From Publishers Weekly
In his introduction to this meticulously researched study of Jewish-influenced theatrical and popular music from 1914 to 1964, scholar and composer Gottlieb observes, "For the first time since ancient history, when synagogue cantillation influenced church plain chant, Jews contributed significantly to the music of the mainstream." To support his case, he analyzes melodies written for synagogues and the Yiddish theater and finds them in tunes that may not "sound Jewish." He discusses innumerable composers and artists, familiar and obscure, observant and nonobservant, converts and even non-Jews. One chapter is devoted to Cole Porter, "who wrote a little-known ballad, 'Hot-House Rose' (1926), which tells the bitter tale of a Jewish sweatshop (or hothouse) girl." The melodic passages cited on almost every page will be of most value to the musically sophisticated. On the other hand, everyone will be able to appreciate the accompanying 70-minute CD, which includes a marvelous, very Yiddish recording by Judy Garland of Bei Mir Bist Du Schoen, as well as Leonard Bernstein at his piano singing Marc Blitzstein's poignant A Zipper-fly. This is a loving, comprehensive and fascinating book.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Book Description
Documents the influence of Jewish music on American popular song.

From the Publisher
In Funny, It Doesn't Sound Jewish, Jack Gottlieb chronicles how Jewish songwriters and composers transformed the popular music of mid-twentieth-century America. Although many critics, historians, and musicians have alluded to the Jewish influence on American popular song, this is the first book ever to support such assertions with comprehensive musical examples. Drawing on a variety of historical and archival sources, as well as his own experiences as a composer of synagogue, popular, and concert music, Gottlieb carefully and compellingly documents how a minority culture infused a majority culture, enriched it, and still retained its own identity. He does this with the support of a companion CD that includes previously unrecorded songs as well as some surprising rarities performed by the likes of Judy Garland, Billie Holiday, and Leonard Bernstein. Trim size: 8-7/8 x 11-1/4 inches Illustrated: 54 b/w photographs, 27 b/w illustrations, 456 musical examples Includes: Audio CD

From the Back Cover
American popular music has always drawn on a wide variety of cultural sources; numerous studies, for instance, have explored the African roots and wide influence of jazz and blues. Little, however, has been written about the musical traditions of another group of immigrants who fused old-world practice with American popular idioms. With wit, intelligence, and lucidity, Jack Gottlieb chronicles how Yiddish folk and theater songs as well as synagogue modes and melodies were transformed by Jewish immigrants into the music of pop, Broadway, and film. Drawing on numerous musical examples and a variety of historical and archival sources, as well as a lifetime of experiences as a composer working simultaneously in the fields of synagogue, popular, and concert music, Gottlieb offers an original and compelling documentation of the Jewish roots of American popular music. An accompanying CD includes musical excerpts and examples, including a never-before-released recording of Leonard Bernstein at the piano, singing Marc Blitzstein's "The New Suit (Zipper Fly)."

About the Author
Author and composer Jack Gottlieb has lectured on the Jewish contribution to American popular music throughout the United States, Canada, and Israel. He is past president of the American Society for Jewish Music and has received wide recognition for both his synagogue and secular music. He has been a reviewer and author of articles on music as well as an annotator for concert program and record jacket notes. His choral, chamber, and theater and cabaret works, as well as his sacred music—including Songs of Godlove, over 50 solos and duets—are available in print. His recordings appear on the Naxos, Albany, and other labels. He lives in New York City.

FROM THE PUBLISHER

In Funny, It Doesn't Sound Jewish, Jack Gottlieb chronicles how Jewish songwriters and composers transformed the popular music of mid-twentieth-century America. Although many critics, historians, and musicians have alluded to the Jewish influence on American popular song, this is the first book ever to support such assertions with comprehensive musical examples. Drawing on a variety of historical and archival sources, as well as his own experiences as a composer of synagogue, popular, and concert music, Gottlieb carefully and compellingly documents how a minority culture infused a majority culture, enriched it, and still retained its own identity. He does this with the support of a companion CD that includes previously unrecorded songs as well as some surprising rarities performed by the likes of Judy Garland, Billie Holiday, and Leonard Bernstein.

Author and composer Jack Gottlieb has lectured on the Jewish contribution to American popular music throughout the United States, Canada, and Israel. He is past president of the American Society for Jewish Music and has received wide recognition for both his synagogue and secular music. He has been a reviewer and author of articles on music as well as an annotator for concert program and record jacket notes. His choral, chamber, and theater and cabaret works, as well as his sacred music￯﾿ﾽincluding Songs of Godlove, over 50 solos and duets￯﾿ﾽare available in print. His recordings appear on the Naxos, Albany, and other labels. He lives in New York City.Trim size: 8-7/8 x 11-1/4 inchesIllustrated: 54 b/w photographs, 27 b/w illustrations, 456 musical examplesIncludes: Audio CD

SYNOPSIS