Re: What Is Jewish Music?

[Alex Lubet <lubet001...>]

Responding to the message of 
<Pine(dot)PMDF(dot)3(dot)96(dot)990628095049(dot)539082850B-100000 (at) 
JTSA(dot)EDU>
from jewish-music (at) shamash(dot)org:

Well said.  (I wish I'd said it!)  Bravo!
> 
> 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
> 
> 
> 


Alex Lubet, Ph. D.
Morse Alumni Distinguished Teaching Professor of Music
Adjunct Professor of American Studies
University of Minnesota
100 Ferguson Hall
Minneapolis, MN 55455
612 624-7840 (o)
612 699-1097 (h)
612 626-2200  ATTN:  Alex Lubet (FAX)

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