The Oxford Handbook of Jewish Music Studies

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1. Introduction: Mapping Jewish Music Studies, Tina Fruhauf
Part I: Land
2. Adamot - Art Music - Israel, Assaf Shelleg
3. Land, Voice, Nation: Jewish Music in the Adamot of Al-Andalus, Vanessa Paloma Elbaz
4. We Shall Sing Songs and Praise to the Lord Who Created Us Last in the World: Hakham Joseph Hayyim of Baghdad, Leadership with Poetry and Music, Merav Rosenfeld-Hadad
Part II: City
5. Jewish Refugees from the Nazi State in Shanghai, 1938-1949, Sophie Fetthauer
6. Jewish Emigre Musicians in Buenos Aires: Integration and Cultural Impact, 1933-1945, Silvia Glocer
7. From a City of Greeks to Greeks in a City: Migration and Musical Taste Cultures between Salonika and Tel Aviv-Jaffa, Oded Erez
8. Berlin Klezmer and Urban Scenes, Phil Alexander
Part III: Ghetto
9. Hearing the Ancient Temple in Early Modernity: Abraham Portaleone and the Cultivation of Music in Seventeenth-Century Mantua, Rebecca Cypess and Yoel Greenberg
10. Sonic Transformations: Urban Musical Culture in the Warsaw Ghetto, 1940-1942, J. Mackenzie Pierce
11. Sounding Out the Ghetto: Spatial Aspects of Jewish Musical Life during the Nazi Era, Tobias Reichard
Part IV: Stage
12. Hasidic Cantors Out of Context: Venues of Contemporary Cantorial Performance, Jeremiah Lockwood
13. Jewish Music and Totalitarianism in the Post-Stalinist Soviet Union, Jascha Nemtsov
14. Art Music in the Yishuv and in Early-Statehood Israel, Jehoash Hirshberg
15. The Yiddish Theater Republic of Sounds and the Performance of Listening, Ruthie Abeliovich
Part V: Collection
16. The YIVO Sound Archive as a Living Space: Archiving and Revitalizing Klezmer, Eleonore Biezunski
17. Jewish Music Sound Recording Collections in the United States, Judith S. Pinnolis
18. Postcustodialism in the Jewish Music Archive, Joseph Toltz
Part VI: Sacred and Ritual Spaces
19. Reimagining Spiritual Experience and Music: Perspectives from Jewish Worship in the United States, Jeffrey A. Summit
20. Sonic Collectivity at the Kotel ha-Ma'aravi (Western Wall), Abigail Wood
21. Singing at the Sabbath Table: Zemiroth as a Family History, Naomi Cohn Zentner
22. Early-Modern Yiddish Wedding Songs: Synchronic and Diachronic Functions, Diana Matut
23. Bukharian Jewish Weddings and Creative Uses of the Central Asian Past, Evan Rapport
Part VII: Destruction / Remembrance
24. Remembering the Destruction, Re-animating the Collective: Romaniote Liturgical Music after the Holocaust, Miranda L. Crowdus
25. We Live Forever: Music of the Surviving Remnant in Sweden, Simo Muir
26. Ferramonti We Do Not Forget: Jews, Music, and Internment in Italy, Silvia Del Zoppo
27. I Say She Is a Mutriba: Faded Memories of Aleppo's Jewish Women Musicians, Clara Wenz
Part VIII: Spirit
28. Ultra-Orthodox Women and the Musical Shekhinah: Performance, Technology, and the Artist in North America, Jessica Roda
29. On a Harp of Ten Strings I Will Sing Praises to You: Envisioning Women and Music in the Oppenheimer Siddur, Suzanne Wijsman
30. The Concept of Harmony in Pre- and Early Modern Jewish Literature, Alexandre Cerveux
Index

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The Oxford Handbook of Jewish Music Studies is the most comprehensive and expansive critical handbook of Jewish music published to date. It is the first endeavor to address the diverse range of sounds, texts, archives, traditions, histories, geographic and political contexts, and critical discourses in the field. The thirty-one experts from thirteen countries who prepared the thirty original and groundbreaking chapters in this handbook are leaders in the disciplines of musicology and Jewish studies as well as adjacent fields. Chapters in the handbook provide a broad coverage of the subject area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections -- Land, City, Ghetto, Stage, Sacred and Ritual Spaces, Destruction / Remembrance, and Spirit -- the range and scope of The Oxford Handbook of Jewish Music Studies most significantly suggests a new framework for the study of Jewish music centered on spatiality and taking into consideration temporality and collectivity. Within each chapter, authors have selected what they consider to be the most important material relevant to their topic and, drawing on the most authoritative insights from historical and ethnomusicology, Jewish studies, history, anthropology, philology, religious studies, and the visual arts, have taken a genuinely inter- or transdisciplinary approach. Integrated chapter bibliographies provide material for further reading. Together the chapters form a first truly global look at Jewish music, incorporating studies from Central and East Asia, Europe, Australia, the Americas, and the Arab world. Together they span world history, from antiquity until the present day. As such, the Handbook provides a resource that researchers, scholars, and educators will use as the most important and authoritative overview of work within music and Jewish studies.

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