I label klezmer as crossover. Some of my Israeli friends call it "Jewish Jazz". Which I have difficulty with, since I don't "get" jazz but intensely like kletzmer. I never made the bepop transition; instead, I'm stuck in the swing and dixie era.
And, indeed, rhythm and meter is not the only criterion for music to be interesting. For instance, when papa Bach pushes his tonal machinery in motion, the result is captivating. Mozart, though unforgiving for the performer. And so on and so forth.
Not to mention the untold unnamed musicians, whose work lives on in the traditional music styles, such as Celtics. Here I have often felt that whereas someone else might give the rhythm line to another instrument and let the lead carry a melody, at least the Irish tradition seems to have the an union of the rhythm and the melody.
(no subject)
And, indeed, rhythm and meter is not the only criterion for music to be interesting. For instance, when papa Bach pushes his tonal machinery in motion, the result is captivating. Mozart, though unforgiving for the performer. And so on and so forth.
Not to mention the untold unnamed musicians, whose work lives on in the traditional music styles, such as Celtics. Here I have often felt that whereas someone else might give the rhythm line to another instrument and let the lead carry a melody, at least the Irish tradition seems to have the an union of the rhythm and the melody.