The significance of music in Jewish life and traditions cannot be undermined. This becomes increasingly evident after looking at the Bible to see indications of the importance of the Levites as creators of music and great orchestras. After the 2nd Temple was destroyed in 70 AD, the rabbis forbade music in the synagogue. The only music that survived was instrumental, and it survived only because singing and merriment were required at weddings (Shepherd 1). Jewish music originates from ancient prayer songs from the Levant approximately 3,000 years ago. The resulting musical ideology that can be found in the Bible today is among the oldest forms of music, although it is still in use throughout the world today. Jewish music has often adapted to new conditions, but retains its identity in many widely diverse social, ethnic, and religious environments (Shiloah 3). Through the resulting religions, Jewish music is among the most fundamental elements in the enterprise of the secular and religious world. sacred traditions of the Near East and Europe, having first influenced, and then been influenced by, the music of Islamic cultures and the music of Christian cultures. Accordingly, the study of Jewish music deals with numerous genres of semi-religious, religious, and popular music used in the Jewish home and synagogue and with artistic music used in Jewish themes and lyrics. Therefore, the study of the Jewish musical tradition is distinctively combined with the critical elements of ethnomusicology, musicology, and interculturalism. In the modern world, Jewish music encompasses a wide variety of Jewish musical traditions, and Jewish songs are performed and sung in numerous different variations (Parshall 76-78). The major changes that have occurred since the reemergence of Klezmer music as a critical musical genre for Jews are the general trends toward more pronounced rhythms and faster tempos. When it comes to concert performances and in the absence of numerous experienced dancers, groups playing Klezmer music have invented faster songs to showcase their virtuosity without fear of tiring the audience. This trend has been somewhat reversed through the attempts of tradition-oriented researchers and committed instructors and dancers. However, in some modern professional performances, and certainly in early Klezmer revival recordings, this acceleration helps create a frenetic energy that audiences accustomed to bluegrass, bebop, and rock and roll understand and appreciate (Parshall 76- 78).