Re: What Is Jewish Music?

[elkahn <elkahn...>]

It's Monday morning and I have to get to work, but I wanted to weigh in on
this stimulating discussion.

Herbert Fromm defined "Jewish music" as "music made by Jews for Jewish
purposes." I find this an excellent definition but, perhaps, sometimes it
can be stretched--just a bit.

RE: the over-representation of Jews in the Broadway musical: it's an
important item that's long overdue for discussion. THe growth and
flowering of
Tin Pan Alley, the BWY and Hollywood musical from the 1920's through the
1960's corresponded with the coming of age of so many extraordinarily 
gifted songwriters who were either Jewish immigrants (Irving Berlin,
Jule Styne), the sons of Jewish immigrants (George Gershwin, Harold Arlen)
or the grandsons of Jewish immigrants (Jerome Kern, Richard Rodgers).

If you look at the music of all the above songwriters, I believe you'll
find more Eastern European and Russian Jewish musical influences (scales,
rhythmns) in the composers closer to the immigration experience. THe
reasons are obvious; they heard this music in their homes, synagogues and
communities. (In I. Berlin it's inescapable.)

But is this "Jewish music?" It's not really an important question, as long
as their expression was an authentic one. Wolf said himself that
(especially during the twenties) there was a lot of anti-semitism, so how
can we condemn people who are trying to "fit in" in their host society by
subverting their obvious ethnic identities? If it's the difference between
working or not (My mother was fired from a Western Union job during the
thirties, after they found out she was Jewish), I wouldn't be too quick to
criticize anyone trying to figure out a way to work or become
successful--even if it meant "not advertising."

So was their expression an authentic one? I mean, were they just cowering
folks trying not to be identified as Jews and creating bland works for
"the bitch goddess Success." (See *marketing research, *"The Prince of
Egypt," *Barry Manilow, et al.)

Well, the record speaks for itself: the shows and songs created by these
Jewish immigrants and their offspring may be, perhaps, one of the Jewish
peoples' greatest contributions to twentieth century culture. (Many may
argue this point; go right ahead. But it strikes me that if Jazz is the
African-American's great musical contribution and Country Music the
Celtic-American's greatest contribution, that twentieth-century musical
theatre and Hollywood musicals (the Arthur Freed unit, the RKO
Astaire-Rodgers musicals) would certainly be the American Jews' greatest
contribution to twentieth century culture.)

BUT IS IT JEWISH MUSIC? I don't know. But there really is a genuine
lyricism and emotionalism in these songs that really gets me "in the
kishkes." Perhaps these are some of the greatest gifts we as a people have
to offer. Emotionalism, volubility, a genuine love of culture, and a
genuine passion for justice and "rachmones." 

Perhaps this music was so very successful with non-Jews as well because
that is something unique that we have to offer, and that they would love
to learn or take part in.

Finally, I've heard Alan Menken present his music live (at a BMI Workshop)
and the music, his playing and singing all betray the above qualities I've
discussed. He's really a fabulous songwriter and a super musician; Don't
let the dancing tea cups fool you.

Entschuld, nun muss Ich arbeiten.

Eliott Kahn


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