ISBN : 9780199367481
The first volume of its kind, Dislocated Memories: Jews, Music, and Postwar German Culture draws together three significant areas of inquiry: Jewish music, German culture, and the legacy of the Holocaust. Jewish music-a highly debated topic-encompasses a multiplicity of musics and cultures, reflecting an inherent and evolving hybridity and transnationalism. German culture refers to an equally diverse concept that, in this volume, includes the various cultures of prewar Germany, occupied Germany, the divided and reunified Germany, and even "German (Jewish) memory," which is not necessarily physically bound to Germany. In the context of these perspectives, the volume makes powerful arguments on about the impact of the Holocaust and its aftermath in changing contexts of musical performance and composition. In doing so, the essays in Dislocated Memories cover a wide spectrum of topics from the immediate postwar period with music in the Displaced Persons camps to the later twentieth century with compositions conceived in response to the Holocaust and the klezmer revival at the turn of this century. Dislocated Memories builds on a wide range of recent and critical scholarship in Cold War studies, cultural history, German studies, Holocaust studies, Jewish studies, and memory studies. What binds these distinct fields tightly together are the contributors' specific theoretical inquiries that reflect separate yet interrelated themes such as displacement and memory. While these concepts link the multi-faceted essays on a micro-level, they are also largely connected in their conceptual query by focus, on the macro-level, on the presence and the absence of Jewish music in Germany after 1945. Filled with original research by scholars at the forefront of music, history, and Jewish studies, Dislocated Memories will prove an essential text for scholars and students alike.
Introduction
Tina Fruhauf and Lily E. Hirsch
Part I: Perceptions of Re-presence
1. Tina Fruhauf (Adjunct Assistant Professor at Columbia University/Editor at RILM): A Historiography of Postwar Writings on Jewish Music during the 1930s and 1940s
2. Joel E. Rubin (Assistant Professor of Ethnomusicology and Director of Music at the University of Virginia, Charlottesville): ": Klezmer as a Site of the Jewish Fringe in Germany in the Early Twenty-first Century
3. Amy Lynn Wlodarski (Associate Professor of Music at Dickinson College, Carlisle): Musical Memories of Terezin in Transnational Perspective
Part II: Dislocated Presence
4. Bret Werb (Music Curator at the United States Holocaust Memorial Museum, Washington DC): ": Music Culture of Jewish Displaced Persons
5. Sophie Fetthauer (Research Fellow, Universitat Hamburg), The Katset-Teater and the Development of Yiddish Theater in the DP Camp Bergen-Belsen
6. Joshua S. Walden (Faculty of Musicology, Peabody Conservatory of The Johns Hopkins University): ": Jewish Displacement and Musical Memory in the 1948 Movie Long Is the Road
Part III: Politics of Memory
7. Barbara Milewski (Associate Professor of Music at Swarthmore College), Remembering the Concentration Camps: Aleksander Kulisiewicz and his Concerts of Prisoners' Songs in the Federal Republic of Germany
8. David Shneer (Louis P. Singer Professor of Jewish History at the University of Colorado, Boulder), Eberhard Rebling, Lin Jaldati, and Yiddish Music in East Germany, 1949-1962
9. Joy H. Calico (Associate Professor of Musicology at Vanderbilt University, Nashville): Jewishness and Antifascism: Schoenberg's A Survivor from Warsaw in East Germany (1958)
Part IV: Modes of Commemoration
10. Florian Scheding (Lecturer in Music at Bristol University), Where is the Holocaust in All of This? Gyorgy Ligeti and the Dialectics of Life and Work
11. Sabine Feisst (Associate Professor of Music History and Literature at Arizona State University, Tempe): Re-Presence of Jewishness in German Music Commemorating the Holocaust since the 1980s: Three Case Studies
12. Lily E. Hirsch (Independent Scholar, Bakersfield, CA): Germany's Commemoration of the Judischer Kulturbund
Afterword
Philip V. Bohlman (Mary Werkman Distinguished Service Professor of Music and the Humanities at the University of Chicago/Honorarprofessor at the Hochschule fur Musik und Theater in Hannover)
