Mark Slobin – författare

This stimulating Very Short Introduction throws open the doors on a remarkably diverse musical genre, with a world-wide reach that goes far beyond America's shores to discuss folk music of every possible kind and in every corner of the globe. Written by award-winning ethnomusicologist Mark Slobin this is the first compact introduction to folk music that offers a truly global perspective. Slobin offers an extraordinarily generous portrait of folk music, one that embraces a Russian wedding near the Arctic Circle, a group song in a small rainforest village in Brazil, and an Uzbek dance tune in Afghanistan. He looks in detail at three poignant songs from three widely separated regions--northern Afghanistan, Jewish Eastern Europe, and the Anglo-American world--with musical notation and lyrics included. He goes on to sketch out the turbulent times of folk music today and tomorrow, confronting new possibilities, frameworks, and challenges.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This is the first-ever historical study across all musical genres in any American metropolis. Detroit in the 1940s-60s was not just "the capital of the twentieth century" for industry and the war effort, but also for the quantity and extremely high quality of its musicians, from jazz to classical to ethnic. The author, a Detroiter from 1943, begins with a reflection of his early life with his family and others, then weaves through the music traffic of all the sectors of a dynamic and volatile city. Looking first at the crucial role of the public schools in fostering talent, Motor City Music surveys the neighborhoods of older European immigrants and of the later huge waves of black and white southerners who migrated to Detroit to serve the auto and defense industries. Jazz stars, polka band leaders, Jewish violinists, and figures like Lily Tomlin emerge in the spotlight. Shaping institutions, from the Ford Motor Company and the United Auto Workers through radio stations and Motown, all deployed music to bring together a city rent by relentless segregation, policing, and spasms of violence. The voices of Detroit's poets, writers, and artists round out the chorus.

"Klezmer" is a Yiddish word for professional folk instrumentalist-the flutist, fiddler, and bass player that made brides weep and guests dance at weddings throughout Jewish eastern Europe before the culture was destroyed in the Holocaust, silenced under Stalin, and lost out to assimilation in America. Klezmer music is now experiencing a tremendous new spurt of interest worldwide with both Jews and non-Jews recreating this restless volatile, and vibrant musical culture. Firmly centered in the United States, klezmer has paradoxically moved back across the Atlantic as a distinctly "American" music, played throughout central and eastern Europe, as well as in many other parts of the world. Fiddler on the Move places klezmer music squarely within American music studies, cultural studies, and ethnomusicology. Neither a chronology nor a comprehensive survey, the book describes a variety of approaches and perspectives for coming to terms with the highly diverse array of activities found under the klezmer umbrella. Bringing to his subject the insights of an accomplished ethnomusicologist, Slobin addresses such questions as: How does klezmer overlap with, and differ from, the many other contemporary "heritage" musics based on an assumed connection with a group identity and links to a tradition? How do economics, artistic expression, and the evocation of the past interact in motivating klezmer performers and audiences? In what kinds of environment does klezmer flourish? How do stylistic features such as genre, form, and ornamentation help to define the technique, affect, and aesthetic of klezmer? Featuring a music CD with many of the archival and contemporary recordings discussed in the text, this fascinating study will interest scholars, students, musicians, and music lovers

Yiddish-speaking Jewish immigrants brought a rich heritage of musical expression to the United States. On Manhattan's Lower East Side, a thriving Yiddish theater scene developed, and a new, distinctly Jewish American songcraft began to emerge. Mark Slobin's ethnographic study of the music and culture of the time traces the development of Yiddish popular song in America, delving into melodies, sheet music, and printers' iconography to bring alive a time and place that, while almost forgotten, still exercises an enormous effect on American popular culture.

Week after week, year after year, Jews turn to sacred singers for spiritual and emotional support. At the same time, the job of the hazzan, or cantor, is deeply embedded in the cultural, social, and religious symbolism negotiated between a congregation and its sacred singers. Chosen Voices is a definitive look at a profession that is also a vocation. Drawing on archival sources, interviews with cantors, and photographs, Mark Slobin traces the development of the cantorate in the United States. Slobin delves into the nebulous beginnings of the hazzan as a recognizable figure and charts the cantor's changing role through the heyday of the superstar sacred singer in the early twentieth century to women's inclusion in the contemporary cantorate. Slobin's insightful analysis offers careful consideration of the sacred singer's part in creating and maintaining the worship service, a look at the relationship between the rabbi and the hazzan within the synagogue, and a discussion of the music sung by contemporary cantors.

This beautiful and informative book offers a detailed introduction to the musical heritage of Central Asia for readers and listeners worldwide. Music of Central Asia balances "insider" and "outsider" perspectives with contributions by 27 authors from 14 countries. A companion website (www.musicofcentralasia.org) provides access to some 189 audio and video examples, listening guides and study questions, and transliterations and translations of the performed texts. This generously illustrated book is supplemented with boxes and sidebars, musician profiles, and an illustrated glossary of musical instruments, making it an indispensable resource for both general readers and specialists. In addition, the enhanced ebook edition, which is so comprehensive it had to be split into two ebooks, contains 180 audio and video examples of Central Asian music and culture. A follow-along feature highlights the song lyrics in the text, as the audio samples play.

Klezmer, the Yiddish word for a folk instrumental musician, has come to mean a person, a style, and a scene. This musical subculture came to the United States with the late-nineteenth-century Jewish immigrants from Eastern Europe. Although it had declined in popularity by the middle of the twentieth century, this lively music is now enjoying recognition among music fans of all stripes. Today, klezmer flourishes in the United States and abroad in the world music and accompany Jewish celebrations. The outstanding essays collected in this volume investigate American klezmer: its roots, its evolution, and its spirited revitalization. The contributors to "American Klezmer" include every kind of authority on the subject - from academics to leading musicians - and they offer a wide range of perspectives on the musical, social, and cultural history of klezmer in American life. The first half of this volume concentrates on the early history of klezmer, using folkloric sources, records of early musicians unions, and interviews with the last of the immigrant musicians. The second part of the collection examines the klezmer "revival" that began in the 1970s.Several of these essays were written by the leaders of this movement, or draw on interviews with them, and give firsthand accounts of how klezmer is transmitted and how its practitioners maintain a balance between preservation and innovation.

The original publications of the 1930s are scarcely to be found. The posthumous 1962 volume in the Soviet Union was limited to a tiny edition. Yet the work of the man who has been called "the foremost authority on Jewish folk music before the Holocaust," Moshe Beregovski, survives and is now available for the first time to the English-speaking world.As a member of the Jewish community as well as an ethnomusicologist in prewar Russia, Beregovski had not only the inspiration to preserve the spirit and vitality of the music that filled the lives of his people but also the professional training to document his findings to exacting standards. The first section of SIobin's book contains translations of some of Beregovski's responses to Jewish folk music in its living context during the 1930s. He raises important questions about ethnicity in his essay on interaction between Ukrainian and Jewish musical influences. His work on klezmer music. the music of the Jewish folk instrumental bands, is the most authoritative on the subject and includes his complete guide to fieldworkers in folk music. In another essay Beregovski analyzes an unmistakable trademark of Jewish folk music, the "altered Dorian" scale, and its symbolism in Eastern European Jewish culture. The second section constitutes Beregovski's anthologies of hundreds of folk songs with full Yiddish and English song texts. Each song is carefully notated exactly as it was sung and is accompanied by Beregovski's notes on origins and variants.Beregovski's essays and transcriptions form a pat and a symbol of what was lost in the mass destruction of Eastern European Jewish culture in this century. They form a cultural record of deep significance not only for the Jewish people, but also for folklorists and scholars as evidence of a distinctive music culture that interacted with-and influenced-the folk musics of Eastern Europe.

This volume presents a cultural record of the Jewish folk music of Eastern Europe, through the eyes of ethnomusicologist, Moshe Beregovski. It includes contextual responses to Jewish folk music, essays on musical influences, and notes and lyrics of nearly 300 folk songs.

As a measure of individual and collective identity, music offers both striking metaphors and tangible data for understanding societies in transition-and nowhere is this clearer than in the recent case of the Eastern Bloc. Retuning Culture presents an extraordinary picture of this phenomenon. This pioneering set of studies traces the tumultuous and momentous shifts in the music cultures of Central and Eastern Europe from the first harbingers of change in the 1970s through the revolutionary period of 1989–90 to more recent developments. During the period of state socialism, both the reinterpretation of the folk music heritage and the domestication of Western forms of music offered ways to resist and redefine imposed identities. With the removal of state control and support, music was free to channel and to shape emerging forms of cultural identity. Stressing both continuity and disjuncture in a period of enormous social and cultural change, this volume focuses on the importance and evolution of traditional and popular musics in peasant communities and urban environments in Hungary, Poland, Romania, Russia, the Czech Republic, Ukraine, the former Yugoslavia, Macedonia, and Bulgaria. Written by longtime specialists in the region and considering both religious and secular trends, these essays examine music as a means of expressing diverse aesthetics and ideologies, participating in the formation of national identities, and strengthening ethnic affiliation.Retuning Culture provides a rich understanding of music’s role at a particular cultural and historical moment. Its broad range of perspectives will attract readers with interests in cultural studies, music, and Central and Eastern Europe. Contributors. Michael Beckerman, Donna Buchanan, Anna Czekanowska, Judit Frigyesi, Barbara Rose Lange, Mirjana Lausevic, Theodore Levin, Margarita Mazo, Steluta Popa, Ljerka Vidic Rasmussen, Timothy Rice, Carol Silverman, Catherine Wanner

This book presents an array of perspectives on the vivid cultural and literary politics that marked the period immediately after the October Revolution of 1917, when Russian writers had to relocate to Berlin and Paris under harsh conditions. Divided amongst themselves and uncertain about the political and artistic directions of life in the diaspora, these writers carried on two simultaneous literary dialogues: with the emerging Soviet Union and with the dizzying world of European modernism that surrounded them in the West. The book's chapters address generational differences, literary polemics and experimentation, the heritage of pre-October Russian modernism, and the fate of individual writers and critics, offering a sweeping view of how exiles created a literary diaspora. The discussion moves beyond Russian studies to contribute to today’s broad, cross-cultural study of the creative side of political and cultural displacement.