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by Philip V. Bohlman

Music

Author:

Philip V. Bohlman
ISBN:

0198163908
ISBN13:

978-0198163909
Genre:

Art / Photo
Publisher:

Oxford Univ Pr (July 1, 2003)
Pages:

372 pages
Subcategory:

Music
Language:

English
FB2 format

1401 kb
ePUB format

1752 kb
DJVU format

1521 kb
Rating:

4.6
Votes:

321
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Philip V. Bohlman is a Mary Werkman Distinguished Service Professor of the Humanities and of Music at The University of Chicago.

Philip V.

Philip Vilas Bohlman (born August 8, 1952) is an American ethnomusicologist. He is the Mary Werkman Distinguished Service Professor of Music and the Humanities at the University of Chicago and a visiting professor at the Hochschule für Musik und Theater (Hannover).

Jewish Music and Modernity book. In Jewish Music and Modernity, Philip V. Bohlman imparts these questions with a new light that transforms the very historiography of Jewish culture in modernity. Based on d Is there really such a thing as Jewish music? And how does it survive as a practice of worship and cultural expression even in the face of the many brutal aesthetic and political challenges of modernity?

ារ ពិនិត្យ ឡើង វិញ. គោលការណ៍ វាយតម្លៃ.

Inventing Jewish music ; : Jewish music collecting in the mirror of modernity ; Paths toward Utopia Beyond Jewish music. Parables of the metropole ; Jewishness in music: mirrors of selfness in Jewish music ; Staging Jewish music Epilogue: after Jewish music. Rubrics: Jews Music History and criticism Modernism (Music). Download now Jewish music and modernity Philip V. Bohlman. Download PDF book format. Download DOC book format.

In Jewish Music and Modernity, Philip V. ISBN13:9780199946846.

New List New Article New Book New Video New Post New Score ne.

New List New Article New Book New Video New Post New Score new. Home Journals Notes 2004 Vol. 61 No. 2. Celtic Modern. Music at the Global Fringe, ed. Martin Stokes and Philip V. Bohlman (Europea: Ethnomusicologies and Modernities, 1). A. M. Spinney. Spinney, A. (2004) Celtic Modern: Music at the Global Fringe, ed. In: Notes, Vol. 61, No. 2, pp. 473-476.

World Music draws readers into a remarkable range of historical encounters .

World Music draws readers into a remarkable range of historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eight chapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. This book is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments of selected music cultures and regional music histories.

Folk Music JournalBohlman examines folk music as a genre of folklore . Bohlman has executed an intellectual challenge of major significance by successfully organizing a welter of unruly data and ideas into . .

Folk Music JournalBohlman examines folk music as a genre of folklore from a broadly cross-cultural perspective and espouses a more expansive view of folk music, stressing its vitality in non-Western cultures as well as Western, in the present as well as the past. is a contribution of considerable substance because it takes a holistic view of the field of folk music and the scholarship that has dealt with i. - - Bruno Nettl. Bohlman has executed an intellectual challenge of major significance by successfully organizing a welter of unruly data and ideas into a single, appropriately complex but coherent, system. - Folk Music Journal.

During the century and a half from the Jewish Enlightenment (or iHaskala/i) to the Holocaust, European Jews increasingly confronted the challenges to their growing presence in the public sphere. This book examines the complex ways in which music gave voice to Jewish responses to modernity and the divisive distinctions it created between Self and Other in modern European history. The histories narrated in this book throw light on the multiple ways in which music revealed and engendered new forms of Jewish identity, especially in the German- and Yiddish-speaking lands of the Diaspora. Regarded with ambivalence and often suspicion prior to the iHaskala/i, music charted new paths into European society for Jews from the late eighteenth century until the eve of the Holocaust itself. Broadly historical in scope, this book makes extensive use of ethnographic approaches and recent field studies, which lead the reader to the Jewish villages in Central Europe's boundary regions, to the synagogues in which a new breed of cantor flourished, and to the immigrant stages of the metropolis on which Jewish cabaret and popular song thrived. Jewishness in Western art music serves as a touchstone for examining both anti-Semitism and the multiple mirrors of selfness. As a history of Jewish music in Central and East Central Europe, the book does not simply chart an ineluctable path toward destruction in the Holocaust, but rather it recognizes the ways in which we historicize Jewish music in our own present, where it serves no less as witness to Self and Other in postmodern European history.

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