A new book on the controversial thinker, Yeshaahu Liebowitz, see http://www.haaretz.com/hasen/pages/ShArt.jhtml?itemNo=902399
Abridged from Wiki, for those unfamiliar witht his unique individual:
Yeshayahu Leibowitz was born in Riga in 1903. In 1919 he studied chemistry and philosophy at the University of Berlin. After completing his doctorate in 1924, he went on to study biochemistry and medicine, receiving an MD in 1934 from the University of Basel. He immigrated to Mandatory Palestine in 1935 and settled in Jerusalem, joining the faculty of Hebrew University the following year. He became a professor of biochemistry in 1941 and was promoted to the position of senior professor of organic chemistry and neurology in 1952. After retiring in 1970, he continued to teach philosophy and the history of science.
Leibowitz's younger sister, Nechama Leibowitz, was a world famous Bible scholar. His son, Elia, was chairman of the astrophysics department at Tel Aviv University and the longest-serving director of the Wise Observatory.[1] The conductor and composer René Leibowitz was Leibowitz's cousin.
An Orthodox Jew, Leibowitz was known primarily for his philosophical writings and scathing critique of Israeli values and national policy. His remarks shortly after the Lebanon War in 1982 accusing Israeli soldiers of "Judeo-Nazi" mentality provoked a public outcry. While such remarks led some to conclude that he was an anti-Zionist, [1] Leibowitz repeatedly affirmed his belief in the validity of the Zionist endeavor, both in writing and in conversation, throughout his life.
Leibowitz also held controversial views on the subject of Jewish Law. He wrote that the only purpose for performing religious commandments was to obey God. He disagreed with the view that Halakhah should be followed either for reward in the world to come or for any benefit in this world. He maintainted that the reasons for religious commandments were beyond man's understanding as well as irrelevant, and any attempt to attribute emotional significance to the performance of mitzvot was misguided and akin to idolatry.
In 1993, he was nominated for the Israel Prize. Before the award ceremony, Leibowitz was invited to speak to the Israel Council for Israeli-Palestinian Peace, where his controversial remarks calling upon Israeli soldiers to refuse orders triggered ourage. The jury convened to discuss the possibility of withdrawing the prize, but Leibowitz himself announced that he would refuse to accept it, because he did not want to create antagonism when receiving the prize. [2]
Comment: I have read some of his writings, primarily on Rambam. While interesting, what is striking is his distance from the conceptual world of Talmudic scholarship. I do not mean that he did not choose to work in its conceptual categories, which, after all are not well suited for many areas of traditional Jewish scholarships, but his utter disregard of them. He not only ignored the Talmud but also classic Jewish writings of evey kind, as if they did not exist, as if they had nothing to say on the topics with which he dealt. His thinking was simply not informed by religious literature. This marginalizes his ideas in my view. One may choose to strike a different path or approach issues in a different way than classic Judaism, but not to be aware, or willfully refuse to be informed by the bedrock of Jewish thought - this I cannot accept. This feature of Prof. Leibowitz' thought makes him, in my eyes, another secular intellectual, albeit in this case in a religious garb, and as such, not authoritative, at least for me, as a thought leader.
Disclaimer: I had never met him althoughI did learn a great deal from Prof. Leibowtiz' sister





Gershwin's Jewish Roots
"According to several Gershwin scholars, Gershwin was influenced by the Yiddish Theater and other popular Jewish music. An example of this is the famous tune ‘S Wonderful. It shows many similarities to Goldfaden’s Jewish tune, “Noach’s Teive”. Both songs have almost exact copies of the same tune, and partly even the same notes. Another of Gershwin’s songs that has resemblance to Yiddish music was “My One and Only” from the 1927 show of Funny Face. “Seventeen and Twenty-One” from Strike Up The Band has a similar melody to “Der Pach Tanz” and “Schuster and Schneider Tanz”.
There were other influences from Jewish music on his work. It has been pointed out that Gershwin’s tunes are almost all melody, a characteristic of a lot of religious and secular Jewish music. Moreover, many of his songs are written -- like much Jewish music-- in a minor key. For example, Gershwin’s title song from the show Funny Face is based on a minor third, which is interval of music containing a total of three half steps. Another example of Gershwin’s use of the minor third is the song “In the Mandarin’s Orchid Garden”, used in the early version of the 1929 play Show Girl. Some of George Gershwin’s songs even resemble Biblical prayer chants. An example of this is “It Ain’t Necessarily So” from Porgy and Bess. This song is similar to the prayer that you chant after you read the Torah at your bar/bat mitzvah and at every Sabbath. Since there is enough evidence, I believe that Gershwin’s being Jewish affected his music. "
from http://www.ilperetz.org/graduates/adam_benaroya.htm
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