Jewish music has grown from a millennia-old religious and folk tradition into an important part of the world’s art-music heritage, significantly influencing contemporary classical string music. The historical development of Jewish music spans from ancient Hebrew liturgical practices to the rich traditions of the diaspora and finally to the formation of artistic classical music. In the ancient Hebrew period, music played a central role in the Temple, reaching its peak in the “golden age” of organized vocal and instrumental practice. After the destruction of both Temples, musical life shifted to the synagogue, where the cantillation of sacred texts became dominant. In the diaspora, Jewish musical traditions developed according to their cultural surroundings: Jews in Arab lands adopted elements of the maqam system, Sephardic Jews created a melodically rich tradition shaped by Andalusian and Mediterranean influences, and Ashkenazi Jews formed their own modes connected with Yiddish culture, klezmer music, and Hasidic spirituality. The modal systems of these traditions evolved in parallel, yet with differing aesthetic foundations. In the 19th century, Jewish music began to modernize: synagogue choral music absorbed European influences, and Jewish art music flourished in both Western and Eastern Europe. The Haskalah movement and Jewish emancipation stimulated discussions about Jewish identity, while the Society for Jewish Folk Music systematically collected and arranged folk melodies. The 20th century saw the emergence of a diverse body of Jewish art music, as well as the development of an Israeli national musical style combining diaspora influences, oriental elements, and European compositional techniques. The central part of the thesis presents key composers who drew inspiration from Jewish music and contributed classical string works infused with this musical idiom. Joseph Achron, one of the pioneers, developed a distinctly “Hebrew style” rooted in modality and cantillation, most notably in his Hebrew Melody, Op. 33. Ernest Bloch created an extensive “Jewish cycle,” including the famous Schelomo, shaping the emotional and spiritual core of Jewish music in the 20th century. Paul Ben-Haim combined European modernism with oriental and Sephardic influences, becoming a leading figure of Israeli musical nationalism. Dmitri Shostakovich, although not Jewish, frequently incorporated Jewish musical elements as a symbol of solidarity with an oppressed people.
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