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Music in Haredi Jewish Life: Liquid ...
~
Dale, Gordon A.
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Music in Haredi Jewish Life: Liquid Modernity and the Negotiation of Boundaries in Greater New York.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Music in Haredi Jewish Life: Liquid Modernity and the Negotiation of Boundaries in Greater New York./
作者:
Dale, Gordon A.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:
290 p.
附註:
Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Contained By:
Dissertation Abstracts International78-11A(E).
標題:
Music. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10284475
ISBN:
9780355057881
Music in Haredi Jewish Life: Liquid Modernity and the Negotiation of Boundaries in Greater New York.
Dale, Gordon A.
Music in Haredi Jewish Life: Liquid Modernity and the Negotiation of Boundaries in Greater New York.
- Ann Arbor : ProQuest Dissertations & Theses, 2017 - 290 p.
Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Thesis (Ph.D.)--City University of New York, 2017.
In this dissertation I seek to understand tensions regarding boundary maintenance, music, and cultural continuity among the contemporary Haredi ("Ultra-Orthodox") Jewish community of Greater New York in the context of sociologist Zygmunt Bauman's theory of liquid modernity. While Bauman suggests that modernity has melted familiar institutions and created an unstable and rapidly shifting world, I argue that for Haredim, the non-liberal religious community and its cultural productions solidify social bonds. While many Haredi Jews strive to continue the musical practices of pre-WWII Europe, some Haredi musicians push or disregard the boundaries of accepted practice by experimenting with Western popular music to varying degrees. This has led to vibrant debate that often invokes rhetoric of spiritual health and danger. This dissertation examines four spheres of music making in order to better understand how these negotiations play out in contemporary cosmopolitan environments. First, I examine Hasidic niggunim, with a focus on composer Ben Zion Shenker and the Modzitz Hasidic dynasty in order to show the manner in which they are believed to encapsulate an idyllic Haredi life. Second, I study tensions over traditionalism and assimilation in the context of Haredi popular music, particularly a watershed moment involving Hasidic singer, Lipa Schmeltzer. In this chapter I offer an example of music as a site of public reasoning in which the inherently pluralistic Haredi community continually negotiates its identity. Third, I look to Haredi boys choirs, arguing that they stage a secure future through the display of cultural continuity in the next generation of Haredi Jews. Finally, I examine music of the "Haredi periphery." Individuals in this community have one foot in the Haredi world and the other in the larger host culture, a negotiation that they believe ultimately enhances their religiosity. Through examining these four domains of music making, I demonstrate that Haredim are adept at negotiating boundaries and that their cultural productions help them to reinforce social bonds within their community.
ISBN: 9780355057881Subjects--Topical Terms:
516178
Music.
Music in Haredi Jewish Life: Liquid Modernity and the Negotiation of Boundaries in Greater New York.
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In this dissertation I seek to understand tensions regarding boundary maintenance, music, and cultural continuity among the contemporary Haredi ("Ultra-Orthodox") Jewish community of Greater New York in the context of sociologist Zygmunt Bauman's theory of liquid modernity. While Bauman suggests that modernity has melted familiar institutions and created an unstable and rapidly shifting world, I argue that for Haredim, the non-liberal religious community and its cultural productions solidify social bonds. While many Haredi Jews strive to continue the musical practices of pre-WWII Europe, some Haredi musicians push or disregard the boundaries of accepted practice by experimenting with Western popular music to varying degrees. This has led to vibrant debate that often invokes rhetoric of spiritual health and danger. This dissertation examines four spheres of music making in order to better understand how these negotiations play out in contemporary cosmopolitan environments. First, I examine Hasidic niggunim, with a focus on composer Ben Zion Shenker and the Modzitz Hasidic dynasty in order to show the manner in which they are believed to encapsulate an idyllic Haredi life. Second, I study tensions over traditionalism and assimilation in the context of Haredi popular music, particularly a watershed moment involving Hasidic singer, Lipa Schmeltzer. In this chapter I offer an example of music as a site of public reasoning in which the inherently pluralistic Haredi community continually negotiates its identity. Third, I look to Haredi boys choirs, arguing that they stage a secure future through the display of cultural continuity in the next generation of Haredi Jews. Finally, I examine music of the "Haredi periphery." Individuals in this community have one foot in the Haredi world and the other in the larger host culture, a negotiation that they believe ultimately enhances their religiosity. Through examining these four domains of music making, I demonstrate that Haredim are adept at negotiating boundaries and that their cultural productions help them to reinforce social bonds within their community.
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