DOCSLIB.ORG

Musical Personae in a Cosmopolitan Society by Merav Singer A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Personae in a Cosmopolitan Society by Merav Singer A Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society By Merav Singer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Tamara Roberts Professor Paola Bacchetta Professor Edwin Seroussi Fall 2015 Abstract Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society by Merav Singer Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair Israel in the 21 st century is an intensely multicultural society where several types of cosmopolitanism vie with regional and ethnic forms of expression, a phenomenon that plays out in musical life. I propose that such a society offers a variety of possibilities for what a woman is, what she can do, and how she can work. This dissertation is an ethnographic study of four female singer-songwriters that examines the ways they negotiate and sometimes challenge socio-cultural norms in creating their careers and constructing their artistic personae, or the version of themselves that they present as musicians. The artists I focus on straddle four major rifts in Israeli society, between Arabs and Jews, Mizrahim and Ashkenazim, Russian-speaking immigrants and native Israelis, and Orthodox and non-Orthodox communities. In using their ethnic heritage as cultural capital to corner a unique market niche, these artists become enmeshed in social politics that include tensions between ethnic and religious groups, conflicting gender roles, and struggles over belonging. I argue that as they create legible personae to meet the demands of the music industry, their liminality between mainstream society and a minority sector challenges the discourse around those identities. The success of their careers thus depends both on how their particular ethnicity is positioned in relation to more powerful models of Israeliness that are reproduced by public discourses, the state media and the entertainment industry, as well as how they meet commercial criteria for mainstream pop music. In working to satisfy this dual set of demands they engage with the canon of Israeli music, revealing and expanding its boundaries. To illuminate how the artists define and challenge discourses of Israeliness, I analyze their songs, how they perform them, and what people say about them. The radio airtime their music receives and the venues where they perform further reveal how they are positioned within Israeli culture. Thus while the strategies they use in marking themselves as foreign are common to artists cross-culturally, the challenges they encounter offer a window onto changing social patterns in contemporary Israeli society. 1 In memory of my mother, my inspiration and guide in this project Dr. Hadassah Ruth Singer i Contents Contents .......................................................................................................................................... ii List of Figures ................................................................................................................................ iv Notes on Language ........................................................................................................................ vi Acknowledgements ....................................................................................................................... vii Chapter One: Introduction .............................................................................................................. 1 Ethnic Musical Personae ......................................................................................................... 1 Israel: A Boiling Pot ............................................................................................................... 4 Performing Contested Identities ............................................................................................. 7 Gendered Ethnicity and Israeli Popular Music ..................................................................... 11 Methodology: Archive and Repertoire ................................................................................. 14 Four Case Studies ................................................................................................................. 17 Chapter Two: Mira Awad ............................................................................................................. 19 A Christian Palestinian Woman in Israel .............................................................................. 20 Performing Different Forms of Arabness ............................................................................. 23 Cosmopolitan Arabness .................................................................................................... 24 Legible Arabness .............................................................................................................. 34 Political Arabness ............................................................................................................. 37 Cosmopolitan Artist .......................................................................................................... 45 Palestinian Ethnicity as Incompatible with Jewish Israeliness ............................................. 47 Chapter Three: Dikla..................................................................................................................... 50 Mizrahi Woman in Israel ...................................................................................................... 51 Diva of Hebrew-Arabic Rock ............................................................................................... 51 Egyptian Diva ................................................................................................................... 53 Authentic Arab Singer ...................................................................................................... 58 Authentic Mizrahi Singer .................................................................................................. 60 Cosmopolitan Artist .......................................................................................................... 71 Pan-Mizrahi Artist ............................................................................................................ 75 Mizrahi Ethnicity as Marginalized Variant of Israeliness .................................................... 77 Chapter Four: Marina Maximilian Blumin ................................................................................... 80 Russian-Speaking Israeli Woman ......................................................................................... 81 Israeli Russianness ............................................................................................................ 88 Eastern Russianness .......................................................................................................... 94 Romantic Russianness ...................................................................................................... 98 Immigrant Russianness ................................................................................................... 100 Cosmopolitan Artist ........................................................................................................ 105 ‘Russian’ Ethnicity as Part of Dominant Israeliness........................................................... 110 Chapter Five: Din Din Aviv ........................................................................................................ 113 Israeli Artist ........................................................................................................................ 113 New Age Jewish Orthodox ................................................................................................. 115 Generalized Ethnicity...................................................................................................... 127 Wholesome Femininity ................................................................................................... 132 ii New Jewish Orthodox Femininity .................................................................................. 136 Folkloric Greek ............................................................................................................... 140 Melting Pot Ethnicity as Israeli........................................................................................... 142 Chapter Six: Concluding Thoughts ............................................................................................. 145 References ................................................................................................................................... 148 iii List of Figures 2.1. Album cover of Bahlawan 2.2. Artwork in CD booklet for Bahlawan 2.3. Form of “After All the Rain” 2.4. Opening of “After All the Rain” 2.5. Vocal and guitar parts in “After All the Rain” 2.6. Sania Kroitor’s violin solo in “After All the Rain” 2.7. Electric guitar and cello solo in “Our Relationship” 2.8. Awad at the conference “Speaking Art” 2.9. Opening melody of “Daylight and My Heart” 2.10. Album cover of There Must Be Another Way 2.11. Electric guitar riff in “Bukra” 2.12. Percussion and didgeridoo in “Bukra” 2.13. Chorus rhythm in “Bukra” 2.14. Israel Kimhi’s drum solo during “Bukra” at Jaffa Port 2.15. Album cover of All My Faces 2.16. Form of “Dream
Load more

Recommended publications
  • Harem Fantasies and Music Videos: Contemporary Orientalist Representation
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2007 Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Music Commons Recommended Citation Johnson, Maya Ayana, "Harem Fantasies and Music Videos: Contemporary Orientalist Representation" (2007). Dissertations, Theses, and Masters Projects. Paper 1539626527. https://dx.doi.org/doi:10.21220/s2-nf9f-6h02 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Harem Fantasies and Music Videos: Contemporary Orientalist Representation Maya Ayana Johnson Richmond, Virginia Master of Arts, Georgetown University, 2004 Bachelor of Arts, George Mason University, 2002 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August 2007 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Maya Ayana Johnson Approved by the Committee, February 2007 y - W ^ ' _■■■■■■ Committee Chair Associate ssor/Grey Gundaker, American Studies William and Mary Associate Professor/Arthur Krrtght, American Studies Cpllege of William and Mary Associate Professor K im b erly Phillips, American Studies College of William and Mary ABSTRACT In recent years, a number of young female pop singers have incorporated into their music video performances dance, costuming, and musical motifs that suggest references to dance, costume, and musical forms from the Orient.
    [Show full text]
  • Dorot: the Mcgill Undergraduate Journal of Jewish Studies Volume 15
    Dorot: The McGill Undergraduate Journal of Jewish Studies Volume 15 – 2016 D O R O T: The McGill Undergraduate Journal of Jewish Studies D O R O T: The McGill Undergraduate Journal of Jewish Studies Published by The Jewish Studies Students’ Association of McGill University Volume 15 2016 Copyright © 2016 by the Jewish Studies Students’ Association of McGill University. All rights reserved. Printed in Canada. No part of this book may be used or reproduced in any manner whatsoever without permission except in the case of brief quotations embodied in critical articles or reviews. The opinions expressed herein are solely those of the authors included. They do not necessarily reflect those of the Department of Jewish Studies or the Jewish Studies Students’ Association. ISSN 1913-2409 This is an annual publication of the Jewish Studies Students’ Association of McGill University. All correspondence should be sent to: 855 Sherbrooke Street West Montreal, Quebec, Canada H3A 2T7 Editor in Chief Caroline Bedard Assistant Editors Akiva Blander Rayna Lew Copy Editors Lindsay MacInnis Patricia Neijens Cover Page Art Jennifer Guan 12 Table of Contents Preface i Introduction v To Emerge From the Ghetto Twice: Anti-Semitism and 1 the Search for Jewish Identity in Post-War Montreal Literature Madeleine Gomery The Origins of Mizrahi Socio-Political Consciousness 21 Alon Faitelis The “Israelization” of Rock Music and Political Dissent 38 Through Song Mason Brenhouse Grace Paley’s Exploration of Identity 54 Madeleine Gottesman The Failure of Liberal Politics in Vienna: 71 Alienation and Jewish Responses at the Fin-de-Siècle Jesse Kaminski Author Profiles 105 Preface Editor-in-chief, Caroline Bedard, and five contributors put together a terrific new issue of Dorot, the undergraduate journal of McGill’s Department of Jewish Studies.
    [Show full text]
  • Curriculum Vitae
    Name: Taiseer Elias Date: 08/11/2015 CURRICULUM VITAE 1. Personal Details Permanent Home Address: P.O. Box 686, El-Fawar, 20200 Shefaram, Israel Home Telephone Number: (04) 986-2365 Office Telephone Number: (04) 828-8481 Cellular Phone: (050) 780-5055 Fax Number: (04) 986-2365 Electronic Address: [email protected] 2. Higher Education . A. Undergraduate and Graduate Studies Period of Name of Institution Degree Year of Approval of Study and Department Degree 1974–79 Rubin Conservatory graduated cum 1979 of Music - Haifa laude 1980–83 Jerusalem Academy performance and - of Music and Dance music education 1983–85 Hebrew University B.A. in 1985 of Jerusalem: musicology cum Musicology laude; Department minor in Arabic literature and language, and Theatre. 1986–91 Hebrew University M.A. in 1991 of Jerusalem: musicology cum Musicology laude Department 2001–07 Hebrew University Ph.D. in 2007 of Jerusalem: Musicology Musicology Department 1 B. Post-Doctoral Studies NONE 3. Academic Ranks and Tenure in Institutes of Higher Education Dates Name of Institution and Rank/Position Department 1982-1983 David Yellin Teachers Music Lecturer College, Jerusalem 1993 Oranim College, Tivon Music Lecturer 1993-1995 Arab Teachers Training Music Lecturer Institute - Beit Berl College, Kfar Saba 1996-Present Jerusalem Academy of Music Professor of Violin, and Dance: Eastern Music Oud, Singing and Department Theory - Adjunct Associate Professor (with tenure) 2001– 2011 Bar-Ilan University – Professor of Theory - Department of Music Adjunct Associate Professor
    [Show full text]
  • PRESSEMITTEILUNG 20.12.2017 Aviv Geffen Im
    FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 20.12.2017 Aviv Geffen im Januar auf Tour Im Januar kommt Aviv Geffen erneut nach Deutschland, um bei vier Shows Songs von Blackfield zu präsentieren, dem gemeinsamen Projekt des israelischen Superstars mit dem gefeierten Prog-Rocker Steven Wilson. Im Februar erschien das jüngste Album „V“, anschließend ging Geffen mit Band auf Tour, um das Werk live zu präsentieren, das von den doch sehr unterschiedlichen Künstlerpersönlichkeiten profitiert. Wilson, das Musikgenie, ist ein sehr bedachtsamer Mensch, beschäftigt sich in seinen Songs viel mit sich und seinem teils eher dunkel angehauchten Seelenleben. Aviv Geffen hingegen richtet seine Stimme nach außen – in seinen Songs fordert er den Frieden zwischen Israel und den arabischen Ländern, er singt an gegen Krieg, Gewalt und Terror, er ist die Stimme des modernen Israel. Überhaupt ist er in seiner Heimat ein echter Star und dominiert die Hallen und die Hitparaden weit vor ausländischen Künstlern. Er tourte mit U2 und produzierte seine Alben mit Tony Visconti und Trevor Horn, der der Mischung aus Glamrock und Indie-Pop seinen Stempel aufgedrückt hat. Die beiden Musikerpersönlichkeiten Geffen und Wilson könnten kaum unterschiedlicher sein – doch genau deshalb ergänzen sie sich schon so lange so gut. Das wahre Potenzial der gemeinsamen Musik von Blackfield kommt aber ganz besonders in den reduzierten Versionen zum Ausdruck, die Geffen für die kommende Tour vorbereitet und arrangiert hat. 19.01.2018 Köln - Luxor 24.01.2018 Hamburg - Knust 29.01.2018 München - Strom 30.01.2018 Berlin - Frannz Tickets für die Shows gibt es ab Montag, den 27.
    [Show full text]
  • PAROLE E MUSICA DELLA MEMORIA EBRAICA a Cura Di CARLO BIANCHI
    brescia MUSICA INTERVISTA A ROLANDO ANNI E ALESSANDRO ADAMI DEL GRUPPO “KLEZMORIM” PAROLE E MUSICA DELLA MEMORIA EBRAICA a cura di CARLO BIANCHI n bambino di fronte a dialogo fra ebrei e cristiani, per un albero su un prato un incontro che è stato, credo, circondato da una il nostro primo ‘concerto’. Nel U sconnessa stacciona- corso del tempo i rapporti fra la ta scarna che conduce, voltan- musica e le letture o le mie spie- do, fino a un caseggiato romito. gazioni si è invertito: prima la La copertina del disco che rac- musica accompagnava quello chiude i quindici canti della tra- che avevo da dire, adesso inve- dizione popolare ebraica can- ce sono io a dire delle cose che tati e suonati dal complesso accompagnano la musica. Di- Klezmorim è l’immagine ricreata ciamo che io mi sono preoccu- di Oyfn veg shteyt a boym (“sta, pato di costruire questo proget- lungo la strada, un albero pie- to da un punto vista letterario e gato”), una di queste quindici storico. La nostra particolarità è storie in musica, la ninna-nanna che i nostri non sono dei veri e di un bambino che chiede alla propri concerti, sono ‘incontri’ mamma di potersi arrampicare dove la musica viene inserita in sull’albero per volare verso il un contesto molto preciso per- cielo, anche se fa freddo e la ché siamo convinti ancora oggi mamma gli raccomanda di co- che questa musica pur essendo prirsi, non vuol lasciarlo andare, semplice, popolare, non possa per paura che si smarrisca. essere del tutto compresa senza Sono canti di un popolo – di alcune fondamentali spiegazio- una cultura, di una religione – ni”.
    [Show full text]
  • Canciones Desde Palestina
    Canciones desde Palestina FILMANOVA & K 2000 mª luisa durán marquina, 20 – 1º 15011 a coruña telf.: 981 160 188 errekalde auzoa s/n 48960 galdakao – bizkaia fax: 981 145 303 [email protected] www.filmanova.com telf.: 94 4570000 [email protected] www.k2000.com 1 CONTENIDO FICHA………………………….........2 NOTAS DEL DIRECTOR………….3 NOTAS DEL PRODUCTOR………7 SINOPSIS……………………………9 CURRÍCULUMS DIRECTORES…10 EQUIPO TÉCNICO………………..16 1 Ficha Género: Documental Director: Fermín Muguruza Realizador: Javier Corcuera Productoras: Filmanova / K 2000 Guión: Fermín Muguruza Prod. Ejecutiva: Antón Reixa Ricardo González Dir. fotografía: Jordi Abusada Localizaciones: Palestina, Israel Formato: HD CAM Duración: 70 min. (aprox.) Idioma de rodaje: Árabe 2 Notas del director Me llamo Fermín Muguruza. Soy un músico del País Vasco que en semana santa del año 2002 viajó a Palestina con una delegación europea para reivindicar los derechos del Pueblo Palestino y festejar el día de la tierra con ellos. En colaboración con el Sound System italiano de 99 Posse, tenía la intención de participar en dos encuentros con músicos palestinos e israelíes en Jerusalén. Nuestra llegada coincidió con una bomba en Tel Aviv que causó numerosos muertos y la consecuente reacción del ejército israelí que sitió al entonces presidente Arafat en la Mukata (Palacio Presidencial) de Ramallah. Tras una reunión de urgencia, todas las facciones políticas palestinas nos pidieron que acudiéramos a Ramallah e hiciéramos de escudos humanos para salvar la vida de su presidente. 3 De los 500 miembros de la delegación, logramos entrar en la Ramallah sitiada y bajo el toque de queda 40 personas. Lo que viví y sentí en aquellos días todavía me produce escalofríos.
    [Show full text]
  • Table of Contents
    Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us.
    [Show full text]
  • Live in Concert Dany Sanderson Synagogenkonzert Lesung Und
    RF DO A IO R REN“ A TO AN M K I E R D E Konzert I D Sandra Kreisler „ Film Der letzte Mentsch Synagogenkonzert Live in Concert Dany Sanderson S A N DR ER A KREISL Lesung und Gespräch Dominique Horwitz E V I L N O S ER R G E R D E AN B S Z NY L DA A S - Z O A I N A F D Z O IT MIN RW Lesung und Gespräch IQUE HO Fania Oz-Salzberger www.juedischekulturwochen2014-frankfurt.de Kulturamt Dr. Dieter Graumann Prof. Dr. Felix Semmelroth Grußwort Sehr geehrte Damen und Herren, die Jüdische Gemeinde Frankfurt veranstaltet jährlich in Zusammenarbeit mit dem Kulturamt der Stadt Frankfurt am Main die Jüdischen Kulturwochen. Unser Bestreben ist es, nicht nur das Vergangene wieder aufleben zu lassen, sondern auch das heutige lebendige jüdische Leben in Frankfurt deutlich zu machen. Wir freuen uns, Ihnen das Judentum, die Religion, die Tradition und Lebensweise, die Philosophie und die Kultur, durch Musik, Lesungen, Vorträge, Filme, Führungen und Ausstellungen transparenter zu machen. Wir möchten darauf hinweisen, wie aktiv die Jüdische Gemeinde Frankfurt ist. Die Jüdische Gemeinde lebt und sie ist mit ihren regel- mäßig stattfindenden Veranstaltungen ein großer und beliebter Bestandteil der kultu- rellen Szene in Frankfurt. „Die rechte Aufgeschlossenheit ist das kostbarste menschliche Gut“ (Martin Buber). Seien Sie aufgeschlossen und neugierig. Wir heißen Sie herzlich willkommen. Dr. Dieter Graumann Prof. Dr. Felix Semmelroth Kulturdezernent der Kulturdezernent der Stadt Jüdischen Gemeinde Frankfurt am Main Frankfurt am Main K.d.ö.R. Eröffnung Sonntag, 7. September 2014, 17.00 Uhr Westend-Synagoge, Freiherr-vom-Stein-Straße 30 Begrüßung: Dr.
    [Show full text]
  • Jamd Summer 2012-F.Indd
    Highlights 7th Edition Fall 2012 International Board of Governors Meeting - Highlights 2012 Concert Commemorating 80 years of the Academy The meeting of the International working under the supervision of Avi Zehavi. Hagai Rehavia’s arrangement of Board of Governors, which took Abromovich, recipient of the first prize Emanuel Zamir’s song “Bowed Evening” place 4-5.6.2012, opened with a festive in the 2012 Chamber Music Competition, was performed by singer Anna Spitz concert commemorating 80 years of the whose members are violinists Florence and pianist Orel Oshrat. founding of the Jerusalem Academy of von Burg and Anna Kume, violists Dor Later in the evening, an ensemble made Music and Dance. During the evening, Sperber and Nathalie Verdon and cellist up of JAMD faculty members performed Certificates of Inscription from the Elizabeth Cook. The ensemble played a one movement from Haim Alexander’s Academy’s Golden Book were given to movement from Mozart’s Quintet in “Five Movements for Wind Quintet”. devoted teachers. gminor K.516. Playing in the ensemble were Michael The Jerusalem Academy Chamber Choir, Professor Menachem Wiesenberg’s Melzer-flute, Dudu Carmel-oboe, Ilan under the direction of Maestro Stanley Artistic Arrangements class for voice Schul-clarinet, Isaac Leyva-bassoon and Sperber, and joined by baritone Guy and piano was represented by singer Ori Azran-French horn. Pelc, performed the first movement of and arranger Vered Dekel, head of the Also performing in the concert were Paul Ben-Haim’s “Liturgical Cantata” Vocal Division of the Cross-Disciplinary percussionists Yoav Kfir, Li Ye and and the song “White Days”- Shai Hemel’s Music Department, who, together Meir Yaniger; all are students of Alon arrangement of a poem of Leah Goldberg with pianist Guy Frati, performed “I Bor.
    [Show full text]
  • 00 Primeras Paginas Rha5
    RHA, Vol. 5, Núm. 5 (2007), 137-148 ISSN 1697-3305 NON-ASHKENAZIC JEWRY AS THE GROUND OF CONTEMPORARY ISRAELI MULTICULTURALISM Zvi Zohar* Recibido: 4 Septiembre 2007 / Revisado: 2 Octubre 2007 / Aceptado: 20 Octubre 2007 1. HISTORICAL AND CULTURAL Sephardic rabbinic authorities branded this deve - BACKGROUND lopment as illegitimate. Later, they realized that In the wake of the Expulsion from Spain not only was such opposition futile, but that many (1492), Sephardic1 Jews gradually settled as Sepharadim were in fact purchasing meat from refugees in many lands, primarily – in areas under Ashkenazic shehita. Thereafter, the Sephardic rab- Ottoman rule. One of these was the Holy Land, bis concentrated on de-legitimizing consumption Eretz Israel, whose Jewish inhabitants until that of such meat by Sepharadim; by and large, this time were mostly indigenous Musta’arabim2. For a campaign also failed, since the “Ashkenazic” pro- variety of reasons, the Musta’arabim gradually duce was less expensive. Ashkenazic influence upon became assimilated to the culture of the Sephardic Sepharadim manifested itself also in other aspects newcomers. From the 16th to the 19th centuries, the of traditional Jewish life – such as recitation of ri - dominant (‘hegemonic’) culture of Jews in Eretz tual benedictions by women, and the adoption by Israel (henceforth: EI) was Sephardic. However, certain Sephardic rabbis of ultra-Orthodox rejec- beginning in the late 18th century, and especially tionism towards, e.g., secular studies. during and after the brief Egyptian rule (1831 In the instances discussed above, various ethni - –1840), increased Jewish immigration from cally Jewish sub-groups interacted and influenced Eastern Europe, North Africa and the Middle East each-other with regard to varieties of Jewish cultu - led to the establishment of non-Sephardic commu- ral norms.
    [Show full text]
  • Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër
    GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string,
    [Show full text]
  • Hendler, Music for Peace in Jerusalem, Senior Thesis
    Music for Peace in Jerusalem A Senior Essay in International Studies Micah Hendler Calhoun College 2012 Music and International Studies December 9, 2011 Hendler 1 TABLE OF CONTENTS I. INTRODUCTION 3 II. THE ISRAELI-PALESTINIAN CONFLICT AND TRACK TWO DIPLOMACY 6 The History Track Two Diplomacy III. STRUCTURING ENCOUNTERS 12 The Contact Hypothesis and its Critiques Interpersonal vs. Intergroup Interaction The Dilemma of Politics Dialogue Skills Measuring Success IV. MUSIC IN THE ISRAELI-PALESTINIAN CONFLICT 20 Music for the Liberation of Palestine Songs of the Land of Israel Challenging the Musical Boundaries of Israel V. MUSIC AS A PEACEMAKING TOOL IN ETHNIC CONFLICT 26 Identity-Transformation and Prejudice-Reduction Music Therapy Techniques in Dialogue Finding Musical Common Ground Empowerment and Self-Expression Hendler 2 VI. SEEDS OF PEACE INTERNATIONAL CAMP FOR COEXISTENCE IN MAINE: AN IDEAL CASE 39 The Structure of Camp Music at Seeds of Peace VII. JERUSALEM FIELDWORK 45 Research Design Jerusalem Case Study #1: Project Harmony Jerusalem Case Study #2: Heartbeat Jerusalem Jerusalem Case Study #3: Seeds of Peace Regional Programming Methodological Difficulties VIII. ANALYSIS 55 Empowerment and Self-Expression Politics, Interpersonal vs. Intergroup Interaction, and Prejudice-Reduction Incentives and Roadblocks: Fun vs. Normalization Cultural Intersections and Tensions: Finding Musical Common Ground IX. DISCUSSION 68 Interaction, Incentives, and Prejudice-Reduction Empowerment and Self-Expression in Context The Importance of Locating Musical Common Ground in Jerusalem X. CONCLUSION 77 Hendler 3 I. INTRODUCTION The Israeli-Palestinian conflict is one of the most intractable ethnic conflicts in the world. A fight over the land of Israel/Palestine that has been compounded by decades of diverging narratives, psychosocial enculturation of fear, and mutual violence, the discord that lies at the heart of this conflict runs deep—so deep that conventional forms of negotiation have thus far proved futile.
    [Show full text]