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- W1569412275 abstract "Music in Jewish Community of Palestine, 1880-1948: A Social History, by Jehoash Hirshberg. New York: Oxford University Press, 1995. vii + 276 pages. Bibl. p. 286. Index p. 297. $55. Reviewed by Robert Fleisher Hebrew University musicologist Jehoash Hirshberg has long been an important chronicler of developing musical culture of modern Israel. His recent biography (available in Hebrew and English) of Paul Ben-Haim (1897-1984) is first comprehensive study of a composer of art-music who lived in British mandate Palestine and state of Israel.1 In his latest book, representing two decades of research, Hirshberg recounts many important chapters in social and cultural history of yishuv, i.e., the autonomous Jewish community in Palestine from 1840 establishment of State of Israel in 1948 (p. 2, fn). The beginning of period which Hirshberg examines is coextensive with first nationalistic Jewish immigration Palestine, or aliya, and consequently with emergence of new yishuv, largely secular Jewish community which found itself at odds with strictly religious old yishuv. The first two chapters thus treat era of Ottoman rule, which witnessed founding of music schools, ensembles, and music societies, as well as pioneering scholarly studies of regional musical traditions. The succeeding four chapters examine 1920s and continued efforts, obstacles, and setbacks in creation of musical institutions, including an opera company. Chapters 7 through 10 span period from early 1930s end of World War II, and examine in particular impact of newly arrived Central European immigrant community, which included performing musicians, critics, educators, scholars, and many composers whose lives and established careers were disrupted by rise of Nazism. The remaining third of Hirshberg's book examines a range of issues which have been, and will likely remain, of central significance in musical culture of modern Israel. Three of these concern East, which, for Hirshberg, refers both Near East as a geographical entity and visionary East contrasted West (p. vii). Hirshberg seeks, for example, to dispel myth of a homogeneous and unified 'Mediterranean' (p. vi) which, from decade before until a decade after Israel won independence, was regional repertory of performed and recorded art-music for which emerging nation was best known. Linked composers (including BenHaim, Marc Lavry, Menahem Avidom, and others) associated with this style is muchdiscussed synthesis of East and West. Though neither is clearly defined nor subject general agreement, that style principally assumed form, in their works, of harmonization and orchestration of Yemenite and Arabic melodies learned from intermediaries, such as Bracha Zephira's Yemenite songs or A. Z. Idelsohn's Thesaurus of Oriental Jewish Melodies.2 A chapter is also devoted role of music in collective life of kibbutz. …" @default.
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- W1569412275 title "Music in the Jewish Community of Palestine, 1880-1948: A Social History" @default.
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