the Song of the Sea (Exod. 15), King Saul and David's harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. This investigation demonstrates how music helped shape and define the self-identity of ancient Israel.