Zugl.: Giessen, Univ., Diss., 2009

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Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 60-67). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29275

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded Mar. 23, 1992, Feb. 6, 1995, Apr. 1, 2002, and Sept. 23, 2002. Includes bibliographical references (p. 57-60).

Thesis (B.A.)--Harvard College, Cambridge, Mass., 1996. / Includes bibliographical references (p. 60-63) and discography (p. 57-59).

Thesis (B.A.)--Harvard College, Cambridge, Mass., 1996. / Includes bibliographical references (p. 60-63) and discography (p. 57-59).

Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style.

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Klezmer, a type of Eastern European Jewish secular music brought to the United States in the late 19th and early 20th century, originally functioned as accompaniment to Jewish wedding ritual celebrations. In the late 1970s, a group of primarily Jewish musicians sought inspiration for a renewal of this early 20th century American klezmer by mining 78 rpm records for influence, and also by seeking out living klezmer musicians as mentors. Why did a group of Jewish musicians in the 1970s through 1990s want to connect with artists and recordings from the early 20th century in order to "revive" this music? What did the music "do" for them and how did it contribute to their senses of both individual and collective identity? How did these musicians perceive the relationship between klezmer, Jewish culture, and Jewish religion? Finally, how was the genesis for the klezmer revival related to the social and cultural climate of its time? I argue that Jewish folk musicians revived klezmer music in the 1970s as a manifestation of both an existential search for authenticity, carrying over from the 1960s counterculture, and a manifestation of a 1970s trend toward ethnic cultural revival. I implicitly argue that both waves of klezmer popularity in America are reflections of the long project of Jews negotiating identities as both American and Jewish—the attempt to fit in from the margins while maintaining or being ascribed certain ethnic differences—in the United States throughout the 20th century. / Master of Arts

ABSTRACT This study delves into the notion of klezmer as both a link in the chain of Jewish continuity and a mirror to the multifarious variations of Jewish identification. It explores the music in relation to various events within the last century of Jewish history, such as the Jewish enlightenment movement, migration from Eastern Europe and the Holocaust, and draws on various discourses of memory and identity to frame and elucidate the music. It also proposes the theory that klezmer could indeed be an archetype, comprised of mnemonic and archetypal musical devices, that resides deep within the Jewish collective unconscious and rouses nostalgic yearnings to reclaim a cherished yet imperilled heritage. Embracing this notion of klezmer as archetype sheds light on the contemporary klezmer scene, particularly in Germany, Poland and the United States of America, and the many social, cultural and moral sensibilities that define it. Paving the way for the various avenues of Jewish, and often non-Jewish, memory work and identification klezmer not only sounds the synthesis of cultural, social and religious boundaries, but also emerges as a bastion of Jewish continuity.