[Ross] offers a powerful and timely contribution to critical heritage and memory studies-with a Jewish twist-though by no means limited to Jews.

Contemporary Jewry

A fascinating study of the many processes by which (Jewish musical) heritage is constructed. Sarah Ross shows how Christian and Christian-inflected values have shaped the memory, promotion, and performance of synagogue music in post-1945 Germany, often at the expense of Jewish perspectives. Highly recommended!

Anthony Kauders, Keel University

If there was any doubt about the unique contribution that ethnomusicology can offer to contemporary Jewish studies, then the incisive critique of the politics and economics of synagogue music in contemporary Germany by Sarah Ross shows its subversive potential with lucidity. Framing the results of her long-term ethnography among agents active in the production of music in present-day German-Jewish communities and non-Jewish institutions along theoretical postulates of Critical Heritage Studies and the idea of the “moralization” of post-War Jewish existence in Germany, Ross addresses two sensitive issues: first, how discrete social, political, economic and cultural interests of Jewish and non-Jewish agents determine the criteria for the selective preservation of German-Jewish musical heritage, its circulation and performance in Germany today; second, how meaningful, if at all, is the maintenance and reconstruction of this Jewish musical heritage of the past for members of a young generation of German Jews who have no memories of the pre-War (or even the pre-unification) period or (more commonly) no roots in Germany at all. This is a courageous document that will probably trigger frank discussions regarding the future of Jews and Judaism in one of the most conspicuous lands in Jewish history.

Edwin Seroussi, The Hebrew University of Jerusalem

Sarah M. Ross has written an important and daring book. By way of the example of music she shows the long-term effects of genocide, minority/majority relations, symbolic praxes and coping strategies. Her book is a crucial contribution beyond the Jewish/German bracket. The appropriation of cultural heritage is not limited to colonial contexts, but it needs to be located in the nexus of power relations in situ. Hopefully, this book will reach broad audiences and trigger a much needed, less polemic, and more honest debate about memory culture and politics in Germany.

Dani Kranz, DAAD Wilhelm and Alexander von Humboldt Chair, El Colegio de México, Mexico City, Mexico