Jewish - BC Teachers` Federation

Jewish Music
The
Music of
theWanderer
Jewish Music
The
Music of
theWanderer
Valerie Dare
Moshe Denburg
April Salter
Debra Trca
Published by the B.C. Teachers’ Federation Lesson Aids Service
Copyright ©1996 Britannia World Music Program and Moshe Denburg
Materials may be reproduced for classroom use only.
Any other uses require the permission of the authors.
Britannia World Music Program
Britannia Secondary School
1001 Cotton Drive
Vancouver, BC V5L 3T4
Tel: (604) 255-9371
Fax: (604) 255-8593
Distributed by
Lesson Aids Service – B.C. Teachers’ Federation
100–550 West Sixth Avenue
Vancouver, BC V5Z 4P2
Tel: (604) 871-2283 • 1-800-663-9163
Fax: (604) 871-2293
Cover illustration by Denise Galay
Text design and typesetting by John McLachlan
Introduction
Jewish Music; the Music of the Wanderer
F
or Millennia, Jews have been global wanderers, living among many cultures not
their own. To preserve their cultural identity Jews have found it wiser to incorporate foreign cultural elements into the Jewish mainstream than to resist
absolutely all other influences. Jewish music is, then, a cross-cultural blend–the music
of the wanderer.
The Middle Eastern Context
To place Jewish Music in its root context, a brief outline of Middle Eastern music
follows.
Music of the Middle East generally belongs to the modal, or melodic traditions of
music. Here harmony, as it has been practised in the Western world, is not emphasized.
Rather, melodic intricacy and ornamentation, including ¼ tones, and rigorous rhythmic
development–these are the salient features. It should be noted that today, in popular
forms, Western style harmony can also be heard; but the source traditions of music have
rarely borrowed Western harmony.
The functions of music in the Middle East can be described as follows:
1. Music as a Religious Vehicle – This includes the music of communal worship (in
mosque, synagogue, and church), and the music of mystic ritual (Sufis, Hassidim, and
others).
2. Music as a Celebratory Vehicle – This is music of both a popular and religious nature
played at life passage events (weddings, bar-mitzvas, bat-mitzvas, anniversaries, etc.).
3. Music as Art/Entertainment – This includes classical and popular forms, both
instrumental and vocal music. It also includes certain dance forms such as belly dancing
and folk dancing in general.
The Three Streams of Jewish Music
Ashkenazi
The music that originated in Eastern Europe (the Balkans, Romania, Bulgaria, among
others) and moved westward and northward throughout Europe and later into North
America, belongs to the Ashkenazi tradition. It includes Klezmer music. Klezmer
means “an instrument of song,” from the Hebrew noun kli zemer. It has come to denote
the musician himself, thus incorporating a point of view that regards the musician as
the vehicle or instrument of a higher source. Ashkenazi refers to Jews who in the th
century began to settle along the banks of the Rhine. Since these Jews are the forebears
of much of European and Western Jewry, Ashkenazi today refers to Jewish people of
the Western World, or even more to the point, Jews of a Western cultural orientation.
Other than Hebrew-the tongue of the Bible-the language of speech and song is
mainly Yiddish ( Judeo-German); nowadays, English and other local languages have
come to play a large role in Jewish Music of the Ashkenazi stream.
Yiddish – Beginning as an offshoot of Medieval German in the th century, Yiddish
developed as a unique hybrid of German, Hebrew, and whatever other languages
Jewish people spoke in the various countries where they dwelled. Thus, there are Slavic,
Polish, and many other words in Yiddish.
Sephardi
This stream refers to music
that originated around the
Mediterranean, from Spain
and North Africa to Turkey
and Greece. Sephardi literally
means Spanish, and alludes to
the fact that until the Spanish
expulsion of all non-Christians in , a very fruitful
Jewish culture existed in
Spain; when these Jewish
communities were expelled
they migrated to places all
around the Mediterranean
basin-Morocco, Egypt,
Turkey, Greece, etc. They took
with them a th century
version of Spanish called Ladino ( Judeo-Spanish). Much musical repertoire is in this
language. The interaction between these peoples and the communities in the countries
where they lived, gave rise to a cultural expression that incorporates many melodic and
rhythmic elements of the Mediterranean.
Ladino – Ladino is a form of Spanish, ca. th century, which emigrated with the
Jewish people upon their expulsion from Spain in . Over the centuries it has
integrated many Hebrew words as well as words from the various tongues spoken
where these Jews made their homes.
Mizrahi
The music of Eastern Jews, from the Eastern Mediterranean and eastward into Asia
can be designated as the Mizrahi stream of Jewish Music. Mizrahi literally means
Eastern; this music is the child of the interaction between Jewish people and the
cultures of Arabia, Turkey, and Persia. Generally, this encompasses the following
countries: Israel, Egypt, Jordan, Syria, Lebanon, Iraq, Iran, and as far east as India. In
song, the main language used is Hebrew; local languages have also been used, most
notably, Arabic.
Additional information on Jewish Music can be found on the Internet at
http://www2.portal.ca/~jsiegel/tzimmes.html
Tzimmes
The following components of a world music unit on Jewish music have been
compiled with the invaluable help of Moshe Denburg, who determined the focus
and content of this complex topic and wrote much of the material. The structure of
the unit is intended to enable the integration of Jewish music into a number of
curricular areas, including Social Studies, English/Language Arts, Dance, Visual
Arts, and Technical Studies. Alternatively, the unit can be implemented in its entirety
in nine to twelve hours of instructional time. The importance of involving students
with the artist in a performance/workshop situation cannot be overemphasized.
While much can be done with the materials and suggested learning resources included with this unit, it takes an artist like Moshe to breathe life into the concepts
behind Jewish Music; the Music of the Wanderer.
Valerie Dare
April Salter
Debra Trca
Israel
Geographic Background
BACKGROUND INFORMATION
MAP
STATISTICS
DEMOGRAPHIC PIE CHART
Population
Ethnic groups
Languages
Religions
Government
Adult literacy
RATING
0
1
2
COMPLETION ACTIVITY
3
4
5
Israel
Geographic Background
BACKGROUND INFORMATION
MAP
The Kingdom of Israel was first established around 1200 b c.
A series of invasions followed, and in a d 70 the land became
part of the Roman Empire when the temple in Jerusalem was
destroyed. The Romans deported the Jews throughout the
known world, including France, Germany, Portugal, Spain,
and the Middle East. This event became known as the
Diaspora.
More recently, in the 1930s and 1940s, Jews in central
Europe were persecuted during the Nazi regime in Germany
and millions were killed. Only in 1948 was Israel regained as
the homeland of the Jews.
Today, Jews live around the world, many in the Americas.
Although there has been conflict with the Palestinian people
over control of land bordering Israel and Jordan, peace talks
with the Palestine Liberation Organization are underway
and a permanent peace is anticipated.
LEBANON
Israel
SYRIA
Haifa
Mediterranean Sea
GOLAN
HEIGHTS
Sea of Galilee
Tel-Aviv Yafo
Jerusalem
Gaza
GAZA STRIP
Dead Sea
JORDAN
EGYPT
Gulf
of
Aqaba
SAUDI ARABIA
Map Questions
◆
◆
◆
STATISTICS
Population
Ethnic groups
Languages
Religions
Government
Adult literacy
Which three countries border Israel?
Which city is the capital of Israel?
What are the names of two bodies of salt water
along Israel’s coastline?
DEMOGRAPHIC PIE CHART
5,000,000
Jews 83%, Arabs 17%
Hebrew, Arabic
Judaism, Islam, Christianity
Democratic Republic
92%
RATING
Rate the degree of peace and security of the Jewish people
throughout their history. Circle a number.
1
0
no security
2
3
4
5
much security
COMPLETION ACTIVITY
Use the background information. For almost two thousand
years the Jews had no homeland and lived in Europe and the
_________ _________. The event that caused them to live
in other countries is called the ___________. In ________,
Israel became a country. Since then there has been conflict
with the ___________ ____________ ____________.
◆
◆
Graph the information about the % of each racial
group comprising the population of Israel.
Label the parts of your graph.
Israel
Socio-Political Focus
DIRECTIONS
Label the countries associated with the three streams of Jewish Music.
Ashkenazi
Mizrahi
ISRAEL
Sephardi
Graphic courtesy of Moshe Denburg
Israel
Socio-Political Focus
DIRECTIONS
Have students use the diagram below to find out the relationship between the three streams of Jewish music.
Eastern
Europe
Syria
The
Balkans
Lebanon
East
Asia
Turkey
Western
Europe
Ashkenazi
Mizrahi
Iraq
ISRAEL
The
Americas
Jordan
Egypt
Greece
Sephardi
North
Africa
Spain
Morocco
Graphic courtesy of Moshe Denburg
Jewish Music
Viewing Guide
DIRECTIONS
Watch the first ten minutes (the scenes filmed in the courtyard in Cracow) of the video, Itzhak Perlman; In the
Fiddler’s House, and answer the following questions:
1.
Who is the newcomer who is supposedly doing his final
audition?
2.
What kind of music can this artist call his own?
3.
In which city does Perlman’s adventure begin?
4.
Why is it appropriate to travel to Cracow, Poland to play
Klezmer music?
5.
Name the instruments being played in the courtyard.
6.
What is the name of the band Itzhak Perlman is playing
with?
7.
Which two instruments play the introduction to the
song?
8.
The singing is in the Yiddish language. In which
country or countries was Yiddish spoken?
9.
EVALUATION How well do you think Itzhak Perlman
plays Klezmer music?
10. CHOICE Of the instruments being played, which do you
prefer?
Why?
11. MAKE YOUR OWN QUESTION
12. MAKE YOUR OWN QUESTION
Jewish Music
Viewing Guide
DIRECTIONS
Have students watch the first ten minutes (the scenes filmed in the courtyard in Cracow) of the video, Itzhak Perlman;
In the Fiddler’s House, and answer the following questions:
1.
Who is the newcomer who is supposedly doing his final
audition?
2.
The newcomer is Itzhak Perlman.
3.
In which city does Perlman’s adventure begin?
Perlman can call Klezmer music his own.
4.
The adventure begins in a courtyard in the Jewish quarter of
Cracow, Poland.
5.
Name the instruments being played in the courtyard.
Which two instruments play the introduction to the
song?
The accordion and the clarinet play in the introduction.
9.
EVALUATION How well do you think Itzhak Perlman
plays Klezmer music?
Why is it appropriate to travel to Cracow, Poland to play
Klezmer music?
Klezmer music comes from Poland.
6.
Instruments include the violin, clarinet, double bass, and
accordion.
7.
What kind of music can this artist call his own?
What is the name of the band Itzhak Perlman is playing
with?
The band is called Brave Old World.
8.
The singing is in the Yiddish language. In which
country or countries was Yiddish spoken?
Yiddish was spoken by Jews in Poland and Eastern European countries.
10. CHOICE Of the instruments being played, which do you
prefer?
Why?
11. MAKE YOUR OWN QUESTION
12. MAKE YOUR OWN QUESTION
Jewish Music
Listening Guide
DIRECTIONS
STYLE
vocal
or
instrumental
fast
or
slow
simple
or
complex
repetitive
or
changeable
melismatic or
one note per syllable
INSTRUMENTS
xylophone
penny whistle
dumbek
clarinet
piano
drum kit
banjo
violin
MY FEELINGS
happy or sad
peaceful or spirited
romantic or angry
powerful or weak
confident or shy
calm or energetic
homesick or content
accordion
bass
gong
THE PICTURE I SEE
trumpet
Jewish Music
Listening Guide
DIRECTIONS
Have students listen to Fun Tashlikh (At the Casting Away of Sins) from the recording, Rhythm & Jews, by the
Klezmatics, and circle the appropriate word or words.
STYLE
vocal
or
instrumental
fast
or
slow
simple
or
complex
repetitive
or
changeable
melismatic or
one note per syllable
INSTRUMENTS
xylophone
penny whistle
dumbek
clarinet
piano
drum kit
banjo
violin
MY FEELINGS
happy or sad
peaceful or spirited
romantic or angry
powerful or weak
confident or shy
calm or energetic
homesick or content
accordion
bass
gong
THE PICTURE I SEE
trumpet
Jewish Music
Song Writing
DEFINITION
MODEL SONG LYRICS
WHAT IS A
?
DEFINITION:
DIRECTIONS
THE NEW SONG
Step 1:
Watch the teacher
make the first line.
TITLE:
Step 2:
Help the teacher
make the second line.
Step 3:
Make a third line
with the teacher’s help.
Step 4:
Write a fourth line
yourself.
Jewish Music
Song Writing
DEFINITION
WHAT IS A
MODEL SONG LYRICS
Folk Song
?
In the Tiny Grate
DEFINITION:
{
1st verse
In the tiny grate burns a flickering flame
And the room is warm,
And the rebbe* teaches little children,
Komets Aleph O.**
{
Refrain
Say it after me learn your lesson well,
Start with Aleph Bet,
Repeat it once again, again and yet again,
No word should you forget.
{
2nd verse
When dear children, you will older be,
You will grasp it all,
The pain that lies within these tiny letters,
And the tears that fall.
folk – having to do with the common people, their
beliefs, legends, customs.
x
often describes an important event in people’s lives.
sometimes has a moral or teaching purpose.
x
x
Refrain
*rabbi, or teacher / **first Hebrew alphabet lesson
DIRECTIONS
THE NEW SONG
Step 1:
Watch the teacher
make the first line.
TITLE:
Step 2:
Help the teacher
make the second line.
Step 3:
Make a third line
with the teacher’s help.
Step 4:
Write a fourth line
yourself.
In the Tiny Grate
3rd verse
Refrain
Say it after me, learn your lesson well,
Start with the Aleph Bet,
x Repeat it once again, again and yet again,
No word should you forget.
{
Dance
Zemer Atik (An Ancient Song)
DIRECTIONS
Locate a picture showing traditional Jewish costumes and draw it in the space below.
DESCRIPTION
1.
2.
3.
4.
5.
COSTUME AND/OR INSTRUMENTS
Make a circle holding hands.
Everyone faces right, looking at the back of the person
ahead of them, still holding hands.
The count in for the music begins: 1-2-3-4. The
metronome at first should be no more than q = 100
The dance is in two sections, A and B, each repeated 4
times.
The dance is repeated as many times as needed. One
idea is to increase the tempo slightly with each
repetition.
Resource:
Zemer Atik on accompanying cassette
(available from Britannia)
ILLUSTRATION AND/OR STEPS DIAGRAM
Section A (R = right foot, L = left foot, – = still, silent)
Beats
1
2
3
4
5
6
7
Steps
R
L
R
L
R
–
–
Hand claps –
–
–
–
–
xx
–
8
–
x
Stepping with the right foot first, everyone takes 5 steps around the circle, After the 5th step, on the 6th beat, everyone releases the hands they are holding and standing still, claps twice on the 6th beat, silent on the 7th, and once on
the 8th.
Section A is repeated 4 times.
SECTION B ( upright, arms raised
bent forward, arms down)
Beats:
1
2
3
4
5
6
7
8
Steps
R
–
L
–
R
L
R
L
Direction fwd –
fwd –
bk
bk
bk
bk
Position
In Section B, everyone releases hands (i.e. keeps hands released, since Section A ends with hands released) and
faces the centre of the circle.
Two slow steps forward with arms raised are followed by 4 quick steps with body bent somewhat forward and arms
flung down. Section B is repeated 4 times.
Dance instructions courtesy of Moshe Denburg.
Dance
Zemer Atik (An Ancient Song)
DIRECTIONS
Have students follow the directions below. For dance instruction, you are encouraged to consult the resource person
for this unit, Moshe Denburg, or attend the dance sessions at The Jewish Community Centre, 950 West 41st Avenue
in Vancouver, (Tel. -.)
DESCRIPTION
1.
2.
3.
4.
5.
COSTUME AND/OR INSTRUMENTS
Make a circle holding hands.
Everyone faces right, looking at the back of the person
ahead of them, still holding hands.
The count in for the music begins: 1-2-3-4. The
metronome at first should be no more than q = 100
The dance is in two sections, A and B, each repeated 4
times.
The dance is repeated as many times as needed. One
idea is to increase the tempo slightly with each
repetition.
Resource:
Zemer Atik on accompanying cassette
(available from Britannia)
ILLUSTRATION AND/OR STEPS DIAGRAM
Section A (R = right foot, L = left foot, – = still, silent)
Beats
1
2
3
4
5
6
7
Steps
R
L
R
L
R
–
–
Hand claps –
–
–
–
–
xx
–
8
–
x
Stepping with the right foot first, everyone takes 5 steps around the circle, After the 5th step, on the 6th beat, everyone releases the hands they are holding and standing still, claps twice on the 6th beat, silent on the 7th, and once on
the 8th.
Section A is repeated 4 times.
SECTION B ( upright, arms raised
bent forward, arms down)
Beats:
1
2
3
4
5
6
7
8
Steps
R
–
L
–
R
L
R
L
Direction fwd –
fwd –
bk
bk
bk
bk
Position
In Section B, everyone releases hands (i.e. keeps hands released, since Section A ends with hands released) and
faces the centre of the circle.
Two slow steps forward with arms raised are followed by 4 quick steps with body bent somewhat forward and arms
flung down. Section B is repeated 4 times.
Dance instructions courtesy of Moshe Denburg.
Jewish Music
Musical Instruments
DIRECTIONS
NAME & CLASSIFICATION
membranophone
idiophone
chordophone
ORIGINS & GEOGRAPHICAL DISTRIBUTION
MATERIALS
FAMILY
PERFORMANCE DETAILS
wood
metal
SIZE
skin
bone
PITCH RANGE
plastic
RELATED INSTRUMENTS
LOOKS LIKE
aerophone
Jewish Music
Musical Instruments
DIRECTIONS
Have students use the cd-rom, Musical Instruments, to research the clarinet.
NAME & CLASSIFICATION
Clarinet
membranophone
idiophone
chordophone
aerophone
ORIGINS & GEOGRAPHICAL DISTRIBUTION
The clarinet was developed from the
chalumeau in the early th century by the
German instrument-maker J.C. Denner
and is used all over the world where
Western music is played.
MATERIALS
wood
✔
FAMILY
PERFORMANCE DETAILS
Woodwind
One of the most versatile of all modern instruments, the clarinet can
be heard in orchestras, military bands and jazz groups. It is one of the
principal instruments of Klezmer ensembles.
metal
SIZE
skin
66cm (26in) long
bone
PITCH RANGE
plastic ✔
three and a half
octaves
RELATED INSTRUMENTS
Basset–horn
Pungi
Diple
Zummara
Launeddas
Chalumeau
LOOKS LIKE
Jewish Music
Musicians
DIRECTIONS
Design an album cover which expresses the spirit of the music of the group/artist you choose.
ALBUM COVER
GROUP
GROUP
Name:
Rhythm Style:
Instruments Played:
Name:
Rhythm Style:
Instruments Played:
A Song Title:
Genre/Purpose for Song:
A Song Title:
Genre/Purpose for Song:
GROUP
GROUP
Name:
Rhythm Style:
Instruments Played:
Name:
Rhythm Style:
Instruments Played:
A Song Title:
Genre/Purpose for Song:
A Song Title:
Genre/Purpose for Song:
Jewish Music
Musicians
DIRECTIONS
Have students research each of the following groups, choose one, and design an album cover which expresses the
spirit of their music.
ALBUM COVER
GROUP
Name:
Rhythm Style:
Instruments Played:
GROUP
Klezmatics
Klezmer rock
synthesizer
bass
drums
dumbek
clarinet
A Song Title:
Fun Tashlikh*
Genre/Purpose for Song: celebration
* From Rhythm and Jews
GROUP
Name:
Rhythm Style:
Instruments Played:
Name:
Rhythm Style:
Instruments Played:
Flying Bulgar Klezmer Band
Hora ¾
trumpet
clarinet
accordion
xylophone
acoustic bass
A Song Title:
Kandel's Hora*
Genre/Purpose for Song: celebration
* From the Flying Bulgar Klezmer Band
GROUP
Tzimmes
Klezmer 2/4, Bulgar
guitars
accordion
tambourine
wood block
A Song Title:
Odessa Bulgarish*
Genre/Purpose for Song: celebration
* From Sweet and Hot
Mazel Tov!
Klezmer
drum kit
trombone
saxophone
flute
trumpet
clarinet
A Song Title:
Dance Medley!*
Genre/Purpose for Song: dance music played at weddings
* From Mazel Tov! Music for a Jewish Wedding and
other joyous occasions.
Name:
Rhythm Style:
Instruments Played:
Jewish Music
Religion
DIRECTIONS
Use the text on the opposite page to make notes in point form on each of the topics below. Notes on Judaism are
done for you as an example.
RELIGION
FOCUS
Judaism
The Cantor
the dominant religion in Israel
only one God
■ Jews can relate directly to God
• there is no intermediary
■ the rabbi’s responsibilities are:
• religious education
• religious guidance
• religious services
• to interpret Jewish law
• to guide spiritual life
■
■
Job Description
■
EXAMPLE
A Morning Prayer
The Priestly Blessing
May the Lord Bless you and keep you;
May the Lord cause the light of His countenance to
shine upon you and be gracious unto you;
May the Lord manifest His spirit unto you,
and may He give you peace.
Prayer courtesy of Moshe Denburg
HISTORY
A History of Cantorial Music
■ Earliest Times
■ 6th and 7th Centuries
■ European Traditions
■ Today
■ Past
■ Today
Jewish Music
Religion
DIRECTIONS
Have students use the text below to make notes in point form on the activity sheet on the facing page. The example of
a prayer chant remains the same. The information on Judaism is given in point form on the activity sheet as an exemplar.
RELIGION
FOCUS
Judaism
Judaism is the dominant religion in Israel. Jews worship
only one God and obey His laws. Because there is no
intermediary between God and humanity, Jews can
relate directly to Him. In Judaism, the rabbi is the
person in the community who is responsible for religious education, guidance, and services in the synagogue. Rabbis interpret Jewish law and guide the
spiritual life of the people.
The Cantor
The cantor, or hazan, is a professional singer of prayers,
or synagogue songs. Cantors have a special ear for music,
a good voice, and the ability to add to, or embellish,
traditional chants.
In the past, cantors travelled from town to town
chanting prayers on the Sabbath (Saturday), festivals,
and High Holy Days. Their song raised the congregation to a higher level of prayer.
Today, the cantor is a member of the professional
synagogue staff and leads the singing for a particular
congregation. Cantors enjoy a high status in the Judaic
religion because they maintain the traditions of prayer
handed down from past generations and pass them on
to generations to come.
EXAMPLE
A Morning Prayer
The Priestly Blessing
May the Lord Bless you and keep you;
May the Lord cause the light of His countenance to
shine upon you and be gracious unto you;
May the Lord manifest His spirit unto you,
and may He give you peace.
Prayer courtesy of Moshe Denburg
HISTORY
A History of Cantorial Music
From earliest times, cantors used to learn modal chants by listening to and imitating older cantors. Once the chants
were memorized, the cantor was able to add his own interpretation and personal touches, such as additional notes. In
the sixth and seventh centuries, cantors were influenced by Arabic musical forms and techniques when the Arab
civilization spread throughout the Middle East and westward to Spain. Cantors began improvising prayers, often
setting the words to Arabic modes.
European musical traditions introduced cantors to the principles of harmony. By the end of the eighteenth century,
cantors were writing music and transcribing the old chants to keep them from being forgotten.
Today, there are Jewish composers in the cantorial style who combine traditional chants with the kinds of modern
harmonies which have been developed in the West. Cantors continue to play a central role in the synagogue as a place
of worship.
Israel
Folk Tale page 1
DIRECTIONS
Read the story, Joshua in the Promised Land and complete the activity sheets.
TITLE
CHARACTERS
VOCABULARY
The main characters are:
New words I learned are:
means
means
means
means
The hero of the story is:
means
means
The villain of the story is:
means
The story includes a musical instrument called the
INSTRUMENT LOOKS LIKE
WORDS THAT DESCRIBE THE INSTRUMENT ARE:
Looks like:
Sounds like:
Israel
Folk Tale page 1
DIRECTIONS
Have students read the folk tale, Joshua in the Promised Land, and complete the activity sheets.
TITLE
Joshua in the Promised Land
CHARACTERS
VOCABULARY
The main characters are:
New words I learned are:
Joshua – leader of the Israelites
Israelites
means
people of Israel
Achan – an officer
Promised Land
means
homeland for the Israelites
Rahab – woman of Jericho
Jericho
means
a city in Canaan
The hero of the story is:
Tabernacle
means
house of worship
Joshua
smote
means
hit
The villain of the story is:
Canaan
means
the Promised Land
means
Achan
The story includes a musical instrument called the
INSTRUMENT LOOKS LIKE
Shofar
WORDS THAT DESCRIBE THE INSTRUMENT ARE:
Looks like:
Sounds like:
curved
soft or loud
ram’s horn
resounding blast
approximately 12"
Israel
Folk Tale page 2
SETTING
The physical setting for the story looks like:
THEME
The central idea of the story is:
PLOT
Climax
Rising Action
Introduction
Conclusion
Israel
Folk Tale page 2
SETTING
The physical setting for the story looks like:
(a large walled city in the desert)
THEME
The central idea of the story is:
With trust in God, the impossible can be accomplished.
PLOT
Climax
Conclusion
Rising Action
Introduction
The Israelites
arrive at the city
of Jericho
They march around the walls of
Jericho each day for six days.
Joshua tells the Israelites how they
should conduct themselves when
they win the battle of Jericho.
The
Israelites
shout
and blow
the ram's
horns
and the
walls fall
down.
Jericho is set on fire.
The spoils of war are taken.
Achan steals silver and gold.
Rahab is spared.
Joshua leads the Israelites
deeper into Canaan.
Glossary of Terms
Jewish Music
DIRECTIONS
Write the meaning of each of the following words. Draw a picture or write a sentence which shows the meaning
of the word.
WORD
Ashkenazi
Bulgar
Hebrew
Judaism
Klezmer
Ladino
Mizrahi
Sephardi
Shofar
Synagogue
Yiddish
MEANING
SENTENCE OR ILLUSTRATION
Glossary of Terms
Jewish Music
DIRECTIONS
Have students complete either word, meaning, sentence, or illustration for the following terms.
WORD
MEANING
Ashkenazi
European and Western
Jewish tradition
Bulgar
a rhythm from Bulgaria
found in Klezmer music
Hebrew
language of the Bible and
Jews everywhere
Judaism
a religion whose basic
belief is that there is only
one god
Klezmer
a Jewish musical style
originating in Eastern
Europe
Ladino
language of Sephardi
Jews
Mizrahi
Middle Eastern and
Asian Jewish tradition
Sephardi
Spanish, North African,
and Mediterranean
Jewish tradition
Shofar
musical instrument made
from a ram's horn
Synagogue
Jewish house of worship
Yiddish
language of the
Ashkenazi Jews
SENTENCE OR ILLUSTRATION
Spike Fiddle
Instrument Building
MATERIALS
resonator
neck
peg
3 eyescrews
string
bridge
• a small wooden box with a light, flexible top, approx. 8"x4"x2".
• a hard wooden dowel about 1" diameter, 36" long.
• a tapered hardwood dowel, about ½" diameter at its thickest.
• 2 attached to tuning peg. 1 acts as string nut.
• gut or nylon, about 48" long.
• strong and light piece of hardwood, about 2" high, 3" wide, ¼" thick.
DIRECTIONS
1.
Drill or cut sound holes in the top of the box.
2.
Drill holes equal to the diameter of the wooden dowel (neck) in the side of the box near the neck and in the side below the
bridge. Align the holes so the wood dowel goes through the box in a straight line.
3.
a) Take a tapered peg dowel and measure its average diameter.
b) Drill a hole the width of the average diameter in the large dowel (neck) about one inch from one end.
c) Press-fit the tapered peg.
4.
a) Put the neck dowel through the box. Mark the neck dowel at the points where it enters and exits the box and drill small
holes for screws at these points (these will help secure the neck).
b) Put the dowel through the box again, fasten at both ends with white glue, and secure with screws at pre-drilled holes.
Make sure the peg hole is on the same plane as the top of the box.
5.
Glue the box top into place.
6.
Sand and shape the bridge.
7.
Take the gut or string and fasten it to the dowel at the bridge end and to the peg, leaving the string slack.
8.
Place the bridge under the string and tighten by gradually turning the peg.
9.
Get an old bow, put rosin on the hairs and try your spike fiddle.
front
side
ILLUSTRATION
Eyescrew
Tuning Peg
with eyescrews
Bridge
Sound Holes
Directions for building a spike fiddle courtesy of Moshe Denburg.
Neck
Performance/Workshop
Jewish Music
RESOURCE PEOPLE
Name:
Contact Information:
Moshe Denburg
#12-719 East 31st Avenue
Vancouver, BC V5V 2W9
Tel: 879–8415 Fax: 873–0501
E-Mail: denburg@direct.ca
Audience Participants:
Suitable for students in grades 8–12
PERFORMANCE/WORKSHOP DESCRIPTION
The Many Faces of Jewish Music
Focus:
lecture/demonstration/workshop
The aim is to give participants an idea of the many tributaries of Jewish music, including Eastern European, Mediterranean, Near Eastern, and Western. Examples are performed, instruments, rhythms and modal differences are
demonstrated. Participation in the form of singing and clapping is expected.
STAGING REQUIREMENTS
Requirements are basic. No sound
equipment is required for classroom use.
If a stage or gym is needed for a larger
audience, microphones and amplifiers will
be required for the number of musicians
participating.
Stage Diagram
LEARNING RESOURCES
Recordings: Sweet and Hot, and A Lid for Every Pot.
CD or cassette player
PRE-PERFORMANCE SUGGESTIONS
Provide an overview of the Jewish Diaspora. Introduce the three streams of Jewish Music: Ashkenazi, Sephardi, and
Mizrahi.
POST-PERFORMANCE SUGGESTIONS
Play examples of music from Tzimmes’ recordings and have students identify styles. Schedule a performance by
Tzimmes.
K
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Key visual:
graphic organizer:
Jewish Musicians
Key visual:
SEQUENCE
Focus:
representative
musicians
Focus:
DESCRIPTION
Language:
names of musicians,
instruments, styles
graphic organizer for
above
video, instrumentbuilding, dance
first, second, then
after
Thinking Process: sequencing, following
instructions
Language:
Thinking Process: interpreting,
researching,
reaching conclusions
graphic organizer:
Listening Guide
listening activity
names of feelings,
names of instruments,
musical terminology
CHOICE
student response
sheet,
graphic organizers:
Jewish Musicians
choosing an artist to
research
Focus:
Key visual:
could, would, should
Language:
Thinking Process: making decisions,
proposing
alternatives
Key visual:
graphic organizer:
Geographic
Background
Key visual:
graphic organizer:
Socio-Political Focus
Focus:
streams of Jewish
music
Focus:
Jewish diaspora
Focus:
Key visual:
Language:
Names of places,
styles of music
Language:
proper and generic
nouns
Language:
Thinking Process: appreciating,
empathizing
EVALUATION
Thinking Process: identifying
inter-relationships
PRINCIPLES
Thinking Process: Reviewing, relating
concepts
CLASSIFICATION/CONCEPTS
THE KNOWLEDGE FRAMEWORK (adapted from B. Mohan, 1986)
The Knowledge Framework
Jewish Music
Reference Sources
Jewish Music
BIBLIOGRAPHY
Chaikin, Miriam. Joshua in the Promised Land.* New York: Clarion, 1982. pp. 46-50.
Dubois, Jill. Israel (Cultures of the World). New York: Marshall Cavendish, ©1993.
Eisenstein, Judith K. Heritage of Music; the Music of the Jewish People. Wyncote: The Reconstructionist Press, ©1981.
Levine, Joseph A. Synagogue Song in America. Crown Point: White Cliffs Media, Co., 1989.
Musical Instruments of the World.* New York: Facts on File, 1976.
DISCOGRAPHY
Flying Bulgar Klezmer Band, The Flying Bulgar Klezmer Band*
Klezmatics, Rhythm and Jews*
Klezmer Conservatory Band. Old World Beat
Neshoma Orchestra, Mazel Tov!*
Tzimmes, A Lid For Every Pot*
Tzimmes, Sweet and Hot*
10 Israeli Dances, (cassette and accompanying booklet)
VIDEO
Perlman, Itzhak. Itzhak Perlman; In the Fiddler’s House.* New York: Angel Records, ©1995
RESOURCES FOR RECORDINGS AND BOOKS ON JEWISH MUSIC
Tara Publications
29 Derby Avenue, Cedarhurst, NY 11516
Tel: (516) 295-2290 Fax: (516) 295-2291
Sounds Write Productions
6685 Norman Lane, San Diego, CA 92120
Tel: (619) 697-6120 Fax: (619) 697-6124
Chadish Media
453 East 9th Street, Brooklyn, NY 11218
Tel: (718) 856-3882
Tzimmes
#12 – 719 East 31st Avenue
Vancouver, BC V5V 2W9
Tel: (604) 879-8415 Fax: (604) 873-0501
E-Mail: denburg@direct.ca
Internet: http://www2.portal.ca/~jsiegel/tzimmes.html
* Reference sources used in this unit.