From the Songs of Israel & Songs from Abroad: Two Musical Album Collections by MKR
From the Songs of Israel & Songs from Abroad: Two Musical Album Collections by MKR
Bringing Israeli Music to International Audiences and International Music to Hebrew-Speaking Audiences
By Ronen Kolton Yehuda — MKR: Messiah King RKY
Introduction: Two Musical Projects, One Artistic Vision
Several years ago, I began considering two musical projects that I would like to develop alongside my original music. Both involve creating collections of albums featuring songs originally written and performed by other artists, translated and adapted into another language, and performed through my own musical interpretations.
The two projects are:
From the Songs of Israel — a collection of Israeli songs translated and adapted into English, primarily for international audiences.
Songs from Abroad | שירים מחו״ל — a collection of international songs translated and adapted into Hebrew, primarily for Israeli and other Hebrew-speaking audiences.
The concept is relatively simple: to select songs that I appreciate, interpret them musically, and explore the possibility of presenting them to audiences in another language.
Both projects would be developed under my artistic identity, MKR: Messiah King RKY (Ronen Kolton Yehuda).
I envision them as continuing collections of albums rather than single, isolated releases. Over time, they could include songs from different generations, musical traditions, countries, and genres.
These projects would complement my original music, which remains an important part of my artistic career.
At present, both are planned projects. I have not yet initiated their production or release. I am presenting the ideas publicly as part of my long-term artistic vision, with the intention of developing them professionally and in accordance with the relevant copyright laws, licensing requirements, and music industry procedures.
1. From the Songs of Israel
Israeli Songs Translated into English and Performed by MKR
Israel has a rich and diverse musical culture, developed through generations of composers, lyricists, singers, musicians, and musical ensembles.
Its repertoire includes traditional songs, folk-influenced music, popular classics, ballads, rock, pop, and many other musical styles.
Some Israeli songs have achieved lasting recognition within Israel, becoming part of the country's musical and cultural heritage.
However, many remain relatively unfamiliar to international listeners, particularly those who do not understand Hebrew.
With From the Songs of Israel, I would like to explore the possibility of bringing selected Israeli songs to broader international audiences through English-language adaptations and new recordings.
The collection would feature songs that I personally select, based on my musical preferences, artistic interests, and appreciation of the original works.
It would not necessarily be limited to contemporary popular music. I would like to leave room for songs from different periods, traditions, and genres, including classic Israeli songs that have remained popular over many years.
The intention would be to create English-language versions that preserve as much as possible of the songs' original meaning, character, and emotional qualities while allowing them to sound natural in English.
As a singer-songwriter and musician, I would also be interested in developing my own musical arrangements and interpretations.
Some recordings could remain close to the original compositions, while others might explore different instrumentation, production methods, or performance styles, subject to the necessary permissions.
The objective would not be to replace the original versions, but to introduce additional interpretations that could make these songs accessible to new audiences.
I imagine From the Songs of Israel as a continuing series, potentially including several albums, each featuring a different selection of Israeli songs.
The project could become one of my contributions to the international presentation of Israeli music and culture.
2. Songs from Abroad | שירים מחו״ל
International Songs Translated into Hebrew and Performed by MKR
The second project would follow the opposite direction.
Under the title Songs from Abroad | שירים מחו״ל, I would like to create a collection of albums featuring international songs that I personally love, translated and adapted into Hebrew, and performed by me.
The selection could include songs originally written and performed in English, as well as songs originating from other languages and countries.
As with the first project, I do not intend to limit the collection to one specific genre or musical period.
It could include popular classics, rock, pop, ballads, and other musical styles, depending on the songs I choose.
My personal connection to the music would be an important part of the selection process.
Many songs accompany us throughout our lives. Some remind us of particular periods, experiences, people, or places. Others inspire us through their melodies, lyrics, arrangements, or performances.
Through this project, I would like to revisit songs that have influenced me or that I particularly appreciate, and explore how I might perform them in Hebrew.
The process would involve more than simply translating words from one language into another.
Languages differ in their rhythms, sounds, expressions, and cultural associations. An effective musical adaptation must consider these differences while remaining faithful to the artistic character of the original composition.
In some cases, the challenge may be to preserve the precise meaning of a lyric. In others, it may involve finding an equivalent Hebrew expression that works naturally within the melody and musical phrasing.
I would like to approach these adaptations with artistic sensitivity, respect for their original creators, and attention to the qualities that made the songs meaningful to me.
The principal audience would be Israeli and Hebrew-speaking listeners, although the recordings could also be available internationally.
For me, this project would provide another opportunity to develop my musical career within the Israeli music environment while maintaining my international artistic ambitions.
3. Two Directions of Musical and Cultural Exchange
Although the two projects have different linguistic directions and intended audiences, they share a common idea.
Music can connect people across languages, societies, and cultural traditions.
Translations and adaptations can provide new opportunities to discover familiar and unfamiliar compositions.
From the Songs of Israel would bring Israeli songs into English.
Songs from Abroad would bring international songs into Hebrew.
Together, the projects would explore musical exchange in both directions.
There is also a personal dimension to this approach.
I am an Israeli musician whose artistic interests extend well beyond any single national or musical tradition.
My original music has been written and performed primarily in English, but also in Hebrew.
English is important to my international musical ambitions because it can reach audiences across many countries and cultures.
At the same time, Hebrew is part of my language, cultural environment, and artistic identity.
I do not see these two directions as contradictory.
On the contrary, I believe they can complement each other.
I would like to develop an international musical career while continuing to participate in the Israeli music scene.
These two collections could become part of that artistic approach.
4. My Original Music and Musical Career
The two proposed collections are intended to complement my original musical work, not replace it.
I am a singer-songwriter and musician, and writing and performing my own compositions remains central to my artistic ambitions.
So far, I have released three demo albums featuring original music.
These releases represent different stages of my development as a songwriter, performer, and recording artist.
Looking ahead, I would like to continue recording and releasing my original compositions, including more fully produced studio albums with improved recording, arrangement, mixing, mastering, and overall production standards.
My intention is to develop a more extensive official album catalog that includes both original compositions and selected interpretations of other artists' works.
I believe these activities could support one another.
Recording original songs allows me to develop my own artistic language and express my personal ideas.
Interpreting existing songs offers different opportunities: studying compositions, exploring arrangements, experimenting with languages, and learning from the works of other songwriters and performers.
Both could contribute to my development as an artist.
Ultimately, I would like listeners to recognize my musical identity not only through the songs I write, but also through the way I interpret music written by others.
5. Musical Selection, Translation, and Artistic Interpretation
One of the defining characteristics of both projects would be the personal selection of repertoire.
Rather than attempting to create comprehensive collections of Israeli or international music, I would choose songs that interest me artistically.
These choices might be influenced by my personal experiences, musical preferences, memories, or appreciation of particular composers, lyricists, and performers.
The translations and adaptations would also require individual consideration.
A song is not simply a collection of words accompanied by music.
Its identity often depends on the relationship between melody, rhythm, language, expression, and interpretation.
Translating lyrics for musical performance can therefore involve difficult choices.
Should the translation remain as close as possible to the original wording? Should it prioritize poetic expression? How can the melody accommodate the different syllables and stresses of another language?
These are questions I would like to explore through the creative process.
Where appropriate, I would seek to preserve the original meaning while allowing the new language to function naturally within the composition.
The musical arrangements would likewise be developed according to the needs of each song.
Some interpretations might be relatively simple, based on vocals and acoustic instruments.
Others might involve electronic instruments, additional musicians, or more extensive studio production.
The artistic approach would be determined individually, taking into account both the original work and the permissions obtained for its adaptation.
6. Independent Production and Future Collaborations
At present, I work as an independent, unsigned artist.
I am interested in continuing to develop my musical production capabilities and studio resources, including recording, editing, arranging, and the use of conventional and emerging music technologies.
I have also been developing creative technological projects, including DV Language and DV Music Language, which explore possibilities for digital composition, musical representation, and performance.
These interests could potentially contribute to experimentation and musical production in my future projects.
Initially, I may undertake parts of the creative and production process independently, depending on the resources available to me.
However, I would also welcome opportunities to collaborate with musicians, producers, recording engineers, translators, music publishers, and other professionals.
A more extensive production team could become particularly valuable as the projects develop.
I do not regard being an independent artist as a reason to postpone every musical ambition until a recording contract becomes available.
At the same time, I recognize that professional production, licensing, distribution, promotion, and commercial development require knowledge, resources, and sometimes specialized assistance.
My intention is to approach these matters gradually and responsibly.
7. Copyright, Licensing, and Respect for Original Creators
An essential part of these projects is the recognition that the songs I would like to interpret are the intellectual and artistic works of their original creators and rights holders.
Although recording cover versions is a well-established practice in the music industry, translating or adapting copyrighted lyrics introduces additional legal considerations.
In many jurisdictions, translations and substantial adaptations are treated as derivative works.
This distinction is particularly important because obtaining permission to record an ordinary cover version does not necessarily authorize the translation or rewriting of its lyrics.
For example, under Israel's Copyright Act, 2007, the copyright owner's exclusive rights include the making of derivative works, expressly encompassing translations and adaptations.
Similar principles are recognized in international copyright practices, although specific rules and licensing procedures differ between countries.
Therefore, the development of these projects would require identifying the relevant rights holders and obtaining the appropriate permissions before undertaking any activities for which authorization is legally required.
Depending on the song and the intended use, this could involve:
Permission to translate or adapt the original lyrics.
Authorization to record and distribute the resulting musical adaptation.
Appropriate licensing arrangements for reproduction, digital distribution, and other uses.
Additional permissions for music videos or other audiovisual productions.
Authorization to use existing sound recordings or samples, if applicable.
Proper identification and crediting of composers, lyricists, publishers, translators, and other relevant contributors.
Appropriate agreements concerning royalties, ownership, and the use of the new adaptations.
Where necessary, I would seek professional legal or music-publishing guidance.
In Israel, ACUM (the Israeli Society of Authors, Composers and Music Publishers) is one of the relevant organizations for understanding music licensing and rights administration. International music publishers and other rights administrators may also need to be contacted, depending on the repertoire.
I understand that obtaining licenses to record cover songs, negotiating permission to translate lyrics, and securing permission for particular forms of distribution are not necessarily the same process.
I also recognize that permissions may not always be available, and that some songs might have to be excluded from the projects if the necessary rights cannot be secured.
My intention is to develop both collections lawfully, professionally, and with respect for the creators whose music I would like to interpret.
Neither project is intended to claim ownership of the original compositions or lyrics.
Any contributions involving translation, arrangement, performance, and sound recording would need to be identified and handled according to applicable law and the relevant agreements.
I believe that respecting copyright and the rights of original creators is not merely a legal obligation, but also an important professional and ethical principle.
8. Long-Term Development: Collections of Albums
My vision is to develop both projects as continuing album collections.
Rather than treating them as isolated recordings, I would like to establish recognizable series that could grow as my musical career progresses.
For example, future releases might follow a simple numbered format:
From the Songs of Israel — Vol. 1, Vol. 2, Vol. 3...
Songs from Abroad | שירים מחו״ל — Vol. 1, Vol. 2, Vol. 3...
Each album could contain a different selection of songs.
Some volumes might explore particular genres, periods, or musical traditions, while others could bring together a broader variety of compositions.
I would prefer to maintain flexibility rather than establish restrictive musical categories at the outset.
The pace and scale of production would depend on practical circumstances, including available resources, licensing arrangements, and opportunities for artistic collaboration.
Individual recordings could potentially be released as singles before being collected into albums, depending on the production and distribution strategy.
The projects could also create opportunities for live performances featuring selected adaptations alongside my original songs.
As the collections develop, I would like them to become recognizable components of my overall musical catalog.
9. Reaching Local and International Audiences
One of my long-term ambitions is to reach audiences internationally while maintaining an active connection with Israeli music and Hebrew-speaking listeners.
These two collections could help me pursue both objectives.
Through From the Songs of Israel, I would like to explore the potential for Israeli music to reach listeners who might otherwise have limited exposure to it.
Through Songs from Abroad, I would like to offer my own Hebrew interpretations of international songs to local audiences.
I do not expect translation alone to guarantee international recognition or commercial success.
The quality of the performances, recordings, artistic interpretation, distribution, promotion, and audience engagement would all be important.
Nevertheless, I believe that translating and interpreting songs can create meaningful opportunities for musical discovery and cultural exchange.
Even introducing a single listener to a composition they might never otherwise have encountered could be a worthwhile artistic achievement.
10. Looking Ahead
Both projects remain at the conceptual and planning stage.
I am presenting them publicly because I would like to begin defining their artistic direction and exploring the practical possibilities for their future development.
There are still important decisions to make, including repertoire selection, licensing, translation, arrangements, recording methods, production budgets, distribution, and possible collaborations.
I expect the projects to develop gradually, alongside my original musical work.
At this stage of my career, my principal ambition is to continue creating, recording, and releasing music, improving my production capabilities, and developing opportunities to work with other artists and music professionals.
I hope that, over time, these efforts will result in a substantial catalog of original songs and musical interpretations.
From the Songs of Israel and Songs from Abroad | שירים מחו״ל are two possible parts of that future.
One would bring songs from Israel to the world through English.
The other would bring songs from around the world into Hebrew.
Both would be shaped by my personal musical interests, artistic interpretations, and performances.
And both would reflect something I consider important about music: its ability to travel between people, languages, generations, and cultures while continuing to inspire new interpretations.
References and Further Reading
The following references provide general background on copyright, musical adaptations, licensing, and the distinction between musical compositions and sound recordings.
- State of Israel. Copyright Act, 2007, particularly Sections 11 and 16 concerning exclusive rights and derivative works. World Intellectual Property Organization (WIPO Lex).
- ACUM — Israeli Society of Authors, Composers and Music Publishers. Licensing Information and Conditions.
- ACUM. Distribution Key, including rules concerning translations, lyric modifications, and musical arrangements.
- United States Copyright Office. What Musicians Should Know about Copyright.
- United States Copyright Office. Copyright Law of the United States, Title 17, Section 115, concerning compulsory licenses for making and distributing phonorecords of musical works.
Legal clarification: These references provide general background and do not constitute legal advice. Specific permissions, contractual requirements, and licensing procedures must be verified for each selected song and intended use before production or release.
My Blogs
Blogger: https://ronenkoltonyehuda.blogspot.com/
Medium: https://medium.com/@ronenkoltonyehuda
Substack: https://substack.com/@ronenkoltonyehuda
Comments
Post a Comment