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The Song of the Sea
TANAKH
The triumph and deliverance of the Israelites by God is vividly captured in the miraculous event of God hurling the horse and rider into the sea. The Song of the Sea, sung by Moses and the Israelites after their escape from the Egyptians, is a powerful expression of faith and gratitude for God's miraculous salvation.
Then Moses and the Israelites sang this song to יהוה. They said:
I will sing to יהוה, for He has triumphed gloriously;
Horse and driver He has hurled into the sea.
Exodus 15:1
No Rejoicing Over the Wicked
TALMUD
God does not rejoice over the downfall of the wicked, even when they are His enemies. In the Talmud, Rabbi Yoḥanan recounts how God stopped the ministering angels from singing while the Egyptians were drowning in the Red Sea.
And similarly, Rabbi Yoḥanan said: What is the meaning of that which is written: “And the one came not near the other all the night” (Exodus 14:20)? The ministering angels wanted to sing their song, for the angels would sing songs to each other, as it states: “And they called out to each other and said” (Isaiah 6:3), but the Holy One, Blessed be He, said: The work of My hands, the Egyptians, are drowning at sea, and you wish to say songs? This indicates that God does not rejoice over the downfall of the wicked.
Megillah 10b:26
The Perils of Foreign Influence
TALMUD
The story of Aḥer serves as a cautionary tale about the dangers of engaging with foreign cultures and heretical beliefs. In the Talmudic tractate Chagigah, the rabbis recount the tragic tale of Aḥer, a sage who strayed from the path of Torah due to his fascination with Greek songs and heretical texts.
The Gemara explains: Aḥer, what was his failing? Greek tunes never ceased from his mouth. He would constantly hum Greek songs, even when he was among the Sages. This shows that from the outset he was drawn to gentile culture and beliefs. Similarly, they said about Aḥer: When he would stand after learning in the study hall, many heretical books, which he had been reading, would fall from his lap. Therefore, he was somewhat unsound even when among the Sages.
Chagigah 15b:14
Gendered Language of Redemption
JEWISH THOUGHT
The midrash highlights a fascinating distinction between the feminine language of the Song of the Sea and the masculine language of the future song of redemption. Rav Shagar's interpretation of the Song of the Sea in Exodus 15 explores the gendered language used in biblical songs and its implications for future redemption.
According to the midrash, the Song of the Sea upon the redemption that previously occurred is described in feminine language -shirah. However, the song of the future will be in masculine language - "a new shir (Isaiah 42:1)"
Panekha Avakesh 11:5
Permissibility of Mixed-Gender Singing
HALAKHAH
Listening to a woman's singing is forbidden only when the listener derives pleasure from it, allowing women to participate in singing sacred songs like Shabbat zemirot. Rabbi Weinberg's argument, based on traditional Jewish legal sources, addresses concerns about modesty and the potential for erotic stimulation.
Rabbi Weinberg himself advances another argument in sanctioning mixed singing of Shabbat zemirot and other sacred songs. Citing Sefer ha-Eshkol, Hilkhot Tefillah, no. 4, he argues that listening to the singing of a woman is forbidden only when the listener derives pleasure from the song; when no pleasure is derived from the sound of the voice there is no cause to anticipate erotic stimulation. A person engaged in singing sacred songs, reasons Rabbi Weinberg, is not intent upon deriving pleasure from the female voice and hence there is no prohibition attendant upon women…
Contemporary Halakhic Problems, Vol II, Part I, Chapter VII Miscellaneous Questions 38
The Joyous Water-Drawing Ceremony
MISHNAH
The Water Libation ceremony during Sukkot was a grand and elaborate event, accompanied by singing and music that reflected the community's deep devotion and joy. The Mishnah, a foundational Jewish legal text from the early third century, offers a detailed account of this ceremony, highlighting the roles of the Levites and priests.
The pious and the men of action would dance before the people who attended the celebration, with flaming torches that they would juggle in their hands, and they would say before them passages of song and praise to God. And the Levites would play on lyres, harps, cymbals, and trumpets, and countless other musical instruments. The musicians would stand on the fifteen stairs that descend from the Israelites’ courtyard to the Women’s Courtyard, corresponding to the fifteen Songs of the Ascents in Psalms, i.e…
Mishnah Sukkah 5:4
The Order of David's Psalms
KABBALAH
The distinction between 'For David, a psalm' and 'A psalm of David' reveals whether David chanted a song before or after the Holy Spirit rested upon him. The Zohar, a foundational work of Jewish mysticism, delves into the deeper, mystical meanings of the Torah and other Jewish writings.
R. Judah discoursed on the verse: Of David a psalm. The earth is the Lord’s and the fulness thereof (Ps. 24, 1). He said: ‘We have been taught that the heading “Of David a psalm” in the Book of Psalms implies that David began to compose of himself and thereby induced the Holy Spirit to rest on him, whereas the heading “A psalm of David” implies the opposite, viz. that the Holy Spirit rested on him first, and under its inspiration he was moved to song.
Zohar, Noach 23:168
Elevate with Niggunim
CHASIDUT
Singing niggunim (melodies) in the Chassidic tradition can elevate even simple people to achieve lofty spiritual heights. Rabbi Kalonymus Kalman Shapira, the Piaseczner Rebbe, emphasizes the transformative power of these melodies in his early 20th-century work, Hakhsharat HaAvrekhim.
The deep spiritual awakening that occurs while singing niggunim, so emphasized by the Chassidim, is a similar case. The world of niggun is very high, but simple people like us need a simple avodah. We need an avodah that we can study deeply, know, and use to serve. Once done, then the lofty greatness (of niggun) will be drawn down to us. We find the Beis Aharon explaining the verse in Shir HaShirim, “come, look from the peak of amanah,” “niggun is the head of faith.”
Hakhsharat HaAvrekhim 9:31
The Multifaceted Life of Solomon
MIDRASH
King Solomon's life and reign were multifaceted, known for his wisdom, accomplishments, and occasional missteps. The midrashic commentary Shir HaShirim Rabbah delves into allegorical interpretations of the biblical text, shedding light on Solomon's spiritual odyssey and his deep connection with God and Israel, often expressed through songs and poetic reflections.
Another matter, “The song of songs,” Rabbi Aivu and Rabbi Yehuda, Rabbi Aivu said: Song, one, of songs, two; that is three. Rabbi Yehuda bar Simon said: Song of Songs is entirely one. The other two, what do you do with them? [One is] “A song of ascents for Solomon” (Psalms 127:1) and one is: “A psalm, a song for the dedication of the House, by David” (Psalms 30:1). They thought to say that David said it. But you say it was attributed to David, as it is stated: “Your neck is like the tower of David” (Song of Songs 4:4)…
Shir HaShirim Rabbah 1:1:10
The Soul's Connection to God
COMMENTARY
The Song of Songs is a deeply allegorical text that speaks to the soul's connection to God. Ezra ben Shlomo of Gerona, a 12th-century Jewish mystic, cautions against over-analyzing the poetic imagery and instead encourages focusing on the broader allegorical meaning.
Solomon called it the Song of Songs, a song composed in the form of an allegorical parable replete with inner meaning. A person must thus interpret the song, establishing upon its foundations. But he must understand that it is filled with many elements provided for the sake of the narrational continuity of the allegory and the context of its imagery, rather than for any other purpose or function. For example, let me quote one verse from this book. It states: “Let him kiss me with the kisses …” [Cant. 1:2]. The kiss symbolizes the soul’s adhesion to God, as we will explain…
Ezra ben Solomon on Song of Songs, Introduction 18
Songs for the Departing Shabbat
MUSAR
Extending Shabbat through songs and praises reflects a deep emotional and spiritual connection, akin to accompanying a beloved guest with joy and music. Rabbi Isaiah HaLevi Horowitz’s 17th-century work, Shenei Luchot HaBerit, discusses the practice of Melaveh Malkah, the meal and rituals performed to ceremonially escort the departing Shabbat.
And this is the language of the Tolaat Yaakov in Paragraph (77) [21]: That which they add from the mundane to the holy (stretch out) at the conclusion of Shabbat is to teach and to show that they do not desire the exit of the holy guest from among them, and that its departure is very hard for them. Hence they delay it. And due to their great love for it, they accompany it with songs and praises, like the matter of, “and I would have sent you off with joy and with songs” (Genesis 31:27). And so is it found in the Midrash – there is a [relevant] parable of a bride and a queen…
Shenei Luchot HaBerit, Aseret HaDibrot, Shabbat, Ner Mitzva 116
Deborah and Barak's Victory Hymn
TANAKH
The collaborative nature of Deborah and Barak's victory hymn is a unique example of shared leadership and praise in the Bible. This hymn, found in the Book of Judges, is sung by Deborah and Barak after their triumph over the Canaanite army led by Sisera.
On that day Deborah and Barak son of Abinoam sang: When locks go untrimmed in Israel,
When people dedicate themselves—
Bless GOD! Hear, O kings! Give ear, O potentates!
I will sing, will sing to GOD,
Will hymn the ETERNAL, the God of Israel…
Judges 5:1-5
The Joyful Songs of the Therapeutae
SECOND TEMPLE
The communal and enthusiastic nature of singing hymns to God, incorporating various melodies, harmonies, and physical movements, reflects a vibrant aspect of Jewish worship. Philo of Alexandria describes the practices of the Therapeutae, a Jewish ascetic group in 1st century CE Egypt, highlighting their unique musical traditions.
[84] Then they sing hymns to God composed of many measures and set to many melodies, sometimes chanting together, sometimes taking up the harmony antiphonally, hands and feet keeping time in accompaniment, and rapt with enthusiasm reproduce sometimes the lyrics of the procession, sometimes of the halt and of the wheeling and counter-wheeling of a choric dance.
On the Contemplative Life or Suppliants 11:2
A Song of Unity and Response
TOSEFTA
The Tosefta, a late 2nd-century compilation of Jewish oral law, describes this spontaneous song of praise sung by the Israelites after crossing the Red Sea. The communal and responsive nature of this ancient song highlights the unity and collective spirit of the Jewish people.
Rabbi Akiva expounded, "At the time that the Jewish people ascended from the Sea, they sought to recite Song; the Holy Spirit descended upon them and they recited Song. How did they recite Song? Like a child reciting the Hallel in the house of the scribe (teacher) and answering each and every item after him: Moshe said, 'I will sing to the Lord'; and the Jewish people said, 'I will sing to the Lord.'
Tosefta Sotah (Lieberman) 6:2
David's Song of Gratitude
TANAKH
David's heartfelt gratitude to the LORD for delivering him from his enemies, including Saul, offers a deeply personal and emotional insight into his relationship with God. This song, recorded in 2 Samuel, expresses David's profound thanks to God for rescuing him from the hands of all his adversaries.
David addressed the words of this song to the LORD, after the LORD had saved him from the hands of all his enemies and from the hands of Saul. He said:

O LORD, my crag, my fastness, my deliverer! O God, the rock wherein I take shelter:
My shield, my mighty champion, my fortress and refuge!
My savior, You who rescue me from violence!
All praise! I called on the LORD,
And I was delivered from my enemies.
For the breakers of Death encompassed me,
The torrents of Belial terrified me;…
II Samuel 22:1-7
A Song for the Sabbath Day
LITURGY
The sanctity and special nature of the Sabbath day are beautifully captured through song. Psalm 92, traditionally recited during the Shabbat morning Amidah, is a song of praise and thanksgiving that reflects the joy and sanctity of the Sabbath.
A psalm, a song for the Sabbath day. It is good to thank Adonoy, and sing praise to Your Name, Most High. To relate Your kindliness in the morning, and Your faithfulness in the nights. Upon a ten-stringed instrument and lute, in meditation upon the harp. For You have given me joy, Adonoy,
Shabbat Siddur Sefard Linear, The Morning Prayers, Amidah for Shabbos Morning 451-458
A musical rehearsal for a Jewish religious service . Etching by E. Moyse, 1865.
A musical rehearsal for a Jewish religious service . Etching by E. Moyse, 1865.

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