Re: What Is Jewish Music?

[Robert Cohen <rlcm17...>]

Re Eliott's recent post (which I seem to have received only as history to 
Alex Lubet's, not in the original?):  The musicologist Curt Sachs famously 
(if inadequately) defined Jewish music as music composed by Jews for Jews to 
use in a Jewish way (i.e., for Jewish purposes).  The composer Herbert Fromm 
was almost surely quoting/paraphrasing this definition rather than coining 
it....BTW, I never heard of Alan Menken, but surely Eliott means that his 
music _reflects,_ not "betrays" (!--means the opposite) the qualities he 
adduces?  Sorry-the editor in me.  (Another quintessentially Jewish 
[critical/tikkunidik] vocation?)  Some very thoughtful and intriguing 
thoughts on this go-round on this topic to date, plus "cutting records and 
cutting stones"--should be a song lyric.


>From: "Alex Lubet" <lubet001 (at) maroon(dot)tc(dot)umn(dot)edu>
>Reply-To: jewish-music (at) shamash(dot)org
>To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
>Subject: Re: What Is Jewish Music?
>Date: Mon, 28 Jun 1999 11:33:50 -0500
>
>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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