By Abigail Wood
The sunrise of the twenty-first century marked a turning interval for American Yiddish tradition. The 'Old international' of Yiddish-speaking japanese Europe was once fading from residing reminiscence - but while, Yiddish track loved a renaissance of artistic curiosity, either between a more youthful iteration looking reengagement with the Yiddish language, and, such a lot prominently through the transnational revival of klezmer music.
The final area of the 20 th century and the early years of the twenty-first observed a gentle flow of recent songbook courses and recordings in Yiddish - newly composed songs, recognized singers appearing nostalgic favourites, American renowned songs translated into Yiddish, theatre songs, or even a number of forays into Yiddish hip hop; musicians in the meantime engaged with discourses of musical revival, post-Holocaust cultural politics, the transformation of language use, radical alterity and a brand new iteration of yankee Jewish identities. This e-book explores how Yiddish track grew to become any such powerful medium for musical and ideological creativity on the twilight of the 20 th century, offering an episode within the flowing timeline of a musical repertory - big apple on the sunrise of the twenty-first century - and outlining a number of the trajectories that Yiddish music and its singers have taken to, and past, this point.
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Additional resources for And We're All Brothers: Singing in Yiddish in Contemporary North America (SOAS Musicology Series)
And We're All Brothers: Singing in Yiddish in Contemporary North America (SOAS Musicology Series) by Abigail Wood