Secular Jewish music

Since Biblical times, music has held an important role in many Jews' lives. Jewish music has been influenced by surrounding Gentile traditions and Jewish sources preserved over time. Jewish musical contributions on the other hand tend to reflect the cultures of the countries in which Jews live, the most notable examples being classical and popular music in the United States and Europe. However, other music is unique to particular Jewish communities, such as klezmer of Eastern Europe.

Israeli music

Modern Israeli music is heavily influenced by its constituents, which include Jewish immigrants from more than 120 countries around the world, which have brought their own musical traditions, making Israel a global melting pot. The Israeli music is very versatile and combines elements of both western and eastern music. It tends to be very eclectic and contains a wide variety of influences from the Diaspora and more modern cultural importation. Hassidic songs, Asian and Arab pop, especially Yemenite singers, and hip hop or heavy metal (including a generally Israeli subgenre of folk metal called oriental metal).

From the earliest days of Zionist settlement, Jewish immigrants wrote popular folk music. At first, songs were based on borrowed melodies from German, Russian, or traditional Jewish folk music with new lyrics written in Hebrew. Starting in the early 1920s, however, Jewish settlers made a conscious effort to create a new Hebrew style of music, a style that would tie them to their earliest Hebrew origins and that would differentiate them from the style of the Jewish diaspora of Eastern Europe, which they viewed as weak. This new style borrowed elements from Arabic and, to a lesser extent, traditional Yemenite and eastern Jewish styles: the songs were often homophonic (that is, without clear harmonic character), modal, and limited in range. "The huge change in our lives demands new modes of expression," wrote composer and music critic Menashe Ravina in 1943. "... and, just as in our language we returned to our historical past, so has our ear turned to the music of the east ... as an expression of our innermost feelings."

The youth, labor and kibbutz movements played a major role in musical development before and after the establishment of Israeli statehood in 1948, and in the popularization of many of these songs. The Zionist establishment saw music as a way of establishing a new national identity, and, on a purely pragmatic level, of teaching Hebrew to new immigrants. The national labor organization, the Histadrut, set up a music publishing house that disseminated songbooks and encouraged public sing-alongs (שירה בציבור). This tradition of public sing-alongs continues to the present day, and is a characteristic of modern Israeli culture.

Israeli folk music

Termed in Hebrew שירי ארץ ישראל ("songs of the land of Israel"), folk songs are meant mainly to be sung in public by the audience or in social events. Some are children's songs; some combine European folk tunes with Hebrew lyrics; some come from military bands and others were written by poets such as Naomi Shemer and Chaim Nachman Bialik.

The canonical songs of this genre often deal with Zionist hopes and dreams and glorify the life of idealistic Jewish youth who intend on building a home and defending their homeland. A common theme is Jerusalem as well as other parts of Eretz Israel. Tempo varies widely, as do the content. Some songs show a leftist or right-wing bent, while others are typically love songs, lullabies or other formats; some are also socialist in subject, due to the long-standing influence of socialism on Jews in parts of the Diaspora.

Patriotic folk songs are common, mostly written during the wars of Israel. They typically concern themselves with soldiers' friendships and the sadness of death during war. Some are now played at memorials or holidays dedicated to the Israeli dead.

Judaism therefore, as known, went beyond its own tradition by crossing the boundaries of every culture, appropriating it "almost carelessly" then, as natural to the intrinsic innate ancestral identity, "sweetening it with the most extreme Jewish characteristics": a religion like Judaism can only be eternally rooted in its people, because it professes to testify; like many, we also remember the example of the Austrian Yodel, just apparently foreign to the Jewish religion, with Israel Shalom in "She Taught Me To Yodel", masterful model among many of the pioneering so-called secular Jewish culture then "reduced to a simple Jewish religious exercise of ethnic-cultural conquest".

Klezmer

Around the 15th century, a tradition of secular (non-liturgical) Jewish music was developed by musicians called ''kleyzmorim'' or ''kleyzmerim'' by Ashkenazi Jews in Eastern Europe. They draw on devotional traditions extending back into Biblical times, and their musical legacy of klezmer continues to evolve today. The repertoire is largely dance songs for weddings and other celebrations. They are typically in Yiddish.
The term "klezmer" was a derogatory term referring to low class street musicians. Often the klezmer performed with non-Jewish musicians and played for non-Jewish functions. As a result of this "mixing" the music constantly evolved through the fusing of styles. This practice still plays a major role in the development of musical style to include Jazz, as evident in Benny Goodman's music and even Texas music as evident in the music on the modern Austin Klezmorim.

Sephardic/Ladino

Sephardic music is the unique music of the Sephardic Jews. Sephardic music was born in medieval Spain, with canciones being performed at the royal courts. Since then, it has picked up influences from across Spain, Morocco, Turkey, Greece and various popular tunes from Spain and further abroad. There are three types of Sephardic songs—topical and entertainment songs, romance songs and spiritual or ceremonial songs. Lyrics can be in several languages, including Hebrew for religious songs, and Ladino.

These song traditions spread from Spain to Morocco (the ''Western Tradition'') and several parts of the Ottoman Empire (the ''Eastern Tradition'') including Greece, Jerusalem, the Balkans and Egypt. Sephardic music adapted to each of these locals, assimilating North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish ''maqam'' mode.

Mizrahi

Mizrahi music usually refers to the new wave of music in Israel which combines Israeli music with the flavor of Arabic and Mediterranean (especially Greek) music. Typical Mizrahi songs will have a dominant violin or string sound as well as Middle Eastern percussion elements. Mizrahi music is usually high pitched. In today's Israeli music scene, Mizrahi music is very popular.

Dancing

Deriving from Biblical traditions, Jewish dance has long been used by Jews as a medium for the expression of joy and other communal emotions. Each Jewish diasporic community developed its own dance traditions for wedding celebrations and other distinguished events. For Ashkenazi Jews in Eastern Europe, for example, dances, whose names corresponded to the different forms of klezmer music that were played, were an obvious staple of the wedding ceremony of the shtetl. Jewish dances both were influenced by surrounding Gentile traditions and Jewish sources preserved over time. "Nevertheless the Jews practiced a corporeal expressive language that was highly differentiated from that of the non-Jewish peoples of their neighborhood, mainly through motions of the hands and arms, with more intricate legwork by the younger men." In general, however, in most religiously traditional communities, members of the opposite sex dancing together or dancing at times other than at these events was frowned upon.

Not Jewish in form

The below two sections address instances in which Jews have contributed musically using originally non-Jewish forms or the forms used by the mainstream culture,

Jews in mainstream and jazz music

Jews have also contributed to popular music, primarily in the United States and Israel, and in some specific forms of popular music have become or are dominant. This is true to a lesser extent in Europe, but some of the first influential Jewish popular songwriters in the US were actually immigrants from Europe, such as Irving Berlin and Sigmund Romberg, or children of immigrants. The most visible early forms of American popular music in which Jews have contributed are the popular song and musical theater. Approximately half of the members of the Songwriters Hall of Fame are Jewish.Jews in Music
on jinfo.org. Accessed 12 February 2006. However, the latter especially has been dominated by Jewish composers and lyricists throughout its history and to a certain extent still today.

While Jazz is primarily considered an art form with African-American originators, many Jewish musicians have contributed to it including clarinetists Mezz Mezzrow, Benny Goodman and Artie Shaw (the latter two swing bandleaders made significant contributions in bringing racial integration into the American music industry), saxophonists Michael Brecker, Kenny G, Stan Getz, Benny Green, Lee Konitz, Ronnie Scott and Joshua Redman, trumpeters and cornetists Randy Brecker, Ruby Braff, Red Rodney and Shorty Rogers, vibraphonist Terry Gibbs, drummers Buddy Rich, Mel Lewis, and Victor Feldman, and singers and pianists Billy Joel, Al Jolson, Ben Sidran and Mel Tormé. Some artists such as Harry Kandel were famous for mixing Jazz with klezmer as is modern Texas klezmer Bill Averbach. Since a great deal of Jazz music consisted of musical cooperation of Jewish and African-American musicians or black musicians funded by Jewish producers, the art form became "the racist's worst nightmare".

Although the early rock and roll performers were mostly either African Americans or Southern Whites, Jewish songwriters played a key role: Jerry Leiber and Mike Stoller, Carole King and Gerry Goffin, Neil Diamond, Neil Sedaka, and nearly all of the other Brill Building songwriters were Jewish, as was Phil Spector. With the mid-1960s rise of the singer-songwriter, some (King, Diamond, Sedaka) became performers; others (such as Burt Bacharach) managed to continue to work primarily as songwriters.

Many worked with a mix of folk and rock forms, including Bob Dylan, Lou Reed, David Bromberg, David Grisman, Kinky Friedman, Jorma Kaukonen, Leonard Cohen, Simon and Garfunkel; more purely on the rock side are David Lee Roth, Lenny Kravitz, pop bands such as Army of Lovers and all three Beastie Boys. Many American rock and metal bands have at least one Jewish musician: both Gene Simmons and Paul Stanley of KISS, Geddy Lee of Rush, Aerosmith drummer Joey Kramer, Grateful Dead percussionist Mickey Hart, Bon Jovi (keyboardist David Bryan), the Doors guitarist Robby Krieger, Anthrax guitarist Scott Ian, Ramones' Joey Ramone and Tommy Ramone, and Guns N' Roses drummer Steven Adler, and Disturbed frontman David Draiman. Two prominent UK examples are Fleetwood Mac's Peter Green and Marc Bolan of T. Rex.

Jewish musicians have also been part of the progressive rock/metal movement, such as King Crimson bassist Tony Levin and Rod Morgenstein (drummer for the Dixie Dregs). Matisyahu is a reggae and rap artist that has used the medium to express religious ideas.

"Popular" music in Europe during the early 20th century would have been considered to be lighter classical forms such as operetta and entertainments like cabaret, and in these Jewish involvement was very large, especially in Vienna and Paris. Jacques Offenbach, a Roman Catholic convert, was an ethnically Jewish composer of operettas in the second half of the 20th century. Serge Gainsbourg was one of the dominant figures in the evolution of cabaret music.

Popular music in Israel has also a been medium for Jewish secular musical expression. Many Israeli secular musicians explore topics such as the Jewish and Israeli people, Zionism and nationalism, agriculture and the land of Israel, and the Arab–Israeli conflict. Israeli popular music for the most part uses borrowed American forms like rock and alternative rock, pop, heavy metal, hip hop, rap and trance. In addition to these and classical music, Israel is host to a wealth of styles of Mizrahi music, featuring the influences and contributions of Arab, Yemenite, Greek and Ethiopian Jews.

Israel has, since 1973, participated in the annual event Eurovision Song Contest, an annual, continental pop music event, every year (except when it clashes with Holocaust Memorial Day, as in 1980, 1984 and 1997) It has won 4 times, in 1978, 1979, 1998 and 2018.

Jews in classical music

Before the Jewish Emancipation, virtually all Jewish music in Europe was sacred music, with the exception of the performances of klezmorim during weddings and other occasions. The result was a lack of a Jewish presence in European classical music until the 19th century, with very few exceptions, normally enabled by specific aristocratic protection, such as Salamone Rossi (whose work is considered the beginning of "Jewish art music"). Although during the Classical period small numbers of Jewish composers were present in Amsterdam, Southern France and Italy, the vast majority of Jewish classical composers were active during the Romantic period (following the French Revolution) and even more so in the 20th century. Paul Johnson summarizes the dynamics of this cultural pattern:

The Jewish musical tradition, for instance, was far older than anyone else's in Europe. Music remained an element in Jewish services, and the cantor was almost as pivotal a figure in local Jewish society as the rabbi. But Jewish musicians, except as converts, had played no part in European musical development. Hence the entry, in considerable numbers, of Jewish composers and performers on the musical scene in the middle decades of the nineteenth century was a phenomenon, and a closely observed one.

Likewise, music historian David Conway notes that

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