Zum Gali Gali (Hebrew: זום גלי גלי) is an Israeli folk song associated with the Kibbutz, Israel's collective agricultural communities. The song is sometimes referred to by the title Israeli Work Song and is known for its rhythmic style. The song begins with the repeated refrain ("zum gali gali") before proceeding to the verses.[1] The repeated refrain itself is a nonsensical verse,[2] and has no direct translation into English.[3]
Overview
editOrigins
editThe exact origins and authorship of Zum Gali Gali is unknown. While the song is associated with the Kibbutz Mishmar HaEmek it is possible that it was composed elsewhere. It may have first been performed as part of a play. The first publication of the song was in 1939 by the Hebrew Publishing Company (NY, USA), indicating it was popular among American Jews at the time. Subsequent publications, such as a 1948 recording by Meir Lokitz, recorded as part of The Stonehill Collection: Recording of Holocaust survivors and Jewish immigrants to the United States, contains alternate verses with the standard refrain. The song was first performed in a non-Jewish context by the German instrumentalist Bert Kaempfert.[4]
Usage
edit
Zum Gali Gali is commonly used today in music education in both Jewish and non-Jewish settings on account of the song's rhythmic style, minor tonality,[5][6] multicultural and diverse origin.[7][8][9][10]
Avodah lema’an ha’chalutz,
Ha’chalutz lema'an avodah
Zum gali gali gali
Zum gali gali
Zum gali gali gali
Zum gali gal
Avodah lema'an ha'chalutz,
Ha’chalutz lema'an avodah
Zum gali gali gali
Zum gali gali
Zum gali gali gali
Zum gali gal[4][3]
See also
editReferences
edit- ^ Carlson, D. L. (1980). Space, Time, & Force: Movement as a Channel to Understanding Music. Music Educators Journal, 67(1), 52-56.
- ^ Rose, N. H. G. (1993). Corinne Aldine Seeds: Parallels with John Dewey and Rudolf Steiner - Possible Influence or Independent Development? Proceedings of Midwest Philosophy of Education Society.
- ^ a b Atkinson Smolen, L. & Oswald, R. A. (2011). Multicultural Literature and Response: Affirming Diverse Voices. ABC-CLIO.
- ^ a b "Zum Gali Gali". Zemereshet.
- ^ Marshall, H. D. (2004). Improvisation strategies and resources, Part 2. General Music Today, 18(1), 37-39
- ^ Burton, S. L. (2018). Sound, Syllables, and Symbols. Engaging Musical Practices: A Sourcebook for Elementary General Music, 135.
- ^ Lee, P. N. (2020). Cultural inheritance on indigenous music education: a Paiwanese music teacher’s teaching. Music Education Research, 22(2), 159-172.
- ^ Veblen, K., & Beynon, C. (2003). Negotiating terms of diversity in Canadian music education. Many Musics Project. International Music Council of UNESCO. (pp. 16-17).
- ^ Rivera, J. (2018). Repertoire & Resources: Sing, Dance, and Celebrate: Choral Music of Diverse World Traditions. The Choral Journal, 59(1), 67-76.
- ^ Campbell, P. S. (1994). Multiculturalism and the raising of music teachers for the twenty-first century. Journal of Music Teacher Education, 3(2), 21-29.