Pub Date : 2020-12-17DOI: 10.1093/oso/9780197504642.003.0005
Assaf Shelleg
Extending from the early 1980s to the mid-2000s, chapter 4 opens with what thus far in the book has remained subjected to officialdom—the Holocaust. The chapter explores several simultaneous aesthetic modes through which composers and authors confronted the Holocaust in Israel during the late twentieth century. Their formulations ranged from compliance with and duplication of statist views of the Holocaust as a counter-metaphor for political sovereignty to choices opting for exilic imports that garble national encoding and refuse redemption. Composers who distanced themselves from statist triumphalism affirmed the migration of contrafacta traveling political borders, national territorial tropes, and identitarian constructs. Qualities of this kind signaled a new stage in which Jewish exiles became a constituent feature in composers’ modernist agendas while the national soundboard was muted. A final discussion develops this thesis through Andre Hajdu and Betty Olivero’s “solutions” of ethnographic imports.
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Pub Date : 2020-12-17DOI: 10.1093/oso/9780197504642.003.0003
Assaf Shelleg
If the actualization of biblical sovereignty in the Zionist present rendered eighteen centuries of exile a nocturnal existence, art music of the 1950s and 1960s interfered with such linearity using the linear properties of non-Western Jewish musical traditions and serial compositional devices. Such a convergence rendered the objectification of non-Western Jewish musical traditions obsolete and consequently severed the exotic and territorial functions they served. By utilizing the linear properties of Arab Jewish musical traditions to animate inner semiotic occurrences, composers suspended extrovert exotic signifiers and invalidated their objectification. With no visible exoteric earmarks to transmit peripherality and Otherness, the binaries by which non-European Jewish immigrants had been perceived (primitivism/modernism, religion/secularism) were deemed progressively inoperative. Through a study on the agency of non-European Jewish musical traditions, chapter 2 uncovers the network that connects the theological grammar of Zionism with the Zionist pecking order, whose lower rungs were allocated to North African and Near Eastern Jews.
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Pub Date : 2020-12-17DOI: 10.1093/oso/9780197504642.003.0004
Assaf Shelleg
Whereas the music Mordecai Seter wrote in 1966 embodies a clash between his unsignified 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 musical markers of Jews and Christians (Hajdu). The works of both therefore disclose meaningful disharmonie: both manifest the disabling of Zionist tropes and the concomitant reclaiming of the ethnic specificity of diasporic Ashkenazi culture. This chapter also reads the late music of Seter and Ben-Haim against the background of their notebooks and diaries, in addition to two seminal literary works—Past Continuous (1977) by Yaakov Shabtai and Unto Death (1969) by Amos Oz—that record admixtures of diasporic Jewish subcultures and the fallouts of a post-ideological age.
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