Tuning the Soul: Music as a Spiritual Process in the Teachings of Rabbi Nahman of Bratzlav »

Chani Haran Smith, Ph.D. (2008) in Jewish Studies, University College London, is a professional musician and a lecturer at Leo Baeck Rabbinical College in London. She has published Learn to Leyn: The Cantillation of the Hebrew Bible (JMI, 2003).

This book is an in-depth study of the function of music in religious experience according to Rabbi Naḥman of Bratzlav. It provides new insights on his unique doctrine of the “Good Points”, which represent the core of loving kindness and holiness in the human soul, and the musical context in which they become both a means and a metaphor for spiritual transformation. Drawing on midrashic and kabbalistic sources, the book explores Naḥman’s perception of different types of “tzadiqim” (religious leaders), including himself, and the special role music plays in their leadership. It highlights the importance of creativity and renewal in the messianic process that involves both music and loving kindness.

Preface

Note on Translation of Sources and Transliteration

Introduction 1

Chapter One The Doctrine of the 'Good Points' and Its Kabbalistic Sources 11

1.1 Background 11

1.1.1 The Doctrine of the 'Good Points' in LMI, 282 14

1.2 The Concept of 'Points' in the Kabbalistic Sources 18

1.2.1 'Points' as Sefirot 19

'Point' as Beginning 20

'Point' as Centre 23

1.2.2 Vowel Points and Cantillation Accents 24

The Animating Quality of Cantillation Accents and Vowel Points 29

1.2.3 'Points' as Musical Notes 31

1.3 'Points' in Nabman's Teachings 33

'Point' as Beginning 34

'Point' as Centre 34

1.3.1 'The Innermost Point' as the Centre of One's Spiritual Life 37

1.4 'Points of Hesed': Loving-Kindness, Longing and Soul 41

1.4.1 'Good Points' and 'Evil Points' 46

1.5 Concluding Remarks 48

Chapter Two Music as a Spiritual Process 49

Introduction 49

2.1 Berur Extraction of 'Good Points' from Evil 51

2.2 The Imagination 55

2.3 Music as Metaphor 61

2.4 Tuning the Soul by Means of Music 64

2.5 David the Skilled Musician and His Lyre 69

2.5.1 North Wind, Darkness, Concealment and Creativity 76

2.6 The Aspect of 'Hands' 79

2.7 The Music of the Cosmos 84

2.8 'Holy Sparks' and 'Good Points' 93

The Origin and Destination of Sparks 98

2.9 Concluding Remarks 100

Chapter Three The Dual Personality of the Tzadiq: Moses and Joseph 101

Introduction 101

3.1 The Tzadiq as Intermediary between Worlds in Hasidic Thought 103

3.2 The Dual Aspect of the Tzadiq in Natunan's Thought: 105

3.2.1 Two Worlds 105

3.2.2 Two Spirits (ruhot) 107

3.2.3 Two Tzadiqim 108

3.2.4 The Identity of the Two Tzadiqim 111

3.3 Moses The Worldly Leader 113

3.3.1 Moses Music out of Silence 118

3.3.2 Moses Present in Every Generation, in Every Tzadiq 122

3.4 Joseph the "True Tzadiq': The Tzadiq in the Divine Realm 127

3.4.1 Joseph's Beauty, Glory and Grace 130

3.4.2 Tzadiq/Yesod and Hesed 131

3.4.3 Yesod and Malkhut The Tzadiq and His Congregation 135

3.5 Transcendence and Immanence: Two Aspects of the Tzadiq 136

3.5.1 The Language of the Tzadiq 137

3.5.2 Encompassing 'Root', Encompassing 'Point' 140

3.5.3 The Tzadiq as Cantor 144

3.6 The Tzadiq in the Tale of 'The Seven Beggars' 148

Introduction to the tale 148

3.6.1 The Tzadiq as Beggar 152

3.6.2 The Heart and the Spring 154

3.6.3 Two Aspects of the Tzadiq in 'The Heart and the Spring' 158

3.7 Concluding Remarks 161

Chapter Four New Time, New Song 163

4.1 Time and Music 163

4.2 Transcending Time 167

4.2.1 Adherence to God (devequt) as Transcendence of Time 169

4.3 Cosmic and Personal Renewal (hidush) 172

4.3.1 Renewal by Means of Original Torah Insights 176

4.3.2 Prayer, Music and Renewal 179

4.4 Renewal through Loving-Kindness (Iyesed): 'New Song' 182

4.4.1 The New Song: Leaping and Skipping 188

4.5 Three Modes of Music 191

David 191

Moses 192

Joseph 192

4.5.1 Three in One 193

4.6 Conclusion 195

Glossary 197

The Ten Sefirot 199

Bibliography 201

Index 215