In thrice-daily prayers, devout Jews praise the God “who brings life to the dead”—a phrase that occurs four times in a single blessing. Matt Austerklein analyzes the now-commonplace tune to which that prayer is sung, and then points to the historical evidence that “the root of music across the world [lies] in sorcery and supernatural power, including over life and death itself.” Take, for instance,
Europe’s oldest surviving manuscript, the Derveni Papyrus (c. 340 BCE). Among the book’s contents are the sorcerer-author’s detailed analysis of a hymn that could revive the dead. This may sound like mumbo-jumbo, but bears similarities to the Greek legend of Orpheus, who similarly wielded his musical skill to bring back his wife from the underworld.
Yet, while Jews reject such shamanistic practices of ancient and modern pagans, Austerklein writes, they do not reject the idea of resurrecting the dead. Rather,
the God of the Bible is the ultimate shaman—not us. The magical thinking of shamanic traditions worldwide credit the human being as the channel for divine energies, wielding the powers of healing and revival through their esoteric musicology and incantations. The Hebrew has no different of an experience—yet acknowledges that it is not human machinations but relationship with God that resurrects the world.
For the Bible, and for Jews, it is God who ultimately wields power, brings the waters, heals the sick, releases the imprisoned, and revives the dead. It is God alone who is the ultimate musician.