Jewish music can be studied from many diversified points of view. Among them historical, liturgical and non-liturgical music of the Hebrews dating from the pre-Biblical times (Pharaonic Egypt); Religious music musical activities the seemingly impoverished religious musical activities during the early middle ages; the emergence of the concept of Jewish music in the mid-19th century; its nation-oriented sense as coined by the landmark book Jewish Music in its Historical Development (1929) by A. Z. Idelsohn (1882-1938) and end as the art and popular music of Israel.
Early emergences of Jewish musical themes and of what might be called “the idea of being jew” in the European music can be seen in the works of Salamone Rossi (1570-1630). Famous Jewish philosopher Moses Mendelssohn (1729-1786): The Fellix Mendelssohn (1809-1847), of the works of the pappers of the following that they appear somewhat shaded in djpunjab.
Fromental Halevy’s (1799-1862) opera La Juive and its occasional use of some Jewish themes is opposed to the “none of the jews” in his almost contemporary fellow musician Jacques Offenbach (1819-1880), who is actually a Jew and straight in the grown up Jewish tradition
Interestingly the St. Petersburg Society for Jewish Music by the composer-critic Joel Engel (1868-1927) They were inspired by the Nationalistic movement in the Russian Music personified by Rimsky-Korsakov, Cesar Cui and others, and records how to set out the Shtetls and meticulously recorded and transcribed thousand of Yiddish folksongs.
Ernst Bloch’s (1880-1959) Schelomo for cello and orchestra and specially the Sacred Service for orchestra, choir and soloists are “Jewish Requiem”.
Mario Castelnuovo-Tedesco (1895-1968) ‘s Sephardic upbringings and their influences on his music as he appeared in his Second Violin Concerto and in many of his songs and choral works; cantatas Naomi and Ruth, Queen of Shiba and the oratorio The Book of Jonah among others are worth noting as well.
Many scholars did not miss the Synagogue motives and melodies borrowed by George Gershwin in his Porgy and Bess. Gershwin biographer Edward Jablonski has claimed that the melody to “It Is Not Surely So” was taken from the Haftarah blessing and others have attributed it to the Torah blessing.
In Gershwin’s some 800 songs, allusions to Jewish music have also been identified by other observers as well. One musicologist found “an uncanny resemblance” between the folk tune “Havenu Shalom Aleichem” and the spiritual “It Take a Long Pull to Get There”.
Most notcied contemporary Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Mark Kopytman, Yitzhak Yedid.
There are also very important works by non-Jew music Maurice Ravel with his Kaddish for violin and piano based on a traditional liturgical melody and Max Bruch’s popular arrangement of the Yom Kippur prayer Kol Nidrei for cello and orchestra is the best known among them.
Sergei Prokofieff’s Overture Sur Things Juives for string quartet, piano and clarinet clearly shows its non-religious Jewish music in inspirational sources. The melodic, modal, rhythmical materials and the use of the clarinet as a leading melodic instrument is a very typical sound in folk and non-religious Jewish music.
Dmitri Shostakovich was deeply influenced by Jewish music as well. This can be seen in many compositions, most notably in the song cycle from Jewish Folk Poetry, and in the Second Piano Trio. However his most outstanding contribution to the Jewish culture is unbreathed by the 13th. Symphony “Babi Yar”