“Behind the Sounds”

IF 0.2 1区 艺术学 N/A MUSIC
Michael A. Figueroa
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引用次数: 0

Abstract

In this article I explore the aesthetics and political valence of shirei meshorerim (SM), a body of Israeli sung poetry that emerged out of a series of radio programs, festivals, and recording projects beginning in the 1970s and drawing on long-standing local practices in both Palestine/Israel and contemporary Mediterranean sung-poetry movements. I argue that the development of SM was characterized by an aesthetic distinction, wherein the high cultural register of poetry—a value produced by both the domestic discourse on art vis-à-vis politics and the broader global discourse in which the local field was embedded—and an associated move to cosmopolitanize music production contributed to the “cultural accreditation” of post-1967 pop-rock in Israel. This article explores what poetry meant for song, and vice versa, in Israel during the 1970s and 1980s through sociopolitical analysis and close listening to the text-setting practices and stylistic affinities of two musicians strongly identified with SM: Matti Caspi and Shlomo Gronich.
“声音背后”
在这篇文章中,我探讨了shirei meshorerim (SM)的美学和政治价值,这是一种以色列歌唱诗歌,从20世纪70年代开始的一系列广播节目、节日和录音项目中出现,并借鉴了巴勒斯坦/以色列和当代地中海歌唱诗歌运动中长期存在的当地实践。我认为SM的发展是以美学上的区别为特征的,其中诗歌的高度文化记录——一种由国内关于艺术与-à-vis政治的话语和嵌入当地领域的更广泛的全球话语所产生的价值——以及将音乐制作世界化的相关举措,促成了1967年后以色列流行摇滚的“文化认可”。本文通过社会政治分析和仔细聆听两位强烈认同SM的音乐家马蒂·卡斯皮(Matti Caspi)和什洛莫·格罗尼奇(Shlomo Gronich)的文本设置实践和风格亲和性,探讨了20世纪70年代和80年代以色列的诗歌对歌曲的意义,反之亦然。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.90
自引率
0.00%
发文量
8
期刊介绍: The widely-respected Journal of Musicology enters its third decade as one of few comprehensive peer-reviewed journals in the discipline, offering articles in every period, field and methodology of musicological scholarship. Its contributors range from senior scholars to new voices in the field. Its reach is international, with recent articles by authors from North America, Europe and Australia, and circulation to individuals and libraries throughout the world.
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