Jump to ContentJump to Main Navigation
Jewish Contiguities and the Soundtrack of Israeli
Users without a subscription are not able to see the full content.

Assaf Shelleg

Print publication date: 2014

Print ISBN-13: 9780199354948

Published to Oxford Scholarship Online: November 2014

DOI: 10.1093/acprof:oso/9780199354948.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 25 January 2020

Hava Nagila? Decentering the Eastern European Soundscape

Hava Nagila? Decentering the Eastern European Soundscape

(p.15) 1 Hava Nagila? Decentering the Eastern European Soundscape
Jewish Contiguities and the Soundtrack of Israeli History

Assaf Shelleg

Oxford University Press

Chapter 1 discusses music by and about Jews in early twentieth-century Europe, and the ways that Jews have grappled with the musical stereotypes that spelled their “otherness.” While persistently engaged with a foreign view of Jewish culture, assimilated and estranged Jewish composers became more familiar with the exoticism attributed to Jews in Western art music than with the actual sounds coming from Jewish vernacular traditions or from the synagogue. Unfolding the continuum of Jewish composers haunted by the Wagnerian regime of representation and the noisy tropes associated with musical Judaism, the chapter includes a discussion on Ernest Bloch, Arnold Schoenberg, Erich W. Sternberg, and Mario Castelnuovo-Tedesco and their perceptions of the “Jewish East” (either Eastern Europe and/or Palestine). As most Jewish and non-Jewish composers gravitated to the Eastern European soundscape, musicological historiography followed suit and focused mainly on composers who drew on this inventory. Decentering of the Eastern European soundscape through the above-mentioned case studies serves the double function of underscoring the various importations of Jewish musics silenced by musicological historiographies and the mapping of the emerging habitat in Palestine and later Israel.

Keywords:   A. Z. Idelsohn, Arnold Schoenberg, auto-exoticism, Erich W. Sternberg, Ernest Bloch, Israeli art music, Mario Castelnuovo-Tedesco, twentieth-century music, modern Jewish art music, Martin Buber

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .