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KLEZMER MUSIC

KLEZMER MUSIC
Klezmer music originated in the 'shtetl' (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as 'klezmorim', performed at joyful events ('simkhes'), particularly weddings, since the early middle age till the Nazi and Stalinian prosecutions. It was inspired by secular melodies, popular dances, 'khazones' (khazanut, Jewish liturgy) as well as by the 'nigunim', the simple and often wordless melodies, intended by the 'Hasidim' (orthodox Jews) for approaching God in a kind of ecstatic communion. In (mutual) contact with Slavic, Greek, Ottoman (Turkish), Gypsy and -later- American jazz musicians, using typical scales, tempo and rhythm changes, slight dissonance and a touch of improvisation, the 'klezmorim' acquired the ability to evoke all kinds of emotions, through a very diversified music. back home "Klezmer: it's not just music - it's a way of life!" (Hankus Netsky) A klezmer kapelye (~1910) Attention, please: Pronounce 'kleZmer' and not 'kleTzmer'! Feidman

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Klezmer Music 101 - What is Klezmer Music - Traditional Jewish Music By Megan Romer Updated October 04, 2016. Originally, the word "klezmer," from the Yiddish language, meant "vessel of song" and later, simply "musician." However, it has come to characterize the style of secular music played by Ashkenazi Jews for joyful celebrations such as weddings. What Does Klezmer Music Sound Like? African Music -Part One by Dumisani Maraire, Ph. D. About His virtuosity is legendary, his versatility stunning. And as always, Andy Statman's roots are showing. adapted from Sara Eisen’s essay in the Jerusalem Report HAD THERE BEEN a planetarium in 19th-century Galicia, or a kosher deli in Depression-era Kentucky, Andy Statman's music might have been playing in the background. Meandering through time, geography and culture, the man and his inimitable hybrid sound move freely among the before, the after, and the present. Andy Statman, one of his generation's premier mandolinists and clarinetists, thinks of his compositions and performances as "spontaneous

Michael Blake (composer) Michael Blake (b. 1951 in Cape Town) is a South African contemporary classical music composer. The composer studied at the University of the Witwatersrand in Johannesburg and lectured at Goldsmiths College, University of London. He returned to South Africa in 1998 and settled in Grahamstown where he teaches composition and is director of the annual contemporary music festival, New Music Indaba. At the 1999 meeting of the International Society for Contemporary Music held in Bucharest, Blake made a successful bid for South Africa’s re-entry into the ISCM after an absence of nearly four decades. He was the founding President of the ISCM South African Section, NewMusicSA and continues to serve as a board member.NewMusicSA: The International Society for Contemporary Music, South African Section His music, based on 20th-century music, is also influenced by African music.[1]

Traditional Irish music Traditional Irish music is a full body experience: the upbeat tempos compel you to dance a jig, clap your hands and join in. And that's what trad music is all about, joining in and having the craic (fun). Knowing your seisúns from your céilís First things first, learn the lingo. Cajun Music: Alive and Well in Louisiana By Ann Savoy One of French Louisiana's most vital attractions is its music. Acadian music has undergone vast changes since arriving in Louisiana, to a large extent because those who play it today live so differently from earlier residents. Understanding Cajun music in all its variety is a large undertaking but an important one. A Short History of Brazilian Music In Rio de Janeiro, in the house of a Bahia-born ialorixá (priestess) who had arrived in Rio as a young woman (part of the exodus of emigrating Bahians leaving for the capital in search of work around the time of Brazil's abolishment of slavery), the music (in the front part of the house anyway, more on out back in a bit) was... ...So everybody has heard of killer bees, right? The Africanized version of European honeybees? The music in the salon of Tia Ciata's house was an Africanized version of the music from which it had descended (polkas, waltzes, mazurcas) after first being played some 40 years earlier for the monied classes by musicians from Brazil's darker classes. The Brazilians took the European rhythms' metronomicity and made it -- subtly but unmistakably -- breathe, giving it ginga (sway), and in doing so freed the music to swoop, hover, dive and soar.

Search Detail The music of Indonesia is as profoundly diverse and magnificent as its geography, religion, and culture. "Bhinneka Tunggal Ika" is a national motto in the old Javanese language that means, "Unity in Diversity." Diversity of styles is a trademark of Indonesian music. The role of the gamelan orchestra throughout the Indonesian archipelago is quite extensive and important.

What is Klezmer Music? - The Klezmer Fiddle In short, "Klezmer" is the name now given to the traditional Jewish wedding music, which once flowered for centuries in the Shtetls of Eastern Europe, prior to the virtual destruction of Eastern European Jewish culture in the Holocaust... The actual word "Klezmer" actually is derived from the Yiddish phrase "Vessels of Song" - it therefore refers to the musicians who once played this beautiful music in the lost Shtetls of Eastern Europe. Above all the musical styles which influenced the traditional Klezmer musicians of Eastern Europe, the Romanian influence seems to be the strongest and most enduring. This fact is reflected in the dance forms found throughout the entire surviving Klezmer music repertoire, e.g. Horas, Doinas, and Bulgars etc.

Native American Music Online Radio Stations PowWows.com has 2 online radio stations that play Native American Music 24/7 FREE! Listen to your favorite artists and drum groups on your computer or mobile device. Add your music to our station. Pow Wow Radio Antônio Carlos Jobim It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source. Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning.

Colin McPhee Born in Montreal, Canada, Colin McPhee was a distinctive and imaginative composer, ethnomusicologist, pianist, and writer, most noted for absorbing the sounds of Balinese music into his own compositions. He came to the U.S. to study at the Peabody Institute in Baltimore, where his composition teacher was Gustav Strube (1867-1953). He returned to Canada to study piano with Arthur Friedheim in Toronto. The Toronto Symphony gave his First Piano Concerto a world premiere in 1924.

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