Klezmer: Music, History, and Memory

Contents

• 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)