Localism and Exoticism in the Music of Shalom Hanoch, 1968-1976
DOI:
https://doi.org/10.51854/bguy-35A119Keywords:
anti-culture, Arik Einstein, Blues, exoticism, Israeli rock music, localism, Mazal Gdi, musical analysis, neo-modality, Plastelina, Shablul, Shalom Hanoch, haShlosharim, the 60’sAbstract
The present article explores the first eight years of Shalom Hanoch’s career, the impact of 60’s rock music and culture on his songs, and his melodic and harmonic sensibilities: from his earliest work with Arik Einstein on the children’s album Mazal Gedi (1968), his contributions to the vocal group ‘haShlosharim’ (1969), to his later collaborations with Einstein on Shablul (1970) and Plastelina (1971), the first and only album recorded by the rock band Tammuz, Sof Onat haTapuzim (1976) and the many songs he wrote for other performers at the time. The article focuses on tonal and modal elements in Hanoch’s music, and the influence of blues scales, harmonic blurring, inter-scale correlations, cadenzas and so forth. Hanoch’s social circles and close affiliation with top Israeli performers, tunesmiths, lyricists and poets of the day helped bolster his reputation, as did his musical settings of poems by Leah Goldberg and Miriam Yalan-Shteklis. Hanoch’s music is given a Gestalt analysis here in which the multifaceted aesthetics of the Beautiful, conceived of as exotic in this case, engender a mechanism of conscious preference for completion, continuity and the integration of melody and harmony into a unified whole.
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