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 rehabilite 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 function as a catalyst to challenge readers to question stereotypes, reexamine old assumptions, and humanize the "other."

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 Emile 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.

Emotions in Jewish Music is an insider's view of music's impact on Jewish devotion and identity. Written by cantors who have devoted themselves to the study and execution of Jewish music, the book's six chapters explore a wide range of musical contexts and encounters. Topics include the spiritual influence of secular Israeli tunes, the use and meaning of traditional synagogue modes, and the changing nature of Jewish worship. The approaches are both personal and scholarly, describing the experiential side of Jewish music in both practical and philosophical terms. Emotions in Jewish Music reveals much about the emotional aspects of Jewish musical expression.

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. Virtually every day, a new brick is added to the wall of interdisciplinary information, drawn from psychology, neuroscience, evolutionary biology, ethology, anthropology, ethnomusicology and more. This book develops, supports, challenges, and diverges from this enormity of material, which is flourishing at such rapid speed that it is nearly impossible to keep up. It adds a unique and compelling voice to this body of literature, which is ever growing in sophistication and popularity. This multi-disciplinary examination addresses key issues in the field, such as the difficulty of writing about music, the formation of musical preferences, the emotional impact of musical sounds, the comparison of music and language, the impulse for making music, and the connection between music and spirituality.

Music in the Hebrew Bible 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. The book consists of one hundred brief essays divided into four parts. Part one offers general overviews of musical contexts, recurring musical-biblical themes and discussions of basic attitudes and tendencies of the biblical authors and their society. Part two presents essays uncovering what the Torah (Pentateuch) has to say about music, both literally and allegorically. The third part includes studies on music's place in Nevi'im (Prophets) and the perceived link between musical expression and human-divine contact. Part four is comprised of essays on musical subjects derived from the disparate texts of Ketuvim (Writings).

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.

Perspectives on Jewish Music presents five unique and engaging explorations of Jewish music. Areas covered include self-expression in contemporary Jewish secular music, the rise of popular music in the American synagogue, the theological requirements of the cantor, the role of women in Sephardic music and society, and the personal reflections of a leading figure in American synagogue music. Its wide-ranging topics and disciplinary approaches give evidence for the centrality of music in Jewish religious and secular life, and demonstrate that Jewish music is as diverse as the Jews themselves. From these studies, readers will gain an appreciation of both what Jewish music is and what it does. This book will be useful for students, practitioners, and scholars of Jewish secular and religious music and Jewish cultural studies, as well as ethnomusicologists specializing in Jewish or religious music.

Throughout history, music has remained a fixture of Jewish religious life. Musical references appear in biblical accounts of the Red Sea crossing and King Solomon's coronation, and music continues to play a central role in virtually every Jewish occasion. Through 100 brief, self-contained chapters, this volume considers the 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. These digestible distillations of complex topics invite a fuller appreciation of the fertile field of synagogue song and an understanding of the underlying rationale for the ubiquitous presence of musical tones in Jewish worship.

William Sharlin (1920-2012) was a cantor, synagogue composer, teacher and musicologist. Raised in an Orthodox household, he turned toward Universalism and the liberal Reform movement. A member of the first graduating class of the first cantorial school in America, he was a founding member of the American Conference of Cantors and is recognized as the first to play a guitar in the synagogue. Sharlin developed the Department of Sacred Music at HUC in Los Angeles, where he taught for 40 years, trained women to be cantors before they were allowed in the seminary, and spent nearly four decades at Leo Baeck Temple. 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.

Since the early 1950s, local and regional historical societies have been an important part of the American Jewish landscape, providing community outreach, housing archives, fostering research, and publishing historical studies. This book charts the development, undertakings, successes, shortcomings, and possible future of local and regional Jewish historical societies in the United States. The lead chapter, by Joel Gereboff, explores the challenges of constructing and presenting Jewish history and what disparities exist between amateur historians and professionals in regards to standards, tools, methods, analysis, and contextualization. Following an overview of key players, major themes, representative organizations, and recurring critiques, the chapter proposes ways to address the essential question: Can Jewish history on the local and regional levels be more inclusive, better integrated with broader trends of Jewish and general history, and improved according to scholarly norms and expectations of social history? Following this are six chapters by leaders of local and regional Jewish historical societies: George M. Goodwin of the Rhode Island Jewish Historical Association; Jonathan L. Friedmann of the Western States Jewish History Association; Mark K. Bauman of the Southern Jewish Historical Society; Catherine Cangany of the Jewish Historical Society of Michigan; Jeanne Abrams of the Rocky Mountain Jewish Historical Society; and Lawrence Bell of the Arizona Jewish Historical Society. The selected societies cover major regions of the country—Northeast, Midwest, South, Southwest, and West—and, as such, are representative of the broader phenomenon of American Jewish historical societies. These chapters are followed by a chronologically arranged appendix listing American Jewish historical societies, their mission statements, and their publications. Historical grounding is imperative for an understanding of community and self. Equally essential is the type of information that makes up that history, as well as how that information is recounted and interpreted. No individual or community exists in isolation; human history is complex, multilayered, and interwoven. While all history may be local, it does not exist in a vacuum—this volume illuminates that concept and situates it within the Jewish historical landscape. 

Music and Jewish Religious Experience offers six studies on specific aspects and functions of Jewish sacred music, both social and theological. Rather than following a single theme or building on a sustained thesis, this book covers a variety of subjects, ranging from music and prophecy to social uses of synagogue song. Each chapter can be read on its own, and is intended to stimulate thought-and hopefully further research-on its particular topic. Taken as a whole, these independent studies reveal the complexity and diversity of types, contexts, and uses of Jewish sacred music. The central aim of this volume is to provide the reader with fresh insights into specialized areas of Jewish musical investigation, and to demonstrate the broader meanings and value of music in Jewish religious life.

Songs of Sonderling is the story of Jacob Sonderling's unique contributions to Jewish liturgical music. Rabbi Sonderling was many things: a descendant of Chassidic rebbes, a rationalist, a Reform rabbi, a Zionist, an army chaplain, a celebrated orator, an artistic soul. From his early career at the Hamburg Temple and German Army service in World War I, to his wandering years in the Eastern United States and founding of the Society for Jewish Culture–Fairfax Temple in Los Angeles, Sonderling cultivated a unique aesthetic vision of Judaism, a "five-sense appeal." Jonathan L. Friedmann and John F. Guest document and analyze Sonderling's experience and expression of Judaism through music. Rabbi Sonderling's vision yielded liturgical commissions from exiled Viennese Jewish composers who arrived in Los Angeles in the 1930s and 1940s. Through these musical settings, activities at the Fairfax Temple, and involvement with the Los Angeles campus of the Hebrew Union College–Jewish Institute of Religion, Sonderling made an indelible mark on the city's Jewish community and the wider musical world. Songs of Sonderling focuses on the commissions Sonderling made from 1938 to 1945: Ernst Toch's Cantata of the Bitter Herbs, Arnold Schoenberg's Kol Nidre, Erich Wolfgang Korngold's A Passover Psalm and Prayer, and Eric Zeisl's Requiem Ebraico. Through musical analyses and an examination of Sonderling's career in Los Angeles, Friedmann and Guest contribute to the study of Jewish liturgical music, to Jewish history in the American West, to Jewish identity in the twentieth century, and to Jewish diaspora writ large.