Introduction 

In this research, I want to delve into the specificities of Eastern European Jewish folk trumpet and the possibilities and challenges of recreating and attaining its sound. 

Eastern European Jewish folk, or klezmer, is an instrumental wedding and party music that bloomed from the early 18th century until the Second World War. A branch of music also developed in the American-Jewish diaspora up until the 1950s. Traditional instruments featured in a kapelye (Yiddish for “orchestra”, “band”) could be violin, flute, clarinet, trumpet, double bass, cello, trombone, tuba, poyk (drum). 

When working with klezmer and studying this genre, listening to old recordings is crucial, as they are the main source of information. Because of the recording possibilities back in the days, the soloist would often stand closest to the mic and the rest of the kapelye behind them. The most common soloists of the kapelye used to be—and are still today—not trumpet, but violin or clarinet. So even though the trumpet might be present on many recordings, and we can see the players in photographs and group pictures, we can usually not hear them, or only very quietly. This is the case with most European, pre-war, “old world” recordings. Luckily we have more examples of American “new world” trumpet players. The recording techniques and possibilities advanced quickly, and on these records, it is usually possible to hear the trumpet. The growing jazz culture influenced Klezmorim in the United States, and the American Jewish wedding bands developed their own style. Sometimes the trumpet player joining would not be a klezmer, just a stand-in musician. The popularity of klezmer decreased in the United States after the Holocaust, and during the 1950s and 1960s, the scene was almost completely extinguished. Nevertheless, some families kept the klezmer tradition alive, and among them were trumpet players. Thus we have recordings and a few people to turn to for stylistic “new world” trumpet—e.g., Susan Hoffman-Watts and William Epstein. 

The challenge of an aspiring European klezmer trumpeter today is that there are no live models to listen to who would be based in Europe, there is a lack of recordings, no academic spaces that could provide the expertise and no teachers to study with outside of the institutions either. If you turn to a master of the instrument coming from another tradition, they will not have the necessary tools to guide you on phrasing, ornamentation and other stylistic finesses. The probability is big that the teacher will have very small references to klezmer and base their ideas of the music on stereotypes and misinformation, which might lead you in a quite contrary direction from the one you intended to go. Seeking answers myself, I am in this research hoping to answer the following questions: 

What are the difficulties of entering klezmer music as a trumpet player growing up in Europe? 

Which are the challenges of attaining a traditional European klezmer sound, and in which way can the position of being a third culture child help this journey?

Theory 

This section explains the theory I have been using to support answering my thesis question. As the main theory, I am using the concept of Third Culture Child, as coined by John and Ruth Useem and defined by Pollok and Van Reken (2001, p.19) “a person who has spent a significant part of his or her developmental years outside the parent’s culture… (He/She) builds relationships to all of the cultures, while not having full ownership in any. Although elements from each culture may be assimilated into (his/her) life experience, the sense of belonging is in relation to others of similar background”. Being a third culture child myself, this theory gives me a lens to process my own journey and connect my research to a bigger school of thought. 

The term “goyish” refers to the Yiddish word “goy” in the headline, meaning a non-Jew. As a third culture child, I am using this term to highlight the path of walking simultaneously as an insider and outsider of the tradition. 

Method

Supported by literature and based on my own experience, I will compare different recordings of klezmer trumpet, contemporary and old, dive into the historical aspects of horns in the Ashkenazi tradition, both from a secular and spiritual perspective, as well as analyse my own journey of search for a sound as a trumpet player in the Eastern European Jewish folk tradition and within the contemporary klezmer community, amid the global music landscape of today. 

My position as a researcher is one of an insider, as I myself am a klezmer trumpet player and a carrier of the tradition since 2011. This makes it easier for me to see the different layers and challenges of the subject; it grants me an insight to the community and a sensitivity to the topic. On the other hand, it might make my research less accessible for an outsider to read, as I do not necessarily lead the reader by the hand in the same way an outsider researcher would do. As a bachelor student at the Global Music department of the Sibelius Academy, my research position is tied to a certain academic space.  

The klezmer trumpet tradition from the past to contemporary time 

In upcoming data paragraphs I will be going through the history and development of the klezmer trumpet tradition. I am going to use the term “old world” to talk about its history up until pre-war Europe and “new world” to talk about the development in the Jewish diaspora of the States and Canada.

Old world

The trumpet is a semiotically rich instrument. How it is played, when, by whom, and its technicalities are in constant fluidity. It is mentioned by the Hebrew name hatsotserahin the Torah quite a few times, during important happenings, such as the coronation of King David, at the taking of Jericho (the trumpets - but made of ram’s horn - were blown, and the walls fell down), and when giving the Ten Commandments to Moses, Hashem ordered the people of Israel to make trumpets of metal and blow them. We know that trumpets were played by the high priests in the temple during service together with the shofar (from Hebrew: שׁוֹפָר, ritual instrument made of a ram's horn), as described in the Torah. Even though musically, this must have been very far from the sound of the klezmer trumpet, these are some of the semiotics that might arise for a religiously knowledgeable listener or player. It would be interesting to delve deeper into the spiritual and cultural meanings of the trumpet as an instrument of worship, war, alarm, coronation and later also a celebration in the Jewish tradition. It is unfortunately out of the scope of this paper but would definitely deserve further research. 

According to Moishe Beregovski the usage of trumpets among klezmorim increased highly with the decision of tsar Nikolai I in 1827 to have Jewish males aged twelve to twenty five serve in the Russian army for twenty five years. There, in the military band, many learned how to play the trumpet and then transferred this tradition to klezmer practices (Beregovski, 2021). This is considered the main entry of the trumpet to klezmer music. However, many neighboring cultures of the Ashkenazim of Eastern Europe had rich traditions of trumpet players—e.g., Serbian, Macedonian, Greek, Bulgarian, and Moldavian trumpet repertoire, especially among the Roma/Lautari. 

Although people were living separately, and each musical repertoire had its own function and cultural setting, there were collaborations, especially among musicians. We can see in the next paragraph how Feldman describes the situation in Moldova. 

As usual, Moldova formed an exception to this pattern, in that many predominantly Roma and Moldavian ensembles were led by Jews and many predominantly Jewish ensembles were led by Roma or Moldavians, so that all musicians were equally adept in the required ethnic musical styles and repertoires (Feldman, 2016, p. 23) 

Feldman points out that there has undoubtedly been interaction between the neighbouring musical cultures to some extent. Musicians have been, at least fairly, knowledgeable of each other’s styles. When thinking about intercultural literacy, which will be discussed further in this paper, the collaboration of these musicians is a perfect example of cultural literacy carried out in practice. Growing up in a cross-cultural setting, navigating between different musical traditions, and growing up in a strict monoculture must affect the musicians’ perception of and relation to music. In the recording Kleftico Vlachiko, Orchestra Goldberg, Istanbul, 1908 (ELi PREMiNGER, n.d.), we can hear a clearly Macedonian/Bulgarian ornamentation style trumpet doina (structured improvisation) combined with a well-known klezmer tune from the transitional/co territorial repertoire, performed with a Yiddish intonatsia by the band. This is an exemplary manifestation of the phenomena that Feldman is describing.

Example from Istanbul, 1908

https://www.youtube.com/watch?v=WNqvBdr4G4o

I would like to argue that due to a large amount of neighbouring trumpet traditions, and clear interaction between the musicians, we can say that there must have been some sort of desired sound of a klezmer trumpeter in pre-WWII Europe and knowledge of surrounding trumpet stylistics among the klezmorim. Towards the end of the 19th century, Jewish musicians started leaving the shtetls and getting an education in classical Western music, which has been—in terms of stylistics, of course—an unavoidable influence in later days. 

Throughout the years before the Russian Revolutions in 1917 and the first decades of the Soviet Union, studies of different ethnos were encouraged, and this is the place and period that we have to thank for the biggest collections of Jewish folk music and written works on the genre, e.g. Moishe Beregovksi and Ivan Lipaev (Lipaev, 1915; Beregovksi, 2013). Nevertheless, the situation changed quickly, with a new, growing antisemitic wave in the country. According to Feldman, the Jewish folk tradition had already been a disappearing one at the beginning of the 19th century, and now there was even less interest, and access to it (Feldman, 2016). The research was stopped, and the connection to the heritage was lost in favour of more popular music styles—like Western classical music—that were being systematically taught, studied and granted space in society.  

We can hear a good example in the following recording. Abraham Geyfman composed the piece “Jewish Dance” in a folkloristic style and it was recorded by trumpeter Naum Polonsky, both Jewish. Despite beautiful performance and composition, this music has gone away from its source. There are no stylistic ornaments, and the composition itself draws heavily on classical structures, form and harmonic language, leaving traditional modal and rhythmic elements behind. 

After WWII, there was an abrupt end to the practice of klezmer trumpet as well as all other klezmer in both Eastern and Western Europe, a tradition that is only recently beginning to take off again, thanks to the push that has arrived from the United States and Canada with the revitalization movement that started in the 1970s. 

New world 

When looking at klezmer in the United States, starting from the first waves of immigration in 1820 up until today, the situation is quite different. Firstly, there is a better quality of recordings as the technology was refined and developed - we can more often and more clearly hear the trumpet players, unlike before, when the recording quality was bad. The players would be standing in the back of the kapelye. Secondly, the social settings, environment and demands on the music change. Klezmorim were now not only playing at Jewish weddings but also at nightclubs, guilds etc. 

The big cities of New York and Philadelphia demanded a new sound. As many Jews started playing jazz, there was a heavy influence from African American music, and we can hear the sweet sound of the jazz trumpet reflected in recordings from the 1930s and 1940s (Anthony Merrick, n.d.). Of course, musicians continued to substitute each other and non-klezmorim joined klezmer bands to play. If in the “old world” these substituting musicians would be of for example Roma background, bringing parts of their tradition and musical vision with them, possibly having knowledge of the klezmer tradition as well, the substituting musicians of the “new world” were navigating from the musical landscape surrounding them, which in the long term must have had an effect on the music as well as the audience.  Klezmer went through a big change, a facelift for America, which affected every layer of the music, from where and how it was performed to core structure (modality/harmony), repertoire preference, and, of course, the desired sound and ornamentation of the trumpet. This is what Feldman writes about modality:

In America, the modal bases (underlying both stocks 4 and 5) became less understood, and hence less relevant, as harmonic progressions largely replaced modality as the productive concept for new compositions by the American-born generation of musicians. …. thus, whatever the qualities of the klezmer music produced in America after this period (including the retention of certain aspects of earlier klezmer performance practice), it cannot furnish a direct link to the musical structures underlying the East European klezmer repertoires. (Feldman, 2016, p. 19-20)

Due to what was considered desirable and up to date in the new social and musical context, stylistics adapted and changed - modality decreased while harmonic language was enriched. The function of the music also changed, as weddings aren’t more carried out in the traditional way, and a lot of the klezmer repertoire is very practical - designated for special moments during the wedding. Instead of long improvisations, doinas, and mellow tunes like gasn nigns or skotchnes, the fast and upbeat bulgar dance became the most popular genre. Another interesting topic to further research, especially in the global landscape of today, would be the exotification of cultural heritage carried out by the community itself when living in diaspora. We can hear traces of all of these phenomena in the playing of the trumpet players, for example, in a few recordings of American born trumpet players William Epstein, Ziggy Elman, Marvin Katz, of which only the first one made his main career as a klezmer. (Anthony Merrick, n.d.; FISHEL1926, n.d.)

ziggy elaman https://www.youtube.com/watch?v=8NjeiWtlkRM (1:50)

william epstein https://www.youtube.com/watch?v=9OmyLt7-Ez4

Unlike in Europe, the tradition of klezmer trumpeters continued in the United States, and today we have names like Susan Hoffman-Watts, Frank London, Jordan Hirsch and Ben Holmes to look to. These players have been part of the revitalisation movement or joined after it and have thus experienced a “back to the roots” wave of klezmer, aiming for an original sound. At the same time, the influence of jazz on American/Canadian klezmer continues to be strong, as many klezmorim of today are initially educated in African American music. Here is an example of Frank London and his own developed style that he is using (JewishFestivalKrakow, 2014)

https://www.youtube.com/watch?v=OTTOLaBVsYk

This leaves us with a klezmer trumpet tradition still alive but different to what must have been the sound of a European born and raised trumpet player. To my knowledge, there are only two recordings of such a musician, Alex Fiedel, where we can hear the sound clearly. These recordings were done in the early 1920s in the United States (classicklezmer, n.d.; Raderman's and Beckerman's Orchestra - Topic, 2014).

To my knowledge, there are only two recordings of such a musician, Alex Fiedel, where we can hear the sound clearly. These recordings were done in the early 1920 in the US. 

https://youtu.be/YrS6tu9sm1c

https://www.youtube.com/watch?v=EShCSduHssI

In terms of ornamentation, Fiedel is almost closer to the recording from 1908 Istanbul (ELi PREMiNGER, n.d.) than to the jazzy sound and clarinet-like ornamentation of Ziggy Elman (Anthony Merrick, n.d.) and Susan Hoffman-Watts (MusicBox Project, 2011).

My path (case study) data 

In this part I will go through my own journey and development as a klezmer trumpet player - the obstacles, challenges and most helpful moments on the way.

Background

I was born in Finland and grew up in the Eastern Orthodox Church, a religious minority that at the moment makes up 1% of the population. My father is Russian, and my mother belongs to the Swedish speaking minority, making my minorityship triple in terms of language, ethnicity and religion. We used to move a lot during my childhood, and I grew up between Helsinki and St. Petersburg, all of this making me a textbook example of a third culture child.

Klezmer is a music that has balanced between East and West, music of a minority people that has incorporated and borrowed many aspects of neighbouring cultures while managing to preserve its own integrity (Feldman, 2016). As stated in the quote above - third culture children feel most comfortable with other third culture individuals.  My choice of becoming a klezmer trumpet player is probably influenced by my perception of culture, identity and belonging.

I started my classical trumpet studies at the age of 7, in love with the bright sound of the trumpet. The studies were accompanied by choir rehearsals, Western music theory and history. They were structured and regular, in the most usual way of a music school. 

Apart from this, my mother would take me to Orthodox liturgy every Sunday and on holidays, where both Slavonic and Byzantine reciting and choir traditions were practised. We prayed at home regularly, whether we lived in Helsinki or St. Petersburg, and during my whole childhood, we moved between the two towns. Thinking retrospectively,  it is possible that also the early exposure to these non-western music styles later influenced my love for modal music and klezmer.

To quote Andrea A. Moore and Gina G. Baker: 

Bicultural competency is marked by knowledge of cultural beliefs and values of two cultures, a positive attitude towards both groups, and communication competency in both cultures. Intercultural literacy and cultural intelligence refer to the understandings, competencies, attitudes and identities necessary for successful cross-cultural engagement. The interculturally literate person is able to consciously shift between multiple cultural identities and operate from the standpoint of an insider. (Moore & Barker, 2012, p.560) 

As music is also a part of what we call culture, I would like to argue that biculturality is expressed through an individual’s musicality as well. Of course, the position of biculturality also brings with it challenges, as the individual has more traditions to carry and maintain. 

My immersion into klezmer

In 2010, I was 13 years old, and my father introduced me to Jeva Jacob, a Russian Jewish musician based in Helsinki since the 1980s. She was facilitating klezmer jam sessions and leading a band called Helsinki Klezmer Kapelye. It was a big group of around twenty people, Jews and gentiles (a word that usually means "someone who is not a Jew"), who would meet up regularly and play. Jeva and I were connected by language and culture, and she saw it important to include me in the band. I was immediately warmly welcomed in the community despite my young age. It is possible that my position as a third culture child made this immersion into the community easy, as I was able to adapt quickly and be an insider. I would sit in a corner during rehearsals and performances, hiding, as I was shy, but listening and learning the tunes by ear and heart. Jeva decided to bring me forward and transcribed a piece by trumpeter Pamela Fleming  - Dreaming Wizard for me. I practised, we practised together, and I performed in the next jam session. After that, I performed my solo piece at every jam, and little by little, I joined in to play more and more tunes. Rehearsals were held at least once a month on Friday evening with a shared Shabbat meal afterwards, and the following Saturday evening would be a jam session. On Shabbat, we lit the candles and recited prayers, which I also learned. The religious aspect made me feel at home. 

Encouraged by Jeva, the rest of the band and visiting top-level klezmorim like Alan Bern and Christian Dawid, I travelled to Weimar, where intensive courses, lectures, jam sessions, concerts and dance parties were held. I emerged in Yiddish culture on a deeper level - I learned more and more about the meaning, history and philosophy of the music and brought the acquired knowledge back to Helsinki.The knowledge I was gaining in these settings was exceptionally important to me, as it was the story of musical culture and tradition of the in-betweeners, “the Others”. It gave me tools to understand and express my own existence as a third culture child. 

Despite Weimar being the epicentre of Yiddish culture in Europe, there was never anyone in the staff who played the trumpet during my years of attendance, so I joined accompaniment classes, clarinet classes and singing classes instead. My knowledge of the style grew, but the performance of it on my own instrument remained a challenge.

The lack of and journey towards educational support

Since finding a klezmer trumpet teacher was impossible in my youth, I found alternative ways of attaining knowledge. These ways included moving between musical styles, teachers, countries and instruments - a solution that appears to come naturally for a third culture child but at the same time is highly demanding. 

At 14, I had dropped out of classical trumpet studies and was searching for a new teacher. I had a few teachers in jazz trumpet, of which Evgeny Sokoloff (St. Petersburg) and Verneri Pohjola (Helsinki) were incredibly important for my development. From them, I heard new sounds to aspire to, a softer, dimmier sound than the classical aesthetic. Yet, there was no institutional consistency to my learning, and I was quite heavily thrown between musical stylistics, requirements and demands. For long periods I was completely without a teacher since I could not find anyone who was able to support my specific wish of developing as a klezmer trumpeter or understand what I was aiming for. I started looking for alternative paths of learning and visited the Labyrinth Summer school on Crete to learn more about the Turkish Makam system (which I had heard of in Weimar), and there I finally met a fellow trumpet player. His name is Peter Jaques. His main focus is the Turkish Makam system and Greek folk trumpet traditions, but he had also played some klezmer on the clarinet a few years earlier. Finding a trumpet that was somehow connected to klezmer was of great inspiration to my musicianship. We exchanged contacts and stayed in touch.  

My quest continued, and during 2018-2019 I went to Guca to hear more Serbian trumpet. Serbia, Macedonia and Northern Greece are areas with very strong, living folk traditions of trumpet, especially among the Roma people. From Guca I travelled to Skopje, Macedonia, where I studied with trumpeter Stefan Koteski for two months, focusing on the repertoire, stylistics and ornamentation techniques of Macedonian folk. I also spent two months with Peter Jaques in Athens, learning more about the Turkish Makam system and Greek folk trumpet. Having a basic understanding of classical, jazz, Macedonian and Turkish stylistics and klezmer, I applied to the Global Music department at the Sibelius Academy and got accepted. 

At the Academy in Helsinki, there were no Balkan/Turkish trumpet teachers, and I started studying with classical trumpeter Touko Lundell. We played Western classical repertoire and technical exercises. At times I brought some klezmer and Turkish tunes to our classes, but my teacher could not advise me much, as his knowledge of this repertoire was extremely little. 

In 2021 I decided to go East, to my second hometown, and study with klezmer clarinet player Ilya Gindin. I arrived in St. Petersburg, and when asked to play something, I chose “Jewish Dance” by Abraham Geyfman, a classical piece inspired by klezmer mentioned earlier in this paper that I had been working on. I performed it in a strictly classical style, in the way it was played on the recording and in the way we had prepared it with my classical teacher, and when asked to play a klezmer tune, I was not able to play a single one from beginning to end, and on top of that mixing Serbian and Macedonian ornamentation into my playing. This was another important step in my education and career as a klezmer trumpeter. Together with Ilya, we worked on all the different aspects that were holding back my playing - confusion of style, insecurity, and the habit of not breathing when playing klezmer that I had developed. There is a need for research about female musicians, Othering, oppression, epistemological violence and the corporal expressions of these processes - a highly important topic that is unfortunately out of the reach of this paper. 

The crucial point here was that Ilya was able to understand the context I was coming from, both as a klezmer trumpeter and as a third culture child. He knew that there were no knowledgeable trumpet players in the area and that the music itself would need another player. He also knew that even though I wasn't able to perform at the moment, I had a huge amount of knowledge and understanding of the music and its cultural context that I had collected throughout my ten years of involvement in the style. Because of Ilya’s own knowledge of the tradition, he was able to recognise my strengths and weaknesses as a player. So we worked hard. The work included physical aspects, like getting aware of the tensions in my body, talking through fears and confusion and developing a trustful teacher-student relationship. We worked on separating the different musical styles that I was blending together, phrasing, accenting and the intonatsia that belongs to klezmer. Ilya played the clarinet and I the trumpet, trying to imitate his sound. All in all, I spent five months in St. Petersburg in 2021. During this period, I attended the weekly Sunday klezmer classes that were organised at the Jewish Cultural centre ESOD, taught by klezmer violinist Mitia Khramtsov, Ilya Gindin and sometimes pianist Evgeny Khazdan. 

Based in St. Petersburg, led by Mitia Khramtsov, with Ilya Gidnin as soloist, klezmer drummer Evgeny Lizin and a few other players, Dobranotch is one of the few professional klezmer bands in the region. The band currently has a trumpeter, but he is classically trained, not a klezmer. I went to hear as many of their concerts as possible and also joined playing on a few occasions - it was an opportunity to perform with very good klezmorim.

The outcomes of our work  

In June 2021, I played a wedding together with Dobranotch, and in July, I was asked to join my colleagues in Helsinki to play a wedding there. After three months spent with a teacher knowledgeable of the style, I was having a leading role in the ensemble. I continued studying repertoire and refining my stylistics, combining it with classical techniques. This is work that I’m still very actively doing. 

As I write this thesis, I am discovering new layers of klezmer trumpet and aiming to not only playing as a clarinettist or imitating my colleagues in the United States but finding my own unique voice in the tradition utilising the knowledge that I have gained throughout the years. My plan for the master's program is to go on an exchange to Istanbul State Conservatory to study the Turkish Makam system, thereby continuing the work of understanding klezmer from a modal point of view, something that Josh Horowits and Zev Feldman are involved in.

Discussion

As the study has shown, difficulties in entering the klezmer scene as a trumpet player have ranged from not having a teacher in the field, not having examples to go by, to not having many possibilities of playing with other klezmorim. 

Looking back, I can see that one of my strengths as a third culture child and individual who has been thrown between musical styles is that I am sensitive to connections, intersections, duality and overlaps in music. As Moore & Baker (2012) put it:

There is also a growing body of evidence that links biculturalism and multiculturalism to benefits such as increased intercultural communication competence and open-mindedness. Christmas and Baker (2011), for example, found that biculturalism was correlated with both cognitive flexibility and intercultural sensitivity. (Moore & Baker, 2012, p. 554)

These skills of cognitive flexibility and intercultural sensitivity are also beneficial in a musical context. The meaning and function of klezmer have definitely changed in a hundred years. However, some things remain the same - it is still a musical tradition at the border of East and West, incorporating new elements but striving to stay true to itself. In a way, it could be argued that klezmer is a third-culture genre of music, as it is the music of the European “outsider” nation or Europe’s Others. As a third culture child, my identity is constantly being erased, and stories and sounds of the erased bring context, meaning, and life to me. It is a fight for existence. I want to continue collaborations like the ones klezmorim before me did. Of course, the music will serve a different purpose in this new world and have a new audience. There are not as many traditional Jewish weddings to play. Instead, I see the music as creating an auditive and cultural space for in-betweeners connected to Yiddishkayt.

At the same time, we need to take into consideration the challenges that being a third culture child brings with it. As research shows, many kids who grow up learning four or more languages start speaking later than their monolingual peers, as there is more to take in and process (Moore & Baker, 2012). This might also be true for music. 

Conclusion 

In this project, I have traced some of the history of the Eastern European Jewish folk trumpet and some of the possibilities and challenges it presents. I have also reflected on my own pathway as a way to understand further the landscape of today and the options of attaining the required sound in a contemporary setting. 

The sound of the klezmer trumpet available to us today is a result of the development of the tradition in the United States, with a tangible influence of jazz, while the pre-war European sound, with its understanding of modality and connection/reference to other Balkan trumpet traditions, is completely extinguished. This paper only highlights the phenomena, but hopefully, further research will be done on the topic. 

By the outcomes of this research, it could be argued that there is a need to study with teachers of other instruments and emerge in the culture as much as possible, having contexts to be in. Also, a more structured way of studying klezmer, radical in comparison to classical western trumpet studies, is needed in order to reach authenticity, quality and understanding in the playing of upcoming trumpeters. We need cultural context, minority studies, religious knowledge and language skills to become fully skilled and professional klezmer. These are aspects that come naturally to someone studying a majority musical culture, a musical tradition that is alive. Third culture children's musical studies might need extra support, especially when different musical traditions are involved. There is a need for teachers who understand the phenomena of third culture children, with the richness and challenges of their position. 

References

The fine art of Eastern European Jewish-goyish trumpet

Alevtina Parland 

Global Music Department of the Sibelius Academy 

Bachelor Thesis 

May 2022