Relevant bibliographies by topics / Children's songs, Jewish (Yiddish)

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Academic literature on the topic 'Children's songs, Jewish (Yiddish)'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Children's songs, Jewish (Yiddish)"

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Rothstein, Robert A. "How It Was Sung in Odessa: At the Intersection of Russian and Yiddish Folk Culture." Slavic Review 60, no. 4 (2001): 781–801. http://dx.doi.org/10.2307/2697495.

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Odessa has played a significant role in Russian and Yiddish folklore and popular culture. Although the city has changed with the times, the Odessa variant of the Russian language and the Russian and Yiddish songs created in and about Odessa are the lasting product of a unique brand of multiculturalism. The Russian of Odessa shows die influence of Yiddish and Ukrainian in grammar, lexicon, and phraseology, and Odessa folk humor reflects Jewish sensibilities. Odessa Yiddish is permeated with Russianisms. The repertoire of Russian and Yiddish songs about Odessa reveals the mixed character of die respective languages. The songs portray a unique city: one tfiat is more impressive than Vienna or Paris; one that embodies progress and the carefree life but is also dangerous. These songs deal with various aspects of the Jewish experience but also with the life of the underworld, employing the stylistic conventions of the so-called blatnaia pesnia.
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Lukin, Michael. "The Ballad in Eastern European Jewish Folklore: Origins, Poetics, Music." Judaic-Slavic Journal, no. 1 (3) (2020): 191–228. http://dx.doi.org/10.31168/2658-3364.2020.1.10.

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Analysis of the poetics and music of Yiddish folk ballads reveals that the Ashkenazi Jews of Eastern Europe did not preserve German songs,widely popular among them up to the beginning of their gradual migration to the east, but instead developed a ballad repertoire of their own.The group of songs, designated as “medieval” by Sophia Magid, the author of a monumental study on the Yiddish ballad, includes both old ballads and those borrowed from the Germans towards the end of the 18th century and later. While the borrowed songs carried a similarity to the German originals as shown in their melodic contours, vocabulary, and plots, the old Yiddish ballads, though generally echoing both Slavic and Western European balladry, differed significantly. The article attempts to identify and characterize this older layer. It apparently first came into being in Central and Eastern Europe in the 15th 16th centuries and continued to develop until the new“urban” ballad emerged in the mid 1800s.The poetics and music of the Yiddish ballad reflect the genre’s hallmark – ballad-singing as a form of communication – which distinguished it from the Yiddish lyric song, performed “for oneself”. The ballad melodies lack melismatic embellishments and dramatic shifts; their tempo is usually moderate; some of them frequently feature the “Ionic minor” rhythmic pattern; many others resemble Klezmer dance music. These features reflect Yiddish ballad aesthetics: music is an ostensibly neutral frame for revealing a narrative that evokes emotions without referring to them directly.Two features of the international ballad canon – readiness to draw material from diverse sources, and a focus on the collective emotional response to key moments of everyday life–stimulated the formation of the indigenous Yiddish tradition. Its character also reflected the remoteness of Eastern Ashkenazi folk culture from rural Slavic folklore, and the lack of a permanent social function of balladsinging in the Ashkenazi tradition.
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Skura, Susana, and Lucas Fiszman. "From shiln to shpiln in Max Perlman’s Songs: Linguistic and Socio-cultural Change among Ashkenazi Jews in Argentina." Journal of Jewish Languages 4, no. 2 (August 16, 2016): 231–51. http://dx.doi.org/10.1163/22134638-12340072.

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This article analyzes the stylistic and linguistic resources used in three songs of musician Max Perlman, written in Argentina in the 20th century. The main focus is code mixing: Yiddish, Castidish, Spanish, and Argentine slang. A close examination of these pieces led to several findings: the use of linguistic and discursive elements like rhyme, mixing language, Jewish traditional names, and references to Jewish life in the local milieu, are facts that can be understood as a continuity of a tradition of artistic production influenced by Yiddish’s contact with other contextual languages. Perlman’s language shift and references to cultural activities emphasize moral criticism about aspects of the daily life of middle and lower class Jews in Buenos Aires in that moment of transition. The incorporation of Spanish into an immigrant’s Yiddish repertoire demonstrates multilingual language competences that were an important resource for his audience’s empowerment within and outside Yiddish theater.
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Isaacs, Miriam. "Rachmiel Peltz, From immigrant to ethnic culture: American Yiddish in South Philadelphia. Stanford, CA: Stanford University Press, 1998. Pp. xix, 263. Hb $49.50, pb $18.95." Language in Society 29, no. 1 (January 2000): 147–50. http://dx.doi.org/10.1017/s0047404500311034.

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South Philadelphia can be added to the littered landscape of Jewish geography, in which Chelm, Belz, Odessa, Boiberik, and Brownsville are terrain abandoned by Jews. They are romanticized in folk songs, but they make poor real estate investments. Similarly, Yiddish cultural life may be seen as a landscape of outmoded lifeways. The Yiddish language and its dialects have been cast off, but at the same time they remain cherished in memory. Peltz's ethnography explores Yiddish as it survives among what is left of a Yiddish-speaking community in Philadelphia. The story of Yiddish is one of powerlessness; Peltz takes us to the seemingly marginal Jews, the yidelekh – working-class, elderly women and men who are marginalized as a function of their old age, their accents, and their lack of higher education.
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Verschik, Anna. "Pent Nurmekund as the translator of Yiddish folksongs into Estonian." Nordisk Judaistik/Scandinavian Jewish Studies 15, no. 1-2 (September 1, 1994): 94–99. http://dx.doi.org/10.30752/nj.69512.

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One can often hear the question: are there any Jews in Estonia at all? And if there are, is there any reason to speak about Estonian Jewry in the sense we speak about Polish, Lithuanian, Galatian Jewry? Indeed, Estonia has never been a “traditional” land of Jews: during the Russian rule it did not belong to the so-called pale of settlement. Estonia never met with the “Jewish question”, there was no ground either for everyday or for official antisemitism. The Department of Jewish studies in the University of Tartu was the first one of its kind in the Nordic countries. At that time it was not unusual that an Estonian understood some Yiddish, there are also examples of the students who studied seriously the language and the culture of Jews. Pent Nurmekund, a famous polyglot was one of them. Nurmekund had learned a number of Yiddish folksongs and later translated some of them into Estonian. The two songs we are going to speak about are “Toibn” and “Main fraint”. Nurmekund performed both a Yiddish and an Estonian version of the first song. Main fraint was recorded only in Yiddish, the Estonian translation was published in the literary periodical Looming.
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Grishchenko, Alexander I. "The Church Slavonic Song of Songs Translated from a Jewish Source in the Ruthenian Codex from the 1550s (RSL Mus. 8222)." Scrinium 15, no. 1 (July 23, 2019): 111–31. http://dx.doi.org/10.1163/18177565-00151p08.

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Abstract This paper presents the new and actually the first diplomatic publication of the unique 16th-century copy of the Church Slavonic Song of Songs translated from a Jewish original, most likely not the proper Masoretic Text but apparently its Old Yiddish translation. This Slavonic translation is extremely important for Judaic-Slavic relations in the context of literature and language contacts between Jews and Slavs in medieval Slavia Orthodoxa.
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Muszkalska, Bożena. "Kolberg and Jewish Music." Musicology Today 11, no. 1 (December 1, 2014): 23–30. http://dx.doi.org/10.2478/muso-2014-0010.

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Abstract The world of the Jews must have attracted Kolberg, who as an educated member of the intelligentsia must have been conscious of what was happening in Judaism in his times. The nineteenth century was indeed a time of the flourishing Hasidism, the travelling hazanim, the development of the Jewish Enlightenment movement (the Haskalah), a great numbers of Jewish Tanzhaus openings. Jewish themes also appear in almost every volume of Kolberg’s Complete Works. However, Jews only formed the backdrop for the events taking place among Poles. Only in the case of a few records left by Kolberg can we surmise that the musical performers were themselves Jewish. This is most likely true of five songs with texts in the Yiddish language. More melodies set down in writing from the Jews or from the repertoire taken over by Polish musicians are probably to be found among the pieces without verbal text or referred to by Kolberg as ‘dances’. It is unknown whether Jewish musicians played Jewish melodies for Kolberg, but we cannot exclude the possibility of their performances constituting a basis for some transcriptions of pieces that were not marked as Jewish.
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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.

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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying profession of badkhones (wedding orator) displayed both the fusion of the religious and secular in Jewish life, and a continuing tension between secular and religious allusions, moods, and techniques. The “Jewishness” in musical style – especially in instrumental klezmer music but also in Hasidic niggunim and to some extent in Yiddish song – grew by a process of cultural differentiation.This process involved both the preservation and development of ancient features, and the reinterpretation of borrowed musical material to suit principles alien to the original source.This chapter briefly characterizes the system of repertoires and genres of the East European Jews, beginning with the music of prayer, through the various paraliturgical songs, to the music of Hasidism, and the many sub-genres of religious, secular and professional song in the Yiddish language. The chapter concludes with a presentation of the two established musical professionals in traditional East European Jewish life – the khazn (cantor) and the klezmer.
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Pollack, Howard, and Jack Gottlieb. "Funny, It Doesn't Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood." American Music 24, no. 3 (October 1, 2006): 364. http://dx.doi.org/10.2307/25046037.

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Verschik, Anna. "Yiddish–Slavic language contact in multilingual songs: Describing deliberate code-switching." International Journal of Bilingualism, August 12, 2021, 136700692110369. http://dx.doi.org/10.1177/13670069211036931.

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Aims and objectives/purposes/research questions: The aim of the article is to describe what language contact phenomena are present. The research questions are as follows: (a) what types of code-switching (CS) are at work; (b) is there any preference for any particular type of CS; and (c) what Jewish (seemingly) monolingual songs in Slavic languages can tell us about contact varieties of Slavic used by Jews. Design/methodology/approach: Collecting texts of Yiddish–Slavic and Jewish folk songs in Slavic languages; and qualitative analysis of CS and structural change. Data and analysis: Sixty-two Slavic–Yiddish texts were chosen from Jewish songs’ collections and CS instances analysed. Findings/conclusions: Both insertions and alternations are present but alternations are preferred. There is an asymmetry between Yiddish insertions into Slavic (nouns) and Slavic insertions into Yiddish (all parts of speech). Alternations may be just renditions of the same meaning in another language but most often they play the same role as in naturalistic speech described in the literature on multilingual communication (change of topic, addressee, etc.). Originality: Previous research on multilingual Jewish songs concentrated on the choice of languages and interpretation of the symbolic role that each language plays but not structural analysis of multilingual texts. Significance/implications: Now that some tendencies are identified, it remains to be seen whether naturalistic Yiddish–Slavic speech exhibits the same patterns of CS.
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Dissertations / Theses on the topic "Children's songs, Jewish (Yiddish)"

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Belk, Samuel Bynem. ""A memória e a história do 'Shteitl'na canção popular judaica"." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-23122004-143731/.

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RESUMO Neste trabalho procurei retratar resumidamente a diáspora judaica, desde a destruição do Segundo Templo até a expulsão dos judeus da Europa cristã, culminando com o seu refúgio no leste europeu, especialmente na Polônia e Lituânia. Estes dois reinos, que foram unificados em 1569, passaram para o total domínio russo em 1815. Nesta ocasião os judeus ficaram sujeitos aos novos mandatários e foram confinados no assim chamado Distrito de Residência, em algumas cidades e em aldeias denominadas de shteitlach, na Europa Oriental. Em seguida, apresentei a biografia de alguns poetas populares que viveram nessa região onde houve um enorme desenvolvimento cultural e literário da língua ídiche. (século XIX e começo do século XX). Eles foram especialmente escolhidos por seus trabalhos, que resultaram em canções populares, as quais se espalharam pelo mundo judaico, levando as mensagens do judeu dos shteilach da Europa Oriental do seu modo de vida, de sua religiosidade, seus dramas, as perseguições sofridas e também suas alegrias e suas esperanças. Seguem-se quarenta e sete canções transliteradas e traduzidas para o português, bem como algumas delas devidamente comentadas. Depois, sete canções são analisadas com base na lingüística e semiótica, revelando fatos históricos do povo judeu. O capítulo 4, “O fim do shteitl e as canções do gueto”, com sete canções, retrata o inferno vivido pelos judeus europeus durante a Segunda Guerra Mundial, que se encerra com o bárbaro assassinato de seis milhões de judeus pelos nazistas, marcando quase que em definitivo, o final da literatura poética em língua ídiche. Por fim, uma vasta bibliografia, os créditos relativos às ilustrações utilizadas, bem como um glossário, para melhor entendimento do texto. São apresentados também dois anexos: no Anexo A, um catálogo de seissentas músicas judaicas e, no Anexo B, um livreto com doze músicas, na lingua original,transliteradas e traduzidas para o português, alem das partituras e um CD com as respectivas canções.
ABSTRACT I tried to portray, concisely, the Jewish Diaspora from the destruction of the Second Temple till the expulsion of the Jews from Christian Europe, that obliged then to be refuge in the western Europe specially in Poland and Lithuania. Both Kingdoms were unified in 1569 and after annexed to the Russian Empire in 1815 that forcing the Jews to live in Pales and inside villages called shteitlach, in Oriental Europe. In the sequence I presented some popular poets biographies, specially chosen by their work, which resulted in popular songs that spread through out the jewish world and showed their way of life, their religiosity, their dilemmas, their persecutions, their happiness and their dreams. Forty-seven songs transliterated and translated to Portuguese (some of that properly commented) are presented. Also seven songs analyzed using linguistics and semiotics methods, from which emerge historical facts of the Jewish people. The Fourth Chapter: “The end of the Shteitl and the Ghetto’s Songs,” containing seven songs, portrays the Holocaust of the Second World War, the murder of six million Jews, which led to the Yiddish poetic literature ending. Finally., there are a large bibliography, credits to the illustrations, and a Glossary, for a better understanding of the text. There are, also, two enclosures: In Enclosure A: A Six-hundred Jewish Songs Catalog. In Enclosure B: A song book and one CD containing Yiddish songs.
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Luel-Rochberg, Liat. "A Jewish/Hebrew choir program for elementary/middle schools choirs /." 2003. http://wwwlib.umi.com/dissertations/fullcit/1413375.

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Rutstein, Esther. "Jewish folksongs in the Palestinian period : building a nation." Diss., 1997. http://hdl.handle.net/10500/17649.

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The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948.
Music
Thesis (M.A.)--University of South Africa, 1997.
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Books on the topic "Children's songs, Jewish (Yiddish)"

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Idelsohn, A. Z. Jewish music: Its historical development. New York: Dover Publications, 1992.

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Gebirtig, Mordecai. Mordechai Gebirtig: His poetic and musical legacy. Westport, Connecticut: Praeger, 2000.

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Slutzky-Kohn, Grunia. Zingṭ, ḳinder! Monṭreal: [o.f.], 1993.

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Ginsburgh, Judy Caplan. My Jewish world: An early childhood music curriculum. New York, NY: UAHC Press, 2002.

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(Firm), Yosef Goldman. Rare illustrated Jewish children's books. Brooklyn, N.Y: Yosef Goldman, 1992.

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Barʼel, ʻAdinah. ʻItone yeladim Yehudiyim be-Polin: Sikum meḥḳar : kolel Leḳsiḳon sofrim u-meshorerim li-yeladim be-Yidish. [Israel]: Aḥaṿah--ha-Mikhlalah ha-aḳademit le-ḥinukh, ha-ḥug le-sifrut, MaSaD (merkaz sifrut, sifrut yeladim ṿe-didaḳṭiḳah), 2002.

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Bilitser, M. A bazukh in ḳikh. [Brooklyn, N.Y.]: Ḥevrat Ketivat Netsaḥ, 2011.

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Pareigis, Christina. "Trogt zikh a gezang--": Jiddische Liedlyrik aus den Jahren 1939-1945 : Kadye Molodovsky, Yitzhak Katzenelson, Mordechaj Gebirtig. München: Dölling und Galitz, 2003.

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Flam, Gila. Singing for survival: Songs of the Lodz ghetto, 1940-45. Urbana: University of Illinois Press, 1992.

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Mordechaj Gebirtig: Bard z Kazimierza. Kraków: Wydawn. "Austeria", 2012.

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Book chapters on the topic "Children's songs, Jewish (Yiddish)"

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Lubet, Alex. "Transmigrations: Wolf Krakowski’s Yiddish Worldbeat in its Socio-Musical Context." In Polin: Studies in Polish Jewry Volume 16, 296–312. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0016.

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This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from the sacred repertoire of Judaism may be applied. On utilitarian grounds, all settings of sacred Hebrew texts for use in Jewish worship are Jewish music. This principle extends to all Yiddish song, since Jewish languages are tools of Jewish community. This includes all twelve songs on Transmigrations. Ultimately, Transmigrations—an album of Yiddish folk songs and works by Yiddish theatre and literary artists, its melodies forthrightly Jewish—defies expectations of Yiddish song in broader aspects of style.
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"Chapter 4. May Day, Tractors, and Piglets: Yiddish Songs for Little Communists." In The Art of Being Jewish in Modern Times, 83–97. University of Pennsylvania Press, 2008. http://dx.doi.org/10.9783/9780812208863.83.

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Lukin, Michael. "Servant Romances." In Polin: Studies in Polish Jewry Volume 32, 83–108. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0006.

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This chapter traces “Yiddish servant romances” back to the eighteenth century. It examines the formal characteristics of melodies and texts typical of servant romances and shows how its emergence can be correlated with verbal folklore, various musical genres, social history, and non-Jewish folk poetry. It also explains the term “Yiddish folk songs,” which is often used to refer to the entire complex of both folk and popular songs performed by the Yiddish-speaking population. The chapter uses the designation “Yiddish folk songs” in line with Bogatyrev and Jakobson's theory of crystallization processes in the development of folklore. It points out how the servant romances revolves around unrequited love and are characterized by the fusion of archaic traits with the markers of day-to-day life in the late modern period.
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Malinovich, Nadia. "The Media and the Arts." In French and Jewish, 139–61. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113409.003.0007.

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This chapter focuses on the expansion of the Jewish press, the development of a lively Jewish art and music scene, and the strengthening of the interfaith movement. It discloses the creation of a wide variety of journals of differing Zionist, literary, and religious orientations that marked an important change in contemporary French Jewish life. It also investigates the journals that served as a vehicle to discuss new developments in the Jewish associational and cultural life of the day and provided a forum to discuss diverse aspects of Jewish culture and history. The chapter discusses the prominence of Jewish artists in the international Ecole de Paris as another important development in Jewish cultural life during the 1920s. It also describes French Jews that formed musical societies and choruses to perform Jewish music, from traditional religious compositions to Yiddish folk songs, in public settings.
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Riegel, Julia. "‘Jewish Musicians are the Crowning Achievements of Foreign Nations’." In Polin: Studies in Polish Jewry Volume 32, 309–20. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0017.

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This chapter discusses the treatment of the Jewish identity of various composers by the Yiddish folklorist and music critic, Menachem Kipnis. It describes Kipnis as a small, energetic man with a soft but beautiful singing voice and considered one of the most popular Jewish folklorists of interwar Poland. It also looks into Kipnis' book World-Famous Jewish Musicians, a collection of biographies of nineteenth-century composers with a Jewish background. The chapter examines the contradictions and idiosyncrasies of World-Famous Jewish Musicians compared with Kipnis's other works. It seeks to understand the balance Kipnis struck between praise for Jewish composers and quasi-nationalist emphasis on their Jewishness on the one hand, and his work as a folklorist in Poland, collecting songs from traditional, Yiddish-speaking Jews on the other.
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Gross, Natan. "Mordechai Gebirtig: The Folk Song and the Cabaret Song." In Polin: Studies in Polish Jewry Volume 16, 107–18. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0007.

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This chapter details how Mordechai Gebirtig engraved his name on the history of Jewish cabaret in Poland between the wars. Every singer had his songs in his or her repertoire. These songs spread from the cabaret stages (kleynkunstbine) of Łódź and Warsaw to all of Poland and to the entire Jewish world. Even today they are alive on the stage and in Jewish homes; they are an indispensable part of the repertoire of Jewish singers. They are also arousing increasing interest among non-Jewish audiences in Poland, Germany, the Netherlands, Italy, and the United States. Since the destruction of European Jewry, these songs have become a crucial means of learning about Jewish folklore and the life of the Jewish poor, matters inadequately recorded in Yiddish literature and other sources.
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Toltz, Joseph D. "‘My Song, You Are My Strength’." In Polin: Studies in Polish Jewry Volume 32, 393–410. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0022.

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This chapter investigates the songs in Yiddish and Polish remembered by survivors of the łódz ghetto. It draws on interviews with two teenage survivors of the łódz ghetto who settled in Australia after the war in order to document and preserve personal musical experiences and memories of Jewish Holocaust survivors. It also references long and established literatures on examining witnesses and testifiers in Holocaust and trauma studies that speaks at length of delicate dynamics and ethical responsibilities of representation. The chapter analyzes the claim that sonic experiences remain in memories of people and travel with them throughout their lives, providing moments of nostalgia, evocations of past connections, ties to culture, friends, and family, and frames of reference. It explains how memories of dark, distant, and problematic times are enabled and returned to resonate in the present lives of testifiers and witnesses.
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