mikeweil

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  13. Posted · Edited by mikeweil

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    Today I thought: The beauty of the music on the latter record was one of the things that consoled me in my late teens. Beauty is so important. Ayers' feeling for melody is unsurpassed on this - he turns This Guy's In Love With You into a marvellous cloud in a blue sky. And the most beautiful vibes sound ever.

  20. Posted

    16 hours ago, AllenLowe said:

    thanks guys; we are actually waiting now for a report from what they call "the tumor board" on treatment, etc. They don't think it has spread and it appears to be related to what I had last year. We're a bit freaked out, but hoping it's manageable. I should know a lot more in the next day.

    My fingers are crossed!

  22. Posted

    From Oy to Joy: Jewish musical style in American popular songs 1892–1945

    Falch, N., 2020, [Groningen]: University of Groningen. 395 p.

    In the first half of the twentieth century, Jewish immigrants from Russia and Eastern Europe and their descendants collectively developed a Jewish musical style that would alter American popular music. Composers such as Harold Arlen, Irving Berlin, George Gershwin, and Jerome Kern drew (consciously and subconsciously) upon stereotypical elements from the broad spectrum of Ashkenazic Jewish music. They incorporated features from cantillation, wedding music, and folk songs, first into Yiddish theater songs, and later into Broadway musicals and musical films. During the 1930s, songwriters wrote hit songs reflective of this Jewish musical style including “Bei Mir Bist Du Schön,” “Blue Skies,” “Donna Donna,” “I Love You Much Too Much,” “My Heart Belongs to Daddy,” and “Summertime.” However, since then, this style has not been systematically analyzed, nor conceptualized as a historically relevant musical style in relation to other popular music stylistic developments (e.g. the “Latin Tinge”).
    Building on theories of Meyer’s definition of a musical style, Lomax’ cantometrics, and Gottlieb’s adaptations, adoptions, and absorptions, this dissertation integrates methods from comparative musicology supplemented with newly adapted and designed approaches and terms such as the lead sheet method and the periodic table of musical elements. In addition, this cross-cultural study also introduces the role of five minor moods, especially the happy minor which is characteristic of the Jewish musical style. Furthermore, this study investigates the relationship of mass media such as the phonograph record, radio, and sound film. Finally, this dissertation argues for the recognizable presence of a cultural and musically rooted Jewish music style concomitant with the development of an American popular music canon in the first half of the twentieth century.
    Original language English
    Qualification Doctor of Philosophy
    Awarding Institution

    Download link:

    https://www.rug.nl/research/portal/publications/from-oy-to-joy(a949ab70-1b4c-496c-a6b1-397f2be4bc8e).html