An examination of musica mizrakhit and Israeli rock to show how the exclusion of the one produces motivation and demands for inclusion in the national culture, while the cosmopolitan nature of the other exposes it to pressures to become 'national'.
A review indicting the actions of different social forces negotiating the nature and meaning of popular music in Israel. Includes a discussion on: the different musical genres in the field and their social context; the hierarchy between those genres; the social and cultural factors involved in producing and preserving the hierarchy; the social forces and musical genres in conflict with the existing situation, and the dynamics of change resulting from this conflict.
Also in: Musicological Studies 3 (1980): 139-58. Interviews made during field work in Hungary and Czechoslovakia illustrate the emic concepts about musical composition in Ashkenazic Jewish music. The concepts differ considerably with regard to various styles within the tradition. Nevertheless, it is generally agreed that Hassidic nigumim are original inventions of composers from Hassidic courts.