The Convergence of Judaism and Islam. Religious, Scientific, and Cultural Dimensions

External Cultural Influences on the Jewish Community of Izmir r 295

these cheerful maccams... the public does not awaken to do teshu-

vah and take the selihot as a song.^39

Another prohibition regarding this matter is related to the Halachic pro-
hibition on the theater regarding not following the ways of the Gentiles.
However, some rabbis attempted to negate this prohibition. For example,
Rabbi Hazan believed that the music used for worship in churches and
mosques was not a problem, for “finally, the same voices that are not
unique to their worship are permitted in our worship.”^40 Rabbi Menahem
de Lonzano was the first Jewish composer to write the beginnings of Turk-
ish songs as titles of his songs, indicating the melody to which his songs
should be sung. Rabbi de Lonzano said that he never wrote songs accord-
ing to Turkish melodies that led to debauchery, but rather chose melodies
that aimed to humble the heart and elevate behavior. He therefore chose
only sad melodies from Turkish music and rejected the happy melodies.
He even mentioned in the prelude to his songs that many of his melodies
should not be sung on the Sabbath or on High Holy Days.^41
Rabbi Hazan adds that adopting the non-Jewish melodies is necessary,
as the Jews were left with no remnants of their holy melodies. Thus there
was no choice but to use non-Jewish melodies and apply them to Hebrew
prayers. In other words, the problem was not the melody but the songs
that were taken from the non-Jewish surroundings and that were sung
in their language.^42 Rabbi Papo also added that it was inappropriate to
sing religious songs using love song melodies; however, songs sung in
churches and mosques can be used, as they evoke remorse and submis-
siveness by non-Jews as well.
This entire topic was raised in a rabbinical discussion by Rabbi Hayyim
Palacci (1787–1868). Palacci notes that the problem is actually with the
musical instruments. He comments that the two most popular instru-
ments used by Muslims, the kemenche and the santur, are played by pluck-
ing their strings, and if something goes wrong with one of these instru-
ments, they must be repaired immediately during playing, which would
be considered a desecration of the Sabbath. Thus if music must be played
in synagogue on the Sabbath, it should preferably not be an instrument
that will lead to its desecration.^43
Perhaps the music was only an excuse for a more profound fear. In
the nineteenth century we hear about young Jews taking dancing lessons
with Muslims, discussing religion and political affairs and even studying