Qol Tamid: The Shofar in Ritual, History, and Culture
Ed: Jonathan L. Friedmann & Joel Gereboff
From biblical times until today the shofar has served an array of practical purposes and communicated a range of symbolic meanings. The roughly seventy references to the shofar in the Hebrew Bible show four stereotypical functions: announcing the divine presence, accompanying sacred ceremonies, proclaiming kingship, and signaling on the battlefield. In addition to the above purposes, the shofar served as a symbol for messages of joy, fear, group identity, and redemption. This volume, written by prominent Jewish scholars and faith leaders, examines the role of the shofar in the Hebrew Bible and subsequent Jewish life, including even appearances in popular literature of the present day.
Carved and engraved goat’s horn
Length 450 mm (17.7 inch) 19th century
acquired as part of the wartime shipment of 1942-1945, collection point Kolín on display at the JMP's permanent exhibition in the Klausen Synagogue
Brooklyn Museum: 18th-century shofar with 20th-century Hebrew inscription, from the Bible (Genesis 22:13), that reads: "And Abraham lifted up his eyes and looked behind him a ram caught in a thicket by his horns; and Abraham went and took the ram, and offered him up for a burnt-offering instead of his son."
14 1/2 x 6 1/2 in. (36.8 x 16.5 cm).
Report of the US National Museum, 1899; "Descriptive catalogue of a collection of objects of Jewish ceremonial deposited in the U. S. National museum by Hadji Ephraim Benguiat",
Cyrus Adler and I.M. Casanowicz.
Plate 9, Ram's Horn, Catalog Number 154589, U.S.N.M., http://hdl.handle.net/2027/hvd.hn5k3x
This work is a comprehensive treatment of the music of Biblical and early Talmudic times. It is thoroughly documented, setting forth the origins, forms and ethos of Hebrew music. It draws upon the most recent archaeological discoveries and contemporary Biblical research, dealing not only with sacred music, but also the broad field of ancient secular music which up to now has been only dimly comprehended. Of special interest to the Christian world in this period of ecumenical discussion is the clarity with which Dr. Sendrey interprets the common musical legacy shared between Judaism and Christianity. // Dr. Sendrey is Professor of Musicology at the University of Judaism in Los Angeles and is widely known in the world of musicology for his important Bibliography of Jewish Music, published by Columbia University Press (1951). This work is today the primary source book for Jewish music research and is used throughout the world. // Alfred Sendrey was a Hungarian-American conductor and composer. A pupil of Koessler at the Budapest Academy (1901-5), he worked in Germany, the USA and Austria as an opera conductor, (also of the Leipzig SO, 1924-32), then moved to Paris (1933-40) and finally to the USA, where he completed his studies of Jewish music.