Examining the social, political, and musical context for Belshazzars Feast in interwar England, Keck draws on eighteenth through twentieth-century Western compositions that appropriate the Orient in similar ways. In this study, Elissa Keck investigates aspects of Orientalism within the English oratorio genre, specifically William Waltons Belshazzars Feast (1931). However, examination of Orientalism in sacred genres remains lacking. Close examination of this oratorio reflects Waltons adherence to the standard tonal, harmonic, and orchestral signifiers of Orientalism as established by Orientalist composers before him. Keck argues that Waltons exposure to Orientalism from an early age, and the rising nationalistic sentiments in England... Orientalist analyses in music exploded the field of musicology in the 1980s and 90s. Keck argues that this oratorio reflects Orientalist ideologies through binary opposition that perpetuate the predominantly negative stereotypes of the Middle East.
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