Responsum: On the Permissibility of Music
Hayya Ga’on
Early 11th Century
The scholar Nehemiah bar Obadiah of Gabès, Tunisia, maintained an ongoing correspondence with Hayya Ga’on and asked him many practical questions, including this one concerning the propriety of listening to music. Nehemiah was afraid that his community’s custom of listening to celebratory instrumental music might violate a seemingly broad talmudic prohibition. Based on lived tradition, Hayya permits music at weddings and occasions of religious significance, pointing to an Arabic genre that was popular among Jews in medieval Iberia, and widespread throughout the Islamic world. Hayya closes this Hebrew responsum with a relatively restrictive position on women’s performance in mixed-gender settings and also discourages women’s performances in all-female settings, concerned that it will lead to “other problematic activities.”
Creator Bio
Hayya Ga’on
The last and perhaps the greatest of the Babylonian geonim, Hayya (or Hay) bar Sherira was educated in the academy of Pumbedita, in Baghdad, at the feet of his father, the influential Sherira Ga’on. Uniquely among the geonim, Hayya was promoted to be co-head of the academy together with his father, and the two often wrote responsa jointly. During his leadership, the academy was facing financial difficulties, and so Hayya engaged in a tireless campaign to maintain connections with the Jewish diaspora, composing letters and legal works for Jews worldwide and fundraising. Hayya was generally less receptive to Arabic culture than some other geonim, but his writings integrated Islamic theological terminology and evinced similar concerns. He composed several legal monographs in Judeo-Arabic that were of lasting influence, and his Judeo-Arabic dictionary was an early foray into that genre. Recent discoveries in the Cairo Geniza have suggested that Hayya was a more impressive poet than previously thought.