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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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SELF-REFLECTING-SELF: JEWISH MUSIC COLLECTING IN THE MIRROR OF MODERNITY

SELF-REFLECTING-SELF: JEWISH MUSIC COLLECTING IN THE MIRROR OF MODERNITY

Chapter:
(p.105) CHAPTER FIVE SELF-REFLECTING-SELF: JEWISH MUSIC COLLECTING IN THE MIRROR OF MODERNITY
Source:
Jewish Music and Modernity
Author(s):

Philip V. Bohlman (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195178326.003.0006

Collecting music to provide mirrors for the reflection of self-identity had become a passion for modern Jews by the beginning of the twentieth century. Transforming the earlier storage chamber (geniza) used by synagogues to gather community records into archives, libraries, and museums, cantors and folklorists alike recontextualized the music of the past so that it would have modern meanings. Specific collectors provide a series of linked narratives for the chapter. Eduard Birnbaum collected sacred music in Königsberg, Max Grunwald and Friedrich Krauss collected Jewish folklore and folk music in Vienna, and Konrad Mautner and A. Z. Idelsohn aestheticized and modernized the technologies of representation locally in the Austrian Alps and globally in the Jewish Diaspora. The great collections of the early twentieth century have surveyed until the present, as Jewish museums and Jewish memory work in the era following the Holocaust.

Keywords:   Birnbaum, collection, Diaspora, geniza, Grunwald, Idelsohn, Krauss, Mautner, Jewish museums

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