Introduction

[tanya kalmanovitch <stump...>]

First, I'd like to introduce myself: My name is Tanya Kalmanovitch, a
violinist/violist living in Calgary, Alberta, Canada. I graduated from the
Juillard School in 1992 and have since made my living as an improvising
violinist. I came to this list via Ari Davidow's site, where I was looking for
information to start my study of traditional Jewish music with a view to
starting a performing ensemble in Calgary.
 
As a 'jobbing' musician, I am often called to perform the musics of various
cultures. (Most commonly Celtic, traditional Cuban music, country & western,
blues and jazz). Often these engagements leave me feeling less than fulfilled,
since the context of music-making seems to be divorced from the culture which
should infuse and inform performers and audience alike. That said, I try not
to confuse 'jobbing' with 'music making': but when the two coincide, it's 
delighful.

This coincidence is my goal in the current project. With study and playing,
it's my hope that I can bring a joyful, and I hope authentic, voice to the
local community. I should add that though I am not Jewish, I've long had a
profound appreciation of Jewish music gleaned from my father, whose father in
turn, was a musician and teacher in Russia, then in Cyprus. 
 

Some comments:

Leonard S. Goldfine wrote:

> While the thought of Jewish music reaching the level of "Christian Rock"
> apalls me, I can not deny its (Christian Rock's) appeal to its followers.
> Within that genre, kids (and sometimes adults) can connect their faith to
> their popular culture.  Will this be the future for American-Jewish music?
> I don't know (but I hope not.)  [Food for thought: is Gospel any less
> religious than Gregorian Chant?]

The Christian Rock phenomenon has more to do with the enormous marketing
opportunity that is the American Christian community (specifically, white,
middle-class, evangelical Christian teenagers) than with expression of faith.
Like any truly 'popular' music, it must appeal to the lowest common
denominator in order to reach a wide market. Christian Rock has the added
aspect of appropriating traditional elements of popular music (both musical
and theatrical: the kinds of things which appeal to teens and worry parents)
and making them safe through the promotion of 'Christian' values (particularly
through the publicizing of the bands members' lifestyles). 

The Christian community to which Christian Rock is referenced has, as far as I 
can
ascertain, no profound connection to any longstanding musical tradition in its 
liturgy.
 
As for mainstream 'gospel' music; I find it interesting that the term has been
more recently appropriated to refer to music marketed to white Christians,
while its more traditional designation was the music which formed the core of
African-American religious celebrations.


> Today there is so much information about traditional Jewish musics that 
> anyone interested will have no problems finding it: research or recordings.  

As a newcomer, I've been pleasantly suprised at the wealth of comprehensive
information I've found online. This speaks to a living music and a vibrant
community of performers and listeners. Truly a delight.


Appreciatively,

Tanya Kalmanovitch

---------------------- jewish-music (at) shamash(dot)org ---------------------+