When the Music Stops: Music and Mourning

It’s good for a person to accustom himself to reviving himself with a nigun, because Nigun is a powerful and mighty tool, and it has the great strength to awaken a person and point his heart towards the Blessed Name. And even one who doesn’t know how to play music [or sing out loud] can sing to himself and through that revive himself. For the “lift” of a nigun cannot be measured.

[Rebbe Nachman of Breslov]

And they likewise ordained not to play musical instruments. And it is forbidden to rejoice with all types of music and any instruments that make musical sounds, and it is forbidden to listen to them, on account of the destruction. And even vocal music over wine if forbidden, as it is stated (Isaiah 24:9), "They drink their wine without song." And all of [the Jewish people] has already become accustomed to saying songs of praise and song of thanks to God, and that which is similar to them, over wine.

The Gemara further relates: They sent the following question to Mar Ukva: From where do we derive that song is forbidden in the present, following the destruction of the Temple? He scored parchment and wrote to them: “Rejoice not, O Israel, to exultation, like the peoples” (Hosea 9:1).

(1) 1. When tzaddikim are publicized in the world, through this new melodies are brought into the world.

(2) 2. The Leviim had a special melody designated for each day, but now, in the Exile, the melodies have been forgotten. When some tragedy comes upon some nation, the melody of the Leviim corresponding to that crisis is aroused (lit. sparks or glistens).

(3) 3. Through the melodies that contain a tone of crying, it is possible to release the captives, the aspect of "He brings out prisoners bakosharot (in a kosher -- propitious -- time).” [t.n. The word bakosharot is split into two words (by the Medrash): beki -- meaning crying, shirot -- meaning song = song with a crying tone].

(4) 4. Through song, a person can be discerned if he accepted upon himself the yoke of Torah.

(5) 5. That which a person when he drinks begins to sing and make melody (/music), which is not so when he eats -- this is because they (the Jews in the desert) expressed shira (song of praise and gratitude to G-d) over the Well, and not over the Manna.

Solomon also means that although everything man thinks may be fully correct, expressing his thoughts at the wrong time and at the wrong place are not. If a man has composed a beautiful poem and set it to music and proceeds to sing his song in the house of mourning, this would be a prime example of doing the right thing at the wrong time. The same applies to someone composing an elegy and proceeding to read it in public at a joyous occasion. In both instances the misplaced sense of timing results in the composer’s words not being appreciated, not causing joy to the composer.

Hence Solomon emphasizes in the above verse the importance of “speaking the right words at the right time.” Our sages in Bereshit Rabbah 27,4 have said that at a time of joy it is appropriate to say things of a joyful nature, whereas at a time of mourning the reverse is in place.

One needs to consider carefully if the time is appropriate for voicing such a thought, as voicing it at the wrong time or in the wrong environment may diminish its impact. Even the best ideas must be presented only at the appropriate time.