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Zusatztext 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. Informationen zum Autor Nikos Ordoulidis is an Academic Scholar and Lecturer in music at the University of Ioannina, Department of Music Studies, Greece. His research interests revolve around the condition of musical syncretism in popular music, in the networks of Eastern Europe, Balkans, Mediterranean and Middle East. Since January 2020, he has been undertaking postdoctoral research, titled ‘the eastwards heterotopias of the piano’, funded by the Greek State Scholarships Foundation. He is an active composer with six discographical works. He is a member of the Modern Greek Studies Association, the Association for Recorded Sound Collections, and the Hellenic Musicological Society. Vorwort Discusses the changing relationship between Greek Byzantine music and Greek popular music in the contemporary Greek state. Zusammenfassung 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. Inhaltsverzeichnis Glossary and transliteration Further clarifications List of music transcriptions List of figures Preface Prelude PART ONE: A STORY OF ORIGIN1. A laiko (popular) song by Tsitsanis (1948)2. A hymn from the Orthodox musical tradition3. Comparison of the two pieces by Ilias Petropoulos (1968)4. Comparison by Mikis Theodorakis (1970)5. The stance of the laiko musician6. Manos Hadjidakis and laiki music7. The music critic Sophia Spanoudi8. Two key personas of laiki music: Perpiniadis and Keromytis9. PostludePART TWO: THE TWO MUSICAL WORLDS: THE BYZANTINE AND THE LAIKO10. The Greek nation-state and ecclesiastical music11. Systemizing chanting; and the protagonists12. The ‘musical issue’ at the forefront once again13. Urban music: Examination of a remarkable network14. Reaffirming the laikoPART THREE: FACTUAL HIGHLIGHTS REGARDING ECCLESIASTICAL MUSIC15. The reference text and the musical act16. ‘Notes not noted in the text’ – Constantinople as a reference point17. Style, scores and the teacher18. Modernists and conservatives PART FOUR: ANALYZING THE TWO MUSICAL PIECES19. Starting with the sound20. Starting with the sheet music21. A historical recording of the hymn22. Postlude23. EPILOGUE Works cited Index ...
