The Jewish Music Research Centre

Muzika mizrahit (Israeli Mizrahi or Oriental music) is a modern Israeli popular genre rooted in the musical traditions of Jewish communities from the Middle East, North Africa, and the Mediterranean. It blends Arabic, Turkish, Greek (laïko/rebetiko), and Andalusian influences with Hebrew lyrics and contemporary pop production. Musically it favors modal melodies drawn from Middle Eastern maqam systems (e.g., Hijaz, Bayat, Kurd) and characteristic vocal ornamentation (melisma, microtonal inflections). Typical instruments include oud, bouzouki, qanun, violin, darbuka/tabla, riq, and handclaps, increasingly complemented by synthesizers, drum machines, and pop/EDM-style arrangements. Lyrically, songs often revolve around love, longing, family, faith, and place, moving between dance-forward party anthems and deeply emotive ballads. Since the 1990s, the style has moved from a marginalized “cassette culture” to the mainstream of Israeli pop.

Oriental Jewish music refers to the liturgical, paraliturgical, and secular musical traditions of Jewish communities from the Middle East and North Africa, as they were preserved in diaspora and recontextualized in Israel after the mid-20th century. It blends Hebrew and Judeo-Arabic (and occasionally Ladino) texts with maqām-based melody, microtonal inflection, and cyclical iqa'at (Arabic/Turkish rhythms). Typical textures are heterophonic—voices and instruments ornamenting the same line rather than using dense harmony. Core instruments include oud, qanun, violin, ney, and frame/hand drums such as darbuka and riq; in modern settings, keyboards with quarter-tone capability and guitars may appear. The repertoire ranges from synagogue piyyutim and Andalusian nuba-derived suites to wedding songs and urban genres like the Iraqi maqām. In Israel, these practices converged across Moroccan, Iraqi, Yemenite, Egyptian, Syrian, and Persian Jewish communities, shaping the sonic DNA that later fed Mizrahi/"Oriental" Israeli popular music.

Baqashot are a traditional Sephardic Jewish devotional repertoire consisting of supplications, liturgical poems (piyyutim), and prayers that are sung communally. They are most famously performed as an extended Shabbat-morning vigil beginning in the pre-dawn hours and lasting until sunrise, especially during the winter season (commonly from Sukkot through Purim). Musically, baqashot performance is closely linked to Middle Eastern modal practice (maqam) and to the poetic/liturgical traditions of Sephardic communities, especially Syrian, Moroccan, and Turkish Jews. The style is primarily vocal and communal, emphasizing responsorial singing, ornate melodic lines, and a prayerful atmosphere rather than dance rhythms or pop-song structures.

Jewish liturgical music is the body of musical practice used to chant, sing, and adorn the Hebrew liturgy in the synagogue and at home. It centers on the voice, the sacred Hebrew (and some Aramaic) texts, and time-specific modal frameworks known as nusach, which signal the service, day, and season. Rather than fixed melodies, it uses modal motifs, cantillation systems (ta'amei ha-mikra) for biblical reading, and a spectrum of regional traditions (Ashkenazi, Sephardi, Mizrahi, Yemenite, and others). Cantorial artistry (hazzanut) ranges from restrained recitative to highly ornate melismatic singing. Historically unaccompanied, it remains primarily vocal; however, choirs and organs were introduced in some modern communities. Across centuries, Jewish liturgical music absorbed and dialogued with surrounding cultures—Byzantine, Syriac, Arabic/Persian maqām traditions—while maintaining distinctive modal cadences, prayer roles (shaliach tzibbur/cantor vs. congregation), and characteristic motives (e.g., Mi-Sinai tunes in Ashkenaz and maqām-based selections in Sephardi/Mizrahi rites).

Piyyut is a corpus of Hebrew (and sometimes Aramaic) liturgical poetry composed for Jewish prayer services and life-cycle rituals. It is designed to be sung or chanted within fixed prayer frameworks, augmenting the service with theological reflection, biblical allusion, and poetic artistry. Texts often employ acrostics (frequently spelling the poet’s name), intricate rhyme schemes, and meters adapted first from biblical parallelism and later from quantitative Arabic prosody. Musically, piyyutim are rendered in synagogue modal systems (nusach) and, across the diaspora, in local modal traditions such as Ottoman/Turkish makam, Maghrebi–Andalusian nuba, and Persian dastgah. Performance can be solo by the hazzan (cantor), responsorial between leader and congregation, or communal unison; some communities add a choir and, outside strictly liturgical contexts, frame drums or other light percussion. Major subtypes include selichot (penitential poems), kinot (laments), baqashot (supplicatory hymns), qedushta/qerova for the Amidah, as well as festival- and Sabbath-specific compositions.