Jewish Music

TheMusic

Wanderertheof

TheMusic

Wanderertheof

Jewish Music

Published by the B.C. Teachers’ Federation Lesson Aids Service

Valerie DareMoshe DenburgApril SalterDebra Trca

Copyright ©1996 Britannia World Music Program and Moshe Denburg

Materials may be reproduced for classroom use only.Any other uses require the permission of the authors.

Britannia World Music ProgramBritannia Secondary School1001 Cotton DriveVancouver, BC V5L 3T4Tel: (604) 255-9371Fax: (604) 255-8593

Distributed byLesson Aids Service – B.C. Teachers’ Federation100–550 West Sixth AvenueVancouver, BC V5Z 4P2Tel: (604) 871-2283 • 1-800-663-9163Fax: (604) 871-2293

Cover illustration by Denise GalayText design and typesetting by John McLachlan

For Millennia, Jews have been global wanderers, living among many cultures nottheir own. To preserve their cultural identity Jews have found it wiser to incor-porate foreign cultural elements into the Jewish mainstream than to resist

absolutely all other influences. Jewish music is, then, a cross-cultural blend–the musicof the wanderer.

The Middle Eastern ContextTo place Jewish Music in its root context, a brief outline of Middle Eastern musicfollows.

Music of the Middle East generally belongs to the modal, or melodic traditions ofmusic. Here harmony, as it has been practised in the Western world, is not emphasized.Rather, melodic intricacy and ornamentation, including ¼ tones, and rigorous rhythmicdevelopment–these are the salient features. It should be noted that today, in popularforms, Western style harmony can also be heard; but the source traditions of music haverarely borrowed Western harmony.

The functions of music in the Middle East can be described as follows:1. Music as a Religious Vehicle – This includes the music of communal worship (in

mosque, synagogue, and church), and the music of mystic ritual (Sufis, Hassidim, andothers).

2. Music as a Celebratory Vehicle – This is music of both a popular and religious natureplayed at life passage events (weddings, bar-mitzvas, bat-mitzvas, anniversaries, etc.).

3. Music as Art/Entertainment – This includes classical and popular forms, bothinstrumental and vocal music. It also includes certain dance forms such as belly dancingand folk dancing in general.

The Three Streams of Jewish MusicAshkenaziThe music that originated in Eastern Europe (the Balkans, Romania, Bulgaria, amongothers) and moved westward and northward throughout Europe and later into NorthAmerica, belongs to the Ashkenazi tradition. It includes Klezmer music. Klezmermeans “an instrument of song,” from the Hebrew noun kli zemer. It has come to denotethe musician himself, thus incorporating a point of view that regards the musician asthe vehicle or instrument of a higher source. Ashkenazi refers to Jews who in the thcentury began to settle along the banks of the Rhine. Since these Jews are the forebearsof much of European and Western Jewry, Ashkenazi today refers to Jewish people of

IntroductionJewish Music; the Music of the Wanderer

Tzimmes

the Western World, or even more to the point, Jews of a Western cultural orientation.Other than Hebrew-the tongue of the Bible-the language of speech and song is

mainly Yiddish ( Judeo-German); nowadays, English and other local languages havecome to play a large role in Jewish Music of the Ashkenazi stream.

Yiddish – Beginning as an offshoot of Medieval German in the th century, Yiddishdeveloped as a unique hybrid of German, Hebrew, and whatever other languagesJewish people spoke in the various countries where they dwelled. Thus, there are Slavic,Polish, and many other words in Yiddish.SephardiThis stream refers to musicthat originated around theMediterranean, from Spainand North Africa to Turkeyand Greece. Sephardi literallymeans Spanish, and alludes tothe fact that until the Spanishexpulsion of all non-Chris-tians in , a very fruitfulJewish culture existed inSpain; when these Jewishcommunities were expelledthey migrated to places allaround the Mediterraneanbasin-Morocco, Egypt,Turkey, Greece, etc. They tookwith them a th centuryversion of Spanish called Ladino ( Judeo-Spanish). Much musical repertoire is in thislanguage. The interaction between these peoples and the communities in the countrieswhere they lived, gave rise to a cultural expression that incorporates many melodic andrhythmic elements of the Mediterranean.

Ladino – Ladino is a form of Spanish, ca. th century, which emigrated with theJewish people upon their expulsion from Spain in . Over the centuries it hasintegrated many Hebrew words as well as words from the various tongues spokenwhere these Jews made their homes.MizrahiThe music of Eastern Jews, from the Eastern Mediterranean and eastward into Asiacan be designated as the Mizrahi stream of Jewish Music. Mizrahi literally meansEastern; this music is the child of the interaction between Jewish people and thecultures of Arabia, Turkey, and Persia. Generally, this encompasses the followingcountries: Israel, Egypt, Jordan, Syria, Lebanon, Iraq, Iran, and as far east as India. Insong, the main language used is Hebrew; local languages have also been used, mostnotably, Arabic.

Additional information on Jewish Music can be found on the Internet athttp://www2.portal.ca/~jsiegel/tzimmes.html

The following components of a world music unit on Jewish music have beencompiled with the invaluable help of Moshe Denburg, who determined the focusand content of this complex topic and wrote much of the material. The structure ofthe unit is intended to enable the integration of Jewish music into a number ofcurricular areas, including Social Studies, English/Language Arts, Dance, VisualArts, and Technical Studies. Alternatively, the unit can be implemented in its entiretyin nine to twelve hours of instructional time. The importance of involving studentswith the artist in a performance/workshop situation cannot be overemphasized.While much can be done with the materials and suggested learning resources in-cluded with this unit, it takes an artist like Moshe to breathe life into the conceptsbehind Jewish Music; the Music of the Wanderer.

Valerie DareApril SalterDebra Trca

Geographic Background BACKGROUND INFORMATION MAP

STATISTICSPopulationEthnic groupsLanguagesReligionsGovernmentAdult literacy RATING

COMPLETION ACTIVITY

DEMOGRAPHIC PIE CHART

Israel

0 1 2 43 5

Geographic Background

no security much security

◆ Graph the information about the % of each racialgroup comprising the population of Israel.

◆ Label the parts of your graph.

BACKGROUND INFORMATIONThe Kingdom of Israel was first established around 1200 b c.A series of invasions followed, and in a d 70 the land becamepart of the Roman Empire when the temple in Jerusalem wasdestroyed. The Romans deported the Jews throughout theknown world, including France, Germany, Portugal, Spain,and the Middle East. This event became known as theDiaspora.

More recently, in the 1930s and 1940s, Jews in centralEurope were persecuted during the Nazi regime in Germanyand millions were killed. Only in 1948 was Israel regained asthe homeland of the Jews.

Today, Jews live around the world, many in the Americas.Although there has been conflict with the Palestinian peopleover control of land bordering Israel and Jordan, peace talkswith the Palestine Liberation Organization are underwayand a permanent peace is anticipated.

MAP

STATISTICSPopulation 5,000,000Ethnic groups Jews 83%, Arabs 17%Languages Hebrew, ArabicReligions Judaism, Islam, ChristianityGovernment Democratic RepublicAdult literacy 92% RATINGRate the degree of peace and security of the Jewish peoplethroughout their history. Circle a number.

COMPLETION ACTIVITYUse the background information. For almost two thousandyears the Jews had no homeland and lived in Europe and the_________ _________. The event that caused them to livein other countries is called the ___________. In ________,Israel became a country. Since then there has been conflictwith the ___________ ____________ ____________.

DEMOGRAPHIC PIE CHART

Israel

0 1 2 43 5

Map Questions◆ Which three countries border Israel?◆ Which city is the capital of Israel?◆ What are the names of two bodies of salt water

along Israel’s coastline?

Jerusalem

Haifa

Tel-Aviv Yafo

Gaza

Mediterranean Sea

Gulfof

Aqaba

Dead Sea

Sea of Galilee

SAUDI ARABIA

EGYPT

LEBANON

SYRIA

JORDAN

GAZA STRIP

GOLANHEIGHTSIsrael

Socio-Political Focus Israel DIRECTIONSLabel the countries associated with the three streams of Jewish Music.

Ashkenazi Mizrahi

Sephardi

ISRAEL

Graphic courtesy of Moshe Denburg

Socio-Political Focus Israel DIRECTIONSHave students use the diagram below to find out the relationship between the three streams of Jewish music.

Ashkenazi Mizrahi

Sephardi

TheBalkans

EasternEurope

WesternEurope

TheAmericas

Greece

Spain

Morocco

NorthAfrica

EgyptJordan

EastAsia

Iraq

Lebanon

Syria

Turkey

ISRAEL

Graphic courtesy of Moshe Denburg

Viewing Guide Jewish Music DIRECTIONSWatch the first ten minutes (the scenes filmed in the courtyard in Cracow) of the video, Itzhak Perlman; In theFiddler’s House, and answer the following questions:

1. Who is the newcomer who is supposedly doing his finalaudition?

3. In which city does Perlman’s adventure begin?

2. What kind of music can this artist call his own?

4. Why is it appropriate to travel to Cracow, Poland to playKlezmer music?

5. Name the instruments being played in the courtyard. 6. What is the name of the band Itzhak Perlman is playingwith?

7. Which two instruments play the introduction to thesong?

8. The singing is in the Yiddish language. In whichcountry or countries was Yiddish spoken?

9. EVALUATION How well do you think Itzhak Perlmanplays Klezmer music?

10. CHOICE Of the instruments being played, which do youprefer?

Why?

11. MAKE YOUR OWN QUESTION 12. MAKE YOUR OWN QUESTION

Viewing Guide Jewish Music DIRECTIONSHave students watch the first ten minutes (the scenes filmed in the courtyard in Cracow) of the video, Itzhak Perlman;In the Fiddler’s House, and answer the following questions:

1. Who is the newcomer who is supposedly doing his finalaudition?

The newcomer is Itzhak Perlman.

3. In which city does Perlman’s adventure begin?

The adventure begins in a courtyard in the Jewish quarter ofCracow, Poland.

2. What kind of music can this artist call his own?

Perlman can call Klezmer music his own.

4. Why is it appropriate to travel to Cracow, Poland to playKlezmer music?

Klezmer music comes from Poland.

5. Name the instruments being played in the courtyard.

Instruments include the violin, clarinet, double bass, andaccordion.

6. What is the name of the band Itzhak Perlman is playingwith?

The band is called Brave Old World.

7. Which two instruments play the introduction to thesong?

The accordion and the clarinet play in the introduction.

8. The singing is in the Yiddish language. In whichcountry or countries was Yiddish spoken?

Yiddish was spoken by Jews in Poland and Eastern Euro-pean countries.

9. EVALUATION How well do you think Itzhak Perlmanplays Klezmer music?

10. CHOICE Of the instruments being played, which do youprefer?

Why?

11. MAKE YOUR OWN QUESTION 12. MAKE YOUR OWN QUESTION

Listening Guide Jewish Music DIRECTIONS

STYLE

vocal or instrumental

fast or slow

simple or complex

repetitive or changeable

melismatic or one note per syllable

INSTRUMENTS

xylophone penny whistle dumbek

clarinet piano

drum kit accordion

banjo bass

violin gong trumpet

MY FEELINGS THE PICTURE I SEE

happy or sad

peaceful or spirited

romantic or angry

powerful or weak

confident or shy

calm or energetic

homesick or content

Listening Guide Jewish Music DIRECTIONSHave students listen to Fun Tashlikh (At the Casting Away of Sins) from the recording, Rhythm & Jews, by theKlezmatics, and circle the appropriate word or words.

STYLE

vocal or instrumental

fast or slow

simple or complex

repetitive or changeable

melismatic or one note per syllable

INSTRUMENTS

xylophone penny whistle dumbek

clarinet piano

drum kit accordion

banjo bass

violin gong trumpet

MY FEELINGS THE PICTURE I SEE

happy or sad

peaceful or spirited

romantic or angry

powerful or weak

confident or shy

calm or energetic

homesick or content

Song Writing Jewish Music DEFINITION MODEL SONG LYRICS

DEFINITION:

DIRECTIONS THE NEW SONG

TITLE:Step 1: Watch the teachermake the first line.

Step 2: Help the teachermake the second line.

Step 3: Make a third linewith the teacher’s help.

Step 4: Write a fourth lineyourself.

WHAT IS A ?

Song Writing Jewish Music DEFINITION MODEL SONG LYRICS

DEFINITION:

folk – having to do with the common people, theirbeliefs, legends, customs.

often describes an important event in people’s lives.

sometimes has a moral or teaching purpose.

DIRECTIONS THE NEW SONG

In the Tiny Grate

1st verseIn the tiny grate burns a flickering flameAnd the room is warm,And the rebbe* teaches little children,Komets Aleph O.**

RefrainSay it after me learn your lesson well,Start with Aleph Bet,Repeat it once again, again and yet again,No word should you forget.

2nd verseWhen dear children, you will older be,You will grasp it all,The pain that lies within these tiny letters,And the tears that fall.

Refrain

*rabbi, or teacher / **first Hebrew alphabet lesson

TITLE: In the Tiny Grate

3rd verse

RefrainSay it after me, learn your lesson well,Start with the Aleph Bet,Repeat it once again, again and yet again,No word should you forget.

Step 1: Watch the teachermake the first line.

Step 2: Help the teachermake the second line.

Step 3: Make a third linewith the teacher’s help.

Step 4: Write a fourth lineyourself.

WHAT IS A Folk Song ?

x {

x {

x {

x {

Dance Zemer Atik (An Ancient Song) DIRECTIONSLocate a picture showing traditional Jewish costumes and draw it in the space below.

DESCRIPTION1. Make a circle holding hands.2. Everyone faces right, looking at the back of the person

ahead of them, still holding hands.3. The count in for the music begins: 1-2-3-4. The

metronome at first should be no more than q = 1004. The dance is in two sections, A and B, each repeated 4

times.5. The dance is repeated as many times as needed. One

idea is to increase the tempo slightly with eachrepetition.

Resource:Zemer Atik on accompanying cassette(available from Britannia)

COSTUME AND/OR INSTRUMENTS

ILLUSTRATION AND/OR STEPS DIAGRAMSection A (R = right foot, L = left foot, – = still, silent)Beats 1 2 3 4 5 6 7 8Steps R L R L R – – –Hand claps – – – – – xx – x

Stepping with the right foot first, everyone takes 5 steps around the circle, After the 5th step, on the 6th beat, every-one releases the hands they are holding and standing still, claps twice on the 6th beat, silent on the 7th, and once onthe 8th.Section A is repeated 4 times.

SECTION B ( upright, arms raised bent forward, arms down)Beats: 1 2 3 4 5 6 7 8Steps R – L – R L R LDirection fwd – fwd – bk bk bk bkPosition

In Section B, everyone releases hands (i.e. keeps hands released, since Section A ends with hands released) andfaces the centre of the circle.Two slow steps forward with arms raised are followed by 4 quick steps with body bent somewhat forward and armsflung down. Section B is repeated 4 times.Dance instructions courtesy of Moshe Denburg.

Dance Zemer Atik (An Ancient Song) DIRECTIONSHave students follow the directions below. For dance instruction, you are encouraged to consult the resource personfor this unit, Moshe Denburg, or attend the dance sessions at The Jewish Community Centre, 950 West 41st Avenuein Vancouver, (Tel. -.)

DESCRIPTION1. Make a circle holding hands.2. Everyone faces right, looking at the back of the person

ahead of them, still holding hands.3. The count in for the music begins: 1-2-3-4. The

metronome at first should be no more than q = 1004. The dance is in two sections, A and B, each repeated 4

times.5. The dance is repeated as many times as needed. One

idea is to increase the tempo slightly with eachrepetition.

Resource:Zemer Atik on accompanying cassette(available from Britannia)

COSTUME AND/OR INSTRUMENTS

ILLUSTRATION AND/OR STEPS DIAGRAMSection A (R = right foot, L = left foot, – = still, silent)Beats 1 2 3 4 5 6 7 8Steps R L R L R – – –Hand claps – – – – – xx – x

Stepping with the right foot first, everyone takes 5 steps around the circle, After the 5th step, on the 6th beat, every-one releases the hands they are holding and standing still, claps twice on the 6th beat, silent on the 7th, and once onthe 8th.Section A is repeated 4 times.

SECTION B ( upright, arms raised bent forward, arms down)Beats: 1 2 3 4 5 6 7 8Steps R – L – R L R LDirection fwd – fwd – bk bk bk bkPosition

In Section B, everyone releases hands (i.e. keeps hands released, since Section A ends with hands released) andfaces the centre of the circle.Two slow steps forward with arms raised are followed by 4 quick steps with body bent somewhat forward and armsflung down. Section B is repeated 4 times.Dance instructions courtesy of Moshe Denburg.

Musical Instruments DIRECTIONS

NAME & CLASSIFICATIONmembranophone idiophone chordophone aerophone

ORIGINS & GEOGRAPHICAL DISTRIBUTION

PERFORMANCE DETAILS MATERIALS FAMILY

LOOKS LIKE RELATED INSTRUMENTS

wood

metal

skin

bone

plastic

SIZE

PITCH RANGE

Jewish Music

Musical Instruments Jewish Music DIRECTIONSHave students use the cd-rom, Musical Instruments, to research the clarinet.

NAME & CLASSIFICATIONClarinet membranophone idiophone chordophone aerophone

ORIGINS & GEOGRAPHICAL DISTRIBUTION

The clarinet was developed from thechalumeau in the early th century by theGerman instrument-maker J.C. Dennerand is used all over the world whereWestern music is played.

PERFORMANCE DETAILS MATERIALS FAMILY

LOOKS LIKE RELATED INSTRUMENTS

Woodwindwood ✔

metal

skin

bone

plastic ✔

66cm (26in) long

three and a half

octaves

SIZE

PITCH RANGE

Basset–hornPungiDipleZummaraLauneddasChalumeau

One of the most versatile of all modern instruments, the clarinet canbe heard in orchestras, military bands and jazz groups. It is one of theprincipal instruments of Klezmer ensembles.

Musicians DIRECTIONSDesign an album cover which expresses the spirit of the music of the group/artist you choose.

ALBUM COVER

GROUPName:Rhythm Style:Instruments Played:

A Song Title:Genre/Purpose for Song:

GROUPName:Rhythm Style:Instruments Played:

A Song Title:Genre/Purpose for Song:

GROUPName:Rhythm Style:Instruments Played:

A Song Title:Genre/Purpose for Song:

GROUPName:Rhythm Style:Instruments Played:

A Song Title:Genre/Purpose for Song:

Jewish Music

Musicians Jewish Music DIRECTIONSHave students research each of the following groups, choose one, and design an album cover which expresses thespirit of their music.

ALBUM COVER

GROUPName: KlezmaticsRhythm Style: Klezmer rockInstruments Played: synthesizer

bassdrumsdumbekclarinet

A Song Title: Fun Tashlikh*Genre/Purpose for Song:celebration* From Rhythm and Jews

GROUPName: Flying Bulgar Klezmer BandRhythm Style: Hora ¾Instruments Played: trumpet

clarinetaccordionxylophoneacoustic bass

A Song Title: Kandel's Hora*Genre/Purpose for Song:celebration* From the Flying Bulgar Klezmer Band

GROUPName: TzimmesRhythm Style: Klezmer 2/4, BulgarInstruments Played: guitars

accordiontambourinewood block

A Song Title: Odessa Bulgarish*Genre/Purpose for Song:celebration* From Sweet and Hot

GROUPName: Mazel Tov!Rhythm Style: KlezmerInstruments Played: drum kit

trombonesaxophoneflutetrumpetclarinet

A Song Title: Dance Medley!*Genre/Purpose for Song:dance music played at weddings* From Mazel Tov! Music for a Jewish Wedding andother joyous occasions.

Jewish MusicReligion DIRECTIONSUse the text on the opposite page to make notes in point form on each of the topics below. Notes on Judaism aredone for you as an example.

RELIGIONJudaism

■ the dominant religion in Israel■ only one God■ Jews can relate directly to God

• there is no intermediary■ the rabbi’s responsibilities are:

• religious education• religious guidance• religious services• to interpret Jewish law• to guide spiritual life

EXAMPLEA Morning Prayer

The Priestly BlessingMay the Lord Bless you and keep you;May the Lord cause the light of His countenance to

shine upon you and be gracious unto you;May the Lord manifest His spirit unto you,

and may He give you peace.

Prayer courtesy of Moshe Denburg

FOCUSThe Cantor

■ Job Description

■ Past

■ Today

HISTORYA History of Cantorial Music

■ Earliest Times

■ 6th and 7th Centuries

■ European Traditions

■ Today

Jewish MusicReligion DIRECTIONSHave students use the text below to make notes in point form on the activity sheet on the facing page. The example ofa prayer chant remains the same. The information on Judaism is given in point form on the activity sheet as an exemplar.

RELIGIONJudaismJudaism is the dominant religion in Israel. Jews worshiponly one God and obey His laws. Because there is nointermediary between God and humanity, Jews canrelate directly to Him. In Judaism, the rabbi is theperson in the community who is responsible for reli-gious education, guidance, and services in the syna-gogue. Rabbis interpret Jewish law and guide thespiritual life of the people.

EXAMPLEA Morning Prayer

The Priestly BlessingMay the Lord Bless you and keep you;May the Lord cause the light of His countenance to

shine upon you and be gracious unto you;May the Lord manifest His spirit unto you,

and may He give you peace.

Prayer courtesy of Moshe Denburg

FOCUSThe CantorThe cantor, or hazan, is a professional singer of prayers,or synagogue songs. Cantors have a special ear for music,a good voice, and the ability to add to, or embellish,traditional chants.

In the past, cantors travelled from town to townchanting prayers on the Sabbath (Saturday), festivals,and High Holy Days. Their song raised the congrega-tion to a higher level of prayer.

Today, the cantor is a member of the professionalsynagogue staff and leads the singing for a particularcongregation. Cantors enjoy a high status in the Judaicreligion because they maintain the traditions of prayerhanded down from past generations and pass them onto generations to come.

HISTORYA History of Cantorial MusicFrom earliest times, cantors used to learn modal chants by listening to and imitating older cantors. Once the chantswere memorized, the cantor was able to add his own interpretation and personal touches, such as additional notes. Inthe sixth and seventh centuries, cantors were influenced by Arabic musical forms and techniques when the Arabcivilization spread throughout the Middle East and westward to Spain. Cantors began improvising prayers, oftensetting the words to Arabic modes.

European musical traditions introduced cantors to the principles of harmony. By the end of the eighteenth century,cantors were writing music and transcribing the old chants to keep them from being forgotten.

Today, there are Jewish composers in the cantorial style who combine traditional chants with the kinds of modernharmonies which have been developed in the West. Cantors continue to play a central role in the synagogue as a placeof worship.

Folk Tale page 1

DIRECTIONSRead the story, Joshua in the Promised Land and complete the activity sheets.

INSTRUMENT LOOKS LIKE WORDS THAT DESCRIBE THE INSTRUMENT ARE:Looks like: Sounds like:

TITLE

CHARACTERS VOCABULARY

The main characters are:

The hero of the story is:

The villain of the story is:

New words I learned are:

means

means

means

means

means

means

means

The story includes a musical instrument called the

Israel

Folk Tale page 1 Israel DIRECTIONSHave students read the folk tale, Joshua in the Promised Land, and complete the activity sheets.

INSTRUMENT LOOKS LIKE WORDS THAT DESCRIBE THE INSTRUMENT ARE:Looks like: Sounds like:

curved soft or loud

ram’s horn resounding blast

approximately 12"

TITLEJoshua in the Promised Land

CHARACTERS VOCABULARY

The main characters are:

Joshua – leader of the Israelites

Achan – an officer

Rahab – woman of Jericho

The hero of the story is:

Joshua

The villain of the story is:

Achan

New words I learned are:

Israelites means people of Israel

Promised Land means homeland for the Israelites

Jericho means a city in Canaan

Tabernacle means house of worship

smote means hit

Canaan means the Promised Land

means

The story includes a musical instrument called the Shofar

Folk Tale page 2

SETTINGThe physical setting for the story looks like:

THEMEThe central idea of the story is:

PLOT

Introduction

Rising Action

Climax

Conclusion

Israel

Folk Tale page 2 Israel SETTINGThe physical setting for the story looks like:

(a large walled city in the desert)

THEMEThe central idea of the story is:

With trust in God, the impossible can be accomplished.

PLOT

Introduction

Rising Action

Climax

Conclusion

The Israelitesarrive at the cityof Jericho

They march around the walls ofJericho each day for six days.Joshua tells the Israelites how theyshould conduct themselves whenthey win the battle of Jericho.

TheIsraelitesshoutand blowthe ram'shornsand thewalls falldown.

Jericho is set on fire.The spoils of war are taken.Achan steals silver and gold.Rahab is spared.Joshua leads the Israelitesdeeper into Canaan.

Glossary of Terms Jewish Music DIRECTIONSWrite the meaning of each of the following words. Draw a picture or write a sentence which shows the meaningof the word.

WORD MEANING SENTENCE OR ILLUSTRATION

Ashkenazi

Bulgar

Hebrew

Judaism

Klezmer

Ladino

Mizrahi

Sephardi

Shofar

Synagogue

Yiddish

Glossary of Terms Jewish Music DIRECTIONSHave students complete either word, meaning, sentence, or illustration for the following terms.

WORD MEANING SENTENCE OR ILLUSTRATION

Ashkenazi

Bulgar

Hebrew

Judaism

Klezmer

Ladino

Mizrahi

Sephardi

Shofar

Synagogue

Yiddish

European and WesternJewish tradition

a rhythm from Bulgariafound in Klezmer music

language of the Bible andJews everywhere

a religion whose basicbelief is that there is onlyone god

a Jewish musical styleoriginating in EasternEurope

language of SephardiJews

Middle Eastern andAsian Jewish tradition

Spanish, North African,and MediterraneanJewish tradition

musical instrument madefrom a ram's horn

Jewish house of worship

language of theAshkenazi Jews

Instrument Building Spike Fiddle MATERIALS

DIRECTIONS

ILLUSTRATION

resonator • a small wooden box with a light, flexible top, approx. 8"x4"x2".neck • a hard wooden dowel about 1" diameter, 36" long.peg • a tapered hardwood dowel, about ½" diameter at its thickest.3 eyescrews • 2 attached to tuning peg. 1 acts as string nut.string • gut or nylon, about 48" long.bridge • strong and light piece of hardwood, about 2" high, 3" wide, ¼" thick.

1. Drill or cut sound holes in the top of the box.

2. Drill holes equal to the diameter of the wooden dowel (neck) in the side of the box near the neck and in the side below thebridge. Align the holes so the wood dowel goes through the box in a straight line.

3. a) Take a tapered peg dowel and measure its average diameter.

b) Drill a hole the width of the average diameter in the large dowel (neck) about one inch from one end.

c) Press-fit the tapered peg.

4. a) Put the neck dowel through the box. Mark the neck dowel at the points where it enters and exits the box and drill smallholes for screws at these points (these will help secure the neck).

b) Put the dowel through the box again, fasten at both ends with white glue, and secure with screws at pre-drilled holes.Make sure the peg hole is on the same plane as the top of the box.

5. Glue the box top into place.

6. Sand and shape the bridge.

7. Take the gut or string and fasten it to the dowel at the bridge end and to the peg, leaving the string slack.

8. Place the bridge under the string and tighten by gradually turning the peg.

9. Get an old bow, put rosin on the hairs and try your spike fiddle.

front side

Bridge

Sound Holes

Neck

Eyescrew

Tuning Pegwith eyescrews

Directions for building a spike fiddle courtesy of Moshe Denburg.

Performance/Workshop Jewish Music RESOURCE PEOPLEName: Moshe DenburgContact Information: #12-719 East 31st Avenue

Vancouver, BC V5V 2W9Tel: 879–8415 Fax: 873–0501E-Mail: denburg@direct.ca

Audience Participants: Suitable for students in grades 8–12

PERFORMANCE/WORKSHOP DESCRIPTIONThe Many Faces of Jewish Music

Focus: lecture/demonstration/workshop

The aim is to give participants an idea of the many tributaries of Jewish music, including Eastern European, Mediter-ranean, Near Eastern, and Western. Examples are performed, instruments, rhythms and modal differences aredemonstrated. Participation in the form of singing and clapping is expected.

STAGING REQUIREMENTS

Requirements are basic. No soundequipment is required for classroom use.If a stage or gym is needed for a largeraudience, microphones and amplifiers willbe required for the number of musiciansparticipating.

LEARNING RESOURCESRecordings: Sweet and Hot, and A Lid for Every Pot.CD or cassette player

PRE-PERFORMANCE SUGGESTIONSProvide an overview of the Jewish Diaspora. Introduce the three streams of Jewish Music: Ashkenazi, Sephardi, andMizrahi.

POST-PERFORMANCE SUGGESTIONSPlay examples of music from Tzimmes’ recordings and have students identify styles. Schedule a performance byTzimmes.

Stage Diagram

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tifyi

ngin

ter-

rela

tions

hips

Lan

gu

age:

Nam

es o

f pla

ces,

styl

es o

f mus

ic

Focu

s:st

ream

s of J

ewish

mus

ic

Key

vis

ual

:gr

aphi

c org

aniz

er:

Soci

o-Po

litic

al F

ocus

EV

ALU

AT

ION

Thin

kin

g P

roce

ss:

appr

ecia

ting,

empa

thiz

ing

Lan

gu

age:

nam

es o

f fee

lings

,na

mes

of i

nstr

umen

ts,

mus

ical

term

inol

ogy

Focu

s:lis

teni

ng a

ctiv

ity

Key

vis

ual

:gr

aphi

c org

aniz

er:

List

enin

g G

uide

C

HO

ICE

SEQ

UEN

CE

DES

CR

IPT

ION

Thin

kin

g P

roce

ss:

inte

rpre

ting,

rese

arch

ing,

reac

hing

conc

lusio

ns

Lan

gu

age:

nam

es o

f mus

icia

ns,

inst

rum

ents

, sty

les

Focu

s:re

pres

enta

tive

mus

icia

ns

Key

visu

al:

grap

hic o

rgan

izer

:Je

wish

Mus

icia

ns

Thin

kin

g P

roce

ss:

sequ

enci

ng, f

ollo

win

gin

stru

ctio

ns

Lan

gu

age:

first

, sec

ond,

then

afte

r

Focu

s:vi

deo,

inst

rum

ent-

build

ing,

dan

ce

Key

visu

al:

grap

hic o

rgan

izer

for

abov

e

Thin

kin

g P

roce

ss:

mak

ing

deci

sions

,pr

opos

ing

alte

rnat

ives

Lan

gu

age:

coul

d, w

ould

, sho

uld

Focu

s:ch

oosin

g an

art

ist to

rese

arch

Key

visu

al:

stud

ent r

espo

nse

shee

t,gr

aphi

c org

aniz

ers:

Jew

ish M

usic

ians

B A C K G R O U N D

K N O W L E D G E

A C T I O N

S I T U S T I O N

THE

KN

OW

LED

GE

FRA

MEW

OR

K (a

dap

ted

from

B. M

ohan

, 198

6)Jewish Music

Reference Sources Jewish Music BIBLIOGRAPHY

Chaikin, Miriam. Joshua in the Promised Land.* New York: Clarion, 1982. pp. 46-50.Dubois, Jill. Israel (Cultures of the World). New York: Marshall Cavendish, ©1993.Eisenstein, Judith K. Heritage of Music; the Music of the Jewish People. Wyncote: The Reconstructionist Press, ©1981.Levine, Joseph A. Synagogue Song in America. Crown Point: White Cliffs Media, Co., 1989.Musical Instruments of the World.* New York: Facts on File, 1976.

DISCOGRAPHY

Flying Bulgar Klezmer Band, The Flying Bulgar Klezmer Band*Klezmatics, Rhythm and Jews*Klezmer Conservatory Band. Old World BeatNeshoma Orchestra, Mazel Tov!*Tzimmes, A Lid For Every Pot*Tzimmes, Sweet and Hot*10 Israeli Dances, (cassette and accompanying booklet)

VIDEO

Perlman, Itzhak. Itzhak Perlman; In the Fiddler’s House.* New York: Angel Records, ©1995

RESOURCES FOR RECORDINGS AND BOOKS ON JEWISH MUSIC

Tara Publications29 Derby Avenue, Cedarhurst, NY 11516Tel: (516) 295-2290 Fax: (516) 295-2291

Sounds Write Productions6685 Norman Lane, San Diego, CA 92120Tel: (619) 697-6120 Fax: (619) 697-6124

Chadish Media453 East 9th Street, Brooklyn, NY 11218Tel: (718) 856-3882

Tzimmes#12 – 719 East 31st AvenueVancouver, BC V5V 2W9Tel: (604) 879-8415 Fax: (604) 873-0501E-Mail: denburg@direct.caInternet: http://www2.portal.ca/~jsiegel/tzimmes.html

* Reference sources used in this unit.