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)