
Contents
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The Songs That Go Like This The Songs That Go Like This
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Congregational Melodies, Jewishness, and Connection Congregational Melodies, Jewishness, and Connection
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Congregational Song, Cultural Trauma, and Nostalgia Congregational Song, Cultural Trauma, and Nostalgia
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The Price of Forgetting The Price of Forgetting
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The Search for Solutions The Search for Solutions
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Conclusions Conclusions
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Notes Notes
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References References
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45 Community Singing, the Church of England, and Spirituality: The Singer, the Song, and the Singing
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22 Singing Jewishness: The Musical Nostalgia of Jewish Congregational Melodies
Get accessRachel Adelstein is an ethnomusicologist and the Ritual Coordinator at Congregation Beth El-Keser Israel in New Haven, Connecticut. Her research interests lie in contemporary Jewish liturgical music. She received her PhD in 2013 from the University of Chicago. Between 2014 and 2017, she held the Donnelley Research Fellowship at Corpus Christi College, University of Cambridge. She has taught at the University of Chicago, the University of Illinois at Chicago, the University of Cambridge, and National Tsing Hua University in Hsinchu, Taiwan.
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Published:22 May 2024
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Abstract
Contemporary Anglophone Jewish congregants prize participatory worship and enjoy singing portions of the liturgy to a selection of familiar, beloved melodies. Hymnals are not used in synagogue worship; instead, congregants learn these melodies by ear, singing liturgical texts as “the song that goes like this.” Most do not know the origins of their favorite melodies, believing them to be much older than they really are. This chapter analyzes the cultural work that this group of liturgical melodies does in Jewish congregational life. Drawing on ethnographic research in the United States and the United Kingdom, as well as the sociology of nostalgia and Jewish history, author Rachel Adelstein argues that these melodies help to express “Jewishness” in worship. Adelstein positions congregational reliance on “the songs that go like this” as a response to the legacy of migration, the challenges of modernity, and the re-centering of Jewish life following the Holocaust. She argues that the veil of nostalgic anonymity placed over these songs gives Jewish congregations a sense of tradition upon which to construct a modern social and religious life. She also examine the threat that this anonymity presents to Jewish communities’ understanding of and reckoning with their own recent history and community structure.
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