Opera singer Jennie Tourel’s subtle and expressive performances made each song she sang into a miniature tone drama that she shaped as closely as possible to the composer’s intention.

This article emphasizes American Jewish women’s multivalent musical choices from the eighteenth through the twenty-first centuries. In doing so, it acknowledges that mainstream Jewish liturgical, educational, art, and “popular” music histories often exclude or minimize women’s participation—as does the very term “Jewish music.” Instead, this article focuses on Jewish-identifying women’s activities in both religious and non-religious settings, rather than seeking to classify the music they create.