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Journal articles on the topic 'Songs, Yiddish'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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

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2

Schmitges, Andreas. "Funem (sh)eynem vortsl aroys?!—Approaches to the Study of Parallel Eastern Yiddish and German Folk Songs." European Journal of Jewish Studies 8, no. 1 (2014): 53–103. http://dx.doi.org/10.1163/1872471x-12341257.

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Yiddish and German are two languages and cultures that are considered autonomous and important within the European cultural diversity. Although they are linguistically very close and historically interwoven, not much research has been done concerning the comparison of their folk cultures. The present comparative study of Eastern Yiddish and German folk songs is a first step towards a deeper understanding of the processes of cultural migration and transfer since the Middle Ages. The paper concentrates on three aspects: 1. Discussion of previous undervalued research by scholars in the twentieth

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3

Roman, Oren Cohen. "Four Yiddish songs – one melody." Bohemica litteraria, no. 1 (2023): 153–70. http://dx.doi.org/10.5817/bl2023-1-9.

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This article discusses four early modern Yiddish booklets containing songs that were to be sung to the same melody: one concerns the expulsion of the Jews from Vienna in 1670 (n.p., n.d.); the second describes two Jews who were executed for theft in Prostějov in 1684 and refused the offer to convert in return for a pardon (Wilmhersdorf 1684); the third depicts the effects of a plague epidemic on the Jewish community of Prague in 1713 (1st edition n.p., n.d., 2nd edition Amsterdam 1714); and the fourth (two editions, both n.p., n.d.) is a rhymed prayer, asking God to eliminate all misfortunes a

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4

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 (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. Perlma

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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 melodi

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Dvuzhilnaya, Inessa F. "REMEMBERING THE HOLOCAUST: CULTURAL CONTACT IN THE MUSIC OF MIKHAIL BRONNER." Arts education and science 3, no. 40 (2024): 103–11. http://dx.doi.org/10.36871/hon.202403103.

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The research focuses on the musical works of the contemporary Moscow composer Mikhail Bronner (b. 1952), which reflect the theme of the Holocaust: Jewish Requiem and Long Return (Book of Songs) for choral theatre. The article analyses the problem of the contact between European, Russian and Jewish cultures, which is manifested in these works on different levels: artistic content, genre definition (Jewish Requiem), thematism that defines the sound aura. It outlines the composer’s position in the choice of text language for his vocal and instrumental works, analyses the correlation between music

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7

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 (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 powerles

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8

Gilbert, S. "Buried Monuments: Yiddish Songs and Holocaust Memory." History Workshop Journal 66, no. 1 (2008): 107–28. http://dx.doi.org/10.1093/hwj/dbn026.

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9

Lukin, Michael. "Collective Singing in the Jewish Shtetl." Journal of Ethnology and Folkloristics 19, no. 1 (2025): 207–34. https://doi.org/10.2478/jef-2025-0010.

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Abstract Traditional collective singing among Eastern Yiddish speakers – a heretofore unexplored phenomenon – is discussed as part of the European-Jewish musical polysystem, which evolved in small towns (called a shtetl in Yiddish) from early modernity to the Holocaust (1933–1945). In the absence of living informants in Eastern Europe, the only applicable methodology is historical ethnomusicology, employing a comparative analysis of late documentation, in light of premodern literary sources, with the goal of reconstructing and describing musical semiotics. It reveals that the main types of col

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10

Corrius, Montse, and Eva Espasa. "Multilingualism, Music and Gendered Roles in Unorthodox." Między Oryginałem a Przekładem 28, no. 1 (55) (2022): 31–53. http://dx.doi.org/10.12797/moap.28.2022.55.02.

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Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (Esty), a young Jewish woman who flees from her country and leaves her ultra-Orthodox community, with very strict rules and traditional gender roles. We explore the connections between the gendered roles of the main characters, their cultural or social contexts, and, especially, the role of third lan

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11

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 (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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12

Хаздан, Евгения Владимировна. "“Yiddish Songs” of Mieczyslaw Weinberg: Finding a Jewish Idiom." Музыкальная академия, no. 3(775) (September 27, 2021): 142–55. http://dx.doi.org/10.34690/184.

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Два цикла Мечислава Вайнберга с одинаковыми названиями «Еврейские песни» (op. 13 и op. 17) были написаны в 1943 и 1944 годах. В обоих сочинениях Вайнберг обратился к поэзии на идише, выбрав стихи Ицхока Лейбуша Переца и Самуила Галкина. Первый цикл дважды был опубликован при жизни композитора, однако в программах концертов и на дисках он звучал в основном на русском языке. О его содержании тоже судили по переводам. Второй цикл до недавнего времени оставался в рукописи. Циклы объединяет также обращение композитора к модусу Adonoy Molokh, в котором звучат молитвы некоторых праздничных дней - Суб

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13

Frey, Isabel, and Rosza Daniel Lang/Levitsky. ""Yiddishists for Palestine": Diasporism and Solidarity through Twenty-First Century Yiddish Song." Journal of Jewish Identities 17, no. 2 (2024): 111–42. http://dx.doi.org/10.1353/jji.2024.a936745.

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ABSTRACT: As many young Jews grow increasingly alienated from Zionist narratives, some have found a space for expressions of diasporism and solidarity with Palestinians in the international Yiddishist music scene. This article examines four twenty-first century Yiddish songs that refer to the Israeli-Palestinian conflict and express solidarity with Palestinians: "Ver Tantzt" by Black Ox Orkestar, "Dumai" by Daniel Kahn, "A shtik fun harts" by Josh Waletzky and Michael Winograd, and "Qibya" by Koyt far dayn fardakht. These songs were compiled by the authors as part of the group "Yiddishist with

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14

Verschik, Anna. "Pent Nurmekund as the translator of Yiddish folksongs into Estonian." Nordisk Judaistik/Scandinavian Jewish Studies 15, no. 1-2 (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 un

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15

Toltz, Joseph. "Or Haganuz: Gems of Ashkenazi Hazzanut and Yiddish Songs Revived." Asian Music 50, no. 2 (2019): 167–70. http://dx.doi.org/10.1353/amu.2019.0020.

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16

Rosenblatt, Eli. "Songs in Dark Times: Yiddish poetry of struggle from Scottsboro to Palestine." East European Jewish Affairs 51, no. 1 (2021): 127–29. http://dx.doi.org/10.1080/13501674.2021.1952029.

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17

Lukin, Michael. "Servant Romances Eighteenth-Century Yiddish Lyric and Narrative Folk Songs." Polin: Studies in Polish Jewry 32, no. 1 (2020): 83–107. http://dx.doi.org/10.3828/polin.2020.32.83.

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18

Хаздан, Е. В. "“‘From Jewish Folk Poetry’ by Dmitri Shostakovich — in Yiddish”." Музыкальная академия, no. 4(784) (December 21, 2023): 208–17. http://dx.doi.org/10.34690/355.

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На компакт-диске «Akh, nit gut!», выпущенном компанией «Zefir Records», представлены шестнадцать еврейских народных песен в аранжировке Юлия Энгеля и цикл «Из еврейской народной поэзии» Дмитрия Шостаковича, также спетый на идише. Исполнители проделали неординарную работу, выявляя связи между сочинениями, принадлежащими разным эпохам, и обозначая пролегающую между ними дистанцию. Слушателям предоставляется возможность соотнести два разных подхода академических композиторов к фольклору и взглянуть на произведение Шостаковича в контексте русско-еврейской академической традиции. The CD “Akh, nit g

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19

Orlovsky-Schnitzler, Justine. "Yiddish Songs and Jewish Futures: A Besere Velt, Partisan Music, and Modern Performance." Jewish Folklore and Ethnology 1, no. 1 (2022): 186–209. http://dx.doi.org/10.1353/jfe.2022.0004.

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20

Kaplan, Brett Ashley. "Converged Aesthetics: Blewishness in the Work of Anthony Mordechai Tzvi Russell." Arts 12, no. 4 (2023): 178. http://dx.doi.org/10.3390/arts12040178.

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This essay examines the converged aesthetic of Anthony Mordechai Tzvi Russell, focusing on the Kosmopolitan video projects. These videos, and Russell’s work overall, resist the singular terms “Black” and “Jew,” constructing a Blewish converged aesthetic by overlaying images of Josephine Baker or a lonely, lost child walking backward with Russell’s rich and full voice singing Yiddish songs. These remarkable videos, and the projects created by Tsvey Brider (Russell and Dimitri Gaskin), disrupt assumptions about race, gender, sexual orientation, and ethnoreligious affiliation in profound and impo

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21

Mendes-Flohr, Paul. "In the Shadow of Death: Jewish Affirmations of Life." Religions 13, no. 1 (2021): 26. http://dx.doi.org/10.3390/rel13010026.

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The Book of Genesis reports that “On the sixth day of Creation “God saw everything that he had made, and behold, it was very good” (1:31). The very, so a Talmudic sage taught refers to “death”. We are to share God’s exultant affirmation of His work of creation as culminating in death. For death is intrinsic to the blessings of life. As Buber notes in the epigraph cited above, life is “unspeakably beautiful because death looks over our shoulder”. The seeming paradox—an existential antinomy—inflected the vernacular Yiddish of my late father which was also that of Buber’s youth “the one thing nee

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22

Kahlenberg, Caroline. "How the Locals Grew an Accent: The Sounds of Modern Hebrew in Early Twentieth-Century Palestine." Jewish Social Studies 28, no. 3 (2023): 105–42. http://dx.doi.org/10.2979/jewisocistud.28.3.05.

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Abstract: Early twentieth-century Palestine was a noisy place. Urban streets echoed with the cries of hawkers, the songs of nationalists, and the whistles of trains announcing their arrival. Conversations in Arabic, Turkish, Yiddish, English, Ladino, French, Hebrew, and other languages reverberated in the soundscape. In this article, I explore how Palestine's residents made sense of what they heard, focusing on one type of sound in particular: Hebrew-language accents. Building on the work of sensory historians, and focusing on Sephardi and Mizrahi Jews, I investigate the following questions: H

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23

Kahlenberg, Caroline. "How the Locals Grew an Accent: The Sounds of Modern Hebrew in Early Twentieth-Century Palestine." Jewish Social Studies 28, no. 3 (2023): 105–42. http://dx.doi.org/10.2979/jss.2023.a910389.

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Abstract: Early twentieth-century Palestine was a noisy place. Urban streets echoed with the cries of hawkers, the songs of nationalists, and the whistles of trains announcing their arrival. Conversations in Arabic, Turkish, Yiddish, English, Ladino, French, Hebrew, and other languages reverberated in the soundscape. In this article, I explore how Palestine's residents made sense of what they heard, focusing on one type of sound in particular: Hebrew-language accents. Building on the work of sensory historians, and focusing on Sephardi and Mizrahi Jews, I investigate the following questions: H

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WALDEN, JOSHUA S. "“The Hora Staccato in Swing!”: Jascha Heifetz's Musical Eclecticism and the Adaptation of Violin Miniatures." Journal of the Society for American Music 6, no. 4 (2012): 405–31. http://dx.doi.org/10.1017/s175219631200034x.

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AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany

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25

Turniansky, Chava. "Yiddish ‘Historical’ Songs as Sources For The History of the Jews in Pre-Partition Poland." Polin: Studies in Polish Jewry 4, no. 1 (1989): 42–52. http://dx.doi.org/10.3828/polin.1989.4.42.

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26

Sholokhova, Lyudmila. "The Yiddish Wedding Folk Songs of East European Jews: Function, Ethnography, Sociology, Texts, and Music." Shofar: An Interdisciplinary Journal of Jewish Studies 40, no. 2 (2022): 89–104. http://dx.doi.org/10.1353/sho.2022.0024.

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27

Двужильная, И. Ф. "Concerto for Orchestra “The Yellow Stars” by Isaac Schwartz: In the Mirror of Ashkenazi’s Musical Culture." OPERA MUSICOLOGICA, no. 2021 (September 15, 2021): 19–37. http://dx.doi.org/10.26156/om.2021.13.3.002.

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В статье предпринят анализ последнего произведения выдающегося петербургского композитора Исаака Шварца (1923–2009) — мемориального опуса памяти жертв Холокоста. Аргументированно доказывается, что ашкеназская культура, в том числе и музыкальная, была органичной частью всей жизни композитора. Об этом свидетельствуют сформировавшийся в детские годы этнослух И. Шварца, огромное количество песен на идиш, которые он мог играть наизусть часами и, безусловно, тематизм инструментального концерта «Желтые звезды», в котором наряду с цитатным материалом выявляются и многочисленные авторские темы, отмечен

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28

Norich, Anita. "Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine by Amelia M. Glaser." AJS Review: The Journal of the Association for Jewish Studies 46, no. 1 (2022): 202–4. http://dx.doi.org/10.1353/ajs.2022.0031.

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29

Toltz, Joseph D. "‘My Song, You Are My Strength’ Personal Repertoires of Polish and Yiddish Songs of Young Survivors of the Łódź Ghetto." Polin: Studies in Polish Jewry 32, no. 1 (2020): 393–410. http://dx.doi.org/10.3828/polin.2020.32.393.

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30

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 professi

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31

Slobin, Mark, and Irene Heskes. "Yiddish American Popular Songs, 1895 to 1950: A Catalog Based on the Lawrence Marwick Roster of Copyright Entries." Notes 50, no. 1 (1993): 177. http://dx.doi.org/10.2307/898736.

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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 (2006): 364. http://dx.doi.org/10.2307/25046037.

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Muszkalska, Bożena. "Kolberg and Jewish Music." Musicology Today 11, no. 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

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Неклюдов, С. Ю. "Между фольклором и эстрадой: «Папиросы»". ТРАДИЦИОННАЯ КУЛЬТУРА 26, № 1 (2025): 68–82. https://doi.org/10.26158/tk.2025.26.1.005.

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Среди городских песен XX в. есть несколько текстов, которые по своему содержанию и коммуникативной установке могут быть обозначены как «нищенские». Обычно они представляют собой монологи о горестной судьбе героя/героини, вынужденных холодной ночью торговать мелочным товаром (бубликами, папиросами) или просить подаяния. Выразительный пример — широко известная песенка «Папиросы» («Друзья, купите папиросы»). Авторство ее первотекста принадлежит известному музыканту, актеру и режиссеру еврейского театра в Нью-Йорке Герману Яблокову (1922/1932). Он был составлен на идише, но с размещением сюжета в

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Dvuzhilnaya, Inessa F. "SEMANTIC CODES OF MIKHAIL BRONNER’S “SHOAH SYMPHONY”." Arts education and science 4, no. 37 (2023): 142–50. http://dx.doi.org/10.36871/hon.202304142.

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In the dialogue between the composer and the listener, a significant role is played by musical images that carry information about the semantic codes of the works. It is easier to get it in music related to the word. To help the listener in choosing an adequate vector of music perception, the author often names instrumental works as well. The article introduces for the first time into the scientific context the programme five-part “Shoah Symphony” by the contemporary Moscow composer M. Bronner (born in 1952), which reflects the theme of the Holocaust. In the creative heritage of the composer,

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Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.

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Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида

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Найдич, Л. Э. "Moisey Beregovsky: The Heritage of Jewish Music Folklore Collector and Researcher." OPERA MUSICOLOGICA 16/2, no. 2024 (2024): 270–76. http://dx.doi.org/10.26156/operamus.2024.16.2.014.

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В рецензии представлен обзор Биобиблиографического указателя, посвященного жизни и трудам Моисея Береговского (1892–1961), в котором содержится обширная информация о выдающемся исследователе и собирателе еврейской народной музыки. Его собрание идишских песен, клезмерских мелодий, хасидских нигунов и музыкальных театральных представлений (известных как пуримшпили) в большой степени способствовало сохранению и исследованию еврейской традиционной музыкальной культуры. Береговский разработал также методологию описания ашкеназской музыкальной традиции в рамках европейской теории музыки. Многие труд

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DANYLYUK, Nina, and Oksana ROHACH. "SOURCES OF THE FORMATION OF AHATANHEL KRYMSKYI’S LINGUISTIC PERSONA." Culture of the Word, no. 95 (2021): 17–29. http://dx.doi.org/10.37919/0201-419x-2021.95.2.

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The article is devoted to the sources of the formation of a linguistic persona of the future famous scholar, writer, translator, and polyglot – Ahatanhel Krymskyi. In the article there has been conducted an analysis of the communicative geographical and epistolary discursive area of A. Krymskyi at the times of his childhood and adolescence. These periods of his life we consider the decisive ones for his linguistic individualization and the definition of the parameters of a linguistic persona. The linguistic persona’s features were caused by the origin of A. Krymskyi (the Crimean Tartar roots,

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Hellerstein, Kathryn. "Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine. By Amelia M. Glaser. Cambridge, Mass.: Harvard University Press, 2020. xiv, 353 pp. Appendixes. Notes. Index. Illustrations. Photographs. $39.95, hard bound." Slavic Review 81, no. 4 (2022): 1118–19. http://dx.doi.org/10.1017/slr.2023.76.

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Slobin, Mark. "A Hundred Years of Yiddish Song Mobility." Arts 10, no. 3 (2021): 65. http://dx.doi.org/10.3390/arts10030065.

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The article surveys continuities in the Yiddish song world from 1920–2020 despite the radical disjunctures of eastern European Ashkenazic Jewish life, profiling singers born nearly 100 years apart. The approach is synchronic, a useful method for music and mobility studies.

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Dubrovsky, Gertrude. "A Yiddish Poet’s Love Song to America." Cahiers Charles V 36, no. 1 (2004): 193–99. http://dx.doi.org/10.3406/cchav.2004.1382.

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Quint, Alyssa. "The Culture of Capitalism in Nineteenth-Century Yiddish Song." Jewish Social Studies 27, no. 2 (2022): 1–23. http://dx.doi.org/10.2979/jewisocistud.27.2.01.

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Flam, Gila. "" Raisins and Almonds: A Yiddish Song as a Metaphor of Yiddish Folk Culture in the 21st Century"." Studia Judaica 23 (November 8, 2021): 51–80. http://dx.doi.org/10.24193/sj.2021.v23.3.

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Hawkins, Samuel J. "Whitechapel Noise: Jewish immigrant life in Yiddish song and verse, London 1884-1914." Jewish Culture and History 20, no. 3 (2019): 277–79. http://dx.doi.org/10.1080/1462169x.2019.1630964.

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Zaidman-Mauer, Daniella. "The Power of Song in Amsterdam: Pereq Shira in Yiddish and the Transmission of Piety." Studia Rosenthaliana 47, no. 1 (2021): 48–82. https://doi.org/10.5117/sr2021.1.003.zaid.

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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

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"Funny, it doesn't sound Jewish: how Yiddish songs and synagogue melodies influenced Tin Pan Alley, Broadway, and Hollywood." Choice Reviews Online 42, no. 04 (2004): 42–2123. http://dx.doi.org/10.5860/choice.42-2123.

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Dolidze, Nino. "The Newest English Translation of the Tbilisian Maqama." Text and Interpretation, 2023. http://dx.doi.org/10.55804/jtsu-2960-9461-2023-15.

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Tbilisian Maqama is the 33th story in the book of the prominent Arab writer al-Hariri (1054-1122). Two permanent characters of the Maqama-cycle – the narrator and the main hero meet each other in the Tbilisian mosque. Maqamas were translated into English several times, but those were mostly exact translations. The newest translation (Imposters) issued by the New York University Press in 2020 is the imitation and a very interesting interpretation of the original version. The fact that one of the fifty maqamas of al-Hariri is called “Tbilisian” mustn’t be a pure accident. It seems that Tbilisi w

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Idelson-Shein, Iris. "Sons of saviors: the Red Jews in Yiddish culture." Jewish Culture and History, November 4, 2024, 1–3. http://dx.doi.org/10.1080/1462169x.2024.2424005.

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Wood, Abigail. "Commemoration and Creativity: Remembering the Holocaust in Today’s Yiddish Song." European Judaism 35, no. 2 (2002). http://dx.doi.org/10.3167/001430002782266351.

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