Shayla of The Week 113- Music, Acapella, and Singing During Sefira and Three Weeks: What's The Halachah?

Shambhachem, everybody. One of the classic ways that we feel the avayless of the Spherea and the avayless of the three weeks is not listening to music. Music, of course, is something that raises our spirits, cheers us up, puts us in a happy mood and a good mood, and of course the avayless of those two time-paired Spherea Sáomer as well as the three weeks, the nine-day Shvúša Cháalbo, historically the most tragic days, ominous days in the Jewish calendar, and therefore listening to Jewish music, whether it's live, whether it's recorded, with instruments, without instruments, has historically been something that Klaali Srel has not done. However, you may be surprised to know that if you look in the Shochranách, it's a tough, sadigim, the halachas of Spherea Sáomer. If you look in the halachas of the three weeks, the nine days, Shvúša Cháalbo, Semen Tafráš, known Alef, not in the Makháber and not in the Ramá and not in any of the early Rishonu, you find any mkór at all, prohibiting listening to music, playing music, and listening to any type of instrument. Not only will you not find any mkór in the Rishonu, nor will you find anything in the Makháber, in the Ramá, nor will you find anything in the classical Akhram de Nosek, Alemán Shlokhanách, the Máginavra, the Taz, you will not see any of those Rishonu, not in the Básiosi as well, indicating any prohibition to prohibit listening to music. If that's the case, where and why is it that listening to music is something that's not done, not during the Svíra and not during the three weeks. If you take look, the Máginavra, the Máginavra, is Semen Tafráš, Sadigimu, in Hellhose, Semen Tafráš, Oman, the Máginavra, Semen Tafráš, known Alef, the Hálochas of the three weeks and the nine days, writes that it's prohibited to do mkólo, Svíri Kudin, dancing and making circles, marry making and the like, in that form of enjoyment, is what's prohibited. But the Máginavra still does not say that there's any isser to play music or to listen to music, so not only do you not find any isser, not under the Rishad, not under the Máchában, not under the Raman, not under the Nózakeylam, even the Máginavra, in the early source who is indicative that there is an isser, only writes that there's an isser of Rikudim and Mkólo's singing, dancing and doing those types of things, making circles. But nothing at all about music, nothing at all about instruments, nothing at all about playing any form of musical instrument, and therefore the question that we must address and need to understand is why is it that music has become the area and the place where we find a form of a veilus during the Svíriah and during the three weeks. If you take a look in Sima Tafzari Giml, the only isser, two isser, during the Svíriah's Svíriah is the prohibition of marriage, as well as a prohibition of shaving and hair cutting. In Sima Tafzari Giml, during the three weeks, the nine days Shvusha Khabbo, there is no absolute prohibition at all outside again of weddings, which is a Máchloqas Máchában, the Raman, we Ashganazim, prohibit weddings during the entire three-week period according to the Svíriah, it's only the nine days, and there are other isser, of course, that classically are prohibited during the nine days, during the Shvusha Khabbo, and we extend them back as well, including hair cutting. So that's the case, what is the basis and what is the reason for the prohibition and the meaning that we don't play music, listen to music during these two time periods during the year? There are Khashol Khun notes that it is based upon the Máchin of Ram, there are Khashol Khun Sima Tafzari, Giml, Hosfios, Omra explains, that the basis for the Minig Israel prohibiting, listening to music during this time period is specifically for this reason, it's because once the Máchin of Ram prohibits recoup in the Mácholos, and once there ready is a prohibition of enjoying, and singing, and dancing, and Khashanas, the extension of that is music, and therefore, although it's not writ large, and it's not expressly written and articulated by any of the posts, "Kimnán de Shlokhenach, in Nán de Ramah," and "Nán even in the Máchin of Ram, there are Khashol Khun Saz, it's Pushat." The music is bechlaal the Issa of Khashanas, and bechlaal the Issa of Rikud Máem Mácholos, that is the explanation of the Khashol Khun, that's the basis, simply he says, "Why music is a Minig Israel across the board, not to listen to, not to play, and not to engage during these two time periods during the year?" Whoever in the Chuvas of the Kapa'i Iron, Sima Nubaysi explains differently. Indeed, music, he writes, is also throughout the year, Sima Tavkov Samakhli, closing Sima Nubaysi's "Helkho Stishebav" in the three weeks, that we have a prohibition based upon the gmármim, Sákha Stgit and Távzayin, to listen to music all year because of the Khurban-Besa-Miktas. We have to recall commemorate the loss of the Besa-Miktas, and therefore Mishgach-e-Khush-e-Láem-Tishek-e-Mín, in the way to recall, and to commemorate the loss of the Besa-Miktas is by not playing music, listening to music, and engaging in music throughout the year, and because of that says the Kapa'i Iron, that's the reason as well. Why there shulkhunach, there are none of the no-sekhilums talk about this, because throughout the year it's also usher, and therefore there should be no distinction between seer of the three weeks and throughout the year. Famously, Ravmoish and Feinstein and Igar Smosh Archa'in, Khilik-Alefs-Simakuf Samakhlav, as well as the Khilik-Inel-Sim-Pezayin, explains that this is exactly the reason and the basis. Why there is no explicit isser, halachhik-li, or al-pimin-ig, as to why we don't listen to music during these two time periods of the year, and Ravmoish explains that although during the year we're makil, and we do listen to music, and we don't go with the Iqar-Hadin of the Gammar and the Maha'in, we are reliant upon the Ramah, who says that one can be makil during the year to listen to music. We don't have the Kochus, Hanefish, we don't have the Kochus, we don't have the strength, we don't have the fortitude, to be able not to listen to music during the year, however says Ravmoish there are two times a year. When that prohibition, Maha'in Iqar had didn't fall back into place during Sphere-Aso-Omer, during the three weeks, and most explains Ravmoish of that is the basis, and that is the reason why we are prohibited. Al-pimin-ig, not to listen to music across the board, it's a meningistro, lock, stock, and barrel, although not written clearly. says Ravmoish, that is the pshat and the isu because Al-pimin, English, Mammuzika, Bamesh, Kala-shani, you can't listen to music throughout the year. And therefore, during this time period, we take that Iqar-Hadin. Ravmoish of that is the very, very classical Chouva on this, and he explains similar, and he also writes that the importance of this mening is very, very clear, and a parade's Gedi-ashchan-un-ah-hash, and the custom always has been. Although you don't find it in the writings of the Rishan-um and the Akhran-um and the classical codes of Jewish law, this is the meningistro, and nobody is prohibited to change that, and therefore playing music and playing an instrument, listening to music and listening to an instrument is usur, it's usur, Al-pimin-ig, Yisrael, either the way that the Ahash-ul-Khan explains because it's part and parcel of weddings, it's part and parcel of Rikud-Ni-Memikhalos, as per the Mug-Nar-Rum, or the way that Kapi-Aran-Mosha-Faints and explain that it's part of the broader prohibition to listen to music throughout the year, and now we go back to the Iqar-Hadin, and thus we have explained the reason that the meningistrael during those two time periods, Syriza Omar, and during the three weeks, Nidei Shubush-Habbo, is not to listen to music. The question however remains, what about Akka-Pelah? And of course, over the last number of decades, there have been many tapes, CDs that have emerged, Akka-Pelah music, and there's different forms of Akka-Pelah music, we'll talk about that in just a little bit. There's Akka-Pelah music that really doesn't have any instrument, but it's digitally sounds almost identical to music, although there is no drums, and although there is no guitar, and although there is no piano, the way that it's digitally recorded sounds as if there is music. That's one form of Akka-Pelah music. Another form of Akka-Pelah music is just people, a person or people singing together, and you listen obviously through a CD, through a tape, in your car, wherever you may be, and that is also another form of Akka-Pelah music. So there is no music, there is no instrument. What do we say about that? Is that something that's permitted? Is that something that's prohibited? What do the halachic authorities, what are the post-gift, what are the Godolies, Solangadol, Heros, say about Akka-Pelah music? A lot has been written about this in the last number of decades, and as far as I'm aware across the board post-gift have prohibited this. Starring the Blyashiv, and he's say for her, "Harest Misech, has given up Zion, and Alif, the barmasch of Alif Al-Valupuma, and the Chuvas of the Shave of the Labia, Chelak, Chess, and Khuf, Khuf, and Zion, and Sif-Katan-Bays, as well as in Chelak Bayes, Simannun, Zyansif, Katan-Bays, the San-Maschaim, Mervyosev, Khayem, Zan-Nafeld, as well. Furthermore, the Shrut-Tits, Ali-Ezer, as well as two, Gidoli, Haposkym, of our generation, have also prohibited this as well. If you take a look, and the Kobets-Halachas are of rather schmul-Kamenatsky, Tisfir-Somer, and Parak-Tas, Oath Bayes, Simann-Bays, and his footnotes, Bayes and Gimol, he excites these Mar-Makommus and takes the very same in position, the Phil-Dalshir-Ashiva saying that the Iqar is the Kliz-Amer-Bays, Syranem-Ashumlesa-Kleshir-Dafqa, the prohibition of music during the Syar-Somer, as well as during the three weeks, and he says this as well, in his Hilk-Hos, in his Hala-Hos-Kobets-Halachas for the three weeks, in the nine days, you could take a look there as well, and he explains, "Hai Israel is smawakh, Ali-Dayshir-Shrut-Sim-Khatveh, the prohibition is singing, and being in a great mood and happy and jolly during the three weeks." So even though it's not necessarily musical instrument, it's as if it's a- you're listening to his instrument. former that digitalization of it turns it into a clayscheer. That, he says, Rabshmul, and that is what Relyashiv says as well, and his horst and masechus. Get in. The once you're listening to a recording, that recording changes it and turns it into a clayscheer, and thus he says, befrot specifically Mumbuofan Shakul Takwis Azamir, who led his Dhamus-Lakul clayscheer, for the whole purpose of this song and of the Acapella is that it should be as if you're listening to a song in a musical instrument. And he concludes, and sif-katan-bez, to sif-sim-antas, la chrona. Nif-rat-s-ma-o-shmi-as-kalato salal-ibbi-be-minam-its-saram. We have seen a terrible pizza, an opening that has taken place in clayscheer, so the people are listening to these forms of Acapella during the three weeks, during the nine days, during Shubur-shachabot, during the Sphere. And the Maksiv-la-kalato salal-ibbi-minam-its-saram, in Ruch-rak-ram-im-n-ok-e-man-o-ts-not-the-right-thing-to-do. It's inappropriate. It's wrong, so says, from Shmul-Khamnetsky in Kobets-alachos for Sphere-sa-Omer, as well as Kobets-alachos for the Mee-minam-its-saram. Indeed, this was also the position of Rizal-Belsky-Zachorn-la-Racha and his Chuv-a-Shol-Than-A-Lavi Sphere-sa-Omer. O-Zavav, he takes the very same position, quoting, Ramosha-Finstein, who we've quoted earlier, that this is Mee-Ik-ar-Hadin-A-minog, during these time periods of Bime-Banam-its-Saram, the three weeks, as well as during the Sphere-sa-Omer. And he explains the same things to whether it's slow music, whether it's fast music, it doesn't make a difference. A-in-lahat-ish-mi-as-musik-ala-lo-k-lim-rak-bashir-nish-mas-b-kin-agina. You're prohibited, and it's not better to listen to music what we call Acapella. Call Hamat-A-R-Sha-Him-A-Nus-Mish-Mee-as-Musika-Besf-Sphere-sa-Omer, who lim-na-A-min-A-Ad-M-Lach-ush-As-H-H-Ar-Gasha-Sha-H-Musika. O-Musika-Zut-Hach-Lisa-Lase-Sla-Sham-E-A-Ar-Gasha-Sha-Musika-Beli-Musika, the whole purpose of Acapella is to give the person the feeling that they're listening to music without the music. And therefore, Saz-Rigelsky-Lakob-Smol says that it's identical because one has to appreciate the basis as why the mini-Yasrel has been. Not to listen to music or to play instruments during this time period, because it's not as amount of sim-cha-the-death of the Tami-Dir-A-Bik-Iva, the 24,000-tami-dem, which we mourn during the Sphere-Somer, the destruction of the base-a-mictus which we commemorate and mourn during the three weeks are not times to look for coolers, to look for loopholes, and to try to come up with ways that we are permitted to listen to music. And therefore, the post-Skim that I have quoted, both Rubell-Skir-Rishmul-Kamneskir-Beli-Ashif, the Tsits-Eli-Ezir. Rupshle-Mazama-Rambach was in a stop-back with this, Rubeyosef-Khamz-Zan-Nefel, the chairman of the Lavi-Ravuzner, across the board, prohibits such behavior. Now, of course, one has to know that there are times when somebody does need to listen to music, and yes, say the post-Skim person has a marish-chach-hara, a person has decone, a person is depressed, he's unable to live without music. So, in their circumstances, yes, you're not listening to music for the enjoyment, Shabot, but you're listening it for equilibrium. Speak to a competent Meira Harada that certain people under certain circumstances as the post-Skim node would be permitted to listen to music under those difficulties and in those situations similarly. If a person has background music when watching something or seeing something, a person is in a store walking through. A person is in a situation where they're doing exercise in the new music. In any of those circumstances, if you're not listening to the music for the enjoyment of the music specifically, that would be permitted because really you're doing it for other reasons, and as such, the music is only considered to be by the by, and in those circumstances one would be permitted to listen to music. Amazingly, there's another khaylak of this thing you're also, and that's what we were called singing. And if you take a look in the lekkat-yoshiar, the Talmud of the Tumas-Adashini, he writes, "The Tumas-Adashini during the Emei has spheres, Omar, didn't even sing smeerous even a multi-shabbas the song "Eliwa Navi". The Osiv Omets were "Biosef Ham", the great German post against Simultafresh, Alev writes that even on Shabbas he wouldn't sing the bad. We're not talking about listening to music, playing to music, or instruments, even singing vocals. Furthermore, Khaym, Khaym Baakhraq and Simultafresh, and Alev Alev also expresses this same thing that even singing outside of an instrument outside of listening to instruments, not even talking about listening to music on a tape, and recording those are all awesome. Indeed, the Nite-Gavriel and Khayl Gimol-Velkhoz-Pesach-Paragnon-Gimol. Sim and you would pause it like these posts, Kim. Hamin-Uksholo-Lasheb-Epebi-Yama-Mal, the custom is not even to sing, to get together. A group, not in Shabbas, not in a multi-shabbas, Achen-Dav-Gashirosh-Humar-Sleer-Girma-Khalz, the Nite-Gavriel-Burgreal-Zinner, says, "Not absolutely across the board, but only you can sing songs that are joyous, that are uplifting, that are you going to bring you to Rikunumach, which is what the Mug-in-Avram prohibited." So according to the Nite-Gavriel, this is the way it seems to be that it is understanding, like a Yosheh-Famids, and the Mug-Kar-Khalin. That which is prohibited, and those who are prohibited from singing, singing together, is only in circumstances that we want to make sure it's not going to lead you to singing the dancing, which is what the Mug-in-Avram prohibited. Achen-Dav-Gashirosh-Humar-Mal-Mal, M-A-Mal-Sas-Aad-Avram, Vein-Ami-Bee-Vyas-Hal-A-Rikun, Engli-Himani-Mal-Ami-Mal-A-Butsong, and singing. That's going to raise your spirituality and bring you to a closer level of the Rikunash-Burk, and you're not going to dance? That's okay. Khol-Shuk-Ein-Sher-Bepad, Ehr-Hodala, Shami-Sparah, O-Bashast, O-R-Twil-Bavade-Motor. And indeed, the many-gis-surel, there's no question, is that we permit singing, we permit kumsits, as we permit people from getting together, certainly on Shab is certainly on Yom-Tav, certainly on La-Gbomber, of course, so there's no Issa-Mikra-Din according to all of these post-camps. And therefore, as a result, we don't prohibit singing, certainly when there is no musical instrument, certainly when we're not talking about listening over the radio, over a CD, or in any of these formats, all of the above would be permitted. But a person needs to appreciate always, whenever we're talking about min-hug-e-min-hug-e-yis-surel, where are they coming from? What is the basis of them? And certainly to understand what the Makore is. So yes, it's true that there is no shul-khana-khana-khaba-ramah. There are no g-dol-e-ha-post-g-um-wright explicitly that music, that instrument's playing and listening is us, but there's no question that the min-hug-e-surel-e-dore-doros is to prohibit certainly live music. And listening to live music, certainly the same thing as true when it comes to a-capella that it's prohibited and listening to it. And all these types of formulas of digital recordings are the same reason that they're also because it brings out a certain simcha that we're not able to really express during these days. However, the post-cum-du-point out that there's another form of a-capella. And that is when it comes to just simple singing. If one person is singing or if multiple of us people are singing, and through any form of a recording one is listening to that, if it's only somebody's voice without any digital production, without any activity changing the makeup of the song, that would seem to be permitted, just like we've just described, that singing itself is permitted live. So singing itself is live and getting together to sing together is more certainly the same thing should be true when it comes to listening to somebody or some people together singing without any instrument, without any digital recomposition of the sound and of the noise. And that is what the post-cum-say regarding music, live music, recordings, and all of the above. We should always appreciate and understand that there are times of the year that are great days of Jewish, the ummum tovim in the chalushamau. But there are also days of the year that are said and then are more difficult. And of course those two times in the three weeks, the nine days, Shavuoshachalbo, Tishabab, and yes, Svirasa Omer. And therefore in this context we always need to know that we shouldn't be looking for ways to get out, but we should be looking for ways to understand and to tap into what is happening. The same way when we tap into the ummum tovim, the heightened feeling of Simch enjoy that we feel the midst of the Samakhta, the Vakhagachah, we also have to understand and appreciate that there are times there that are not as easy. And there are times in the calendar that are ominous. And at times near where we are called to appreciate the sadness of the day to act differently. And Svirasa Omer in the three weeks in the Bain-Amen Sarmara these times. And therefore not listening to music in the minigasal, not to listen to music, to play music, to be part of any type of listening of Akkapella are all supposed to bring out that feeling and that nature. And that's why the Gidolihaposke have showed us and explained to us why music is offered during these days to put us into that feeling, into that position to tap into the seriousness and significance of the day. Of course if a person has a particular shyla and then they should ask a Posik, a Mahara-Hara when it would be permitted and under certain circumstances we may indeed allow it if indeed the need is there. When we Mbizochat to the Binyanbe Semiktash, when we Mbizochat to Simchat, to Sasson, to the Gula Shlema when we turn the days of Sadness Meafela, Leora, Meshibul, Gula, Beezos Hashemizbura.