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Gorgeous (Taylor Swift song)
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"Gorgeous"
Single by Taylor Swift
from the album Reputation
Released
January 12, 2018 (2018-01-12)
Format
Digital download
streaming
Genre
Pop
Length
3:29
Label
Big Machine
Songwriter(s)
Taylor Swift
Max Martin
Shellback
Producer(s)
Max Martin
Shellback
Taylor Swift singles chronology
"New Year's Day"
(2017) "Gorgeous"
(2018) "Delicate"
(2018)
"Gorgeous" is a song recorded by American singer-songwriter Taylor Swift for her sixth studio album, Reputation (2017). It was released on October 20, 2017, as a promotional single from the album.[1] The song reached the top ten in the music charts of Australia, Canada, Hungary, and Malaysia, as well as the top twenty in Ireland, New Zealand, the United Kingdom, and the United States. On January 12, 2018, "Gorgeous" was released as the fourth European single and fifth overall single from Reputation.[2]
Contents
[hide]
1 Release
2 Composition
3 Critical reception
4 Commercial performance
5 Live performances
6 Charts
7 Certifications
8 Release history
9 See also
10 References
11 External links
Release[edit]
After Swift held a secret listening party on October 13, 2017 where she played her sixth studio album Reputation for 100 fans from all around the world,[3][4] she announced the release of a song titled "Gorgeous" through her Instagram account on October 19. It included a small preview of the track, featuring "a baby voice saying 'gorgeous' over an electro-pop soundbed", as described by Billboard.[5][6] It was then released the following day as a promotional single.[7] On the same day, a lyric video for the song was premiered.[8] The song is about her boyfriend Joe Alwyn. It was also revealed that the baby's voice featured on the song is from James Reynolds, daughter of actors Blake Lively and Ryan Reynolds.[9] As of May 2018 the lyric video has over 80 million views on YouTube.
Composition[edit]
Swift co-wrote "Gorgeous" with its producers Max Martin and Shellback.[10] It has been described as a "radio-friendly pop" song.[11] Lyrically, the song depicts "the pursuit of a maddening love interest", whom Swift describes as "gorgeous".[1] Hugh McIntyre of Forbes characterized the production of the song as "simultaneously a basic 808 drum and an attempt at something that pushes electro-pop into a more interesting territory than Top 40 is used to".[12] Maeve McDermott of USA Today likened the chorus of the song to the sound of Katy Perry.[13] According to Elle, the man mentioned in the song is the British actor Joe Alwyn, who is Swift's current boyfriend.[14] The song is composed in the key of C major with a tempo of 92 beats per minute, with Swift's vocals spanning from C3 to F5.[15]
Critical reception[edit]
Maeve McDermott of USA Today called it "further proof of their queen's pop domination" for Taylor Swift fans, and "a promising omen that the old Taylor may not be dead just yet" for "listeners who have so far been skeptical of Swift's new direction".[13] Glamour stated that it was evidence that Swift was "single-handedly saving pop music in 2017", calling it "fizzy" and "delightful", owing to its "slightly left of centre style".[16] In a positive review for Variety, Chris William called the song a "more conventional Taylor Swift song" that, "provides some of the conventional pleasures that only a pop song about falling deeply in crush can".[17] Jon Blistein of Rolling Stone thought the song is "the yang to the vindictive, angry yin of "Look What You Made Me Do", as Swift sings 'wistfully' about a man over 'gentle, radio-friendly pop'."[11] Clayton Purdom from The A.V. Club called it "her first good single in forever", stating that the song "clears the low bar set by its two predecessors ['Look What You Made Me Do' and '...Ready for It?']" and stands easily alongside the best work on 1989.[18] Entertainment Weekly's Eric Renner Brown gave it a B+, citing that "she's back on top" with "Gorgeous".[19] Richard S. He of Billboard said the song's verses are "Swift at her pettiest", realizing she was playing a character and has "never been wittier".[20] Spencer Kornhaber of The Atlantic called it "on the surface the most 1989-like of the three Reputation songs so far" and stating that "the song is very catchy and refreshingly straightforward".[21] In a mixed review, Frank Guan of Vulture stated that the song "isn't terrible", but it is "yet another song from Reputation that doesn't live up to its title".[22]
Commercial performance[edit]
In the United States, the song debuted at number thirteen on the Billboard Hot 100, number 16 on the Streaming Songs chart with 16.9 million U.S. streams, and atop the Digital Songs chart with first-week downloads of 68,000 copies. It also became her 14th song to top the Digital Songs chart and her 13th to open at the summit, tying her with Rihanna for the most number one entries on the chart with 14 each.[23] In Australia, the song entered the ARIA Singles Chart at number 9.[24]
The song also peaked at number 15 in the UK.
Live performances[edit]
Swift performed "Gorgeous" as part of her set list for the B96 Chicago and Pepsi Jingle Bash 2017 on December 7, 2017 in Chicago.[25] Swift also sang the song during the Jingle Bell Ball 2017 in London.[26] The song is also a regular part of her setlist for the Taylor Swift's Reputation Stadium Tour.
Charts[edit]
Chart (2017–18)
Peak
position
Australia (ARIA)[27]
9
Austria (Ö3 Austria Top 40)[28]
32
Belgium (Ultratip Flanders)[29]
1
Belgium (Ultratip Wallonia)[30]
37
Canada (Canadian Hot 100)[31]
9
Canada Hot AC (Billboard)[32]
45
Czech Republic (Singles Digitál Top 100)[33]
24
Germany (Official German Charts)[34]
45
Hungary (Single Top 40)[35]
9
Hungary (Stream Top 40)[36]
23
Ireland (IRMA)[37]
18
Italy (FIMI)[38]
66
Japan (Japan Hot 100)[39]
52
Lebanon (Lebanese Top 20)[40]
15
Malaysia (RIM)[41]
8
Netherlands (Single Top 100)[42]
60
New Zealand (Recorded Music NZ)[43]
19
Norway (VG-lista)[44]
28
Philippines (Philippine Hot 100)[45]
13
Portugal (AFP)[46]
40
Scotland (Official Charts Company)[47]
12
Slovakia (Singles Digitál Top 100)[48]
17
Sweden (Sverigetopplistan)[49]
41
Switzerland (Schweizer Hitparade)[50]
46
UK Singles (Official Charts Company)[51]
15
US Billboard Hot 100[52]
13
Certifications[edit]
Region
Certification
Certified units/Sales
United States (RIAA)[53]
Gold 500,000
*sales figures based on certification alone
^shipments figures based on certification alone
Release history[edit]
Region
Date
Format
Label
Ref.
Various
October 20, 2017
Digital download
streaming
Big Machine [7][10]
United Kingdom
January 12, 2018 Contemporary hit radio [2]
See also[edit]
List of number-one digital songs of 2017 (U.S.)
References[edit]
^ Jump up to: a b Brandle, Lars (October 20, 2017). "Taylor Swift's 'Gorgeous' New Single Has Arrived: Listen". Billboard. Retrieved October 20, 2017.
^ Jump up to: a b "BBC – Radio 1 – Playlist". BBC Radio 1. Archived from the original on 2 December 2017. Retrieved 20 January 2018.
Jump up ^ Mackleden, Amy (October 14, 2017). "Taylor Swift Just Hosted Her First 'Reputation' Listening Party in London". Elle. Retrieved October 20, 2017.
Jump up ^ Drysdale, Jennifer (October 13, 2017). "Taylor Swift Holds First Secret 'Reputation' Listening Party for Fans in the UK and Swifties Are Freaking Out". Entertainment Weekly. Retrieved October 20, 2017.
Jump up ^ Bailey, Alyssa (October 19, 2017). "Taylor Swift Announces a New "Gorgeous" Taylor Swift Song Is Coming". Elle. Retrieved October 20, 2017.
Jump up ^ Karsen, Shira (October 19, 2017). "Taylor Swift Teases New Track 'Gorgeous' Before Release". Billboard. Retrieved October 20, 2017.
^ Jump up to: a b "Gorgeous - Single". iTunes. Retrieved October 20, 2017.
Jump up ^ "Gorgeous - Taylor Swift". Vevo. October 20, 2017. Retrieved October 20, 2017.
Jump up ^ "Taylor Swift Confirms That Blake Lively & Ryan Reynold's Daughter James is the Voice of 'Gorgeous'". Billboard. Retrieved 2017-11-10.
^ Jump up to: a b "Gorgeous by Taylor Swift on TIDAL". TIDAL. October 20, 2017. Retrieved October 20, 2017.
^ Jump up to: a b Blistein, Jon (October 20, 2017). "Taylor Swift Plays Nice on Romantic New Song 'Gorgeous'". Rolling Stone. Retrieved October 20, 2017.
Jump up ^ McIntyre, Hugh (October 20, 2017). "Taylor Swift Drops New Single 'Gorgeous' From Upcoming Album 'Reputation'". Forbes. Retrieved October 20, 2017.
^ Jump up to: a b McDermott, Maeve (October 20, 2017). "Taylor Swift's 'Gorgeous' is her best new 'Reputation' single so far". USA Today. Retrieved October 20, 2017.
Jump up ^ Bailey, Alyssa (October 20, 2017). "Taylor Swift's "Gorgeous" Song Lyrics Seem to Tell Her and Joe Alwyn's Love Story". Elle. Retrieved October 20, 2017.
Jump up ^ "Taylor Swift "Gorgeous" Sheet Music in C Major (transposable) - Download & Print". Musicnotes.com. Retrieved October 21, 2017.
Jump up ^ Rosa, Christopher (October 20, 2017). "Swift just released an Insanely Catchy Song Called 'Gorgeous'". Glamour. Retrieved October 20, 2017.
Jump up ^ Willman, Chris (October 20, 2017). "Song Review: Taylor Swift's 'Gorgeous'". Variety. Retrieved October 20, 2017.
Jump up ^ Purdom, Clayton (October 20, 2017). "Taylor Swift releases "Gorgeous," her first good single in forever". The A.V. Club. Retrieved October 20, 2017.
Jump up ^ Brown, Erick Renner (October 20, 2017). "Taylor Swift's 'Gorgeous' reveals she lied to you about the Old Taylor: EW review". Entertainment Weekly. Retrieved October 20, 2017.
Jump up ^ He, Richard S. (October 20, 2017). "Taylor Swift's 'Gorgeous' Turns Love into Slapstick Romantic Comedy". Billboard. Retrieved October 21, 2017.
Jump up ^ "Taylor Swift "Gorgeous" Review". The Atlantic. Retrieved October 20, 2017.
Jump up ^ Guan, Frank (October 20, 2017). "The Odd Timing and Faulty Logic of Taylor Swift's 'Gorgeous'". Vulture.com. Retrieved October 21, 2017.
Jump up ^ Trust, Gary (October 30, 2017). "Taylor Swift Ties Rihanna for Most Digital Song Sales No. 1s With Debut of 'Gorgeous'". Billboard. Retrieved November 9, 2017.
Jump up ^ "Week five at No. 1 for Post Malone's Rockstar". Australian Recording Industry Association. October 28, 2017. Retrieved November 9, 2017.
Jump up ^ Klein, Joshua (December 8, 2017). "Taylor Swift and Backstreet Boys defy fest formula at Jingle Bash". Chicago Tribune. Retrieved December 11, 2017.
Jump up ^ "Taylor Swift OWNED The #CapitalJBB Stage & Brought All Her Biggest Hits For This Iconic Performance". Capital. 10 December 2017. Retrieved 11 December 2017.
Jump up ^ "Australian-charts.com – Taylor Swift – Gorgeous". ARIA Top 50 Singles. Retrieved May 2, 2018.
Jump up ^ "Austriancharts.at – Taylor Swift – Gorgeous" (in German). Ö3 Austria Top 40. Retrieved November 1, 2017.
Jump up ^ "Ultratop.be – Taylor Swift – Gorgeous" (in Dutch). Ultratip. Retrieved November 18, 2017.
Jump up ^ "Ultratop.be – Taylor Swift – Gorgeous" (in French). Ultratip. Retrieved November 18, 2017.
Jump up ^ "Taylor Swift Chart History (Canadian Hot 100)". Billboard. Retrieved October 31, 2017.
Jump up ^ "Taylor Swift Chart History (Canada Hot AC)". Billboard. Retrieved November 15, 2017.
Jump up ^ "ČNS IFPI" (in Czech). Hitparáda – Digital Top 100 Oficiální. IFPI Czech Republic. Note: insert 201743 into search. Retrieved November 7, 2017.
Jump up ^ "Offiziellecharts.de – Taylor Swift – Gorgeous". GfK Entertainment Charts. Retrieved October 27, 2017.
Jump up ^ "Archívum – Slágerlisták – MAHASZ" (in Hungarian). Single (track) Top 40 lista. Magyar Hanglemezkiadók Szövetsége. Retrieved November 2, 2017.
Jump up ^ "Archívum – Slágerlisták – MAHASZ" (in Hungarian). Stream Top 40 slágerlista. Magyar Hanglemezkiadók Szövetsége. Retrieved November 2, 2017.
Jump up ^ "IRMA – Irish Charts". Irish Recorded Music Association. Retrieved October 28, 2017.
Jump up ^ "Italiancharts.com – Taylor Swift – Gorgeous". Top Digital Download. Retrieved May 2, 2018.
Jump up ^ "Taylor Swift Chart History (Japan Hot 100)". Billboard. Retrieved November 21, 2017.
Jump up ^ "Taylor Swift - Lebanese Chart Top 20 History". The Official Lebanese Top 20. November 27, 2017. Retrieved December 1, 2017.
Jump up ^ "Top 20 Most Streamed International & Domestic Singles in Malaysia" (PDF). Recording Industry Association of Malaysia. Retrieved November 3, 2017.
Jump up ^ "Dutchcharts.nl – Taylor Swift – Gorgeous" (in Dutch). Single Top 100. Retrieved October 28, 2017.
Jump up ^ "Charts.org.nz – Taylor Swift – Gorgeous". Top 40 Singles. Retrieved May 2, 2018.
Jump up ^ "Norwegiancharts.com – Taylor Swift – Gorgeous". VG-lista. Retrieved May 2, 2018.
Jump up ^ "BillboardPH Hot 100". Billboard Philippines. Retrieved November 14, 2017.
Jump up ^ "Portuguesecharts.com – Taylor Swift – Gorgeous". AFP Top 100 Singles. Retrieved November 4, 2017.
Jump up ^ "Official Scottish Singles Sales Chart Top 100". Official Charts Company. Retrieved October 28, 2017.
Jump up ^ "SNS IFPI" (in Slovak). Hitparáda – Singles Digital Top 100 Oficiálna. IFPI Czech Republic. Note: insert 201743 into search. Retrieved November 7, 2017.
Jump up ^ "Swedishcharts.com – Taylor Swift – Gorgeous". Singles Top 100. Retrieved May 2, 2018.
Jump up ^ "Swisscharts.com – Taylor Swift – Gorgeous". Swiss Singles Chart. Retrieved October 30, 2017.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company. Retrieved October 28, 2017.
Jump up ^ "Taylor Swift Chart History (Hot 100)". Billboard. Retrieved October 31, 2017.
Jump up ^ "American single certifications". Recording Industry Association of America. Retrieved December 11, 2017. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
External links[edit]
"Gorgeous" (Lyric Video) on YouTube
hide
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Taylor Swift songs
Discography
Taylor Swift
"Tim McGraw"
"Picture to Burn"
"Teardrops on My Guitar"
"Should've Said No"
"Our Song"
Fearless
"Fearless"
"Fifteen"
"Love Story"
"White Horse"
"You Belong with Me"
"Breathe"
"You're Not Sorry"
"Forever & Always"
"Change"
Speak Now
"Mine"
"Sparks Fly"
"Back to December"
"Dear John"
"Speak Now"
"Mean"
"The Story of Us"
"Innocent"
"Ours"
Red
"State of Grace"
"Red"
"I Knew You Were Trouble"
"All Too Well"
"22"
"We Are Never Ever Getting Back Together"
"The Last Time"
"Everything Has Changed"
"Begin Again"
1989
"Welcome to New York"
"Blank Space"
"Style"
"Out of the Woods"
"Shake It Off"
"Bad Blood"
"Wildest Dreams"
"Wonderland"
"New Romantics"
Reputation
"...Ready for It?"
"End Game"
"Delicate"
"Look What You Made Me Do"
"Gorgeous"
"Call It What You Want"
"New Year's Day"
Songs as a featured artist
"Two Is Better Than One"
"Half of My Heart"
"Both of Us"
"Highway Don't Care"
"Babe"
Other songs
"Crazier"
"Today Was a Fairytale"
"Safe & Sound"
"Long Live"
"Eyes Open"
"Ronan"
"Sweeter Than Fiction"
"I Don't Wanna Live Forever"
"Best Days of Your Life"
"Better Man"
"This Is What You Came For"
"You'll Always Find Your Way Back Home"
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gorgeous_(Taylor_Swift_song)&oldid=845927441"
Categories:
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Shofar
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the academic journal, see Shofar (journal). For the Shofar Organization, see Amnon Yitzhak.
Shofar
Shofar
Blowing the shofar
A shofar (pron. /ʃoʊˈfɑːr/, from Hebrew: שׁוֹפָר (help·info), pronounced [ʃoˈfaʁ]) is an ancient musical horn made of ram's horn, used for Jewish religious purposes. Like the modern bugle, the shofar lacks pitch-altering devices. All pitch control is done by varying the player's embouchure. The shofar is blown in synagogue services on Rosh Hashanah and at the very end of Yom Kippur, and is also blown every weekday morning in the month of Elul running up to Rosh Hashanah.[1] Shofars come in a variety of sizes and shapes, depending on the choice of animal and level of finish.
Contents
[hide]
1 Bible and rabbinic literature
1.1 Post-Biblical times
1.2 Mitzvah
1.3 Qualifications
2 Shape and material
2.1 Choice of animal
2.2 Construction
3 Sounds
3.1 Foundations in Talmud and Torah
3.2 Modern practice
4 Use in modern times
4.1 Religion
4.2 National liberation
4.3 Non-religious musical usage
4.4 Celebration and protest
5 See also
6 Notes
7 References
8 Further reading
9 External links
Bible and rabbinic literature[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2012) (Learn how and when to remove this template message)
Shofar (by Alphonse Lévy (fr) Caption says: "To a good year"
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 19:16).
The shofar was used to announce holidays[2] and the Jubilee year.[3] The first day of the seventh month (Tishrei) is termed "a memorial of blowing",[4] or "a day of blowing",[5] the shofar. They were used for signifying the start of a war.[6] Later, it was also employed in processions,[7] as musical accompaniment[8] and eventually it was inserted into the temple orchestra by David.[9] Note that the 'trumpets' described in Numbers 10 are a different instrument, described by the Hebrew word 'trumpet' (Hebrew: חצוצרה; ḥaṣoṣrah), not the word for shofar (Hebrew: שופר).
The Torah describes the first day of the seventh month (1st of Tishrei = Rosh HaShanah) as a zikron teruˁah (Hebrew: זכרון תרועה; memorial of blowing; Lev. 23:24) and as a yom teruˁah (Hebrew: יום תרועה; 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.
On Rosh Hashanah and other full holidays (Day of Atonement, Ingathering of the harvest (Sukkot), 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 Hashanah 27a, supports this claim: "Said Raba or it may have been R. Joshua B. Levi: What is the scriptural warrant for 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.'"[10]
Indeed, on Yom Kippur, the Shofar was sounded to announce the Jubilee Year (every 50 years, Jews were granted forgiveness, debts were forgiven, indentured Israelites were granted freedom, and the fields "shall become owned by the priests". 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[clarification needed support of what?] is found in Rosh Hashanah 29a, indicating the sounding of both Shofars and trumpets. On Jubilee Year, however, only the Shofar blasts. The Rabbi's created the practice of the Shofar's sounding every Yom Kippur rather than just on the Jubilee Year (once in 50 years).
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 prostrate themselves, stretching out flat, face down and on the ground.
The shofar was blown in the times of Joshua 5 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.[citation needed]
Post-Biblical times[edit]
Old Jerusalem Yochanan ben Zakkai synagogue—A flask of oil and a shofar for the anointing of the eagerly-awaited Mashiach.[11]
At the inception of the Diaspora, during the short-lived ban on playing musical instruments, the shofar was enhanced in its use, as a sign of mourning for the destruction of the temple. The declaration of the ban's source was in fact set to music itself as the lamentation 'Al Naharoth Bavel' within a few centuries of the ban. (It is noted that a full orchestra played in the temple, the ban was so that this would not be taken for granted, hence the wording of the ban 'if I forget thee O Jerusalem, over my chiefest joy etc.'.) The shofar continues to announce the Jewish Year,[12] and the sighting of the new moon,[13] to introduce Shabbat,[14] 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 been completed in the evening.[15] Secular uses have been discarded (see a notable exception in a section further down).[16]
The shofar is primarily associated with Rosh Hashanah; indeed, Rosh Hashanah is called "Yom Teruah" (or "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 primacy 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 Tekiah (shofar sounder) may inadvertently carry it, which is in a class of forbidden Shabbat work.[17] 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.[18]
The shofar says, "Awake, sleepers from your sleep, and slumberers arise from your slumber!" Mishneh Torah, Laws of Repentance 3:4.[19]
Mitzvah[edit]
Jewish "Slichot" prayer service with shofar during the Days of Repentance preceding Yom Kippur at the Western Wall in Jerusalem's Old City, 2008.
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.[20] 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."[21]
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.[22] If one hears the blast but with no intention of fulfilling the mitzvah, then the mitzvah has not been fulfilled.
Qualifications[edit]
Yemenite Jew blowing the shofar, late 1930's
The expert who blows (or "blasts" or "sounds") the shofar is termed the Tokea (lit. "Blaster") or Ba'al Tekiah (lit. "Master of the Blast"). Being a Ba'al Tekiah (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.[23]
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.
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 Tekiah 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 Tekiah.[24]
The Ba'al Tekiah shall abstain from anything that may cause ritual contamination for three days prior to Rosh Hashanah.[25]
Shape and material[edit]
Choice of animal[edit]
According to the Talmud, a shofar may be made from the horn of any animal from the Bovidae family except that of a cow[26] although a ram is preferable.[27] Bovidae horns are made of a layer of keratin (the same material as human toenails and fingernails) around a core of bone, with a layer of cartilage in between, which can be removed to leave the hollow keratin horn. An antler, on the other hand, is made of solid bone, so an antler cannot be used as a shofar because it 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, but not all, 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.[28] The shofar falls into the category of tashmishei mitzvah, objects used to perform a mitzvah that do not themselves have inherent holiness.[29] Moreover, because horn is always inedible, it is considered afra be-alma (mere dust) and not an unkosher substance.[30]
The Elef Hamagen (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.[31]
A Dall Sheep with horns.
Greater Kudu, Namibia.
Construction[edit]
In practice two species are generally used: the Ashkenazi and Sefardi shofar is made from the horn of a domestic ram, 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. 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.
A small shofar made from a ram’s horn.
A shofar made from the horn of a Greater kudu.
A small shofar made from a ram's horn.
Sounds[edit]
Foundations in Talmud and Torah[edit]
The Tekiah (תקיעה) and teruah (תרועה) sounds mentioned in the Tanakh were respectively bass and treble.[speculation?] The tekiah (or "t'kiah"or "t'qiah") was a plain deep sound ending abruptly; the teruah (or "t'ruah"), a trill between two tekiahs. These two sounds, constituting a single unit of shofar sounding, were rendered three times during a service added specially for Rosh HaShanah: first in honor of God's Kingship (malchiyot or malchuyot)); next to recall the Binding of Isaac, in order to cause the congregation to be remembered before God (zichronot); and a third time to comply with the precept regarding the shofar (shofrot).[citation needed]
The word teruah (a broken sound) appears three times in the Bible in the context of the shofar, from which the Talmud[32] derives the rule that three such sounds must be made. In addition, other verses connect the word tekiah (an unbroken sound) to teruah twice, thus leading the Talmud to rule that each teruah must be preceded and followed by a tekiah, leading to a total of nine blasts (tekiah-teruah-tekiah three times).
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.[32] A system of three sounds was therefore devised to account for all the possibilities:
Shevarim (or "sh'varim") (שברים) is composed of three connected short sounds.
Teruah is a series of nine very short notes divided into three disconnected or broken sequences of three notes each. The nine notes of the teruah is equal the three notes of the shevarim in duration.
Tekiah is slightly longer than the length of either the shevarim or the teruah.[33]
The doubt as to the nature of the Biblical teruah, whether it was simply a broken moan (shevarim), a staccato (teruah) or both (shevarim-teruah), necessitates three 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 gedolah, which means "big tekiah", held as long as possible.
This series is also known by its acronyms: TaShRaT, TaShaT, TaRaT, respectively.
When blowing the shevarim-teruah, the tekiah is lengthened to be slightly longer than the duration of the shevarim and the teruah together.[34][35]
Some opinions require trebling the series, 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.
To fulfill all of the opinions and criteria above, a total of thirty blasts are sounded, the minimum number required today:
Tashrat three times, yielding twelve blasts
Tashat three times, yielding nine
Tarat three times, yielding nine
Alternatively, although fewer opinions are satisfied, some communities sound a single series of Tashrat-Tashat-Tarat without trebling. This may also fulfill the required total of thirty blasts, if tekiah is counted as one note, shevarim three, and teruah nine.[36]
Regardless, all halachic authorities[37] teach that one should follow one's community's custom.
Modern practice[edit]
Shofar sound for Rosh Hashana, Ashkenaz version; The National Library of Israel.
It is customary to hear 100 or 101 sounds in the synagogue, although the minimum requirement is to hear 30 sounds.
The shofar is sounded just before, during and after the Musaf prayer on Rosh Hashanah. For the sounding just before Musaf, after the Torah reading, relevant verses from the Bible are recited, followed by two blessings: one on the Biblical commandment of "hearing the sound of the shofar" and the blessing of Shehecheyanu. After that, thirty shofar blasts are sounded. In the Musaf prayer itself, the shofar is sounded three times during the silent prayer, and then again three times during the leader's repetition. For each of these soundings, ten appropriate selections from the Bible are recited, followed by a benediction, followed finally by a series of ten shofar blasts. After leader's repetition of the Musaf prayer is completed, a final series of ten (or eleven, depending on the community's custom) shofar blasts are sounded, yielding a total of 100 or 101 blasts. (Some communities do not blow the shofar during the silent Musaf prayer, instead blowing the 30 blasts after the leader's repetition.) After the service is over, it is customary to blow another series of thirty blasts "to confuse the Adversary".
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 return home after being killed by Yael (Judges 5:28). One cry is added to symbolize the legitimate love of a mother mourning her son.[38][39]
Use in modern times[edit]
Religion[edit]
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.
In an effort to improve the skills of shofar blowers, an International Day of Shofar Study is observed on Rosh Chodesh Elul, the start of the month preceding Rosh Hashanah.[40]
A Jewish Haredi man blowing a Shofar, 2012.
Hasidic Jew, blowing the kudu shofar in Uman, Ukraine, 2010.
Jewish Israeli man blows the Shofar at the Western Wall, Jerusalem
National liberation[edit]
During the Ottoman and the British rule 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. This fact inspired Naomi Shemer to add an additional line to her song Jerusalem of Gold, saying: "a shofar calls out from the Temple Mount in the Old City."[41]
Non-religious musical usage[edit]
Shlomo Bar, Entertainment; Shofar blown in Israeli Pop music, 2009.
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 the film version of the musical Godspell, the first act opens with cast member David Haskell blowing the shofar. In his performances, Israeli composer and singer Shlomo Gronich uses the shofar to produce a very wide range of notes.[42] Since 1988 Rome-based American composer Alvin Curran's project Shofar features the shofar as a virtuoso solo instrument and in combination with sets of natural and electronic sounds. Madonna used a shofar played by Yitzhak Sinwani on the Confessions Tour and the album Confessions on a Dance Floor for the song "Isaac", based on Im Nin'alu. In 2003, The Howard Stern Show featured a contest called "Blow The Shofar", which asked callers to correctly identify popular songs played on the shofar. 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.
The shofar has been used in a number of films, both as a sound effect and as part of musical underscores. Elmer Bernstein incorporated the shofar into several cues for his score for Cecil B. DeMille's The Ten Commandments; one of the shofar calls recorded by Bernstein was later reused by the sound editors for Return of the Jedi for the Ewoks' horn calls. Jerry Goldsmith's scores to the films Alien and Planet of the Apes also incorporate the shofar in their orchestration.
Celebration and protest[edit]
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The Shofar has been sounded as a sign of victory and celebration on May 8, 1945. Jewish elders were photographed blowing multiple shofars after hearing that the Nazis surrendered. The Shofar has played a major role in the pro-Israel movement and often played in the salute to Israel parade as well as other pro-Israel demonstrations.
See also[edit]
Binding of Isaac
Dung-Dkar
Erkencho
Rosh Hashanah
Shankha
Shofar blowing
Notes[edit]
Jump up ^ "Jewish prayer-book". Cambridge Digital Library. Retrieved 25 September 2014.
Jump up ^ Psalm 81:3 (4)
Jump up ^ Leviticus 25:9
Jump up ^ Leviticus 23:24
Jump up ^ Numbers 29:1
Jump up ^ Joshua 6:4; Judges 3:27; 7:16, 20; 1 Samuel. 8:3
Jump up ^ 2 Samuel 6:15; 1 Chronicles 15:28
Jump up ^ Psalm 98:6; compare Psalm 47:5
Jump up ^ Psalm 150:3
Jump up ^ 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. Origins of the Rosh Hashanah Liturgy. Accessed 31 December 2009
Jump up ^ It has been said that when the mashiach comes, the Sephardic community will be ready to anoint him and blow the shofar to announce his arrival. Legend has it there is a tunnel from under the Yohanan Ben Zakkai synagogue that leads directly to the Temple Mount.
Jump up ^ Kitzur Shulchan Aruch 128:2
Jump up ^ Arakhin 11a–b; Shabbos 35
Jump up ^ Shabbos 35
Jump up ^ Kitzur Shulchan Aruch 133:26
Jump up ^ Judith Kaplan Eisenstein, Heritage of Music, New York: UAHC, 1972, pp. 44–45.
Jump up ^ Rosh Hashanah 29b
Jump up ^ Kieval, The High Holy Days, p. 114
Jump up ^ "Anticipation and Consummation: a Perspective on the Shofar" (PDF).
Jump up ^ Mishnah Berurah 587:1–3
Jump up ^ "Fulfilling Mitzvot Through Electronic Hearing Devices", Chaim Jachter and Ezra Frazer, Gray Matter volume 2 pp. 237–244. ISBN 1-933143-10-X
Jump up ^ Mishnah Berurah 590:9
Jump up ^ Shulkhan Arukh 3:72
Jump up ^ Shulchan Aruch, Orach Chaim 589:1–6
Jump up ^ Shulkhan Arukh 3:73
Jump up ^ Rosh Hashanah, 26a
Jump up ^ Mishnah Berurah 586:1
Jump up ^ Navon, Mois (2001). "The Ḥillazon and the Principle of "Muttar be-Fikha"" (PDF). The Torah u-Madda Journal. 10/2001: 142–162. Retrieved 15 June 2016. see pages 147-148 ff.
Jump up ^ Megillah 26b
Jump up ^ Avot 67b
Jump up ^ Elef Hamagen, Rabbi Shemarya Hakreti, edited by Aharon Erand, Jerusalem: Mekitzei Nirdamim, 2003
^ Jump up to: a b Rosh Hashanah 34a
Jump up ^ Mishnah Berurah 590:13
Jump up ^ Mishnah Berurah 590:14
Jump up ^ Kitzur Shulchan Aruch 129:13
Jump up ^ "Shofar-Call to Action". Chabad. Retrieved 6 November 2011.
Jump up ^ Kitzur Shulchan Aruch 129:17, et seq.
Jump up ^ Kitov, Eliyahu. "One Hundred Sounds". Chabad.org. Retrieved 6 November 2011.
Jump up ^ Arthur L. Finkle, Shofar: History, Technique and Jewish Law, (Saarbrücken, Germany: Hadassah Word Press, 2015)
Jump up ^ International Day of Shofar Study
Jump up ^ Jerusalem of Gold accessed 9 December 2008
Jump up ^ The Abraham Fund Initiatives: Press Clips - Crossing the Middle Eastern Tightrope
References[edit]
Arthur L. Finkle, Easy Guide to Shofar Sounding, Los Angeles: Torah Aura, 2003
Hearing Shofar: The Still Small Voice of the Ram's Horn by Michael T. Chusid, a three volume compendium of shofar information.
Further reading[edit]
Arthur l. Finkle, Shofar Sounders Reference Manual at the Wayback Machine (archived 26 October 2009), LA: Torah Aura, 1993
Montagu, Jeremy. 2016. The Shofar: Its History and Usage. Rowman and Littlefield Publishers.
External links[edit]
Media related to Shofars at Wikimedia Commons
Chisholm, Hugh, ed. (1911). "Shofar". Encyclopædia Britannica (11th ed.). Cambridge University Press.
Shulkhan Arukh limited English translation includes Rosh Hashanah chapters 585–590 regarding the shofar.
Shofar sounds several videos with shofar sounds and explanations
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values: شوفار – Arabic

values:
https://bar.wikipedia.org/wiki/Schofar
Schofar – Bavarian
bar
bar
interlanguage-link-target

values:
https://ca.wikipedia.org/wiki/Xofar
Xofar – Catalan
ca
ca
interlanguage-link-target

values:
https://da.wikipedia.org/wiki/Shofar
Shofar – Danish
da
da
interlanguage-link-target

values:
https://de.wikipedia.org/wiki/Schofar
Schofar – German
de
de
interlanguage-link-target

values:
https://es.wikipedia.org/wiki/Shofar
Shofar – Spanish
es
es
interlanguage-link-target

values:
https://fr.wikipedia.org/wiki/Chophar
Chophar – French
fr
fr
interlanguage-link-target

values:
https://id.wikipedia.org/wiki/Shofar
Shofar – Indonesian
id
id
interlanguage-link-target

values:
https://it.wikipedia.org/wiki/Shofar
Shofar – Italian
it
it
interlanguage-link-target

values:
https://ms.wikipedia.org/wiki/Shofar
Shofar – Malay
ms
ms
interlanguage-link-target

values:
https://nl.wikipedia.org/wiki/Sjofar
Sjofar – Dutch
nl
nl
interlanguage-link-target

values:
https://no.wikipedia.org/wiki/Sjofar
Sjofar – Norwegian
no
no
interlanguage-link-target

values:
https://oc.wikipedia.org/wiki/Shofar
Shofar – Occitan
oc
oc
interlanguage-link-target

values:
https://pl.wikipedia.org/wiki/Szofar
Szofar – Polish
pl
pl
interlanguage-link-target

values:
https://pt.wikipedia.org/wiki/Shofar
Shofar – Portuguese
pt
pt
interlanguage-link-target

values:
https://qu.wikipedia.org/wiki/Kipa
Kipa – Quechua
qu
qu
interlanguage-link-target

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https://sv.wikipedia.org/wiki/Shofar
Shofar – Swedish
sv
sv
interlanguage-link-target

values: ஷோபார் – Tamil

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