History
Sephardic music has its roots in the musical traditions of the Jewish communities in medieval Spain. Since then, it has picked up influences from Morocco, Argentina, Turkey, Greece, and the other places that Spanish Jews settled after their expulsion from Spain in 1492. Lyrics were preserved by communities formed by the Jews expelled from the Iberian Peninsula. These Sephardic communities share many of the same lyrics and poems, but the music itself varies considerably.
Because so many centuries have passed since the exodus, a lot of the original music has been lost. Instead, Sephardic music has adopted the melodies and rhythms of the various countries where the Sephardim settled in. The Greek and Turkish traditions are fairly close. The Moroccan or “western” Sephardic traditions are not that close to the eastern/Greek/Turkish traditions.
These song traditions spread from Spain to Morocco (the Western Tradition) and several parts of the Ottoman Empire (the Eastern Tradition) including Greece, Jerusalem, the Balkans and Egypt. Sephardic music adapted to each of these locales, assimilating North African high-pitched, extended ululations; Balkan rhythms, for instance in 9/8 time; and the Turkish maqam mode.
The song traditions were studied and transcribed in the early twentieth century by a number of musical ethnologists and scholars of medieval Hispanic literature. From around 1957 until quite recently, Samuel Armistead (UC Davis) with colleagues Joseph Silverman and Israel Katz collected the Judeo-Spanish song tradition from informants in North America, Turkey, the Balkans, Greece, North Africa, and Israel. The digitized recordings, with transcriptions and information about song type, is available on the website Folk Literature of the Sephardic Jews, now permanently hosted by the University of Illinois Library.
The early 20th century saw some popular commercial recordings of Sephardic music come out of Greece and Turkey, followed by Jerusalem and other parts of the Eastern Tradition. The first performers were mostly men, including the "Turks" Jack Mayesh, Haim Efendi and Yitzhak Algazi. Later, a new generation of singers arose, many of whom were not themselves Sephardic. Gloria Levy, Pasharos Sefardíes, Flory Jagoda and Janet & Jak Esim Ensemble are popular Eastern Tradition performers of this period. Gerard Edery, Savina Yannatou, Stefani Valadez, Françoise Atlan and Yasmin Levy are among the new generation of singers bringing a new interpretation to the Ladino/Judeo-Spanish heritage and, in the case of Levy and Edery, mixing it with Andalusian Flamenco.
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