THE USE OF INSTRUMENTS IN THE SYNAGOGUE

Statistics state that between the 1880s and the 1940s, over 8 million Jews entered the United States through Ellis Island. According to the PEW Report in 2013, many Jews in the United States, do not identify themselves as such. This reality raises many questions to congregational leaders around the country. Some researchers say that it is due to intermarriage. When performing a survey among Jewish youth, they agree that they are disinterested in the synagogue service and that they do not find it meaningful to their lives. The Sages of blessed memory, teach us that we should strive to beautify the miwoth of the Torah. It has been hinted that perhaps the service could be enhanced with the implementation of instrumental music. This article will attempt to explore and analyze various sources that deal with the use of music in the synagogue.

The following passages are sources which deal with the issue at hand:

Sukkah 50b

Tosefta Arakhin

Mishneh Torah Hilkhoth Shabbath, Pereq 23

We learn from these sources that one is not allowed to play musical instruments on the Shabbath due to a rabbinic enactment, lest one will come to repair the instrument. This is a derivative of makh bePatish (the final hammer blow). This halakhah begs the question: what if one were to use instruments that cannot be broken or have a high tolerance for tension, such as metallic cymbals and hand drums? Also, what about flutes that have no buttons or springs, but only holes on their bodies? Furthermore, what about electronic instruments such as the keyboard, EWI, KIWI, and electronic drums? Moreover, lets say that one were using an instrument on the Shabbath and it did break, could it be possible for the musician to put it aside and not violate the Shabbath by attempting to repair it? This issue was already raised by the baal tosafoth in the Babylonian Talmud, tractate Beah 36b, that during our times, it is not common that one have the knowledge on how to fix a musical instrument. Surprisingly, one important instrument in Israel is the shofar. Various psalms describe its use in praising the Almighty. It could be argued that no instruments should be used at all on the Shabbath, since not even the shofar is sounded on the Shabbath of Rosh HaShanah, even though there is a miwah to do so. However, it should be noted that its prohibition is not clearly determined neither in the Jerusalem Talmud nor the Babylonian Talmud. It appears that the current practice of not playing it on Shabbath Rosh HaShanah is based on custom and not a defined halakhah. Nevertheless, these questions demand the judgment of a Sanhedrin to determine the halakhah. We also learn that the essence of the Temple service was not the music produced by instruments, rather the qorbanoth accompanied by singing, therefore, only the essence of the Temple service overrides the prohibited labors on the Shabbath in the Temple. Albeit, RYos, in the name of RYehudah, says that the musical instruments do override

the Shabbath. However, the Sages disagreed, thus the halakhah was established according to their opinion. Mishneh Torah Hilkhoth Taaniyoth chapter 5

In this halakhah, we learn that due to the destruction of the Temple, we should not play musical instruments at all. The Sages decreed that one should not listen to the sound of songs and to be gladdened by them. They go as far to say that not even singing that is accompanied by the drinking of wine. However, it was already customary during the Rambams time for Israel to sing songs of praise and thanks to the Holy One, blessed be He. From this law, it appears that singing music of praise and thanks to HaGeburah would be allowed. It is a maxim that the qorbanoth were replaced by the offering of our lips, as the Prophet Hoshea stated, Take with you words, and return unto the LORD; say unto Him: 'Forgive all iniquity, and accept that which is good; so will we render for bullocks the offering of our lips (Hoshea 14:3). The idea of giving thanks through song is also hinted in the psalms of King David, when he said, Accept, I beseech Thee, the freewillofferings of my mouth, O LORD, and teach me Thine ordinances (Mizmor 119:108). If the qorbanoth were accompanied by singing and the harmonious and joyous sounds of musical instruments, why are they left out of the synagogue service? The animal and meal offerings were replaced by the service of our lips, but what of the sound of instruments? Why are they not used on Rosh odesh during the Hallel, or during ol HaMoed Sukkoth, or the Qabbalath Shabbath service before the onset of the Shabbath? One must also consider that the use of music was conducive to prophecy, as stated, But now bring me a minstrel.' And it came to pass, when the minstrel played, that the hand of the LORD came upon him (II Melakhim 3:15). Why did the Prophet Elish call upon a musician? It is evident that the music brought him joy, thus enabling him to focus his mind and enter the realm of prophesy, as stated by the Rambam: All the prophets do not prophesy whenever they desire. Instead, they must concentrate their attention [upon spiritual concepts] and seclude themselves, [waiting] in a happy, joyous mood, because prophecy cannot rest upon a person when he is sad or languid, but only when he is happy. Therefore, the prophets'

disciples would always have a harp, drum, flute, and lyre [before them when] they were seeking prophecy (Sefer HaMadda, Hilkhoth Yesode HaTorah, chapter 7:8). Finally, the Prophet Yoel said, And it shall come to pass afterward, that I will pour out My spirit upon all flesh; and your sons and your daughters shall prophesy, your old men shall dream dreams, your young men shall see visions (Yoel 3:1). It can be inferred that day when the Temple was destroyed, sadness came upon Israel, and as a result, prophesy was lost. Should the words of the Prophet come to pass in our days, surely, the use of musical instruments in harmony with prayer and meditation will play a vital role in their fulfillment. Hallelujah! Praise God in His sanctuary; praise Him in the firmament of His power. Praise Him for His mighty acts; praise Him according to His abundant greatness. Praise Him with the blast of the horn; praise Him with the psaltery and harp. Praise Him with the timbrel and dance; praise Him with stringed instruments and the pipe. Praise Him with the loud-sounding cymbals; praise Him with the clanging cymbals. Let everything that hath breath praise the YHWH. Hallelujah!

Yehonatan Elazar-DeMota 15th day of I Adar 5774 New York