The 17th-Century Italian Composer Who Wanted Jews to Reclaim Their “Ancient” Musical Tradition

In 1622, the Italian Jewish violinist Salamone Rossi, who worked as a concertmaster in the court of the duke of Mantua, published the first-ever collection of polyphonic Jewish musical compositions. Titled Ha-Shirim asher li-Shlomo (“The Songs That Are of Solomon”), the book contained scores of original choral arrangements for traditional lyrics, written with European musical notation. It also contained a preface by Rabbi Leon Modena, arguing that such singing was appropriate to the synagogue. As Rebecca Cypess explains, not all of Modena’s rabbinic colleagues agreed:

Jews in early modern Italy found professional opportunities and success in the field of music. They performed as instrumentalists and singers; they taught these subjects to both Jews and Christians; they performed in private homes of adherents to both religions; they participated in the busy field of instrument design and creation, also serving as instrument dealers and traders.

Within their own communities, too, Jews cultivated music actively. These “insider” musical activities included the authorship of Hebrew-language treatises on music and the development of traditions of sung poetry and musical theater intended for insider audiences. Nevertheless, in the city of Mantua, Jewish musical theater was so highly prized that the [ruling Gonzaga dynasty] required the Jews to perform musical theater for them annually, and non-Jews sometimes entered the ghetto to experience the art form for themselves. While Rossi’s Shirim clearly display his full integration into the stylistic world of the broader society in which he lived, their Hebrew texts—many of them liturgical, meant to be performed as part of synagogue worship—suggest that they should be understood as an example of such insider-oriented musical innovations.

[However], Rossi’s compositions would seem deeply problematic from a halakhic standpoint. After all, these works adopt not just the musical style of non-Jews, but a whole system of notation and composition that originated in church worship. Yet Modena did not see them in this light. Instead, he went out of his way to frame the entire field of music as a Jewish one. In his understanding, the development of Christian music was a historical anomaly that required correction: music was an ancient Jewish art, one that had been “stolen from the land of the Hebrews.” [Thus] it was time for Jews to reclaim their lost tradition and reassert their primacy in the practice of music.

Read more at Lehrhaus

More about: Italian Jewry, Jewish music, Renaissance

Hizballah Is Learning Israel’s Weak Spots

On Tuesday, a Hizballah drone attack injured three people in northern Israel. The next day, another attack, targeting an IDF base, injured eighteen people, six of them seriously, in Arab al-Amshe, also in the north. This second attack involved the simultaneous use of drones carrying explosives and guided antitank missiles. In both cases, the defensive systems that performed so successfully last weekend failed to stop the drones and missiles. Ron Ben-Yishai has a straightforward explanation as to why: the Lebanon-backed terrorist group is getting better at evading Israel defenses. He explains the three basis systems used to pilot these unmanned aircraft, and their practical effects:

These systems allow drones to act similarly to fighter jets, using “dead zones”—areas not visible to radar or other optical detection—to approach targets. They fly low initially, then ascend just before crashing and detonating on the target. The terrain of southern Lebanon is particularly conducive to such attacks.

But this requires skills that the terror group has honed over months of fighting against Israel. The latest attacks involved a large drone capable of carrying over 50 kg (110 lbs.) of explosives. The terrorists have likely analyzed Israel’s alert and interception systems, recognizing that shooting down their drones requires early detection to allow sufficient time for launching interceptors.

The IDF tries to detect any incoming drones on its radar, as it had done prior to the war. Despite Hizballah’s learning curve, the IDF’s technological edge offers an advantage. However, the military must recognize that any measure it takes is quickly observed and analyzed, and even the most effective defenses can be incomplete. The terrain near the Lebanon-Israel border continues to pose a challenge, necessitating technological solutions and significant financial investment.

Read more at Ynet

More about: Hizballah, Iron Dome, Israeli Security