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Musical Nationalism, Despotism and Scholarly Interventions in Greek Popular Music
«This book is truly out of the ordinary. The edition is in English, and … the topic is unmistakably Greek. Yet it should be read by many, if they have an interest in music, culture, history (not only of Greece), and if they want to be surprised and captivated by a fascinating story full of suggestive details.»
Franco Fabbri, musician, musicologist, and broadcaster, Radiotelevisione Svizzera
This book discusses the relationship between Greek Orthodox ecclesiastical music and laiko (popular) song in Greece. Laiko music was long considered a lesser form of music in Greece, with rural folk music considered serious enough to carry the weight of the ideologies founded within the establishment of the contemporary Greek state. Les mer
This book discusses the relationship between Greek Orthodox ecclesiastical music and laiko (popular) song in Greece. Laiko music was long considered a lesser form of music in Greece, with rural folk music considered serious enough to carry the weight of the ideologies founded within the establishment of the contemporary Greek state. During the 1940s and 1950s, a selective exoneration of urban popular music took place, one of its most popular cases being the originating relationships between two extremely popular musical pieces: Vasilis Tsitsanis's “Synnefiasmeni Kyriaki” (Cloudy Sunday) and its descent from the hymn “Ti Ypermacho” (The Akathist Hymn). During this period the connection of these two pieces was forged in the Modern Greek conscience, led by certain key figures in the authority system of the scholarly world. Through analysis of these pieces and the surrounding contexts, Ordoulidis explores the changing role and perception of popular music in Greece.
Detaljer
- Forlag
- Bloomsbury Academic USA
- Språk
- Engelsk
- Sider
- 224
- ISBN
- 9781501369469
- Utgivelsesår
- 2021
Anmeldelser
«This book is truly out of the ordinary. The edition is in English, and … the topic is unmistakably Greek. Yet it should be read by many, if they have an interest in music, culture, history (not only of Greece), and if they want to be surprised and captivated by a fascinating story full of suggestive details.»
Franco Fabbri, musician, musicologist, and broadcaster, Radiotelevisione Svizzera
«Ordoulidis .. is well equipped to embark on this analysis through his combined expertise in musicology, Greek ecclesiastical chanting, and popular music performance. … Overall, the book is a product of evident passion and knowledge, impressive in its depth and detail.»
2022 Yearbook for Traditional Music
«Scholars of popular music have long been in search of its historical longue durée, the path along which multiple repertories, styles and social practices have converged over time, from diverse origins in the past to the sonorous cosmopolitanism of the present. Nikos Ordoulidis takes readers on a journey across this historical landscape in Greece, navigating a complex of distinctively Greek popular musics, those that fill the ecclesiastical worlds of the Orthodox Church and the national politics immanent in secular laiko music. Ordoulidis deftly weaves together analytical details from the songs themselves with his own captivating scholarly engagement.»
Philip V. Bohlman, Ludwig Rosenberger Distinguished Service Professor in Jewish History and Music, t
«Ordoulidis, a scholar-performer, rejects both the neoclassical and the medievalist versions of musical ethno-nationalism. He shows here how attempts to forge a Byzantine genealogy for a famous popular Greek song distort the realities of musical creativity. This book is an original and critical contribution to cultural historiography.»
Michael Herzfeld, Ernest E. Monrad Research Professor of the Social Sciences, Harvard University, US
«In the work of Ordoulidis … a theoretical perspective is called for that approaches the two genres [Greek urban popular music and Byzantine music] from a historical-concrete and musicological perspective, since despite the fact that they are different genres, they manifest similar cultural and musical traits. For this reason, Ordoulidis' book seems to me to be a particularly important reference point for Spanish musicology and flamenco scholars in particular.»
Gerhard Steingress, Sinfonía Virtual
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