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Music in Haredi Jewish Life : = Liquid Modernity and the Negotiation of Boundaries in Greater New York.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Music in Haredi Jewish Life :/
Reminder of title:	Liquid Modernity and the Negotiation of Boundaries in Greater New York.
Author:	Dale, Gordon A.
Description:	1 online resource (290 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
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. - 1 online resource (290 pages)

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--City University of New York, 2017.

Includes bibliographical references

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.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355057881Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Music in Haredi Jewish Life : = Liquid Modernity and the Negotiation of Boundaries in Greater New York.
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520 $a 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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