ABSTRACT
The re-awakening of the Ashenazi tradition in Israel. The golden age of recorded ḥazzanut and the present day cantor’s reactions. Establishment of cantorial academies. A short social European history of Ashkenazi liturgical music. The medium of concerts. The restrictions on the orthodox cantor. The creation of a new concert repertoire. The advent of the phonograph record and its influence. Virtuoso recitatives and the use of extemporised nusaḥ. The different viewpoint of the Orthodox tradition. The hiring of guest cantors for important shabbat and festival occasions. Financial considerations. Popular taste in liturgical music appreciation. The aspect of the choir in the synagogue; signs of Israel’s liturgical music revival. The broadcast of religious music on state radio; TV, Cassettes and CDs. Renanot, The Institute of Sacred Music. Sheet music. Jacob Michael collection of Jewish music. Prospects for cantors at home and abroad.
