Cross-Repertoire Motifs in Liturgical Music of the Ashkenazi Tradition: An Initial Lay of the Land


The earlier version, entitled “Cross-Repertoire Motifs in the Liturgical Music of Ashkenazi Tradition,” was presented at the World Congress of Jewish Studies, Jerusalem, 2013.  This article is an expanded and elaborated version of that paper.

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Mother Tongue: Music of the 19th century Klezmorim

1. Cili's Kale Bazingns
2. Bughici's Tishn Nign
3. Gut Morgn
4. Unzer Toyrele
5. Bolgarskii Zhok
6. Pedotser's Tants
7. Fried's Sher
8. Yankowitz's Doina
9. Druker's Bulgarish
10. Beckman's Hora
11. Rumeynishe Sirba
12. Gute Nakht Sirba
13. Solinski's Rumeynishe Fantazi
14. Bessaraber Khusidl
15. Belf's Khusidl>br> 16. Leibowitz's Khusidl
17. Mazeltov, Mazeltov

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Se il violinista cade dal tetto… L’Italia nel revival della “musica klezmer” [If the Fiddler Falls Off the Roof… Italy in the “Klezmer Music” Revival]

Examines the popularity of klezmer music in Italy, where it has become synonymous with Jewishness and denotes a musical culture that is believed to live in a transnational and multicultural world outside of history. Recent scholarship on the definition and history of traditional klezmer repertoires is reviewed, and general trends in the klezmer revival are described.

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Articles in Journals

The Performance of the Judeo-Spanish Repertoire

The Present study deals with (i) the performance of the Judeo-Spanish repertoire maintained until today by the Sephardi Jews from two main areas of their Diaspora - the eastern Mediterranean (the Ottoman area, later Turkey, Bulgaria, Greece, and Yugoslavia), and the western Mediterranean (Morocco), (ii) the performance of the secular and paraliturgical Sephardi repertoire sung in Judeo-Spanish.

Material Type: 
Articles in Journals