Phil Alexander is a British Academy Postdoctoral Research Fellow in the Reid School of Music at the University of Edinburgh, where he researches Scottish-Jewish musical encounters. Besides klezmer music and urban space, his published research also explores Edinburgh salsa, Holocaust memorial silence, synagogue cantors in early twentieth-century Glasgow, and accordions.

• List of IllustrationsAcknowledgmentsNotes on Translation, Orthography, Interviews and Recordings Chapter 1: Why Berlin? Why Klezmer?Chapter 2: The Music in Berlin: Musical NetworksChapter 3: The Music in Berlin: Spaces and PlacesChapter 4: Placing Berlin in the MusicChapter 5: Sounding Jewish in BerlinChapter 6: Curating the Tradition: Dissemination, Learning, and ResponsibilityChapter 7: Performing Berlin: The Silence of the City (Postlude)Chapter 8: Conclusion Appendix 1: A Brief Overview of Klezmer MusicAppendix 2: Interview InformationBibliography

A fresh perspective on a well-worn debate that is both nuanced as much as it is politicised ... The book is rich in musical examples and ethnographic descriptions that demonstrate how Berlin klezmer is a novel phenomenon nurtured much more by the contemporary city than by a national past.

Phil Alexander is a British Academy Postdoctoral Research Fellow in the Reid School of Music at the University of Edinburgh, where he researches Scottish-Jewish musical encounters. Besides klezmer music and urban space, his published research also explores Edinburgh salsa, Holocaust memorial silence, synagogue cantors in early twentieth-century Glasgow, and accordions.

• List of IllustrationsAcknowledgmentsNotes on Translation, Orthography, Interviews and Recordings Chapter 1: Why Berlin? Why Klezmer?Chapter 2: The Music in Berlin: Musical NetworksChapter 3: The Music in Berlin: Spaces and PlacesChapter 4: Placing Berlin in the MusicChapter 5: Sounding Jewish in BerlinChapter 6: Curating the Tradition: Dissemination, Learning, and ResponsibilityChapter 7: Performing Berlin: The Silence of the City (Postlude)Chapter 8: Conclusion Appendix 1: A Brief Overview of Klezmer MusicAppendix 2: Interview InformationBibliography

A fresh perspective on a well-worn debate that is both nuanced as much as it is politicised ... The book is rich in musical examples and ethnographic descriptions that demonstrate how Berlin klezmer is a novel phenomenon nurtured much more by the contemporary city than by a national past.

Phil Alexander is a British Academy Postdoctoral Research Fellow in the Reid School of Music at the University of Edinburgh, where he researches Scottish-Jewish musical encounters. Besides klezmer music and urban space, his published research also explores Edinburgh salsa, Holocaust memorial silence, synagogue cantors in early twentieth-century Glasgow, and accordions.

• List of IllustrationsAcknowledgmentsNotes on Translation, Orthography, Interviews and Recordings Chapter 1: Why Berlin? Why Klezmer?Chapter 2: The Music in Berlin: Musical NetworksChapter 3: The Music in Berlin: Spaces and PlacesChapter 4: Placing Berlin in the MusicChapter 5: Sounding Jewish in BerlinChapter 6: Curating the Tradition: Dissemination, Learning, and ResponsibilityChapter 7: Performing Berlin: The Silence of the City (Postlude)Chapter 8: Conclusion Appendix 1: A Brief Overview of Klezmer MusicAppendix 2: Interview InformationBibliography

A fresh perspective on a well-worn debate that is both nuanced as much as it is politicised ... The book is rich in musical examples and ethnographic descriptions that demonstrate how Berlin klezmer is a novel phenomenon nurtured much more by the contemporary city than by a national past.