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The Ruth Rubin Legacy
Archive of Yiddish Folksongs

The Ruth Rubin Legacy

Title

The Ruth Rubin Legacy

Subject

Sound Archive of Yiddish Folksongs

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Slidetext

The Ruth Rubin Legacy

A sound archive of Yiddish Folksongs

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Items in the The Ruth Rubin Legacy Collection

Also recorded in 1962 (song 7)

The informant recites from the Book of Esther, as he recalls it from his home town in Bessarabia. Source: Leyzer Axelbank’s tape

The informant, born in Ivia, Lithuania, recalls the Purimshpilers and the Purimshpil songs of her home town. (See Ruth Rubin’s article in Yiddish Folklore No. 3)

Recorded again in 1967 (song 11)

This old lady tells and sings or intones from her own recollection of the Mekhires-Yoysef shpil. Source: Allan Warshawsky’s tape.

From Mekhires-Yoysef shpil. Source: Allan Warshawsky’s tape.

Includes all the holidays. Dropout towards beginning of song.

Tape song order as per version on LC tape/log Song duplicated from NLI website

Tape song order as per version on LC tape/log

Tape song order as per version on LC tape/log

Tape song order as per version on LC tape/log

Tape song order as per version on LC tape/log

Kaczerginsky describes the background of this song. Tape song order as per version on LC tape/log

Tape song order as per version on LC tape/log

Ballad of Odessa pogrom Tape song order as per version on LC tape/log

Zionist Tape song order as per version on LC tape/log

About progrom in Kishinev, 1903 Tape song order as per version on LC tape/log

Ballad about Dreyfus. Tape song order as per version on LC tape/log

Current in World War I post war years in Europe Tape song order as per version on LC tape/log

About 1871 pogrom in Odessa Tape song order as per version on LC tape/log

About Czarist oppression again Jews Tape song order as per version on LC tape/log

About Dreyfus Tape song order as per version on LC tape/log

The interrogator in No. 16 is Wolf Younin.

Numbers 12-14 were songs which Bessie Dux remembered from her childhood in a home frequented (in New York City) by anarchist-workers.

Numbers 12-14 were songs which Bessie Dux remembered from her childhood in a home frequented (in New York City) by anarchist-workers.

Numbers 12-14 were songs which Bessie Dux remembered from her childhood in a home frequented (in New York City) by anarchist-workers.

Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And…

Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And…

Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And…

Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And…

Avrohom Slucki continues with memories and sings a song which he sang in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And…

Tsukunft yugnt khor Memoirs, Warsaw, Poland, 1920s-1933. Moshe Perenson and Avrohom Slucki recall the composer Yosef Glatshteyn, who trained the singers in this chorus. Moshe Perenson stresses certain aspects of this youth chorus and also his work…

Tsukunft yugnt khor Memoirs, Warsaw, Poland, 1920s-1933. Moshe Perenson and Avrohom Slucki recall the composer Yosef Glatshteyn, who trained the singers in this chorus. Moshe Perenson stresses certain aspects of this youth chorus and also his work…

The song by Philip Ney, created by him in the 1920s and some comments about it, etc.

The song by Philip Ney, created by him in the 1920s and some comments about it, etc.

The song by Philip Ney, created by him in the 1920s and some comments about it, etc.

The song by Philip Ney, created by him in the 1920s and some comments about it, etc.

The song by Philip Ney, created by him in the 1920s and some comments about it, etc.

Informant omitted verses 9-12

Informant omitted verses 9-12

(13th stanza only) (repeat of No. 7?)

(first phrase cut off…)

13th stanza only

Here's more about this song:http://www.yiddishpennysongs.com/2015/04/der-amerikaner-seder-american-seder-as.html Additional information provided by Jane Peppler

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

(Text: A. Liesin - Tune: Bugatsh) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

(Text: Esther Shumiatsher - tune: Lazar Weiner) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

(Text attributed to Dr. Khayim Zhitlovsky) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

(Yiddish translation by Bialik) (Tune: Shneyer) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.

[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist,…

(Fragments of Lazar Weiner’s cantata Amol in a tsayt (Legend of Toil), text by Goichberg) [from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and…

(Text and Tune: Mordkhe Gebirtig) [from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father…

[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist,…

[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist,…

[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist,…

Song collected from Yankl Zipper, born in Poland. Collected in 1927 in manuscript form and later learned by Ruth Rubin.

Song collected from B. Kazdan, born in Babroisk, Belarus. Collected in 1927 in manuscript form and later learned by Ruth Rubin.

Not listed in Ruth Rubin’s tape log - on tape song comes between tracks 8 and 9. Song moved to end of playlist to maintain song order. Poem published in Leyb Naydus’ Lirik - Ershte band, Yekaterinoslav (Dnipro), 1915. Melody published in Bina…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born…

[Comments by the informant after song, in English] [Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky…

[Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs,…

([Spoken introduction by informant in Yiddish before song, & comments in middle and at end by informant & by Ruth Rubin.] Note in typewritten tape log inside box:]) Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider…

[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes…

[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes…

[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes…

[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes…

[Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but…

[Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of…

[Note in typewritten tape log inside box:] In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc. [Audio problem on one track. Bleed from other side of tape?]

Hebrew text: Chave Shapiro [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise…

Russian

Yiddish (Poale Zion Hymn) [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise…

[Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and…

Hebrew version of the Yiddish Zionist hymn: Dort vu di tseder. [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before…

Hebrew translated from the Yiddish folksong “Du meydele du sheyns,” by Sillman [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First…

Mr. Frank claims it is based on the Ukranian conversation song he just sang. [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First…

(Ukranian) [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York…

[Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and…

Text: Sillman [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York…

Tune: from a Ukrainian march, sung before 1890? [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I).…

Text: Mordkhe Tsvi Mane [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of…

Text: Lyuboshitsky - Tune was later used to a Yiddish pogrom song. See Tape 49, no. 9 [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the…

Text: Elyokum Zunser [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New…

The dyed mit a babe had a lot of children. The left them alone in the house and told the children to hide themselves One on the table, one under it One on the chair, one under it One on the oven, one under it A bear knocked on the door and said,…

Recited in rhymed Yiddish (rough translation) A wild man had 12 wives. The first milked the cows The 2nd set the cup (?) The 3rd laid wood in the oven. The 4th made yeast bread. The 5th swept the house. The 6th threw out the garbage. The 7th set the…

in 3/4 meter. Moshe & Sorele’s mother went to the market, but didn’t come back right away. The children went into the forest and got lost. A big, black bear suddenly approached and asked them what are you doing here in the forest? Aren’t you…

[Error in tape log. This is correct title of second track listened to on 7/16/12] The Chelmers once had a king, but he couldn’t receive honor, because no one knew who he was: he wore regular leather shoes. The Chelmers met and decided that the king…

Russian poem, on the 1849 struggle against the Russians - and the end of the Habsburgs. On October 13 about 50 were executed. (Song 3 on this tape is a Yiddish version of this poem) From additional tape, “73B” with song #3 and Anna Berkowitz’s…

Russian poem, on the 1849 struggle against the Russians - and the end of the Habsburgs. On October 13 about 50 were executed. (Song 3 on this tape is a Yiddish version of this poem) From additional tape, “73B” with song #3 and Anna Berkowitz’s…

[Note in typewritten tape log in box]: Parody on Itzik Manger’s “Rabeynu Tam,” sung by a Chilean, visiting here. Sung at a house party. [of several men and women with fine singing voices who join in the chorus and parts of the verses and are having…

Tape 38 - Daniel Lipkovitsh III

The informant was a member of Hashomer Hatzair in Europe before she came to the U.S. and continued in “the movement” here.

Created by the singer, who sings the song in Yiddish, English and Hebrew. Informant runs a youth camp in New Hampshire and wrote the song for it. This is an example of “non-professional” composition of songs, which still crops up from time to time.

From Teddi Schwartz’s tape. Based on Shmerke Kaczerginskiy’s song "Tates mames kinderlekh boyen barikadn" (see tape 54 song 6)

Conversation on Yiddish accents, dialects, etc. follows with Daniel Lipkovitsh and Sholem and Yehudis Wasilewsky.

Jesse Shanok’s tape

Teddi Schwartz’s tape

L. Axebank’s tape

Similar to the versions sang by Ruth Rubin and Feygl Yudin.

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

Beginning of song cut off. “When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

See also Yankl Zipper's version, with lyrics and transcriptions. “When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department.…

(Melodic variant... Ann Kline)

(Uneven in first stanza)

An original song, which Berish Katz said he wrote, during our “taping” acquaintance. (song and fiddle tune). Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down…

Fiddle tune only. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book…

Fiddle tune of song #159 [in Moyshele Stam’s notebook. See note below.] Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and…

Fiddle tune of song #146 [in Moyshele Stam’s notebook. See note below.] Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and…

Fiddle tune of song #109 in Moyshele Stam’s notebook. [See note below] Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and…

Fiddle tune only. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book…

Tune followed by song. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book…

Chant of the sexton. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book…

Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the…

Fiddle and comment. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book…

Five fiddle tunes, traditional to a marriage ceremony in Glina Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later…

Recording is missing first line of first stanza.

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part…

[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of…

{Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part…

[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part…

Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

[[Is this the same as A. S. Zachar aka “Lerer” Zachar ??] Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the…

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the…

(Fragment)

(fragment -- Allan Warshawsky’s tape)

Version of “In der kuznye” (Mixed language?)

41901 Ruth Rubin tape was digitized.

[Note from black hardbound catalog:] Fragment - at a house party.

[Note from black hardbound catalog:] Accompanies self on mandolin.

[Note from black hardbound catalog:] Unfinished. Fragments are included as clues to many songs. Teddi Schwartz’s tape -- poor recording.
[From blue index, RG 620, box 30] : Taken from Teddi Schwartz' tape, Camp Solomon, Lake Charles, N.Y.]

19

[Note from Ruth Rubin tape box log] (Daniel said this Neapolitan tune was picked up from organ grinder on the streets of Warsaw) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky…

[Note from Ruth Rubin tape box log] (Beggar’s song, sung here by Ruth Rubin) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel…

[Note from Ruth Rubin tape box log] (Street vendor’s song) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many…

[Note from Ruth Rubin tape box log] (Old clothes ventor street-cry) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched…

[Note from Ruth Rubin tape box log] (Watermelon street-cry) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon…

[Note from Ruth Rubin tape box log] (Underworld song) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many…

[Note from Ruth Rubin tape box log] (Underworld song) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many…

[Note from Ruth Rubin tape box log] (Ballad about a well-known underworld character, Moyshe Linder. Shoelm Wasilievsky adds a few facts about Linder, which he had read in a book). [Note from black hardbound catalog for tape 36:] A talk with Daniel…

[Note from Ruth Rubin tape box log] (Ballad about a well-known underworld character, Moyshe Linder. Sholem Wasilievsky adds a few facts about Linder, which he had read in a book). [Note from black hardbound catalog for tape 36:] A talk with Daniel…

[Note from Ruth Rubin tape box log] (Dancing children’s ring game) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched…

[Note from Ruth Rubin tape box log] (Ballad) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of…

[Note from Ruth Rubin tape box log] (Protest song based on text by D. Edelshtat) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed…

[Note from Ruth Rubin tape box log] (Ballad) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of…

[Note from Ruth Rubin tape box log] (A Zmiro “Kol mekadesh shviyi”, sung to the tune of a Mazurka) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the…

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

(fragment) [Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A.…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

(Literary origin?) [Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

(fragment) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination…

(Revolutionary Hymn) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

(Borukh Shulman) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

(From Lazer Axelbank’s wire recorder) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years.…

(From Lazer Axelbank’s wire recorder) (Melody only of Sh. Anski’s “In Gezaltsenem Yam”) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the…

(From Lazer Axelbank’s wire recorder. The whole family is singing this song.) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of…

(location note Public Libary, N.Y.C. Tremont Branch) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as…

[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of…

[See: tape 36, No. 11] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and…

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[Daniel learned this from a friend in “Crotona Park”, Bronx N.Y. He thought it had been written by one Yoysee Bank] [track note from YIVO (white tape box) Daniel said he learned this from a friend in “Crotona Park” Crotona Park is in the Bronx, N.Y.…

[Daniel thought the song had been written by one Segalovitsh] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon…

[Romance] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he…

[a song by a man convicted to death] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH…

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[a fragment sung by Ruth Rubin, followed by the Russian version sung by Yehudis Wasilewsky]

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the…

[a fragment sung by Ruth Rubin, followed by the Russian version sung by Yehudis Wasilewsky] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation…

[from Goldfaden’s “Shulamis”] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk…

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[track note from YIVO (white tape box) First, Sholem Wasiliewsky recites the poem, then Yehudis Wasiliewsky sings the song. I seem to recall a variant of this, which I collected in Montreal from a certain Mr. Mamelok] [Note from black hardbound…

[First, Sholem Wasiliewsky recites the poem, then Yehudis Wasiliewsky sings the song. I seem to recall a variant of this, which I collected in Montreal from a certain Mr. Mamelok] [Note from black hardbound catalog for tape 36:] A talk with Daniel…

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[track note from LOC tape Mark Warshawsky’s “Der Fodim”] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many…

[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[Inspired by organ-grinders] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk…

Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from…

[Religious Jews taunting Maskilim] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS…

[note from RG 620 black book Anti-Chassidic song, obviously written by a Maskil]

[note from RG 620 black book Chassidic] (first phrase was unfortunately cut off)

[note from RG 620 black book Chassidic-modern]

(Chassidic song which Dr. Stupp learned from a delegate from Mexico, aon the ship returning from the Zionist Congress, held in Italy in 1946)

[note from RG 620 black book work song]

[note from LOC tape log similar theme {to track 7, “Of dem beys oylem”, song about a dead mother and her orphaned child}]

[note from LOC tape log song about a dead mother and her orphaned child]

[note from RG 620 black book Popular song?]

[note from RG 620 black book Literary origin?]

[note from RG 620 black book Literary origin?]

(work song)

(work song)

(work song)

From Lazar Axeblank’s wire recording

6/1/1955

3/1/1955

Anti-Hasidic satire?

Theatrical?

With guitar

From L. Axelbank’s wire recorder

theatrical

Literary origin?

[In tape log inside tape box, this is number 17; in black hardbound catalog with running item numbers, this is number 16. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 16; in black hardbound catalog with running item numbers, this is number 15. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 15; in black hardbound catalog with running item numbers, this is number 14. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 14; in black hardbound catalog with running item numbers, this is number 13. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 13; in black hardbound catalog with running item numbers, this is number 12. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 12; in black hardbound catalog with running item numbers, this is number 11. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 11; in black hardbound catalog with running item numbers, this is number 10. Item number matches hardbound catalog, but song number does not.]]

[In tape log inside tape box, this is number 10; in black hardbound catalog with running item numbers, this is number 9. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 9; in black hardbound catalog with running item numbers, this is number 8. Item number matches hardbound catalog, but song number does not.]]

[In tape log inside tape box, this is number 8; in black hardbound catalog with running item numbers, this is number 7. Item number matches hardbound catalog, but song number does not.]

[In tape log inside tape box, this is number 7; in black hardbound catalog with running item numbers, this is number 6. Item number matches hardbound catalog, but song number does not.]

[This song is missinig from black hardbound catalog & therefore does not have an item number. In tape log tape box, numbers have been changed by hand, so this is number 6.]

[Note in typed tape log in box:] New York Public Library.

[Note in typed tape log in box:] Mrs. Lapin learned both song (#9 and #10 on Tape 30) from my songbook collections. It is interesting to note the folkloric changes she has made in both. Obviously, she is fond of both songs, and sings them with…

[Note in typed tape log in box:] Mrs. Lapin learned both song (#9 and #10 on Tape 30) from my songbook collections. It is interesting to note the folkloric changes she has made in both. Obviously, she is fond of both songs, and sings them with…

[Note on typewritten tape log in tape box:] During a group session, the singer was prompted by other members of the group

[Note on typewritten tape log in tape box:] Age 81. from Freda Raucher’s tape. Her voice is heard on tape.

[Note on typewritten tape log in tape box:] Possibly of literary origin. This recording was not on the original tape edit but was found on the LC duplicate. LS

[Note on typewritten tape log in tape box:] Fragment.

[Note on typewritten tape log in tape box:] Home for the Aged.

[Note on typewritten tape log in tape box:] Fragment.

[Handwritten note on typewritten tape log in tape box:] [Illegible ?? ] Treasury

[Handwritten note on typewritten tape log in tape box:] Feygl

[Handwritten note on typewritten tape log in tape box:] Feygl

[Handwritten note on typewritten tape log in tape box:] F+B

[Handwritten note on typewritten tape log in tape box:] F+B

[Handwritten note on typewritten tape log in tape box:] F+B

[Handwritten note on typewritten tape log in tape box:] F+B

[Handwritten note on typewritten tape log in tape box:] F+B

[Handwritten note on typewritten tape log in tape box:] from Oak

[Handwritten note on typewritten tape log in tape box:] from Oak

[Handwritten note on typewritten tape log in tape box:] from Ari

[Handwritten note on typewritten tape log in tape box:] from ?

[Handwritten note on typewritten tape log in tape box:] in Treasury.

[Note on typewritten tape log in tape box:] Purimshpil. Fragments from M’KHIRES YOYSEF, recalled by Anne Kline, from listening to her mother at work, when she was only 5 years old, in Poland. Although she recalls only fragments here and there, her…

[Note on typewritten tape log in tape box:] He says his father, who was a badkhn, sang this song.

[Typewritten log inside tape box gives informant’s name as: “Lerer” Zachar.]

[Note on typewritten tape log in tape box:] Allan Warshawsky’s tape

[Note on typewritten tape log in tape box:] Topical.

[Note on typewritten tape log in tape box:] Poland.

[Note on typewritten tape log in tape box:] Bessarabia.

[Note in typewritten tape log in tape box:] Home for the Aged.[Handwritten note on typewritten tape log in tape box:] Zunzer p. 224 s [or p. 224 5 ??]

Tape 19 - Drinking Songs

[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish,…

[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish,…

[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish,…

Taped at Educational Alliance Camp, Patterson, N. Y.
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY.

Some of the songs sung…

[Note in typewritten tape log in box:] Akore lid. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic,…

[Note in typewritten tape log in box:] Betler lid. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

"Ethnomusicologist Ruth Rubin collected and translated this street singer’s tune in 1955 from Yankl Zipper, who had…

[[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Betler lid. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Shmad lid. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic,…

[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish,…

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] A ballad about “Mother Rebecca’s Death” [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typeritten tape log in box:] Satire. [[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Popular? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Folklore satire. [Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Zunser? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Literary origin? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Satirical.

[Note in typewritten tape log in box:]Folklore.

[Note from typewritten tape log in box:] German fragment, relates to [Tape 20 Songs] 1 & 5 here.

Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.

Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.

Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.

[Note from typewritten tape log in box:] From Jesse’s tape collection.

aka Az ikh vel zingen lekho doydi

[Note from typewritten tape log in box:] At a house party. Someone was playing the piano slightly.

[Handwritten note on typewritten tape log in box:] Di mashke. [Typewritten note in black hardbound catalog:] Text: Velvl Zbarzher (actually Mikhl Gordon)

[Note on typewritten tape log in box:] Taped during a class session in folksong collection. First stanza was distorted. Song begins on refrain.

[Note on typewritten tape log in box:] From Jesse’s tape.

[Note in typewritten tape log in box:] Shmad lid. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic,…

[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish,…

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] A ballad about “Mother Rebecca’s Death” [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typeritten tape log in box:] Satire. [[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Popular? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Folklore satire. [Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Zunser? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Literary origin? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] Satirical.

[Note in typewritten tape log in box:]Folklore.

[Note from typewritten tape log in box:] German fragment, relates to [Tape 20 Songs] 1 & 5 here.

Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.

Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.

[Note from typewritten tape log in box:] From Jesse’s tape collection.

aka Az ikh vel zingen lekho doydi

[Note from typewritten tape log in box:] At a house party. Someone was playing the piano slightly.

[Handwritten note on typewritten tape log in box:] Di mashke. [Typewritten note in black hardbound catalog:] Text: Velvl Zbarzher (actually Mikhl Gordon)

[Note on typewritten tape log in box:] Taped during a class session in folksong collection. First stanza was distorted. Song begins on refrain.

[Note on typewritten tape log in box:] From Jesse’s tape.

[Note on typewritten tape log in tape box:] The tune is the American folksong: Dixie! [Possible problem with tape speed of many or all tracks on Tape 25.]

[Possible problem with tape speed of many or all tracks on Tape 25.]

[Note on typewritten tape log in tape box:] Passover. Cumulative song which she sang at the wedding of her grandchild. [Possible problem with tape speed of many or all tracks on Tape 25.]

[Note from E. Biezunski: A version of the song can be found in Eleanor Mlotek’s songbook “Mir trogn a gezang,” with this note: “Form the poem by the Indian poet, Rabindranath Tagore (1861-1941. One version published in 1932 by A. Z. Idelsohn; another…

[Note on typewritten tape log in tape box:] Max Makofsky talks about his life and work. [Possible problem with tape speed of many or all tracks on Tape 25.]

[Possible problem with tape speed of many or all tracks on Tape 25.]

[Note on typewritten tape log in tape box:] Fragment. [Possible problem with tape speed of many or all tracks on Tape 25.]

[In typewritten tape log in tape box this title is given as: Bin ikh a tesegayner] [Possible problem with tape speed of many or all tracks on Tape 25.]

[Note on typewritten tape log in tape box:] Fragment of Rumanian parallel to Ekhod mi yodea. [Handwritten note:] No. 10 should be on “Mixed language” tape. [Possible problem with tape speed of many or all tracks on Tape 25.]

[Note on typewritten tape log in tape box:] Fragment. Goldfaden’s Shulamis. Her comments on background of this song. [Possible problem with tape speed of many or all tracks on Tape 25.]

[Possible problem with tape speed of many or all tracks on Tape 25.]

[Note on typewritten tape log in tape box:] Fragment. [Possible problem with tape speed of many or all tracks on Tape 25.]

[Possible problem with tape speed of many or all tracks on Tape 25.]

[Possible problem with tape speed of many or all tracks on Tape 25.] Informant sings one of the later verses from the song.

[Note on typewritten tape log in tape box: ] Age eleven [Ora]. Age nine [Michael]. Second-generation American-Jewish children, who learned the song by rote.

[Note on typewritten tape log in tape box:] New York Guild for Jewish Blind. This blind woman’s father was a cantor. Song originally recorded by Cantor Josef Rosenblatt (Victor 55291 mx. CVE-35370-2 NY 5/5/26) Label indicates composers as Zeitz -…

[Note on typewritten tape log in tape box:] His daughter Rebecca Soyer is humming along with him.

[Note on typewritten tape log in tape box:] Mrs. S “created” this...[and the previous song.]

[Note on typewritten tape log in tape box:] Mrs. S. “created” this and the following song. This particular tune is an old Chassidic tune, which was utilized also for a popular Israeli hora, still sung.

[Note on typewritten tape log in tape box:] The “bim-bom” is an artificial attachment here.

[Note on typewritten tape log in tape box:] Evening song.

[Note on typewritten tape log in tape box:] The songs appearing on different tapes, from the Axelbank family, were taped by their brother Lazar, on a wire recorder. Their sister, Basye, usually takes the lead. At times a brother, leads off. But…

[Note on typewritten tape log in tape box:] The songs appearing on different tapes, from the Axelbank family, were taped by their brother Lazar, on a wire recorder. Their sister, Basye, usually takes the lead. At times a brother, leads off. But…

[Note on typewritten tape log in tape box:] The songs appearing on different tapes, from the Axelbank family, were taped by their brother Lazar, on a wire recorder. Their sister, Basye, usually takes the lead. At times a brother, leads off. But…

[Note on typewritten tape log in tape box:] New York Public lLbrary, Tremont Branch. He wrote this song himself, he said, to express his sorrow at the destruction of 6,000,000 Jews under the German occupation. It is primitive, but sincere.

[Note on typewritten tape log in tape box:] Y.M.H.A.

[Note on typewritten tape log in tape box:] Y.M.H.A. Item number 384 is used twice in black hardbound catalog, so this item is marked 384 a in database.

[Note on typed tape log inside tape box:] Mr. Sternberg, who sings Nos. 8 and 9, claimed that he wrote the songs himself. No. 8, is based on philosophical thoughts of the sadness of parents who have to depend on their children. No. 9, he wrote, upon…

[Note on typed tape log inside tape box:] Mr. Sternberg, who sings Nos. 8 and 9, claimed that he wrote the songs himself. No. 8, is based on philosophical thoughts of the sadness of parents who have to depend on their children. No. 9, he wrote, upon…

41312 From first-generation (spliced) tape. Duplicate tape is missing. [Note handwritten on typed tape log inside tape box:] No. 7 should possibly have been included on a tape of “Americana”

Comment by Itzik Gottesman: This is a song by Elyokum Zunser. The Mloteks write about it in their Forverts column Jan. 31st, 1971.

[Note on typewritten tape log in tape box:] American theatrical? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]

[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish,…

[Note in typewritten tape log in box:] There was a slight fadeout on a phrase in no. 14. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their…

[Note on typewritten tape log inside box:] Mixed Hebrew and English

[Ruth Rubin’s mother.]

[Ruth Rubin’s mother.]

[Ruth Rubin’s mother.]

[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.

[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.

[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.

[Note on typewritten tape log in box:] From Stonehill’s tape.

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Zinkever Chassidic song.Mother’s varied repertoire is an excellent reflection of the different…

[Note from typewritten tape log in box:] At a house party. Someone was playing the piano slightly.

[Handwritten note on typewritten tape log in box:] Di mashke. [Typewritten note in black hardbound catalog:] Text: Velvl Zbarzher (actually Mikhl Gordon)

[Note on typewritten tape log in box:] Taped during a class session in folksong collection. First stanza was distorted. Song begins on refrain.

[Note on typewritten tape log in box:] From Jesse’s tape.

[Note on typewritten tape log inside box:] Mixed Hebrew and English

[Ruth Rubin’s mother.]

[Ruth Rubin’s mother.]

[Ruth Rubin’s mother.]

[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.

[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.

[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.

[Note on typewritten tape log in box:] From Stonehill’s tape.

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Zinkever Chassidic song.Mother’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] mixed Yiddish and Hebrew. Keyder boys song. Mother ’s varied repertoire is an excellent…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Hebrew from her father, my grandfather. Mother’s varied repertoire is an excellent reflection…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Text and tune: E. Zunzer. Mother ’s varied repertoire is an excellent reflection of the…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Street song. Mother ’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Zionist song. Mother ’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Mark Warshawsky. Fragment. Mother ’s varied repertoire is an excellent reflection of the…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Mark Warshawsky. Fragment. Mother ’s varied repertoire is an excellent reflection of the…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Work song. Mother ’s varied repertoire is an excellent reflection of the different influences…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Apprentice boys’ song. Mother’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Ukrainian children’s tale.Mother’s varied repertoire is an excellent reflection of the…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Unika dunika lifali; Engele, bengele ‘s andere shtrengele; Mamlige mamelay; Ose kose…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Text: Morris Rosenfeld. Lullaby. Mother ’s varied repertoire is an excellent reflection of the…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Chassidic tune. Mother ’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Chassidic tune. Mother ’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Mixed yiddish and Hebrew popular song. Mother ’s varied repertoire is an excellent reflection…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Hebrew. Mother ’s varied repertoire is an excellent reflection of the different influences on…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Song of the bride. Mother ’s varied repertoire is an excellent reflection of the different…

[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Chassidic tune. Mother ’s varied repertoire is an excellent reflection of the different…

[Note on tape log inside box:] This bit of tape was sent to me by A. J. Lloyd, musicologist, from London, England, in July, 2964. His description of it is as follows: “I’m sending you a tiny present. It’s a tape copy of a recording sent to me by a…

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

Frume Freeman, Avreml Holland, Alec Waterman 41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

[In black hardbound typewritten catalog, item number is duplicate of 16/5.] 41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

41897 Ruth Rubin master tape was digitized.

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Waltzing song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] “Blind mans buff.” In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] “Swing around.” In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Activity song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative song. Activity game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring activity game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] From friend b. Lithuania. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From Polish friend. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunting song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Finger game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Finger game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed (R6620, black hard-bound notebook):] From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping song. From friend b. White Russia. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cat-and-mouse game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Piggy-back rhyme. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game. From friend b. Poland. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping song. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From friend b. White Russia. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From friend b. White Russia. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping rhyme. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good…

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good…

[Note from Ruth Rubin’s typed catalog(R6620, black hard-bound notebook):] Counting-out rhyme, from Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a…

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Ruth Rubin’s mother. Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own…

[Ruth Rubin’s mother. Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own…

[Ruth Rubin’s mother. Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this…

[Note from tape log inside box:] Rochele’s parents are professional actors. Rochele often acts with them on stage. But this little song, in its older variant is done very traditionally by her. 41890 Both Ruth Rubin and LOC tapes were digitized. The…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes,…

[Tape 13 Songs 19 & 20] These two were collected during a group session at a branch library in New York City [Bronx].

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:]
My…

[Tape 13 Songs 19 & 20] These two were collected during a group session at a branch lbrary in New York City. Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in…

Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

She explains the game in English. Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

Fragmentary. [Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these…

[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes…

[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from typewritten hardbound black catalog, RG 620:] B. Wasserman, age 6, & her mother Dora 41842

[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes…

[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes…

[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Tape 12 Song Number 27 was apparently left out of original handwritten tape log inside box cover & added later in typewritten catalog (R6620, black hard-bound notebook). Handwritten tape log has 31 total entries, missing this song. Typewritten…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Oy rebe s’iz nito keyn keyz] [Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem…

[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] Sung first in gibberish, then in Yiddish clearly... My childhood in Montreal, Canada, is closely bound with my Yiddish education in…

[Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. [Is Singer M. Robbins of 2/8, 2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place. Name is taken from…

[Notes from tape log inside box:] Satire. Raphael Mahler (Israeli) Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.

[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Fragment, Umaner Chassidic tune “Tsu sholesh sudes” [Note from tape log inside box:] KHASSIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers...The…

[Singer’s name taken from tape log inside box cover. First name spelled with typos on other tapes & in Ruth Rubin typed catalog (R6620, black hard-bound notebook) given as: Z. Lewitan.] [Note from tape log inside box:] Not all of these songs are…

[Note from Ruth Rubin’s typed catalog(R6620, black hard-bound notebook), and from tape log inside tape box:] Fragment, Sadigurer drink song. Taken off Dr. Lazar Axelbank’s wire recorder Note from tape log inside box:] Not all of these songs are…

Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.

[Note from tape log inside box:] “Lerer” Zachar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S. Zachar.] [Note…

name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S.…

[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name…

[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name…

[Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. [Singer’s name is taken from tape log inside box. Ruth Rubin’s typed catalog (R6620, black hard-bound…

[Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.

Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.

[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name…

[Note from tape log inside box:] (Niggun) ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house…

[Note from tape log inside box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The…

[Sung by Ruth Rubin’s mother.] [Note from tape log inside box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family…

{Note from LOC Tape Log, (Same as Tape #7, No. 12)} [Note from tape log inside box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who…

[Note from tape log inside box:] Same as No. 7 here HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a…

HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as…

[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house…

[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house…

[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house…

[Note from tape log inside tape box:] Niggun ? KHASSIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers...The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a…

[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house…

[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...…

[Note from tape log inside tape box:] Niggun ? [Singer’s name made illegible by typos here, but given on Tape 11 tape log inside box cover as: Zusia Levitan] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The…

[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...…

[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...…

[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...…

[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...…

[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...…

[Note from tape log inside box:] Kol m’kadesh - kiddush [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard…

Aramic (?) [sic] [Aramaic ??] [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings.…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note from tape log inside box:]? [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

Frid [sic] joins Yudin here [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I…

[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note from tape log inside box:](Saturday night) “before m’lave malke...nokh havdole” (Includes Eliohu Hanovi) [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were…

[Note from tape log inside box](Friday evening) [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] Freylekhs. I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many…

Note From Pete Seeger to Adrienne Cooper and Phyllis Berk

Note in black hardbound catalog RG 620:] # [sic]

[Note in typewritten tape log inside box:] text (Same melody as Nos. 2, 5, 8) [Title is from Ruth Rubin catalog (R6620, black hard-bound notebook). Title in tape log inside box cover is given as: ....]

[Title is from Ruth Rubin catalog (R6620, black hard-bound notebook). Title in tape log inside box cover is Al Hasela, hach! hach!]

[Title is from typewritten Ruth Rubin catalog (R6620, black hard-bound notebook). On tape log inside box cover, title has been crossed out & another title written in Yiddish alef-beyz as: Dem zeydns nigun [sic] ]

[Note in typewritten tape log in tape box:] same tune again...

# [sic] Group at library in background

[Note in black hardbound catalog RG 620:] # [sic]

# [sic]

[Note in black hardbound catalog RG 620:] # [sic]

[Note on typed tape log inside tape box:] from her mother who learned it from her father...See: Idelsohn, Jewish Music, p. 429. [Note in black hardbound catalog RG 620:] # [sic]

[Title is from tape log inside box cover. Title in Ruth Rubin catalog (R6620, black hard-bound notebook) is given as: Lubavitsher tune. On tape log, “Lubavitsher” is crossed out & “Skverer” written in by hand.]

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. [sic] Later they were copied to tape. No. 13 was introduced by Mrs. Lobell as a [“]song fun mayn bobe Tsirl...[”]

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. [sic] Later they were copied to tape.

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.

[The title “a nay lid ken ikh aykh mentsh gebn” is from tape log inside box cover. Title in Ruth Rubin catalog (RG 620, black hard-bound notebook) is given as: A naye lid gehat (sic.: the “gehat is from song #9)] [Note on typed tape log inside box of…

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape. Mr. Younin states that he learned during WWI - his father and sister sang it. He doesn’t remember…

[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape. No. 4 is sung by an American-born girl who picked the song up in a summer camp for adult recreation.…

[Note on typed tape log inside box of spliced tape:] (From Alan Warshawsky’s tape)

[Note on typed tape log inside box of spliced tape:] No. 2 was given to me by Dr. Lazar Axelbank from his wire [recorder] collection.

(recorded at) Public library.

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression.The noises…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The…

[Note in typewritten black hardbound catalog:] See 3/12.

See T. 28 #8. [tape 28/8]

See 3/10. See: Ballads I, No.10.

Ravitch states he heard this song in 1911 by the outstanding poet Dovid Kenigsberg, born in 1892 [YIVO encylcopedia: 1891] in the shtetl Shvisz (sp.?) [YIVO Encylcopedia:Busk, in the Tarnopoldistrict of eastern Galicia] who was not very popular. He…

[Note in typewritten black hardbound catalog:] See 3/11. In 3/4 time.

She heard this in her Polish shteltl (Festshive??) - when she was 20 or 25 (or in the 1920s?)?

[Note in typewritten black hardbound catalog:] See See Tape 4, Song 6.

[Note in typewritten black hardbound catalog:] See See Tape 4, Song 4.

[Note in typewritten black hardbound catalog:] See Tape 4, Song 1.

The boyfriend wants Nekhamele to open the door - she says how can I - I’m afraid of my mother/father/brother/sister...he says, I’m not staying long...you’re the most beautiful...

Sultan mostly with a Litvish accent (”fleygn”) but one “floygn” is also sung. The man says he can’t marry her, it’s her parents’ fault; she is bitter.

he goes around like a lost sheep in a field...when he starts to remember his (lost) love...he feels sick, the doctor can heal him, but the pain in his heart, no one can

There are two versions, one by Goldman, the other by Sore Kessler - song #14.

[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]

[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10] [Is Singer M. Robbins of 2/8, 2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place.]

[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10] [Is Singer M. Robbins of 2/8, /2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place.]

[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]. Caught in pouring rain, the Khusidl goes into a tavern, starts to flirt and gives various gifts to the young woman…

See Tape 1, song 1) [In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]

[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]

[Possible typo: geven?? In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]

Wasserman states that she learned this song in Toronto in a camp from a Polish-born man, and emigre whose name she can’t remember.

Note from YFRRA: "The song derives from 'Der rebe oy yam' by Velvl Zbarzher Ehrenkrants (1826[?]-1883)

The part of melody that has no words (nign) is the same as the song “S’iz nito keyn nekhtn”

The oylem (group) of men & women sing chorus in harmony (”Chiribim”)

Chp XIX p. 149 of Seedlings by RR

lots of laughing from audience and a bit from the singer. Russian vocabulary pepper the Yiddish lyrics.

[Comments by informants in middle of song, followed by reprisal of chorus]
in 3/4 meter.

Chorus:
Zay-zhe mir gezint, mayn tayere kale
nokh dir vel ikh benkn oy mer vi nokh ale
zay mir gezint, un bet far mir G-t
men zol mir nisht naznatshet…

[Spoken introduction in English by informant before song] Reinstein narrates in English that the Kishinev pogrom coincided with the defeats the Russians suffered at the hands of the Japanese in the Russian-Japanese war. The Jews expressed this in a…

[Note on typewritten tape log inside box:] From Alan Warshawsky's tape

[Note on typewritten tape log inside box:] Fragment. From Alan Warshawsky's tape

[Note on typewritten tape log inside box:] Fragment. In 3/4 meter.

Narrator comes across a murdered soldier, oy vey, his body is torn and blood spurts out. Three brothers are running away from him... Who will say kaddish over me, light candles...Who will come to my funeral? My trusted horse. Black birds come…

Narrator: I will lay a ladder to heaven, crawl up and ask G-d why her beloved has to become a soldier. Beloved answers, you don’t have a ladder to heaven, I will after all have to become a soldier... You don’t need to wait for me. She states that…

...Who will say kadish over the dead solider who lies in the field? His trusted horse accompanies him to his funeral...

A solider writes to his mother about his health. Slow and sad song.

a hant hot men mir aropgenumen
un af mayn oygn bin ikh mamenu blind

Lobell, in English, states his father was born in Tshernovitz; he heard him sing this song about 1918. Recording quality poor at beginning.

The song is in 6/8 meter. Refrain:
nu, loyf zhe betn far dem oyre (?)
az inz iz haynt a gezeyre
…

Chorus of a satirical and freylekh song.

Segal relates in Yiddish that she heard the song 30 years ago in Minsk from seamstresses who sewed in the house.

Her accent sounds American to this listener and she says “di lidl”, which may mean she or her parents speak a Litvish Yiddish (other…

[Note in typewritten tape of inside box:] Mr. Miller said he wrote this. [Handwritten note in same log:] 1906-1956!

He was carrying Shalokh mones (gifts of food exchanged at Purim), he’d gotten married, but Nicholas marred his happiness by taking…

A young woman mourns that her beloved must enlist; begs G-d to disqualify all the recruits and release them from the ruler’s hand... She is crying rivers of tears.

[Spoken comments in Yiddish by informant before and after song.] Talks about the hardships of having to serve in the armies of the various lands Jews lived in. For Hasidic young men it was a tragedy: they had to eat non-kosher food, shave their…

Daughter relates that her mother sends her to the market for various items... She falls in love with the sons of the tradesmen and swoons over their respective eyes, teeth, sidecurls.

The mother asks her daughter what she wants - a dress? a pair of shoes?
The chorus is daughter saying, neyne mamele neyn (no mother, no)
du veyst nisht vos ikh meyn (you don’t know what I mean)
du kenst mikh nisht farshteyn (you can’t understand…

Singer states in English that he heard his grandmother sing this when he was a little boy and remembers only a few bars. He thinks it’s “archaic Yiddish” dating back to 17th or 18th century.

Tune is partial. Tune is also a familiar klezmer melody.

Tune is one in instrumental collection of Moshe Beregovski.

First few words:
The young girls who want to become brides,
don’t have the means to get married - there is great poverty.
Those that want to study need to dress as men as in Parisian magazines.
In 3/4 meter. Song cut off.

Counting song with a wordless chorus
1 khusn’s tish ([groom’s table] where one eats and makes merry and sings
2 khusn-kale ([bride and groom] they stand in front of everyone
3 mekhetonim [in-laws]
4 the khupe shtangen [poles that hold up the…

[Note on typewritten tape log in tape box:] From Lazar Axelbank’s wire recorder.

Yiddish words set to a few bars of the Russian Sher

[Note on typewritten tape log in tape box:] From Lazar Axelbank’s wire recorder.

Wordless tunes sung by male and female singers here, explained by woman (in Yiddish) played when the in-laws are escorted to the dinner. (tune is in 3/4 time. Then…

[Note on typewritten tape log in tape box:] From Lazar Axelbank’s wire recorder. Mrs. Skolnik said she had written [Tape 71] No. 2, based on the tune of the older Yiddish folksong “Mekhuteneste mayne.”

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[With prompting, the informant sings the same song twice.]
Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in…

[Prompting from listeners.]
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Note from typewritten tape log in box:] Tedi’s tape.
These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape…

[Informant’s name is given in typewritten tape log in box as: “Lerer” Zakhar.]
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Informant’s name is given in typewritten tape log in box as: “Lerer” Zakhar.]
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Tape problem! Bleed from side 2 ?? ] [Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a…

[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3.…

[Preceded by interview about the Workmenn’s Circle shule where informant teaches.] [Note from typewritten tape log in box:] In English. Michael wrote this song himself. The impact of World War II is evident here.

[Note from typewritten tape log in box:] In English. Michael wrote this song himself at age 15.]

[Note from typewritten tape log in box:] In English. In English. Michael wrote this song himself. [per English introduction by Rubin, Michael’s brother wrote the song 25+ years before] The impact of World War II is evident here.

[Note on typewritten tape log in box:] With his guitar. Pesakh song, in Yiddish. After song, in English, Rubin asks him where he learned the song - in Camp Hemshekh. It only goes up to 7 - traditionally, per Rubin, there are 13 verses.

[Note on typewritten tape log in box:] With his guitar. Michael adapted the text from the previous given song here [Tape 68 Song 11] and wrote the tune himself -- to serve as a Passover song for children. He wrote another version (of Makh tsu di…

[Note on typewritten tape log in box:] World War II. Papernikov. With his guitar. Learned from his mother. Remembers imperfectly; sings it again, and remembers.

[Note on typewritten tape log in box:] With guitar. Lodzer ghetto: Text: Y. Spigel; Tune: David Beygelman. WWII song by Shaya Shpigl who’s now living in Israel. Accompanies self on guitar.

[Note on typewritten tape log in box:] French. Rubin says its a well-known, old French ballad.

[Ed. note: It is actually an excerpt of the opera “Faust” by Charles Gounod].

[Handwritten note on typewritten tape log in box:] Piaf? [Note on typewritten tape log in box:] He says nobody knows this, doesn't remember all the words. Rubin says she might find the words for him. And he might be able to get a job in a nightclub…

[Note on typewritten tape log in box:] He remembers some French songs... sings one, then more.

[Note on typewritten tape log in box:] Learned from his brother, who is 5 years older than Michael, in 1951 or 1952; his brother learned it in a play in a camp in France. Rubin is surprised that it was so old - she thought it was new.

[Note on typewritten tape log in box:] Rubin, in English, asks if Fox remembers songs from his early childhood. He doesn’t remember his mother singing very much. She doesn’t think she has a nice voice, so she doesn’t like to sing. But she knows a…

[Note on typewritten tape log in box:] The songs he remembers, has learned, and sings, are quite varied. This and the following tape, reveal a warmth and an aptitude, even a talent for singing.

Purim song. Learned in Camp Hemshekh, from a girl…

[Note on typewritten tape log in box:] Sings the more common melody to the song (in 3/4 meter). Rubin remarks that Warshavsky - the same one who wrote Afn Pripetshek - wrote this song. Fox states that Warshavsky didn’t want anyone to write the songs…

[Note on typewritten tape log in box:] Older brother Meyer taught him the melody, which was different (from that of song 3).

[Note on typewritten tape log in box:] This song he learned from his mother, who didn't know where it was from.

[Note from typewritten tape log in box:] Herman Rabins continues

[Note from typewritten tape log in box:] Herman Rabin, born Chayim Rabinovitsh, in Novminsk, Poland, speaks on this and the following tape, about his childhood, his famous father, his coming to America, etc. He is so intense in remembering, that it…

(Compare another version: Tape 65 song 1)

[See Tape 65, song 9 (both talk about overtaking their younger years). After Rubin sings, she and Anne Kline, who sang song 9 and admires the ending of song 10, compare (assumed) previous song].

Kline heard from her mother. [Words say to overtake our younger years so they won’t escape from us. Ruth Rubin in English, she didn’t understand the 3rd line. Kline repeats it, then translates into English, “You treasured your youthful years like a…

Sings verses first in Yiddish, then in Russian.

[Note on typewritten tape log inside box:] Fragment. Sung slowly.

Words: He: Come with me my fine Khanele. She: I can’t, I’m ashamed - people gossip and point fingers. He: The world will see - you are my bride.

[Yiddish & Russian verses alternating.]

[Typewritten tape log inside box spells informant’s name as: Ita Taub.]

In 3/4 meter. The lyrics partly say, Be still, help me put out the fire in my heart. She falls in love with a handsome young man. They go take a walk on the boulevard...He assaults her... One can believe today’s young men the way one believes a…

[Unidentified group joins in during the choruses. Song in 6/8 time.]

Love song in 3/4 time in a major key.

Singer prefaces song in Yiddish, explaining it is an old love song he heard from his mother that she learned as a girl.

[Spoken introduction in Yiddish by the singer, explaining that this is an old love song that became popular due to the efforts of the famous singer Lyuba Levitsky when the Nazis seized Vilna and built the ghetto. It became an anti-Fascist song. …

Same melody as "Nor a mame" (by D. Einhorn, composer unknown), from the movie "Mir kumen on". Published in Mlotek E. & J., Songs of Generations

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.

[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] [Melody: Shpil es nokh a mol.]

[Note from tape log inside box:] L. Pulver. From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.][Melody: Forn forstu fun mir avek]

[Note from tape log inside box:] L. Pulver. From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.]

[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] Strings, trumpets, percussion, violin, clarinet.

[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] Strings, bass, trombone, trumpet, clarinet.

[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] (One listener recognizes the first piece as one that Moshe Beregovski collected and…

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
Per informant, in English, agrees with…

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.

Words (rough) I’ve sown and plowed,…

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.

Words (rough translation) There is a…

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.

Words (rough summary) in a unluckly…

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. Words: (rough translation) He’s sad and…

Nos. 6 and 7, from Alan Warshawsky’s tape. Words (rough translation): Motl came from a little shtetl, Pavaloki (sp.?). He didn’t do right. He was supposed to return children to their mothers, but left them by themselves. The singer wanted to see the…

Nos. 6 and 7, from Alan Warshawsky’s tape.
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing…

Fragment. [Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. Yiddish. Every day a young man comes to…

[Tape seems to cut off; song is interrupted.] [Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing…

[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. Yiddish. Save my brothers from the…

[Probably a dupe of Tape 54 Song 1. Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. [A…

Informant explains in Yiddish that the song is a very sad one about a soldier who remains on the front. He sings in Slavic language and intersperses non-song Yiddish translation as well as a Jewish nign at the end.

The informant explains in Yiddish that the poem is a A droshe (sermon) fun a Nikolayeven soldat (soldier) kale bazetsn (seating of the bride). In a mixture of Yiddish, Hebrew and Russian? she recites the comical content - the listener (Ruth Rubin)…

Informant explains in Yiddish, that this was song by Yeshuvinikes that cane to their town at Rosh Hashone. It was very hard for them to speak Yiddish. The spoken poem, is a rhyme is about what happened to them on the road resulting in the whole cart…

[Note in typewritten tape log in box:] Rumanian, a folk melody. Informant states in Yiddish the Jews sang according to their soul (neshome). [In between verses, sings a melody/wordless nign popular with 1990s klezmorim perhaps Arye Lesh’s nign]

Informant explains in Yiddish that the servant girls used to sing this to console themselves. They were from small towns, living in foreign town, Warsaw.

Informant explains that Ukrainian is more euphonious a language than Belorussian, which is harsher. He gives short examples of each in song. One of them was heard from a beggar on a train.

He heard from an old beggar accompanied by an ancient Slavic string instrument. Words mean “As my Lazarus” went to pray to god, holy lord, merciful redeemer, holy virgin, mother of god, take in my soul as one takes in one’s oxen (i.e. I want to…

Singer prefaces in English that in White Russia, we (Jews) didn’t sing Belorussian songs, we sang Ukrainian songs because we liked them. Our peasants didn’t speak Ukrainian, they spoke “the ugliest Slavic dialect”, Belorussian. Then sings this…

Singer states in English that there was a Yiddish translation written by Shaye Rotman (?) from Toronto in then he sings in both Ukrainian and Yiddish.

[Note in typewritten tape log in box:] Included because motif seems to be the same as Nomberg’s ‘S’loyfn un s’yogn shvartse volkn. Copied from old record. Singer states she
heard around 1905 from student from Premetshu.

[Copied from two sides of…

[Ruth Rubin’s cousin.]

[Note in typewritten tape log in box:] Rachel Spivack is Ruth Rubin’s mother. Rose Barmak is her cousin. It is interesting that Nos. 7 and 11, possibly from the same source -- Ruth Rubin’s grandmother -- only the cousin mentioned it.

[Note in typewritten tape log in box:] Followed by the Slavic song. From Lazar Axelbank’s wire recorder.

[Note in typewritten tape log in box:] Rachel Spivack is Ruth Rubin’s mother. Learned from her very frum (religious) mother 40 years earlier. In Russian. Rose Barmak is her cousin. It is interesting that Nos. 7 and 11, possibly from the same source…

Ruth Rubin’s mother. She states her bobe (grandmother) taught it to her. The Bal Shem Tov used to sing it to his Hasidim, simple folk, who danced to it. It’s in Yiddish and goyish (non-Yiddish). [Ukrainish?]

(Same melody as “hulyet, hulyet, beyze vintn”)

[Note from typewritten tape log in box:] Included because the melody was used to certain variants of Sholem Aleichem

[Fragments of various half-remembered Russian Yiddish songs.]

[Song is followed by fragments of several half-remembered Russian songs.]
After singing, Lipkovitch translates the song in English: Father Abraham, little blind man Yitzokh, little wanderer Jacob why don’t you pray to beg G-d to bring us to our…

Both brothers sings a snappy nigun twice. Both were now wonderfully animated! [Handwritten note beside track number:] 6/3 1984. (2016 listener hears strong similarities to “Sadeguerer khusidl” played by many klezmorim now).

Michoel Yudelevitch,…

[Note from typewritten tape log inside box:] After World War II, their youngest brother came to Chile and Michoel sings two songs he learned from him. [11a, 11b. This is 11b] which he seemed to forget entirely...

Michoel Yudelevitch, Sept. 1,…

[Spoken introduction in Yiddish before song.]
[Note from typewritten tape log inside box:] After World War II, their youngest brother (who survived the death camps of WWII) came to Chile and Michoel sings two songs he learned from him. [11a, 11b]…

[Note from typewritten tape log inside box:] Michoel sings a nigun, which he recalls having heard during World War I, when he was a refugee in Poland. [one listener in 2016 recognizes this as a Lubavich tune]

Michoel Yudelevitch, Sept. 1, 1966. A…

[Note from typewritten tape log inside box:] A gay dancing tune, sung during Simchat Torah, to the hakofes. Michoel’s wife, Avreml’s wife, and Ruth Rubin join in...[Handwritten note beside track number:} 5/31 1984

Michoel Yudelevitch, Sept. 1,…

[Note from typewritten tape log inside box:] Yiddish comments: not Yomim Naroyim, rather a Shalosh Sudes nign, the brothers sing a Koydenover nign. [There may be a problem with track order here: a handwritten arrow is drawn between 61/3 and 61/8,…

[Note from typewritten tape log inside box:] Fragments. A slight technical difficulty unfortunately mars this sequence. A Rosh Hashone tfile.

Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well…

[Note from typewritten tape log inside box:] Avreml comments. Koydenover nusakh.

Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel…

[Note from typewritten tape log inside box:] Michoel comments about the HAZOMIR CHOIR, organized in Chile which existed from 1955to 1958. [Handwritten:] Did not include Chassidic material.

Michoel Yudelevitch, Sept. 1, 1966. A younger brother of…

[Handwritten note on typewritten tape log inside box:] Sholesh sudes.

Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40…

[Note from typewritten tape log inside box:] The brothers sing a Sholesh s’udet nign, Koydenover. [There may be a problem with track order here: a handwritten arrow is drawn between 61/3 and 61/8, perhaps indicating that order is reversed.] Michoel…

[Note from typewritten tape log inside box:] Michoel thought it was from the Kotsker Chassidim, but Avreml felt it was from the Mozhitser.

Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well…

[Note from typewritten tape log inside box:] Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel…

[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar.

[Loud hum & volume problems on tape.] Song about different alcoholic drinks. Rubin states she learned the song in Elat from the Sabras.

{Note from tape log inside box:] Fragment.

[Spoken introduction in Yiddish by informant before song] People would come into a restaurant and sing along. Song contrasts conditions, "What is rich is not poor, what is crooked is not straight..."

[Group sings along.]

[Informant comments in Yiddish after song.] [Per Lipkovitch, sung in Warsaw. Authentic. Another in the party says its a theater song.]

[Informant comments in Yiddish before song.]

[Informant comments in Yiddish after song.]

[Group comments]

[Note from tape log inside tape box:] At a house party...talking in background.

[Group setting, group comments at end of song. Note from tape log inside tape box:] At a house party...talking in background.]

[Group setting, group hums along on choruses, comments at end of song. Note from tape log inside tape box:] At a house party...talking in background.]

[Note from tape log inside tape box:] At a house party...talking in background.

[Spoken comments in English by informant follow the song. Song mostly in Ukranian, with Russian and Hebrew. Learned from his father who collected folklore & songs. They lived in Horadenka, Galicia.]

[Unidentified male helps with lyrics, sings one verse. possibly A. Yudin ?? Note from tape log inside tape box:] Possibly authored by Wolf Younin.

[Unidentified male sings along on choruses. Avrom Yudin ??]

[Note from tape log inside tape box:] Fragmentary. From Allan Warshawsky's tape.

[Spoken introduction by informant in Yiddish preceds the song, explaining that this is a song in Yiddish and Hebrew. More Yiddish comments follow the song.]

[Note from tape log inside tape box:] Dora was an actress, which accounts for her dramatic interpretation towards the end of the song.

Yiddish text based on a poem by Heine.

Yiddish text based on a poem by Heine.

[Comments on Peretz’s poetic skill after song.]

[Discussion in Yiddish about Perlov & his wife, a singer, precedes song.]

[Note from tape log inside tape box:] Text: I. L. Peretz. Tune: Folk. [Tape log in Yiddish alef-beys also inside box. Comments in Yiddish about song precede song. Discussion in Yiddish about authorship follows song.]

Comment by Itzik Gottesman:…

Ora is eleven years old.

Rochelle is twelve years old. With accordion.

Same as "Melokhe melukhe"

[Note from tape log inside tape box:] Text: I.L. Peretz, Tune: Beethoven’s 9th Symphony. [Tape log in Yiddish alef-beys also inside box.]

From tape marked “Literary Origin.” Note on tape log inside box:] Text and Tune: Isaac Reingold. Same tune [as Tape 57 Song 15], different interpretation!

From tape marked “Literary Origin.” Note on tape log inside box:]

From tape marked “Literary Origin.” Note on tape log inside box for Tape 57, Song 9:]

From tape marked “Literary Origin.” Note on tape log inside box:]

From tape marked “Literary Origin.” Note on tape log inside box:] Text and tune: Peretz Hirshbein.

From tape marked “Literary Origin.” Note on tape log inside box:] Text: Yehoash. Tune: ?

From tape marked “Literary Origin.” Note on tape log inside box:] Text: H. Leivik. Tune: ?

From tape marked “Literary Origin.” Note on tape log inside box:] Fragment. Text: H. Leivik. Tune: ?

From tape marked “Literary Origin.” Note on tape log inside box:] Text: Martin Birnbaum. Tune: ?

From tape marked “Literary Origin.” Note on tape log inside box:] Text: Dr. Chaim Zhitlowsky. Tune: Traditional.

From tape marked “Literary Origin.” Note on tape log inside box:] Text: Dr. Chaim Zhitlowsky. Tune: Traditional. From Tedi Schwartz’s tape.

From tape marked “Literary Origin.” Note on tape log inside box:] Music: Mikhl Gelbart. Text?

[Spoken comments in Yiddish after song, about authorship. Note on tape log inside box:] Literary origin. Tune: V. Chefetz. Text: Shneyer Wasserman (or Stein?)

[From tape marked

[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in yiddish alef-beys. Note in English:] Tom Thumb. [Tape box also contains handwritten Yiddish text in composition book from Fordham University,…

[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in yiddish alef-beys. Note in English:] The musicians of Bremen. [Tape box also contains handwritten Yiddish text in composition book from Fordham…

[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in yiddish alef-beys. Note in English:] Ali Baba and the forty thieves. [Tape box also contains handwritten Yiddish text in composition book from…

[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in Yiddish alef-beys, somewhat illegible.Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in…

[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in Yiddish alef-beys, illegible. Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in…

[Handwritten notes in English on tape log:] Another murder! Ballad -- Love. [Spoken introduction by informant explaining that this is an old Yiddish folksong.] Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky,…

[Handwritten note in English on tape log:] A murder -- Underworld -- Love [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on…

[Handwritten note in English on tape log:] The Russian [Song is a pro-Bolshevik song sung in Yiddish & then in Russian. Comments in Yiddish after song, followed by Russian version] Handwritten note on outside of tape box:] Interview (song recall)…

[[Spoken introduction by informant:]

[Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]

[Spoken introduction by informant, explaining that this is a song which religious Jews sang in the ghetto.] [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log…

[Handwritten Yiddish note on tape log: Iberbetn] [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]

[Handwritten Yiddish note on tape log:] Kinder tseylenish Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]…

[Handwritten Yiddish note on tape log:] [illegible ?? ] yinglekh lid [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3…

[Spoken introduction by informant, & note in tape log:] A kinder tseylenish [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz…

[Spoken introduction by informant explaining that children learned this song in the Vilna ghetto and adults began to sing it in the ghetto, in German camps, and in every place where Jews were. Unidenitified whistler in background; probably Ruth…

Vilna ghetto. [Spoken introduction by informant: "A lid fun vilner geto.”]
[Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz…

[Spoken introduction by informant, explaining that he’s singing a grown-up song first in baby-talk, then as an adult would sing it. Title written twice on tape log: once in baby-talk, then rewritten.]
[Handwritten note on outside of tape box:]…

[Ruth Rubin sings harmony at end & adds a spoken comment:

[Ruth Rubin sings harmony on last chorus, & comments:

[Spoken introduction by informant:

[Spoken introduction by informant:

Kinder lid [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]

Kum ikh tsu mayn gelibter froy
Goodman -- ballad. [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]

Fragment.

[Is Singer M. Robbins of 2/8, /2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place.]

Literary origin?

[Handwritten on tape log:] ?

[Unidentified woman or women singing on choruses]

Fragment

Fragment

[Note on tape log in box:] With mandolin.

From Lazar Axelbank

[Spoken introduction & comments by informant]

Noises of the group of aged people is heard; tape was unfortunately suddenly cut off.

[Note on typewritten tape log in box:] She used two English words: pajamas, jewelry...

A song about a pickpocket

Fragment.

Fragment. [Unidentified woman (probably Ruth Rubin) heard asking a question in English about the tune at end of track.]

Fragment

Fragment.

[Unidentified women singing along in background; probably Ruth Rubin & Sylvia Ary.]

[Intro in English by informant, F. Fibich: “Odessa motivn. This song I heard in Russia, performed by Sidi Tal, arranged by Kotinyuk.”]

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