Shofar
For the Shofar Organization, see Amnon Yitzhak.
A shofar (Hebrew: שופר) is a horn, traditionally that of a ram, used for Jewish religious purposes. Shofar-blowing is incorporated in synagogue services on Rosh Hashanah and Yom Kippur.
Contents |
[edit] In the Bible and rabbinic literature
The shofar is mentioned frequently in the Hebrew Bible, the Talmud and rabbinic literature. The blast of a shofar emanating from the thick cloud on Mount Sinai made the Israelites tremble in awe (Exodus 19, 20).
The shofar was used in to announce holidays (Ps. lxxxi. 4), and the Jubilee year (Lev. 25. 9). The first day of the seventh month (Tishri) is termed "a memorial of blowing" (Lev. 23. 24), or "a day of blowing" (Num. xxix. 1), the shofar. It was also employed in processions (II Sam. 6. 15; I Chron. 15. 28), as a musical accompaniment (Ps. 98. 6; comp. ib. xlvii. 5) and to signify the start of a war (Josh. 6. 4; Judges 3. 27; 7. 16, 20; I Sam. 8. 3). Note that the 'trumpets' described in Numbers 10 are a different instrument, described by the Hebrew word 'trumpet' not the word for shofar.
The Torah describes the first day of the seventh month (1st of Tishri = Rosh ha-Shanah) as a zikron teruah (memorial of blowing; Lev. xxiii) and as a yom teru'ah (day of blowing; Num. 29). This was interpreted by the Jewish sages as referring to the sounding of the shofar.
In the Temple in Jerusalem, the shofar was sometimes used together with the trumpet. On New Year's Day the principal ceremony was conducted with the shofar, which instrument was placed in the center with a trumpet on either side; it was the horn of a wild goat and straight in shape, being ornamented with gold at the mouthpiece. On fast days the principal ceremony was conducted with the trumpets in the center and with a shofar on either side. On those occasions the shofarot were rams' horns curved in shape and ornamented with silver at the mouthpieces. On Yom Kippur of the jubilee year the ceremony was performed with the shofar as on New Year's Day. Rosh Hoshana is the Jewish New Year. A ceremonial horn, called a “shofar” is blown, reminding Jews that God is king. A feast with symbolic food is eaten on Rosh Hashana, and the next ten days are spent in repentance. Rosh Hashana ends on Yom Kippur. Yom Kippur is a day of judgment, during which prayers are made asking for forgiveness.
On Rosh Hashanah and other full holidays (Day of Atonement, Ingathering of the harvest [Succot], Passover and the Feast of Weeks – Pentecost) a single Priest perfected two sacrifices in honor of the full holiday, (Note that festivals such as Hanukah and Purim, are not considered full holidays requiring an extra sacrifice). On Rosh Hashanah, something special occurred during the special sacrifice. Arguably two Shofar Sounders played the long notes and one Trumpet player played the short note. Accordingly, Rosh HaShanah is called Yom Teruah (the day of the blast) Otherwise, the Trumpets had “top billing.” Rosh Hashanah27a, supports this claim: “Said Raba or it may have been R. Joshua B. Levi: What is the scriptural warrant fore this? – Because it is written, “With trumpets and the sound of the Shofar shout ye before the King in the Temple, we require trumpets and the sound of the Shofar; elsewhere not.” [1]
Indeed, on Yom Kippur, the Shofar was sounded to announce the Jubilee Year (every 50-years, Jews were granted freedom, forgiveness and debts and reclamation of sold lands. Shofar first indicated in Yovel (Jubilee Year - Lev. 25:8-13). Indeed, in Rosh Hashanah 33b, the sages ask why the Shofar sounded in Jubilee year. Further support is found in Rosh Hashanah 29a, where the Talmud talks of trumpets for sacrifices but Shofar in the Jubilee Year does not apply to priests who are exempt from the obligations of the jubilee. Perhaps, we have the first mention of Shofar Sounding by non-Priests. Perhaps the first distancing away from the Sacrificial Cult.
Otherwise, for all other special days, the Shofar is sounded shorter and two special silver Trumpets announced the sacrifice.
When the trumpets sound the signal, all the people who were within the sacrifice prostate themselves, stretching out flat, face down and on the ground. See external references.
The shofar was blown in the times of Joshua to help him capture Jericho. As they surrounded the walls, the shofar was blown and the Jews were able to capture the city. The shofar was commonly taken out to war so the troops would know when a battle would begin. The person who would blow the shofar would call out to the troops from atop a hill. All of the troops were able to hear the call of the shofar from their position because of its distinct sound.
[edit] Post-Biblical times
In post-Biblical times, the shofar was enhanced in its religious use because of the ban on playing musical instruments as a sign of mourning for the destruction of the temple. (It is noted that a full orchestra played in the temple, including, perhaps, a primitive organ.) The shofar continues to announce the New Year and the new moon, to introduce Shabbat, to carry out the commandment to sound it on Rosh Hashanah, and to mark the end of the day of fasting on Yom Kippur once the services have completed in the evening. The secular uses have been discarded (although the shofar was sounded to commemorate the reunification of Jerusalem in 1967) [2]
The shofar is primarily associated with Rosh Hashanah. Indeed, Rosh Hashanah is called "Yom T’ruah" (or "Yom Teruah") (the day of the shofar blast). In the Mishnah (book of early rabbinic laws derived from the Torah), a discussion centers on the centrality of the shofar in the time before the destruction of the second temple (70 AD). Indeed, the shofar was the center of the ceremony, with two silver trumpets playing a lesser role. On other solemn holidays, fasts, and new moon celebrations, two silver trumpets were featured, with one shofar playing a lesser role. The shofar is also associated with the jubilee year in which, every fifty years, Jewish law provided for the release of all slaves, land, and debts. The sound of the shofar on Rosh Hashanah announced the jubilee year, and the sound of the shofar on Yom Kippur proclaimed the actual release of financial encumbrances.
The halakha (Jewish law) rules that the shofar may not be sounded on Shabbat due to the potential that the ba’al tekiyah (shofar sounder) may inadvertently carry it which is in a class of forbidden Shabbat work (RH 29b) the historical explanation is that in ancient Israel, the shofar was sounded on Shabbat in the temple located in Jerusalem. After the temple’s destruction, the sounding of the shofar on Shabbat was restricted to the place where the great Sanhedrin (Jewish legislature and court from 400 BCE to 100 C.E.) was located. However, when the Sanhedrin ceased to exist, the sounding of the shofar on Shabbat was discontinued (Kieval, The High Holy Days, p. 114).
The shofar says, "Awake, sleepers from your sleep, and slumberers arise from your slumber!" Mishneh Torah, Laws of Repentance 3:4.[3]
See Arthur l. Finkle, Shofar Sounders Reference Manual, LA: Torah Aura, 1993
[edit] Mitzvah: Hearing the Sounds
The Sages indicated that the mitzvah was to hear the sounds of the shofar. They went so far as to consider a shofar blown into a pit or cave and to decide whether a person who hears the original sound or the echo has fulfilled the mitzvah. Mishnah (Rosh Hashanah 27b). The Shulchan Aruch sums up that if the hearer hears the reverberation, the mitzvah is not valid. However, if the listener perceives the direct sounds, he fulfils the mitzvah. See Mishnah Berurah 587:1–3. Thus, most modern halakhic authorities hold that hearing a shofar on the radio or the Internet would not be valid to satisfy the mitzvah because "electronically reproduced sounds do not suffice for mitzvot that require hearing a specific natural sound. . . . However, one should consult a competent rabbi if an unusually pressing situation arises, as some authorities believe that performing mitzvot through electronically reproduced sound is preferable to not performing them at all."[4]
According to Jewish law women and minors are exempt from the commandment of hearing the shofar blown (as is the case with any positive, time-bound commandment), but they are encouraged to attend the ceremony.
If the Baal Tekiyah (shofar sounder) blows with the intention that all who hear will perform the mitzvah, then anyone listening—even someone passing by—who intends to hear the Shofar can perform the mitzvah because the community blower blows for everybody. If the listener stands still, it is presumed he intends to hear. Mishnah Berurah 590:9. If one hears the blast but with no intention of fulfilling the mitzvah, then the mitzvah has not been fulfilled (although there is a minority decision on this point).
[edit] Qualifications for Sounding the Shofar
The expert who blows (or "blasts" or "sounds") the shofar is termed the Tokea (lit. "Blaster") or Ba'al T'qiah (lit. "Master of the Blast"). Being a Ba'al T'qiah (shofar sounder) is an honor. Every male Jew is eligible for this sacred office, providing he is acceptable to the congregation. "The one who blows the shofar on Rosh Hashanah . . . should likewise be learned in the Torah and shall be God-fearing; the best man available." If a potential choice will cause dissension, he should withdraw his candidacy, even if the improper person will be chosen. See Shulkhan Arukh 3:72. If a blind blower was dismissed, but the community did not find a blower as proficient, he should be appointed as community blower.
The Shulchan Aruch discusses who is fit to blow the shofar on behalf of a congregation:
- Anyone not obligated to fulfill the mitzvah of sounding the shofar cannot fulfill the commandment for (cover) another whose duty it is to perform the mitzvah.
- A deaf-mute, a lunatic or imbecile, and a minor cannot perform a religious duty on behalf of the congregation.
- A hermaphrodite may make his shofar sounding serve for other hermaphrodites.
- Although a woman (who is exempt from this mitzvah because it is time bound) may not blow the shofar for men (whose duty it is to perform the mitzvah), a female Ba'alat T'qiah may intone the shofar for herself and other women. Similarly, she may say a blessing over the mitzvah even though it is not mandatory (the requisite blessing contains the words “asher kid'shanu b'mitzvotav v’tzivanu”, "who sanctified us with His commandments [mitzvot] and commanded us to ...", but women are not commanded in this mitzvah).
- Only a freeman (not even a slave who will become free in the next month) can be a Ba'al T'qiah.
See Shulchan Aruch, Orach Chaim 589:1-6.
The Ba'al T'qiah shall abstain from anything that may cause ritual contamination for three days prior to Rosh Hashanah. See Shulkhan Arukh 3:73.
[edit] Shape and material
[edit] Choice of animal
According to the Talmud, a shofar may be made from the horn of any animal from the Bovidae family except that of a cow or calf (Rosh Hashanah, 26a), although a ram is preferable. (Mishnah Berurah 586:1). Bovidae horns are made of keratin (the same material as human toenails and fingernails). An antler, on the other hand, is not a horn but solid bone. Antlers cannot be used as a shofar because they cannot be hollowed out.
There is no requirement for ritual slaughter (shechita), and theoretically, the horn can come from a non-kosher animal because under most interpretations of Jewish law the shofar is not required to be muttar be-fikha (literally: permissible in your mouth); the mitzvah is hearing the shofar, not eating the animal it came from.[5] The shofar falls into the category of tashmishei mitzvah, objects used to perform a mitzvah that do not themselves have inherent holiness. (Megillah 26b). Moreover, because horn is always inedible, it is considered afra be-alma (mere dust) and not an unkosher substance. (Avot 67b).
The Elef Hamagan (586:5) delineates the order of preference: 1) curved ram; 2) curved other sheep; 3) curved other animal; 4) straight—ram or otherwise; 5) non-kosher animal; 6) cow. The first four categories are used with a bracha (blessing), the fifth without a bracha, and the last, not at all.[6]
[edit] Construction
In practice two species are generally used: the Ashkenazi and Sefardi shofar is made from the horn of a domestic ram (see sheep), while a Yemeni shofar is made from the horn of a kudu. A Moroccan Shofar is a flat Shofar with no curves besides the main curve; years ago, when the Morrocan Jews were not allowed to practice Judaism, it was easy to hide it in their clothes because of its flat shape.
A crack or hole in the shofar affecting the sound renders it unfit for ceremonial use. A shofar may not be painted in colors, but it may be carved with artistic designs (Shulkhan Arukh, Orach Chayim, 586, 17). Shofars (especially the Sephardi shofars) are sometimes plated with silver across part of their length for display purposes, although this invalidates them for use in religious practices.
The horn is flattened and shaped by the application of heat, which softens it. A hole is made from the tip of the horn to the natural hollow inside. It is played much like a European brass instrument, with the player blowing through the hole, causing the air column inside to vibrate. Sephardi shofars usually have a carved mouthpiece resembling that of a European trumpet or French horn, but smaller. Ashkenazi shofars do not.
Because the hollow of the shofar is irregular in shape, the harmonics obtained when playing the instrument can vary: rather than a pure perfect fifth, intervals as narrow as a fourth, or as wide as a sixth may be produced.
[edit] The sounds
The T'qiah and teruah sounds mentioned in the Bible were respectively bass and treble. The t'qiah was a plain deep sound ending abruptly; the teruah, a trill between two t'qiahs. These three sounds, constituting a bar of music, were rendered three times: first in honor of God's Kingship; next to recall the near sacrifice of Isaac, in order to cause the congregation to be remembered before God; and a third time to comply with the precept regarding the shofar.
Ten appropriate verses from the Bible are recited at each repetition, which ends with a benediction. Over time doubts arose as to the correct sound of the teruah. The Talmud is uncertain whether it means a moaning/groaning or a staccato beat sound. Sh'varim was supposed to be composed of three connected short sounds; the teruah of nine very short notes divided into three disconnected or broken sequences of three notes each. The duration of the teruah is equal to that of the sh'varim; and the t'qiah is half the length of either. This doubt as to the nature of the real teruah, whether it was simply a moan, a staccato or both, necessitated two near-repetitions to make sure of securing the correct sound.
The sequence of the shofar blowing is thus t'qiah, sh'varim-t'ruah, t'qiah; t'qiah, sh'varim, t'qiah; t'qiah, teruah, and then a final blast of "t'qiah g'dolah" which means "big tekiah," held as long as possible. This formula makes thirty sounds for the series, with t'qiah being one note, sh'varium three, and teruah nine. This series of thirty sounds is repeated twice more, making ninety sounds in all. The trebling of the series is based on the mention of teruah three times in connection with the seventh month (Lev. xxiii, xxv; Num. xxix), and also on the above-mentioned division of the service into malchiyot, zichronot, and shofarot. In addition to these three repetitions, a single formula of ten sounds is rendered at the close of the service, making a total of 100 sounds. According to the Sephardic tradition, a full 101 blasts are sounded, corresponding to the 100 cries of the mother of Sisera, the captain of Jabin's army who did not make it home after being assassinated by the biblical Yael (Judges 5:28). One cry is left to symbolize the legitimate love of a mother mourning her son.
[edit] Use in modern times
[edit] Religious usage
The shofar is used mainly on Rosh Hashanah and Yom Kippur. It is blown in synagogues to mark the end of the fast at Yom Kippur, and blown at four particular occasions in the prayers on Rosh Hashanah. Because of its inherent ties to the Days of Repentance and the inspiration that comes along with hearing its piercing blasts, the shofar is also blown after morning services for the entire month of Elul, the last month of the Jewish civil year and the sixth of the Jewish ecclesiastical year. It is not blown on the last day of month, however, to mark the difference between the voluntary blasts of the month and the mandatory blasts of the holiday. Shofar blasts are also used during penitential rituals such as Yom Kippur Katan and optional prayer services called during times of communal distress. The exact modes of sounding can vary from location to location.
[edit] Shofar in National Liberation
During the Ottoman and the British occupation of Jerusalem, Jews were not allowed to sound the shofar at the Western Wall. After the Six Day War, Rabbi Shlomo Goren famously approached the Wall and sounded the shofar. An additional stanza was added to Naomi Shemer's song Yerushalayim Shel Zahav (Jerusalem of Gold) in which she sings, "שופר קורא בהר הבית בעיר העתיקה", "a shofar calls out from the Temple Mount in The Old City"[7]
[edit] Non-religious musical usage
The shofar is sometimes used in Western classical music. Edward Elgar's oratorio The Apostles includes the sound of a shofar blowing, although other instruments, such as the flugelhorn, are usually used instead.
In pop music, the shofar is used by the Israeli Oriental metal band Salem in their adaptation of "Al Taster" psalm. The late trumpeter Lester Bowie played a shofar with the Art Ensemble of Chicago. In Joey Arkenstat's album Bane, the former bassist for Phish is credited for playing the shofar. In the musical Godspell, the first act opens with cast member David Haskell blowing the shofar, in preparation for singing "Prepare Ye the Way of the Lord." In his performances, Israeli composer and singer Shlomo Gronich uses the shofar to produce a very wide range of notes.[8]
[edit] See also
[edit] References
- ^ Sidney B. Hoenig, Origins of the Rosh Hashanah Liturgy, The Jewish Quarterly Review, New Series, Vol. 57, The Seventy-Fifth Anniversary Volume of the Jewish Quarterly Review (1967), pp. 312-331. • Published by: University of Pennsylvania Press. http://www.jstor.org/stable/1453499. Accessed December 31, 2009
- ^ Judith Kaplan Eisenstein, Heritage of Music, New York: UAHC, 1972, pp. 44–45.
- ^ http://www.divreinavon.com/pdf/Anticipation_Consummation.pdf The Shofar: Impetus to Anticipation & Consummation
- ^ http://www.yasharbooks.com/Gray.html Chaim Jachter and Ezra Frazer, Gray Matter volume 2 pp. 237-244, "Fulfilling Mitzvot Through Electronic Hearing Devices". ISBN 1-933143-10-X
- ^ Mois Navon, “The Hillazon and the Principle of ‘Mutter be-Fikha’”, The Torah u-Madda Journal, October 2001, www.yutorah.org/_shiurim/%2FTU10_Navon.pdf, March 4, 2006.
- ^ Elef Hamagen, Rabbi Shemarya Hakreti, edited by Aharon Erand, Jerusalem: Mekitzei Nirdamim, 2003
- ^ JERUSALEM OF GOLD accessed 9 Dec. 2008
- ^ The Abraham Fund Initiatives::Press Clips - Crossing the Middle Eastern Tightrope
- Arthur L. Finkle, Easy Guide to Shofar Sounding, LA: Torah Aura, 2003
- [1] Hearing Shofar: The Still Small Voice of the Ram's Horn by Michael T. Chusid, a three volume compendium of shofar information.
[edit] External links
 |
Wikimedia Commons has media related to: Shofar |
- How to Play Shofar
- shofar blowing
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed (1911). Encyclopædia Britannica (Eleventh ed.). Cambridge University Press.- Shulkhan Arukh limited English translation includes Rosh Hashanah chapters 585-590 regarding the shofar.
|
|||||||||||||||||||||||||
