¹ David Krakauer, Klezmer Madness! David Krakauer, clarinet; Michael Alpert, vocals, accordion, violin, guitar; David Licht, percussion. Tzadik, TZ 7101, 1995. Before founding Tzadik, Zorn produced Jewish-identified recordings for the Japan-based DIW/Disk Union and Avant record labels.

² Hebrew and Yiddish use different pronunciations for many cognates, resulting in different transliterations, e.g., nigun and nign. I have followed the Encyclopedia Judaica in using the Hebrew (but without diacritics).When quoting from a source I have retained the original spelling. See Encyclopaedia Judaica, 2007 ed., s.v. “Transliteration Rules,” 197–99.

³ John Zorn, “Radical Jewish Culture” (2006). Online at Tzadik Records, http://www.tzadik.com. All Web sites cited here were accessible as of 5 August 2009.

⁴ Zorn, in Bill Milkowski, “John Zorn: The Working Man,” JazzTimes (May 2009), 7. For example, see Zorn, O'o. Cyro Baptista, percussion; Joey Baron, drums; Trevor Dunn, bass; Marc Ribot, guitar; Jamie Saft, piano, organ; Kenny Wollesen, vibraphone. Tzadik TZ 7376, 2009.

⁵ See “Musical Tikkun” in Ellen Koskoff, Music in Lubavitcher Life (Urbana: University of Illinois Press, 2001), 76–79.

⁶ A publication attesting to the current relevance of nigunim in Reform Jewish congregations is Joel N. Eglash and J. Mark Dunn, eds., Nigun Anthology, vol. 1 (New York: Transcontinental Music Publications, 2004), score and compact disc set.

⁷ Hasidic dynasties are usually named for the town in which the dynasty was founded.

⁸ Contrary to the notes, at least one of the pieces is not a hasidic nigun: “Avinu Malkenu,” a liturgical melody sung during the High Holidays, was written by composer Max Janowski (1912–91) in 1967. Another nigun appears to be linked to a hasidic dynasty not mentioned in the notes. The tune used here for “Z'chor Davar” (“Remember Thy Word,” text from Psalms 119:49–51) is attributed elsewhere to Rabbi Eliezer Zisya Portugal Shlita, the rebbe (spiritual leader) of the Skolen hasidic dynasty. See “Z'chor [zechar davar leAvdecha],” on David Werdyger, Skulaner Chassidic Nigunim, Aderet LPW–304. Online at the Dartmouth Jewish Sound Archive, http://www.dartmouth.edu/~djsa/view_song.php?songId=6593.

⁹ Koskoff, Music in Lubavitcher Life, 88.

¹⁰ Shiloah, Amnon, Jewish Musical Traditions (Detroit: Wayne State University Press, 1992), 197Google Scholar.

¹¹ “Kel Adon” and “El Adon” denote the same Sabbath morning prayer; the first spelling reflects the Orthodox Jewish practice of using variants to avoid erasing the name of God from a written document, which is forbidden under Jewish law. Some observant Jews also avoid speaking the name of God aloud. Lubavitcher Hasidism is also known as “Chabad” (a Hebrew acronym).

¹² See Kirshenblatt-Gimblett, Barbara, “Sounds of Sensibility,” in Slobin, Mark, ed., Klezmer Roots and Offshoots (Berkeley: University of California Press, 2000), 52Google Scholar; and Slobin, Mark, Fiddler on the Move: Exploring the Klezmer World (Oxford: Oxford University Press, 2000), 105–21Google Scholar. See also Slobin, “Klezmer as a Heritage Music,” in Fiddler on the Move, 11–35.

¹³ See, for example, Andy Statman Quartet, Between Heaven and Earth: Music of the Jewish Mystics. Andy Statman, clarinets, mandolin; Kenny Werner, piano; Harvie Swartz, acoustic bass; Bob Weiner, drums/percussion; Béla Fleck, five-string banjo; David Grisman, mandolin; Scott Lee, acoustic bass. Shanachie 64079, 1997. See also London/Sklamburg/Caine, Nigunim. Frank London, trumpet; Lorin Sklamburg, voice; Uri Caine, piano. Tzadik, TZ 7129, 1998.