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Zusatztext 4-Star rating in Songlines ’Throughout the book, the author deftly combines detailed musical transcription and fine-grained analysis of the recorded examples contained in the CDs, with interviews and documentary sources... Kallimopoulou provides a fascinating discussion of musical politics... one of the book’s great strengths is its treatment of the work of musicologist and folklorist Simon Karas... Given its rich linguistic and historical particularities, this book will appeal to graduate students and specialists in Balkan, Mediterranean, and/or Middle Eastern music who wish to explore how music articulates and instantiates social, political, and cultural identities in the region.’ Journal of Folklore Research ’Eleni Kallimopoulou makes a significant scholarly contribution to the music culture of Greece... a useful addition to the increasing body of literature that deals with issues of music and identity.’ Ethnomusicology ’This is a major study... Kallimopoulou offers a fascinating account of the politics and aesthetics of this musical genre, as well as its social history... the wealth of the presented material, including transcriptions, photographs and two CDs, enriches Kallimopoulou's well framed arguments. This book will appeal to ethnomusicologists and to academics with an interest in popular culture of the Mediterranean.’ Journal of Popular Music 'This fine study of the urban folk music revival movement, the paradosiaka, recounts both the formation of its particular musical and professional milieu and its main practitioners, as well as the Greek sociopolitical and musical context since the 1970s.' Journal of Modern Greek Studies 'This work undoubtedly advances the knowledge of how music revivals materialize by shedding light on competing historical constructs, while resisting essentialism and straightforward aphorisms. Kallimopoulou's book is a recommended read for anyone interested in such musical phenomena within and beyond the ethnomusico Informationen zum Autor Eleni Kallimopoulou completed her PhD in ethnomusicology at the School of Oriental and African Studies! University of London! in 2006! where she was subsequently employed as a teaching fellow in the music of the Near and Middle East. She is currently a lecturer in the Music Science and Art Department at the University of Macedonia in Thessaloniki! Greece Klappentext A monograph that explores paradosiaka as a musical style and as a field of discourse! seeking to understand the relation between sound and meanings constructed through sound. It draws on interviews! commercial recordings! written musical discourse! and the author's own experience as a practising paradosiaka musician. Zusammenfassung A monograph that explores paradosiaka as a musical style and as a field of discourse, seeking to understand the relation between sound and meanings constructed through sound. It draws on interviews, commercial recordings, written musical discourse, and the author's own experience as a practising paradosiaka musician. Inhaltsverzeichnis Contents: Introduction; Part I The 1970s: Setting the Scene: History of ideas. A brief overview; SÃmon Karás and the chanting milieu; The Eastern instruments. Part II The 1980s: the Early Actors: Ross Daly; Dynámeis tou AigaÃou; Encounters with Turkish culture: Bosphorus! Ottoman urban music and the RomioÃ. Part III The 1990s: Indigenization and Professionalization: Music schools for secondary education; The younger generation. Part IV The 2000s: Inter-Connections: Portrait of a musician: SofÃa Lampropoúlou; Paradosiaká and 'the world': international interfaces; In the Greek market; Epilogue: paradosiaká futures ; Bibliography; Discography; Index. ...
Summary
A monograph that explores paradosiaka as a musical style and as a field of discourse, seeking to understand the relation between sound and meanings constructed through sound. It draws on interviews, commercial recordings, written musical discourse, and the author's own experience as a practising paradosiaka musician.
