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Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, in addition to the sound component.
Klezmer is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman music, Baroque music, German and Slavic folk dances, and religious Jewish music. As the music arrived in the United States, it lost some of its traditional ritual elements and adopted elements of American big band and popular music. Among the European-born klezmers who popularized the genre in the United States in the 1910s and 1920s were Dave Tarras and Naftule Brandwein; they were followed by American-born musicians such as Max Epstein, Sid Beckerman and Ray Musiker.
Mantle Hood was an American ethnomusicologist. Among other areas, he specialized in studying gamelan music from Indonesia. Hood pioneered, in the 1950s and 1960s, a new approach to the study of music, and the creation of the first American university program devoted to ethnomusicology, at the University of California, Los Angeles (UCLA). He was known for a suggestion, somewhat novel at the time, that his students learn to play the music they were studying.
Robert Edward "Bob" Brown was an American ethnomusicologist who is credited with coining the term "world music". He was also well known for his recordings of music from Indonesia. Many of these recordings, among the first widely distributed and commercially available in the United States, inspired a generation of musicians to study and perform Indonesian gamelan music.
Klezmer-loshn is an extinct derivative of the Yiddish language. It was a kind of argot, or cant used by travelling Jewish musicians, known as klezmorim (klezmers), in Eastern Europe prior to the 20th century.
Dave Tarras was a Ukrainian-born American klezmer clarinetist and bandleader, a celebrated klezmer musician, instrumental in Klezmer revival.
Joel Rubin is an American clarinetist, Klezmer musician, ethnomusicologist, and scholar of Jewish music. Since becoming involved in the Klezmer revival in the late 1970s, he has been researching, teaching and performing Klezmer music and related genres. He has been a member of, or performed with, such groups as Brave Old World, the Joel Rubin Ensemble, and Veretski Pass.
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Yale Strom is an American violinist, composer, filmmaker, writer, photographer and playwright. Strom is a pioneer among klezmer revivalists in conducting extensive field research in Central and Eastern Europe and the Balkans among the Jewish and Romani communities since 1981. Initially, his work focused primarily on the use and performance of klezmer music between these two groups. Gradually, his focus increased to examining all aspects of their culture, from post-World War II to the present. He was among the first of the klezmer revivalists to identify the connection between klezmer and lautare and explore that connection in his scholarly and artistic works.
Alicia Svigals is an American violinist and composer. A co-founder of the Grammy-winning band The Klezmatics, she is considered by many to be the world's foremost living klezmer fiddler.
Hankus Netsky is an American multi-instrumentalist, composer, and ethnomusicologist. He chairs the Contemporary Improvisation Department at the New England Conservatory. Netsky is founder and director of the Klezmer Conservatory Band, an internationally renowned Yiddish music ensemble, and serves as research director of the Klezmer Conservatory Foundation, a non-profit organization dedicated to the preservation and perpetuation of traditional Eastern European Jewish music.
Moisei Iakovlevich Beregovsky was a Soviet Jewish folklorist and ethnomusicologist from Ukraine, who published mainly in Russian and Yiddish. He has been called the "foremost ethnomusicologist of Eastern European Jewry". His research and life's work included the collection, transcription and analysis of the melodies, texts and culture of Yiddish folk song, wordless melodies (nigunim), East European Jewish instrumental music for both dancing and listening, Purim plays, and exploration of the relationship between East European Jewish and Ukrainian traditional music.
Helen Heffron Roberts (1888–1985) was an American anthropologist and pioneer ethnomusicologist. Her work included the study of the origins and development of music among the Jamaican Maroons, and the Puebloan peoples of the American southwest. Her recordings of ancient Hawaiian meles are archived at the Bernice P. Bishop Museum in Honolulu. Roberts was a protege of Alfred V. Kidder and Franz Boas.
Israel J. Hochman was an American klezmer bandleader, music arranger, and Yiddish song accompanist of early Twentieth Century New York City.
Wolff N. Kostakowsky (1879–1944) was a Russian-born klezmer violinist known mostly for his publication of a book of klezmer dance tunes titled International Hebrew Wedding Music, published in New York City in 1916. That book was one of the earliest collections of klezmer repertoire published in the United States.
Pedotser (1828–1902), also pronounced Pedutser in some Yiddish dialects, was the popular name of Aron-Moyshe Kholodenko, a nineteenth century Klezmer violin virtuoso, composer and bandeader from Berdychiv, Russian Empire. He was one of a number of virtuosic klezmers of the nineteenth century, alongside Yosef Drucker "Stempenyu", Yehiel Goyzman "Alter Chudnover" and Josef Gusikov.
Avraham-Yehoshua Makonovetsky was a Russian-Jewish Klezmer violinist who acted as a key informant to the Soviet Ethnomusicologist Moisei Beregovsky in the 1930s. His extensive handwritten manuscripts, which are now in the collection of the Vernadsky National Library of Ukraine, serve as a rare example of nineteenth-century Klezmer violin music.
Alter Chudnover, whose real name was Yehiel Goyzman or Hausman, was a nineteenth century Klezmer violinist from the Russian Empire. He was one of a number of virtuosic klezmers of the nineteenth century, alongside Yosef Drucker "Stempenyu", A. M. Kholodenko "Pedotser" and Josef Gusikov. He was also an early teacher to the violinist Mischa Elman.
Stempenyu was the popular name of Iosif Druker, a klezmer violin virtuoso, bandleader and composer from Berdychiv, Russian Empire. He was one of a handful of celebrity nineteenth century Jewish folk violinists from Ukraine; others included Aron-Moyshe Kholodenko "Pedotser" and Yechiel Goyzman "Alter Chudnover" from Chudniv. Sholem Aleichem loosely based his 1888 novel Stempenyu: A Jewish Novel on the real-life Stempenyu; it was adapted into various stage and film versions in the twentieth century.
Belf's Romanian Orchestra was a Jewish music recording ensemble from the Russian Empire. Although little is known about them, their numerous recordings for Syrena Rekord during the period of 1911 to 1914 are among the earliest documented examples of recorded klezmer music and are played in a style very different from the better-known American klezmer recordings of the 1910s and 1920s.
References
- ↑ https://markslobin.com/
- ↑ "Mark Slobin - Faculty, Wesleyan University".
- ↑ Jewish currents - Volume 32 - Page 26 Morning Freiheit Association - 1978 "Editor of Asian Music, the journal of the Society for Asian Music, and vice-president of the Society for Ethnomusicology, he is currently researching immigrant music in the USA."
- ↑ "Mark Slobin" [speaker bio] (2003). Conference: "Celebrating Jewish Music at Yale University", April 12-13, 2003. Yale University Library. library.yale.edu. Retrieved 2017-01-05.
