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Jewish Music and Modernity$
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Philip Bohlman

Print publication date: 2008

Print ISBN-13: 9780195178326

Published to Oxford Scholarship Online: January 2009

DOI: 10.1093/acprof:oso/9780195178326.001.0001

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EPILOGUE: AFTER JEWISH MUSIC

EPILOGUE: AFTER JEWISH MUSIC

Chapter:
(p.237) EPILOGUE: AFTER JEWISH MUSIC
Source:
Jewish Music and Modernity
Author(s):

Philip V. Bohlman (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195178326.003.0011

This epilogue draws the reader into the ethnographic present: the performance of Jewish music in a postmodern world. Starting with a concert performance of the New Budapest Orpheum Society, for which the author is the Artistic Director, the chapter asks questions about the possibility of revival after the end of Jewish music history. Jewish music, in popular and art genres, may thrive in revival in the twenty-first century, but as phenomena such as the popularity of klezmer in the nations that perpetrated the Holocaust signal a return to history or a release from history. The processes of cultural negotiation and historicism provide contexts for Jewish music in a postmodern world no less than in modernity.

Keywords:   ethnographic present, historicism, Jewish music history, klezmer, modernity, New Budapest Orpheum Society, postmodern, revival

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