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Yiddish Diction in Singing
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Yiddish Diction in Singing Carrie Suzanne Schuster-Wachsberger University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Language Description and Documentation Commons, Music Commons, Other Languages, Societies, and Cultures Commons, and the Theatre and Performance Studies Commons Repository Citation Schuster-Wachsberger, Carrie Suzanne, "Yiddish Diction in Singing" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2733. http://dx.doi.org/10.34917/9112178 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. YIDDISH DICTION IN SINGING By Carrie Schuster-Wachsberger Bachelor of Music in Vocal Performance Syracuse University 2010 Master of Music in Vocal Performance Western Michigan University 2012 -
DCO Programme 100822
this version failed to gain popularity. The lyrics were translated again in the mid-1950s by Arthur Kevess and Teddi Schwartz, and the song became well known with their text. It became especially popular after being recorded by Joan Baez in 1960, Donovan in 1965 and Patty Duke in 1968. Dana Dana has been translated into and recorded in many other languages including German, French, Japanese, Hebrew, and Russian. Teddy Bears’ Picnic “Teddy Bears' Picnic” is a song consisting of a melody composed by John Walter Bratton in 1907 and lyrics added by Irish songwriter Jimmy Kennedy in 1932. It remains popular as a children’s song, having been recorded by numerous artists over the decades. An early recording (probably the first) was made by the Black Diamond Band for Zonophone records in 1908, while the first vocal version was recorded in 1932 by Henry Hall and His Orchestra with Val Rosing singing Kennedy's lyrics. The Hall rendition was featured in the Dennis Potter drama ‘The Singing Detective’. Up until the early 1960s, the same recording was used for more than 30 years by BBC audio engineers to test and calibrate audio equipment. Its especially good recording quality and the large tonal range of the music made it ideal for checking the frequency response of audio equipment. BBC Engineering even had special vinyl pressings made to reduce any surface noise. Today's arrangement for 4 bassoons nicely captures the sense of fun and perky exuberance of the piece and, I'm sure, will transport many of us back to our childhood. -
(Aktuell) Laden
Jewish Popular Music Joel E. Rubin Most scholars agree that there is no such thing as “Jewish music”, but rather there are numerous Jewish musical traditions that have developed in a diasporic setting over many centuries and a wide geographic range. This article will focus predominantly on music that has been created outside of Israel and is perceived to be Jewish by its creators and/or consumers, whether or not they are Jews. The question as to whether music created in the modern nation-state of Israel should be considered Israeli or Jewish, or both, is complex and will only be briefly discussed. Many popular Jewish performers sing in both Jewish and non-Jewish languages, dialects and styles, and service a multilingual and multi-religious public. Thus the line between “Jewish” and “mainstream” popular music can be fine. Genres of Jewish popular music have emerged that are predominantly secular as well as those that are religious, and they include music created by Ashkenazim (originally Central and East European Jews), Sephardim (originally Jews from the Iberian Peninsula), Mizrahim (originally Jewish from the Arabic-speaking lands) and other, smaller groups (e.g. Jews of Central Asia, Caucasus, India). Jewish musical traditions are often performed in settings not normally associated with popular music – the synagogue, and at weddings and family and holiday gatherings – yet aspects of popular musical culture are present in many of these traditions. Because of Jewish migration patterns in the wake of the upheavals of the twentieth century, it is common to find large communities living in a double diaspora, such as Bukharian Jews in Queens, New York or Syrian Jews in Brooklyn, New York. -
Allan Friedman, Artistic Director • Deborah Coclanis, Accompanist Women’S Voices Chorus Shirei Zion – Songs of Zion Saturday, January 31, 2009, 7:30 P.M
Allan Friedman, Artistic Director • Deborah Coclanis, Accompanist Women’s Voices Chorus Shirei Zion – Songs of Zion Saturday, January 31, 2009, 7:30 p.m. Duke Chapel Durham, North Carolina Allan Friedman, Artistic Director Please turn off your pagers, cell phones, and watch alarms ~Program~ Zion’s Walls Traditional Revivalist Song Aaron Copland (1900-1990) Peace Upon You, Jerusalem Arvo Pärt (b. 1935) Virginia Byers Kraus, Jo Edgley, sopranos Artsa Alinu Israeli Pioneer Song Chamber Choir Arr. Nina Gilbert Five Hebrew Love Songs Eric Whitacre (b. 1970) Ensemble Pro Cantores I. Temuná – A picture II. Kalá kallá – Light bride III. Laróv – Mostly Chamber Choir IV. Éyze shéleg! – What snow! Lisa Braden, speaking solo; Val Huysentruyt, soprano V. Rakút – Tenderness What You Are Caroline Mallonée (b. 1975) Ensemble Pro Cantores I. The Dress Sextet: Laura Delauney, Mari Yohe, Lisa DiMaria, Jennie Vaughn, Jen Byrnes, Linda Metz II. Snowfall Ashley Oskardmay, Carli Webb, sopranos III. Lines for Winter 2 ~15 minute Intermission~ (Restrooms are located in the Divinity School and Page Auditorium. Ask ushers for directions.) Hal’luhu Benjie Ellen Schiller (b. 1958) Rebecca Knickmeyer, Soprano; Aidan Stallworth, percussion; David Muñoz, guitar Vus Vet Zayn Traditional Yiddish Folksong Arr. Stephen Hatfield (b. 1956) Chamber Choir Papir Iz Doch Vais Traditional Yiddish Folksong Arr. Allan Friedman (b. 1976) Mary Hoover, Joan Troy Ontjes, sopranos Ba Mir Bistu Sheyn Sholom Secunda Arr. Joshua Jacobson (b. 1948) Allison Mangin, mezzo-soprano; Shipra Patel, soprano; Janet Huebner, alto Jordan Hutchinson, clarinet Eshet Khayil Mordecai Seter (1916-1994) Chamber Choir; Val Huysentruyt, soprano; Rhonda Matteson, alto Nigra Sum Pablo Casals (1876-1973) Miriam Liz Swados (b. -
Summer Stock Finale—Now with More Uptown
Newsroom - Milken Archive of Jewish Music - Summer Stock Finale—Now with More Uptown The Archive Newsroom About Us Resources Milken Archive > Newsroom > Summer Stock Finale—Now with More Uptown July 16, 2014 Summer Stock Finale—Now with More Uptown While Second Avenue was a tenement haven for Jewish immigrants and the Catskills replaced the dachas of the old world, for many artists of Yiddish theater it was still the “uptown” allure of Broadway and Carnegie Hall that were the pinnacle of their American dream. In our “finale” installment of the Summer Stock streaming series, we spotlight Joseph Rumshinsky, the last of the Big Four composers. While the other three were content to entertain their core audience and occasionally cross over to the “uptown” world, Rumshinsky wanted to take all of Yiddish theater along. Rumshinsky wasn’t alone in his quest. In fact, he was so closely associated with Molly Picon and her husband Jacob Kalich, that they were known as The Three Musketeers of the East Side. Whether Rumshinsky, his colleagues and successors brought Second Avenue to the mainstream or the mainstream down to Second Avenue might be fodder for dissertations, but their lasting impact on theater, music and film is undeniable. Join us for one last session in the Catskills to learn more about Rumshinsky, stream some of his beautiful, ambitious songs (one of which Picon wrote the lyrics for) and watch Cantor Benzion Miller sing Rumshinsky and Tomashefsky’s version of Sh’ma Yisro’el. And if you missed any of the installments on Abraham Ellstein, Sholom Secunda, or Alexander Olshanetsky, you’ll find links for those, too. -
Class Presentation
UNIT 3 DI YIDDISHE AMERIKE: YIDDISH AS A REFLECTION OF THE AMERICAN JEWISH EXPERIENCE A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC Who in your family history immigrated to the United States, when, and from where? Why did they choose to leave their homeland and come to the U.S.? UNIT 3: DI YIDDISHE AMERIKE 2 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 3 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS “For happily the government of the United States, which gives to bigotr y no sanction, to persecution no assistance, requires only that they who live under its protection should demean themselves as good citizens…” George Washington, Letter to Moses Seixas, August 17, 1790 UNIT 3: DI YIDDISHE AMERIKE 4 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 5 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 6 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 7 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 8 TIMELINE OF AMERICAN JEWISH HISTORY: LIBRARY OF CONGRESS UNIT 3: DI YIDDISHE AMERIKE 9 IRVING BERLIN (ISRAEL BEILIN) • Born May 23, 1888 in Tolochin, Vitebsk Governorate, Russian Empire (presumed) • Died September 2 2, 1989 in New York City • Immigrated to U.S. in 1893, age 5 "Ir ving Berlin has no place in American music—he is American music." (zamir.org) Jerome Kern, composer UNIT 3: DI YIDDISHE AMERIKE 10 “JAKE , JAKE THE YIDDISHER BALL PL AYER” (1913) UNIT 3: DI YIDDISHE AMERIKE 11 ALBERT VON TIL ZER • Born Albert Gumm, March 29, 1878 in Indianapolis, IN • Died on October 1, 1956 in Los Angeles • Top Tin Pan Alley tune writer and composer for films in the 1920's and 30's. -
PROGRAM BOOK November/December 2020 Thank You for All Your Support and Patience During This Unusual Season
fwsoFort Worth Symphony Orchestra Stanislav Chernyshev, Principal Clarinet & Guest Conductor Nicole Paiement Nov 13–15 at Will Rogers Memorial Auditorium PROGRAM BOOK November/December 2020 Thank you for all your support and patience during this unusual season. May the gift of live music brighten your holidays and throughout the new year! Happy Holidays! Fort Worth Symphony Orchestra Life is Better with Music! CONTENTS FWSO STAFF EXECUTIVE OFFICE Keith Cerny, Ph.D., President and CEO 2 Letter from the Chairman Diane Bush, Executive Assistant and Board Secretary 3 Letter from the President & CEO 4 About Robert Spano ARTISTIC OPERATIONS 5 Fort Worth Symphony Orchestra Roster Becky Tobin Vice President of Artistic Operations and COO 6 Program 1 :: November 13–15, 2020 Douglas Adams Orchestra Librarian James Andrewes Assistant Librarian Artist Profile: Kelly Ott Artistic Manager Nicole Paiement Victoria Paarup Artistic Operations and Orchestra Stanislav Chernyshev Personnel Assistant Manager 13 Program 2 :: November 27–29, 2020 Jacob Pope Production Manager Artist Profile: Lisa Stallings Director of Operations Stuart Chafetz Brenda Tullos Orchestra Personnel Manager Taylor Vogel Director of Education and Community Programs Mela Sarajane Dailey 18 Program 3 :: December 31, 2020 DEVELOPMENT Artist Profile: Julie Baker Vice President of Development William Waldrop Kara Allan Endowment Campaign Manager Madison Claire Parks Mary Byrd Development Coordinator Shayna Steele Tyler Murphy Gifts Officer Jonathan Neumann Director of Special Events Bronson -
An Evening of Jewish and Israeli Jazz
The Zamir Chorale of Boston Joshua Jacobson, Artistic Director Jazzamir An Evening of Jewish and Israeli Jazz Sunday, June 6, 2010 Sanders Theatre, Cambridge Program I Got Rhythm (from Girl Crazy) George Gershwin (arr. C. Clapham) Deborah Melkin, solo Summertime (from Porgy and Bess) George Gershwin Susan Rubin, solo There’s a Boat (from Porgy and Bess) George Gershwin (arr. R. Solomon) Peter Bronk, Lawrence E. Sandberg, Sarah Boling, Anne Levy, soli Yiddisha Charleston Fred Fisher (arr. A. Bailey & J. Jacobson) Ba Mir Bistu Sheyn Sholom Secunda (arr. A. Bailey & J. Jacobson) Susan Rubin, Deborah Melkin, Deborah West, trio And the Angels Sing Ziggy Elman (arr. A. Bailey & J. Jacobson) Oy Mame, Bin Ikh Farlibt Abe Ellstein (arr. J. Jacobson) Lidiya Yankovskaya, solo Adon Olam (from And David Danced before the Lord) Charles Davidson Susan Rubin, solo Kiddush Kurt Weill Hal Katzman, solo Shout unto the Lord (from Gates of Justice) Dave Brubeck Ron Williams, baritone, guest soloist; David Burns, tenor solo Shir Ahavah Jef Labes Susan Rubin, solo Niga El Ha-Khalom Shalom Hanoch (arr. Tz. Sherf) Anne Levy, solo Venezuela Moshe Wilensky (arr. A. Bailey & J. Jacobson) Richard Lustig, solo Kafe Bekef Ben Oakland (arr. Tz. Sherf) Elana Rome, solo Dem Dry Bones trad. (arr. L. Gearhart) The Zami r Chorale of Boston Soprano Elise Barber • Betty Bauman • Sharon Goldstein • Marilyn J. Jaye Anne Levy • Elana Rome • Susan Rubin • Sharon Shore • Louise Treitman Heather Viola • Deborah West • Lidiya Yankovskaya Alto Sarah Boling • Susan Carp-Nesson • Johanna Ehrmann • Hinda Eisen Alison Fields • Silvia Golijov • Deborah Melkin • Rachel Miller • Jill Sandberg Nancy Sargon-Zarsky • Phyllis Werlin • Phyllis Sogg Wilner Tenor David Burns • Steven Ebstein • Ethan Goldberg • Suzanne Goldman Hal Katzman • Daniel Nesson • Leila Joy Rosenthal • Lawrence E. -
2018/19 Season
INDECENT 2018/19 SEASON SAVE UP TO 60% INDECENT WHEN YOU PURCHASE A MINI SUBSCRIPTION TABLE OF CONTENTS Gold Standard Musical ANYTHING GOES 5 Artistically Speaking NOW PLAYING THROUGH DECEMBER 23 7 From the Executive Producer Timeless Masterpiece 8 An Open Letter from Sholem Asch INDECENT 11 Title Page NOW PLAYING THROUGH DECEMBER 30 13 Setting / Cast / Music Acknowledgements Fearless Political Journey 15 For this Production KLEPTOCRACY ARENA STAGE 1101 Sixth Street SW JANUARY 18 – FEBRUARY 24, 2019 16 Bios — Cast Washington, DC 20024-2461 ADMINISTRATION 202-554-9066 Portrait of Courage SALES OFFICE 202-488-3300 18 Bios — Creative Team TTY 202-484-0247 THE HEIRESS arenastage.org 23 Arena Stage Leadership © 2018 Arena Stage. FEBRUARY 8 – MARCH 10, 2019 All editorial and advertising material is fully protected and must not be World-Premiere Power Play 24 Board of Trustees / Theatre Forward reproduced in any manner without written permission. JQA 25 Full Circle Society Indecent Program Book MARCH 1 – APRIL 14, 2019 Published November 23, 2018 26 Thank You — The Annual Fund Cover Illustration by Raul Colon Wall Street Drama program book staff 29 Thank You — Institutional Donors Renée M. Littleton, JUNK Senior Director of Marketing and Communications APRIL 5 – MAY 5, 2019 30 Theater Staff Kate Thompson, Publications Coordinator Inspirational A Cappella Tribute Shawn Helm, JUBILEE Senior Graphic Designer APRIL 26 – JUNE 2, 2019 Arena Stage is built on the land of the Piscataway people Photo of Corbin Bleu in Anything Goes by Maria Baranova. of the Algonquin-speaking tribes, as well as the lands of the Native American people of the greater Anacostia, Potomac and Tidewater regions. -
Cover Art Yiddish Theatre V3 a MESSAGE from the MILKEN ARCHIVE FOUNDER
Cover Art Yiddish Theatre V3 A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. -
American Jewish Cultu|E
IN SEARCH OF AMERICAN JEWISH CULTU|E IN SEARCH OF AMERICAN JEWISH CULTU|E STEPHEN J. WHITFIELD Brandeis University Press published by university press of new england hanover and london Brandeis University Press Published by University Press of New England, Hanover, NH 03755 © 1999 by Brandeis University Press All rights reserved Printed in the United States of America 54321 CIP data appear at the end of the book A portion of the chapter “Shoah” is from Studies in Contemporary Jewry, Volume VIII, A New Jewry? America since the Second World War, edited by Peter Y. Medding. Copyright © 1992 by Oxford University Press, Inc. Used by permission of Oxford University Press, Inc. Brandeis Series in American Jewish History, Culture, and Life jonathan d. sarna, Editor sylvia barrack fishman, Associate Editor Leon A. Jick, 1992 The Americanization of the Synagogue, 1820–1870 Sylvia Barrack Fishman, editor, 1992 Follow My Footprints: Changing Images of Women in American Jewish Fiction Gerald Tulchinsky, 1993 Taking Root: The Origins of the Canadian Jewish Community Shalom Goldman, editor, 1993 Hebrew and the Bible in America: The First Two Centuries Marshal Sklare, 1993 Observing America’s Jews Reena Sigman Friedman, 1994 These Are Our Children: Jewish Orphanages in the United States, 1880–1925 Alan Silverstein, 1994 Alternatives to Assimilation: The Response of Reform Judaism to American Culture, 1840–1930 Jack Wertheimer, editor, 1995 The American Synagogue: A Sanctuary Transformed Sylvia Barack Fishman, 1995 A Breath of Life: Feminism in the American Jewish Community Diane Matza, editor, 1996 Sephardic-American Voices: Two Hundred Years of a Literary Legacy Joyce Antler, editor, 1997 Talking Back: Images of Jewish Women in American Popular Culture Jack Wertheimer, 1997 A People Divided: Judaism in Contemporary America Beth S. -
Chasing Yiddishkayt: a Concerto in the Context of Klezmer Music
CHASING YIDDISHKAYT: A CONCERTO IN THE CONTEXT OF KLEZMER MUSIC A Monograph Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts By Julia Alford-Fowler May, 2013 Committee Members: Dr. Matthew Greenbaum, Department of Music Studies, Advisor Dr. Rollo Dilworth, Department of Education Dr. Cynthia Folio, Department of Music Studies Dr. Maurice Wright, Department of Music Studies Dr. Steven Zohn, Department of Music Studies, Outside Reader © by Julia Alford-Fowler 2013 All Rights Reserved ii ABSTRACT Chasing Yiddishkayt: Music for Accordion, Klezmorim Concertino, Strings, and Percussion is a four-movement composition that combines the idioms of klezmer music with aspects of serialism. I aimed to infuse the piece with a sense of yiddishkayt: a recognizable, rooted Jewishness. In order to accomplish this goal, I based each movement on a different klezmer style. I used the improvisatory-style of the Romanian Jewish doina as the foundation for Movement 1. For Movements 2 through 4 I selected tunes from the 1927 Hoffman Manuscript–a fake-book assembled by Joseph Hoffman in Philadelphia for his son, Morris–as the starting point in my process, and also for the generation of pitch material. Each movement places the tunes in a different serialist context through the use of abstraction, manipulation and regeneration. The orchestration of the composition is designed as a modified a concerto structure that alternates between featuring the accordion and contrasting the klezmorim concertino (fiddle, clarinet, trumpet, trombone, tuba, and accordion) with the orchestra. Depending on the context, the percussion section functions as part of the concertino and the orchestra.