Over the course of nearly 100 years, Jewish music scholars have framed Joseph Achron (1886-1943) as a pioneering Jewish nationalist composer who, under the influence of the St. Petersburg Society for Jewish Folk Music (1908 - ca. 1922), gave up his cosmopolitan performance career as a virtuoso violinist in order to fully devote himself to the charge of composing modern Jewish art music. In turn, scholars have argued, Achron and his colleagues helped the Society transform from a small group of folklore enthusiasts into a monumental movement for the composition of Jewish art music. This heroic, nationalist narrative of young Jewish composers devoting their hearts and careers to the music of their people has gone almost entirely unchallenged by three generations of music scholars. It has been faithfully reproduced in textbooks, monographs, journal articles, university classes, public lectures, program notes, biographies, blogs, YouTube videos, Facebook groups, and anywhere else one might venture to discuss Jewish art music. Although certain components of this narrative have been challenged - such as its essentialism (Moricz, 2008) and the veracity of its founding myths (Nemtsov, 2004) - its overall plot has remained largely intact. Over the course of my graduate studies, however, I have become increasingly senstitive to the pitfalls of this narrative: its simplistic linearity; its erasure of conflicting information; its racial and ideological orientations; and the ways in which it has mischaracterized and even, in some cases, hindered the ambitions of Achron and his colleagues.
موضوع (اسم عام یاعبارت اسمی عام)
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Jewish art music
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Nationalism
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Performer-composers
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Society for Jewish Folk Music
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Transcription
موضوع مستند نشده
Virtuosity
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )