A programmatic article including a very valuable critique of most of definitions of Jewish music. It stresses the ambiguity of the concept of Jewish music as well as the racialized discourses related to it that developed after Richard Wagner.
Emphasizes the vastness of Jewish music in terms of time and place and therefore the impossibility of addressing it as a unified field.
Contrasts between the internal Jewish music narratives of continuity (“myths”) and the incompatible musical diversity that Jewish music shows (“realities”)
A survey of the main issues on music research from the perspective of Jewish studies emphasizing concepts of cultural studies, such as ethnicity, diaspora, and nationhood.
One of the first attempts to trace the archaeology of the concept of Jewish music in relation to the challenges posed by modernity to traditional Judaism and the emergence of the concept of nation among Jews in Europe.
Directed by Garry Beitel
The Jewish Music Institute (JMI), based at SOAS, University of London, encompasses the music of the Jewish people wherever they are and wherever they have been. JMI has a clear mission to preserve and develop this great heritage for the benefit of present and future generations. (from website)
The American Society for Jewish Music (ASJM) serves as a broad canopy for all who are interested in Jewish music. Its members include cantors, composers, educators, musicologists, ethnologists, historians, performers and interested lay members - as well as libraries, universities, synagogues and other institutions.
The piece is a cantata written for the Portuguese-Jewish community in Amsterdam. It is thought to have been used for liturgical purposes. The piece was discovered by Hans Krieg in 1947 in the Portuguese-Jewish library Ets Chaim, in Amsterdam. The style of the piece resembles the Baroque and rococo composers of its time. The cantata consists of four duets and two solos.
