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Nigun

January 01, 1970

For niggunei ha-mikra, see Hebrew cantillation. For an overview of similar music, see Religious Jewish music.

A nigun (Hebrew: ניגון meaning "tune" or "melody", plural nigunim) or niggun (plural niggunim) is a form of Jewish religious song or tune sung by groups. It is vocal music, often with repetitive sounds such as "Bim-Bim-Bam", "Lai-Lai-Lai", "Yai-Yai-Yai" or "Ai-Ai-Ai" instead of formal lyrics. Sometimes, Bible verses or quotes from other classical Jewish texts are sung repetitively to form a nigun. Some nigunim are sung as prayers of lament, while others may be joyous or victorious.[1][2]

Nigunim are largely improvisations, though they can be based on thematic passages and are stylized in form, reflecting the teachings of the spiritual leadership of the congregation or its religious movement. Nigunim are especially central to worship in Hasidic Judaism, which evolved its own structured, soulful forms to reflect the mystical joy of intense prayer (devekut).

Hasidic nigunim edit

 
Roger David Servais: Chassidim

A revival of interest in Jewish music was sparked as part of Hasidism. Different Hasidic groups have their own nigunim, often composed by their rebbe or leader. Hasidim gather around holidays to sing in groups. There are also nigunim for individual meditation, called devekus or devekut (connecting with God) nigunim. These are usually much slower than around-the-table nigunim, and are almost always sung without lyrics. The Baal Shem Tov, founder of Hasidism, spoke of devekus nigunim as "songs that transcend syllables and sound."[citation needed] Several tunes attributed to him are still used today.

Some nigunim originate from non-Jewish sources. Hasidic Jews, based on a practice of their founder Rabbi Israel Baal Shem Tov, have adapted anthems and even folk songs, ascribing them a new spiritual dimension. For example, Chabad Hasidim have adopted the French tunes of La Marseillaise and Napoleon's March, as well as Russian or German drinking songs as a part of their liturgy. Many Hasidim believe that these songs, in their secular forms, are in spiritual exile. By adapting them to liturgical forms, they are "raising Holy Sparks" according to the teachings of Rabbi Isaac Luria's system of kabbalah. (The same reasoning is used for the use of Arab tunes for Sephardic pizmonim.) The process continues to this day, with new nigunim emerging from time to time.

Nigunim are usually sung at Hasidic gatherings (Tish/Farbrengens) when large numbers of followers come together to sing and to discuss spiritual concepts. The belief is that when you sing a nigun, the soul of the rabbi who created it appears in the room. On festive occasions the nigunim, especially, are joyful melodies. On the festival of Simchat Torah, the most joyous day in the calendar, fervent nigunim are sung in the dancing with the Torah scrolls in the synagogue.

Amongst the variety of Hasidic dynasties, different styles of nigunim are prominent, reflecting the alternative spiritual paths of each group. These include the emotional creativity of Breslov, the encouraging of marches Ger, the charismatic faith of Kaliv, and the intellectual content of Chabad.

Kaliver nigunim edit

Main article: Kaliv (Hasidic dynasty)
 
The previous Kaliver Rebbe at left

The Kaliver Dynasty began with Rabbi Yitzchak Isaac Taub (1744–1828) of Nagykálló (in Yiddish Kaliv), Hungary. He was the first Hasidic Rebbe in Hungary. He was discovered by Rabbi Leib Sarah's, a disciple of the Baal Shem Tov. Rabbi Leib first met Rabbi Isaac when he was a small child, a small shepherd boy. Rabbi Leib told his mother, a widow, that her son was destined to be a great Tzadik. He took the small child to Nikolsburg to learn with Rabbi Shmelke of Nikolsburg. Rabbi Isaac grew to be a great Rebbe and was known as "the Sweet Singer of Israel". He composed many popular Hasidic melodies. Often he adapted Hungarian folk songs, adding Jewish words. He taught that the tunes he heard were really from the Holy Temple in Jerusalem, and were lost among the nations over the years, and he found them and returned them to the Jewish people.[citation needed] He said that the proof that it was true was that the gentile who would teach him the song would forget it as soon as the rebbe learned it.[citation needed] He was famous for composing the traditional Hungarian Hasidic tune Szól a kakas már. When Leib Sarah's found him, he sang in Hungarian a song he knew from the shepherds, Erdő, erdő, which he adapted to Judaism by changing the words. In Yitzack Isaac's version, the love in the song is for the Shechina (Divine Presence) that is in exile until the Messiah:[3]

Forest, O forest, how vast are you!
Rose, O rose, how distant you are!
Were the forest not so vast,
My rose wouldn't be so far.
Who will guide me out of the forest,
And unite me with my rose?
Then he sang it as Rabbi Leib Sarah's heard it.

Exile, O exile, how vast are you!
Shechinah, Shechinah, how distant you are!
Were the exile not so vast,
The Shechinah wouldn't be so far.
Who will guide me out of the exile,
And unite me with the Shechinah?

Another famous song by the Kaliver Rebbe is Sírnak, rínak a bárányok – also in Hungarian.

Another example is Kol Haberuim by Baruch Levine, whose lyrics go:

There's a chamber that doesn't open,
but with a nigun...

Chabad nigunim edit

Main article: Chabad niggunim

Nigunim of the Chabad dynasty are admired across Hasidism for their intellectual depth.[citation needed] The aim of Chabad Hasidic thought is to articulate Hasidic philosophy in philosophical investigation, in order to awaken inner emotional ecstasy. Chabad writings talk of two types of Hasid, the practical "Oveid" (from the word to serve God-Avodah), and the intellectual "Maskil" (from the word to intellectually study-Haskalah). Both are united in the mystical dveikut fervour of Hasidism, but the primary aim of the Oveid is to bring their inspiration into practical action, while the primary aim of the Maskil is to reach deeper understanding of Hasidic thought. This differentiation enables the intellectual aims of Chabad to be holistically united with emotional joy and soul-searching. The second Rebbe of Chabad, Dovber Schneuri, distinguished between mainstream Hasidic "enthusiasm", and the Chabad aim of intellectually created "ecstasy". Enthusiasm expresses itself in emotional exuberance, reflected in emotional nigunim. Ecstasy is an inner emotional perception, and may be restrained in outward expression when suited. The meditative nature of many Chabad nigunim expresses this. Among them:

Musar Movement Nigunim edit

The Musar movement has also made use of nigunim, based on the realization of how music affects the inner life. In the 19th century, the Musar movement developed its own distinctive nigun chanting traditions.[5] In the 21st century, nigunim may be used at the start and the end of musar study sessions[6] and may help to create an emotional musar experience.[7]

See also edit

Nigunim:

Practices:

Citations edit

  1. ^ Haida 1999-10-07 at the Wayback Machine Touchstone Sacred Dance Library, Accessed February 2014.
  2. ^ Music In Kaballah, The Nigun's Influence on the Soul From the book Shirat HaLev (The Song of the Heart) by Shmuel Stern – Translated by Gita Levi. Accessed February 2014.
  3. ^ "The Singing Tzaddik"
  4. ^ "Nigun Shamil: The Soul Endlessly Yearning for What It Has Always Never Been.
  5. ^ Muir, S. "Hasidism and Mitnagdism in the Russian Empire: the (mis)use of Jewish music in Polish-Lithuanian Russia" (PDF).
  6. ^ . mussarinstitute.org. Archived from the original on 2019-05-29. Retrieved 2019-05-20.
  7. ^ Stone, Ira (2013-05-14). A Responsible Life: The Spiritual Path of Mussar. Wipf and Stock Publishers. ISBN 9781620328750.

General and cited references edit

  • Pinson, DovBer, Inner Rhythms: The Kabbalah of Music, Jason Aronson, Inc. 2000. Excellent chapters on the history of Jewish music, the various types and uses of Hasidic nigunim, etc.
  • Stern, Shmuel, Shirat HaLev (Trans The Song of the Heart) Translated by Gita Levi.

External links edit

  • CMusic - Lyrics & Reviews for Chasidus Music
  • Spiritual Jewish music in Bandcamp
  • Shamil Nigun
  • Napoleon's March
  • Music in Kabbalah
  • Modzitzer Nigunim
  • The Nigun from an Ethnomusicological Perspective
  • Listen to hundreds of Chabad Nigunim online
  • Nigun, about Jewish music chabad.org
  • Power of the Nigun
  • Music of Baruch Levine

January 01, 1970
nigun, niggunei, mikra, hebrew, cantillation, overview, similar, music, religious, jewish, music, nigun, hebrew, ניגון, meaning, tune, melody, plural, nigunim, niggun, plural, niggunim, form, jewish, religious, song, tune, sung, groups, vocal, music, often, wi. For niggunei ha mikra see Hebrew cantillation For an overview of similar music see Religious Jewish music A nigun Hebrew ניגון meaning tune or melody plural nigunim or niggun plural niggunim is a form of Jewish religious song or tune sung by groups It is vocal music often with repetitive sounds such as Bim Bim Bam Lai Lai Lai Yai Yai Yai or Ai Ai Ai instead of formal lyrics Sometimes Bible verses or quotes from other classical Jewish texts are sung repetitively to form a nigun Some nigunim are sung as prayers of lament while others may be joyous or victorious 1 2 Nigunim are largely improvisations though they can be based on thematic passages and are stylized in form reflecting the teachings of the spiritual leadership of the congregation or its religious movement Nigunim are especially central to worship in Hasidic Judaism which evolved its own structured soulful forms to reflect the mystical joy of intense prayer devekut Contents 1 Hasidic nigunim 1 1 Kaliver nigunim 1 2 Chabad nigunim 2 Musar Movement Nigunim 3 See also 4 Citations 5 General and cited references 6 External linksHasidic nigunim edit nbsp Roger David Servais Chassidim A revival of interest in Jewish music was sparked as part of Hasidism Different Hasidic groups have their own nigunim often composed by their rebbe or leader Hasidim gather around holidays to sing in groups There are also nigunim for individual meditation called devekus or devekut connecting with God nigunim These are usually much slower than around the table nigunim and are almost always sung without lyrics The Baal Shem Tov founder of Hasidism spoke of devekus nigunim as songs that transcend syllables and sound citation needed Several tunes attributed to him are still used today Some nigunim originate from non Jewish sources Hasidic Jews based on a practice of their founder Rabbi Israel Baal Shem Tov have adapted anthems and even folk songs ascribing them a new spiritual dimension For example Chabad Hasidim have adopted the French tunes of La Marseillaise and Napoleon s March as well as Russian or German drinking songs as a part of their liturgy Many Hasidim believe that these songs in their secular forms are in spiritual exile By adapting them to liturgical forms they are raising Holy Sparks according to the teachings of Rabbi Isaac Luria s system of kabbalah The same reasoning is used for the use of Arab tunes for Sephardic pizmonim The process continues to this day with new nigunim emerging from time to time Nigunim are usually sung at Hasidic gatherings Tish Farbrengens when large numbers of followers come together to sing and to discuss spiritual concepts The belief is that when you sing a nigun the soul of the rabbi who created it appears in the room On festive occasions the nigunim especially are joyful melodies On the festival of Simchat Torah the most joyous day in the calendar fervent nigunim are sung in the dancing with the Torah scrolls in the synagogue Amongst the variety of Hasidic dynasties different styles of nigunim are prominent reflecting the alternative spiritual paths of each group These include the emotional creativity of Breslov the encouraging of marches Ger the charismatic faith of Kaliv and the intellectual content of Chabad Kaliver nigunim edit Main article Kaliv Hasidic dynasty nbsp The previous Kaliver Rebbe at left The Kaliver Dynasty began with Rabbi Yitzchak Isaac Taub 1744 1828 of Nagykallo in Yiddish Kaliv Hungary He was the first Hasidic Rebbe in Hungary He was discovered by Rabbi Leib Sarah s a disciple of the Baal Shem Tov Rabbi Leib first met Rabbi Isaac when he was a small child a small shepherd boy Rabbi Leib told his mother a widow that her son was destined to be a great Tzadik He took the small child to Nikolsburg to learn with Rabbi Shmelke of Nikolsburg Rabbi Isaac grew to be a great Rebbe and was known as the Sweet Singer of Israel He composed many popular Hasidic melodies Often he adapted Hungarian folk songs adding Jewish words He taught that the tunes he heard were really from the Holy Temple in Jerusalem and were lost among the nations over the years and he found them and returned them to the Jewish people citation needed He said that the proof that it was true was that the gentile who would teach him the song would forget it as soon as the rebbe learned it citation needed He was famous for composing the traditional Hungarian Hasidic tune Szol a kakas mar When Leib Sarah s found him he sang in Hungarian a song he knew from the shepherds Erdo erdo which he adapted to Judaism by changing the words In Yitzack Isaac s version the love in the song is for the Shechina Divine Presence that is in exile until the Messiah 3 Forest O forest how vast are you Rose O rose how distant you are Were the forest not so vast My rose wouldn t be so far Who will guide me out of the forest And unite me with my rose Then he sang it as Rabbi Leib Sarah s heard it Exile O exile how vast are you Shechinah Shechinah how distant you are Were the exile not so vast The Shechinah wouldn t be so far Who will guide me out of the exile And unite me with the Shechinah Another famous song by the Kaliver Rebbe is Sirnak rinak a baranyok also in Hungarian Another example is Kol Haberuim by Baruch Levine whose lyrics go There s a chamber that doesn t open but with a nigun Chabad nigunim edit Main article Chabad niggunim Nigunim of the Chabad dynasty are admired across Hasidism for their intellectual depth citation needed The aim of Chabad Hasidic thought is to articulate Hasidic philosophy in philosophical investigation in order to awaken inner emotional ecstasy Chabad writings talk of two types of Hasid the practical Oveid from the word to serve God Avodah and the intellectual Maskil from the word to intellectually study Haskalah Both are united in the mystical dveikut fervour of Hasidism but the primary aim of the Oveid is to bring their inspiration into practical action while the primary aim of the Maskil is to reach deeper understanding of Hasidic thought This differentiation enables the intellectual aims of Chabad to be holistically united with emotional joy and soul searching The second Rebbe of Chabad Dovber Schneuri distinguished between mainstream Hasidic enthusiasm and the Chabad aim of intellectually created ecstasy Enthusiasm expresses itself in emotional exuberance reflected in emotional nigunim Ecstasy is an inner emotional perception and may be restrained in outward expression when suited The meditative nature of many Chabad nigunim expresses this Among them Niggun Shamil 4 Niggun of Four Stanzas Tzomah Lecha Nafshi Hachanah Niggun Anim Zemirot Stav Ya Pitu Hu ElokeinuMusar Movement Nigunim editThe Musar movement has also made use of nigunim based on the realization of how music affects the inner life In the 19th century the Musar movement developed its own distinctive nigun chanting traditions 5 In the 21st century nigunim may be used at the start and the end of musar study sessions 6 and may help to create an emotional musar experience 7 See also editNigunim Nachman of Breslov The Kaliver Rebbe Rebbe Moshe Zvi Giterman Practices Jewish meditation DveikutCitations edit Haida Archived 1999 10 07 at the Wayback Machine Touchstone Sacred Dance Library Accessed February 2014 Music In Kaballah The Nigun s Influence on the Soul From the book Shirat HaLev The Song of the Heart by Shmuel Stern Translated by Gita Levi Accessed February 2014 The Singing Tzaddik Nigun Shamil The Soul Endlessly Yearning for What It Has Always Never Been Muir S Hasidism and Mitnagdism in the Russian Empire the mis use of Jewish music in Polish Lithuanian Russia PDF Afternoons of Mussar mussarinstitute org Archived from the original on 2019 05 29 Retrieved 2019 05 20 Stone Ira 2013 05 14 A Responsible Life The Spiritual Path of Mussar Wipf and Stock Publishers ISBN 9781620328750 General and cited references editPinson DovBer Inner Rhythms The Kabbalah of Music Jason Aronson Inc 2000 Excellent chapters on the history of Jewish music the various types and uses of Hasidic nigunim etc Stern Shmuel Shirat HaLev Trans The Song of the Heart Translated by Gita Levi External links editCMusic Lyrics amp Reviews for Chasidus Music Spiritual Jewish music in Bandcamp Kabbalah of Music Shamil Nigun Napoleon s March Music in Kabbalah Biala Nigunim Modzitzer Nigunim The Nigun from an Ethnomusicological Perspective Listen to hundreds of Chabad Nigunim online Nigun about Jewish music chabad org Neohasid Chasidus without borders Power of the Nigun Music of Baruch Levine Retrieved from https en wikipedia org w index php title Nigun amp oldid 1219768018, wikipedia, wiki, book, books, library,

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