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Among the earliest sources which discuss a custom of changing the tune during Lecha Dodi is from the community of Frankfurt-am-Main. It is reported that in Frankfurt-am-Main the custom was to change the tune of Lecha Dodi at the stanza of "Hitoreri". However, when reaching the stanza of "Boi B'shalom" the congregation would then revert back to the original tune which had been used from the start of Lecha Dodi until having reached "Hitoreri".
It is explained that the reason for this custom was in order to emphasize the first four stanzas of Lecha Dodi. This is because the first letter of each of these stanzas is an acronym for the word "Shlomo" which is the name of the author of Lecha Dodi (Rabbi Shlomo Halevi Alkabetz). It also serves to remind us that mashiach will be a descendant of King David through his son Shlomo. Furthermore, since the first four stanzas represent exile and the last four represent redemption, it was decided to sing each of these themes with separate tunes. It is also noted that the first letter of each of the last four stanzas represents the second word of the author's name, "Halevi", making it an appropriate time to switch tunes, as well. As the final stanza of "Boi B'shalom" is unrelated to either group of stanzas, it was decided to revert back to the original tune with which Lecha Dodi had begun.
There is a widely cited theory that the change of tune at "Lo Tevoshi" is intended to correspond to a switch in the theme of the Lecha Dodi from that point onwards. This, however, is simply incorrect, as the change of theme from that of exile to that of redemption actually occurs in the stanza prior, the stanza of "Hitoreri", as mentioned above. This strengthens the logic and legitimacy of changing the tune when reaching "Hitoreri" rather than when reaching "Lo Tevoshi".
It is also suggested that the change of tune during the course of Lecha Dodi was simply in order to prompt those in the congregation who may have lost their place as to where the service was now holding. There is also a theory that the custom of changing the tune specifically at "Lo Tevoshi" is related to the fact that it is the first and only stanza of Lecha Dodi to be worded in a negative manner ("lo"). Alternatively, it might just be that since the entire kabbalat Shabbat service is somewhat new and essentially optional in nature, chazzanim took advantage and used the opportunity to apply their own musical creativity and additions.
There have been many other customs throughout the centuries regarding the manner of singing Lecha Dodi, as well. For example, in Breslov the tune was changed when reaching the stanza of "V'hayu Limshisa". In some communities every stanza of Lecha Dodi was sung in a different tune and in others the tune was changed every two or three stanzas. It is even reported that the Cantor R' Aharon Ber of Berlin composed a different tune for singing Lecha Dodi for every Shabbat of the year! In Kahal Adat Yeshurun during the Three Weeks the tune of Lecha Dodi is changed at "Hitoreri" from minor to major - then back to the original minor tune again at "Bo'i B'shalom".
It is also interesting to note that it was primarily in the Polish and Galician Chassidic communities (Gur, Alexander, Belz, Tzanz, Modzitz) that Lecha Dodi was even sung at all, while in many Ukrainian and Russian Chassidic communities (Chernobyl, Kassov, Karlin, Lubavitch) it was just chanted without any special tune or harmony. In Kretchniff it was sung to the tune of Akdamut.
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Kuzari -Rabbi Ari Shvat Kuzari class 9 - "Seeing is Believing" (parag. 21-30)
These paragraphs elaborate on the theme that seeing and knowing is better than any attempt to prove logically, and begins explaining the difference between Israel and gentiles.
Ein Aya Various Universal Stages of the Geula Process
Rav Kook examines the various stages of redemption, explaining how (in addition to the obvious oft-mentioned stages of ingathering the exiles, reviving the Hebrew language, army, state etc.) the messianic dream of world prosperity, the State of Israel and world unity can and are realistically and logically gradually coming true.
Kuzari -Rabbi Ari Shvat Kuzari class 8- "Answering Questions on the Kuzari's Proof from Mass Revelation
How do we know that the "claim" of mass revelation to 2,000,000 witnesses at Mt. Sinai is really true? This important class answers all of the questions skeptics ask about this claim of the Kuzari.
Ein Aya Armies Still Necessary for Balance & the War Against Wars
Rav Kook explains why the world was originally divided into the various seemingly contradicting ideologies and cultures, in order to develop each one respectively. Swords or armies symbolize how each respective ideology defends themselves, as well as deters their opposing ideologies and cultures. On the other hand, the messianic era will be one of peace, and Rav Kook explains the transition to that stage, which mankind is already undergoing.
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Kuzari -Rabbi Ari Shvat Kuzari class 7 - Five Accumulative Proofs of G-d
As a preparation for the Kuzari's classic proof of G-d from the mass-revelation at Sinai, we start here with 5 other directions to strengthen our belief which also contribute to what the Kuzari will present as well.
Ein Aya Muscle & Meaning: The Dual Nature of Gevurah (Physical Strength)
Is physical strength and fitness a necessity or an ideal? Although it if often totally overlooked among topics of Judaism, Rav Kook writes that it clearly is also a necessity to deter the many enemies of Israel, but even in Y'mot HaMashiach, in the Messianic era, to a certain extent, it's ideal continues even after our enemies will have been finished off.
