Dictionary:
sho·far (shō'fär', -fər)  |
[Hebrew šôpār, ram's horn, shofar, akin to Akkadian sappāru, šappāru, fallow deer, and sappartu, tip of an animal's horn, from Sumerian šegbar, fallow deer.]
| Music Encyclopedia: Shofar |
The ram's horn of the Bible; it is the only ancient Jewish instrument to survive the destruction of the Second Temple by the Romans (ad 70) and is still in use during services on high holy days and symbolically on certain other occasions, with a series of four calls using the 2nd and 3rd harmonics.
| Encyclopedia of Judaism: Shofar |
In standard traditional practice, the shofar is blown throughout the month of Elul (except on the eve of Rosh ha-Shanah), toward the end of weekday morning prayers. It is sounded on both days of Rosh ha-Shanah and at the end of the Concluding (Ne'Ilah) Service on the Day of Atonement to mark the fast's termination. Sephardim often blow it during Hoshana Rabbah morning prayers as well. Orthodox and Conservative Jews do not sound the ram's horn on a Sabbath. In many communities 100 notes are sounded altogether.
An "Order of Blowing" was established by the rabbis in tractate Rosh Ha-Shanah. Each sequence of blasts should begin and end with teki'ah, a continuous rising note that terminates abruptly. This is equal in length to three teru'ah notes. Since there was a difference of opinion among the sages regarding the nature of these teru'ah sounds (RH 4:9), they eventually ruled that separate shevarim (three wailing notes) and teru'ot (nine staccato blasts) should be sounded on Rosh ha-Shanah. The prolonged teki'ah gedolah completes every sequence and is also blown at the end of the Day of Atonement. The Mishnah (RH 4:5-6) further prescribes that the shofar be sounded after each of three passages---Malkuyyot, Zikhronot, and Shofarot---known collectively as the teki'ata (RH 30a), in the Additional Service Amidah of Rosh ha-Shanah. Ashkenazim do so only during the reader's repetition, but in other rites the shofar is likewise blown at intervals during the silent Amidah.
Symbolically, the ram's horn calls upon sinners to repent (Maimonides). According to Saadiah Gaon, it also awakens thoughts of God's sovereignty, justice, and redeeming power. The tenth benediction of the weekday Amidah expresses the Jew's hope that God will before long "sound the great shofar" to herald deliverance and the Ingathering of the Exiles in the Land of Israel. Since 1949, each new Israeli president has been sworn in to the accompaniment of a shofar blast.
| Wikipedia: Shofar |
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.
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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 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.
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.
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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) (Judith Kaplan Eisendrath, Heritage of Music, New York: UAHC, 1972, pp. 44-45).
The shofar is primarily associated with Rosh ha-Shanah. Indeed, Rosh Hashanah is called "Yom T’ruah" (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 ha-Shanah 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, "Wake up from your (moral) sleep. You are asleep. Get up from your slumber. You are in a deep sleep. Search for your behavior. Become the best person you can. Remember God, the One Who created you." Mishneh Torah, Laws of Repentance 3:4.[1]
See Arthur l. Finkle, Shofar Sounders Reference Manual, LA: Torah Aura, 1993
The Sages indicated that the mitzvah was to hear the sounds of the shofar. They go so far as to establish whether a person hears the actual sound or just the echo at the outside of the pit or cave; the bottom; and midway. The Shulchan Aruch sums up that if the hearer hears the reverberation, the mitzvah is not valid. However, if the hearer perceives the direct sounds, he fulfils the mitzvah. See Mishnah Berurah 587:1-3. You can extrapolate this ruling to hearing the shofar on the radio, the Internet, etc. as being invalid.
In addition, if one hears the blast but with no intention of fulfilling the mitzvah, then there is no mitzvah. However, there is a minority decision on this point.
If one blows with the intention that all who hear will perform the mitzvah, the mitzvah is valid. If someone passes by and does intend to hear the Shofar, he can perform the mitzvah because the community blower blows for everybody. If he stands still, it is presumed he intends to hear. MB 590:9
The Shulchan Aruch begins its exploration of fitness by citing excluding classes of people:
1.Whoever is not obligated to fulfill the mitzvah of sounding the shofar should not substitute his efforts for another whose duty it is to perform a mitzvah. For example, the Baal Tekiah sounds a shofar for a synagogue in Chelm cannot perform he same mitzvah when another in the town of Lodz can fulfill the mitzvah. 2.The mitzvah is not valid for a deaf mute (cannot hear), moron (lacks the capacity) and a child (lacks the adult status) 3.Women are exempt because the mitzvah is time bound 4.A hermaphrodite may make his shofar sounding serve for other hermaphrodites 5.Women should not be Baal Tekia’s because they would be substituting her efforts for another whose duty it is to perform a mitzvah. However, if a female Baal Tekiya has already intoned the shofar for other women, it is valid. However, women should not make a blessing. 6.Only a freeman (not even a slave who will become free in the next month) can be a Baal Tekiya. MB 590:1-5 Being a Baal Tekiya (Shofar Sounder) is an honor.
"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. Nevertheless, every Jew is eligible for any sacred office, providing he is acceptable to the congregation. If, however, he sees that his choice will cause disruption, he should withdraw his candidacy, even if the improper person will be chosen” See Shulchan Aruch 3:72.
Moreover, the Baal Tekiya shall abstain from anything that may cause ritual contamination for three days prior to Rosh Hashanah. See Shulchan Aruch 3:73
A Baal Tekiya can sound the shofar for shut-ins and home-bound women who have had baby.
If a blind blower was dismissed, but the community did not find a blower as proficient, he should be appointed as community blower. The touchstone is proficiency not disability.
According to the Talmud, a shofar may be made from the horn of any animal except that of a cow or calf (Rosh Hashanah, 26a), although a ram is preferable. (Mishnah Berurah 586:1). There is no requirement for ritual slaughter (shechitah), and theoretically, the horn can come from a non-kosher animal based on the principle of mutar beficha (the material is acceptable for putting in the mouth). Moreover, since the mitzvah is hearing the shofar, not eating it, using the horn of a neveylah or a non-kosher animal falls into the category of tashmishe mitzvah (MB 586:16 (8) Since unkosher substances unfit for human consumption are not food (Avot 67b), it is permissible to use animal hair, anointing oil and incense produced from animal secretions and dyes of crimson, which are made from mollusks (Megillah 26b).
To cap this issue, a recent article appeared in the Journal of Halacha, Number LIII, and Contemporary Society, Rabbi Ari Z, Zivotofsky, Yemenite Shofar: Ideal for the Mitzvah?, Cleveland, OH: Rabbi Jacob Joseph School R. Ari Z, Zivotofsky, 2007
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, the fifth without a bracha, and the last, not at all. [2]
A shofar may be created from the horn of any kosher male animal from the Bovidae family except for cattle, which is specifically excluded. 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.
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.
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 often plated with silver across part of their length for display purposes, although this invalidates them for use in religious practices. 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.
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.
The tekiah and teruah sounds mentioned in the Bible were respectively bass and treble. The tekiah was a plain deep sound ending abruptly; the teruah, a trill between two tekiahs. 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. Shevarim 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 shevarim; and the tekiah 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 tekiah, shevarim-teruah, tekiah; tekiah, shevarim, tekiah; tekiah, teruah, and then a final blast of "tekiah gadola" which means "big tekiah," held as long as possible. This formula makes thirty sounds for the series, with tekiah being one note, shevarium 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. Another popular kind of a Shofar is the Moroccan Shofar. A Moroccan Shofar is known in its beauty and the ease of using it when blowing the Shofar. A Moroccan Shofar is a flat Shofar with no curves, beside the main curve. The Moroccans use it because of two main reasons: The first reason is that years ago, when the Morrocan Jews where not allowed to practice Judaism, it was easy to hide it in their clothes because of its flat shape. The second reason is that it has a special sound different from the other Shofars, also thanks to its shape. A picture of a Moroccan Shofar can be found at the following link [1] where you can see the flat shape of the Moroccan Shofar.
The expert who blows (or "blasts" or "sounds") the shofar is termed the Tokea (lit. "Blaster") or Ba'al Tekia (lit. "Master of the Blast"). Every Jew is eligible for this sacred office, providing he is acceptable to the congregation. If a potential choice will cause dissension, he should withdraw his candidacy, even if the improper person is chosen. See Shulkhan Arukh 3:72; The Ba'al Tekia shall abstain from anything that may cause ritual contamination for three days prior to Rosh ha-Shanah. See Shulkhan Arukh 3:73.
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"[3]
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.
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. [4]
Arthur L. Finkle, Easy Guide to Shofar Sounding, LA: Torah Aura, 2003
[2]A Moroccan Shofar
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"Shofar". Encyclopædia Britannica (11th ed.). 1911.
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| Translations: Shofar |
Dansk (Danish)
n. - vædderhorn
Nederlands (Dutch)
sjofar, blaasinstrument van ramshoorn
Deutsch (German)
n. - Schofar (Horninstrument)
Ελληνική (Greek)
n. - εβραϊκό μουσικό κέρας
Italiano (Italian)
(ebraico) strumento consistente in un corno
Português (Portuguese)
n. - trompeta (f) tocada por hebreus antigos (Mús.)
Español (Spanish)
n. - trompeta de cuerno (usada por los judíos)
中文（简体）(Chinese (Simplified))
羊角号
中文（繁體）(Chinese (Traditional))
n. - 羊角號
한국어 (Korean)
n. - 각적 (유대교에서 쓰는 황소뿔로 만든 피리)
العربيه (Arabic)
(الاسم) بوق يستخدم من قبل أليهود في مراسيم دينيه
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 | Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved. Read more |
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| Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved. Read more |
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