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 diona or other free-meter tune]. Alpert 1993, p. 3. (Recording references included).
“Tsushpil. accompaniment.” Harkavi 1928, p. 426.
“1) In the common Yiddish sense (Weinreich, 347) it refers to the instrumental or vocal accompaniment of a niggun. Found only among Vizhnitz Hasidim. 2) Refrain of a niggun, with or without text (in Lubavitch and Vizhnitz).” Mazor and Seroussi 1990/91, pp. 136-7.
“Tsushpil. accompaniment.” Weinreich 1977, p. 446.
See Nokhshpil.