• Home
  • Judaism
  • Funny, It Doesn't Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood (SUNY series in Modern Jewish Literature and Culture)

Funny, It Doesn't Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood (SUNY series in Modern Jewish Literature and Culture)

By Jack Gottlieb

In "Funny, It Doesn't Sound Jewish", Jack Gottlieb chronicles how Jewish songwriters and composers remodeled the preferred track of mid-twentieth-century the USA. even if many critics, historians, and musicians have alluded to the Jewish impact on American renowned track, this is often the 1st booklet ever to help such assertions with complete musical examples. Drawing on various historic and archival resources, in addition to his personal studies as a composer of synagogue, well known, and live performance track, Gottlieb conscientiously and compellingly records how a minority tradition infused a majority tradition, enriched it, and nonetheless retained its personal identification

Show description

Quick preview of Funny, It Doesn't Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood (SUNY series in Modern Jewish Literature and Culture) PDF

Show sample text content

Eric Werner, The Sacred Bridge, p. 437. 19. Israel J. Katz, “Eric Werner, A Bibliography,” Musica Judaica 10 (19871988):1-36. 20. Idelsohn, HOM (1973), combines the 10 volumes into 4 with multiplied types in English of vols. I, II, and VI-X. In 1999, Tara guides (www. jewishmusic. com) reprinted vols. VIII-X into one quantity. Vols. III, IV, and V are within the unique German (Leipzig) or in Hebrew translation (Jerusalem). 21. The Moors of northwest Africa, Mauritania, are descendants of Berbers and Arabs.

It isn't transparent what the particular ultimate damages have been a result of litigation; yet so as to add insult to harm, in 1975 The Chiffons recorded Harrison’s music to which he rejoined, twelve months later, via writing “This Song,” with lyrics akin to “This music . . . don’t infringe on anyone’s copyright” and “This music has not anything vibrant [i. e. , the suing writer] approximately it. ” In different circumstances, the variety of notes shared in universal used to be now not the culpable issue. The Milanese publishing residence of G. Ricordi used to be provided $25,000 in damages on a declare that the minor key of the aria “E lucevan le stelle” (from Giacomo xvii xviii humorous, it doesn’t sound jewish Puccini’s opera Tosca, 1900) was once pilfered by means of conversion right into a significant tonality of the pop track “Avalon” (by Vincent Rose and Al Jolson, 1920).

B. 1878)—who in 1893 had organize store as M. Witmark & Sons on West twenty eighth highway; yet with their large hit of 1903, “Sweet Adeline,” had moved uptown to thirty seventh road. (2) Leopold Feist (1869-1930)—originally of Feist & Frankenthaler, based in 1897—who coined the slogan “You can’t get it wrong with a Feist music” whilst Feist went into enterprise for himself. He had all started his revenues profession with the W. and B. Corset Co. , and went into song publishing simply because he considered that as extra of a “growth undefined. ” (3) Charles Kassel Harris (1867-1930), from Milwaukee, opened a brand new York department at 29 West twenty eighth highway and in 1892 turned the 1st individual to advertise the exceptional sale of 5 million copies of only one track, his “After the Ball.

Burton Lane on the April 1988, long island Sheet track Society assembly. three. try out Rodgers and Hart’s “Johnny One notice” for a similar series. four. Victor younger did checklist an album of 4 Horah Dances as prepared via Leonard Bernstein, Darius Milhaud, David Diamond, and Ernst Toch. as well as gold-plated motion picture hits, he wrote novelties equivalent to “She Wasn’t only a Tartar’s Daughter. ” five. Milton Berle with Haskel Franklin, Milton Berle: An Autobiography, p. 149. 6. The Talmud is a compendium of Jewish legislation, folklore, and ethics.

Jerome Kern was once an idol of either Richard Rodgers and George Gershwin; yet there has been a global of distinction in how these geniuses displayed their admiration. Rodgers, whose paternal grandparents have been Russian (the identify both used to be Rodzinski or Rogozinsky38), persevered to put on the white-collar mantle of Kern, whereas Gershwin, together with his thoroughbred Russian mom and dad, refitted it with a blue collar. not like Rodgers, Gershwin used to be a first-generation American Jew. what's extra, Kern and Rodgers didn't put on their Jewishness as with ease as did Gershwin.

Download PDF sample

Rated 4.80 of 5 – based on 8 votes