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 used to be fading from residing reminiscence - but even as, Yiddish music 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 zone of the 20 th century and the early years of the twenty-first observed a gentle circulate of latest 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 iteration of yank Jewish identities. This booklet explores how Yiddish track grew to become one of these effective medium for musical and ideological creativity on the twilight of the 20 th century, providing 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 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