Lexington Books
Pages: 198
•
Trim: 6¼ x 9¼
978-0-7391-6831-8 • Hardback • April 2012 • $121.00 • (£93.00)
978-0-7391-6832-5 • eBook • April 2012 • $115.00 • (£88.00)
Jonathan L. Friedmann is cantor of Bet Knesset Bamidbar and Congregation P’nai Tikvah, both in Las Vegas, Nevada. He is also professor of Jewish music history at the Academy for Jewish Religion, California and the co-founder of two cutting-edge bands: Rabbinical School Dropouts and Elijah’s Chair. Jonathan has published over 300 popular and peer-reviewed articles, and is the author or editor of ten books, including Quotations on Jewish Sacred Music (2011) and Emotions in Jewish Music (2012). His regular column on Jewish music can be read at The Daily Rabbi, an online magazine (www.thedailyrabbi.com).
Preface
Introduction
1. Durkheim and Religion
2. Discipline
3. Cohesion
4. Revitalization
5. Euphoria
6. Conclusion
Appendix: Durkheimian Studies
Bibliography
Index
About the Author
The study of synagogue ritual and prayer has been dominated by research into historical origins and textual traditions. Friedmann adds a distinctive lens by analyzing synagogue rituals using sociological theory. He thereby provides insights into the social impact of 'praying' making a vital contribution to the understanding of praying and the roles and meanings for prayer leaders and congregants.
— Joel Gereboff, Arizona State University
In this wide ranging and deeply sourced study, Jonathan Friedmann displays both an erudition of knowledge and a passionate commitment to Jewish sacred music that will inform and inspire readers. Friedmann's lucid prose, obvious expertise in the Cantorate, and comprehensive understanding of Durkheim's religious theory further enhances the very substantial value of this unique volume.
— Brad Stetson, California State University, Long Beach
Jonathan L. Friedmann's work is thoroughly researched, abundantly illustrated, and convincing. As a cantor, Friedmann provides a unique and valuable perspective that few scholars can begin to approach. More importantly, he offers a creative and engaging look at the communal functions of synagogue song and, at the same time, also offers readers a wider comparative application of his four functional categories across religions and cultures.
— Jon R. Stone, California State University, Long Beach