Amidah - Wikipedia. The Amidah (Hebrew: . This prayer, among others, is found in the siddur, the traditional Jewish prayer book. As Judaism's central prayer, surpassed.
The short version of the Amidah, designated for persons in a rush or under pressure, is called Havineinu. It consist of only seven brachot (. A special abbreviated Amidah is also the core of the Mussaf (. The typical weekday Amidah actually consists of nineteen blessings, though it originally had eighteen; when the Amidah is modified for specific prayers or occasions, the first three blessings and the last three remain constant, framing the Amidah used in each service, while the middle thirteen blessings are replaced by blessings specific to the occasion. The language of the Amidah most likely dates from the mishnaic period, both before and after the destruction of the Temple (7. CE) at which time it was considered unnecessary to prescribe its text and content. In Orthodox public worship, the Shemoneh Esrei is usually first prayed silently by the congregation and is then repeated aloud by the chazzan (reader); the repetition's original purpose was to give illiterate members of the congregation a chance to participate in the collective prayer by answering .
Composition Chanted Responsively Synonyms
The rules governing the composition and recital of the Amidah are discussed primarily in the Talmud, in Chapters 4–5 of Berakhot; in the Mishneh Torah, in chapters 4–5 of Hilkhot Tefilah; and in the Shulchan Aruch, Laws 8. The language of the Amidah most likely comes from the mishnaic period. In the time of the Mishnah, it was considered unnecessary to prescribe its text and content.
Composition Chanted Responsively Dictionary
This may have been simply because the language was well known to the Mishnah's authors. Eliezer (Talmud Ber. Simeon ben Yohai (Ab. Jose held that one should include something new in one's prayer every day (Talmud Yerushalmi Ber. R. Eleazar and R. Abbahu (ib.). Prayer was not to be read as one would read a letter (ib.).
However, even the talmudic sources reflect such diverse opinions including the one attributing the formulation of the Amidah to the . Second Temple period, as opposed to one that explicitly ascribes the arrangement of the prayer to the activity of Rabban Gamliel in the post- destruction era at Yavneh (Ber. Gamaliel II. But this can not mean that the benedictions were unknown before that date; for in other passages the . In order to remove the discrepancies between the latter and the former assignment of editorship, the Talmud takes refuge in the explanation that the prayers had fallen into disuse, and that Gamaliel reinstituted them (Meg. The historical kernel in these conflicting reports seems to be that the benedictions date from the earliest days of the Pharisaic Synagogue. They were at first spontaneous outgrowths of the efforts to establish the Pharisaic Synagogue in opposition to, or at least in correspondence with, the Sadducean Temple service.
This is apparent from the haggadic endeavor to connect the stated times of prayer with the sacrificial routine of the Temple, the morning and the afternoon . Gamaliel II. He directed Simeon ha- Pakoli to edit the benedictions- probably in the order they had already acquired- and made it a duty, incumbent on every one, to recite the prayer three times daily. According to the Talmud Gamaliel directed Samuel ha- Katan to write another paragraph against informers and heretics making the number nineteen (Ber. This addition is the 1. When the Amidah is recited.
After the Second Temple's destruction in 7. CE, the Council of Jamnia determined that the Amidah would substitute for the sacrifices, directly applying Hosea's dictate, . Accordingly, since the Ma'ariv service was originally optional, as it replaces the overnight burning of ashes on the Temple altar rather than a specific sacrifice, Maariv's Amidah is not repeated by the hazzan (reader), while all other Amidot are repeated. On Shabbat, Rosh Chodesh, and other Jewish holidays there is a Musaf (. On Yom Kippur (Day of Atonement), a fifth public recitation, Ne'ilah, is added to replace a special sacrifice offered on that day. Structure of the weekday Amidah.
Each blessing ends with the signature . The first three blessings as a section are known as the shevach (. The middle thirteen blessings compose the bakashah (.
An·ti·phon (. A devotional composition sung responsively as part of a liturgy. A short liturgical text chanted or sung responsively.
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The final three blessings, known as the hoda'ah (. The shevach and hoda'ah are standard for every Amidah, with some changes on certain occasions. The nineteen blessings are as follows: Known as Avot (. This prayer includes a mention of God's healing of the sick and resurrection of the dead. It is called also Tehiyyat ha- Metim = .
Except for many Ashkenazim, most communities also insert a line recognizing dew in the summer. Known as Kedushat ha- Shem (. The Kedusha is further expanded on Shabbat and Festivals. Known as Binah (.
The text can be found in the next section. Ashkenazim generally say a shorter version of this blessing at Minchah and Maariv, called Shalom Rav. Final benedictions. Rock of our life, Shield of our help, You are immutable from age to age.
We thank You and utter Your praise, for our lives that are delivered into Your hands, and for our souls that are entrusted to You; and for Your miracles that are with us every day and for your marvelously kind deeds that are of every time; evening and morning and noon- tide. Thou art good, for Thy mercies are endless: Thou art merciful, for Thy kindnesses never are complete: from everlasting we have hoped in You. And for all these things may Thy name be blessed and exalted always and forevermore. And all the living will give thanks unto Thee and praise Thy great name in truth, God, our salvation and help. Blessed be Thou, O Lord, Thy name is good, and to Thee it is meet to give thanks. The priestly blessing is said in the reader's repetition of the Shacharit Amidah, and at the Mussaf Amidah on Shabbat and Jewish Holidays.
On public fast days it is also said at Mincha; and on Yom Kippur, at Neilah. It is not said in a House of Mourning.
In Orthodox and some Conservative congregations, this blessing is chanted by kohanim (direct descendants of the Aaronic priestly clan) on certain occasions. In Ashkenazic practice, the priestly blessing is chanted by kohanim on Jewish Holidays in the Diaspora, and daily in the Land of Israel. In Yemenite Jewish synagogues and some Sephardi synagogues, kohanim chant the priestly blessing daily, even outside Israel. Concluding meditation. Open my heart in Your Torah, and after . As for those that think evil of . That Thy beloved ones may rejoice, let Thy right hand bring on help .
May the words of my mouth and the meditations of my heart be acceptable in Thy sight, O Eternal, my rock and my redeemer. And may the Mincha offering of Judah and Jerusalem be pleasing to God, as in ancient days and former years. It is also customary to add individual personal prayers as part of silent recitation of the Amidah. Rabbi Shimon enjoins praying by rote: . The Shulchan Aruch thus advises that one pray using a translation one can understand, though learning the meaning of the Hebrew liturgy is ideal. The Rema wrote that this is no longer necessary, because . The only exceptions are in cases of danger or for one who needs to relieve oneself, though this rule may depend on the movement of Judaism.
There are also halakhot to prevent interrupting the Amidah of others; for example, it is forbidden to sit next to someone praying or to walk within four amot (cubits) of someone praying. Silent prayer. Therefore, when saying the Amidah one's voice should be audible to oneself, but not loud enough for others to hear. Standing. This is done to imitate the angels, whom Ezekiel perceived as having . In a similar vein, the Tiferet Yisrael explains in his commentary, Boaz, that the Amidah is so- called because it helps a person focus his or her thoughts. By nature, a person's brain is active and wandering. The Amidah brings everything into focus. The Talmud says that one who is riding an animal or sitting in a boat (or by modern extension, flying in an airplane) may recite the Amidah while seated, as the precarity of standing would disturb one's focus.
The Talmud records the following Baraita on this topic: A blind man, or one who cannot orient himself, should direct his heart toward his Father in Heaven, as it is said, . One who stands in the diaspora should face the Land of Israel, as it is said, . One who stands in the Land of Israel should face Jerusalem, as it is said, . One who stands in Jerusalem should face the Temple.
One who stands in the Temple should face the Holy of Holies. One who stands in the Holy of Holies should face the Cover of the Ark. It is therefore found that the entire nation of Israel directs their prayers toward a single location. Some say one should face the direction which would be the shortest distance to Jerusalem, i. Thus in New York one would face north- northeast.
Others say one should face the direction along a rhumb line path to Jerusalem, which would not require an alteration of compass direction. This would be represented by a straight line on a Mercator projection, which would be east- southeast from New York. In practice, many individuals in the Western Hemisphere simply face due east, regardless of location.
In the presence of an ark that does not face Jerusalem, one should pray toward the ark instead. Three steps. The steps backward at the beginning represent withdrawing one's attention from the material world, and then stepping forward to symbolically approach the King of Kings. The Mekhilta notes that the significance of the three steps is based on the three barriers that Moses had to pass through at Sinai before entering God's realm.
It is also compared to a student who respectfully backs away from his teacher. The Talmud therefore states: Rabbi Alexandri said in the name of Rabi Yehoshua ben Levi: One who has prayed should take three steps backward and afterwards pray for peace. Rav Mordecai said to him: Once he has stepped three steps backward, there he should remain.
Singing the Psalms: A Brief History of Psalmody. The distinction goes back to the Bible itself, in Paul's admonition to edify one another through the use of .
The study of psalmody is a subdiscipline of hymnology, an extensive field which has occupied the attention of learned musicologists. Here we can present only some brief remarks. Early Christian Psalmody.
In biblical worship, the psalms were chanted or declaimed. We do not know exactly how this music sounded, though recent research has confirmed the similarity between Hebraic music and ancient forms of Christian chant. In the Western church, the psalms found more regular usage within the . The Catholic heritage of chant, often called Gregorian chant because of the influence of Pope Gregory the Great (5. This music was performed by choirs of clergy or members of monastic orders, who had developed the necessary skills.
Originally the psalms were sung monophonically, i. The departure from the simpler form of chanting was opposed by those who believed that more elaborate musical detail called attention to the performance and thus degraded the worship of God. It is paradoxical that the psalms, which so often mention the use of musical instruments in the praise of God, were sung for centuries in the church without any instrumental accompaniment. Today both the Eastern Orthodox churches and some Reformed and other Protestant groups exclude musical instruments from use in worship. But there were differences among the Reformation movements over the type of music that should be used in worship. The German- speaking Lutherans and pietists developed a tradition of hymnody, producing chorales with freely composed devotional texts. They also made greater use of instruments, especially the organ.
The French- speaking Calvinists of Geneva held a stricter view of what was acceptable in worship and limited their music to the biblical psalms, New Testament hymns and a few other portions of Scripture. Excluding instruments was a corollary of the Reformed stress on the responsibility of the congregation, as a whole, for the expression of worship instead of trained professionals. To enable the congregation to join in the psalms, it was necessary to recast them into a singable metrical structure and to introduce rhyme. However, the Calvinist emphasis on the authority of the Word of God rendered this practice problematic, for it required altering the biblical text, destroying the Hebrew parallelism. The stated goal became to produce singable psalmody while changing the words of the Bible as little as possible, though in actual practice the best results were often obtained through more than a slight alteration.
The Genevan Psalter (first edition 1. Reformed churches of Holland, England and Scotland.
Many of the tunes used in later editions were composed by Louis Bourgeois, some of which (including Old Hundred, the familiar . The Church of England came under heavy Reformed influence, leading eventually to what we know as the Puritan movement with its emphasis on church government and worship according to New Testament patterns. In the early stages of the English Reformation, the Catholic heritage of Latin hymnody — which had largely fallen out of use in any case — was laid aside, and in its place metrical psalmody was introduced. In 1. 56. 2 John Day printed the Book of Psalms with psalm texts translated by Thomas Sternhold, John Hopkins and a number of others.
This psalter used tunes from the Genevan Psalter and from English sources, including popular ballads. Day's psalter remained in use for more than 2. It was also known as Sternhold and Hopkins after its main translators, and was later called the Old Version after Nahum Tate and Nicholas Brady brought out their New Version of the Psalms in 1. The Old Version established the standard patterns which came to dominate English psalmody: Common Meter (8. Short Meter (6. 6. Long Meter (8. 8.
Musicologist Henry Wilder Foote remarked, . The reign of the Catholic queen Mary Tudor (d. Protestants. She was succeeded by Elizabeth I (reigned 1.
Protestants desired. As a result, separatist groups formed that worshiped outside the established church — the beginnings of the congregational or . In 1. 61. 2 in Amsterdam, Henry Ainsworth published his Book of Psalms for the use of these congregations, including 3. English, Dutch and French origin. The Ainsworth psalter was brought to Plymouth Colony in 1. Pilgrims and was used there for a generation. In Anglican chant the first portion of a line is sung on a sustained pitch with harmonic support, with the final syllables resolving in a short series of chords.
Anglican chant had the advantage of preserving the Hebrew parallelism of the psalms, but since it was suited more for choirs than for congregational singing it was not taken up by the . In America, the Episcopal Church continued to use the metrical psalms, either Sternhold and Hopkins or the New Version, until the rise of church hymnody in the nineteenth century. Organs were found in only a few of the cathedrals and larger churches. Although many Reformed leaders were skilled in music, they believed that instruments were appropriate only for secular music or for personal devotion and not for public worship. In the church service, a leader (in England the church clerk, in New England a deacon or .
Later some instruments began to be used, beginning with the pitch pipe and bass viol (. Except for some Episcopal churches, organs were not introduced in New England until the mid- nineteenth century. The earlier psalm books which included music printed only the melody. It is known as the Bay Psalm Book, the first book to be printed in English- speaking North America. It did not include music, but recommended the use of the tunes in Thomas Ravenscroft's psalter of 1. English psalmody available at the time. While these earlier psalters had used a variety of metrical patterns for psalm settings, the Bay Psalm Book represents a general reversion to the three standard forms, which were easier for congregations to learn in the frontier setting where musical training was not readily available.
The first wave of emigrants from England to the Plymouth and Bay colonies and to Connecticut had included people of education and musical background, but the harsh conditions of frontier life meant that, as new generations succeeded the . Many could not read, much less read music, and psalm books — seldom available in sufficient quantity — often lacked musical notation. The stream of new emigrants for religious reasons, who might have brought with them the necessary skills, dried up once the Puritan and Independent influence came to power in England with the protectorate of Oliver Cromwell (mid- 1. The number of psalm tunes known to the typical congregation was greatly reduced, and confined to the simplest meters. The psalm tunes, originally vigorous, were slowed by giving all their notes equal length, supposedly in the interests of solemnity.
Because people could no longer read music the practice developed of . The leader would read a line of text, then sing it and the people would repeat, a procedure described by one critic of the time as . In 1. 69. 6, Tate and Brady had issued their New Version, introducing some fine tunes such as . The work of Isaac Watts (1. English hymnody, for in his Psalms of David Imitated in the Language of the New Testament (1.
Watts' hymns were not introduced into the Anglican community until much later — in Anglican chant, the psalms were brought into the orbit of Christian faith by adding the Gloria Patri at the end — but his work was taken up by the Independent or congregational churches. In a 1. 72. 1 sermon Cotton Mather, minister of Boston's original North Church, raised the issue of the purpose of psalm singing in worship. His answer: . The renewal of psalmody introduced singing . Younger people, especially, eagerly received musical training in singing schools. New psalters appeared incorporating the paraphrases and hymns of Isaac Watts and others, sometimes printing music in several parts. It led to the rise of choirs and musical professionals, with the result that the role of the congregation as a whole was downplayed.
Moreover, the new psalters in use were mostly printed in England where composers were taking a new approach to settings of the psalms and other texts. Instead of publishing . American composers such as William Billings (1. Daniel Read (1. 75. Timothy Swan (1. 75.
Amos Bull (1. 74. Rapid tempos, word repetition, imitative voicing (. While the names of Billings and his contemporaries are associated with this first flowering of American musical composition, their aim had departed considerably from Mather's ideal for psalm singing in which the . The work of American composers was largely set aside. Watts eventually became a standard in New England, displacing the Bay Psalm Book, and his work served as the basis for a number of psalters by other editors. But in many churches the distinction between psalms and hymns was retained in public worship, and congregations were sharply divided over the use of other than . Some Reformed and Presbyterian groups continue to hold to the .
In these communities the opinion persists that . Popular taste encouraged the introduction of the devotional lyric and the gospel song into public worship.
Often set to folk melodies, these compositions featured emotional and subjective expression of the faith. At the same time, in those communions where a higher educational level prevailed there was a burst of newly composed church hymnody. This led eventually to the recovery, in English speaking worship, of some of the great hymns of the German Reformation and the Latin and Greek traditions. The powerful influence of the biblical psalms is evident in the fact that some of the best work of the nineteenth- century hymnists consisted of paraphrases of the psalms.
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