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MUSC 80I, Week 7 Notes

by: Ku'u Tai

MUSC 80I, Week 7 Notes MUSC 80I - 01

Ku'u Tai
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These notes continue from my last set concluding the topic of Musiqa Mizrahit. It goes over very important topics that we will be tested on such the characteristics of the genre and songs that will...
Music of Modern Israel
Class Notes
Music of Islam, Musiqa Mizrahit, Israli Rock, 1980s, Zohar Argov




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This 4 page Class Notes was uploaded by Ku'u Tai on Thursday February 18, 2016. The Class Notes belongs to MUSC 80I - 01 at University of California - Santa Cruz taught by Tchamni,A. in Winter 2016. Since its upload, it has received 47 views. For similar materials see Music of Modern Israel in Music at University of California - Santa Cruz.


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Date Created: 02/18/16
Music 80I Week 7 Notes 1980's  M&M gained more recognition; just the beginning of the recognition from the media  New labels included: o "Israeli Eastern Music" and "Israeli Mediterranean Music" o No longer wanted to refer to it as "Oriental"  M&M helped define identities; one of the means for Mizrahi Jews in their struggles into society  Mizrahi musicians relied on live performances due to unavailability of mass media  The absence of M&M from the radio and records (due to cultural power) resembled Arab popular music  M&M on radio special programs ("ghettos" as referred by M&M musicians) o They'd they x amount of hours per day; like being closed in a ghetto o Avihu Medina referred to them as "ghettos"  M&M was perceived as live music o Started as party music at live shows at small clubs and weddings  Until 1990's performers of M&M "One of us" (Common People) o People saw the performers as normal people and would go on stage with them after the performance o In the beginning the performers weren't seen as stars "Common People" quality of M&M: 1 Performed in restaurants, clubs located in industrial areas, and family celebrations 2 Sold at the Central Bus Station All songs of M&M Include: 1 Traditional & popular styles of Eastern Jews + the Europeans popular ballad (verse/chorus/verse/chorus) 2 Influence of SLI 3 Anglo-American pop-rock influence a Amplified sound, electric rock instruments so the perception of M&M was as a popular genre rather than traditional music 7 Musical Characteristics of M&M: 1 Short instrumental intro like the improvised, free-flowing styles in Arab and Turkish music a Ex: Sarit Haddad - "Waited for Him" 2 Silsulim: vocal shaking at the end of phrases a Ex: Omer Adam - "Tel Aviv" 2 Static harmony a Ex: Lior Narkis - "Madness" 2 Looped rhythmic pattern a Ex: David Aaron - "Terminal" 2 Distinctive sound of electric guitars & use or imitation of middle Eastern instruments a Ex: Lior Narkis - "Flying" 2 Use of Arab Scales (Maqamat) a Ex: Moshe Peretz - "A Thousand Times" 2 High Nasal Voice; you're never going to find anyone in this genre singing low a Ex: Pe'er Tassi - "Peace Road" Producers' success in marketing M&M:  Cassette technology  Social dimension of discrimination brought it to forefront CASSETTES: Kept M&M marginal, outside of record industry Cassettes were NOT: 1 Formally packaged 2 Directly marketed to stores 3 Promoted when released 4 Strictly copyrighted  CD's closed the gap between M&M and mainstream pop  Political subversion and social protest have NOT been the forefront of M&M o Rare example of an M&M song talking about discrimination of Mizrahit Jews by the establishment  Eli Luzon - "What a Country"  M&M relies on live performances and direct relation with audience, as it is usually used for dancing o TV: audience around tables with food (like in clubs, parties, weddings)  M&M places less emphasis on the lyrics. Essentially for pleasing rather than exploring new things or being avant-garde o Lyrics are not that important in this genre The King of Musiqa Mizrahit: Zohar Argov (1955-1987) Where is M&M going???  This next section will explore how M&M has evolved over time and how it branched out to different genres and audiences In the 1970's  Trend to take traditional Jewish Yemenite songs and make it modern by using electric instruments began o Ex: "Gazelle" - Daklon (1970s) In 1984  Ofra Haza produced an album of modernized traditional Jewish Yemenite songs o Ex: "Im Ninalu" - Ofra Haza (1984) In 2015  Trend to modernize still prevalent today o Ex: "Habib Galbi" - A-WA (2015) M&M and Hip Hop  "The Secret" - Sarit Haddad & Subliminal Ishtar Alabina  Israeli singer for audiences abroad o Ex: "Ya Habibi Yalla" - Ishtar Alaina & The Gypsy Kings M&M and Electronic/Techno  "Celebration" - Sarit Haddad Israeli Rock 1980s Rock (Rock is finally popular)  SLI bleh  AB's are done  M&M is barely gaining recognition Episode Six: "Give me Rock n' Roll"  Bands that will be in this episode 1 Doda (consists of ex-Kaveret members) 2 Hamsin 3 Tislam  Legitimacy - Rock becomes the language of popular music  Openness to the outside world - people start traveling o Traveling was not common in the 70s  Rock prior to the 1980s o Apocalypse, Tamuz, Shablool - 3 popular bands in a 10 year span  Doda (ex-Kaveret members)  Hamsin (ex-Kaveret member Ephraim Shamir)  Tislam started as a production experiment o Started writing songs in English then later translated it to Hebrew  Marketing - public image by hired professional o Result of marketing: first time the phenomenon of masses of fans  Production - Louis Lahav brings American production standards to Israel o The Producer (a coach) - axis that connects everything  Albums should have a concept "Give me Rock n' Roll." (Ep. 6) Sof Onat Hatapuzim: The Story of Israeli Rock. Ed. Yoav Kutner. IBA, 1998.


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