Literature and music have a long entwined history. Since antiquity, music and poetry (a crystalized form of “literature” or the “poetic”) have been regarded as “twin sisters,” constituting a productive source of creation and inspiration. In the Romantic era (especially German Romanticism) this affinity reached one of its peaks, as demonstrated in the emergence of symbiotic musical-poetic forms and modes of aesthetic expression. From the perspective of cultural history, however, the scope of this relationship is even wider and can be traced back to the overlap between language and music. The compatibility of music and poetry has produced a range of scholarship elaborated in various traditions of knowledge and research disciplines, including semiotics, poetics, aesthetics, musicology, cultural studies, and critical theory. It is well known that sound is a central component of both musical and verbal sign systems. What happens to this sound, however, when we read a story? Moreover, whereas the connection between sounds and poems seems obvious, as shown in the field of research called prosody, which explores various phenomena such as rhythm and alliteration, metric and intonation, the connection between sounds and prose fiction is less obvious. This article focuses on a body of works—theoretical, methodological, and textual—dedicated to the exploration of literature and music relationships in general, in order to understand the relationship between Hebrew literature (including poetry, but mainly prose fiction) and music in particular. Compared to other national literatures such as French, English, and above all German, the scholarly study of Hebrew literature and music is relatively young. Central domains of this study are the employment of sound and acoustic components (i.e., prosody), the incorporation of musical intertexts (i.e., texts that are connected to the realm of music, such as musical terminology, descriptions of music playing, allusions to musical repertoire and themes), and the shaping of analogies between musical forms and narrative structures (i.e., the sonata form or the counterpoint). Hebrew literature also has a history, of course, from the Bible and other ancient texts, to medieval Hebrew poetry, and up to modern Hebrew and contemporary Israeli literature. Viewing these poetic traditions through the specific lens of language/literature and music relationships, an emerging field of study dealing with representations of music in modern Hebrew and Israeli prose fiction will be discussed, alongside scholarship on the relationship between Hebrew poetry and music.
From Altneuland to Neuland. Re-Interpretation of Jewish/Israeli Identity in Modern Hebrew Literature