From Library Journal
In an introductory disclaimer, author Slobin, a faculty member at Wesleyan University, explains that his book does not aim to be a chronology or a comprehensive survey of Klezmer. (Readers searching for those would do well to read Seth Rogovoy's recent tome, The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music from the Old World to the Jazz Age to the Downtown Avant-Garde, LJ 6/15/00.) Compared to Rogovoy's book, Slobin's is more academic in tone, somewhat drier, and not quite as current. Nonetheless, Klezmer fans will find a great deal of valuable material. Slobin focuses on several different perspectives, which make up the central four chapters: "Klezmer as a Heritage Music," "Klezmer as an Urge," "Klezmer as Community," and "Klezmer Style as a Statement." The latter section includes some systematic musicological analysesDincluding sonograms of melodic ornamentsDthat may perplex the lay reader. In general, though, the book is well researched and rich in anecdotes and makes a compelling case for the importance of Klezmer in American musical and cultural studies.DLarry Lipkis, Moravian Coll., Bethlehem, PA
Copyright 2000 Reed Business Information, Inc.
Pressestimmen
Fundamental to the strength of this study is Slobin's recognition not only of the unique circumstances surrounding Jewish music but also of the strong overlap of klezmer with other co-territorial musics ... Like a good travel guide, this book should remain a constant companion of those seriously intending to explore the avenues of this evolving genre. British Journal of Ethnomusicology Awaited eagerly by scholars and musicians alike, Mark Slobin's book marks a significant contribution to the study both of klezmer and of "micromusics" within ethnomusicology ... a lucid and sensitive treatment of a complex yet fascinating area of contemporary music-making. British Journal of Ethnomusicology
