“The performing arts remained important during the ghetto period among both the Central and Eastern European refugee communities, and during this time the two groups increasingly united over music” (Reichman 76). Between 1940 and 1943, several musical concerts were held including performances from Raja Zomina as well as solos by the baritone cantor Hersch Friedmann “the Yiddish folk singer and master of Oriental Jewish songs”, cantor Max Warschauer, Greta Kleiner “(a well-known Yiddish folk singer and formerly a successful Western art song performer in Vienna)”, Lia Morgenstern, and piano accompaniments by Max Retzler, Siegfried Sonnenschein, and Professor Ervin Marcus (Yating 110).

Beyond just actors and plays, Jews also participated in musical theater during their time in Shanghai. Similar to their actor counterparts, Jewish musicians had to acclimate themselves to their new surroundings of Shanghai. During the late 1930’s and for most of the 1940’s, Jewish musical influence in Shanghai was significant. With the influx of Jewish performers from the west, there were early conflicts between Jewish and Chinese musicians. In his journal, “Ethnomusicology Forum: A German-Jewish Musician in Shanghai”, Christian Utz writes, “conflicts between Europeans and Chinese in Shanghai’s music scene in the late 1930’s and early 1940’s intensified by the presence of significant Jewish refugees fleeing Nazi Germany” (Utz 120).