Imploding signifiers: Exilic jewish cultures in art music in Israel, 1966–1970

Assaf Shelleg*

*Corresponding author for this work

Research output: Contribution to journalReview articlepeer-review

3 Scopus citations


Whereas the music Mordecai Seter wrote in 1966 marks a clash between his un-signified semiotic procedures and the national redemptive trajectories that animated them, Andre Hajdu’s music in 1970 knowingly staged unwanted sonic adjacencies of the Jewish Eastern European soundscape alongside Christian music from late medieval Europe. Both composers sought de-signification—either by eschewing ethnographic imports in the form of folk or liturgical music (Seter), or through violent deconstructions of seemingly opposing earmarks of Jews and Christians (Hajdu). Both works therefore disclose meaningful disharmonies. They manifest the disabling of Zionist tropes (while still rendering them present) and the concomitant reclaiming of the ethnic specificity of diasporic Ashkenazi culture.

Original languageAmerican English
Pages (from-to)255-291
Number of pages37
JournalHebrew Studies
StatePublished - 2019

Bibliographical note

Publisher Copyright:
© 2019 National Association of Professors of Hebrew. All rights reserved.


Dive into the research topics of 'Imploding signifiers: Exilic jewish cultures in art music in Israel, 1966–1970'. Together they form a unique fingerprint.

Cite this