Dr. Yahyam whistles

Continuation of the review on the various musical instruments that were used in the temple at the end of the Second Temple, with Greek influence

In this chapter we will review the development of stringed instruments

In this chapter, regarding its various sections, I would like to highlight the following points: distinction between the musical instruments in the Bible and those of the period under discussion and the various consequences thereof; the extent of the influence of Greekness and Hellenism on musical instruments; Were there original Jewish musical instruments? Character of Jewish music.

It has already been mentioned several times the brave connection forged between Greek and Hellenistic philosophy and music - the Pythagorean school that attributed a supreme moral value to music, the Platonic school that insisted on the relationship between music and human nature and moral condition, and similarly the Aristotelian school. These philosophies penetrated Judea during the days of Roman rule

Compared to the countless sources concerning the music in the temple, there is little information about the sand music, and yet the research brings up interesting things

The beginning of the institution of the synagogue is rooted in the gatherings of the people in the temple in the days of Ezra the scribe and the reading of the Torah from his mouth. At first, the gathering was intended for Torah reading, while the liturgical element was added later, such as midrash and Torah study.

The shofar that stars on Rosh Hashanah and Yom Kippur was a central instrument among the wind instruments in a temple. next to the trumpets. It was transformed from its previous roles as an announcer of important events - coronations of kings and wars and became a ritual instrument, and from the horn of Yael it was preceded by the horn of Eyal

The music in the temple was an important element in the celebrations of the three pilgrimages, with the many pilgrims who arrived in Jerusalem

One of the cardinal areas that highlighted the image of the second temple was the pilgrimage three times a year. The Ascensions, both as a framework and as a means, in which the many areas of the people's attachment to his temple were expressed and revealed. Much of the music in the temple focused on these days of pilgrimage

The thing that stands out in the traditions is that singing in the temple was an inseparable part of the actual work, from the work of the temple to the point of distinguishing that even "singing" is "work". This work, it should be noted, is based on the establishment of music in the Temple throughout the days of the Second Temple.

In the past we pointed to the important family element found in the temple's musical system. This phenomenon was common in neighboring Egypt and Mesopotamia. So much so that it took shape towards the establishment of musical guilds with a family foundation. Turns out there were a lot of musical roles

From harp and violin, through bells, trumpets and of course up to trumpets - each instrument had special instructions during the Second Temple period

In the second temple in Jerusalem, sacrifices were made, twice a day, for the peace of the emperor and the peace of Rome, as a practice that spread from the time of the emperor Augustus onwards - a period corresponding to the reign of King Herod) and was associated with bravery in music, in a way that until then was considered as foreign worship

The music customs in the temple during the Maccabean and Hasmonean times are under Greek influence

In this chapter I will review the development of temple music from the end of the days of Ezera and Nehemiah until the outbreak of the Maccabean rebellion