Music critic Alexander Gelfand publishes an appreciation of the late Debbie Friedman today in Tablet Magazine.

By the early 1970s, these and other participants in the burgeoning American nusach movement were exerting an influence well beyond summer-camp circles. Their use of mixed Hebrew and English lyrics, pseudo-folk melodies, and simple guitar accompaniment, along with their emphasis on participatory unison singing, began to filter into Reform synagogues, gradually displacing the more formal format of a cantor accompanied by a choir and organ that had previously been favored.

Song and Prayer