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.
“Jewish musicians used to play frequently at non-Jewish weddings and festivities where they undoubtedly played Jewish tunes in addition to the Ukrainian dance-repertoire. In the same way they brought their Ukrainian repertoire to Jewish weddings (e.g., kozackes, skocnas). V. Kharkov, administrator of the Cabinet, told me that in 1927 he transcribed a whole series of frejlaxs, which they called frejlik, from Ukrainian peasants in the village of Bondashevke; Example 28 is one. Such frejlaxs are very popular in that village and are sung for dancing. Bystanders who are not dancing clap their hands. The musicians also play frejlaxs at weddings, sometimes accompanied by singing... The possibility that such songs (e.g., frejlaxs) were sung in other Ukrainian villages cannot be ruled out...” Beregovski 1935 [= Beregovski/Slobin 1982, p. 526]. (Musical notation included).
“There are also cases in which the name of a Jewish dance is not Jewish but Ukrainian, yet it is hard to ascertain that the dance has been adopted from the Ukrainian surroundings. The klezmorim used to play skocnes at Jewish weddings. According to their style and character, skocnes were almost the same as frejlaxs, and melodically they have no non-Jewish traits. In Ukrainian we find a dance named skochni, doskochni, doskochisti (Kvitka 1924:41), and in Polish we find a dance called skoczek (Straczewski 1901: 717). We find the same name, skocna, in the Czech dance repertoire. From what many klezmorim tell us, the skocna among Jews was not a separate dance-type. Usually they called a tune skocna if it was a frejlaxs (or, more precisely, a piece in a form similar to a frejlaxs) which boasted a certain technical elaboration. This could not have been adopted from the Ukrainian folk music, since there were far fewer professionally-trained Ukrainian folk musicians than Jewish ones.” Beregovski 1937 [= Beregovski/Slobin 1982, p. 535].
“There are dances with similar names [as Skocne] among several Slavic peoples. In the Ukrainian dance repertoire we find a dance entitled ‘Skochni, doskochni, doskoschisti’ (Kvitka 1973: 41). One finds the skoczek among Polish dances (Stracewski 1901: 717), and in the Czech repertoire there is a skocna (ibid.:673). According to many klezmorim, the skocna was not a special dance among Jews. Usually it was a frejlaxs somewhat more technically developed and played for listening, and not for dancing. However, it is not uncommon to find klezmorim calling frejlaxs ‘skocna.’ One can also find the term applied to textless tunes (see no. 125).” Beregovski 1962 [= Beregovski/Slobin 1982, p. 501, n. 76]. (Musical notation included).
“Skotshne.” Beregovski/Goldin 1987, # 22-26, 28, 31, 33, 39, 40, 42-48, 50-58, 60-61, 94, 102, 106, 110, 114, 116-17, 124-25, 136, 151, 154, 168. (Musical notation included).
“'Skotzchne'. The name is from a Ukrainian source (in Polish ‘skotzshnik’) and yet it’s known as a dance (with its jumping characteristics) for its very Jewish qualities; it is sometimes performed in 3/4 and at times in 2/4. Jewish Eastern Europe was not fixated on one particular style of dance. At times they would prepare it under the name ‘freylakhs’ faster and at times also under the special name ‘skotshne’ (p. 215).
Note: I explained that the origin of the name is not from ‘skotshit’, to jump, according to the author, but rather from ‘skotshnu’ -- sad. The ‘skotshne’ dance is a characteristically sad dance, in contrast to the ‘freylakhs’, the merry one. And there are no lack of explanations for a sad dance at weddings: When one of the bridal couple is an orphan, when the celebration of the wedding reaches midnight and in general for the the remembrance of the destruction of the Temple -- ed.' Fridhaber 1960, p. 31.
“... Dvorak in his ‘Slavic Dances’ gives us the very essence of the dances of the Slavs. He idealizes, as it were, the forms of the Czech rhythm, giving us non-pictorial dances in which rhythm and form are decisive....There are ‘Furiants’, ‘Skocnas’, ‘Polkas’, ‘Sousedskas’... Such a ‘Skocna’ was a wild dance, often ending in a breathless whirling figure of the couples.” Nettl 1947, pp. 298-99.
'The kale bazetsn is always followed by a lively dance in 2/4 meter, in this case two skotshne tunes. Skotshne, a term of Slavic derivation, was used by some klezmorim to indicate freylekhs-type melodies which were technically more demanding.” Rubin 1997, pp. 19-20. (Recording references included).
“Skotshne.” Stutschewsky 1959, p. 214. (Musical notation included).
See Freylekhs.