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On the question of psalmody in the ancient synagogue
Published online by Cambridge University Press: 05 December 2008
Extract
Music historians are virtually unanimous in attributing the source of early Christian psalmody to the synagogue. In this they follow the vast majority of liturgical scholars, Protestant and Catholic alike. There is, after all, considerable plausibility to the view: nascent Christianity was a Jewish sect and its first liturgical gatherings shared with the synagogue its most revolutionary characteristic – the coming together of co-religionists in a meeting room rather than the witnessing of sacrifice in a temple court. Moreover, the liturgical practices of these gatherings resembled those of the synagogue; in particular the so-called ‘liturgy of the Word’ that preceded the Eucharist appears to have been modelled after the scripture-centred order of synagogue worship. And when one observes that the principal vehicle of early Christian chant was the Old Testament Book of Psalms it seems a natural assumption that the singing of those psalms was a practice borrowed from the synagogue. The present author shared this assumption until coming to question it when pursuing a related topic. The study that follows is a fulfilment of the intention stated then to explore the subject more thoroughly. In doing so it is necessary to begin with a general examination of Jewish liturgy in the time of Jesus, both the liturgy of the Temple and that of the synagogue.
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References
1 McKinnon, J., ‘The Exclusion of Musical Instruments from the Ancient Synagogue’, Proceedings of the Royal Musical Association, 106 (1979–1980), pp. 84–5.CrossRefGoogle Scholar
2 Ibid., n. 43. The article in progress mentioned there, ‘The Myth of Psalmody in Early Synagogue and Church’ was presented as a paper in December 1980 at Duke University; the present article is a revision of the portion of that paper dealing with the synagogue. In the meantime John A. Smith, who was present at the Royal Musical Association meeting where the paper on the exclusion of musical instruments was read, decided to pursue the subject of synagogue psalmody on his own and published his findings in an article, ‘The Ancient Synagogue, the Early Church and Singing’, Music and Letters, 65 (1984), pp. 1–16.Google Scholar I agree with virtually all Mr Smith's conclusions and shall try to avoid duplication here of his argument.
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6 The Temple offices and the individuals who held them in the last years of the Temple are given in M. Shekalim 5.
7 The description of the daily service given here is selective, emphasising those elements of relevance to the subject at hand. It follows the Mishnah Tamid and will give citations for individual events only if derived from other tractates. Of the many secondary works consulted the most helpful was that of S. Safrai cited above.
8 M. Sukkah 5, 5.
9 Tefillah will be the term used in this study; synonyms used with comparable frequency are 'Amidah, literally ‘standing’, the traditional posture for the prayer, and Shemoneh 'Esreh, literally ‘eighteen’. The modern syngaogue follows Babylonian usage with its nineteen benedictions.
10 There is a musical curiosity involved here: the magrefah came eventually to be confused with a monstrous pipe organ and was considered to be such by musicologists as late as Idelsohn, A. Z., Jewish Music in its Historical Development (New York, 1929), p. 14.Google Scholar The confusion was finally unravelled by Yasser, J., ‘The Magrepha of the Herodian Temple: a Five-Fold Hypothesis’, Journal of the American Musicological Society, 13 (1960), pp. 24–42.CrossRefGoogle Scholar
11 Luke 1: 10.
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13 M. eArakin 2, 3–6.
14 M. Sukkah 5, 1; Sukkah 50b–51a. On the question of a Sabbath prohibition of instruments, see McKinnon, ‘Exclusion’, p. 82.
15 The credit for making the phenomenon known goes to Quasten, J., Musik und Gesang in den Kulten der heidnischen Antike und christlichen Frühzeit, Liturgiewissenchaftliche Quellen und Forschungen 25 (Münster, Westphalia, 1930), pp. 36–44.Google Scholar Although his explanation of the phenomenon as apotropaic magic is widely accepted, the present author finds it unsatisfactory; see ‘The Church Fathers and Musical Instruments’ (Ph.D. dissertation, Columbia University, 1965), pp. 11–17.Google Scholar
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20 Berakhot 33b.
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30 Ibid., 3, 6.
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33 Not until Amran Gaon's, in the ninth century.
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36 See also Luke 12:11; Acts 9: 1–2 and 12: 11.
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38 See also Matthew 4: 23; Mark 1:21, 6:2; and Luke 4: 14,6:6.
39 See also Acts 9: 20, 13:5, 14: 1, 17: 1–3, 17:10–11, 18:4, 18: 19, 18: 16 and 19:8.
40 See also Acts 2:46.
41 See also Acts 4: 31.
42 In Flaccum 49; Rivkin's discussion of the meaning of proseuchē appears as an appendix to ‘Ben Sira and the Nonexistence of the Synagogue’, pp. 150–4.
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53 He had a hand in other liturgical developments, for example the ordering of the Passover seder; see M. Pesahim 10, 5.
54 See Guttmann, A., ‘The End of the Jewish Sacrificial Cult’, Hebrew Union College Annual, 38 (1967), pp. 137–48.Google Scholar
55 Berakhot 26b.
56 Berakhot 32b.
57 Berakhot 5a.
58 Berakhot 4b.
59 M. Berakhot 4, 5.
60 Berakhot 26a.
61 Berakhot 21a.
62 Berakhot 8a; see also Berakhot 3a; Berakhot 6a, quoted below, and Berakhot 30b.
63 Berakhot 8a.
64 (Ps. 82: 1), Berakhot 6a; the immediately preceding passage has a reference to song that will be discussed below.
65 Megillah 28a–28b.
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67 ‘The Supposititious Temple-Synagogue’.
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84 Judaism in the First Centuries of the Christian Era, I, p. 296.
85 Sopherim 18, 1. What follows here on Sopherim owes much to the discussion of Rabinowitz, ‘The Psalms in Jewish Liturgy’. Sopherim is available in English translation as part of a supplement to the Soncino translation of the Babylonian Talmud.
86 Hertz, J., The Authorized Daily Prayer Book (revised edn, New York, 1948), p. 218.Google Scholar
87 Sopherim 17, 11.
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89 Elbogen, , Der jüdische Gottesdienst, p. 82Google Scholar, determined that a phrase in Shabbath 118b refers to these six psalms, but Hoffman, L. casts serious doubt on the identification: The Canonization of the Synagogue Service (Notre Dame, Ind., and London, 1979), pp. 127–8.Google Scholar
90 That is, those sufficiently developed to appear in the indexes of the Soncino translation.
91 Especially: M. Pesahim 5, 7; M. Ta'anit 4, 4–5; M. Sukkah 4, 1 and 8; Sukkah 37b; 42b; 54b.
92 Especially: Berakhot 9a; M. Pesahim 9, 3; 10, 6–7; Pesahim 85b–86a; 115b; 117a.
93 For example, ‘Arakin 10a–10b and Ta'anit 28b.
94 For example, a reference to David's supposed recitation, Megillah 21b, and another on the question of kneeling during the recitation, Berakhot 34b.
95 Rosh ha-Shanah 27a; see also 34b and M. Rosh ha-Shanah 4, 7.
96 Sotah 30b. I. Slotki discusses this and related passages at length: ‘Antiphony in Ancient Hebrew Poetry’, JQR, 26 (1936), pp. 199–219.Google Scholar
97 Confessions, x, 33, 50.
98 See especially Jeffery, P., ‘The Introduction of Psalmody into the Roman Mass by Pope Celestine i (422–32)’, Archiv für Liturgiewissenschaft, 26 (1984), p. 159.Google Scholar It is the central point of my paper, ‘The Fourth Century Origin of the Gradual’; see Abstracts of Papers Read at the First Joint Meeting of the American Musicological Society … (Vancouver, 1985), pp. 27–8.Google Scholar
99 The Gospel of John, which suggests to some that the Last Supper took place on the previous day, gives pause. Still there are liturgical historians who view the matter with certainty: for example, Jungmann., J.The Early Liturgy (trans. Brunner, F., Notre Dame, Ind., 1959), p. 12.Google Scholar
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101 An important point for which one is indebted to Smith, op. cit., p. 16.
102 De vita contemplativa, 64–90.
103 Ecclesiastical History, ii, 17, 22. Compare the Philo passage with Tertullian, Apologeticum, 39, 16–18.
104 Hengel, M., ‘Proseuche und Synagogue’, Tradition und Glaube: Das frühe Christentum in seiner Umwelt: Festgabe für Karl Kuhn zum 65. Geburtstag, ed. Jeremias, G. and others (Göttingen, 1971), p. 163.Google Scholar
105 In addition to the passages cited above from Tertullian and the Apostolic Tradition, see Clement of Alexandria, Paedagogus 2,4 and Cyprian, Ad Donatum, 16.
106 Megillah 32a.
107 Berakhot 6a.
108 Ta'anit 16a.
109 The Sacred Bridge, ii (New York, 1984), pp. 73, 97–100.Google Scholar
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111 The Bible as Read and Preached in the Old Synagogue, 2 vols. (Cincinnati, 1940–55; vol. ii completed by I. Stone).
112 The principal advocates of the theory are: King, E., ‘The Influence of the Triennial Cycle upon the Psalter’, The Journal of Theological Studies, 5 (1904), pp. 203–13;CrossRefGoogle ScholarSnaith, N., ‘The Triennial Cycle and the Psalter’, Zeitschrift für die alttestamentliche Wissenschaft, 51 (1933), pp. 302–7;CrossRefGoogle ScholarRabinowitz, L., ‘Does Midrash Tillim Reflect the Triennial Cycle of Psalms’, JQR, 26 (1936), pp. 349–68.CrossRefGoogle Scholar The inclusion of this last scholar is surprising in view of his later opposition to the idea of psalmody in the early synagogue; see ‘The Psalms in Jewish Liturgy’, cited above.
113 Rabinowitz, ‘Does Midrash Tillim Reflect the Triennial Cycle’, p. 358.
114 Arens, A., Die Psalmen in Gottesdienst des Alten Bundes, Trierer Theologische Studien 11 (Trier, 1961), p. 202.Google Scholar
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116 In the ‘Prolegomenon’ to the 2nd edn of Mann, op. cit., i (New York, 1971).
117 M. Megillah 4, 4. For another example, the passage from Mishnah Megillah (3,4) quoted above, which counts only Sabbath morning readings in the cycle, is directly contradicted by other rabbinic evidence; see Heinemann, op. cit., p. 45. For a summary of the issue, see Petuchowski, ‘The Liturgy of the Synagogue’, p. 29.
118 Op. cit., p. 46.
119 Apology, I, 67.
120 Op. cit., p. 7.
121 See Jeffery, ‘The Introduction of Psalmody into the Roman Mass’, and McKinnon, ‘The Fourth Century Origin of the Gradual’.
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