Download E-books 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

By Jack Gottlieb

In "Funny, It Doesn't Sound Jewish", Jack Gottlieb chronicles how Jewish songwriters and composers reworked the preferred track of mid-twentieth-century the US. even if many critics, historians, and musicians have alluded to the Jewish impression on American well known music, this can be the 1st booklet ever to aid such assertions with finished musical examples. Drawing on quite a few ancient and archival resources, in addition to his personal reports as a composer of synagogue, well known, and live performance song, Gottlieb conscientiously and compellingly records how a minority tradition infused a majority tradition, enriched it, and nonetheless retained its personal identification

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Read or Download 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

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Raymond Walker, and “respectfully devoted to leave out Sophie Tucker,” later much less a pass over and extra a redhot Mama. 17 (see representation 18) There, hidden in the course of Ex. 7-31, is the outlet pressure of “Hatikvah. ” it's been musicologically authenticated that tunes equivalent to “Hatikvah” wan- the temper of modes dered just like the Jews everywhere Europe—from Bohemia’s Moldau, as immortalized through Bedrich Smetana in Má Vlast (My kingdom, 1874), to folks songs at the Iberian Peninsula. 18 it's not that Smetana encouraged the melody of “Hatikvah” (or vice versa), yet that an underlying melodic curve that was once pervasive and persuasive was once came upon to be irresistibly beautiful to many nationalities. The Jews have been relatively drawn to this musical magnet in a number of songs starting from the secular to the sacred:19 necessarily the pilgrim arrived on American beaches. Berlin rates from it within the introductory vamp to “Yiddle in your mess around. ” yet after the inventory industry crash of 1929, “Hope,” grew to become the emblem of melancholy while its first word used to be fleshed out with chromatic additions and its 4 bars have been doubled to 8: Isadore Hochberg, higher often called E. Y. Harburg, wrote the phrases to this tencent threnody, track via Jay Gorney, born in Bialystok,20 White Russia, 1896. In 1983 Mr. Gorney educated me that his mom sang phrases to the wistful melody of “Brother are you able to Spare a Dime? ” (a lullaby possibly? ); yet, lamentably, he couldn't bear in mind the phrases. 21 A Yiddish pastoral tune that comes from an analogous normal musical family members because the dime-song indicates what it may possibly were like: 137 138 humorous, it doesn’t sound jewish “Eli, Eli” (My God, My God) For all our Jewish acquaintances, in honor of the Passover vacation, this is “Hilly, Hilly. ” lawrence welk on his tv convey, Sixties up to now we now have witnessed the Americanization of “Khosn kale mazl tov” and “Hatikvah. ” yet they weren't the single kinder trying to find a garten. Adoption papers have been taken out for an additional drifter. Or, as expressed in a track lyric, “Ain’t you heard the most recent noise/Written by way of Jewish boys? ” the 2 boys in query have been songwriters Fred Fisher (M) and Billy Rose (W),22 and the “noise” used to be “Yiddisha Charleston,” which concludes: The latter word is fractured Aramaic and is derived from the simplest identified Yiddish tune of its day, “Eli, Eli” (various spellings). even supposing Yingish songs have been usually peppered with charges, this signature song was once not often parodied because it was once thought of to be sacred stuff, yet there are differing bills approximately its real origins. either credits Jacob Koppel Sandler as composer and Sophie Karp as performer. both it was once from playwright Moishe Halevi Hurwitz’s melodrama of 1896, Brochoch: The Jewish King of Poland, for which Sandler additionally wrote phrases, or it was once from Hurwitz’s operetta Rouchel (Rachel), with phrases via Boris Thomashefsky. within the first model, the heroine was once a martyr to be crucified for her religion whereas putting on a move, and within the moment she used to be to be stoned to death:23 the temper of modes the interpretation from the Yiddish keeps, “In hearth and flames they burned us/Everywhere they shamed and mocked us/But nobody may flip us clear of You.

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