Abstract: The Jewish community of Dublin has been in existence for 400 years. Nowadays, many Dublin Jews are descended from Lithuanians who settled in Dublin at the turn of the twentieth century. Most Dublin Jews are integrated into Dublin society, yet little is known of cultural practices specific to Dublin’s Jewish community. This dissertation focuses on the practice of liturgical music in Terenure synagogue, one of Dublin’s two remaining Orthodox synagogues. While music is an integral part of all synagogue services throughout the year, the musical repertoire of the Sabbath morning service has been selected as representing the music which is most commonly experienced by practicing Orthodox Jews in Dublin. Much of the music in Dublin’s Orthodox synagogue has been retained as part of a Lithuanian oral tradition. However, the Dublin Jewish community is currently undergoing a demographic shift, owing to the emigration of Dublin-born Jews coupled with migration into Dublin of Jews from a variety of social, cultural and national backgrounds. As the profile of the Jewish community changes, there is evidence of a gradual shift in the musical tradition of the synagogue. Here there is an attempt to preserve part of the Lithuanian musical tradition for the future.
Ethnographic fieldwork has been conducted among all sections of the Jewish community of Dublin in order to obtain information regarding the history, culture and identity of Dublin Jews. This has provided insight into the oral tradition which has retained the music of the Orthodox synagogue thus far. Other sources of information have included archives and further published/unpublished resources. The research has also involved recording, transcribing and analysing examples of liturgical Jewish music performed in Dublin. This has resulted in a comprehensive historical account of the Dublin Jewish community together with a discussion on Irish Jewish identity. Such material provides a background for the corpus of music which has been collected from various contributors. As well as recordings, this features six fully transcribed versions of the main sections from the Orthodox Sabbath service performed by five individuals, and a discussion on performance practice within the synagogue. It also includes examples of congregational singing which also forms a significant part of the service. Considerations are given to issues including emotion, identity, transmission, gender and the role of the congregation in the performance of music within the Orthodox synagogue of Dublin.
The findings reveal that musical performance in the synagogue assists in promoting a sense of community among those who participate. Orthodox Jewish liturgical music and the way it is disseminated whether in the synagogue or other setting also provides a link with the past, dialogue with the past being an integral part of broad Jewish culture. Prior to this, little has been documented regarding the music of the Orthodox Dublin synagogue; therefore this research provides a basis on which further study of the topic may be conducted.
Abstract: This study of the intersections of media and musical transmission spotlights the activities of Sephardic Jewish synagogue prayer leaders in Belgrade, Serbia. The essay traces the reconstruction of Jewish synagogue singing in the past 50 years and outlines motivations for utilising media as an addition to, or replacement for, person-to-person transmission. Music, as a crucial element of weekly synagogue services, played a significant role in the reconstruction of observance. By tracing the narrative of reconstruction, I demonstrate that the meeting of music and media is a dynamic nexus situated within social experience. It was not until the 1970s that a small group of people in Belgrade began a process of reconstructing religious Jewish observance after the near-extermination of local Jewish life between 1941 and 1942. From that time until the present, prayer leaders altered methods of musical transmission as a response to shifting political circumstances. By choice or necessity, print, audio and Internet-based media now play essential roles in teaching and learning Jewish synagogue singing in Belgrade and media-based methods of transmission have transcended person-to-person learning. Over the course of this narrative, I describe both how musicians perceive certain methods of learning as aids or hindrances, and those musical changes that resulted from transition in method.
Topics: Klezmer, Jewish Music, Jewish - Non - Jewish Relations, Holocaust Commemoration, Memory, Jewish Heritage, Cultural Politics, Jewish Culture, Jewish Revival, Ethnography, Ethnomusicology, Main Topic: Culture and Heritage
Abstract: Klezmer in Europe has been a controversial topic ever since this traditional Jewish wedding music made it to the concert halls and discos of Berlin, Warsaw, Budapest and Prague. Played mostly by non-Jews and for non-Jews, it was hailed as "fakelore," "Jewish Disneyland" and even "cultural necrophilia." Klezmer's Afterlife is the first book to investigate this fascinating music scene in Central Europe, giving voice to the musicians, producers and consumers of the resuscitated klezmer. Contesting common hypotheses about the klezmer revival in Germany and Poland stemming merely from feelings of guilt which emerged in the years following the Holocaust, author Magdalena Waligorska investigates the consequences of the klezmer boom on the people who staged it and places where it occurred. Offering not only a documentation of the klezmer revival in two of its European headquarters (Kraków and Berlin), but also an analysis of the Jewish / non-Jewish encounter it generates, Waligorska demonstrates how the klezmer revival replicates and reinvents the image of the Jew in Polish and German popular culture, how it becomes a soundtrack to Holocaust commemoration and how it is used as a shining example of successful cultural policy by local officials
