Walter Zev Feldman (Visiting Professor, Visiting Professor, NYU Abu

Klezmer

Music, History, and Memory

• Gebundenes Buch

Produktbeschreibung

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.

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Produktdetails

• Verlag: Oxford University Press Inc
• Seitenzahl: 440
• Erscheinungstermin: 1. November 2016
• Englisch
• Abmessung: 243mm x 165mm x 35mm
• Gewicht: 862g
• ISBN-13: 9780190244514
• ISBN-10: 0190244518
• Artikelnr.: 47863619

Autorenporträt

Walter Zev Feldman is a leading researcher in both Ottoman Turkish and Jewish music. During the 1970s he spearheaded the revival of klezmer music. His book, Music of the Ottoman Court (Berlin, 1996) is taught as a basic text world wide. He is also an authority on East European Jewish dance, forming part of his current research on the role of gesture in the performing arts.

Inhaltsangabe

* 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)