Mark Slobin, "Under the Klezmer Umbrella," and "Klezmer as a Heritage Music."
Slobin's essays on klezmer offers a comprehensive view of an identity formed over both cultural practices and migration. In this light, what are some arguments that demonstrate some transnational aspects of klezmer, both from its beginnings to the contemporary scene? What role does nostalgia play in the formulation of an identity around klezmer? How can klezmer be a national music? Finally, what are some important aspects of the construction of ''heritage'' music?
I want to center this discussion around Frontani's take on the ''American myth of success.'' How does the figure of Frank Sinatra challenge or reassure our popular understanding of the American success in music? What were some manipulated aspects in the construction of the Frank Sinatra persona? In which social context did Frank Sinatra, an Italian American, came into the spotlight? How does Frontani intersect what he calls the American myth of success with the social history of Frank Sinatra and Italian-Americans in general?
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