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IN-DEPTH FEATURES
Part II
The first part described the roots of modern rock and roll
music, that is very different from the music played during
most of recorded civilized history. Modern music emphasizes
the rhythm and not the melody. This appeals to the lower
forces of human beings. Newsweek wrote in 1956, "It
appeals to the very base of man, brings out animalism and
vulgarity." It is music that was made for idol worship and
immoral behavior. Researchers have also shown that wild rock
music affects blood pressure and heartbeat, changing it
somewhat to conform to the rhythm of the music itself.
Several months ago, the Committee for Jewish Music was
formed, consisting of a group of bnei Torah from Bnei
Brak and Yerushalayim who all have experience in the field of
music and understand the subject fully. A special committee
of rabbis who have an understanding of music was also made,
to advise the new Committee for Jewish Music. The members of
the committee of rabbis are: HaRav Mordechai Gross, HaRav
Shmuel Eliezer Stern, HaRav Sariel Rosenberg, HaRav Eliezer
Dunner, HaRav Massoud Ben Shimon, and HaRav Aharon
Mittelman.
The Meeting of Kosher Band Leaders
After the compilation of the rules for weddings, it was
decided to bring them to the attention of the kosher band
leaders in order to receive their agreement and approval. A
meeting was set up in Bnei Brak on the 8th of Av between the
band leaders and the members of the Committee for Jewish
Music as well as a number of important askonim. The
decisions were clear and unanimous.
The band leaders all said that they were capable and wanted
to play according to the rules that had been made, but they
were in danger of losing a lot of business if they did so.
They explained clearly the present situation, that the
bochurim reserve for themselves the right to choose
the band, and any band that does not play in the modern style
is not popular in the yeshivos. They claim that this is the
reason why we are forced to suffer at weddings, to hear
unbearably loud and coarse music.
The band leaders requested to bring this information to the
roshei yeshivos. They said that only if the roshei yeshivos
demand that the chassonim choose a band that plays
according to the new rules will it be possible to improve the
situation.
The Pied Pipers of Brooklyn
Of all the things that the yetzer hora has managed to
smuggle into the chareidi public, probably his greatest
success is modern "chassidic" music. After all, many people
think, what harm can there be in a song?
Maybe after all that has been said here, people will realize
that these songs can do a lot of harm. The kosher singer
Abish Brodt (in an interview that appears here, and
originally in the Hebrew Yated, Tammuz, 5761) said
that it is this music that opens the door for many young
people to leave the Torah world. Parents and educators must
be aware of the great influence that modern music has on
children, and protect them from hearing those songs that are
far more dangerous than songs that our rabbis warned against
hundreds of years ago.
The power of the chareidi pop stars and the respect that they
receive from young people is also a very serious problem.
Cheap entertainers who make themselves look like bnei
Torah in order to sell their songs to a naive public are
being advertised on every street corner, and many young
people are led to look up to them as much as we look up to
gedolei hador, Rachmono litzlan.
We must realize that they are not our people. Anybody who has
a feeling for music can sense in their songs that they are
immoral people. This is not surprising if one knows who they
take as their examples and what low types of people they work
with in the corrupt world of rock music. The non- Jewish and
Israeli papers have already compared the most famous chareidi
singers to the likes of Elvis Presley, Michael Jackson and
other immoral personalities. To them that is a compliment,
but to us the opposite.
The success of the Committee for Jewish Music depends on the
response of the public. We have already received much support
and encouragement from many important rabbis and roshei
yeshivos, but the public must also take this matter seriously
and stand up for the honor of Hashem Yisborach and the
honor of the Torah, in order to ensure the spiritual welfare
of the next generation.
Parents and teachers must be careful to guard their children
from a young age from all the bad influences with which we
are being bombarded, and they must take care what kind of
music they are exposed to. Anyone who cannot distinguish
between kosher music and treife music should take
advice from people who do understand the difference.
For advice and help on the subject of music at weddings,
etc., please phone 03-6191973.
The Rambam writes (Hilchos Lulav 8:14): [The
Simchas Beis Hashoeva on Succos] "was not celebrated
by ignoramuses or by anyone who wanted, but by gedolei
chachmei Yisroel and Roshei Hayeshivos and the Sanhedrin
and the Chassidim and the elders and men of good deeds. These
were the people who danced and clapped and played [the music]
and rejoiced in the Mikdosh during the festival of
Succos. But all of the people came to see and to listen."
We learn from this that seeing and hearing a simcha shel
mitzvah means to see and hear the simchah of
gedolei Yisroel and the chassidim and elders
that is all kedushoh, and this arouses a spirit of
holiness that comes from a simcha shel mitzvah.
And from this we should understand how careful we must be to
avoid the opposite of this, that is, to see and listen to the
music of reshoim even at a simcha shel mitzvah.
But we must make sure that the whole execution of the
simchah should be from a holy source, and even if they
change slightly the words or the music, tumah should
not be acquired by changing it to kedushah, and we
should distance ourselves from these songs.
The hosts of simchos must request and make conditions
with the musicians that they play only songs and tunes from
holy sources and not chas vesholom the opposite.
May it be that we will merit speedily to an everlasting
simcha from the building of the Beis
Hamikdash,
Nissim Karelitz.
(The letter was also signed by HaRav Shmuel Halevi Wosner,
and HaRav Chaim Pinchas Scheinberg.)
An Interview with Reb Abish Brodt, Ba'al Menagein
"It is a Dance of Corruption of the Feet, not a Song of
the Heart"
Reb Abish Brodt's pleasant voice is well-known to lovers of
authentic Jewish music. His songs are the highlight of the
American Agudas Yisroel's annual convention, where he
conducts hundreds of participants in stirring song at the
communal melaveh malkoh. His voice and songs pierce
our hearts.
As a matter of principle, Reb Abish keeps the number of his
performances to a bare minimum. This modest individual feels
honored to praise Hashem through song.
One who does not ordinarily listen to music should,
nevertheless, take heed of Reb Abish's pertinent words. His
message is most significant. Reb Abish is deeply worried by
the current trend of imitating foreign cultures and the
resulting dangers.
What is the danger of today's "Chassidic music"?
I heard from one of this generation's great talmidei
chachomim that the golus of our generation is the
golus of "Let's be like all the nations."
In each generation, our nation has faced spiritual danger.
There were generations of avodoh zorah in all types of
disguises. There were generations that had other problems.
The problem of our generation, nehiyeh kechol ho'amim,
is the poison of the Maskilim that still lingers. They wanted
to appear like gentiles. Be a Jew at home and a man on the
street, was their motto. Even the assimilated Jew's temple
attempted to mimic the appearance of a church, R"l.
It has expressed itself in each generation in different
forms. In the past, they tried looking like a non-Jewish
intellectual, a man of the West. They produced the pioneers
of Western `culture' in all areas of the entertainment
industry. Jews!
However, Jews with yir'as Shomayim do not try to appear as
non-Jews.
True, but it certainly has had an impact. The street's evil
influences, unfortunately, have infiltrated our camp. Every
foreign object is trying to make itself kosher by donning a
yarmulke. This is especially prominent in today's
music. It is alien music, even if one attaches words from the
mekoros.
How has today's pop-music succeeded in
infiltrating?
There are many musical compositions that have influenced
Chassidic music via the secular world. Their ear gets used to
raucous noises. As a result, they produce the compositions
that they produce.
About them, we cannot complain. However, how could this pass
through the sensitive ear and the fragile regesh of a
tzibbur yireh Shomayim? How could the tzibbur
not reject this? Some of them are yeshiva-educated, yet they
make alien music. The damage is enormous.
Can you give an example of the damage?
Certainly. At the shul where I daven in the
United States, we do kiruv for groups of kids that
have gone off the derech. They need lots of
compassion, so we give them support. They asked me to sing a
bit for them.
Which song did they request? Tashmi'a lonu es Ovinu
Malkeinu -- with the familiar, old and gentle tune. This
music speaks to the heart.
When I spoke with these teenagers, I became interested in how
they fell to where they were. I heard a variety of reasons.
However, one of the things that kept repeating itself was
surprising--even if it didn't personally surprise me: It
started with "Chassidic" music!
They attended concerts. Practically speaking, it is
impossible to maintain rules of separation at such events.
And the music itself, the street music, was their first push
into the street.
We're talking about bochurim who had no previous
connection with the outside world. This music connected them
to the street. Their ears got adjusted to its noises.
Afterwards, they discarded the pesukim and they
started listening to the original. From there, they fell
rapidly. This music simply broke the barrier between the
chareidi public and the street, and choliloh, many
became its tragic victims!
How does it break the barrier?
Once upon a time, when a bochur entered a record and
tape store, there was a clear difference between
kodesh and chol. Whatever belonged to us was
Jewish.
Today the distinction is broken. There are melodies that have
been taken from the worst places, from sources of
tumoh. In Moscow for example, I met a baal
teshuvoh who worked at the American Consulate. He said
about a particular song, "This is a song of a neo-Nazi
group!"
Their music is steeped in hatred and soils one's soul.
Nevertheless, didn't previous generations of gedolei Torah
and Admorim take melodies from non-Jews?
True. We aren't on the level to be able to analyze the
positive aspects of their songs. But one does not need an
especially musical ear to identify songs of prikas ol.
Such a song moves the body, causing a person to dance in an
alien way for bnei Torah.
When a song is from the innermost chamber of our souls, it
moves the body in a swaying of gentle deveikus, of the
beis medrish. People close their eyes, they see that
this raises them spiritually.
At chasunas for example, when the song is alien and
not from our circles even if the song's words contain
pesukim, you see all the adults disappearing from the
dance circle. It's impossible to participate in it. That says
it all.
It's a dance of corruption of the feet, not a dance of the
heart. One sees that it originates from the outside, not from
the beis medrish. Let's not allow it to invade our
sheltered communities.
Are the negative influences attributed only to the music,
itself?
No! Everthing surrounding it also has influence. You could
see how the so-called necessity for a "star performer" has
developed. This is a need for something that came from the
outside, that has entered the walls of the beis
medrish. That, in its own right, is very serious. How
much more so when the need for them is based upon something
negative.
Unfortunately, religious `pop-idols' are gaining recognition.
Young kids who are not appropriately inoculated against this
are trying to imitate these same images and their actions.
Sometimes, there are concert goers who act in a despicable
manner. We must put an end to this.
This is definitely nehiyeh kechol ho'amim, even if
they try to disguise it with a yarmulke. Afterwards,
you see its effects upon the bochurim. Their souls are
drowning from the consequences. We see it from how they walk,
and in their singing. They forgot the true song, the melodies
of the heart.
What's your opinion regarding children performing in
choirs?
Once a father came to me with his son who had sung in such a
framework. He boasted of his son who "possesses an incredible
voice." When I saw the child, I didn't stop praying that this
child should not become damaged from it, choliloh. I
feared that after his period of singing, nisim will be
required for him.
What damage does this cause?
On stage, it's impossible to sing like an ehrliche
Yid. The children who sing, impersonate the so-called
star performers. Even after the song has finished, you see
children bloated with ga'avoh. This accompanies them
throughout the day. But in what does he pride himself?
Ga'avoh is always forbidden, but this particular
ga'avoh stems from something posul.
You generally see a child who has become conditioned to act
for external responses: for the applause, for the praise, for
instant gratification. Later, when his voice changes, the
adolescent will be left in an empty vacuum. His spiritual
world will be lacking because of this. Nothing will remain,
even from his deceptive praises. It clearly endangers his
physical well-being, not just his spiritual well-being.
Reb Abish, what do you consider to be Jewish music?
Jewish music is something that arouses the neshomoh
and not the body. Even shirim of simchoh need
to fit this definition. Many of these songs are
appropriate.
I try to visualize for myself the nigun in the Beis
Hamikdosh, as much as I am able, according to my
level.
Imagine a man surrounded in fear, for he needs to bring a
korbon chattos. He comes to the Mikdosh,
knowing that he must do teshuvoh. He hears the song of
the levi'im, which touches a sensitive nerve. This
penetrates his soul, which arouses him. He begins to cry, to
be awakened, to return.
Afterwards the shechitoh, kabboloh, zerikoh, and
teshuvo and kaporoh. He then hears the sound of
a happy shir. His soul is gladdened by the fact that
he has atoned, that he has merited to do teshuvoh. The
melody helps him keep in step with proper spiritual
feelings.
We aren't on this madreigoh, but when a person sings,
closing one's eyes and concentrating on the words, he feels a
longing, a yearning. Thus he arouses himself.
One can only feel this if the melody is not alien and
disturbing. If one were to think and have kavonoh.
This should be the feeling, like a shaliach tzibur,
like a person who is over lifnei he'amud. "Know before
Whom you are standing." Know before Whom you are singing!
A Jewish wedding is a simchah shel mitzvah. Therefore
we are obligated to be careful at our simchos not to
copy the goyim by making a celebration of light-
headedness and frivolity by playing loud, wild music that is
made specifically to arouse the yetzer hora. It is
quite obvious that it is forbidden to play that type of music
at any Jewish simchah.
To our great dismay, many bands have brought the sounds of
the non-religious street into chareidi weddings in recent
years and, even worse, they play today the songs of
chillonim and goyim. In addition to this, they
play even the kosher songs in a modern style that is full of
chutzpah and rebellion, Rachmono litzlan.
Therefore, it is a mitzvah for everybody who cares about
kvod Shomayim to order a kosher band that will play in
a respectful manner suitable for a simchah shel
mitzvah. And since most of the public does not understand
what is kosher and what is posul, the Rabbis shlita
have decided to make a committee to supervise this matter
and provide advice to the musicians and the public in order
to guard the purity of the music played at weddings and all
other simchos.
The following rules have been made with the agreement of the
Rabbonim shlita and with the advice of chareidi
experts in music:
1. The Songs. Songs of goyim and chillonim
are not to be played, even with holy words. Similarly,
songs of a rebellious nature are not to be played, even if
they were written by chareidi people, such as all the songs
that are made in the style of cheap street music.
2. The Style. Even the traditional songs must be
played in a Jewish style and in a respectable manner fitting
to the holy words, and it is not at all permissible to play
in the style of the porkei ol.
3. The Instruments. The quality of the music is
influenced by the instruments that are used. Unfortunately,
most bands use instruments that are especially made to play
wild music, and have no place in respectable music. It is
recommended to play only with respectable instruments, or at
least to take care to play respectfully, that is, not to
distort the sound of the electric guitar, and to refrain from
playing wild abnormal rhythms on the drums.
4. The Drums. It is necessary to take care that: 1]
The sound level of the drums should be less than the main
melody; 2] Not to play wild rhythms.
5. The Volume. It is forbidden to play at a volume
above 90 decibels, and any band that plays louder should be
rebuked. It is advisable to demand that the musicians not use
ear plugs.
6. It should be stressed that only the person who pays the
band has the right and the responsibility to decide what or
how to play, and nobody else has the right to request
anything else without the permission of baalei
hasimchah.
Shmuel Eliezer Stern
The following details were added by the members of the
committee to explain the above guidelines:
1. The Songs. Recently songs have been taken from the
non-religious media and "converted" by changing the words to
pesukim etc. These songs creep in by means of the
"religious" radio and by demand of irresponsible youth. They
find their way to the weddings of bnei Torah, together
with other wild rebellious songs written by "religious"
singers. Regarding the songs of the chareidi pop stars that
are generally songs of chutzpah and rebellion, the Gaon Rabbi
Shmuel Halevi Wosner wrote: "We are obligated to distance
ourselves from this, as they mix the posul with the
kosher and the kosher is also profaned."
2. The Style. In order to understand how a band can
change a pure Jewish song into a pop song, one should pay
attention to the way they play the song before the
chuppa and note the difference in the way it is played
by the band and the way the guests sing it outside. By adding
a few small changes to "jazz up" the melody, it is
transformed into a different song and is now unsuitable to
accompany the chosson and kallah to the
chuppah. This is how most kosher songs are played
today in order to adapt them to the modern style and by doing
so they lose all of their spiritual content. Therefore it is
extremely important to choose a kosher band whose musicians
can play according to these rules.
3. The Instruments. The electric guitar is made only
for use in rock and pop music and it has no place in any form
of kosher music. It is possible to play it in a respectable
way and there are a few avreichim who do so, but the
musicians who play this instrument in the way it is really
made to be played spoil the whole kedushah of the
wedding.
The same problem exists with the saxophone, referred to 80
years ago as "the devil's flute." Everything depends
on the musician. It is possible to play it in a respectable
manner or in a coarse vulgar manner. Therefore it is
preferable to request that the clarinet should be used
instead of the saxophone. (The baalei simchah should
know that it is their privilege to decide which instruments
they want to be used.)
Other points that should be mentioned: not to amplify the low
bass tones more than normal, and not to use weird electronic
sounds or distortion.
4. The Drums. Also, the modern set of drums was
created for playing non-kosher music. Therefore it is
important to avoid drummers who do not understand how to play
in a suitable style. It should be known that the definition
of rock music is when the rhythm is the dominant factor over
the melody. Therefore the drums and all percussion
instruments should not be as loud as the other instruments.
And especially at weddings in Yerushalayim, they must be
careful not to make the rhythm of the drums louder than the
singer. [It should be noted that the function of the drums is
only to accompany dancing, as is mentioned by the Malbim,
Yeshayohu, 24:8].
5. The Volume. Medical experts say that prolonged
exposure to noise levels over 90 decibels damages hearing and
general health. The noise problem can be solved, bezras
Hashem if every wedding hall will be required by law to
install a noise meter that will disconnect the electricity
when the noise exceeds this limit. The noise level should be
measured from the place where the people dancing come closest
to the speakers. Where it is not possible to measure the
sound level, the band should be told that they are to fix the
volume according to the judgment of the baal
hasimchah, and they should be warned that if they do not
listen when told to reduce the volume, they will not be
paid.
6. The Singer. The status of the singer at weddings
today is very problematic since most of them try to imitate
the frum rock idols both in the way they sing and in
the way they move and dance while singing and in the way they
pronounce the words. If they do this it is better to ask them
not to sing.
All of these guidelines certainly apply when playing inside a
beis hamedrash at a Hachnosas Sefer Torah or
Simchas Beis Hashoeva.
*
A list of kosher bands has been sent to the roshei yeshivos,
and can be obtained from the committee. It is also
recommended to sign a contract with the band to ensure that
they will listen to the instructions of the baalei
hasimchah and since, they are generally preoccupied with
other matters, it is advisable to appoint a responsible
person to supervise the band throughout the wedding. A
contract can be obtained from the committee [telephone: 03-
6191973].
The committee has received the support and blessing of many
gedolim and a letter has been sent to the roshei
yeshivos requesting them not to participate in any wedding
unless it has a kosher band that plays according to the above
rules in a manner fitting for a simcha of bnei
Torah. The letter was signed by the committee of rabbis
and by the Geonim: HaRav Shmuel Halevi Wosner, HaRav Michel
Yehuda Lefkovitz, HaRav Nissim Karelitz, HaRav Shmuel
Auerbach, HaRav Chaim Pinchas Scheinberg, and HaRav Moshe
Shmuel Shapira.
by Rabbi D. Blaser
Most of today's gentile pop music is written specifically
with the lowest of intentions. The melodies, rhythms, beat
and backing are all purposefully put together to encourage
the lowest base emotions. The "modern frum sounds" we dance
to at our weddings are modelled on this sewerage.
Non-technical Musical Analysis for the Layman
The Tune's Introduction
The first thing one hears on most tapes is a swirling and
snappy opening -- the "intro." Intro's are to whet the
appetite and build up expectation.
The mere pop tune alone has no real music weight or
development. By this I mean that in old songs the melody is
subtly changed and molded until it leads itself into a new
melody. Even a simple old niggun will have some
elements of this. However, a modern pop tune merely repeats
itself like a sheep bleating.
Pop tunes are written to allow the star to show off his
voice. Period. He learns it. He sings it. The sound mixers
change it. The company sells it.
There is of course a limit to how many times you can repeat a
tune. Thus pop tunes desperately need an intro to fill up the
tape or time slot.
Generally, the modern frum sound's melody is ultra-simple:
two sections, each repeated. The first is usually lower, the
second higher. The second generally has an "attractive," very
high, yearning or passionate sound to it before relapsing
into the last notes.
Older tunes rarely go up so high. Usually an old niggun's
climax will settle a couple of notes lower. The higher
climax produces a far more impassioned effect.
An Example
"Mi Ma" begins with a typical big band concert intro.
In the body of "Mi Ma," every device is cleverly used to
create a full use of the two brief snatches of actual tune.
The composer and arranger is trapped because this style of
music really has very few options. Pop music has no scope.
Sections of Mi-Ma
In "Mi Ma", we first hear the lower melody. Now, to build up
to a semi-climax, we have a bridge section using answering
phrases. The first time this appears, it is soloist and
chorus. On later repetitions, it is solo and brass, trumpets
and saxes, rhythm and chorus etc. The notes go up as do our
expectations and pulses.
The reason for this buildup is that the "big sell" of this
number is the "Mi Ma" bit, the second section: high,
impassioned and catchy. Now both the arranger and the singer
do their utmost to make the most of the situation. The
soloist puts enormous energy and effort into enlivening the
melodic line. He slides dramatically into new sections, and
swells and molds the shape of notes in the best traditions of
the pop singer. Much thought has gone into this performance,
as into, I am sure, all his work.
The Accompaniment
The arranger uses every attempt to expand his brief. He has
the chorus singing a short counter melody; answering with a
slightly risque "Wo-ho-ho"; using a hint of "teeny-bop" voice
affectation in the "NA-na-na-na-NAH-na" build up sections; he
alternates the use of instrumentation as far as possible.
In summary, within their genre, the Mi-Ma performers have
done a really professional job for a pop tape. They would not
pretend, I feel, that they are creating masterpieces, but
rather good value for money entertainment.
The Jungle Beat
"Mi Ma" relies very heavily on its persistent, rock beat.
Imagine it without the drums. Impossible! Without drums the
tape would sound utterly empty. Thus rather than adding to
and supporting the melody, we find that the percussion is a
crutch. In this "Mi Ma" is no different from thousands of
similar pop tunes.
The Slow Tunes
Our modern slow tunes are sad creatures. They must raise
emotions merely with a sobbing refrain. There is just one
tune, repeated. They imitate typical nightclub crooner's
tunes. They have two short sections. A low one and a high
one. Usually string sounds will sob, swill around and shimmer
tearfully. The second section will have a tear- jerking,
almost hysterical higher part.
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