And We're All Brothers: Singing in Yiddish in Contemporary by Abigail Wood

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, so much 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 recent songbook courses and recordings in Yiddish - newly composed songs, famous singers acting 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 booklet explores how Yiddish music grew to become the sort of effective medium for musical and ideological creativity on the twilight of the 20th century, offering an episode within the flowing timeline of a musical repertory - manhattan 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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