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(klĕz`mər), form of instrumental folk music developed in the Eastern European Jewish community. The style had its beginnings in the Middle Ages; its name is a Yiddishized version of the Hebrew klei zemir [instruments of song] that until the mid-20th cent. referred to the musicians rather than, as it does today, to the music. Largely based on cantorial singing and the folk music of Eastern Europe, it was played by an ensemble of violin, flute, bass, drum, cymbal, and sometimes other popular instruments that performed at various family occasions and religious festivals. In the 19th cent. wind and brass instruments (principally the clarinet, trumpet, and tuba) were added to the group. Basically a joyous, highly ornamented dance music, klezmer is often accompanied by a solo singer. Klezmer remained a popular entertainment at weddings and other events, but in the late 20th cent. there was an enthusiastic popular revival of the style. This was particularly true in the United States, where it has sometimes been mingled with jazz, rock, and experimental music to create a more free-form style.


S. Rogovoy, The Essential Klezmer (2000); H. Sapoznik, Klezmer: Jewish Music, from Old World to Our World (2000).

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References in periodicals archive ?
This is perhaps not surprising given that the participants had not had extensive inservice sessions relating to stages of second-language development, the identification of at-risk ESL learners (Klesmer, 1994), or research-based instructional and assessment approaches of particular benefit to ESL students.
Her inner development may be conveyed by a metaphor drawn from the experience of travel, the metaphor of the widening horizon, but from the outset that process is one of hurtful displacement rather than positive growth, as when Klesmer's criticism of her singing leaves her with 'a sinking of heart at the sudden width of horizon opened round her small musical performance' (p.
There's salsa and Cuban music from the band Orquestra CachA, swing, klesmer and roots music from The Zen Hussies.
Klesmer, Klassik, jiddisches Lied: judische Musikkultur in Osteuropa.
Treviso, the music teacher, as sure of genius and the life of artists as Klesmer in Daniel Deronda, tells Mildred:
She fails to notice that the novel's 'world' - English and chauvinist - no longer exists at the end of the novel, with Grandcourt dead, Deronda not an English gentleman but a Jewish leader, and the representative member of the younger generation of the aristocratic Arrowpoint family married, against her parents' will, to the Jewish Klesmer. And though she is undoubtedly right to feel an uneasiness about the novel's portrayal of Jewishness, as seen in the cheerfully vulgar Cohen family, she surely goes too far when she attributes antisemitism to Daniel Deronda.
Mordecai does not convince us as, say, Klesmer does.
In fact, Lydia's physical portrayal mirrors that of the Jewish characters in the novel who are repeatedly linked with darkness and foreignness in an effort to draw attention to and critique their outsider status within Anglo society, like Mirah who has "dark hair" (193), Herr Klesmer who appears "foreign" (228), and Mordecai, who, like Lydia, is described as having "crisp black hair" (357).
1; see also Collier, 1987; Hakuta, Butler, & Witt, 2000; Klesmer, 1994).
is I think a failure--a brilliant failure." There is only one Jewish character, a musician, most appropriately named Klesmer, who rates praise as "Shakespearean, multitudinous, life-like."