Jewish music and modernity
Author(s)
Bibliographic Information
Jewish music and modernity
(AMS studies in music)
Oxford University Press, 2008
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 247-263), discography (p. 265-266), and index
Contents of Works
- Prologue: before Jewish music
- Places of Jewish music. The Jewish village: music at the border of myth and history ; The people without music history: rediscovering Jewish music in the Mediterranean ; East and West
- Ontologies of Jewish music. Inventing Jewish music ; Self-reflecting-self: Jewish music collecting in the mirror of modernity ; Paths toward Utopia
- Beyond Jewish music. Parables of the metropole ; Jewishness in music: mirrors of selfness in Jewish music ; Staging Jewish music
- Epilogue: after Jewish music
Description and Table of Contents
Description
Is there really such a thing as Jewish music? And how does it survive as a practice of worship and cultural expression even in the face of the many brutal aesthetic and political challenges of modernity? In Jewish Music and Modernity, Philip V. Bohlman imparts these questions with a new light that transforms the very historiography of Jewish culture in modernity.
Based on decades of fieldwork and archival study throughout the world, Bohlman intensively examines the many ways in which music has historically borne witness to the confrontation between modern Jews and the world around them. Weaving a historical narrative that spans from the end of the Middle Ages to the Holocaust, he moves through the vast confluence of musical styles and repertories. From the sacred and to the secular, from folk to popular music, and in the many languages in which it was
written and performed, he accounts for areas of Jewish music that have rarely been considered before. Jewish music, argues Bohlman, both survived in isolation and transformed the nations in which it lived. When Jews and Jewish musicians entered modernity, authenticity became an ideal to be
supplanted by the reality of complex traditions. Klezmer music emerged in rural communities cohabited by Jews and Roma; Jewish cabaret resulted from the collaborations of migrant Jews and non-Jews to the nineteenth-century metropoles of Berlin and Budapest, Prague and Vienna; cantors and composers experimented with new sounds. The modernist impulse from Felix Mendelssohn to Gustav Pick to Arnold Schoenberg and beyond became possible because of the ways music juxtaposed aesthetic and cultural
differences.
Jewish Music and Modernity demonstrates how borders between repertories are crossed and the sound of modernity is enriched by the movement of music and musicians from the peripheries to the center of modern culture. Bohlman ultimately challenges readers to experience the modern confrontation of self and other anew.
Table of Contents
- Acknowledgments/Transcription, Transliteration, and Translation/Prologue
- Before Jewish Music
- Part I Places of Jewish Music
- Part II Ontologies of Jewish Music
- Part III Beyond Jewish Music
- Epilogue: After Jewish Music
- Bibliography
- Discography
- Note on the Author
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