Jewish Perspective on Music

And Rabbi Shefatya said that Rabbi Yoḥanan said: Concerning anyone who reads from the Torah without a melody or studies the Mishna without a song, the verse states: “So too I gave them statutes that were not good, and judgments whereby they should not live” (Ezekiel 20:25), as one who studies Torah through song demonstrates that he is fond of his learning. Furthermore, the tune helps him remember what he has learned.

Rabbi Akiva says: Sing every day, sing every day, i.e., review your studies like a song that one sings over and over. Rav Yitzḥak bar Avudimi says: From what verse is this derived? It is as it is stated: “The hunger of the laborer labors for him; for his mouth presses upon him” (Proverbs 16:26), i.e., he exhausts his mouth through constant review and study. He labors in Torah in this place, this world, and his Torah labors for him in another place, the World-to-Come.

Sing every day - Even if one has reviewed his learning, he should sing it every day, and this will cause your life in the World to Come to be with happiness and songs.

(2) Behold! whoever hears song from an evil singer, it hinders his service of the Creator. But when he hears from a fit and worthy singer, then it benefits him, as will be explained. For behold, the voice of the song is drawn from the birds, as it says in the Midrash (Vayikra Rabbah 16): "Why is it that the leper -- his purification depends on two live, clean birds? Let the chatterer (the birds) come and atone for the chatterer (the leper). For he was stricken because of [his] voice that spoke slander." Hence, whoever is fit, his song is drawn from the two live, clean birds. And it is written in the Zohar (Vayikra 53), that the two birds mentioned above, nurse from the place that prophets nurse. This is why the singer is called ChaZzaN, a term for vision (ChaZzoN), i.e. a term for prophecy, for he takes the song from the place that the prophets nurse. But when the singer is wicked, then he takes his song from other birds that are in the qlipah (shells, evil forces).

(1) Hallelujah. Praise the LORD, O my soul! (2) I will praise the LORD all my life, sing hymns to my God while I exist.

(21) And the name of his brother was Jubal; he was the ancestor of all who play the lyre and the pipe.

(14) Now the spirit of the LORD had departed from Saul, and an evil spirit from the LORD began to terrify him. (15) Saul’s courtiers said to him, “An evil spirit of God is terrifying you. (16) Let our lord give the order [and] the courtiers in attendance on you will look for someone who is skilled at playing the lyre; whenever the evil spirit of God comes over you, he will play it and you will feel better.” (17) So Saul said to his courtiers, “Find me someone who can play well and bring him to me.” (18) One of the attendants spoke up, “I have observed a son of Jesse the Bethlehemite who is skilled in music; he is a stalwart fellow and a warrior, sensible in speech, and handsome in appearance, and the LORD is with him.” (19) Whereupon Saul sent messengers to Jesse to say, “Send me your son David, who is with the flock.” ... (23) Whenever the [evil] spirit of God came upon Saul, David would take the lyre and play it; Saul would find relief and feel better, and the evil spirit would leave him.

(1) David and the officers of the army set apart for service the sons of Asaph, of Heman, and of Jeduthun, who prophesied to the accompaniment of lyres, harps, and cymbals. The list of men who performed this work, according to their service, was:

(3) Whenever the Kohen Gadol wanted to offer the incense [instead of the priest who won the lottery], he would go up the ramp with his assitant on his right side. When he reached half-way up the ramp, the assistant would hold his right hand and helped him go up. The first [priest] passed him [the Kohen Gadol] the head and rear [right] leg [of the Tamid] and he [the Kohen Gadol] would lean his hands on them and then throw them [on the fire]. The second one passed to the first one the two front legs who would then give them to the Kohen Gadol, who would then lean on them and throw them [onto the fire]. When second one would then go away. And so they would pass him the rest of the limbs and he would lean on them and throw them. And whenever [the Kohen Gadol] wanted, he would [only] lean on them and others would throw them. He then went around [full circle] the altar. From where would he start [his circle]? From the southeastern corner [to] the northeast [corner then to] the northwest [corner then to] southwest [corner]. They gave him the wine to pour [for the libation]. The assistant stood on the horn [of the altar] with two flags in his hand. Two Kohanim stood in the table of [used for] fats and two trumpets were in their hands. They blew a teki'ah [long steady sound], then a teruah [a series of very short sounds] and then again a teki'ah. They came and stood next to ben Arza [the one who played the cymbal], one on his right and one on his left.When he [the Kohen Gadol] bent and to pour [the wine], the assistant waved the flags and ben Arza swung the cymbals and the Levites began to sing. When they [the Levites] reached [the end of] a chapter [of Psalms], they would blow [a set of blasts; teki'ah, teruah and a teki'ah] and the people [that were looking on] would bow down. At the end of every chapter, they would blow a [set of blasts; teki'ah, teruah and a teki'ah]. After each set of blasts, they [the people] would bow. This is the order of the Tamid offering for the service of the House of G-d, May it be His will that it be built speedily in our days. Amen.

(1) The flute [was played sometimes on] five [days], and [sometimes on] six. This was the flute of the place of [water] drawing, which does overrides neither Shabbat nor holidays. They [the Sages] said: Anyone who has never seen the rejoicing at the place of [water] drawing, has never seen rejoicing in all his days.

(2) How do they bring the Bikkurim up [to Jerusalem]? All the cities of a Ma'amad [one of 24 regions, each of which sent in turn a delegation to the Temple to be present and represent the entire people at the public sacrifices] would go into [central] city of the Ma'amad and sleep in the streets of that city without going into the houses. When they arose, the supervisor would say, "Arise! Let us go up to Zion, to the house of the Lord our God!"

(3) Those who were close would bring dates and grapes and the far ones would bring dried figs and raisins. A bull would go before them and its horns would be plated with gold and it would have a olive wreath around its head. The flute would play before them until they got close to Jerusalem. Once they got close to Jerusalem, they would send ahead of them [a messenger] and adorned their Bikkurim. The overseers and the officers and the treasurers would go out to greet them; in accordance with the stature of those coming in would they go out. All the artisans of Jerusalem would stand before them and greet them, "Our brothers from so-and-so, come in peace!"

(4) The flute would continue playing before them until they arrived at the Temple Mount. Once they arrived at the Temple Mount, even Agripas the King would carry his basket on his shoulder and enter until he reached the courtyard. Once they got to the courtyard, the Levites would speak in song (Psalms 30:2), "I will extol you, O Lord, because you have raised me and not allowed my enemies to rejoice over me."

MISHNA: This mishna continues with the list of items that were nullified. From the time when the Sanhedrin ceased song was also nullified from the places of feasts, i.e., it was no longer permitted to sing at a feast where wine was served, as it is stated: “With song they shall not drink wine” (Isaiah 24:9).

GEMARA: The Gemara poses a question with regard to the first clause of the mishna: And from where is it derived that the verse: “With song they shall not drink wine” (Isaiah 24:9) is written about the period from the time when the Sanhedrin was nullified? Rav Huna, son of Rav Yehoshua, said: From that which the verse states: “The Elders have ceased from the gate, the young men from their music” (Lamentations 5:14). This indicates that the dissolution of the Sanhedrin, who are the Elders from the gate, is linked to the end of the young men singing. Rav said: The ear that hears song should be uprooted, as it is prohibited to listen to music after the destruction of the Temple. Rava said: If there is song in a house there will be destruction on the threshold, as it is stated: “Voices shall sing in the windows; desolation shall be in the doorposts; for its cedar work shall be uncovered” (Zephaniah 2:14). The word “uncovered” [era] could be read to mean: Its city [ira]. The Gemara asks: What is the meaning of: For its cedar work shall be its city? Furthermore, Rabbi Yitzḥak wondered when he said: Is a house interlaced with cedars not as strong as a city, and therefore not threatened by desolation? Rather, it means that even a house interlaced with cedars will become unstable [mitroe’a] if song is heard there. Rav Ashi said: Learn from it that when the destruction starts it starts with the threshold, as it is stated: “Desolation shall be in the posts.” And if you wish, say instead that they derive this idea from here: “In the city is left desolation, and the gate is smitten unto ruin [she’iyya]” (Isaiah 24:12). The term “ruin” here is referring to the destructive demon known as She’iyya, who strikes the gate first. Mar bar Rav Ashi said: I saw it, this She’iyya, and it was goring and wreaking havoc like an ox. Rav Huna said: The song of those who pull ships and lead the herd is permitted, for their singing assists them to establish a rhythm in their work. However, that of weavers is forbidden, as they sing only for their own enjoyment. The Gemara relates that subsequently, Rav Huna nullified all types of song, and this led to a general blessing: The price of one hundred ducks stood at a dinar, and one hundred se’a of wheat at a dinar, and there was no desire for them even at such a cheap price, due to their great abundance. Later, when Rav Ḥisda came and belittled this prohibition, people began to sing again. As a result, prices increased greatly, and this led to a situation whereby one wanted a single duck for one dinar and it could not be found.

It is referring to having music in a bar.

One shouldn't have live music in a bar, or constantly be playing music. However, signing for a mitzvah is permitted, like playing at a wedding.

They decreed they can't play music, and all music is forbidden because of the destruction of the Beit Hamikdash. Even singing over wine without instruments would be forbidden, as the verse says, "in song you shouldn't drink wine." We have adopted the custom to sing praises to Hashem over wine.

(3) Similarly they decreed not to play [music] with instruments, and musical devices, and all things that make music to rejoice with them. There are those who say, [the prohibition is] specifically for those whom they regularly play them, like for kings who stand and rest to instruments or in the house of a feast. (Tur) It is forbidden to make them heard because of the destruction, and even song by mouth over wine is forbidden, as it says: "In song one may not drink wine" (Isiah 24:9). And all of Israel is already accustomed to saying words of praise or songs of thanks and remembering the goodnes of the holy one blessed be he over wine. Similarly for the need of a Mitzvah, like for house of a Groom and Bride, all this is permitted. (Tosefot, Smug, and Hagehot Maymoni)