Klezmer is the first comprehensive study of the musical structure and social history of klezmer music--the music of Jewish musicians' guild of Eastern Europe. Author Walter Zev Feldman includes major written sources, as well as interviews with European-born klezmorim, conducted over a period of more than thirty years. Including musical analysis, Feldman draws upon the foundational collections of the late Tsarist and early Soviet periods, plus rare klezmer and cantorial manuscripts.
Inhaltsverzeichnis
- Table of Contents
- epigram
- Acknowledgements
- Preface
- Klezmer Music: An Invocation
- The Name "Klezmer Music" and the Klezmer Revitalization
- Introduction:
- Memory
- Defining Features of Klezmer Music
- The Function and Professionalism of the Klezmer
- National Music
- Gestural Expression and Jewish Dance
- Klezmer as "Fusion" Music
- Principles of Musical Analysis
- Structure
- Part 1: The Klezmer Profession, Social and Artistic Function
- Chapter 1: The Music of the Klezmer Within East Ashkenazic Music
- Derekh HaShas and cultural continuity in Ashkenaz I and Ashkenaz II
- The Musical Expression of Cultural Jewishness
- Essential Social and Musical Developments among East European Jews, ca. 1600-1850.
- Social Conditions and Developments
- Musical Developments
- Music of Liturgical Prayer and Paraliturgical Song
- Professionalism in prayer performance
- Metrical and Non-metrical Religious "Songs"
- The Music of Hasidism
- Genre Distinctions within Hasidic Vocal Music
- Yiddish Song
- Locating Folk Song in Yiddish Song Repertoires
- Multi-Language Songs
- Yiddish Satirical Song - Maskilic Song
- Composed Yiddish Song
- The Influence of Badkhones in Satirical Yiddish Song
- The Musical Professionals: Khazn and Klezmer
- Chapter 2: What's in a Name? The Word Klezmer and Jewish Professional Musicians.
- From Klezmer to Conservatory
- Uses of the Word Klezmer
- Origin of the Word Klezmer: Etymology and Antecedents
- The East-West Divide
- Post-Holocaust Usage of the Word Klezmer
- The Rise of the Jewish Guilds in Central and Eastern Europe (ca. 1540-1600)
- The Klezmer Guild in Sixteenth to Eighteenth Century Poland
- Lets/ Marshalik/ Badkhn
- The Lets, Narr, Spielmann, and Bierfiddler in Germany
- From Klezmer Kapelye to Klezmer Kompania
- Levels of Professionalism Among The Klezmorim
- The Klezmer Ensemble at the end of the Russian Empire
- The Economics of the Klezmer Ensemble
- Conclusion
- Chapter 3: The Klezmer Ensemble
- Klezmer Ensembles and Orchestras: an Overview
- Composition and Transformation of the Early Klezmer String Kapelye: ca. 1600-1940.
- Evidence for the Violin/Tsimbl Duet and Composition of Small Ensembles
- Performance and Accompaniment in the Klezmer String Kapelye: Fidl un Tsimbl
- The Tsimbl (Cimbalom)
- The Hybrid Jewish Orchestra (early- to late- nineteenth century)
- The Clarinet
- The Large Jewish Orchestra (1870s-1930)
- Chapter 4: The Role of Russia in the Study of Klezmer Music
- Views of Klezmer Music in the Russian Cultural Environment: Russkaia muzykal'naia gazeta (1904)
- The Development of Jewish Ethnographic Musical Studies in the Late Tsarist Period.
- Moyshe Beregovski and the Birth of Jewish Ethnomusicology
- Conclusion
- Chapter 5: Khasene: The East European Jewish Wedding
- The East European Jewish Wedding as Viewed from America
- The East European Jewish Wedding in Cultural Perspective
- Progression of the East Ashkenazi Wedding Cycle Week
- The "Black Wedding" and the Expansion of the Penitential Mood
- Conclusion
- Chapter 6: East European Jewish Dance
- The Current Status and Documentation of East European Jewish Dance
- The Nature of East European Jewish Dance
- Gesture in Oratory, Music, and Dance
- Gesture and Persuasion in the Yiddish Language
- Dance in the Jewish Community Context.
- The "Problem" of Couple Dancing
- Exhibition Dancing: Solo, Competitive, and Communicative Dance
- Professional and Semi-Professional Dancers - Tentser
- Dance Within the Family
- Gesture and Mime: the Broyges Tants
- Dave Tarras and Jewish Dance
- The Mediation of Polarities in East European Jewish Dance
- Music and Dance Correlations, and the Jewish Choreographic Synthesis
- Conclusion
- Part 2: Genre and Style in Klezmer Music
- Chapter 7: The Genres and Repertoires of Klezmer Music
- Repertoire and Genre
- The non-Jewish Repertoires: Cosmopolitan and Co-Territorial
- The Core Repertoire
- Genres within the Core Klezmer Repertoire
- The Transitional Repertoire
- Cultural Ramifications of the Four-Fold Repertoire Scheme
- Chapter 8: Moralishe Niggunim, the Musical Genres of the Wedding
- Character of the Wedding Music
- Examples of the Dobriden, Gas Nign and Mazltov from Beregovski and Joel Engel
- Conclusion
- Chapter 9: Rhythmic Melody Among the Ashkenazim: Nign and Zmires
- The Interaction of Instrumental and Vocal Music in Jewish Culture
- Niggunim, Zmires, and Vocal Freylekhs
- Conclusion
- Chapter 10: Older European Components in the Core Dance Repertoire
- Old European Dance Music.
- Hungarian Folklore Scholarship on the Renaissance
- Baroque
- Conclusion
- Chapter 11: The Sher: History and Choreography
- Origin and Meaning of the Word and Dance Sher
- Music of the Sher
- Conclusion
- Chapter 12: North and South in Klezmer Music: Northern Redl and Southern Freylekhs
- Documentation of the Southern and Northern Klezmer Repertoires
- Documentation in the North
- The Dominance of Southern Repertoires in American Sources
- Stylistic Comparison of Northern Redl and Southern Freylekhs
- Freylekhs and the Eighteenth Century German Klezmer Dance Tunes
- The Emergence of the Southern Klezmer Style
- Conclusion
- Chapter 13: Skotshne and Freylekhs
- The Term Skotshne (Skochna) and the Fluidity of Dance Genres within Jewish Culture
- A Survey of the Skotshnes in Beregovski's Listening and Dance Repertoires, and in Commercial Recorded Sources.
- skotshne in written sources (Beregovsk
- Freylekhs Fun der Khupe
- The Skotshne as a "State of Mind"
- Dave Tarras and Skotshne
- Yerme Hescheles and Skotshne
- Conclusion
- Chapter 14: The Khosidl at the Interface of Religious and Secular Expression
- In Search of the Khosidl
- The Khosidl Among the Hasidim and Misnagdim
- Etymology:
- Regional Terminology: Khosidl in the East, the West, and in Transylvania
- Beregovski's Use of Khosidl/Khosid
- Distinguishing Eastern and Western Usage of Khosidl
- The Transylvanian Chaszid Tanc
- Commercial Recordings of the Khosidl Genre
- The Misnagdic Rabbi or the Hasidic Rebbe?
- Wedding References in the Belf Repertoire
- The American Khosidl Recordings
- Khosidl/Husid: Evidence from Gentiles in Moldova and Ukraine
- Early Gentile Documentation of Husid
- Mid- and Late Twentieth-Century Moldavian Use of Husid
- The Khosidl in the Wedding Ritual: Makhetonim Tants, Mitsve Tants, Kosher Tants
- Written Documentation of the Wedding Ritual Dances
- Visual References to Khosidl
- Choreographic Form of the Khosidl
- The Music of the Khosidl
- The Beregovski Khosid Tunes
- Three-Section Khosidls in Freygish
- Rhythmically Dense Khosidls in Minor
- Conclusion
- Chapter 15: Bulgar: a Transnational Klezmer Dance Genre:
- A transnational group of interrelated dances: bulgar, bulgareasca, sirba, hasapiko sirba (serviko), kasap, sirto, and longa.
- The View From Greek Istanbul: Hasapiko/Serba
- Moldavian Bulgareasca and Sirba, Jewish Bulgarish and Bulgar
- Conclusion
- Chapter 16: Postlude
- A Klezmer Legacy
- Appendix I: Overview of Modal Usage in Klezmer Music
- Isues of Mode in Relation to the Klezmer Repertoire
- Turkish Makam and Arabic Maqam
- Modality in Ashkenazic Practice
- Ashkenazic Modes in the Klezmer Repertoire
- Modulation and Tonal Shifts
- Awareness of Turkish Makam in Klezmer Music
- Other musicological terminology as used in this book: Glossary
- Glossary
- Bibliography
- Index
- Online Appendix 2: Archaic Folk Dances: Koylitsch Tants, Patsh-Tants, Shtok, Shuster
- Koylitsh Tants
- Pastukhl
- Shtok Tants
- Shuster
- Patsh Tants
- Conclusion
- Online Appendix 3: Regional Centers of the Klezmorim
- Region 1: Vilna
- Region 2: Volhynia and Podolia: Berdichev
- Region 3: Galicia
- Region 4: Moldova
- Online Musical Examples
- 10 Old Europe: 10.10 (Beregovski Sher no. 191)
- 13 Skotshne: 13.8 (Beregovski Freylekhs no. 121); 13.9 (Beregovski Skotshne no. 22)
- 14 Khosidl: 14.15 (Beregovski Khosid no. 212); 14.16 (Beregovski Khosid no. 213); 14.17 (Beregosvski Khosid no. 214)
