Joey Weisenberg, 29, is the musical director at the Kane Street Synagogue in Brooklyn and is in charge of musical education at Yeshivat Hadar in Manhattan. He plays guitar, mandolin and percussion and sings in 10 different bands, is an artist-fellow at the 14th Street Y’s LABA program and a faculty member at KlezKanada. He also teaches music privately. He does all this, and still spends half or more of his time teaching congregations around the country how to build singing communities and conduct spontaneous choirs.
Having spent the past eight years honing his techniques, Weisenberg is now sharing them in the recently published “Building Singing Communities: A Practical Guide to Unlocking the Power of Music in Jewish Prayer” (Mechon Hadar, 2011). The book, which provides advice on everything from melody acquisition to room set-up to shul politics, is accompanied by a CD of a spontaneous choir, directed by Weisenberg, singing 15 nigunim based on the Shabbat liturgy.
Weisenberg recently spoke to The Arty Semite about his passion for Jewish communal singing and how it fits into a larger vision for Jewish music.
Renee Ghert-Zand: Is the interest in communal singing a recent phenomenon, or is it a revival of an older one?