by Cantor Leigh Korn
from the October 2007 Ruach
It is pretty rare that cantorial schools make the news. One might suspect (mostly accurately) that cantorial schools exist without the shadow of controversy. What could be so controversial anyway? Simply put, they train individuals in all things Jewish, musical, and liturgical, and turn singers into cantors.
If you stop and consider their role, you realize that cantorial schools do, in fact, impact synagogue life and worship in a more profound way. Cantors go out into synagogues and help craft worship for the American Jewish community. The style and repertoire that each cantor brings to her or his congregation impacts the prayer and communal life of the community.
So, it will come as no surprise that the decision made by the Reform cantorial school, Hebrew Union College (my alma mater) to hire Jewish folk icon Debbie Friedman to its faculty has the Jewish world abuzz. Everyone is wondering how her appointment to teach future cantors will change the face of Reform Jewish worship. I can’t remember a news item that has more congregants and colleagues, cantorial and rabbinic, alike asking me, “What do you think?”
One cannot deny Debbie Friedman’s impact on the fabric of Jewish music. You may not know her name,but surely you have heard her music. Her setting of the healing prayer, Mi Shebeirach, a standard in our sanctuary, almost single-handedly put healing prayers on the map in Reform synagogues. Her compositions are written in folk and pop style, and due to their popularity at Jewish camps, they have made their way into sanctuaries throughout North America. The reception they received led to an explosion of other musicians and composers writing similarly styled music intended to be used for worship.
Some find her music accessible because it resembles the music of their youth. They like its “singability” and appreciate the simple melodies that wend their way into hearts and souls. Others find her music trite and too simplistic. They feel that the music doesn’t reflect the text that it accompanies.
As a cantor, I often find myself struggling with both pro and con arguments regarding synagogue music. I am blessed with a singing congregation. Each Shabbat, you come to engage in worship by using the voices God blessed you with. I would not want it any other way. I like to pray melodies that lend themselves well to full participation. Granted, there are always moments to listen, but our worship tends to favor active participation. Yet, I have been entrusted with a musical legacy. If not for the cantor, who would carry on our musical traditions, many dating back hundreds (if not thousands) of years? Personally, I opt for an eclectic mix not favoring one style or composer over another. Our music could be likened to Torah. We have the written Torah as we know it. Further, we have the Mishnah which is known as the “oral Torah” including rabbis’ explanations and clarifications of the laws in the Torah. Then we have the Gemarra which is commentary on the Mishnah.
Even today as rabbis (and b’nai mitzvah students) interpret the Torah for our generation, they are adding to our critical tradition. The same can be said of our music. We have ancient musical traditions indigenous to the Jews such as nusach and cantillation. Then we have the music of the early reform composers in Germany. We then have music of American composers such as Freed and Janowski who wrote throughout the 20th century. Now we add the music of Debbie Friedman and her contemporaries to our repertoire.
Musically, we continue to evolve, and certainly Debbie Friedman’s contributions to the training of cantors will have an impact on worship. The essential piece is that we continue to welcome new music, but not to the exclusion of the treasure that is our rich, musical heritage.
Back