Musical Nationalism, Despotism and Scholarly Interventions in Greek Popular Music

"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."-- Provided by publisher Title Page Copyright Page Contents Glossary and transliteration Further clarifications Illustrations Preface Prelude Part one: A story of origin Chapter 1: A laiko (popular) song by Tsitsanis (1948) Chapter 2: A hymn from the Orthodox musical tradition Chapter 3: Comparison of the two pieces by Ilias Petropoulos (1968) Chapter 4: Comparison by Mikis Theodorakis (1970) Chapter 5: The stance of the laiko musician Chapter 6: Manos Hadjidakis and laiki music Chapter 7: The music critic Sophia Spanoudi Chapter 8: Two key personas of laiki music Chapter 9: Postlude Part two: The two musical worlds: The Byzantine and the laiko Chapter 10: The Greek nation state and ecclesiastical music Chapter 11: Systemizing chanting and the protagonists Chapter 12: The ‘musical issue’ at the forefront once again Chapter 13: Urban music: Examination of a remarkable network Chapter 14: Reaffirming the laiko Part three: Factual highlights regarding ecclesiastical music Chapter 15: The reference text and the musical act Chapter 16: ‘Notes not noted in the text’Constantinople as a reference point Chapter 17: Style, scores and the teacher Chapter 18: Modernists and conservatives Part four: Analyzing the two musical pieces Chapter 19: Starting with the sound Chapter 20: Starting with the sheet music Chapter 21: A historical recording of the hymn Chapter 22: Postlude Chapter 23: Epilogue Works cited Index Glossary and transliteration Further clarifications List of music transcriptions List of figures Preface Prelude PART ONE: A STORY OF ORIGIN 1. A laiko (popular) song by Tsitsanis (1948) 2. A hymn from the Orthodox musical tradition 3. Comparison of the two pieces by Ilias Petropoulos (1968) 4. Comparison by Mikis Theodorakis (1970) 5. The stance of the laiko musician 6. Manos Hadjidakis and laiki music 7. The music critic Sophia Spanoudi 8. Two key personas of laiki music: Perpiniadis and Keromytis 9. Postlude PART TWO: THE TWO MUSICAL WORLDS: THE BYZANTINE AND THE LAIKO 10. The Greek nation-state and ecclesiastical music 11. Systemizing chanting; and the protagonists 12. The 'musical issue' at the forefront once again 13. Urban music: Examination of a remarkable network 14. Reaffirming the laiko PART THREE: FACTUAL HIGHLIGHTS REGARDING ECCLESIASTICAL MUSIC 15. The reference text and the musical act 16. 'Notes not noted in the text' ? Constantinople as a reference point 17. Style, scores and the teacher 18. Modernists and conservatives -- PART FOUR: ANALYZING THE TWO MUSICAL PIECES 19. Starting with the sound 20. Starting with the sheet music 21. A historical recording of the hymn 22. Postlude 23. EPILOGUE Works cited Index "Discusses the changing relationship between Greek Byzantine music and Greek popular music in the contemporary Greek state"-- Provided by publisher