Skip to main content Accessibility help
Hostname: page-component-6d856f89d9-xkcpr Total loading time: 0 Render date: 2024-07-16T06:02:36.918Z Has data issue: false hasContentIssue false


Published online by Cambridge University Press:  05 December 2015

Joshua S. Walden
The Johns Hopkins University
Get access


Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Publisher: Cambridge University Press
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)


Adler, Israel. “The Notated Synagogue Chants of the 12th Century of Obadiah, the Norman Proselyte.” In Contributions to a Historical Study of Jewish Music, edited by Werner, Eric, 166–99. New York: Ktav, 1976.Google Scholar
Adler, Israel ed. Hebrew Writings Concerning Music. Munich: G. Henle, 1975.Google Scholar
Adler, Israel Musical Life and Traditions of the Portuguese Jewish Community of Amsterdam in the XVIIIth Century. Yuval Monograph Series 1. Jerusalem: Magnes Press, 1974.Google Scholar
Adler, Israel La pratique musicale savante dans quelques communautés juives en Europe aux XVIIe et XVIIIe siècles. Paris: Mouton & Co., 1966.Google Scholar
Adorno, Theodor W.Commitment.” In Can One Live after Auschwitz?: A Philosophical Reader, edited by Tiedemann, Rolf, 240–58. Stanford University Press, 2003.Google Scholar
Adorno, Theodor W.Tiedemann, Rolf and Eisler, Hanns. Composing for the Films. Oxford University Press, 1947.Google Scholar
Aharon, Merav. “Riding the Culture Train: An Ethnography of a Plan for Social Mobility Through Music.” Cultural Sociology, 7 (2013): 447–62.CrossRefGoogle Scholar
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991.Google Scholar
Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.Google Scholar
Attwood, William G. The Parisian Worlds of Frédéric Chopin. New Haven: Yale University Press, 1999.CrossRefGoogle Scholar
Avenary, Hanoch, Pass, Walter, and Nikolaus, Vielmetti. Kantor Salomon Sulzer und seine Zeit: Eine Dokumentation. Sigmaringen: J. Thorbecke, 1985.Google Scholar
Avenary, Hanoch. “Contacts between Church and Synagogue Music.” In Proceedings of the World Jewish Congress on Jewish Music, Jerusalem 1978, edited by Cohen, Judith, 89107. Tel Aviv: Institute for the Translation of Hebrew Literature, 1982.Google Scholar
Avenary, Hanoch The Ashkenazi Tradition of Biblical Chant between 1500 and 1900: Documentation and Musical Analysis. Music Documentation and Studies Series 2. Tel Aviv University, 1978.Google Scholar
Avenary, HanochMusic.” In Encyclopedia Judaica, xii:566664, 675–8. Jerusalem: Keter; New York: Macmillan, 1971–2.Google Scholar
Avenary, HanochThe Concept of Mode in European Synagogue Chant.” Yuval, 2 (1971): 1121.Google Scholar
Avenary, HanochThe Cantorial Fantasia of the Eighteenth and Nineteenth Centuries: A Late Manifestation of the Musical Trope.” Yuval, 1 (1968): 6585.Google Scholar
Avenary, Hanoch Studies in the Hebrew, Syrian and Greek Liturgical Recitative. Tel Aviv: Israel Music Institute, 1963.Google Scholar
Aylward, Michael. “Early Recordings of Jewish Music in Poland.” Polin: Studies in Polish Jewry, 16 (2003): 5969.Google Scholar
Baade, Christina L.In Response to ‘Freylekhe Felker: Queer Subculture in the Klezmer Revival’ by Dana Astmann.” Discourses in Music, 5.1 (Spring 2004).Google Scholar
Bab, Julius. Leben und Tod des deutschen Judentums. Edited by Siebenhaar, Klaus. Berlin: Argon, 1988.Google Scholar
Baker, Paula Eisenstein, and Nelson, Robert S., eds. Leo Zeitlin: Chamber Music. Recent Researches in Music of the 19th and Early 20th Centuries 51. Middleton, WI: A-R Editions, 2009.Google Scholar
Bakhur, Eliyahu. Sefer Tuv Ta'am. Venice, 1539.Google Scholar
Bartelmus, Rüdiger. Theologische Klangrede: Musikalische Resonanzen auf biblische Texte. Münster: LIT Verlag, 2012.Google Scholar
Barzel, Tamar. New York Noise: Radical Jewish Music and the Downtown Scene. Bloomington: Indiana University Press, 2014.Google Scholar
Barzel, TamarAn Interrogation of Language: ‘Radical Jewish Culture’ on New York City's Downtown Music Scene.” Journal of the Society for American Music, 4.2 (2010): 215–50.Google Scholar
Barzel, TamarIf Not Klezmer, Then What? Jewish Music and Modalities on New York City's Downtown Music Scene.” Michigan Quarterly Review, 42.1 (Winter 2003): 7994.Google Scholar
Bayer, Bathja. “The Title of the Psalms – A Renewed Investigation of an Old Problem.” Yuval, 4 (1982): 29123.Google Scholar
Bayer, BathjaThe Biblical Nebel.” Yuval, 1 (1968): 89131.Google Scholar
Beregovski, Moshe. Jewish Instrumental Folk Music: The Collections and Writings of Moshe Beregovski. Translated and edited by Slobin, Mark, Rothstein, Robert, and Alpert, Michael. Syracuse University Press, 2001.Google Scholar
Beregovski, MosheThe Altered Dorian Scale in Jewish Folk Music (1946).” In Old Jewish Folk Music: The Collections and Writings of Moshe Beregovski, edited and translated by Slobin, Mark, 549–67. Syracuse University Press, 2000.Google Scholar
Berry, Mary. “Music, Postmodernism, and George Rochberg's Third String Quartet.” In Postmodern Music/Postmodern Thought, edited by Lochhead, Judy and Auner, Joseph, 235–48. New York: Routledge, 2002.Google Scholar
Beschlüsse der ersten und zweiten israelitischen Synode, Die. Mainz: J. Gottleben'sche Buchdruckerei, 1871.Google Scholar
Bik, Moshe. Klezmorim be-Orgeev/Jewish Wedding. Edited by Gorali, M.. Haifa Music Museum and Library, 1964.Google Scholar
Binder, Benjamin. “Kundry and the Jewish Voice: Anti-Semitism and Musical Transcendence in Wagner's Parsifal.” Current Musicology, 87 (Spring 2009): 47131.Google Scholar
Bohlman, Andrea F., and Bohlman, Philip V.. Hanns Eisler: In der Musik ist es anders. Berlin: Hentrich & Hentrich, 2012.Google Scholar
Bohlman, Andrea F., and Bohlman, Philip V.(Un)Covering Hanns Eisler's Hollywood Songbook.” Danish Yearbook of Musicology, 35 (2007): 1329.Google Scholar
Bohlman, Philip V. Jewish Music and Modernity. Oxford University Press, 2008.CrossRefGoogle Scholar
Bohlman, Philip V.Wie die Popularmusik jüdisch wurde.” Transversal, 7.1 (2006): 6175.Google Scholar
Bohlman, Philip V. Jüdische Volksmusik – Eine mitteleuropäische Geistesgeschichte. Vienna: Böhlau, 2005.CrossRefGoogle Scholar
Bohlman, Philip V.Before Hebrew Song.” In Nationalism, Zionism and Ethnic Mobilization of the Jews in 1900 and Beyond, edited by Berkowitz, Michael, 2559. Leiden: Brill, 2004.CrossRefGoogle Scholar
Bohlman, Philip V.Music.” In The Oxford Handbook of Jewish Studies, edited by Goodman, Martin, Cohen, Jeremy, and Sorkin, David, 852–69. Oxford University Press, 2002.Google Scholar
Bohlman, Philip V. and Holzapfel, Otto, eds. The Folk Songs of Ashkenaz. Recent Researches in the Oral Traditions of Music 6. Middleton, WI: A-R Editions, 2001.CrossRefGoogle Scholar
Bohlman, Philip V. The World Centre for Jewish Music in Palestine, 1936–1940: Jewish Musical Life on the Eve of World War II. Oxford University Press, 1992.Google Scholar
Bohlman, Philip V. and Slobin, Mark, eds. Music in the Ethnic Communities of Israel. Special edition of Asian Music, 17.2 (1986).Google Scholar
Bopp, Verena. Mailamm 1932–1941. Die Geschichte einer Vereinigung zur Förderung jüdischer Musik in den USA. Wiesbaden: Harrassowitz, 2007.Google Scholar
Borchard, Beatrix. “Von Joseph Joachim zurück zu Moses Mendelssohn. Instrumentalmusik als Zukunftsreligion?” In Musikwelten – Lebenswelten: Jüdische Identitätssuche in der deutschen Musikkultur, edited by Borchard, Beatrix and Zimmermann, Heidy, 3158. Vienna: Böhlau, 2009.Google Scholar
Borchard, Beatrix Stimme und Geige. Amalie und Joseph Joachim: Biographie und Interpretationsgeschichte. Vienna: Böhlau, 2005.Google Scholar
Botstein, Leon. “A Mirror to the Nineteenth Century: Reflections on Liszt.” In Liszt and His World, edited by Gibbs, Christopher H. and Gooley, Dana, 517–68. Princeton University Press, 2006.Google Scholar
Botstein, Leon and “Music, Femininity, and Jewish Identity: The Tradition and Legacy of the Salon.” In Jewish Women and Their Salons: The Power of Conversation, edited by Bilski, Emily D. and Braun, Emily, 159–69. New York: Jewish Museum under the auspices of the Jewish Theological Seminary of America; New Haven: Yale University Press, 2005.Google Scholar
Botstein, Leon and “Social History and the Politics of the Aesthetic: Jews and Music in Vienna 1870–1938.” In Vienna: Jews and the City of Music 1870–1938, edited by Botstein, Leon and Hanak, Werner, 4364. Annandale-on-Hudson, NY: Bard College, 2004.Google Scholar
Botstein, Leon and “Whose Gustav Mahler? Reception, Interpretation, and History.” In Mahler and His World, edited by Painter, Karen, 154. Princeton University Press, 2002.Google Scholar
Botstein, Leon and “The Aesthetics of Assimilation and Affirmation: Reconstructing the Career of Felix Mendelssohn.” In Mendelssohn and His World, edited by Todd, R. Larry, 542. Princeton University Press, 1991.Google Scholar
Botstein, Leon Judentum und Modernität. Essays zur Rolle der Juden in der deutschen und österreichischen Kultur, 1848 bis 1938. Vienna: Böhlau, 1991.Google Scholar
Boyarin, Jonathan, and Boyarin, Daniel. The Powers of Diaspora: Two Essays on the Relevance of Jewish Culture. Minneapolis: University of Minnesota Press, 2002.Google Scholar
Boyarin, Jonathan, and Boyarin, DanielDiaspora: Generational Ground of Jewish Identity.” Critical Inquiry, 19.4 (1993): 693725.CrossRefGoogle Scholar
Brand, Juliane, and Hailey, Christopher, eds. Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture. Berkeley and Los Angeles: University of California Press, 1997.Google Scholar
Braun, Joachim. Music in Ancient Israel/Palestine: Archaeological, Written, and Comparative Sources. Grand Rapids, MI, and Cambridge: Wm. B. Eerdmans, 2002.Google Scholar
Yehezkel, Braun, Jehoash, Hirshberg, and Rotem, Luz. Yehezkel Braun, His Life and Works. Tel Aviv: Israeli Music Institute, 2016.Google Scholar
Breivik, Magnar. “From Surabaya to Ellis Island: On Two Versions of Kurt Weill's ‘Surabaya-Johnny.’” In The Impact of Nazism on Twentieth-Century Music, edited by Levi, Erik, 7790. Vienna: Böhlau, 2014.CrossRefGoogle Scholar
Brenner, Michael. The Renaissance of Jewish Culture in Weimar Germany. New Haven: Yale University Press, 1996.Google Scholar
Brinkmann, Reinhold. “Reading a Letter.” In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 320. Berkeley and Los Angeles: University of California Press.Google Scholar
Brubaker, Rogers. “The ‘Diaspora’ Diaspora.” Ethnic and Racial Studies, 28.1 (January 2005): 119.CrossRefGoogle Scholar
Burgh, Theodore W. Listening to the Artifacts: Music Culture in Ancient Israel/Palestine. New York: T & T Clark, 2006.Google Scholar
Burney, Charles. An Eighteenth-Century Musical Tour in Central Europe and the Netherlands. Edited by Scholes, Percy A.. 2 volumes. Oxford University Press, 1959.Google Scholar
Burstyn, Shai. “‘Shirah ḥadashah-atikah’: Moreshet Avraham Tzvi Idelson ve-zimrei ‘shorashim.’” Katedrah, 128 (Tammuz 2008): 113–44.Google Scholar
Burwick, Frederick, and Douglass, Paul, eds. A Selection of Hebrew Melodies, Ancient and Modern, by Isaac Nathan and Lord Byron. Tuscaloosa: University of Alabama Press, 1988.Google Scholar
Cahn, Steven J.Schoenberg, the Viennese-Jewish Experience and Its Aftermath.” In The Cambridge Companion to Schoenberg, edited by Shaw, Jennifer and Auner, Joseph, 191206. Cambridge University Press, 2010.CrossRefGoogle Scholar
Cairns, David. Berlioz. 2 volumes. Volume II, Servitude and Greatness, 1832–1869. London: Allen Lane, 1999.Google Scholar
Caplan, Hannah, and Rosenblatt, Belinda, eds. International Biographical Dictionary of Central European Émigrés 1933–1945. 3 volumes. Munich: K. G. Sauer, 1983.Google Scholar
Caplan, Marvin. “The Curious Case of Bei Mir Bist Du Schön.” Congress Monthly, 62.1 (Jan/Feb 1995): 1316.Google Scholar
Chants Mystiques: Hidden Treasures of a Living Tradition. PolyGram Special Markets, 1995.Google Scholar
Clarkson, Austin. “What is Jewish Music?Contemporary Music Review, 27.2/3 (April/June 2008): 179–92.CrossRefGoogle Scholar
Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Cohen, Judah M.Music Institutions and the Transmission of Tradition.” Ethnomusicology, 53.2 (Spring/Summer 2009): 308–25.CrossRefGoogle Scholar
Cohen, Judah M.Exploring the Postmodern Landscape of Jewish Music.” In You Should See Yourself: Jewish Identity in Postmodern American Culture, edited by Brook, Vincent, 97118. New Brunswick, NJ: Rutgers University Press, 2006.Google Scholar
Cohen, Judah M.Modes of Tradition? Negotiating Jewishness and Modernity in the Synagogue Music of Isadore Freed and Frederick Piket.” Jewish History and Culture, 5.2 (Winter 2002): 2547.CrossRefGoogle Scholar
Cohen, Judith R. “‘No so komo las de agora’ (I'm Not Like Those Modern Girls): Judeo-Spanish Songs Meet the Twenty-First Century.” European Judaism, 44.1 (2011): 151–64.CrossRefGoogle Scholar
Cohen, Mark R., ed. and trans. The Autobiography of a Seventeenth-Century Venetian Rabbi: Leon Modena'sLife of Judah. Princeton University Press, 1988.Google Scholar
Cohen, Robin. Global Diasporas: An Introduction. 2nd edition. London and New York: Routledge, 2008 (1997).CrossRefGoogle Scholar
Cohen, Yoel. God, Jews and the Media: Religion and Israel's Media. London and New York: Routledge, 2012.CrossRefGoogle Scholar
Cohon, A. Irma. An Introduction to Jewish Music in Eight Illustrated Lectures. New York: National Council of Jewish Women, 1923.Google Scholar
Cohon, Joseph. “The Structure of the Synagogue Prayer-Chant.” Journal of the American Musicological Society, 3.1 (Spring 1950): 1732. Reprinted in Journal of Synagogue Music, 11.1 (June 1981): 58–73.CrossRefGoogle Scholar
Conway, David. Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner. Cambridge University Press, 2012.Google Scholar
Cook, Nicholas. The Schenker Project: Culture, Race, and Music Theory in Fin-de-Siècle Vienna. Oxford University Press, 2007.CrossRefGoogle Scholar
Crawford, Dorothy Lamb. A Windfall of Musicians: Hitler's Émigrés and Exiles in Southern California. New Haven: Yale University Press, 2009.Google Scholar
Dahm, Annkatrin. Der Topos der Juden. Studien zur Geschichte des Antisemitismus im deutschsprachigen Musikschrifttum. Göttingen: Vandenhoeck & Ruprecht, 2007.CrossRefGoogle Scholar
Davis, Ruth F., ed. The “Oriental Music” Broadcasts 1936–1937: A Musical Ethnography of Mandatory Palestine. Recent Researches in the Oral Traditions of Music 10. Middleton, WI: A-R Editions, 2013.Google Scholar
Deathridge, John. Wagner: Beyond Good and Evil. Berkeley and Los Angeles: University of California Press, 2008.Google Scholar
Dion, Lynn. “Klezmer Music in America: Revival and Beyond.” Jewish Folklore and Ethnology Newsletter, 8.1–2 (1986): 28.Google Scholar
Dixon, Joan DeVee. George Rochberg: A Bio-Bibliographic Guide to His Life and Works. Stuyvesant, NY: Pendragon Press, 1992.Google Scholar
Doroshkin, Milton. Yiddish in America: Social and Cultural Foundations. Rutherford, Madison, and Teaneck, NJ: Fairleigh Dickinson University Press, 1969.Google Scholar
Draughon, Francesca, and Knapp, Raymond. “Gustav Mahler and the Crisis of Jewish Identity.” Echo, 3.2. Accessed February 18, 2014.Google Scholar
Druker, Irme. “Mikhoel-Yoysef Guzikov.” Sovetish Heymland, 11 (November 1981): 2081; and 12 (December 1981): 1289.Google Scholar
Druker, Irme Klezmer. Moscow: Farlag “Sovetski pisatel,” 1976.Google Scholar
Dubin, Lois C.The Rise and the Fall of the Italian Jewish Model in Germany: From Haskalah to Reform, 1780–1820.” In Jewish History and Jewish Memory: Essays in Honor of Yosef Hayim Yerushalmi, edited by Carlebach, Elisheva, Efron, John M., and Myers, David N., 271–95. Tauber Institute for the Study of European Jewry Series 29. Hanover, NH: University Press of New England, 1998.Google Scholar
Dümling, Albrecht. “The Target of Racial Purity: The ‘Degenerate Music’ Exhibition in Düsseldorf, 1938.” In Art, Culture, and Media under the Third Reich, edited by Etlin, Richard A., 4372. University of Chicago Press, 2002.Google Scholar
Dümling, Albrecht. “Nationalism as Racism: Nazi Policies Towards Music.” In Banned by the Nazis: Entartete Musik.” Los Angeles Philharmonic Association, 1991. Concert program.Google Scholar
Eddie, William Alexander. Charles Valentin Alkan: His Life and His Music. Aldershot, UK, and Burlington, VT: Ashgate, 2007.Google Scholar
Edison, Thomas A.The Phonograph and Its Future.” North American Review, 126 (1878): 530–6.Google Scholar
Ehrenreich, Eliezer. “Der erste Synagogenchor in Berlin (Aus alten Akten).” Gemeindeblatt der jüdischen Gemeinde zu Berlin, 19 (February 1929): 66–7.Google Scholar
Eisler, Hanns. Hollywooder Liederbuch. Leipzig: Deutscher Verlag für Musik, 2008.Google Scholar
Ellenson, David. “A Disputed Precedent: The Prague Organ in Nineteenth-Century Central European Legal Literature and Polemics.” Leo Baeck Institute Year Book, 40 (1995): 251–64.CrossRefGoogle Scholar
Elon, Amos. The Pity of It All: A History of the Jews in Germany, 1743–1933. New York: Metropolitan Books, 2002.Google Scholar
Engel, David. Historians of the Jews and the Holocaust. Stanford University Press, 2010.Google Scholar
Fater, Issachar. Yidishe muzik in Poyln tsvishn beyde velt-milkhomes. Tel-Aviv: Velt-federatsye fun poylishe yidn, 1970.Google Scholar
Feisst, Sabine. Schoenberg's New World: The American Years. Oxford University Press, 2011.CrossRefGoogle Scholar
Feldman, Walter Zev. “Remembrance of Things Past: Klezmer Musicians of Galicia, 1870–1940.” Polin: Studies in Polish Jewry, 16 (2003): 2957.Google Scholar
Fifield, Christopher. Max Bruch: His Life and Works. 2nd edition. Woodbridge: Boydell Press, 2005.Google Scholar
Fischer, Jens Malte. Gustav Mahler. New Haven: Yale University Press, 2011.Google Scholar
Fischer, Jens Malte Richard Wagners “Das Judentum in der Musik.” Eine kritische Dokumentation als Beitrag zur Geschichte des Antisemitismus. Frankfurt am Main: Insel, 2000.Google Scholar
François-Sappey, Brigitte, ed. Charles Valentin Alkan. Paris: Fayard, 1991.Google Scholar
Freeden, Herbert. Jüdisches Theater in Nazideutschland. Tübingen: J. C. B. Mohr, 1964.Google Scholar
Freeden, HerbertA Jewish Theatre under the Swastika.” Year Book of the Leo Baeck Institute, 1 (1956): 142–62.CrossRefGoogle Scholar
Freedman, Jonathan. Klezmer America: Jewishness, Ethnicity, Modernity. New York: Columbia University Press, 2008.CrossRefGoogle Scholar
Friedlander, Saul. Introduction to Probing the Limits of Representation: Nazism and the “Final Solution, edited by Friedlander, Saul, 121. Cambridge, MA: Harvard University Press, 1992.Google Scholar
Frigyesi, Judit. “Jews and Hungarians in Modern Hungarian Musical Culture.” In Modern Jews and their Musical Agendas, edited by Mendelsohn, Ezra, 4060. Studies in Contemporary Jewry 9. Oxford University Press, 1993.Google Scholar
Frühauf, Tina. Salomon Sulzer: Reformer, Cantor, Icon. Berlin: Hentrich & Hentrich, 2012.Google Scholar
Frühauf, Tina The Organ and Its Music in German-Jewish Culture. Oxford University Press, 2009.CrossRefGoogle Scholar
Frühauf, TinaJewish Liturgical Music in Vienna: A Mirror of Cultural Diversity.” In Vienna: Jews and the City of Music 1870–1938, edited by Botstein, Leon and Hanak, Werner, 7791. Annandale-on-Hudson, NY: Bard College, 2004.Google Scholar
Fuks, Marian. Muzyka Ocalona: Judaica Polskie. Warsaw: Wydawnictwa Radia i Telewizji, 1989.Google Scholar
Fulcher, Jane. The Composer as Intellectual: Music and Ideology in France, 1914–1940. Oxford University Press, 1998.Google Scholar
Galchinsky, Michael. “Concepts of Diaspora and Galut.” In Turning the Kaleidoscope: Perspectives on European Jewry, edited by Lustig, Sandra and Leveson, Ian, 6378. New York: Berghahn Books, 2006.Google Scholar
Gans, Herbert J.The ‘Yinglish’ Music of Mickey Katz.” American Quarterly, 5.3 (Autumn 1953): 213–18.CrossRefGoogle Scholar
Garrett, Charles Hiroshi. “‘Shooting the Keys’: Musical Horseplay and High Culture.” In The Oxford Handbook of the New Cultural History of Music, edited by Fulcher, Jane F., 245–63. Oxford University Press, 2011.Google Scholar
Geschlossene Vorstellung: Der Jüdische Kulturbund in Deutschland 1933–1941. Edited by Akademie der Künste. Berlin: Akademie der Künste, 1992.Google Scholar
Gilbert, Shirli. Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps. Oxford: Clarendon Press, 2005.CrossRefGoogle Scholar
Gilliam, Bryan. “A Viennese Opera Composer in Hollywood: Korngold's Double Exile in America.” In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 223–42. Berkeley and Los Angeles: University of California Press.Google Scholar
Gillmor, Alan, ed. Eagle Minds: Selected Correspondence of Istvan Anhalt and George Rochberg. Waterloo, ON: Wilfrid Laurier University Press, 2007.CrossRefGoogle Scholar
Gilman, Sander L.Are Jews Musical? Historical Notes on the Question of Jewish Musical Modernism.” In Jewish Musical Modernism, Old and New, edited by Bohlman, Philip V., viixvi. University of Chicago Press, 2008.Google Scholar
Gilman, Sander L.Bohlman, Philip and Zipes, Jack, eds. Yale Companion to Jewish Writing and Thought in German Culture, 1096–1996. New Haven: Yale University Press, 1997.CrossRefGoogle Scholar
Gintsburg, Shaul M.Iz zapisok pervogo evreia-studenta v Rossii (Lev Iosifovich Mandelshtam, 1819–1889).” Perezhitoe, 1 (1909): 2931.Google Scholar
Gloag, Kenneth. Postmodernism in Music. Cambridge University Press, 2012.Google Scholar
Goethe, Johann Wolfgang von, and Zelter, Carl Friedrich. Briefwechsel zwischen Goethe und Zelter in den Jahren 1799 bis 1832. Edited by Ottenberg, Hans-Günter and Zehm, Edith. 3 volumes. Munich: Hanser, 1991–8.Google Scholar
Golb, Norman. “The Music of Obadiah the Proselyte and His Conversion.” Journal of Jewish Studies, 18.1–4 (1967): 4363.CrossRefGoogle Scholar
Goldberg, Ethan. “In the Shadow of Sulzer: The Mixed Legacy of Cantor Alois Kaiser.” B.A. honors thesis. Brandeis University, 2012.Google Scholar
Goldberg, Geoffrey. “Jewish Liturgical Music in the Wake of Nineteenth-Century Reform.” In Sacred Sound and Social Change: Liturgical Music in Jewish and Christian Experience, edited by Hoffman, Lawrence A. and Walton, Janet R., 5983. University of Notre Dame Press, 1992.Google Scholar
Goldman, Ari L. “Reviving Yiddish ‘Klezmer’ Music.” New York Times. November 17, 1978.Google Scholar
Gradenwitz, Peter. The Music of Israel: From the Biblical Era to Modern Times. 2nd edition. Portland, OR: Amadeus Press, 1996.Google Scholar
Great Songs of the Yiddish Stage. Volume III, Joseph Rumshinsky. Milken Archive, 2006. Compact disc.Google Scholar
Grözinger, Karl E., ed. Klesmer, Klassik, jiddisches Lied: jüdische Musikkultur in Osteuropa. Wiesbaden: Harrassowitz, 2004.Google Scholar
Gruber, Ruth Ellen. Virtually Jewish: Reinventing Jewish Culture in Europe. Berkeley and Los Angeles: University of California Press, 2002.CrossRefGoogle Scholar
Gurevich, David, Gerz, Aaron, and Bachi, Roberto. The Jewish Population of Palestine: Immigration, Demographic Structure and National Growth. Jerusalem: Jewish Agency for Palestine, 1944.Google Scholar
Haas, Michael. Forbidden Music: The Jewish Composers Banned by the Nazis. New Haven: Yale University Press, 2013.CrossRefGoogle Scholar
HaCohen, Ruth. The Music Libel Against the Jews. New Haven: Yale University Press, 2011.Google Scholar
Haïk-Vantoura, Suzanne. The Music of the Bible Revealed: The Deciphering of a Millenary Notation. Edited by Wheeler, John and translated by Weber, Dennis. 2nd revised edition. Richland Hills, TX: D. and F. Scott Publishing, 1991.Google Scholar
Haley, Alex. Roots. Garden City, NY: Doubleday, 1976.Google Scholar
Hallman, Diana R. Opera, Liberalism and Antisemitism in Nineteenth-Century France: The Politics of Halévy's La Juive. Cambridge University Press, 2002.Google Scholar
Halter, Marilyn. “Ethnic and Racial Identity.” In A Companion to American Immigration, edited by Ueda, Reed, 161–76. Blackwell Companions to American History. New York: Wiley VCH, 2005.Google Scholar
Hamburger, Klara. “Understanding the Hungarian Reception History of Liszt's Des Bohémiens et de leur musique en Hongrie (1859/1881).” Journal of the American Liszt Society, 54–6 (2003–5): 7584.Google Scholar
Harrán, Don. Salamone Rossi: Jewish Musician in Late Renaissance Mantua. Oxford University Press, 1999.CrossRefGoogle Scholar
Hartman, Geoffrey H.Midrash as Law and Literature.” Journal of Religion, 74.3 (July 1994): 338–55.CrossRefGoogle Scholar
Hasty, Katie. “Juvenile's ‘Reality’ Upends Ne-Yo At No. 1.” Billboard. March 15, 2006.Google Scholar
Healey, John Paul. The Solo Piano Music of Viktor Ullmann: From Prague to the Holocaust. D.M.A. thesis. University of Cincinnati, 2001.Google Scholar
Hebreo: The Search for Salamone Rossi. Directed by Richlitz, Joseph. Lasso Film and TV Production, 2012.Google Scholar
Heilbronner, Oded. “From Antisemitic Peripheries to Antisemitic Centres: The Place of Antisemitism in Modern German History.” Journal of Contemporary History, 35.4 (October 2000): 559–76.CrossRefGoogle Scholar
Heinrich, Heine. The Works of Heinrich Heine. Translated by C. G. Leland, 12 volumes. Volume IV, The Salon. London: W. Heinemann, 1893.Google Scholar
Hentoff, Nat. “Indigenous Music.” The Nation. January 14, 1978.Google Scholar
Herzl, Theodor. Altneuland. Berlin: Jüdischer Verlag, 1935. Originally published 1904.Google Scholar
Herzog, Avigdor. “Masoretic Accents.” In Encyclopedia Judaica, xi:1098–112. 16 volumes. Jerusalem: Keter; New York: Macmillan, 1971–2.Google Scholar
Heskes, Irene. “Shapers of American Jewish Music: Mailamm and the Jewish Music Forum, 1931–62.” American Music, 15.3 (Autumn 1997): 305–20.CrossRefGoogle Scholar
Heskes, Irene Passport to Jewish Music: Its History, Traditions, and Culture. Westport, CT, and London: Greenwood Publishing Group, 1994.Google Scholar
Hilmes, Michele. “Radio and the Imagined Community.” In The Sound Studies Reader, edited by Sterne, Jonathan, 351–62. London and New York: Routledge, 2012.Google Scholar
Hirsch, Lily E. A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League. Ann Arbor: University of Michigan Press, 2010.Google Scholar
Hirshberg, Jehoash. “A Modernist Composer in an Immigrant Community.” In On the Music of Stefan Wolpe: Essays and Recollections, edited by Clarkson, Austin, 7594. Hillsdale, NY: Pendragon Press, 2003.Google Scholar
Hirshberg, Jehoash Music in the Jewish Community of Palestine, 1880–1948: A Social History. Oxford University Press, 1995.CrossRefGoogle Scholar
Hitchcock, H. Wiley. “Minimalism in Art and Music: Origins and Aesthetics.” In Classic Essays on Twentieth-Century Music, edited by Kostelanetz, Richard and Darby, Joseph, 303–19. New York: Schirmer, 1996.Google Scholar
Hoberman, J. Bridge of Light: Yiddish Film between Two Worlds. New York: The Museum of Modern Art and Schocken Books, 1991. 2nd edition, Hanover, NH: Dartmouth College Press, 2010.Google Scholar
Hoffman, Lawrence. Beyond the Text: A Holistic Approach to Liturgy. Bloomington: Indiana University Press, 1987.Google Scholar
Hohenemser, Jacob. “The Jew in German Musical Thought before the Nineteenth Century.” Musica Judaica, 3.1 (1980–1): 6373.Google Scholar
Horwitz, Simi. “Cantor's Apps Bring Jewish Prayers to the iPhone Crowd.” Jewish Daily Forward. February 15, 2013.Google Scholar
Hosokawa, Shuhei. “The Walkman Effect.” Popular Music, 4 (1984): 165–80.CrossRefGoogle Scholar
Howe, Irving. World of Our Fathers: The Journey of the East European Jews to America and the Life They Found and Made. New York: Simon and Schuster, 1976.Google Scholar
Hundert, Gershon, ed. YIVO Encyclopedia of Jews in Eastern Europe. Accessed February 20, 2015.Google Scholar
Idelsohn, Abraham Zvi. Jewish Music: Its Historical Development. New York: Dover, 1992. Originally published as Jewish Music in Its Historical Development. New York: Henry Holt, 1929.Google Scholar
Idelsohn, Abraham Zvi Hebräisch-orientalischer Melodienschatz. 10 volumes. Leipzig: Breitkopf and Härtel, 1914; Jerusalem, Berlin, and Vienna: Benjamin Harz, 1922–9; and Leipzig: Friedrich Hofmeister, 1932.Google Scholar
Idelsohn, Abraham Zvi Phonographierte Gesänge und Aussprachsproben des Hebräischen der jemenitischen, persischen und syrischen Juden. Vienna: Alfred Hölder, 1917.Google Scholar
Imhoff, Sarah. “The Man in Black: Matisyahu, Identity, and Authenticity.” Religion and Culture Web Forum, Martin Marty Center, University of Chicago. February 2010. Accessed March 2, 2014.Google Scholar
“Industry Overview 2009.” Accessed February 16, 2010.Google Scholar
Isay, Dave, Sapoznik, Henry, and Reiner, Yair. Yiddish Radio Project: Stories from the Golden Age of Yiddish Radio. Minneapolis: HighBridge, 2002. Compact disc.Google Scholar
Jacobson, Israel. “Feyerliche Einweihung des Jacobs-Tempels in Seesen.” Sulamith: Eine Zeitschrift zur Beförderung der Kultur und Humanität unter den Israeliten, 3.4 (1810): 298303.Google Scholar
Janeczko, Jeff. “Negotiating Boundaries: Musical Hybridity in Tzadik's Radical Jewish Culture Series.” In The Song is Not the Same: Jews and American Popular Music, edited by Ansell, Lisa, Kun, Josh, and Zuckerman, Bruce, 137–68. The Jewish Role in American Life 8. West Lafayette, IN: Purdue University Press, 2011.Google Scholar
Janeczko, Jeff. “Beyond Klezmer”: Redefining Jewish Music for the Twenty-First Century. Ph.D. dissertation. University of California, Los Angeles, 2009.Google Scholar
Jay, Martin. “Plots, Witnesses, Judgments.” In Probing the Limits of Representation: Nazism and the “Final Solution, edited by Friedlander, Saul, 97107. Cambridge, MA: Harvard University Press, 1992.Google Scholar
Jazz Singer, The. Directed by Richard Fleischer. EMI Films, 1980.Google Scholar
Jeffery, Peter. “Werner's The Sacred Bridge, Volume 2: A Review Essay.” Jewish Quarterly Review, 77.4 (April 1987): 283–98.Google Scholar
John, Eckhard. “Music and Concentration Camps: An Approximation.” Journal of Musicological Research, 20 (2001): 269323.CrossRefGoogle Scholar
Joselit, Jenna Weissman. The Wonders of America: Reinventing Jewish Culture, 1880–1950. New York: Hill and Wang, 1994.Google Scholar
Judaica Sound Archives. Accessed February 20, 2015.Google Scholar
Jumpin’ Night in the Garden of Eden, A. Directed by Michal Goldman. First Run Features, 1987.Google Scholar
Jütte, Daniel. “His Majesty's Mahler: Jews, Courts, and Culture in the Nineteenth Century.” Jahrbuch des Simon-Dubnows-Institut, 11 (2012): 149–62.Google Scholar
Jütte, DanielDie Grenzen der Musik: Verbürgerlichung, Antisemitismus und die Musikästhetik der Moderne im Kontext der Geschichte jüdischer Interpreten (1750–1900).” In Musikwelten – Lebenswelten: Jüdische Identitätssuche in der deutschen Musikkultur, edited by Borchard, Beatrix and Zimmermann, Heidy, 227–49. Vienna: Böhlau, 2009.Google Scholar
Jütte, DanielJuden als Virtuosen: Eine Studie zur Sozialgeschichte der Musik sowie zur Wirkmächtigkeit einer Denkfigur des 19. Jahrhunderts.” Archiv für Musikwissenschaft, 66.2 (2009): 127–54.CrossRefGoogle Scholar
Jütte, Daniel‘Mendele Lohengrin’ und der koschere Wagner. Unorthodoxes zur jüdischen Wagner-Rezeption,” In Integration und Ausgrenzung. Studien zur deutsch-jüdischen Literatur- und Kulturgeschichte von der Frühen Neuzeit bis zur Gegenwart, edited by Gelber, Mark H., Hessing, Jakob, and Jütte, Robert, 115–29. Tübingen: Niemeyer, 2009.Google Scholar
Kaes, Anton. “Holocaust and the End of History: Postmodern Historiography in Cinema.” In Probing the Limits of Representation: Nazism and the “Final Solution,” edited by Friedlander, Saul, 206–22. Cambridge, MA: Harvard University Press, 1992.Google Scholar
Kanfer, Stefan. A Summer World: The Attempt to Build a Jewish Eden in the Catskills, from the Days of the Ghetto to the Rise and Decline of the Borscht Belt. New York: Farrar, Straus, and Giroux, 1989.Google Scholar
Kangas, William. “The Ethics and Aesthetics of (Self)Representation: Arnold Schoenberg and Jewish Identity.” Leo Baeck Institute Year Book, 45.1 (2000): 135–70.CrossRefGoogle Scholar
Kapelye, . Future & Past. Flying Fish FF 70249, 1981, compact disc.Google Scholar
Karas, Joža. Music in Terezín, 1941–1945. New York: Pendragon, 1985.Google Scholar
Kater, Michael H. Composers of the Nazi Era: Eight Portraits. Oxford University Press, 2000.CrossRefGoogle Scholar
Kater, Michael H. The Twisted Muse: Musicians and Their Music in the Third Reich. Oxford University Press, 1997.CrossRefGoogle Scholar
Kater, Michael H. Different Drummers: Jazz in the Culture of Nazi Germany. Oxford University Press, 1992.Google Scholar
Katz, Israel J.The ‘Myth’ of the Sephardic Musical Legacy from Spain.” In Proceedings of the Fifth World Congress of Jewish Studies in Jerusalem, edited by Shinan, Avigdor, 4 volumes, iv:237–43. Jerusalem: World Union of Jewish Studies, 1973.Google Scholar
Katz, Jacob. The Darker Side of Genius: Richard Wagner's Anti-Semitism. Hanover, NH: University Press of New England, 1986.Google Scholar
Katz, Jacob From Prejudice to Destruction: Anti-Semitism, 1700–1933. Cambridge, MA: Harvard University Press, 1980.Google Scholar
Katz, Mark. Capturing Sound: How Technology Has Changed Music, revised edition. Berkeley and Los Angeles: University of California Press, 2010.CrossRefGoogle Scholar
Katz, Ruth. “Why Music? Jews and the Commitment to Modernity.” In Deutsche Juden und die Moderne, edited by Volkov, Shulamit, 31–8. Munich: Oldenbourg, 1994.Google Scholar
Katz, RuthExemplification and the Limits of ‘Correctness’: The Implicit Methodology of Idelsohn's Thesaurus.” In The Abraham Zvi Idelsohn Memorial Volume, edited by Adler, Israel, Bayer, Bathja, and Schleifer, Eliyahu, 365–71. Yuval Studies of the Jewish Music Research Center 5. Jerusalem: Magnes, 1986.Google Scholar
Kelman, Ari Y. Station Identification: A Cultural History of Yiddish Radio in the United States. Berkeley and Los Angeles: University of California Press, 2009.CrossRefGoogle Scholar
Kessous-Dreyfuss, Annie. “D'un ‘Psaume’ de Benedetto Marcello à une ‘Mélodie juive’ de Charles Valentin Alkan: le parcours d'un ‘Air.’” Acta Musicologica, 77.1 (2006): 5574.Google Scholar
Kheifets, Ilia. “Evreiskaia muzykalnaia idioma i kompozitsionnaia tekhnika (na primere dvukh proizvedenii M. I. Glinki i M. P. Musorgskogo).” Vestnik evreiskogo universiteta v Moskve, 5.23 (2001): 4976.Google Scholar
Khvol'son, Daniel. The Semitic Nations. Cincinnati, 1872.Google Scholar
Kilmer, Anne Draffkorn, and Crocker, Richard L.. Sounds from Silence: Recent Discoveries in Ancient Near Eastern Music. Bit Enki Publications, 1976, LP.Google Scholar
Kirshenblatt-Gimblett, Barbara. “Sounds of Sensibility.” Judaism, 47.1 (Winter 1998): 4978.Google Scholar
Kirshenblatt-Gimblett, Barbara Introduction to Zborowski, Mark and Herzog, Elizabeth. Life Is with People: The Culture of the Shtetl, ixxlviii. New York: Schocken Books, 1995.Google Scholar
Klezmatics, , The. Rhythm + Jews. Piranha PIR 25–2. 1991, compact disc.Google Scholar
Klezmatics, , The. Wonder Wheel. Jewish Music Group JMG 18033–2, 2006, compact disc.Google Scholar
Klezmer Conservatory Band. Yiddishe Renaissance. Vanguard Records 79450–2, 1981, LP.Google Scholar
Klezmorim, , The. East Side Wedding. Arhoolie 3006, 1977, LP.Google Scholar
Klezmorim, , The. Streets of Gold. Arhoolie 3011, 1978, LP.Google Scholar
Klezmorim, , The. Metropolis. Flying Fish 70258, 1981, LP.Google Scholar
Kligman, Mark. “The Music of Kol Nidre.” In All These Vows: Kol Nidre, edited by Lawrence A., Hoffman, 6770. Woodstock, VT: Jewish Lights Publishing, 2011.Google Scholar
Knittel, K. M. Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna. Farnham, UK, and Burlington, VT: Ashgate, 2010.Google Scholar
Kopytman, Mark. “About Heterophony.” In The Music of Mark Kopytman: Echoes of Imaginary Lines, edited by Kreinin, Yulia, 176232. Berlin: Kuhn, 2008.Google Scholar
Koskoff, Ellen. Music in Lubavitcher Life. Urbana, IL, and Chicago: University of Illinois Press, 2000.Google Scholar
Kramer, Jonathan D.The Nature and Origins of Musical Postmodernism.” In Postmodern Music/Postmodern Thought, edited by Lochhead, Judy and Auner, Joseph, 1326. New York: Routledge, 2002.Google Scholar
Kreinin, Yulia, ed. Mark Kopytman – Voice of Memories: Essays and Dialogues. Tel Aviv: Israel Music Institute, 2004.Google Scholar
Kuhn, Ernst, Nemtsov, Jascha, and Wehrmeyer, Andreas, eds. “Samuel” Goldenberg und “Schmuyle.” Jüdisches und Antisemitisches in der russischen Musikkultur. Berlin: Ernst Kuhn, 2003.Google Scholar
Kun, Josh. Liner notes to The Barry Sisters: Our Way. Stereophonic, 2008. Compact disc.Google Scholar
Kun, Josh Audiotopia: Music, Race, and America. Berkeley and Los Angeles: University of California Press, 2005.Google Scholar
Kun, JoshThe Yiddish are Coming: Mickey Katz, Antic-Semitism, and the Sound of Jewish Difference.” American Jewish History, 87.4 (1999): 343–74.Google Scholar
Kunz, Erich. “The Refugee in Flight: Kinetic Models and Forms of Displacement.” International Migration Review, 7.2 (1973): 125–46.CrossRefGoogle Scholar
Kushner, David. The Ernest Bloch Companion. Westport, CT: Greenwood Press, 2002.Google Scholar
Lachmann, Robert. Gesänge der Juden auf der Insel Djerba. Yuval Monograph Series 7. Jerusalem: Magnes Press of the Hebrew University, 1978. Originally published 1940.Google Scholar
Lang, Berel. “Is it Possible to Misrepresent the Holocaust?History and Theory, 34.1 (Feb. 1995): 84–9.CrossRefGoogle Scholar
Lang, BerelThe Representation of Limits.” In Probing the Limits of Representation: Nazism and the “Final Solution, edited by Friedlander, Saul, 300–17. Cambridge, MA: Harvard University Press, 1992.Google Scholar
Lang, Berel Act and Idea in the Nazi Genocide. University of Chicago Press, 1990.Google Scholar
Lebensdokumente, . Sammlung Steve Reich. Paul Sacher Stiftung, Basel (SSR-PSS).Google Scholar
Lebrecht, Norman. Why Mahler? How One Man and Ten Symphonies Changed Our World. New York: Random House, 2011.Google Scholar
Lechleitner, Gerda, ed. The Collection of Abraham Zvi Idelsohn (1911–1913). Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2005.Google Scholar
Lederhendler, Eli. “The Diaspora Factor in Israeli Life.” In Israeli Identity in Transition, edited by Shapira, Anita, 109–36. Westport, CT: Praeger, 2004.Google Scholar
Levi, Erik, and Scheding, Florian, eds. Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond. Lanham, MD: Scarecrow Press, 2010.Google Scholar
Levi, Erik. Music in the Third Reich. New York: St. Martin's Press, 1994.CrossRefGoogle Scholar
Levine, Lawrence W. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. The William E. Massey Sr. Lectures in the History of American Civilization 1986. Cambridge, MA, and London: Harvard University Press, 1988.CrossRefGoogle Scholar
Lewandowski, Louis. Todah w'simrah: vierstimmige Chöre und Soli für den israelitischen Gottesdienst. 2 volumes. Berlin, 1876–82.Google Scholar
Lewandowski, Louis Kol rinnah u't’fillah: ein und zweistimmige Gesänge für den israelitischen Gottesdienst. Berlin, 1871.Google Scholar
Liebermann, David. “Schoenberg Rewrites His Will: A Survivor from Warsaw, Op. 46.” In Political and Religious Ideas in the Works of Arnold Schoenberg, edited by Cross, Charlotte M. and Berman, Russell A., 193230. New York: Garland, 2000.Google Scholar
Limberg, Margaret, and Rübsaat, Hubert, eds. Germans No More: Accounts of Jewish Everyday Life, 1933–1938. Translated by Nothnagle, Alan. New York: Berghahn Books, 2006.Google Scholar
Lochhead, Judy. Introduction to Postmodern Music/Postmodern Thought, edited by Lochhead, Judy and Auner, Joseph, 111. New York: Routledge, 2002.Google Scholar
Loeffler, James. “Hatikvah: The Colorful History of the Israeli National Anthem.” My Jewish Learning, Accessed February 20, 2015.Google Scholar
Loeffler, James “Hava Nagila's Long, Strange Trip: The Unlikely History of a Hasidic Melody.” Accessed February 20, 2015.Google Scholar
Loeffler, James‘In Memory of Our Murdered (Jewish) Children’: Hearing the Holocaust in Soviet Jewish Culture.” Slavic Review, 73.3 (Fall 2014): 585611.CrossRefGoogle Scholar
Loeffler, JamesDo Zionists Read Music from Right to Left? Abraham Tsvi Idelsohn and the Invention of Israeli Music.” Jewish Quarterly Review, 100.3 (Summer 2010): 385416.CrossRefGoogle Scholar
Loeffler, James The Most Musical Nation: Jews and Culture in the Late Russian Empire. New Haven: Yale University Press, 2010.CrossRefGoogle Scholar
Loeffler, JamesRichard Wagner's ‘Jewish Music’: Antisemitism and Aesthetics in Modern Jewish Culture.” Jewish Social Studies, 15.2 (Winter 2009): 236.CrossRefGoogle Scholar
Loeffler, JamesDi Rusishe Progresiv Muzikal Yunyon No. 1 fun Amerike: The First Klezmer Union in America.” Judaism, 47.1 (Winter 1998): 2940.Google Scholar
Loeffler, James A Gilgul fun a Nigun: Jewish Musicians in New York 1881–1945. Harvard Judaica Collection Student Research Papers 3. Cambridge, MA: Harvard College Library, 1997.Google Scholar
Margoliouth, George, and Leveen, Jacob. Catalogue of the Hebrew and Samaritan Manuscripts in the British Museum. London: Trustees of the British Museum, 1965.Google Scholar
“Matisyahu Live on the Jimmy Kimmel Show.” Accessed March 2, 2014.Google Scholar
Matut, Diana. Dichtung und Musik im frühneuzeitlichen Aschkenas. Studies in Jewish History and Culture 29. 2 volumes. Leiden and Boston: Brill, 2011.CrossRefGoogle Scholar
Mazor, Yaacov. The Klezmer Tradition in the Land of Israel: Transcriptions and Commentaries. Yuval Music Series 6. Jerusalem: Magnes Press, Hebrew University, 2000.Google Scholar
McKinnon, James W.On the Question of Psalmody in the Ancient Synagogue.” Early Music History, 6 (October 1986): 159–91.CrossRefGoogle Scholar
Mendels, Doron, and Edre'i, Aryeh. Zweierlei Diaspora zur Spaltung der antiken jüdischen Welt. Göttingen: Vandenhoeck & Ruprecht, 2010.Google Scholar
Mendelsohn, Ezra. “On the Jewish Presence in Nineteenth-Century European Musical Life.” In Modern Jews and their Musical Agendas, edited by Mendelsohn, Ezra, 316. Studies in Contemporary Jewry 9. Oxford University Press, 1993.Google Scholar
Milchman, Alan, and Rosenberg, Alan, eds. Postmodernism and the Holocaust. Amsterdam: Rodopi, 1998.CrossRefGoogle Scholar
Milewski, Barbara. “Remembering the Concentration Camps: Aleksander Kulisiewicz and His Concerts of Prisoners’ Songs in the Federal Republic of Germany.” In Dislocated Memories: Jews, Music, and Postwar German Culture, edited by Frühauf, Tina and Hirsch, Lily E., 141–60. Oxford University Press, 2014.Google Scholar
Milken, Lowell. “About Us.” Accessed February 20, 2015.Google Scholar
Mintz, Alan. Popular Culture and the Shaping of Holocaust Memory in America. Seattle: University of Washington Press, 2001.Google Scholar
Mlotek, Chana, and Slobin, Mark, eds. Yiddish Folksongs from the Ruth Rubin Archive. Detroit: Wayne State University Press, 2007.Google Scholar
Molho, Michael. Uso y costumbres de los sefardíes de Salónica. Madrid and Barcelona: Consejo Superior de Investigaciones Científicas, 1950.Google Scholar
Móricz, Klára. Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press, 2008.CrossRefGoogle Scholar
Moscato, Judah. Nefutsot Yehudah. Venice, 1889.Google Scholar
Moszkowski, Alexander. Der jüdische Witz und seine Philosophie: 399 Juwelen echt gefaßt. Berlin: Eysler, 1922.Google Scholar
Mundy, Rachel. “The ‘League of Jewish Composers’ and American Music.” Musical Quarterly, 96.1 (Spring 2013): 5099.CrossRefGoogle Scholar
Music and Arts in Motion, 3.3 (2011). Accessed February 17, 2015.Google Scholar
Musique Judéo-Baroque: Rossi, Saladin, Grossi. Boston Camerata. Directed by Joel Cohen. Harmonia Mundi 191021, 2001, compact disc (orig. 1979, LP).Google Scholar
Nadel, Arno. “Die Renaissance der synagogalen Musik.” Jüdische Rundschau. September 28, 1928.Google Scholar
Nadel, ArnoJüdische Musik.” Der Jude, 7 (1923): 227–36.Google Scholar
Nathan, Hans, ed. Israeli Folk Music: Songs of the Early Pioneers. Recent Researches in the Oral Traditions of Music 4. Madison, WI: A-R Editions, 1994.CrossRefGoogle Scholar
Naumbourg, Samuel, ed. Zemiroth Yisrael: chants religieux des Israélites. Paris, 1847–64.Google Scholar
Negus, Keith. Music Genres and Corporate Cultures. New York: Routledge, 1999.Google Scholar
Nemtsov, Jascha. Der Zionismus in der Musik. Jüdische Musik und nationale Idee. Wiesbaden: Harrassowitz, 2009.Google Scholar
Nemtsov, Jascha Die Neue Jüdische Schule in der Musik. Wiesbaden: Harrassowitz, 2004.Google Scholar
Nemtsov, Jascha and Kuhn, Ernst, eds. Jüdische Musik in Sowjetrussland: Die “Jüdische Nationale Schule” der zwanziger Jahre. Berlin: Ernst Kuhn, 2002.Google Scholar
Netsky, Hankus. Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. Philadelphia: Temple University Press, 2015.Google Scholar
Netsky, Hankus. “Secular Jewish Musical Expression – Is Nothing Sacred?Journal of Synagogue Music, 37 (Fall 2012): 173–86.Google Scholar
Newman, Ernest. The Life of Richard Wagner. 4 volumes. Volume I, 1813–1848. Cambridge University Press, 1976.Google Scholar
Niekerk, Carl. Reading Mahler: German Culture and Jewish Identity in Fin-de-Siècle Vienna. Rochester: Camden House, 2010.Google Scholar
Nono, Nuria Schoenberg, ed. Arnold Schoenberg Self-Portrait. Pacific Palisades: Belmont Music Publishers, 1988.Google Scholar
Norman, Bob. “Echoes from the Shtetl: Reviving Jewish Klezmer Music.” Sing Out!, 28.4 (July/August 1980): 27.Google Scholar
Nugent, Frank S. “The Continental Brings in a Film of ‘The Dybbuk.’” January 28, 1938.Google Scholar
Nulman, Macy. Concise Encyclopedia of Jewish Music. New York: McGraw Hill, 1975.Google Scholar
Painter, Karen. “From Biography to Myth: The Jewish Reception of Gustav Mahler.” Jahrbuch des Simon-Dubnow-Instituts, 11 (2012): 259–81.Google Scholar
Painter, KarenJewish Identity and Anti-Semitic Critique in the Austro-German Reception of Mahler, 1900–1945.” In Perspectives on Gustav Mahler, edited by Barham, Jeremy, 175–94. Aldershot, UK, and Burlington, VT: Ashgate, 2005.Google Scholar
Painter, KarenContested Counterpoint: ‘Jewish’ Appropriation and Polyphonic Liberation.” Archiv für Musikwissenschaft, 58.3 (2001): 201–30.CrossRefGoogle Scholar
Patterson, David. “John Cage and the New Era: An Obituary-Review.” repercussions, 2.1 (1993): 530.Google Scholar
Pepys, Samuel. The Diary of Samuel Pepys. Edited by Latham, Robert and Matthews, William. 13 volumes. London: Bell and Hyman, 1974.Google Scholar
Perlman, Itzhak. In the Fiddler's House. EMI Classics 55555, 1995, compact disc.Google Scholar
Piatelli, Elio. Canti liturgici ebraici de rito italiano. Rome: Edizioni De Santis, 1967.Google Scholar
Poethig, Eunice. The Victory Song Tradition of Women of Israel. Ph.D. dissertation. Union Theological Seminary, 1985.Google Scholar
Pont, Graham. “Byron and Nathan: A Musical Collaboration.” The Byron Journal, 27 (1999): 5165.CrossRefGoogle Scholar
Potter, Pamela. Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler's Reich. New Haven: Yale University Press, 1998.Google Scholar
Princeton University Sefer Hasidim Database. Accessed February 17, 2015.Google Scholar
Pro Musica Hebraica. Accessed February 20, 2015.Google Scholar
Protokolle und Aktenstücke der zweiten Rabbinerversammlung. Frankfurt am Main: E. Ullmann, 1845.Google Scholar
Puca, Antonella. “Steve Reich and Hebrew Cantillation.” Musical Quarterly, 81.4 (Winter 1997): 537–55.CrossRefGoogle Scholar
Rabinovitch, Israel. Muzik bay yidn un andere eseyen af muzikalishe temes. Montreal: Eagle Publishing, 1940.Google Scholar
Rabinovitch, Simon. “Diaspora, Nation, and Messiah.” In Jews and Diaspora Nationalism: Writings on Jewish Peoplehood in Europe and the United States, edited by Rabinovitch, Simon, xvxli. Waltham, MA: Brandeis University Press, 2012.CrossRefGoogle Scholar
Rahden, Till van. “‘Germans of the Jewish Stamm’: Visions of Community between Nationalism and Particularism, 1850 to 1933.” In German History from the Margins, edited by Gregor, Neil, Roemer, Nils, and Roseman, Mark, 2748. Bloomington: Indiana University Press, 2006.Google Scholar
Raz-Krakotzkin, Amnon. “Exile through Sovereignty: A Critique of the ‘Negation of the Exile’ in Israeli Culture.” Theory and Criticism, 4 (Fall 1993): 2355 (Part 1); 5 (Fall 1994): 113–32 (Part 2).Google Scholar
Regev, Motti, and Seroussi, Edwin. Popular Music and National Culture in Israel. Berkeley and Los Angeles: University of California Press, 2004.CrossRefGoogle Scholar
Reich, Steve. Writings on Music, 1965–2000. Edited by Hillier, Paul. Oxford University Press, 2002.Google Scholar
Ricoeur, Paul. On Translation. Translated by Brennan, Eileen. London and New York: Routledge, 2006.Google Scholar
Ringer, Alexander L.Strangers in Strangers’ Land: Werfel, Weill, and The Eternal Road.” In Driven into Paradise: The Musical Migration from Nazi Germany to the United States, edited by Brinkmann, Reinhold and Wolff, Christoph, 243–60. Berkeley and Los Angeles: University of California Press.Google Scholar
Rischin, Moses. The Promised City: New York's Jews, 1870–1914. Cambridge, MA, and London: Harvard University Press, 1977.Google Scholar
Robboy, Ronald. “Reconstructing a Yiddish Theatre Score: Giacomo Minkowski and His Music to Alexander; or, the Crown Prince of Jerusalem.” In Inventing the Modern Yiddish Stage: Essays in Drama, Performance, and Show Business, edited by Berkowitz, Joel and Henry, Barbara, 225–50. Detroit: Wayne State University Press, 2012.Google Scholar
Rochberg, George. Five Lines, Four Spaces. Urbana, IL: University of Illinois Press, 2009.Google Scholar
Rochberg, George The Aesthetics of Survival: A Composer's View of Twentieth-Century Music. Ann Arbor: University of Michigan Press, 2004.Google Scholar
Romero, Elena. Bibliografía analítica de ediciones de coplas sefardíes. Madrid: Consejo Superior Investigaciones Científicas, 1992.Google Scholar
Rose, Paul Lawrence. Wagner: Race and Revolution. New Haven: Yale University Press, 1992.Google Scholar
Rosen, Jody. “G-d's Reggae Star: How Matisyahu Became a Pop Phenomenon.” Slate. March 14, 2006. Accessed March 2, 2014.Google Scholar
Rosenberg, Neil V., ed. Transforming Tradition: Folk Music Revivals Examined. Urbana, IL, and Chicago: University of Illinois Press, 1993.Google Scholar
Rosengren, Henrik. “‘A Wagner for the Jews’: Moses Pergament, Richard Wagner and Anti-Semitism in Swedish Cultural Life in the Interwar Period.” Scandanavian Journal of History, 38.2 (2013): 245–61.Google Scholar
Roskies, David G. The Jewish Search for a Usable Past. Bloomington: Indiana University Press, 1999.Google Scholar
Rossi, HaShirim Lishlomo, Asher. Pro Cantione Antiqua. Directed by Sidney Fixman. Carlton Clasics 3036600452, 1998, compact disc.Google Scholar
Rossi, Salamone. Ha-shirim. Venice: Bragadini, 1622.Google Scholar
Rothstein, Robert A.Klezmer-Loshn.” Judaism, 47.1 (Winter 1998): 23–9.Google Scholar
Rubin, Joel, and Horowitz, Joshua. Bessarabian Symphony: Early Jewish Instrumental Music. Wergo SM-1606–2, 1994, compact disc.Google Scholar
Rubin, Joel E. “Music without Borders in the New Germany: Giora Feidman and the Klezmer-Influenced New Old Europe Sound.” Ethnomusicology Forum, 24.2 (August 2015): 205–29.CrossRefGoogle Scholar
Rubin, and Michael, Aylward. Chekhov’s Band: Eastern European Klezmer Music from the EMI Archives 1908–1913. London: Renair Records, 2015. Liner notes.Google Scholar
Rubin, and Michael, Aylward “‘They Danced It, We Played It”: Adaptation and Revitalization in Post-1920s New York Klezmer Music.” In Studies in Jewish Civilization, volume XIX, I Will Sing and Make Music”: Jewish Music and Musicians Throughout the Ages, edited by Leonard J. Greenspoon, Ronald A. Simkins, and Jean Cahan, 181–213. Omaha: Creighton University Press, 2008.Google Scholar
Rubin, Joel E. The Art of the Klezmer: Improvisation and Ornamentation in the Commercial Recordings of New York Clarinettists Naftule Brandwein and Dave Tarras 1922–1929. Ph.D. thesis. City University of London, 2001.Google Scholar
Rubin, Joel E.Rumenishe shtiklekh (Romanian pieces). Klezmer Music among the Hasidim in Contemporary Israel.” Judaism, 47.1 (Winter 1998): 1223.Google Scholar
Ruderman, David. The World of a Renaissance Jew: The Life and Thought of Abraham ben Mordecai Farissol. Cincinnati: Hebrew Union College Press, 1981.CrossRefGoogle Scholar
Rumshinsky, Joseph. Klangen fun mayn lebn. New York: A. Y. Biderman, 1944.Google Scholar
Sadan, Dov. Ha-menagen ha-mufla: Chai Yosef Michel Guzikov u-svivehem. Tel Aviv: M. Newman, 1947.Google Scholar
Said, Edward. “The Mind of Winter: Reflections on Life in Exile.” Harper's. September 1984.Google Scholar
Salamone Rossi Hebreo: Baroque Music for the Synagogue and the Royal Court. The Zamir Chorale of Boston, et al. Directed Joshua Jacobson. HaZamir HZ 910, 1997, compact disc.Google Scholar
Salomone Rossi Hebreo: Il terzo libro de’ varie sonate, sinfonie, gagliarde, brandi e correnete. Il Ruggiero. Directed by Emanuela Marcante. Tactus TC 571801, 1997, compact disc.Google Scholar
Salamone Rossi: The Songs of Solomon. 2 volumes. New York Baroque. Directed by Eric Milnes. PGM 108 and 113, 1996 and 1997, compact disc.Google Scholar
Salmen, Walter. Denn die Fiedel macht das Fest”: Jüdische Musikanten und Tänzer vom 13. bis 20. Jahrhundert. Innsbruck: Edition Helbling, 1991.Google Scholar
Saminsky, Lazare. Music of the Ghetto and Bible. New York: Bloch Publishing, 1934.Google Scholar
Sandro, Nahma. Vagabond Stars: A World History of Yiddish Theater. 2nd edition. Syracuse University Press, 1996.Google Scholar
Sanneh, Kelefa. “Dancehall with a Different Accent.” New York Times. March 8, 2006.Google Scholar
Sapoznik, Henry. Klezmer! Jewish Music from Old World to Our World. New York: Schirmer Books, 1999.Google Scholar
Schechter, Joel. “Back to the Popular Source.” In Popular Theatre: A Sourcebook, edited by Schechter, Joel, 311. London and New York: Routledge, 2003.Google Scholar
Schiller, Benjie-Ellen. “The Hymnal as an Index of Change in Reform Synagogues.” In Sacred Sound and Social Change: Liturgical Music in Jewish and Christian Experience, edited by Hoffman, Lawrence A. and Walton, Janet R., 187212. University of Notre Dame Press, 1992.Google Scholar
Schiller, David. Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music. Oxford University Press, 2003.CrossRefGoogle Scholar
Schleifer, Eliyahu. “Idelsohn's Scholarly and Literary Publications: An Annotated Bibliography.” In The Abraham Zvi Idelsohn Memorial Volume, edited by Adler, Israel, Bayer, Bathja, and Schleifer, Eliyahu, 53180. Yuval Studies of the Jewish Music Research Center 5. Jerusalem: Magnes, 1986.Google Scholar
Schoenbaum, David. “Fiddlers on the Roof: Some Thoughts on a Special Relationship.” In Liberalism, Anti-Semitism, and Democracy: Essays in Honour of Peter Pulzer, edited by Tewes, Henning and Wright, Jonathan, 273–87. Oxford University Press, 2001.Google Scholar
Schroeder-Nauenburg, Beate. Der Eintritt des Jüdischen in die Welt der Kunstmusik”: Die Anfänge der Neuen Jüdischen Schule: werkanalytische Studien. Wiesbaden: Harrassowitz, 2007.Google Scholar
Schumann, Robert, and Schumann, Clara. The Complete Correspondence of Robert and Clara Schumann. Edited by Weissweiler, Eva and translated by Fritsch, Hildegard and Crawford, Ronald. 2 volumes. New York: Peter Lang, 1994.Google Scholar
Schumann, Robert, and Schumann, ClaraWeissweiler, Eva and translated by Fritsch, Hildegard and Crawford, Ronald The Marriage Diaries of Robert and Clara Schumann. Edited by Nauhaus, Gerd and translated by Ostwald, Peter. London: Robson, 1994.Google Scholar
Schumann, Robert. The Musical World of Robert Schumann. Edited and translated by Pleasants, Henry. London: Gollancz, 1965.Google Scholar
Schwarz, Boris. “Musorgsky's Interest in Judaica.” In Musorgsky, in Memoriam, 1881–1981, edited by Brown, Malcolm Hamrick, 8594. Ann Arbor: UMI Research Press, 1982.Google Scholar
Schwartz, Martin. Klezmer Music: Early Yiddish Instrumental Music, The First Recordings: 1908–1927, From the Collection of Dr. Martin Schwartz. El Cerrito, CA: Folklyric Records, 1997. Compact disc.Google Scholar
Sefer Hasidim. Bologna 1538.Google Scholar
Sefer Hasidim. Manuscript Parma 3280H.Google Scholar
Seidman, Naomi. Faithful Renderings: Jewish-Christian Difference and the Politics of Translation. University of Chicago Press, 2006.CrossRefGoogle Scholar
Seroussi, Edwin. “Music: The ‘Jew’ of Jewish Studies.” Jewish Studies, 46 (2009): 384.Google Scholar
Seroussi, EdwinSephardic fins des siècles: The Liturgical Music of Vienna's ‘Türkisch-Israelitische’ Community on the Threshold of Modernity.” In Jewish Musical Modernism, Old and New, edited by Bohlman, Philip V., 5579. University of Chicago Press, 2008.Google Scholar
Seroussi, Edwin “‘Yesod ’eḥad lahen.’ Gilui ha-mizraḥ ve-‘aḥdutan shel mesorot ha-musikah ha-yehudiot ve-mishnat ’Avraham ’Idelson.” Pe‘amim, 100 (2004): 125–46.Google Scholar
Seroussi, Edwin Spanish-Portuguese Synagogue Music in Nineteenth-Century Reform Sources from Hamburg: Ancient Tradition in the Dawn of Modernity. Yuval Monograph Series 11. Magnes Press of the Hebrew University of Jerusalem, 1996.Google Scholar
Seroussi, EdwinTwo Spanish-Portuguese ‘Cantorial Fantasias’ from Hamburg (1838).” In Die Sefarden in Hamburg: zur Geschichte einer Minderheit, edited by Studemund-Halévy, Michael and Koj, Peter, 171–84. Hamburg: Buske, 1994.Google Scholar
Seroussi, EdwinThe Turkish Makam in the Musical Culture of the Ottoman Jews: Sources and Examples.” Israel Studies in Musicology, 5 (1990): 4368.Google Scholar
Seter, Ronit. “Israelism: Nationalism, Orientalism, and the Israeli Five.” Musical Quarterly, 97.2 (Summer 2014): 238308.CrossRefGoogle Scholar
Shandler, Jeffrey. Jews, God, and Videotape: Religion and Media in America. New York University Press, 2009.Google Scholar
Shapira, Arik. Thorn among Roses. Haifa: Oryan, 2007.Google Scholar
Shavit, Yaacov. Athens in Jerusalem: Classical Antiquity and Hellenism in the Making of the Modern Secular Jew. Translated by Naor, Chaya and Werner, Niki. London: Frank Cass, 1997.Google Scholar
Shelemay, Kay Kaufman. Let Jasmine Rain Down: Song and Remembrance among Syrian Jews. University of Chicago Press, 1998.Google Scholar
Shelleg, Assaf. Jewish Contiguities and the Soundtrack of Israeli History. Oxford University Press, 2014.CrossRefGoogle Scholar
Shelleg, AssafIsraeli Art Music: A Reintroduction.” Israel Studies, 17.3 (Fall 2012): 119–49.CrossRefGoogle Scholar
Shepard, Richard F. “Klezmer Music Makes Leap to Carnegie Hall.” New York Times. February 18, 1983.Google Scholar
Shiloah, Amnon. Jewish Musical Traditions. Detroit: Wayne State University Press, 1992.Google Scholar
Aleichem, Sholem. “Stempeniu, A Jewish Romance.” In The Shtetl: A Creative Anthology of Jewish Life in Eastern Europe, edited and translated by Neugroschel, Joachim, 287375. New York: Perigree/G. P. Putnam's Sons, 1982. Original Yiddish edition 1888.Google Scholar
Shternshis, Anna. Soviet and Kosher: Jewish Popular Culture in the Soviet Union, 1923–1939. Indiana University Press, 2006.Google Scholar
Carol, Silverman, “Gypsy/Klezmer Dialectics: Jewish and Romani Traces and Erasures in Contemporary European World Music,” Ethnomusicology Forum, 24.2 (August 2015): 159–80.CrossRefGoogle Scholar
Slobin, Mark. “From Vilna to Vaudeville: Minikes and Among the Indians (1895).” In Popular Theatre: A Sourcebook, edited by Schechter, Joel, 202–11. London and New York: Routledge, 2003.Google Scholar
Slobin, MarkThe Destiny of ‘Diaspora’ in Ethnomusicology.” In The Cultural Study of Music: A Critical Introduction, edited by Clayton, Martin, Herbert, Trevor, and Middleton, Richard, 284–96. New York: Routledge, 2003.Google Scholar
Slobin, Mark Fiddler on the Move: Exploring the Klezmer World. Oxford University Press, 2000.Google Scholar
Slobin, Mark ed. Special edition of Diaspora, 3.3 (Winter 1994).CrossRefGoogle Scholar
Slobin, Mark Yiddish Theater in America: “David's Violin” (1897) and “Shloyme Gorgl” (189-). Nineteenth-Century American Musical Theater 11. New York and London: Garland, 1994.Google Scholar
Slobin, MarkThe Neo-Klezmer Movement and Euro-American Revivalism.” Journal of American Folklore, 97.383 (1982): 98104.CrossRefGoogle Scholar
Slobin, Mark Tenement Songs: The Popular Music of the Jewish Immigrants. Music in American Life. Urbana, IL, and Chicago: University of Illinois Press, 1982.Google Scholar
Soloveitchik, Haym. “Rupture and Reconstruction: The Transformation of Contemporary Orthodoxy.” Tradition, 28.4 (Summer 1994): 64130.Google Scholar
Sorin, Gerald. A Time for Building: The Third Migration, 1880–1920. Volume III of The Jewish People in America, edited by Feingold, H. L.. 5 volumes. Baltimore and London: Johns Hopkins University Press, 1992.CrossRefGoogle Scholar
Soyer, Daniel. Jewish Immigrant Associations and American Identity in New York, 1880–1939. Cambridge, MA, and London: Harvard University Press, 1997.Google Scholar
Spottswood, Richard K. Eastern Europe. Volume III of Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942. 7 volumes. Urbana, IL: University of Illinois Press, 1990.Google Scholar
Statman, Andy, and Feldman, Zev. Jewish Klezmer Music. Shanachie 21002, 1979, LP.Google Scholar
Steinberg, Michael. Judaism Musical and Unmusical. University of Chicago Press, 2007.Google Scholar
Stengl, Theo, and Gerigk, Herbert. Lexikon der Juden in der Musik mit einem Titelverzeichnis jüdischer Werke. Berlin: Berhard Hahnefeld Verlag, 1941.Google Scholar
Sternberg, Erich Walter. “The Twelve Tribes of Israel.” Musica Hebraica, 1–2 (1938): 27.Google Scholar
Stutschewsky, Joachim. Ha-Klezmorim: Toldotehem, orakh-hayehem, v'yezirotehem. Jerusalem: Bialik Institute, 1959.Google Scholar
Sulzer, Salomon. Schir Zion: Gesänge für den israelitischen Gottesdienst, 2nd edition. Leipzig: M. W. Kaufmann, 1865. Originally published 1840–1.Google Scholar
Sulzer, Salomon Schir Zion: ein Zyklus religiöser Gesänge zum gottesdienstlichen Gebrauche der Israeliten. Vienna, 1840.Google Scholar
Swack, Jeanne. “Anti-Semitism at the Opera: The Portrayal of Jews in the Singspiels of Reinhard Keiser.” Musical Quarterly, 84.3 (2000): 389416.CrossRefGoogle Scholar
Synagogal Music in the Baroque. The Cameran Singers. Directed by Avner Itai. The Hebrew University of Jerusalem Jewish Music Research Centre. AMTI CD 9101, 1991, compact disc.Google Scholar
Szpilman, Władysław. The Pianist: The Extraordinary True Story of One Man's Survival in Warsaw, 1939–1945. New York: Picador, 2003.Google Scholar
Tal, Josef. Reminiscences, Reflections, Summaries. Edited by Brodsky, Ada. Jerusalem: Carmel, 1997.Google Scholar
Tarras, Dave. Music for the Traditional Jewish Wedding. Center for Traditional Music and Dance Ethnic Heritage Recording Series, 2008, compact disc. (Orig. Master of the Jewish Clarinet: Music for the Traditional Jewish Wedding. Balkan Arts Center LP 1002, 1979, LP.)Google Scholar
Tarshish, Allan. “The Charleston Organ Case.” American Jewish Historical Quarterly, 54.4 (1965): 411–49.Google Scholar
Taruskin, Richard. On Russian Music. Berkeley and Los Angeles: University of California Press, 2009.Google Scholar
Täuschel, Annakatrin. Anton Rubinstein als Opernkomponist. Berlin: Ernst Kuhn, 2001.Google Scholar
Taylor, Timothy D. Global Pop: World Music, World Markets. New York: Routledge, 1997.Google Scholar
Tischler, Alice. A Descriptive Bibliography of Art Music by Israeli Composers. Revised and expanded edition. Sterling Heights, MI: Harmonie Press, 2011.Google Scholar
Tissard, François. De Iudeorum ritibus compendium. Paris, 1508.Google Scholar
Tzadik, . Accessed February 27, 2014.Google Scholar
Uhlig, Theodor. “Dramatisch.” Neue Zeitschrift für Musik, 32.33 (April 23, 1850): 169–71.Google Scholar
Wagner, Richard. Judaism in Music and Other Essays. Translated by Ellis, William Ashton. Lincoln, NE, and London: University of Nebraska Press, 1995.Google Scholar
Wagner, Richard Selected Letters of Richard Wagner. Edited and translated by Spencer, Stewart and Millington, Barry. London: Dent, 1987.Google Scholar
Walden, Joshua S. Sounding Authentic: The Rural Miniature and Musical Modernism. Oxford University Press, 2014.CrossRefGoogle Scholar
Walden, Joshua S.The ‘Yidishe Paganini’: Sholem Aleichem's Stempenyu, the Music of Yiddish Theatre, and the Character of the Shtetl Fiddler.” Journal of the Royal Musical Association 139.1 (2014): 89136.CrossRefGoogle Scholar
Walden, Joshua S. “‘An Essential Expression of the People’: Interpretations of Hasidic Song in the Composition and Performance History of Ernest Bloch's Baal Shem.” Journal of the American Musicological Society, 65.3 (Fall 2012): 777820.CrossRefGoogle Scholar
Walden, Joshua S.Leaving Kazimierz: Comedy and Realism in the Yiddish Film Musical Yidl Mitn Fidl.” Journal of Music, Sound, and the Moving Image, 3.2 (Autumn 2009): 159–93.Google Scholar
Walden, Joshua S.Music of the ‘Folks-Neshome’: ‘Hebrew Melody’ and Changing Musical Representations of Jewish Culture in the Early Twentieth Century Ashkenazi Diaspora.” Journal of Modern Jewish Studies, 8.2 (July 2009): 151–72.CrossRefGoogle Scholar
Weich-Shahak, Susana. “Social Functions of the Judeo-Spanish Romances.” In Studies in Socio-Musical Sciences, edited by Braun, Joachim and Sharvit, Uri, 245–56. Ramat-Gan: Bar-Ilan University, 1998.Google Scholar
Weich-Shahak, SusanaStylistic Features of the Sephardic Coplas.” In Hispano-Jewish Civilization after 1492: Proceedings of the Misgav Yerusalayim's Fourth International Congress, 1992, edited by Abitbol, Michel, Hasan-Rokem, Galit, and Assis, Yom Tov, 101–24. Jerusalem: Misgav Yerushalayim, 1997.Google Scholar
Weiner, Marc A. Richard Wagner and the Anti-Semitic Imagination. Lincoln, NE: University of Nebraska Press, 1995.Google Scholar
Weissenberg, Samuel. “Eine jüdische Hochzeit in Südrussland.” Mitteilungen zur jüdischen Volkskunde, 15.1 (1905): 5974.Google Scholar
Weitz, Eric D. Weimar Germany: Promise and Tragedy. Princeton University Press, 2007.Google Scholar
Werner, Eric. The Sacred Bridge: The Interdependence of Liturgy and Music in Synagogue and Church during the First Millennium. Volume II. 2 volumes. New York: Ktav, 1984.Google Scholar
Werner, EricJewish Music.” In The New Grove Dictionary of Music and Musicians, edited by Sadie, Stanley, ix:614–34. 20 volumes. London: Macmillan, 1980.Google Scholar
Werner, Eric A Voice Still Heard: The Sacred Songs of the Ashkenazic Jews. University Park, PA: Pennsylvania State University Press, 1976.Google Scholar
Werner, Eric Mendelssohn: A New Image of the Composer and His Age. Translated by Newlin, Dika. London: Collier-Macmillan, 1963.Google Scholar
Werner, Eric The Sacred Bridge. Volume I. 2 volumes. New York: Columbia University Press, 1959.Google Scholar
White, Hayden. “Historical Emplotment and the Problem of Truth.” In Probing the Limits of Representation: Nazism and the “Final Solution, edited by Friedlander, Saul, 3753. Cambridge, MA: Harvard University Press, 1992.Google Scholar
Wlodarski, Amy LynnMusical Memories of Terezín in Transnational Perspective.” In Dislocated Memories: Jews, Music, and Postwar German Culture, edited by Frühauf, Tina and Hirsch, Lily E., 5772. Oxford University Press, 2014.CrossRefGoogle Scholar
Wlodarski, Amy LynnFrühauf, Tina and Hirsch, Lily E.The Testimonial Aesthetics of Different Trains.” Journal of the American Musicological Society, 63.1 (2010): 99142.CrossRefGoogle Scholar
Wlodarski, Amy LynnFrühauf, Tina and Hirsch, Lily E. “‘An Idea Can Never Perish’: Memory, the Musical Idea, and Schoenberg's A Survivor from Warsaw (1947).” Journal of Musicology, 24.4 (Fall 2007): 581608.CrossRefGoogle Scholar
Wollock, Jeffrey. “The Soviet Klezmer Orchestra.” Eastern European Jewish Affairs, 30.1 (Summer 2000): 136.CrossRefGoogle Scholar
Wollock, JeffreyEuropean Recordings of Jewish Instrumental Folk Music, 1911–1914.” Association for Recorded Sound Collections Journal, 28.1 (1997): 3655.Google Scholar
Wyschogrod, Michael. “Some Theological Reflections on the Holocaust.” Response, 25 (Spring 1975): 65–8.Google Scholar
Yating, Tang. “Reconstructing the Vanished Musical Life of the Shanghai Jewish Diaspora: A Report.” Ethnomusicology Forum, 13.1 (January 2004): 101–18.CrossRefGoogle Scholar
Youngerman, Irit. In Search of a New Identity: The First Generation of German-Born Israeli Composers. Ph.D. thesis. Hebrew University of Jerusalem, 2013.Google Scholar
Zemtsovskii, Izalii. “Muzykalnyi idishizm: K istorii unikalnogo fenomena.” In Iz istorii evreiskoi muzyki, edited by Gural'nik, Leonid, i:119–24. St. Petersburg: Evreiskii obschchinnyi tsentr Sankt-Peterburga, 2001.Google Scholar
Zephira, Bracha. Kolot Rabim. Ramat-Gan: Masadah, 1978.Google Scholar
Zimmermann, Heidy. Tora und Shira: Untersuchungen zur Musikauffassung des rabbinischen Judentums. Bern: Peter Lang, 2000.Google Scholar
Zimmermann, Reiner. Giacomo Meyerbeer: Eine Biographie nach Dokumenten. Berlin: Parthas, 1991.Google Scholar
Zon, Bennett. Representing Non-Western Music in Nineteenth-Century Britain. University of Rochester Press, 2007.CrossRefGoogle Scholar
Zylbercweig, Zalmen. Leksikon fun yidishn teater. 6 volumes. New York: Hebrew Actors Union of America, 1934.Google Scholar