Language:
English
Year of publication:
2019
Titel der Quelle:
Hebrew Studies
Angaben zur Quelle:
60 (2019) 255-291
Keywords:
Seter, Mordecai, Criticism and interpretation
;
Hajdu, André Criticism and interpretation
;
Music History and criticism 20th century
;
Music and folklore
;
Jews Music
;
Zionism History 20th century
Abstract:
Whereas the music Mordecai Seter wrote in 1966 marks a clash between his un-signified semiotic procedures and the national redemptive trajectories that animated them, Andre Hajdu's music in 1970 knowingly staged unwanted sonic adjacencies of the Jewish Eastern European soundscape alongside Christian music from late medieval Europe. Both composers sought de-signification—either by eschewing ethnographic imports in the form of folk or liturgical music (Seter), or through violent deconstructions of seemingly opposing earmarks of Jews and Christians (Hajdu). Both works therefore disclose meaningful disharmonies. They manifest the disabling of Zionist tropes (while still rendering them present) and the concomitant reclaiming of the ethnic specificity of diasporic Ashkenazi culture.
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