Re: "elevating" folk music

[Joshua Horowitz <horowitz...>]

Hi Robert,

> This ideal of "elevating" (Jewish) folk music was, of course, likewise an
> impelling idea--maybe _the_ impelling idea, in addition to collecting
> same--behind the formation of the Society for Jewish Folk Music in St.
> Petersburg in 1908 

thanks for pointing that out, because it is one of the *positive*
results of the ideology. The article in question by Professor Dauer is
called:

*Don´t call my music Jazz!
Concerning the transfer of music from the old world to the new world,
and the resulting consequences*

I happen to have it in my computer still, because I translated it from
the German many years ago. It is a transcript from a radio series
Professor Dauer did for West German Radio (WDR). In any case, I will
enclose a copy for you
privately. His application of the terms 1st 2nd and 3rd world of music
are different than my use in the last mail. Josh

... (inspired by Joel Engel and, to an important extent, by
> Rimsky-Korsakov, and including such founding members as Lazare Saminsky,
> Solomon Rosowsky, and Ephraim Skliar--who, along with other early members,
> studied with R-K.).  An excellent source on them is Albert Weisser's THE
> MODERN RENAISSANCE OF JEWISH MUSIC.  BTW, Josh, what is the source for this
> musicological application of the first, second, and third worlds
> notion--i.e., what book/article/etc.? (By, I assume, Alfons Michael Dauer,
> whom you credited; I'm assuming he _applied_ this model to music and was not
> the source--which I assume is somewhere in political economy or
> whatever--_of_ the model!).  Thanks--Robert Cohen


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