Reviewed by:

• Restoring the Synagogue Soundtrack: Jewish Religious Music in Nineteenth Century America by Judah M. Cohen
• Alon Schab

Many topics in music history are strewn with prejudice and received wisdom. Jewish music, especially nineteenth-century Jewish music that lies outside the perceived central-European 'mainstream', is a clear example of such a topic. Judah M. Cohen's new book succeeds in transcending received wisdom and sketches a convincing and, in many ways, pioneering narrative. To test the freshness of the narrative, one needs only to count Cohen's references to Abraham Z. Idelsohn's Jewish Music in Its Historical Development (New York: Holt, 1929)—four fleeting mentions in the main text, (excluding the Introduction and Conclusion). Idelsohn's absence from a book on nineteenth-century Jewish music has been almost inconceivable until recently, and Cohen earned this independence after having critically studied Idelsohn's legacy ('Rewriting the Grand Narrative of Jewish Music: Abraham Z. Idelsohn in the United States', The Jewish Quarterly Review 100, no. 3 [2010]: 417–453).

While the focus of the study is on a chain of pathbreaking tune books that were published along the second half of the nineteenth century, the bulk of primary sources consists of newspaper reports, letters, and contracts. The book is, therefore, useful not only for musicologists, but also to historians, historians of American Jewry, historians of religion, as well as for those who seek to understand some of the undercurrents in contemporary American-Jewish culture.

Cohen's book follows seven 'scenes' in the development of Jewish music in America, telling the stories of individuals who, in their careers and published works, demonstrate the various forces that operated on Jewish synagogal music during the formative nineteenth century. Obviously, the main forces that shaped music making in that period were theological and liturgical—the struggle between orthodox and reformed tendencies (which rarely went consistently in one direction, as Cohen convincingly shows). But the picture was, of course, much more complicated and also included the tension between the conflicting ideals of professional and congregational singing; between following revered central-European models and the will to break free from these models; between unity and independence of communities; and issues of prestige (both communal and individual).

It is not easy to follow the plethora of synagogue names (and their cities), cantors and rabbis, publication titles, dates of birth, immigrations, installations, publications, and deaths. I found it useful to take notes as I read through the book, listing all those details in a way that allowed me to grasp the chronological and geographical connections between the various scenes. And yet, Cohen makes 'no claims at comprehensive [End Page 188] overview', but 'seeks to create a structure for further correction, critique, and detail' (p. 14). He confesses that the South and the West deserve their own studies, that his narrative begins only in the 1840s, and that women's significant role in the described process cannot be properly assessed based on the primary materials he used. Properly stated at the outset of the study, these limitations do not invalidate the essence of the book's narrative.

Cohen's story begins with the shift from British-influenced models for choral singing to central-European approaches to synagogal music. The adoption of German hymn singing (and its wider social and philosophical implications) is discussed through the work of Wilhelm Fischer. Gustav M. Cohen aimed his The Sacred Harp of Judah (1864) 'for the use of Synagogues, Schools, and Home', a Bildung ideal that differed significantly from professionalised tune books like Sulzer's and Naumbourg's. The discussion of the Bildung-influenced tune book is complemented by a review of the works of Gustav S. Ensel and Simon Hecht. The following chapter is short but dramatic, as it can be seen as a real watershed point in which American leaders of synagogue music emerged as a significant branch in the spread of Sulzerian style (and authority). This brings Cohen to discuss the four-volume Zimrath Yah, edited...

审核人：

• 恢复犹太教堂原声带：19 世纪美国的犹太宗教音乐，犹大 M. 科恩 (Judah M. Cohen)
• 阿隆沙布

音乐史上的许多话题都充斥着偏见和公认的智慧。犹太音乐，尤其是位于中欧“主流”之外的 19 世纪犹太音乐，就是这种主题的一个明显例子。Judah M. Cohen 的新书成功地超越了公认的智慧，勾勒出令人信服且在许多方面具有开创性的叙述。为了测试叙述的新鲜度，我们只需要计算科恩在其历史发展中对亚伯拉罕·艾德尔森的犹太音乐的引用（纽约：霍尔特，1929 年）——正文中有四次短暂的提及（不包括引言和结论）。Idelsohn的缺席从一本书上的十九世纪的犹太音乐已经几乎是不可想象的，直到最近，和科恩有批判地学Idelsohn的遗产（'重写犹太音乐的宏大叙事：亚伯拉罕Z. Idelsohn在美国之后获得这种独立性，该犹太季刊评论100，第 3 期 [2010]：417-453）。

虽然这项研究的重点是在 19 世纪下半叶出版的一系列开创性的曲调书籍，但大部分主要来源包括报纸报道、信件和合同。因此，这本书不仅对音乐学家有用，而且对历史学家、美国犹太人历史学家、宗教历史学家以及那些寻求了解当代美国犹太文化中的一些暗流的人都有用。

科恩的书讲述了美国犹太音乐发展的七个“场景”，讲述了个人的故事，这些人在他们的职业生涯和出版的作品中展示了在 19 世纪形成时期影响犹太教堂音乐的各种力量。显然，那个时期影响音乐创作的主要力量是神学和礼仪——正统和改革派之间的斗争（正如科恩令人信服地表明的那样，很少有一致的方向）。但是，当然，情况要复杂得多，而且还包括专业歌唱和会众歌唱这两种相互冲突的理想之间的紧张关系；在遵循受人尊敬的中欧模式和摆脱这些模式的意愿之间；在社区的团结和独立之间；

跟踪大量的犹太教堂名称（及其城市）、吟游诗人和拉比、出版物名称、出生日期、移民、装置、出版物和死亡并不容易。我发现在阅读本书时做笔记很有用，以一种让我能够掌握各个场景之间的时间顺序和地理联系的方式列出所有这些细节。然而，科恩“没有全面的要求” [End Page 188]概述”，而是“寻求创建一个结构以进行进一步的修正、批评和细节”（第 14 页）。他承认南方和西方值得他们自己研究，他的叙述始于 1840 年代，并且无法根据他使用的主要材料正确评估女性在所描述过程中的重要作用。在研究开始时正确说明，这些限制并没有使本书叙述的本质无效。

科恩的故事开始于从受英国影响的合唱模式转变为中欧的犹太教堂音乐模式。通过 Wilhelm Fischer 的作品讨论了德国赞美诗的采用（及其更广泛的社会和哲学含义）。古斯塔夫·科恩瞄准了他的犹大圣琴（1864 年）“用于犹太教堂、学校和家庭”，这是一种教育理想，与 Sulzer 和 Naumbourg 等专业化的曲调书大不相同。对 Gustav S. Ensel 和 Simon Hecht 作品的评论补充了对受教育影响的曲调书的讨论。下一章虽然简短但富有戏剧性，因为它可以被视为一个真正的分水岭，美国犹太教堂音乐的领袖在此成为 Sulzerian 风格（和权威）传播的重要分支。这让科恩讨论了四卷的Zimrath Yah，编辑...