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 whilst, Yiddish music loved a renaissance of artistic curiosity, either between a more youthful iteration looking reengagement with the Yiddish language, and, so much prominently through the transnational revival of klezmer music.
The final sector of the 20 th century and the early years of the twenty-first observed a gentle movement of recent songbook courses and recordings in Yiddish - newly composed songs, famous singers appearing nostalgic favourites, American renowned 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 yank Jewish identities. This e-book explores how Yiddish tune grew to become the sort of effective 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 - long island on the sunrise of the twenty-first century - and outlining the various trajectories that Yiddish track and its singers have taken to, and past, this point.
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Extra 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