This is an unstructured and unscholarly glance at a subject that has been treated to considerable scholarly research. It is by no means comprehensive but it is simply intended to be an introduction to the subject.

At the outset it needs to be said that what one person considers Chazanut (certainly 'good' Chazanut!) won't coincide with someone else's view. We all have our perceived notions of what a 'good' Chazan should be able to do and certainly, for the afficionado, these views are usually based on comparisons with the great Chazanim of the Golden Age of Chazanut (about which, more later).

If we take as our definition of a Chazan, 'a man who leads the service with the traditional melodies and who has a better-than-average voice,' then there are indeed some fine Chazanim around the world.

The fact is that, since its beginnings Chazanut has constantly changed in character, and indeed it has needed to if it was to fulfil its function of being the means by which to inspire congregants.

Times change, circumstances alter and the environment in which Jews live has varied over the ages. When people had much time to spare,  they would gladly stay in the Synagogue throughout a four hour service, to be 'entertained' by a Chazan and choir.

In the modern world of the sound-bite, an attractive melody or two and a business-like approach to the remainder of the service, is more to the requirements of the times. But most people still like the service to be conducted in the traditional way by someone who is competent and knowledgeable.

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What are the elements of Chazanut that are still popular and of importance today?

Undoubtedly a Chazan has to have a 'good' voice, and the world of Chazanut is blessed with men of outstanding ability who could hold their own with any of the afore time greats.

It's imperative, indeed a requirement of Halacha, that the traditional melodies are absolutely adhered to and every Chazan worthy of the title will ensure that he keeps strictly to the ancient prayer modes that have become hallowed by time and usage.

A Chazan should also have good diction and a full understanding of the prayers he utters.

Since there are numerous Chazanim who measure up to all these requirements, what is it that makes Chazanut today different from what it was 'before?'

The period between the wars is generally regarded as the 'Golden Age of Chazanut.'  This is the time when legendary Chazanim such as Kwartin, Sirota, Hershman, and Rosenblatt flourished. Simply put, these men had the ability to make people cry. Their singing and pleading with the Almighty would send shivers up and down the spines of their congregants and they were able to raise them to high levels of communion with God.

(It is, perhaps, beyond the scope of this article to rationalise this, but I'm certain that it was the environment in which people lived that enabled them to achieve it. People living in poverty, who could not afford to see a doctor when they were ill and were frequently out of work, were more easily moved than we can be today in our more affluent society. When the Chazan pleaded with the Lord to grant people who were unemployed and living through a war 'a life of peace, a life of sustenance, and life in which there's no shame and reproach..', it was not difficult to make them cry).

The 'professional' Chazan was also an entertainer, and his role developed out of the need for culture that was felt by a people who couldn't afford, or were often denied the right, to attend local places of entertainment. Although he would probably have been horrified to think that this was the role he filled, the great attraction of earliest Chazanim was indeed his voice and his 'star' quality.

A Shaliach Tsibbur - (lit. messenger of the congregation), someone to lead the service, was required from earliest times. The Mishna (c.200 C.E.) talks about the one who was called upon 'Leireid Lifnei Hateiva' - which literally means 'to go in front of the Ark'. This was the person who was asked to repeat the Amidah. He could be any member of the congregation who was competent and he most certainly did not have to be a Rabbi. Indeed there's a Midrash which tells how the renowned Rabbi Elazar was visiting a Shul where, because of his fame, he was invited to lead the service. Unfortunately, to his deep embarrassment and indeed to the astonishment of the congregation, he had to decline the invitation because he didn't know how to say the Amidah aloud!  (He did however, go immediately to his teacher Rabbi Akiva to correct this gap in his education and, the Midrash relates, when he paid a return visit to that congregation, he was able to be Shaliach Tsibbur for them).

In these earliest times, a knowledge of the prayers was all that was required to qualify a man for the role. However, when people were being offered the Mitzvah of leading the service, obviously, the man with the good voice would be more likely to be asked, than the one who couldn't sing in tune.

The 'art' of Chazanut was developed by these men who could sing and who were encouraged to do so by congregations who were often thirsty for culture.

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One of the most important elements of Chazanut is called 'Nusach Hatefillah'. This expression has two meanings: one is the form and order of prayers, and the other refers to the traditional melodies that must be used to chant them. It is this second one that is specific to Chazanut.

If you think of the repetition of the Amidah for Shabbat, for Yom Tov and for the Yamim Noraim, you will realise that they are all done differently. These 'chants' or Steiger (from the German steigen - ascending,  hence 'scale'), are very important and a Chazan who deviates from them must not be allowed to conduct the service. Their purpose is to set the mood for the day.

There are also many melodies, rather than modes, which are very ancient. In the Ashkenazi rites they are referred to as 'Scarbove Niggunim, (the word Scarbove is probably a corruption of the Latin word sacra meaning 'sacred'), or Misinai-melodies, ie, melodies transmitted from Sinai (!). These titles undoubtedly came about as a means by which to invest them with sanctity and so discourage Chazanim from altering them.

Most of these Scarbove tunes came from Southwestern Germany, from the old communities of Worms, Mayence and the Rhinelands. Examples of them are Alenu for the Yamim Noraim and Adir Hu for Pesach.

The function of the Chazan today is twofold. Firstly he is to keep the congregation together and secondly he is to try to inspire them towards a higher level of spirituality during prayer. Although the 'performance' Chazan is not so much in demand anymore, it's still absolutely imperative that whoever does conduct the service, must be completely familiar with all the traditional steiger and niggunim that have been handed down from one generation to another.

The days are long past when every little Shul had a Chazan of real talent. We must cherish the culture that's preserved on recordings and encourage all those who show aptitude to study and pass on our heritage, so that it never becomes forgotten.

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At this time of the year, when many congregations have to employ extra Ba'alei Tefillah to lead parallel services, the question of 'traditional' melodies becomes of serious concern, not only for people with a specific interest in Synagogue music, but also for the regular Shul-goer who recognises and relies on his familiarity with these melodies, and uses them to aid him in his concentration.

That musical traditions vary from one community to another is readily discernable to every visitor, but many people don't realise that there's a clear distinction between what's traditional, and what's patently incorrect.

A Baal Tephilla who begins the repetition of the Amidah on Rosh Hashana in the same way that he would on Shabbat, is not just following the tradition of his community, even if it's been done there for fifty years.  He's simply wrong!

Many congregations have melodies that have been used in their services for many years, and such tunes are obviously 'traditional' in that particular community.  Very often, you won't even hear them in another Shul.  There are also tunes that are well-established in London congregations that you might not hear in a provincial community, and vice-versa.

In terms of 'traditional melodies', we must distinguish between individual compositions and 'modes'.  The prayer modes are called 'Nusach Hatephillah', and the same ones will be heard, with minor variations, throughout the world.  (Those used by the Sephardim are totally different from the ones employed by Ashkenazim.)

A thorough explanation of what Nusach Hatephilla is, is outside the scope of this brief article, but it may best be described by drawing your attention to the theme used for the repetition of the Amidah.

You will notice that, whereas Ba'alei Tephillah will sing a variety of  melodies for Unetaneh Tokef, they will all use the same basic modes for the paragraphs beginning with Uvechein Tein. They will sing different tunes to Ya'aleh, on Kol Nidrei night, but will use the same basic modes for the Penitential prayers - the Selichot.

A very significant, and instantly recognisable element of these modes is the way that the Beracha and its Amen are sung.  In the unlikely event that one had lost track of time, a regular-Shul goer would be able to identify the day of the Jewish calendar by hearing just one Beracha in the Amidah.

These modes are exceedingly important since they help to create the atmosphere of the day, and if the wrong one is used, it can be very disorientating and totally spoil one's concentration.

Among the fascinating aspects of the Nusach for the Yamim Noraim are the threads which connect it with other occasions of the Jewish year.

In some communities extra prayers are added in the Shacharit service on the Shalosh Regalim.  These are called Yotzerot and Kerovot.  The modes used for them are very similar to some of those used in the Shacharit service on the Yamim Noraim.

We utilise the Succot themes in the Kedusha, as well as the flavour of Tal and Geshem, the prayers for dew and rain, in the Kaddish of Neilah.

There's also an association between the Shavuot hymn, Az Sheish Meiot and Kol Nidrei, and Lewandowski, at least, makes an arrangement of Ya'aleh to his themes for Tal.

Although it is difficult to establish why these specific associations were made, it's not out of chance, or ignorance. It's as if the Nusach itself is reaching out to us from beyond the Yamim Noraim and saying, 'Come back and hear me on other occasions too.'

A rather surprising aspect of the melodies for the High Holydays is the preponderance of happy tunes.  It's only because most of us don't understand what we're singing, and don't even take the trouble to glance across at the translation, that we don't recognise the apparent incongruity of the lustiness with which we sing, 'Ashamnu, Bagadnu...' or 'Veal Chataim.'

There is a variety of reasons for the utilisation of these tunes on the most solemn days of the year, the days on which we are literally begging for our lives.

Firstly, singing them joyfully demonstrates our confidence that the Almighty has indeed forgiven our sins.  The trial through which we go on these awesome days is unlike a trial by a human court.  We know that, if we have prayed with devotion, if we have made a sincere commitment to try to improve our ways, then with absolute certainty, we shall be forgiven.

Also, I believe the rabbis did not object to them because they inspire communal participation much more readily than sombre tunes would.  And the notion that, being very attractive, they may encourage people to return next year, should not be too readily dismissed.

The importance of utilising the 'traditional' Nusach cannot be overstated.  The Chachamim were insistent on the correct melodies being used, and it's incumbent on a congregation to do everything in its power to employ as Baalei Tephillah, only those who can demonstrate their total familiarity with it, before allowing them to officiate!

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Chazanut, which is the music of our liturgy, originated in Eretz Yisroel. Its birth was in the singing of' the Levites when accompanying the ritual in the Temple.

Long before the Israelites were exiled from their land, there was a very rich Hebrew religious type of music which owed its own beginnings to the cantillation of the Bible. This music was based on the various tunes with which the Torah and the prophetical writings are read and is known as the 'Ta-amai Hamikra' or the 'Trop'. These tunes were the source of the first liturgical music and became the groundwork for the Nussach - the musical formula for our prayers.

The singing of the Levites must have influenced the folklore of our people for they were the singers of Zion. When the Israelites were exiled to Babylon, they were asked by their captors: "Sing unto us the song of Zion" (Psalm 137). The exiled Levites brought with them the prayers and melodies they chanted in the Temple services.

We read in the book of Nechemiah about the return of 148 singers in the time of the 'Return to Zion' in 516 B.C.E., who were called the Sons of Assaph, the poet and composer in the first Temple, who also wrote some of the Psalms. Those Levites continued the tradition in the second Temple.

According to various sources in Talmud Bavli, the music in the Temple was of a very high standard and there were choirs with thousands of choristers who accompanied the ritual sacrifices and the prayers. Besides the many instruments mentioned in the Psalms, there was also an enormous organ called 'Magraipha', which had a thousand sounds - Elef Kolot - and could be heard in the hills surrounding Jerusalem (Eirachin 10-11). From the little we know, we can imagine the tremendous power of sound and also, perhaps, the quality of the music in the Temple. After the destruction of' the second Temple in 70 C.E. and with the dispersion of' the Jews to many countries, the chazanut of old was divided into many styles and forms, probably equalling the number of communities also formed. Throughout our history, Hebrew music has been influenced by the Greek, Roman and at a later date Islam.i.e cultures, as well as others. However there were many Israeli tunes which have been preserved throughout the ages and traditionally observed. I shall try to elaborate further on, in this article, on these particular melodies and tunes.

It is rather difficult to ascertain which tunes and what was the style of the 'Neginot' used in Temple times. This is mainly due to the fact that we have never had any written score from that period. Flusic was learned by heart and each melody had its own name. We find in the Psalms names like: Mizmor, Mizmor-Shir, Maskil, or Michtam. However it is well known that there was a continuity of traditional tunes and ancient melodies which are used in our prayers and which have been preserved for many centuries. The fact that they could not be traced to a particular period brings us to the conclusion that their origin is from the Temple, where the religious music was confined to the House of God.

Chazanut, as we know it today is a mixture of melodies and tunes based upon many variations of musical scales which we call "Nusach Hatphilla". There are several Nusschaot like e.g. Nussach Magen Avot; Nusach Hashem Malach; Nussach Yishtabach and Ahava Rabba etc. I refer to the ancient melodies from which the chazan or baal-tephilla would not dare to deviate during a service, and which became the inheritance of our people and are sung in all the Ashkenazi communities.

All Ashkenazim sing 'Ochila Lakail' with the same melody. Likewise, the same tune for the beginning of 'Aleinu' in the Musaf prayer of the High Festivals. We have many traditional melodies which are common to all Ashkenazi communities especially on the High Festivals. The following should serve as examples: Ashrei Ha'am sung after the blowing of the shofar and which is also sung with the verse Venislach on Yom Kippur; the tune for Hashem Melech on Rosh Hashana; Shema Yisrael when taking the scroll from the Ark; the various tunes for Kaddish before Musaph on Yamim Noraim, and on Shalosh Regalim, before Tal and Geshem; the special tune for the Shabbat Mincha service which is called the Nussach 'Ata Echad' and the melody for Ledavid Baruch (Psalm 144) before Maariv on Motza'ei Shabbat.

Among professional chazanim these tunes are known as the "Scarbover Nussach" or the "Scarbover Nigunim". The term 'Scarb' is derived from the Polish language, meaning a 'Treasure' or 'Tresury,' or 'a very dear thing'. I assume that this refers to those melodies which have remained unchanged having escaped foreign influences throughout all those years. Jews have treasured them as sacred music from Temple times onwards, and in fact in some places chazanim used to call them Nigunim MiSinai having reference to their antiquity and origin.

I often asked myself, why do we sing the same tune of Shalosh Regalim also on Rosh Chodesh? From the answer to this question we can deduce and learn something about the origin of chazanut.

Rosh Chodesh in the time of the Prophets and in Temple times was observed as a festival. We know this firstly from the Torah (Numbers 10:10) also in Samuel 2, 20:18 and in the second book of Kings 4:21. We know from the book of Ezekiel 46:3 that even in the Babylonian exile the New Moon was observed as a festival. In Amos we read (Chapter 8:5) that the people complained about this custom to observe the day of Rosh Chodesh, for they said 'When will the New Moon be gone so that we may sell corn.' Hence we may derive from this that the Nussach tunes of Shalosh Regalim which were sung in the Temple, were also used on Rosh Chodesh in the same way as they are used today. The fact that the custom to observe Rosh Chodesh as a festival has been abolished by our sages has not changed the traditional melodies and tunes.

Chazanut grew and developed together with the synagogue until it reached its artistic dimensions which then formed the vast literature of our liturgical music. The fact that we still have so many melodies and tunes common to all, which have been traditionally observed over the years, during the chanting of our prayers, in spite of the centuries of suffering and wandering in the Diaspora, proves that they come to us as a national inheritance from our ancestors when they were a sovereign people in their land.

The standard book of traditional Ashkenazi melodies and modes for every day of the year, Abraham Baer's 'Ba'al Tefillah', contains special tunes for Hallel, Az Shesh Me'ot, Akdamut, Yetziv Pitgam etc for the festival of Shavuot. If you are lucky enough, you will hear them all during Yom Tov. It is very likely, however, that unless you have the benefit of a trained Chazan in your Shul, you will hear them gabbled through in a way that is barely different from the rest of the prayers, or they will have been attempted by someone who has a vague idea of how his grandfather remembered them being sung in der heim!

There are many places in our literature where the importance of singing with the correct melody is mentioned. Every day, the Levites sang Psalms in the Temple. They certainly sang them to the same tune each time, since the Book of Psalms has the singing notes written with the words, though, unfortunately, we no longer know how they interpreted those notes. It is quite clear that our Rabbis always have considered it exceedingly important for the person leading the service to use the 'known' melody for each prayer.

In Talmud Megillah 32a, Rabbi Yochanan says: 'A person who reads the scripture without the correct melody ... of him, Scriptures says, wherever I gave them statutes that were not good.' The Shuichan Aruch chapter 619:1, quotes the Maharil who says: '... no-one should change the custom of the city, even the tunes ...' and on this, the Mishnah Berurah comments: '[This is] because it would confuse people.'

To emphasise the seriousness that they attached to making certain that the services were conducted correctly, the Shulchan Aruch, in the laws of Berachot (53:24) states: 'A community which needs to engage a Rabbi and a Chazan, but cannot afford to pay both, unless the Rabbi [who is available to them] is a great Torah scholar, the [appointment of] the Chazan must take precedence.'
Our prayer modes, Nusach, are very old. Many of them are referred to by Chazanim as Misinai melodies (melodies from Sinai). Whilst it is highly unlikely that any of them are truly that ancient, experts have determined that most of them do go back at least as far as the 8th century CE.

As with other things, the fact that they have been in constant use for so long, their very age imbues them with a certain holiness. This demands that we treat them with reverence.

The reason that it matters whether the correct melody is used or not, is indicated in that terse comment of the Mishnah Berurah quoted above 'Because [not using them] would confuse people'. Our traditional melodies serve two functions: They both reflect, and help to create, the mood of the day. Imagine hearing someone sing Hallel to the tune of Ma'oz Tzur on Pesach. It would totally destroy the atmosphere of Yom Tov for you, and you would instinctively 'feel' that something is not right. It would 'confuse' you.

For those people who still know what Az Shesh Me'ot in the repetition of the Shavuot Musaf Amidah should sound like, when they hear it sung, though incorrectly, it creates exactly the same feeling, that something is not right. We need to use all our resources to help us concentrate on our prayers. Perhaps the most effective is that of song, and the one who conducts services must be wary of the great responsibility he bears when he helps to direct the supplications of his congregation towards the Almighty.