Re: coceks sirtos and lungas

[Helen Winkler <winklerh...>]

I also wondered if modesty had something to do with it.  Coceks involve much 
shimmying and shaking.  I don't know if the dances years ago were like that 
too.  I guess it would not have been socially acceptable in Eastern European 
Jewish communities.
More mysteries of the universe to solve.
Helen


----Original Message Follows----
From: "Joshua Horowitz" <horowitz (at) styria(dot)com>
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Subject: Re: coceks sirtos and lungas
Date: Tue, 08 Aug 2000 23:51:23 +0000
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I have no idea. I've often wondered why odd meters never took hold in
klezmer music, when there is so much of it in other Ottoman based musics.
Coceks are often in 9/8 as far as I know. The Jews of Eastern Europe favored
singularly 2/4, and the occasional "Krimer" tants meters of 3/8 (which we've
chewed on before here - the 3/8 horas of jocs  grew out of the 7/16
Moldavian/Wallachian Hora Mares) The Jewish dances were simply not as wild,
more introverted, staid and, perhaps mystical. The dances with more
complicated meters require more complex body-oriented movement patterns
which maybe just didn't fit into the mindset of the Jewish dance. The
Turceasca is virtuosity for virtuosity's sake as Paul mentioned. It's a
Gypsy phenomenon, much more wild than your average Jewish virtuosic music -
fast, complex and flashy. These are not typical qualities that you find in
klezmer music in that degree. But the subdivision of the beat is similar to
the Jewish Bulgar, so there is a (rather vague) similarity there....That's
as much as I can say. The whole thing is kind of puzzling really. Josh

 > So why do you think the tureasca rhythms never became part of klezmer 
music
 > in Europe?  Was it too exotic or was it just something restricted to 
certain
 > ethnic communities within geographical areas or was it something to do 
with
 > status?
 > Helen
 >
 >
 >
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