By Abigail Wood
The sunrise of the twenty-first century marked a turning interval for American Yiddish tradition. The 'Old global' of Yiddish-speaking japanese Europe was once fading from dwelling reminiscence - but even as, Yiddish track loved a renaissance of artistic curiosity, either between a more youthful new release looking reengagement with the Yiddish language, and, such a lot prominently through the transnational revival of klezmer music.
The final zone of the 20th century and the early years of the twenty-first observed a gradual circulation of recent songbook guides and recordings in Yiddish - newly composed songs, recognized singers appearing nostalgic favourites, American well known songs translated into Yiddish, theatre songs, or even a few 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 new release of yankee Jewish identities. This publication explores how Yiddish music 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 - manhattan on the sunrise of the twenty-first century - and outlining a few of the trajectories that Yiddish track 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