This entry is part of the Lexicon of Klezmer Terminology (LKT). The LKT compiles a wide array of source materials that shed light on the historical and contemporary state of knowledge about klezmer music. Each entry includes a number of citations from primary and secondary sources that include or refers to the term in question. It also indicates whether musical notation or sound recordings are included in the source. By clicking on the bibliographic hyperlink at the end of each citation, you get the full reference.
“...Leon Schwartz learned the doina and hora portions of this three-part medley from Rom, Jewish and Ukrainian musicians in and around Karaptshiv. The hora Leon plays is a version of one of the most common nokhshpil or tsushpil tunes [‘postlude’ or rhythmic melody following a doina or other free-meter tune]. Alpert 1993, p. 3. (Recording references included).
“‘Hora #1.’ This hora is abstracted from a doina/hora/sirba medley by violinist Leon Schwartz...When following a rubato section, such as a doina, a hora is sometimes referred to as a nokhshpil (a ‘postlude’).” Phillips 1996a, p. 67. (Musical notation and recording references included).