RE: "elevating" folk music

[Reyzl Kalifowicz-Waletzky <reyzl...>]

Robert,

Still recovering from my daughter's bat-mitsva last Shabes and just now 
getting to read messages that have been sitting and waiting for many, many 
weeks in my inbox.   October 12 is about the time I stopped reading the 
list...

I never knew about this article.   How do I get a copy?   Is it too long to 
xerox or do I have to ask BK-G for a copy?   These are the kinds of 
articles I think should be on a Jewish music web site - the web site idea I 
wrote about before I got so overly busy with the bat-mitsva.  I am sure 
that Barbara will be co-operative, but I don't know about the Judaism 
publishers.


Reyzl Kalifowicz-Waletzky


----------
From:  Robert Cohen [SMTP:rlcm17 (at) hotmail(dot)com]
Sent:  Tuesday, October 12, 1999 1:54 PM
To:  World music from a Jewish slant
Subject:  Re: "elevating" folk music

Two more P. S.'s to this thread:  1) "For the [folk song] revivalists [I
think she's talking 50s/60s, in this country], folk song did not require
elevation."--from a superb article by Barbara Kirshenblatt-Gimblett, 
"Sounds
of Sensibility," in the Winter 1988 issue of (unlikely source) JUDAISM
magazine, special issue devoted to KLEZMER: HISTORY AND CULTURE.  Our list
member Hankus Netsky also has a piece in the same issue.  2) According to 
an
article in the Fall 1998 issue of the ISAM Newsletter, Gershwin's PORGY AND 
BESS "allied itself with the ... African American [ambition] of elevating
the vernacular to the level of American high art." 
 
   
        >From: Joshua Horowitz <horowitz (at) styria(dot)com>
>Reply-To: jewish-music (at) shamash(dot)org
>To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
>Subject: Re: "elevating" folk music
>Date: Fri, 08 Oct 1999 00:54:26 +0100
>
>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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