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.
The purpose of this article is to demonstrate briefly the power of thenationalistic world-view on music-making in Israel as an example of its power almost everywhere. Two major music cultures in Israel - musica mizrakhit and Israeli rock - are examined 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".
Ezra Aharon ("Azuri") (Bhagdad, 1903 – 1995, immigrated to Israel in 1935) was an outstanding composer, ‘ud player, singer, conductor, and performer of Arab art music. He was student of Tanburi Ibrahim Bey in Iraq and was recording both Iraqi and Egyptian styles by 1929. He was the prizewinner for the ‘ud at the 1932 International Congress of Oriental Music, Cairo.