Monthly Archives: March 2014

MUSIC AS WEDDING DRESS

Pair of RosesWhat is a wedding if not an occasion to dress for?  We clothe ourselves in the most formal and dignified attire of our entire lives.  And why?  At first we might think it’s simply because we’re celebrating a joyous occasion, so why not dress “to the nines?”  But there are other joyous occasions we normally celebrate in much more casual attire – birthdays, for example.  When was the last time you dressed up in formal wear for a birthday or anniversary unless it was because you were going to a very fancy restaurant?  Even then, you might have done so only to meet the restaurant’s dress code.

How we dress can of course be a means of self-expression, of telling the world how we feel (consciously or subconsciously) about ourselves and about our lives.  But mostly it’s a way of presenting ourselves appropriately in society.

When we reach huge milestones in our lives, no matter our cultural background, it is customary to present ourselves in the most dignified light possible – not only for ourselves, not only for each other, but for the occasion itself and what it represents in our life.  Those of us who feel a spiritual or religious aspect of the wedding day might well imagine ourselves as coming before the Almighty to declare our commitment of lifelong love, to take our vows of matrimony.  If nothing else, it is to demonstrate our seriousness about such a commitment, perhaps before G-d, certainly before our family and friends, before society.  We might think of such seriousness as analogous to the sort we convey when making a profound and important speech.  We hope that our speech will not be taken lightly, and take a serious tone in order to be taken seriously.  Likewise, we dress for important occasions in order to take them, and to be taken, seriously.

Dressing the Wedding.  In the wedding ceremony, we extend such sense of dignified dress to the physical surroundings of the wedding venue.  Whether it’s a museum, conservatory, garden or other space – even a grand sanctuary, the ceremonial venue is further dressed up in lovely flowers and furnishings.

Music as Wedding Attire.  With all the time and thought we give to these various sartorial and decorative aspects of the ceremony (and the more unbuttoned reception and celebration that usually follows), it often seems surprising that the music, arguably the most important atmospheric ingredient in the wedding service, or indeed any ritual proceeding, is sometimes given less consideration than the other elements.  Lack of musical knowledge, a place to cut corners, a notion that in posterity no one will remember the sound of the music (it doesn’t really photograph well).

Serious vs Fun.  We make a distinction between the ceremonial music and the celebratory reception music.  While the latter is generally in a popular vein, typically suitable for dancing and for a relaxed and festive social setting, the former is meant to create a decidedly more formal, even sacred, mood.  Just as once we arrive at the reception, ties and jackets might come off, and even the bride removes her vail, so the music is more relaxed and fun.  We are breathing a collective sigh of relief after making it through the very solemn moments of the ceremony.

But that ceremony, even if we intend it to have a more secular feel, should always carry that sense of seriousness, dignity and pride that we hold for this major occasion in our life, and that we wish to convey to all our family, friends and community – it is the same basis for our very formal and dignified dress.  We want the world to know about our love for each other, and about the life commitment we are making.

Dignity and Beauty.  Let well-chosen music convey that mood of grandeur on your momentous occasion.  Whether you hire professional players or choose pre-recorded music, let it be commensurate with the dignity and beauty of the day.

One of my cherished tasks as a composer has been my endeavor to produce the sort of music that attains this goal.  I invite you to visit and explore my website of wedding music, written in many styles and moods, instrumental and vocal, sacred and secular.  Two video samplings of my wedding works, one for general and the other Jewish weddings, are available on YouTube.

In upcoming blog posts, I hope to share with you some insights of my wedding works and how they can help you transform and elevate your special day into an occasion you and your family and friends will remember with your ears as well as your other senses.   Join Email List

FOUR PREREQUISITES TO AN ENHANCED JEWISH CHORAL CULTURE

instruments-1In our Jewish community, we are desperately seeking something to enhance the beauty and interest in our services.  Those of us for whom instruments in shul are not permitted under the laws of observance, the only real way to add dimension to our music is choral singing. Choir music in the synagogue is by no means new, and in fact there is a long history of it throughout Europe going as far back as the late Renaissance with the likes of Salamone Rossi.

But we have a lot of catch-up work to do in our choral singing compared to the church community, from which we can gain some valuable perspective on music making.  Here are some general areas we might concentrate on.

Improved Musicianship.  When it comes to fundamental musical skills, a little improvement can go a long way toward enhancing our realm of repertoire possibilities, for we will use these skills endlessly.  When we speak of cognitive musical skills, we are referring to such abilities as reading music, specifically sight-singing (which, incidentally, isn’t necessarily possessed by even skilled instrumentalists who read music).  Good sight singing requires the further skill of hearing and recognizing in our ears the various tonal intervals, as well as seeing and recognizing these intervals on the printed page, and ultimately correlating the audial with the visual.  The same is true of the rhythmic element of music.  Of course all this means also knowing our way around a printed score, gaining the acquaintance with the beautiful language of written music.

Improved Vocal Skills.  Vocal ability – singing ability – means being able to produce the tone beautifully and efficiently, and with enough control to execute changes in dynamic and articulation, as well as produce beautifully shaped line.  These are largely skills of physical coordination related to the physical act of producing sound.  Again, as with musicianship, a little skill enhancement can make a big difference here.  See the post on singing basics.

Team Work/Ensemble.  Choral music and choral singing are nothing if not about unity – unity of tone color, vowels, consonants, dynamics, tempo, rhythm – in short, a closely-knit team effort in regard to every aspect of the music.  This is the art of ensemble (meaning “together”), and it requires learning how to listen even as we are singing, being perfectly tuned with the rest of the group, and being able to adjust and change course in a split second as necessary.

Improved Musical Knowledge & Taste.  In our wider secular culture these days, there seems to be a narrow (and continued narrowing) sense of what constitutes good, or indeed great, music, with more and more of us shunning higher musical culture as something we are not worthy of, that we should be intimidated by, or that we owe our disdain due to its elitist trappings. Worst of all, for an apparently increasing number of younger people  there is an out-and-out ignorance of this higher musical culture, a completely deprived sense of what truly great music is,

One can sense this even within the pop realm, with the music displaying less and less melodic, harmonic and formal (not to mention literary) substance. Let’s ask ourselves:  how many pop songs of the past 20 years have endured as standards in the way many of the songs of Lennon-McCartney, Paul Simon, Bob Dylan or Burt Bacharach have endured?  Those artists were still operating under an awareness (even when they outwardly rejected it) of the fundamentals of substantive music.

This cultural void is, if anything, more pronounced in the Jewish community, which has had a long history of being excluded, and excluding itself, from the higher culture of whatever wider community has surrounded it.  For a Jew to be included individually in this higher culture, historically, has often required assimilation and/or renunciation of one’s Jewish faith and culture. Such requirement may have receded, but the Jewish sense of obligation to it doesn’t seem to have faded completely.

Given the glorious legacy of Jews in American popular culture through much of the 20th Century, it isn’t surprising that this first real era of Jewish inclusion and importance in a broader culture should hold such a perpetual and affectionate attachment to Jewish self-identity in America. One senses a great jealousy and need for such a legacy of inclusion, and its attendant sense of identity, in the British or French Jewish communities, to name two.

All of which is to say, we American Jews revere our pop culture – so much so that we may not think twice anymore about elevating it to the level and status of high culture.  But at the very least, shouldn’t we be more willing to explore other territories which carry much higher and historically much longer reputations for quality and substance?  And in our efforts toward enhancing our worship and ritual, shouldn’t we be aiming as high as possible?  And if we’re being elitist, isn’t this entirely appropriate for our musical offering to the ultimate Aristocrat, the Object of our awe and reverence?

As we discussed in the previous post, pop music is fun, and occasionally may rise to a level approaching that of high art,  But even at its best, pop music will almost always be about romantic love and courtship, and will therefore have an element of the secular, and even the sexual, in it.  Let’s therefore be careful not confuse our attachment to popular music with a misperception of its appropriateness in the sacred realm.  And more subjectively, let’s be cautious in assigning it more qualitative status than it might deserve.

In all of these areas, we can and must learn a lot from outside the Jewish realm, and yes, this includes the church community.  If nothing else, we can prosper from seeing what is possible (and necessary) qualitatively in terms of singing and musicianship, qualitative taste and standards, and in terms of the power and effectiveness of well-chosen worship music.    Join Email List

THE CASE FOR MORE APPROPRIATE SHUL MUSIC

Hallelujah - Psalm 150 by Winikoff

Dignified Joy in Music

Contrary to what many rabbis, cantors and synagogue boards might choose to believe, not every congregant really cares to come to services and sit through endless repetitions of simplistic “chassidic” melodies, clapping, drumming (using actual or makeshift drums) or a faux party-like atmosphere.

Contrary to what they might believe, most congregants don’t come to services to “have fun.”

Contrary to what they might believe, not every congregant believes that pop-style music is appropriate as mainstream worship music.

Contrary to what those who (understandably) fret about declining shul attendance might be dying to believe, pandering with pop music is not a wise approach in attempting to lure more attendees to services.

Contrary to this misguided mindset, is the well-known Jewish principle of dignity, modesty and respectfulness in worship.  Hence the customary and powerful motto found over many synagogue pulpits, serving to remind us of this tradition:  “Da lifnei mi atah omeid – Know before Whom you stand.”

We all love fun, even if we might each harbor varying ideas of what constitutes fun.  Be let’s ask ourselves:  Is shul really supposed to be fun?  Are we confusing the sort of regenerative (and under ideal circumstances, transformative) joy we are to experience on Shabbat or Yom Tov with fun?  And aren’t there ample opportunities in our secular lives for fun?  Hence another Jewish principle –separation of the sacred from the secular.

Shouldn’t worship should be a unique and elevated experience in our lives, rather than just another manifestation of our broader culture?  Shouldn’t it harbor a higher spirituality rather than a spirit of simple hedonism.  Should it not reflect our tradition of dignity and respectfulness “before Whom we stand?”

The Schtik Factor.  Sometimes, I think we Jews have never quite separated our illustrious secular American pop cultural legacy of “showbiz” from what should be the loftier realm of our spiritual practice.  In doing my own rather thorough survey of American Conservative Jewish congregational websites, I’ve noticed something reflected from time to time in the contents of most of these sites:  a sensibility of schtik – of comedic silliness embodied, for example, in clever plays on words to describe events – for example, the commonly coined “Friday Nite Live,” which seems to evoke the spirit of that long-running late-night Saturday evening comedy series which is the very embodiment of adolescent “fun.”  Or the many too-clever-by-half plays on words used to describe a congregation’s musical or choral ensembles.  All of which contributes to an air of Jewish cultural self-parody.  There should be more to Jewish culture than Henny Youngman.

The “Cool” Factor.  One suspects the new obsession with the pop idiom in worship music might be partially rooted in our deep-seated and often subconscious need to feel “cool” or “hip,” or at the very least not to appear passé or out of step.  Trouble is, what’s considered cool or “happening” now will almost certainly be passé before very long.

The pop-music-in-shul phenomenon may also be simply a manifestation of an out-and-out ignorance of other better types of music, or perhaps a misguided fear or loathing of anything too closely resembling “church” music.  Through this ignorance and this fear we have limited our choices.

We Jews must stop feeling apologetic for our good and honorable religious life in all its rich complexity, stop feeling the need to hide behind the schtik, and learn to embrace and celebrate the great moral dignity and beauty of Yiddishkeit by treating it with dignity and beauty.  Too often I sense even from rabbis a kind of reluctance to recognize these qualities in some of our rituals, a kind of shame or embarrassment about them.  Our rituals, if they are to be effective and inspiring, must be taken seriously as the wonderful high theater that they are, and the music – whether congregational, cantorial or choral, should reflect this.  It’s time to raise our standards of what we consider appropriate music in shul.

To begin to accomplish any of this requires, first of all, knowing and appreciating the meaning and tenor of our liturgy and the rituals it supports – the sublime beauty and grace of L’cha Dodi, the grandeur of K’dushah, the mystical drama and power of Hashkiveinu, the pathos of Havein Yakir Li, to name a few examples.  And by extension, it points to the need for better understanding and appreciation of our nusach, our musical chant, which is perhaps the most authentic embodiment of our worship music tradition – the better to sense what is appropriate music for these prayers.

Fulfillment of these needs ought to be preached and validated by our cantors and rabbis, taught and touted as a vital resource for composers of serious, authentic, appropriate and substantive Jewish sacred music.

The desperate pandering to popular taste that is currently happening may be great fun for some of us, but it’s not likely to work for long, and it carries a high price tag:  the mortgaging of our musical heritage.  Let’s leave the “fun” for its appropriate occasions, and strive to bring a higher sense of beauty and joy to shul.    Join Email List