Nikos Andrikos
University of Ioannina/Greece, Department of Musıc Studıes, Department Member
- Ethnomusicology, Ottoman music, Byzantine Music, Music, Musicology, Music Theory, Ethnomusicology, and 38 moreGreek Urban Music, Ottoman History, Turkish and Middle East Studies, Modern Greek History, Byzantine Musicology, History of Byzantine Music, Morphology of Byzantine Music, Ψαλτική Τέχνη, Culture, Humanities, Politics, Creativity, Performing Arts, Popular Music, Popular Music Studies, Popular musicology, Greek Music, Maqam, Rembetiko, Rebetika, Makam, Dromos, Music Scales, History of Turkish and Ottoman music, Turkish music, Historical Ethnomusicology, Historical Musicology, Philosophy, Philosophy Of Religion, Ancient Philosophy, Ancient Greek Philosophy, Art History, Greek History, Ottoman Studies, Late Ottoman History, Modern Ottoman History, Turkish History, and Sufismedit
- Nikos Andrikos was born in Mytilene in 1982. In the age of seven he started studying ecclesiastical music with Protop... moreNikos Andrikos was born in Mytilene in 1982. In the age of seven he started studying ecclesiastical music with Protopsaltis (First Chanter) Theodoros Maniatis. During 2000-2004 he participated in the scientific programme of Manolis Hatziyakoumis “Monuments of Ecclesiastical Music”. He lived in Istanbul from 2004 to 2007, working as a chanter in the first choir of the Ecumenical Patriarchate next to the Archon Protopsaltis (Master First Chanter) of the Holy Great Church of Christ, Leonidas Asteris.
In 2002 he commenced his studies in Turkish folk music, learning the saz under the instruction of Periklis Papapetropoulos. During his stay in Istanbul he studied saz, methods of musical transcription and folk vocal repertoire next to the masters of the old generation of the National Turkish Radio Institute (TRT), Mehmet Erenler, Yücel Paşmakçı and Şahin Gültekin. At the same time, he attended a postgraduate programme at the University of Haliç as a guest researcher, in the field of the folk idiomatic music of the Turkish territory.
He has completed his PhD Dissertation in the Department of Music Studies at the Ionian University, and recently was published his first book under the title The Ecclesiastical Music of Smyrna (1800-1922). At the same time, he has carried out anthropological research, focusing on the Northeast Aegean region, by recording musicians coming from Asia Minor and collecting rare archives (collections of musical manuscripts, historical recordings, etc). During 2009-2011 he was in Arta, teaching as a scientific assistant in the Department of Folk and Traditional Music of the Technological Institute of Epirus.
He has published papers in scientific journals and made announcements in musicological and historical conferences. His scientific interests include the musical production of the late-Ottoman period, the oral-idiomatic character of ecclesiastical music, and the theory of the modal systems of the art and folk music of the East. His scientific interests are related to the musical production of late-Ottoman period, the idiomatic character of the oral dimension of the Ecclesiastical music and the modal systems can be detected in the urban and rural regions of the East.
In 2011, he founded the Eastern Music Education Center (KESAM) on the island of Mytilene. Today, he still continues to direct this center which is carrying out various activities in the fields of research, performance and education. The KESAM Music Center provides education to students, researchers and musicians from all over Greece and from foreign countries such as Spain, France, Turkey, Holland, Cyprus, Israel and Italy, who are interested in the Eastern Music and its education. KESAM continues the projects and research programs supported by the European Union as well as being home to concerts and recordings done with the Ottoman Musical Orchestra formed at the institution.
Nikos Andrikos gave concerts and performances both at home and abroad in many countries (Germany, Portugal, England, Italy, Israel, Bulgaria, Turkey, France) and collaborated with well known artists in Turkey such as Derya Türkan, Göksel Baktagir, Yurdal Tokcan and Bican Chemirani. In 2014, he released his first album, MOTİVASYON which was comprised of his own compositions in the musical forms of Saz Semaîsi, Oyun havaları and Zeybek.
In 2017, he was selected as an Assistant Professor by the Faculty of Folk and Traditional Music of Arta Technical University.edit
Το στοιχείο της τροπικότητας στις μουσικές της Λέσβου Το έργο συγχρηματοδοτείται από το Ευρωπαϊκό Ταμείο Περιφερειακής Ανάπτυξης (ΕΤΠΑ), στο πλαίσιο του Επιχειρησιακού Προγράμματος «Ανταγωνιστικότητα Επιχειρηματικότητα και... more
Το στοιχείο της τροπικότητας στις μουσικές της Λέσβου Το έργο συγχρηματοδοτείται από το Ευρωπαϊκό Ταμείο Περιφερειακής Ανάπτυξης (ΕΤΠΑ), στο πλαίσιο του Επιχειρησιακού Προγράμματος «Ανταγωνιστικότητα Επιχειρηματικότητα και Καινοτομία-ΕΠΑνΕΚ 2014-2020» και στον Άξονα Προτεραιότητας «Ανάπτυξη μηχανισμών στήριξης της επιχειρηματικότητας» ΣΕΠΤΕΜΒΡΙΟΣ 2023 Ψηφιακές εφαρμογές προβολής του Μουσικού Πολιτισμού του Βορείου Αιγαίου με τη χρήση τεχνολογιών αιχμής-MIS 5093176
Research Interests:
Etnomüzikoloji Dergisi üçüncü yılının ikinci sayısını çıkararak yayınlarında 6. sayıya ulaştı. Altıncı sayı, bir önceki sayıda olduğu gibi etnomüzikoloji disiplinin kendi içindeki tartışmaları, yeni yaklaşımları, alan kavramı ve alan... more
Etnomüzikoloji Dergisi üçüncü yılının ikinci sayısını çıkararak yayınlarında
6. sayıya ulaştı. Altıncı sayı, bir önceki sayıda olduğu gibi etnomüzikoloji
disiplinin kendi içindeki tartışmaları, yeni yaklaşımları, alan kavramı ve
alan araştırması ile ilgili yeni metot önerilerinin uygulanmaya çalışıldığı eskiyeni
alan çalışmalarına çağrıda bulundu. Yalnızca etnomüzikologlara değil,
yakın disiplinlerden de makalelerin değerlendirmeye alındığı altıncı sayıda,
Etnomüzikoloji Derneğinin “Dünyada ve Türkiye’de Etnomüzikolojinin
Dünü, Bugünü, Yarını” temalı, 29-30 Mayıs 2020 tarihleri arasında düzenlediği
çevrimiçi etnomüzikoloji sempozyumu açılış konuşmacısı (keynote)
Prof. Dr Jeff Todd TITON’nun “Within Ethnomusicology, Where Is Ecomusicology?
Music, Sound, and Environment” başlıklı yaklaşımları üzerine kritik
yaptığı sunum da yer almakta.
Öncelikle belirtmek gerekir ki, 2020 yılının büyük global salgınının yansımaları
birçok alanda olduğu gibi sosyal disiplinlerde fazlasıyla kendini göstermektedir.
Çalışma metodolojileri, veri toplama teknikleri, neden-sonuç
ilişkileri sorgulamaları ve değişen yaşam biçimleri tüm sosyal bilimlerde olduğu
gibi etnomüzikoloji özelinde de çeşitli tartışmalar ve araştırmaları önümüze
sermekte. Dünyada değişim anları ve yansımalarını müzik bağlamları
üzerinden okuma refleksini hızlı bir şekilde göstermiş ve göstermekte olan
etnomüzikoloji, mevcuda yönelik tespit, yorumlama, kayda geçirme ve uygun
teorik çerçeve ile açıklamaya yönelik çalışmalara elinizdeki sayıda dikkat
çekilmektedir.
Feyzan Göher tarafından yapılan “Kültür Ürünlerinin Mekânsal Değişimi
Sibirya Türklerinde Tarım ve Hayvancılık Kültüründen Müzik Kültürüne
Geçen Çalgılar” isimli çalışma, Titon’un çizdiği kuramsal dünya ve kritiği
destekler nitelikte bir içeriğe ve alan verilerine sahip olması ile önem arz eder.
Nikos Andrikos, “Towards A Re-Approach of Makam Theory Based on
Practice and Repertoire: The Case of The Segah Phenomena” çalışmasında
segah perdesi ve makamı tartışmalarında yeni bir yaklaşım ortaya koyarken,
Rohan Iyer Kent kimliği içerisinde sokak stili Siter performansını kültürel
kimlik boyutuyla ele almaktdır. Samarpita Chatterjee (Mukherjee) & Sabyasachi
Sarkhel ise “An Introduction to Dhrupad Performance Platforms of India”
isimli çalışmasında, Hindistan müziğinin en önemli performans biçimlerinden
olan Dhrpad’lar üzerine yaptığı incelemede, geleneksel bir form Dhrupad’ların yeni performans platformları üzerine gözlemlerini yansıtır.
Art arda gelen son üç makalede görüldüğü üzere, araştırmacılar geleneksel bir
müzik yapısının günümüz müzik dinleme, algılama, üretme, tüketme, seyretme
gibi dinamiklerdeki değişiklik halini ve tartışmalarını yansıtmaktadırlar.
‘Musikide İnkılabı Popüler Müzikle Yapmak’: Barış Manço ve Armonize
Edilmiş Türküler” başlıklı Okan Murat Öztürk tarafından yazılan makalede
ise aynı zamanda pop müzik ikonlarından olan Barış Manço’ nun eser ve performanslarını,
modernleşme, batılılaşma gibi sosyolojik olgular çerçevesinde
kritize edildiği görülür. Son olarak ise yaşanılan salgın döneminin yol açtığı
müziğin performansının festivallere yansımasını “Covid-19 Pandemisinin
Müzik Festivallerine Mekansal Etkisi: “Virtual Festival” başlıklı makalesinde
Ayça Boyacıoğlu oldukça güncel bir konu üzerinden değerlendirme yapmaktadır.
Ayrıca, 6. sayı hakemlerimiz, Oya Leventoğlu, Cenk Güray, Cenk Celasin
ve Irene Markoff’tan oluşmaktadır. Dergimize katkıda bulunan tüm yazarlarımıza
ve hakemlerimize teşekkür eder, bir sonraki sayımızda birbirinden
değerli çalışmalarla alana katkıda bulunmayı canı gönülden temenni ederim.
Prof. Dr. Özlem DOĞUŞ VARLIEthnomusicology Journal has published the second issue of its third year
and reached the 6th issue in its publications. The sixth issue, as in the previous
issue, has called for the old-new fieldworks in which the discussions within
the discipline of ethnomusicology, new approaches and field concept as well
as suggestions for new methods related to fieldwork are tried to be addressed.
The sixth issue where the articles of not only the ethnomusicologists but also
those from close disciplines have taken been into consideration, has given
place to the presentation, " Within Ethnomusicology, Where Is Ecomusicology?
Music, Sound, and Environment”, which was delivered by Prof. Dr. Jeff
Todd TITON, keynote speaker in the online ethnomusicology symposium,
"Past, Present, Future of Ethnomusicology in the World and Turkey" organized
by the Association of Ethnomusicology on 29-30 May, 2020, and
which featured the criticism on the approaches of ecoethnomusicology- ecomusicology.
First of all, it should be noted that the repercussions of the great global
pandemic of 2020 are very evident in social disciplines, as in many areas.
Study methodologies, data collection techniques, questioning of cause-effect
relationships and changing lifestyles reveal various discussions and researches
in ethnomusicology, as in all social sciences. Ethnomusicology, which has
quickly exhibited and is still exhibiting the reading reflex of the moments of
change and reflections in the world through musical contexts, draws attention
with the studies that explain the present situation by identification, interpretation,
recording and appropriate theoretical framework as indicated
by the issue at your hand.
The work titled "Spatial Change of Cultural Products: Instruments passed
from Agriculture and Livestock Culture to Music Culture in Siberian Turks "
by Feyzan Göher is important with its content and field data that support the
theoretical world and criticism that Titon has put forward. In his work “Towards
a Re-Approach of Makam Theory Based on Practice and Repertoire:
The Case of the Segah Phenomena”, Nikos Andrikos introduces a new approach
to the segah pitch structure and makam discussions, while Rohan Iyer
addresses street-style within the urban identity and Siter examines the performance
with the dimension of cultural identity. Samarpita Chatterjee
(Mukherjee) & Sabyasachi Sarkhel, in their study which is titled as “An troduction to Dhrupad Performance Platforms of India” and examines the
Dhrupads, one of the most important performance styles of Indian music,
reflect their observations on the new performance platforms of a traditional
form, Dhrupads. As can be seen in the last three successive articles, they reflect
the changes and discussions of a traditional musical structure in the dynamics
of today's music, such as listening, perceiving, producing, consuming,
observing music. In the article titled "Making Music Revolution with Popular
Music": Barış Manço and Harmonized Folk Songs" written by Okan Murat
Öztürk, it is seen that the works and performances of Barış Manço, who
is also one of the icons of pop music, are criticized within the framework of
sociological phenomena such as modernization and westernization. Finally,
Ayça Boyacıoğlu evaluates the reflection of the performance of the music
caused by the epidemic period on the festivals in his article titled "The Spatial
Effect of the Covid-19 Pandemic on Music Festivals:" Virtual Festival" on a
very current topic.
Also, the journal referees of the 6th issue include Oya Leventoğlu, Cenk
Güray, Cenk Celasin and Irene Markoff. I would like to thank all our authors
and referees who contributed to our journal, and I sincerely wish to contribute
to the field with valuable studies in our next issue.
Prof. Dr. Özlem DOĞUŞ VARLI
6th Issue Editor
6. sayıya ulaştı. Altıncı sayı, bir önceki sayıda olduğu gibi etnomüzikoloji
disiplinin kendi içindeki tartışmaları, yeni yaklaşımları, alan kavramı ve
alan araştırması ile ilgili yeni metot önerilerinin uygulanmaya çalışıldığı eskiyeni
alan çalışmalarına çağrıda bulundu. Yalnızca etnomüzikologlara değil,
yakın disiplinlerden de makalelerin değerlendirmeye alındığı altıncı sayıda,
Etnomüzikoloji Derneğinin “Dünyada ve Türkiye’de Etnomüzikolojinin
Dünü, Bugünü, Yarını” temalı, 29-30 Mayıs 2020 tarihleri arasında düzenlediği
çevrimiçi etnomüzikoloji sempozyumu açılış konuşmacısı (keynote)
Prof. Dr Jeff Todd TITON’nun “Within Ethnomusicology, Where Is Ecomusicology?
Music, Sound, and Environment” başlıklı yaklaşımları üzerine kritik
yaptığı sunum da yer almakta.
Öncelikle belirtmek gerekir ki, 2020 yılının büyük global salgınının yansımaları
birçok alanda olduğu gibi sosyal disiplinlerde fazlasıyla kendini göstermektedir.
Çalışma metodolojileri, veri toplama teknikleri, neden-sonuç
ilişkileri sorgulamaları ve değişen yaşam biçimleri tüm sosyal bilimlerde olduğu
gibi etnomüzikoloji özelinde de çeşitli tartışmalar ve araştırmaları önümüze
sermekte. Dünyada değişim anları ve yansımalarını müzik bağlamları
üzerinden okuma refleksini hızlı bir şekilde göstermiş ve göstermekte olan
etnomüzikoloji, mevcuda yönelik tespit, yorumlama, kayda geçirme ve uygun
teorik çerçeve ile açıklamaya yönelik çalışmalara elinizdeki sayıda dikkat
çekilmektedir.
Feyzan Göher tarafından yapılan “Kültür Ürünlerinin Mekânsal Değişimi
Sibirya Türklerinde Tarım ve Hayvancılık Kültüründen Müzik Kültürüne
Geçen Çalgılar” isimli çalışma, Titon’un çizdiği kuramsal dünya ve kritiği
destekler nitelikte bir içeriğe ve alan verilerine sahip olması ile önem arz eder.
Nikos Andrikos, “Towards A Re-Approach of Makam Theory Based on
Practice and Repertoire: The Case of The Segah Phenomena” çalışmasında
segah perdesi ve makamı tartışmalarında yeni bir yaklaşım ortaya koyarken,
Rohan Iyer Kent kimliği içerisinde sokak stili Siter performansını kültürel
kimlik boyutuyla ele almaktdır. Samarpita Chatterjee (Mukherjee) & Sabyasachi
Sarkhel ise “An Introduction to Dhrupad Performance Platforms of India”
isimli çalışmasında, Hindistan müziğinin en önemli performans biçimlerinden
olan Dhrpad’lar üzerine yaptığı incelemede, geleneksel bir form Dhrupad’ların yeni performans platformları üzerine gözlemlerini yansıtır.
Art arda gelen son üç makalede görüldüğü üzere, araştırmacılar geleneksel bir
müzik yapısının günümüz müzik dinleme, algılama, üretme, tüketme, seyretme
gibi dinamiklerdeki değişiklik halini ve tartışmalarını yansıtmaktadırlar.
‘Musikide İnkılabı Popüler Müzikle Yapmak’: Barış Manço ve Armonize
Edilmiş Türküler” başlıklı Okan Murat Öztürk tarafından yazılan makalede
ise aynı zamanda pop müzik ikonlarından olan Barış Manço’ nun eser ve performanslarını,
modernleşme, batılılaşma gibi sosyolojik olgular çerçevesinde
kritize edildiği görülür. Son olarak ise yaşanılan salgın döneminin yol açtığı
müziğin performansının festivallere yansımasını “Covid-19 Pandemisinin
Müzik Festivallerine Mekansal Etkisi: “Virtual Festival” başlıklı makalesinde
Ayça Boyacıoğlu oldukça güncel bir konu üzerinden değerlendirme yapmaktadır.
Ayrıca, 6. sayı hakemlerimiz, Oya Leventoğlu, Cenk Güray, Cenk Celasin
ve Irene Markoff’tan oluşmaktadır. Dergimize katkıda bulunan tüm yazarlarımıza
ve hakemlerimize teşekkür eder, bir sonraki sayımızda birbirinden
değerli çalışmalarla alana katkıda bulunmayı canı gönülden temenni ederim.
Prof. Dr. Özlem DOĞUŞ VARLIEthnomusicology Journal has published the second issue of its third year
and reached the 6th issue in its publications. The sixth issue, as in the previous
issue, has called for the old-new fieldworks in which the discussions within
the discipline of ethnomusicology, new approaches and field concept as well
as suggestions for new methods related to fieldwork are tried to be addressed.
The sixth issue where the articles of not only the ethnomusicologists but also
those from close disciplines have taken been into consideration, has given
place to the presentation, " Within Ethnomusicology, Where Is Ecomusicology?
Music, Sound, and Environment”, which was delivered by Prof. Dr. Jeff
Todd TITON, keynote speaker in the online ethnomusicology symposium,
"Past, Present, Future of Ethnomusicology in the World and Turkey" organized
by the Association of Ethnomusicology on 29-30 May, 2020, and
which featured the criticism on the approaches of ecoethnomusicology- ecomusicology.
First of all, it should be noted that the repercussions of the great global
pandemic of 2020 are very evident in social disciplines, as in many areas.
Study methodologies, data collection techniques, questioning of cause-effect
relationships and changing lifestyles reveal various discussions and researches
in ethnomusicology, as in all social sciences. Ethnomusicology, which has
quickly exhibited and is still exhibiting the reading reflex of the moments of
change and reflections in the world through musical contexts, draws attention
with the studies that explain the present situation by identification, interpretation,
recording and appropriate theoretical framework as indicated
by the issue at your hand.
The work titled "Spatial Change of Cultural Products: Instruments passed
from Agriculture and Livestock Culture to Music Culture in Siberian Turks "
by Feyzan Göher is important with its content and field data that support the
theoretical world and criticism that Titon has put forward. In his work “Towards
a Re-Approach of Makam Theory Based on Practice and Repertoire:
The Case of the Segah Phenomena”, Nikos Andrikos introduces a new approach
to the segah pitch structure and makam discussions, while Rohan Iyer
addresses street-style within the urban identity and Siter examines the performance
with the dimension of cultural identity. Samarpita Chatterjee
(Mukherjee) & Sabyasachi Sarkhel, in their study which is titled as “An troduction to Dhrupad Performance Platforms of India” and examines the
Dhrupads, one of the most important performance styles of Indian music,
reflect their observations on the new performance platforms of a traditional
form, Dhrupads. As can be seen in the last three successive articles, they reflect
the changes and discussions of a traditional musical structure in the dynamics
of today's music, such as listening, perceiving, producing, consuming,
observing music. In the article titled "Making Music Revolution with Popular
Music": Barış Manço and Harmonized Folk Songs" written by Okan Murat
Öztürk, it is seen that the works and performances of Barış Manço, who
is also one of the icons of pop music, are criticized within the framework of
sociological phenomena such as modernization and westernization. Finally,
Ayça Boyacıoğlu evaluates the reflection of the performance of the music
caused by the epidemic period on the festivals in his article titled "The Spatial
Effect of the Covid-19 Pandemic on Music Festivals:" Virtual Festival" on a
very current topic.
Also, the journal referees of the 6th issue include Oya Leventoğlu, Cenk
Güray, Cenk Celasin and Irene Markoff. I would like to thank all our authors
and referees who contributed to our journal, and I sincerely wish to contribute
to the field with valuable studies in our next issue.
Prof. Dr. Özlem DOĞUŞ VARLI
6th Issue Editor
Research Interests:
[...] Η συγγραφή του παρόντος βιβλίου καθώς και του υλικού το οποίο το συνοδεύει (Πρόγραμμα Σπουδών, Οδηγός Εκπαιδευτικού) σε πρώτο επίπεδο, αποτελεί μια ιστορικά σημαντική στιγμή για τον χώρο της Εκκλησιαστικής Εκπαίδευσης, καθώς είναι η... more
[...] Η συγγραφή του παρόντος βιβλίου καθώς και του υλικού το οποίο το συνοδεύει (Πρόγραμμα
Σπουδών, Οδηγός Εκπαιδευτικού) σε πρώτο επίπεδο, αποτελεί μια ιστορικά σημαντική στιγμή
για τον χώρο της Εκκλησιαστικής Εκπαίδευσης, καθώς είναι η πρώτη φορά από την ίδρυση
Εκκλησιαστικών Σχολείων (1830), όπου καθίσταται δυνατή η συγγραφή εγχειριδίου σε σχέση
με την Εκκλησιαστική μουσική. Σε δεύτερο όμως επίπεδο, το συγκεκριμένο γεγονός φέρει ιδι-
αίτερη σημασία αναφορικά με την εν γένει διδακτική-παιδαγωγική διαχείριση της Εκκλησιαστι-
κής μουσικής, καθώς -όπως θα γίνει σαφές παρακάτω- κατέστη η αφορμή ώστε να συνταχθεί
και να κατατεθεί μια εναλλακτική πρόταση αναφορικά με την εκμάθηση του εν λόγω μουσικού
είδους, που συνδυάζει τη βιωματική διαδικασία (προφορικότητα, αναφορά σε πρόσωπα και
περιβάλλοντα, συμμετοχή στην καθ’ αυτή επιτέλεση κ.ά) με την χρήση των σύγχρονων τεχνο-
λογικών εργαλείων και μέσων επικοινωνίας.[...]
Σπουδών, Οδηγός Εκπαιδευτικού) σε πρώτο επίπεδο, αποτελεί μια ιστορικά σημαντική στιγμή
για τον χώρο της Εκκλησιαστικής Εκπαίδευσης, καθώς είναι η πρώτη φορά από την ίδρυση
Εκκλησιαστικών Σχολείων (1830), όπου καθίσταται δυνατή η συγγραφή εγχειριδίου σε σχέση
με την Εκκλησιαστική μουσική. Σε δεύτερο όμως επίπεδο, το συγκεκριμένο γεγονός φέρει ιδι-
αίτερη σημασία αναφορικά με την εν γένει διδακτική-παιδαγωγική διαχείριση της Εκκλησιαστι-
κής μουσικής, καθώς -όπως θα γίνει σαφές παρακάτω- κατέστη η αφορμή ώστε να συνταχθεί
και να κατατεθεί μια εναλλακτική πρόταση αναφορικά με την εκμάθηση του εν λόγω μουσικού
είδους, που συνδυάζει τη βιωματική διαδικασία (προφορικότητα, αναφορά σε πρόσωπα και
περιβάλλοντα, συμμετοχή στην καθ’ αυτή επιτέλεση κ.ά) με την χρήση των σύγχρονων τεχνο-
λογικών εργαλείων και μέσων επικοινωνίας.[...]
Research Interests:
Η βασική προβληματική, η οποία διέπει κατά κύριο λόγο το εγχείρημα της συγγραφής του παρόντος βιβλίου σχετίζεται με το ζητούμενο της διαχείρισης του φαινομένου της αστικής-λαϊκής μουσικής δημιουργίας με έναν τρόπο αυστηρά θεωρητικό αλλά... more
Η βασική προβληματική, η οποία διέπει κατά κύριο λόγο το εγχείρημα της συγγραφής του παρόντος βιβλίου σχετίζεται με το ζητούμενο της διαχείρισης του φαινομένου της αστικής-λαϊκής μουσικής δημιουργίας με έναν τρόπο αυστηρά θεωρητικό αλλά και παράλληλα γόνιμα λειτουργικό. Έτσι, πέραν από την καθαυτή επιστημονική-μουσικολογική του υφή, το βιβλίο φέρει και μία διάσταση αμιγώς πρακτική, καθώς κάλλιστα θα μπορούσε να λειτουργήσει ως μία ευμέθοδη θεωρητική σύνοψη ή ως διδακτικό εγχειρίδιο αναφορικά με την εκμάθηση της Αστικής-Λαϊκής μουσικής του Μεσοπολέμου. Συγκεκριμένα, εξετάζονται αναλυτικά όλα τα επιμέρους φαινόμενα τα οποία κατατάσσονται στο σύστημα των Λαϊκών Δρόμων, και ορίζονται τα βασικά δομικά τους χαρακτηριστικά, τα οποία άλλωστε και τεκμηριώνονται μέσω παραπομπών σε αντίστοιχες ρεπερτοριακές περιπτώσεις με τη χρήση εποπτικών μέσων. Γίνεται, επίσης, λόγος για ζητήματα τροπικής συμπερι-φοράς, μελωδικής ανάπτυξης, φαινομένων ιδιωματισμού, ενώ ακροθιγώς παρουσιά ζονται και οι βασικές αρχές του κάθε Δρόμου σε επίπεδο αρμονι-κής διαχείρισής του. Για τις περιπτώσεις Λαϊκών Δρόμων που συναντάται αντίστοιχο τους παράλληλο στον χώρο του Οθωμανικού makam ή είναι συχνή η διαχείρισή τους στο πλαίσιο της δισκογραφίας των 78 στροφών κα-τά τα ala turca αισθητικά πρότυπα, γίνεται ειδική μνεία μέσω ανάλυσης των επιμέρους διαστηματικών, υφολογικών και τεχνικών ιδιαιτεροτήτων που συνοδεύουν τις εν λόγω περιπτώσεις. Στο βιβλίο εμπεριέχονται 70 και πλέον πρωτότυπες καταγραφές στο πεντά-γραμμο μεσοπολεμικών αστικών τραγουδιών με παράλληλη λεπτομερή μορφολογική-τροπική ανάλυσή τους. Το συγκεκριμένο ρεπερτοριακό corpus, σε συνδυασμό με την αντίστοιχη θεωρητική του διαχείριση, θα μπορούσε αναμφίβολα να λειτουργήσει ως αφορμή και σημείο αναφοράς ειδικά στο πεδίο της διδακτικής διαδικασίας που αφορά στη μελέτη και την επιτελεστική αποτύπωση της Αστικής-Λαϊκής μουσικής της Μεσοπολεμικής περιόδου.
Περιεχόμενα, Πρόλογος και ενδεικτικό κεφάλαιο:
http://www.toposbooks.gr/contents/books_details.php?nid=551
Περιεχόμενα, Πρόλογος και ενδεικτικό κεφάλαιο:
http://www.toposbooks.gr/contents/books_details.php?nid=551
Research Interests:
Η Σμύρνη κατά τον 19ο αιώνα αποτέλεσε το έμβλημα του εκσυγχρονισμού και της νεωτερικότητας για την Οθωμανική Αυτοκρατορία, σε όλους τους τομείς του κοινωνικού βίου και της δημιουργικής έκφρασης. Η εν γένει μουσική δραστηριότητα που... more
Η Σμύρνη κατά τον 19ο αιώνα αποτέλεσε το έμβλημα του εκσυγχρονισμού και της νεωτερικότητας για την Οθωμανική Αυτοκρατορία, σε όλους τους τομείς του κοινωνικού βίου και της δημιουργικής έκφρασης. Η εν γένει μουσική δραστηριότητα που αναπτύχθηκε στην περιοχή, αισθητικά και μορφολογικά φέρει έντονα τα χαρακτηριστικά γνωρίσματα του υφολογικού συγκρητισμού και της υβριδικότητας.
Κάτι τέτοιο ισχύει και για την Εκκλησιαστική μουσική, καθώς στην περιοχή θα παρουσιαστεί ένα ξεχωριστό νεωτερικό ιδίωμα που θα γίνει η αφορμή να προκληθούν εντάσεις-αντιδράσεις από τα συντηρητικά περιβάλλοντα της Πόλης. Κάτι τέτοιο όμως δεν θα καταστεί τροχοπέδη στην καθιέρωση και περαιτέρω δημοφιλία του "σμυρναίικου ύφους" όχι μόνο στην ευρύτερη περιοχή αλλά και στον ελλαδικό πλέον χώρο, ειδικά μετά τα γεγονότα του 1922 και την ανταλλαγή των πληθυσμών.
O κεντρικός προβληματισμός του βιβλίου αφορά κατά κύριο λόγο στην προσπάθεια ανίχνευσης αλλά και αξιολόγησης του τρόπου με τον οποίο το ιδιότυπο στιλιστικά ρεύμα της Σμύρνης εντάχθηκε στην ευρύτερη μουσική πραγματικότητα της εποχής, παίζοντας συγχρόνως έναν ρόλο αναμφίβολα εκσυγχρονιστικό στα πλαίσια επιμέρους πεδίων, όπως εκείνων της συνθετικής δημιουργίας, της διδακτικής, της εκδοτικής παραγωγής, του θεωρητικού στοχασμού, κ.ά. Η μελέτη των ιστορικών πηγών σε συνδυασμό με την διάθεση ερμηνείας του ιστορικο-κοινωνικού πλαισίου της εποχής βοήθησε στην ανάδειξη των πλέον ιδιαίτερων χαρακτηριστικών που καθόρισαν την ιδεολογική-αισθητική φυσιογνωμία του εν λόγω κινήματος, και παράλληλα εξασφάλισαν την ιστορική του αυτοδυναμία.
Κάτι τέτοιο ισχύει και για την Εκκλησιαστική μουσική, καθώς στην περιοχή θα παρουσιαστεί ένα ξεχωριστό νεωτερικό ιδίωμα που θα γίνει η αφορμή να προκληθούν εντάσεις-αντιδράσεις από τα συντηρητικά περιβάλλοντα της Πόλης. Κάτι τέτοιο όμως δεν θα καταστεί τροχοπέδη στην καθιέρωση και περαιτέρω δημοφιλία του "σμυρναίικου ύφους" όχι μόνο στην ευρύτερη περιοχή αλλά και στον ελλαδικό πλέον χώρο, ειδικά μετά τα γεγονότα του 1922 και την ανταλλαγή των πληθυσμών.
O κεντρικός προβληματισμός του βιβλίου αφορά κατά κύριο λόγο στην προσπάθεια ανίχνευσης αλλά και αξιολόγησης του τρόπου με τον οποίο το ιδιότυπο στιλιστικά ρεύμα της Σμύρνης εντάχθηκε στην ευρύτερη μουσική πραγματικότητα της εποχής, παίζοντας συγχρόνως έναν ρόλο αναμφίβολα εκσυγχρονιστικό στα πλαίσια επιμέρους πεδίων, όπως εκείνων της συνθετικής δημιουργίας, της διδακτικής, της εκδοτικής παραγωγής, του θεωρητικού στοχασμού, κ.ά. Η μελέτη των ιστορικών πηγών σε συνδυασμό με την διάθεση ερμηνείας του ιστορικο-κοινωνικού πλαισίου της εποχής βοήθησε στην ανάδειξη των πλέον ιδιαίτερων χαρακτηριστικών που καθόρισαν την ιδεολογική-αισθητική φυσιογνωμία του εν λόγω κινήματος, και παράλληλα εξασφάλισαν την ιστορική του αυτοδυναμία.
Research Interests:
The subject of this book, as its title denotes, concerns a group of actions and their constituent procedures defined by the generic title "Ecclesiastical Music", which took place in Smyrna in the wider 19th century. More specifically, the... more
The subject of this book, as its title denotes, concerns a group of actions and their constituent procedures defined by the generic title "Ecclesiastical Music", which took place in Smyrna in the wider 19th century. More specifically, the central issue of the research primarily concerns the effort to detect, but also to evaluate the way in which the unique stylistic trend of Smyrna was integrated into the broader musical reality of the time, while playing on the same time an undoubtedly modernizing role in the context of distinct fields, such as composition, teaching, publishing, theoretical thinking etc. The study of historical sources, combined with the disposition to interpret the historical-social context of the time, contributed to bringing out the most particular characteristics which defined the ideological-aesthetic physiognomy of this movement and on the same time assured its historical self-contentedness.
The methodological model followed was the one of field research with parallel participant observation. The purpose of the research was to examine the reality of the existence of this musical idiom, still alive today, albeit inevitably evolved, as well as the scientific belief that compels the investigation of issues of the past to be made within the context of a historical movement, starting from the present and referring to the time period in question. In addition, an important part of the research focused on the study of the daily and periodical press of the time, in order to construct a more global and objective view of the issue’s historical background, since these sources reported in the most exhibitive manner the living historical reality of the time and were perfectly synchronised with the events that were taking place. The principal conclusions extracted from the present research could be concisely set out as follows:
• The modernistic character of the totality of the activity (compositional, theoretical, organisational, teaching, publishing) taking place in the field of Smyrna’s 19th century Ecclesiastical Music is directly connected with the general modernisation-orientated ideological stance which dominated the fields of social life, art, education and original creation during the period in question, as a logical consequence of the radical reshaping of the composition of the population of the wider geographical area.
• The aesthetic-stylistic difference between the work of the representatives of the “School of Smyrna” and the Patriarchical teachers should be interpreted in a broader manner than the one offered by the limited framework of the ecclesiastical music genre, and necessarily in relation to the generalised reformative process taking place in the Ottoman territory. Besides, this framework brings back to discussion the issue of the Greek populations’ Ottoman identity, which is connected to the emergence of the classical historical stereotype of an Ottoman - Imperial Constantinople and a Greek - nation-state orientated Smyrna, establishing a unique bipolarity and a dialectical relationship between these two urban centres.
• The inclination towards modernisation that is widespread in the work of the composers from Smyrna should not be understood as a historically exaggerated exception, but as the most elaborated and expressively mature version of a broader peripheral action having intensively progressive characteristics, which runs counter to the conservative stance of the Patriarchical circles and the musical associations, by offering the possibility of an alternative-expansive interpretation of Tradition, while also by expressing the need of expanding its aesthetic potentiality on the level of original composition and production.
• It is necessary to interpret the stylistic singularity, as well as the general inclination towards modernisation dominating the compositional work of the teachers from Smyrna, in the light of the broader compositional and stylistic constants defining the musical culture of the Empire’s urban territory, which was being transformed during the crucial period of Ottoman Romanticism.
• Smyrna played a special role in the evolutionary process taking place during the second half of the 19th century as regards the theoretical establishment of the transformative system, since the deconstructive character of the work of Misael Misailides challenged certain vulnerable elements of the Chrysanthian system and constituted the occasion for the conduct of a very broad and, on the same time, ideologically fruitful dialogue, within the musical and intellectual communities of the time.
• Finally, the two-way aesthetic reference of Smyrna’s repertoire to the East, as well as to the West, constitutes a particular aspect of the dynamic ideological process taking place within the area, and is related to the structuring a historical identity which would be capable of including and rendering elements of the Ottoman culture in an alternative manner, while necessarily securing the intended progress and modernisation, which is nowadays unidimensionally inspired by the West. To conclude, it could be said that the aim of this research was not merely to report systematically on a particular historical phenomenon and its accompanying ideological and aesthetic parameters, but also to construct a contemporary speculation, its fundamental characteristics being contemplation and disposition for research, which, although emanating from a past historical period, could become useful as a source of new ideas and views, which would reinforce creatively today's musicological science and research.
On a strictly research level, this study essentially offers a new methodological proposal, which, contrary to the dominant approach towards Ecclesiastical music, which is fragmented and unrelated to the wider historical background, projects the need of examining Ecclesiastical music as a particular, but also as an active member of the musical culture in whole. In other words, beyond the scholarly and morphological study of each matter, special attention is paid to the question of its stylistic and ideological setting within the wider historical, cultural and visual background, as well as to its evolutionary function within a dynamic plexus of influences and interactions. Hence the proposed research model should bear a clearly ethnomusicological character, in order to facilitate the interpretation of the phenomena and actions taking place in the field of Ecclesiastical music in the light of the anthropological, sociological, stylistic and ideological factors that can be traced in each historical environment. Therefore, this project, due to its subject in itself, as well as to its alternative methodological model, could constitute an occasion for a turn of the research activity towards the study of particular musical idioms and trends that can be observed in the field of Ecclesiastical music nowadays, which are directly related, ideologically and aesthetically, to broader historical-social and anthropological resultants and constants.
The methodological model followed was the one of field research with parallel participant observation. The purpose of the research was to examine the reality of the existence of this musical idiom, still alive today, albeit inevitably evolved, as well as the scientific belief that compels the investigation of issues of the past to be made within the context of a historical movement, starting from the present and referring to the time period in question. In addition, an important part of the research focused on the study of the daily and periodical press of the time, in order to construct a more global and objective view of the issue’s historical background, since these sources reported in the most exhibitive manner the living historical reality of the time and were perfectly synchronised with the events that were taking place. The principal conclusions extracted from the present research could be concisely set out as follows:
• The modernistic character of the totality of the activity (compositional, theoretical, organisational, teaching, publishing) taking place in the field of Smyrna’s 19th century Ecclesiastical Music is directly connected with the general modernisation-orientated ideological stance which dominated the fields of social life, art, education and original creation during the period in question, as a logical consequence of the radical reshaping of the composition of the population of the wider geographical area.
• The aesthetic-stylistic difference between the work of the representatives of the “School of Smyrna” and the Patriarchical teachers should be interpreted in a broader manner than the one offered by the limited framework of the ecclesiastical music genre, and necessarily in relation to the generalised reformative process taking place in the Ottoman territory. Besides, this framework brings back to discussion the issue of the Greek populations’ Ottoman identity, which is connected to the emergence of the classical historical stereotype of an Ottoman - Imperial Constantinople and a Greek - nation-state orientated Smyrna, establishing a unique bipolarity and a dialectical relationship between these two urban centres.
• The inclination towards modernisation that is widespread in the work of the composers from Smyrna should not be understood as a historically exaggerated exception, but as the most elaborated and expressively mature version of a broader peripheral action having intensively progressive characteristics, which runs counter to the conservative stance of the Patriarchical circles and the musical associations, by offering the possibility of an alternative-expansive interpretation of Tradition, while also by expressing the need of expanding its aesthetic potentiality on the level of original composition and production.
• It is necessary to interpret the stylistic singularity, as well as the general inclination towards modernisation dominating the compositional work of the teachers from Smyrna, in the light of the broader compositional and stylistic constants defining the musical culture of the Empire’s urban territory, which was being transformed during the crucial period of Ottoman Romanticism.
• Smyrna played a special role in the evolutionary process taking place during the second half of the 19th century as regards the theoretical establishment of the transformative system, since the deconstructive character of the work of Misael Misailides challenged certain vulnerable elements of the Chrysanthian system and constituted the occasion for the conduct of a very broad and, on the same time, ideologically fruitful dialogue, within the musical and intellectual communities of the time.
• Finally, the two-way aesthetic reference of Smyrna’s repertoire to the East, as well as to the West, constitutes a particular aspect of the dynamic ideological process taking place within the area, and is related to the structuring a historical identity which would be capable of including and rendering elements of the Ottoman culture in an alternative manner, while necessarily securing the intended progress and modernisation, which is nowadays unidimensionally inspired by the West. To conclude, it could be said that the aim of this research was not merely to report systematically on a particular historical phenomenon and its accompanying ideological and aesthetic parameters, but also to construct a contemporary speculation, its fundamental characteristics being contemplation and disposition for research, which, although emanating from a past historical period, could become useful as a source of new ideas and views, which would reinforce creatively today's musicological science and research.
On a strictly research level, this study essentially offers a new methodological proposal, which, contrary to the dominant approach towards Ecclesiastical music, which is fragmented and unrelated to the wider historical background, projects the need of examining Ecclesiastical music as a particular, but also as an active member of the musical culture in whole. In other words, beyond the scholarly and morphological study of each matter, special attention is paid to the question of its stylistic and ideological setting within the wider historical, cultural and visual background, as well as to its evolutionary function within a dynamic plexus of influences and interactions. Hence the proposed research model should bear a clearly ethnomusicological character, in order to facilitate the interpretation of the phenomena and actions taking place in the field of Ecclesiastical music in the light of the anthropological, sociological, stylistic and ideological factors that can be traced in each historical environment. Therefore, this project, due to its subject in itself, as well as to its alternative methodological model, could constitute an occasion for a turn of the research activity towards the study of particular musical idioms and trends that can be observed in the field of Ecclesiastical music nowadays, which are directly related, ideologically and aesthetically, to broader historical-social and anthropological resultants and constants.
Research Interests:
Τίτος Ξηρέλλης & Εκκλησιαστική Μουσική – Το προερχόμενο από το αρχείο αυτόγραφο κι ο δάσκαλός του Νικόλαος Παπαγεωργίου
Έκδοση Δήμου Μυτιλήνης
ISBN: 978-618-86847-0-6
https://youtu.be/1WSP455scKY?si=ilGgpbl8bB7A7ldW
Έκδοση Δήμου Μυτιλήνης
ISBN: 978-618-86847-0-6
https://youtu.be/1WSP455scKY?si=ilGgpbl8bB7A7ldW
Research Interests:
The aim of this paper is to highlight the interactive relation between the improvisational practices and the original compositions of Tanburi Cemil Bey. Compositional as well as improvisational instances that belong to the same modal... more
The aim of this paper is to highlight the interactive relation between the improvisational practices and the original compositions of Tanburi Cemil Bey. Compositional as well as improvisational instances that belong to the same modal phenomenon will be presented and analyzed in the paper. Through this procedure a number of interesting issues related to the structural and stylistic substance of Makam arises. How does Cemil Bey perceive the relation between form and improvisation? Does he use the same material for his instrumental compositions (Saz Semaî-Peşrev) and his Taksims? How do these two poles “converse” with each other? Is there a core conception about the Makam’s ontology that feeds the improvisational performances as well as the extended compositions with specific phraseological material (melodic-rhythmic motifs)? The case of Tanburi Cemil Bey offers the opportunity to examine the way improvisational and compositional practices support and highlight modality. Thus, Taksim can be considered as a kind of alternative -independent of rhythmic structure- composition “in real time”. So, how does Cemil Bey manage the phraseological material in the frame of a compositional form and how independently of it? Can Improvisation be comprehended as a more flexible practice regarding the prominence of modality’s potential? How does Cemil Bey comprehend modality as a composer and how as a performer? How does he manage the antecedent compositional material in his works and how does he extend the borders of modality in the frame of his compositions and Taksims?
Research Interests:
Ζητήματα Διδακτικής των μουσικών οργάνων. Γεφυρώνοντας Θεωρίακαι Πράξη, Εκδόσεις Δίσιγμα The present article attempts to present the contemporary reality regarding the teaching process of Ecclesial music in Conservatories, Music... more
Ζητήματα Διδακτικής των μουσικών οργάνων. Γεφυρώνοντας Θεωρίακαι Πράξη, Εκδόσεις Δίσιγμα
The present article attempts to present the contemporary reality regarding the teaching process of Ecclesial music in Conservatories, Music Schools, and similar institutions. After extensive field research on the subject over the last three years, the result/observation was the almost absolute emphasis on knowledge of theory and notation; also, the absence of any experiential reference at the level of performance is another important finding. In the present article, we propose a series of methodological tools, which aspire to contribute to the construction of a "new" teaching concept, which on the one hand relates to the scope and practices located at the core of the musical culture in question, and on the other hand, utilizes contemporary teaching models and standards. Thus, we attempt to stress the significance of the oral tradition and the importance of inferring the entire teaching process to the actual performance (per se). The gradual mastery of the notational system and the theory - however always tied to the repertoire at hand - as well as the development of side skills such as musical recording, voice cultivation, compositional "compilation", "critical" listening to acoustic material, the contrasting/comparative approach to repertoire, combined with the possibilities of new technological means and especially of recording, can form a modern, and functional teaching model, aligned to the particular principles of Ecclesial music.
The present article attempts to present the contemporary reality regarding the teaching process of Ecclesial music in Conservatories, Music Schools, and similar institutions. After extensive field research on the subject over the last three years, the result/observation was the almost absolute emphasis on knowledge of theory and notation; also, the absence of any experiential reference at the level of performance is another important finding. In the present article, we propose a series of methodological tools, which aspire to contribute to the construction of a "new" teaching concept, which on the one hand relates to the scope and practices located at the core of the musical culture in question, and on the other hand, utilizes contemporary teaching models and standards. Thus, we attempt to stress the significance of the oral tradition and the importance of inferring the entire teaching process to the actual performance (per se). The gradual mastery of the notational system and the theory - however always tied to the repertoire at hand - as well as the development of side skills such as musical recording, voice cultivation, compositional "compilation", "critical" listening to acoustic material, the contrasting/comparative approach to repertoire, combined with the possibilities of new technological means and especially of recording, can form a modern, and functional teaching model, aligned to the particular principles of Ecclesial music.
Research Interests:
Ο Παναγιώτης Νικήτας αποτέλεσε ένα σημαντικό πρόσωπο στη μουσική ζωή της Μυτιλήνης ως τη δεκαετία του 1960, έχοντας ενεργό δράση στον χώρο της εκκλησιαστικής μουσικής, της μουσικής εκπαίδευσης, καθώς και στον τομέα των μουσικών καταγραφών... more
Ο Παναγιώτης Νικήτας αποτέλεσε ένα σημαντικό πρόσωπο στη μουσική ζωή της Μυτιλήνης ως τη δεκαετία του 1960, έχοντας ενεργό δράση στον χώρο της εκκλησιαστικής μουσικής, της μουσικής εκπαίδευσης, καθώς και στον τομέα των μουσικών καταγραφών τραγουδιών της λεσβιακής υπαίθρου. Παράλληλα, έντονη υπήρξε η παρουσία του στον τοπικό Τύπο, όπου αρθρογραφούσε σχετικά με ανακύπτοντα ζητήματα που αφορούσαν τη μουσική επιτέλεση. Πιο συγκεκριμένα, στην παρούσα εισήγηση, μέσα από τα κείμενα του Νικήτα, -με αφορμή την επέκταση της πολυφωνίας στη λειτουργική πράξη της Εκκλησίας-, αναδεικνύεται το ιστορικό και ιδεολογικό πλαίσιο των αντιπαραθέσεων, καθώς επίσης και οι εν γένει απόψεις του αναφορικά με τη σχέση λαϊκής και εκκλησιαστικής μουσικής. Παράλληλα, επιχειρείται η ανάδειξη της δράσης του στο πλαίσιο συλλογικοτήτων και πρωτοβουλιών πολιτιστικού και εκπαιδευτικού χαρακτήρα, με απώτερο στόχο τη σκιαγράφηση του ευρύτερου πνευματικού περιβάλλοντος που συνδέεται με τον αστικό χώρο της Μυτιλήνης κατά το α΄ μισό του 20ού αιώνα.
Research Interests:
Research Interests:
Two centuries after the release of Chrysanthos’ Εισαγωγή εις το Θεωρητικόν και Πρακτικόν της Εκκλησιαστικής Μουσικής, this treatise remains one of the most important sources of theoretical thought in the field of Greek Orthodox... more
Two centuries after the release of Chrysanthos’ Εισαγωγή εις το Θεωρητικόν και Πρακτικόν της Εκκλησιαστικής Μουσικής, this treatise remains one of the most important sources of theoretical thought in the field of Greek Orthodox Ecclesiastical Music. Moreover, it is widely known that the theoretical essays of Chrysanthos played a catalytic role regarding the structure of the modal system of Octaechia, the formulation of the new Parasemantiki notation, as well as contemporary performance practices. Indeed, Chrysanthos’ contribution to the reformation of the notation system as well as the way he attributed the theoretical content of Ecclesiastical Music, influenced the entire theoretical thought that was produced, at least until the last decades of the 19th century[1]. Therefore, despite individual disagreements that were expressed within the psaltic milieu of the 19th century[2], almost all of the theoreticians who succeeded Chrysanthos based their thought on his fundamental principle...
Research Interests:
Το παρόν άρθρο επιχειρεί να τοποθετήσει την Χρυσανθινή μεταρρύθμιση εντός του ευρύτερου ιστορικού πλαισίου του «μακρύ» 19ου αιώνα. Έτσι, εκτός από την ανίχνευση αναγωγών της σκέψης του Χρυσάνθου στα πρότυπα του Διαφωτισμού, η μεταρρύθμιση... more
Το παρόν άρθρο επιχειρεί να τοποθετήσει την Χρυσανθινή μεταρρύθμιση εντός του ευρύτερου ιστορικού πλαισίου του «μακρύ» 19ου αιώνα. Έτσι, εκτός από την ανίχνευση αναγωγών της σκέψης του Χρυσάνθου στα πρότυπα του Διαφωτισμού, η μεταρρύθμιση της Εκκλησιασιαστικής μουσικής εντάσσεται σε ένα ευρύτερο ιστορικοφιλοσοφικό πλαίσιο που αφορά στον εκδυτικισμό του Οθωμανικού κράτους. Άλλωστε, κινήσεις προς την ίδια κατεύθηνση μπορούν να εντοπιστούν στη γενικότερη μουσική κίνηση στον αστικό χώρο της Πόλης, όπου απόπειρες μετάβασης από την προφορικότητα στην κειμενικότητα και τον θεωρητικό εξορθολογισμό γίνονται πλέον εμφανείς. Στο άρθρο γίνεται εκτεταμένα λόγος για τη σχέση Προφορικότητας-Κειμενικότητας στην Εκκλησιαστική μουσική, ενώ εφαρμόζεται το θεωρητικό μοντέλο περί Προφορικότητας και Εγγραμματοσύνης του Walter Ong, αναφορικά με την «εκτεχνολόγηση του λόγου». Απώτερος στόχος του άρθρου είναι η κατάδειξη του τρόπου μετάβασης από το προ-νεωτερικό πρότυπο προφορικότητας σε μια κειμενοκεντρική αντίληψη της μουσικής, αναφορικά με την εκτελεστική διαχείριση του ρεπερτορίου και την αντίληψη της θεωρίας. Επιπλέον, αναπτύσσεται ένας προβληματισμός σε σχέση με τον τρόπο και το μέγεθος επιρροής της θεωρίας και της σημειογραφίας στη μουσική πράξη κατά τη σύγχρονη εποχή, τόσο σε επίπεδο διδακτικής διαδικασίας όσο και επιτέλεσης, με αποτέλεσμα τον παραμερισμό της προφορικής διάστασης του Εκκλησιαστικού μέλους.
Research Interests:
After the establishment of the New notation system in 1814 and the invention of music typography, a new productive period in the field of Ecclesiastical music is launched. Apart from Istanbul, several urban centers of the Ottoman Empire... more
After the establishment of the New notation system in 1814 and the invention of music typography, a new productive period in the field of Ecclesiastical music is launched. Apart from Istanbul, several urban centers of the Ottoman Empire are established as important poles regarding original compositional production. The common feature that characterizes all of the aforementioned instances is the creative assimilation and use of numerous elements originating from the secular music of the nineteenth century. The progressive composers of the Ottoman periphery, utilizing the analytical potential of the Chrysanthine System, are able to attribute a plethora of idiomatic-idiosyncratic elements. One indicative instance of these innovative practices is the composition of Sticheraric Meli in Varys Diatonic echos. So, in contrast to the established practice of composing the Varys’ Sticheraric Meli on ΓΑ, several masters attempted to use the mild diatonic version of the echos based on ΖΩ. Therefore, in the frame of this material, modal behaviors, movements and phenomena that refer to Ottoman urban music are detected. Thus, the priority that is given to modality weakens the determinative character of forms’ rules. So, modality ensures its autonomy and is rendered as a catalytic factor for any innovative compositional attempt.
Research Interests:
After the establishment of the New notation system in 1814 and the invention of music typography, a new productive period in the field of Ecclesiastical music is launched. Apart from Istanbul, several urban centers of the Ottoman Empire... more
After the establishment of the New notation system in 1814 and the invention of music typography, a new productive period in the field of Ecclesiastical music is launched. Apart from Istanbul, several urban centers of the Ottoman Empire are established as important poles regarding original compositional production. The common feature that characterizes all of the aforementioned instances is the creative assimilation and use of numerous elements originating from the secular music of the nineteenth century. The progressive composers of the Ottoman periphery, utilizing the analytical potential of the Chrysanthine System, are able to attribute a plethora of idiomatic-idiosyncratic elements. One indicative instance of these innovative practices is the composition of Sticheraric Meli in Varys Diatonic echos. So, in contrast to the established practice of composing the Varys’ Sticheraric Meli on ΓΑ, several masters attempted to use the mild diatonic version of the echos based on ΖΩ. Therefore, in the frame of this material, modal behaviors, movements and phenomena that refer to Ottoman urban music are detected. Thus, the priority that is given to modality weakens the determinative character of forms’ rules. So, modality ensures its autonomy and is rendered as a catalytic factor for any innovative compositional attempt.
Research Interests:
ΙΕΡΑ ΣΥΝΟΔΟΣ ΤΗΣ ΕΚΚΛΗΣΙΑΣ ΤΗΣ ΕΛΛΑΔΟΣ, ΙΔΡΥΜΑ ΒΥΖΑΝΤΙΝΗΣ ΜΟΥΣΙΚΟΛΟΓΙΑΣ, «Θεωρία καὶ Πράξη τῆς Ψαλτικῆς Τέχνης», Ζ΄ ΔΙΕΘΝΕΣ ΣΥΝΕΔΡΙΟ ΜΟΥΣΙΚΟΛΟΓΙΚΟ ΚΑΙ ΨΑΛΤΙΚΟ, Ἀθήνα, 18-20 Ὀκτωβρίου 2018, «Μορφολογία-Αἰσθητική» From personal Innovation... more
ΙΕΡΑ ΣΥΝΟΔΟΣ ΤΗΣ ΕΚΚΛΗΣΙΑΣ ΤΗΣ ΕΛΛΑΔΟΣ, ΙΔΡΥΜΑ ΒΥΖΑΝΤΙΝΗΣ ΜΟΥΣΙΚΟΛΟΓΙΑΣ, «Θεωρία καὶ Πράξη τῆς Ψαλτικῆς Τέχνης», Ζ΄ ΔΙΕΘΝΕΣ ΣΥΝΕΔΡΙΟ ΜΟΥΣΙΚΟΛΟΓΙΚΟ ΚΑΙ ΨΑΛΤΙΚΟ, Ἀθήνα, 18-20 Ὀκτωβρίου 2018, «Μορφολογία-Αἰσθητική»
From personal Innovation to Acceptance beyond local Boundaries
Case: Sticheraric Hymn “At the Tomb (Mary Magdalene) sought Thee”
The present paper is motivated by the morphological, tropical (modal), and aesthetic particularity of the Slow (Sticheraric) Praises in the Third Tone: “At the tomb (Mary Magdalene) sought Thee,” as it has been formed according to the performance/transcription of Konstantinos Priggos. The particularity of this version lies in the interactive structure of the hymnographic text, which encourages the use of a varicolored phraseology, frequent modal changes, variational density, narrational expression, rhythmical and temporal variability, resulting essentially in the deconstruction of the traditional swift/syllabic form of this sticheraric hymn. All of the above techniques contribute aesthetically to the creation of peculiar soundscapes with the
aim of establishing an appropriate atmosphere for the sonic “reenactment” of the loaded verse’s conceptual/semantic content. Therefore, beyond the synthetic analysis proper of the said version, a respective match with parallel musicological occurrences from Western vocal music is attempted, particularly during the Romantic era, where similar practices are encountered. Subsequently, various melopoetic examples of said Sticheraric are presented – versions that are older than or contemporary with Priggos’s – originating from diverse musical environments, with the goal to study their immediate or indirect influential conditions, relatedness, or even dependence. Conclusively, what is of particular interest, is the demonstration of the way in which Priggos’ case dominated over all other versions, resulting in its establishment beyond local boundaries, and its incorporation in the chanters’ repertory canon, irrespective of their individual affiliation to “Schools” and environments. The process above, at an ethnomusicological level, brings to the fore the dynamics inherent in the construction of lineages from emblematic personalities concerning the establishment of a modern proposition, either through a direct (teacher-student relationship) or mediated (printouts, recordings, radio) process.
From personal Innovation to Acceptance beyond local Boundaries
Case: Sticheraric Hymn “At the Tomb (Mary Magdalene) sought Thee”
The present paper is motivated by the morphological, tropical (modal), and aesthetic particularity of the Slow (Sticheraric) Praises in the Third Tone: “At the tomb (Mary Magdalene) sought Thee,” as it has been formed according to the performance/transcription of Konstantinos Priggos. The particularity of this version lies in the interactive structure of the hymnographic text, which encourages the use of a varicolored phraseology, frequent modal changes, variational density, narrational expression, rhythmical and temporal variability, resulting essentially in the deconstruction of the traditional swift/syllabic form of this sticheraric hymn. All of the above techniques contribute aesthetically to the creation of peculiar soundscapes with the
aim of establishing an appropriate atmosphere for the sonic “reenactment” of the loaded verse’s conceptual/semantic content. Therefore, beyond the synthetic analysis proper of the said version, a respective match with parallel musicological occurrences from Western vocal music is attempted, particularly during the Romantic era, where similar practices are encountered. Subsequently, various melopoetic examples of said Sticheraric are presented – versions that are older than or contemporary with Priggos’s – originating from diverse musical environments, with the goal to study their immediate or indirect influential conditions, relatedness, or even dependence. Conclusively, what is of particular interest, is the demonstration of the way in which Priggos’ case dominated over all other versions, resulting in its establishment beyond local boundaries, and its incorporation in the chanters’ repertory canon, irrespective of their individual affiliation to “Schools” and environments. The process above, at an ethnomusicological level, brings to the fore the dynamics inherent in the construction of lineages from emblematic personalities concerning the establishment of a modern proposition, either through a direct (teacher-student relationship) or mediated (printouts, recordings, radio) process.
Research Interests:
This paper attempts to highlight the necessity of establishing a connection between performance and theory in the field of Ottoman Urban Music. In specific, it is crucial for theoretical thought to have a direct reference to and depend on... more
This paper attempts to highlight the necessity of establishing a connection
between performance and theory in the field of Ottoman Urban Music. In
specific, it is crucial for theoretical thought to have a direct reference to and
depend on interpretative practices and repertoire. In the contemporary theory
of Ottoman Music phenomena, one can witness a contradiction between
the description of Makams and their performance. In this paper, the
phenomena that belong to the wider category of Segah are examined as case
study. Thus, a more functional way of approaching and comprehending the
aforementioned modal phenomena is proposed.
Methodologically, the analytical model that is suggested draws
numerous explanatory examples from masterpieces as well as
historically important renditions (repertorial and improvisational), that
belong to the family of Segah makam.
between performance and theory in the field of Ottoman Urban Music. In
specific, it is crucial for theoretical thought to have a direct reference to and
depend on interpretative practices and repertoire. In the contemporary theory
of Ottoman Music phenomena, one can witness a contradiction between
the description of Makams and their performance. In this paper, the
phenomena that belong to the wider category of Segah are examined as case
study. Thus, a more functional way of approaching and comprehending the
aforementioned modal phenomena is proposed.
Methodologically, the analytical model that is suggested draws
numerous explanatory examples from masterpieces as well as
historically important renditions (repertorial and improvisational), that
belong to the family of Segah makam.
Research Interests:
Ο όρος Παράδοση, όπως και τα αντίστοιχα στερεοτυπικά δίπολα τα οποία τον εμπεριέχουν, αποτελούν ετεροχρονισμένες, αναστοχαστικού τύπου ιδεολογικές κατασκευές της νεωτερικής εποχής. Στον χώρο της σύγχρονης ελληνικής μουσικής... more
Ο όρος Παράδοση, όπως και τα αντίστοιχα στερεοτυπικά δίπολα τα οποία τον εμπεριέχουν, αποτελούν ετεροχρονισμένες, αναστοχαστικού τύπου ιδεολογικές κατασκευές της νεωτερικής εποχής. Στον χώρο της σύγχρονης ελληνικής μουσικής πραγματικότητας, ο όρος Παράδοση χρησιμοποιήθηκε και χρησιμοποιείται με μια αντίστοιχη ιδεολογική φόρτιση, η οποία υπηρετεί το ρομαντικό αφήγημα της απόλυτα οριζόντιας, γραμμικής αντίληψης του πολιτισμικού γεγονότος. Η παραπάνω θεώρηση δεν εξαντλείται απλά και μόνο στο πεδίο της θεωρητικής ανάλυσης, αλλά επεκτείνεται και σε πρακτικά επίπεδα όπως πχ εκείνα της εκπαίδευσης, της καθαυτής επιτέλεσης και της συνθετικής δημιουργίας. Παρελκόμενο της συγκεκριμένης πρακτικής αποτελεί ο χαρακτηρισμός οποιασδήποτε εκτελεστικής πρότασης που παρεκκλίνει των κανονιστικών προτύπων της Παράδοσης, ως νεωτερικής. Η παραπάνω συνθήκη δημιουργεί στον σύγχρονο μουσικό μια έκδηλη αμηχανία, καθώς βρίσκεται μεταξύ της μιμητικής αναπαραγωγής του ιστορικού υλικού και της καινοτόμου πρότασης ως απροϋπόθετου αυτοσκοπού. [...] Το παρόν άρθρο εστιάζει στο ζήτημα της μουσικής σύνθεσης με δομική και αισθητική αναφορά στις τροπικές μουσικές κουλτούρες της Ανατολής, ως χώρων άντλησης δομικών, τεχνικών αλλά και αισθητικών προτύπων. Το εν λόγω πολιτισμικό περιβάλλον, είτε ως μέγεθος εκφραστικής-βιωματικής αναφοράς είτε ως συλλογική-πολιτισμική μνήμη, θα μπορούσε ενδεχομένως να εμποτίσει τη σύγχρονη μουσική πραγματικότητα με επικαιροποιημένες ιδέες και προτάσεις ειδικά στο πεδίο της πρωτογενούς σύνθεσης και δημιουργίας.
Research Interests:
Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tanburi Cemil Bey contributed to its acceptance by a wide audience. Interestingly a variety of Çeçen Kızı versions exist... more
Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tanburi Cemil Bey contributed to its acceptance by a wide audience. Interestingly a variety of Çeçen Kızı versions exist on the island of Lesvos and in Preveza (mainland Western Greece). This paper focuses on a previously unknown transcription of Çeçen Kızı in the Byzantine notation system by Konstantinos Psahos, included in his collection Asias Lyra, published in Athens in 1908, preceding Cemil Bey’s recording.
Konstantinos Psahos’ transcription of Çeçen Kızı can be considered as very useful “historical material” in regard to the comparative approach of this multivariate tune. Thus, as an early score, it holds a scientific “discussion” with the transcription of Sousamlis, Tanburi Cemil Bey’s recording and all of the oral material (recordings, live performances). Therefore, access to this source seems to fill several historical gaps of Çeçen Kızı ’s attractive “adventure”. At the same time, Psahos’ Kourdikon Melos offers an amount of information regarding the structure and the interpretative dimension of the tune. Thus, this version could become an alternative source of “drawing” ideas for the contemporary performances of this popular tune in Turkey and Greece.
Konstantinos Psahos’ transcription of Çeçen Kızı can be considered as very useful “historical material” in regard to the comparative approach of this multivariate tune. Thus, as an early score, it holds a scientific “discussion” with the transcription of Sousamlis, Tanburi Cemil Bey’s recording and all of the oral material (recordings, live performances). Therefore, access to this source seems to fill several historical gaps of Çeçen Kızı ’s attractive “adventure”. At the same time, Psahos’ Kourdikon Melos offers an amount of information regarding the structure and the interpretative dimension of the tune. Thus, this version could become an alternative source of “drawing” ideas for the contemporary performances of this popular tune in Turkey and Greece.
Research Interests:
Research Interests:
Research Interests:
“The transcription of Çeçen Kızı in Byzantine notation by Konstantinos Psahos in 1908” Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tanburi Cemil Bey contributed to... more
“The transcription of Çeçen Kızı in Byzantine notation by Konstantinos Psahos in 1908”
Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tanburi Cemil Bey contributed to its acceptance by a wide audience. Interestingly a variety of Çeçen Kızı versions exist on the island of Lesvos and in Preveza (mainland Western Greece). This paper focuses on a previously unknown transcription of Çeçen Kızı in the Byzantine notation system by Konstantinos Psahos, included in his collection Asias Lyra, published in Athens in 1908, preceding Cemil Bey’s recording.
Konstantinos Psahos’ transcription of Çeçen Kızı can be considered as very useful “historical material” in regard to the comparative approach of this multivariate tune. Thus, as an early score, it holds a scientific “discussion” with the transcription of Sousamlis, Tanburi Cemil Bey’s recording and all of the oral material (recordings, live performances). Therefore, access to this source seems to fill several historical gaps of Çeçen Kızı ’s attractive “adventure”. At the same time, Psahos’ Kourdikon Melos offers an amount of information regarding the structure and the interpretative dimension of the tune. Thus, this version could become an alternative source of “drawing” ideas for the contemporary performances of this popular tune in Turkey and Greece.
Approach to the rendition of this version: https://youtu.be/rlh_mM7S__w
Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tanburi Cemil Bey contributed to its acceptance by a wide audience. Interestingly a variety of Çeçen Kızı versions exist on the island of Lesvos and in Preveza (mainland Western Greece). This paper focuses on a previously unknown transcription of Çeçen Kızı in the Byzantine notation system by Konstantinos Psahos, included in his collection Asias Lyra, published in Athens in 1908, preceding Cemil Bey’s recording.
Konstantinos Psahos’ transcription of Çeçen Kızı can be considered as very useful “historical material” in regard to the comparative approach of this multivariate tune. Thus, as an early score, it holds a scientific “discussion” with the transcription of Sousamlis, Tanburi Cemil Bey’s recording and all of the oral material (recordings, live performances). Therefore, access to this source seems to fill several historical gaps of Çeçen Kızı ’s attractive “adventure”. At the same time, Psahos’ Kourdikon Melos offers an amount of information regarding the structure and the interpretative dimension of the tune. Thus, this version could become an alternative source of “drawing” ideas for the contemporary performances of this popular tune in Turkey and Greece.
Approach to the rendition of this version: https://youtu.be/rlh_mM7S__w
Research Interests:
The composition of “Polichronismous”, laudatory canticles as well as of “Odes”, which concern specific moments in the life of the Sultan (the ascent to the throne and the crowning, the official visits, the return from Europe e. t. c)... more
The composition of “Polichronismous”, laudatory canticles as well as of “Odes”, which concern specific moments in the life of the Sultan (the ascent to the throne and the crowning, the official visits, the return from Europe e. t. c) constitutes a truly interesting musical and historical phenomenon for the Ecclesiastical music production in the end of the 19th century. This trend is evidenced chronologically to its greatest peak during the period of which the ruler of the Empire was Sultan Abdülhamit II (1876-1909) to whom, for that matter almost the entirety of these works is dedicated. The elevation of this historical phenomenon coincides with the time during the Greek element of the Empire goes into action, in the most interventionist way, in the political, social and diplomatic affairs of the government as well as with the appearance of the ideological model of “ Greek-Ottomanism”, which, among other things, suggests the alternative existence of the Ottoman Empire through the substantial participation of the Greek Ottoman people in the administrative, bureaucratic and economic fields.
Ecclesiastical composers from the Ottoman capital as well as from the districts used the new “Parasemantics” notation and composed Turkish-speaking Polichronismous and chants had a rich melodic and rhythmical content as well as a complete morphological reference to the modal system of the Eastern urban area. These parts, which are found in printed and hand written collections of the time, were recorded in the reformed notation system of Chrisanthos and as much as style and structure are concerned, they directly refer to aesthetic models derived from the ideological model of the Ottoman Romanticism. The language used in the lyrics of this specific works is the Turkish language of the later Ottoman period and it is conveyed in writing through the use of the Greek alphabet according to the model of the “Karamanlidic” writing. Moreover the notional character of the lyrics is laudatory while along with the prayers for health and longevity which are offered to the Sultan himself, what is emphasized is his fair judgement as well as his chosen by God power […]
Ecclesiastical composers from the Ottoman capital as well as from the districts used the new “Parasemantics” notation and composed Turkish-speaking Polichronismous and chants had a rich melodic and rhythmical content as well as a complete morphological reference to the modal system of the Eastern urban area. These parts, which are found in printed and hand written collections of the time, were recorded in the reformed notation system of Chrisanthos and as much as style and structure are concerned, they directly refer to aesthetic models derived from the ideological model of the Ottoman Romanticism. The language used in the lyrics of this specific works is the Turkish language of the later Ottoman period and it is conveyed in writing through the use of the Greek alphabet according to the model of the “Karamanlidic” writing. Moreover the notional character of the lyrics is laudatory while along with the prayers for health and longevity which are offered to the Sultan himself, what is emphasized is his fair judgement as well as his chosen by God power […]
Research Interests:
This article could be regarded as an attempt to outline the action and work of a group of personalities, who were well known for their presence in the field of ecclesiastical music in 20th-century Lesvos. The case of Lesvos will provide... more
This article could be regarded as an attempt to outline the action and work of a group of personalities, who were well known for their presence in the field of ecclesiastical music in 20th-century Lesvos. The case of Lesvos will provide us the opportunity to deal with issues of a broader musicological interest, relating, for example, to the existence of an oral interpretative idiom, the functioning of teaching and oral transmission networks, the aesthetic-morphological particularity of the original compositional production, etc.
In 20th-century Lesvos, it is interesting to observe how an idiomatically autonomous compositional and interpretative trend was developed, which was yet directly related, both historically and aesthetically, to the innovative model of the “School of Smyrna”. The broad compositional and teaching work of Nikolaos Papageorgiou should be considered as a fundamental influential factor in the region, while the established dipole of Michael Karykas – Georgios Kritikos, which emerged from as early as the interwar period, would result in the contemporaneous activity of two parallel networks of oral transmission and original compositional production. Furthermore, it should be noted that the overall activity in the field of ecclesiastical music was carried out with the same intensity both in the urban area of Mytilene and the country of Lesvos, having as a common typological characteristic the ideologically conscious handling of the historical material in an alternative, original and innovative manner.
In 20th-century Lesvos, it is interesting to observe how an idiomatically autonomous compositional and interpretative trend was developed, which was yet directly related, both historically and aesthetically, to the innovative model of the “School of Smyrna”. The broad compositional and teaching work of Nikolaos Papageorgiou should be considered as a fundamental influential factor in the region, while the established dipole of Michael Karykas – Georgios Kritikos, which emerged from as early as the interwar period, would result in the contemporaneous activity of two parallel networks of oral transmission and original compositional production. Furthermore, it should be noted that the overall activity in the field of ecclesiastical music was carried out with the same intensity both in the urban area of Mytilene and the country of Lesvos, having as a common typological characteristic the ideologically conscious handling of the historical material in an alternative, original and innovative manner.
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KALAN Müzik
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Interview
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Alanında tanınmış, sevilen müzisyen Doç. Dr. Niko Andrikos'un kendi bestelerini içeren yeni albümü "Αμυγδαλιά" (Amiğdaliya-Badem ağacı), yakında dinleyicisiyle buluşuyor. Midilli' de doğmuş ve İstanbul'da yıllarca eğitim alıp hem... more
Alanında tanınmış, sevilen müzisyen Doç. Dr. Niko Andrikos'un kendi bestelerini içeren yeni albümü "Αμυγδαλιά" (Amiğdaliya-Badem ağacı), yakında dinleyicisiyle buluşuyor. Midilli' de doğmuş ve İstanbul'da yıllarca eğitim alıp hem Yunanistan hem de Türkiye performans alanında faaliyet gösteren Niko Andrikos'un, mayıs ayında hem fiziki hem de dijital olarak Kalan Müzik etiketiyle yayınlanacak olan yeni albümünde, sanatçının 2021-2022 yılları arasında besteleniş olduğu eserler yer alıyor. Gerek morfoloji, gerekse makamsal açıdan Türk Sanat Müziğinin temel ilkelerine göre bestelenmiş olan eserlerden oluşan albümde improvizasyon formların dışında (taksimler-gazeller), hem Türkçe hem de Yunanca güfteli şarkıların yanı sıra, peşrev ve saz semâi gibi formlarda da orijinal besteler bulunmaktadır. Albüm, Aralık 2022 ve Şubat 2023'te, iki farklı ekip ile Atina'daki Sierra Stüdyo'sunda kaydedildi. Orijinal-çağdaş güftelerin şarkı formunda bestelendiği "Αμυγδαλιά" (Amiğdaliya-Badem ağacı) albümünde, formun tarih içinde rastlanan değişik varyantları kullanılıp yeni bakış açıları sağlayan orijinal fikirler halinde sunuluyor. Teodora Vuça, Maria Siakalli ve Aslı Aker'in güftelerinin de yer aldığı albüm, Niko Andrikos'un eşsiz icrasıyla yakında Kalan Müzik etiketiyle hem fiziki hem de dijital olarak raflarda yerini alıyor!
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This edition is a first attempt to “depict” aspects of the scientific research and artistic-performative actions around Ecclesiastical-Byzantine Music that are devised in LBEMHC ΕΒΑΜΙΠ (Laboratory for Balkan and Eastern Music, History and... more
This edition is a first attempt to “depict” aspects of the scientific research and artistic-performative actions around Ecclesiastical-Byzantine Music that are devised in LBEMHC ΕΒΑΜΙΠ (Laboratory for Balkan and Eastern Music, History and Culture) of the Department of Music Studies of the University of Ioannina.
The overall output arose as a result of the collaboration of LBEMHC ΕΒΑΜΙΠ and the corresponding Image, Sound and Cultural Representation Lab of the Department of Cultural Technology and Communication of the University of the Aegean, in a wider frame of interdepartmental and interdisciplinary cooperations. [...]
Kalophonikoi Heirmoi is one of the most interesting compositional genres of Ecclesiastical music. Their individuality relates to their morphological content, stylistic physiognomy and their special use in the field of performance . Essentially, Kalophonikoi Heirmoi are extremely extensive, melismatic, melodically refined compositions, whose poetic text is mostly drawn from the Heirmoi and the Troparia of the Kanones . Their structural-aesthetic profile undoubtedly refers to solo execution, that requires special vocal competence-ability, executive skills and interpretative incisiveness. The aforementioned pieces are morphologically characterized by extensive vocal range (ambitus), rich modal content, specific-melismatic phraseology, frequent modulations, melodic and text repetitions, melodic chains-sequences, rhetoric schemes based on text painting, demanding intervallic nuances and dense ornamental themes. [...]
Although Kalophonikoi Heirmoi are a compositional genre that belongs to Ecclesiastical music, their performative use is not connected with the ritual practices, since they are not integrated into the services as repertoire. In other words, there is no liturgical practice, service or ceremony that incorporates into its rite the execution of a Kalophonikos Heirmos. According to the sources, their usage is strictly para-liturgical, while it seems they were performed outside the church in festive banquets and joyous meetings or inside the church after the end of the liturgical services, during the distribution of the holy bread. [...]
The onset of this genre can be traced back to the 17th century, while its heyday is considered to be the era of action of the famous “triumvirate” of Balasios the Priest and Nomofylax, Bishop of Nees Patrais Germanos and Petros Bereketis (second half of the 17th century). The last one is rightly considered as the most emblematic composer of this genre, not only because of the plethora of Kalophonikoi Heirmoi that he composed, but also due to their doubtless artistic value. Therefore, the impact of his Work on subsequent compositional attempts in the aforementioned genre was extremely wide in terms of content as well as aesthetics. [...]
Critical points in the dissemination of the Kalophonikoi Heirmoi were their transcription into the new analytical system by Gregorios Protopsaltis and their printed release by Theodoros Phokaevs in Constantinople in 1835. During the 19th century transcribed (into the New Parasimantiki) Kalophonikoi Heirmoi were incorporated in several compilations-anthologies and printed Music collections.
In parallel, the 19th century is characterized by a general innovative tendency regarding the structural content and aesthetic profile of Ecclesiastical music. Indeed, the composers of this era exhibit a strong disposition of acceptance and usage of several influences from the secular music environment. Among others, the use of the new analytical Parasimantiki functioned as the most appropriate medium for the notational depiction of extremely refined melodic themes. So, the “conversation” between the compositional material that comes from the environment of the Ecclesiastical music and the corresponding one from the Ottoman music culture (secular-religious) is more than obvious. Thus, in terms of aesthetics, an absolute alignment with Ottoman music’s “trajectory” of this period is detected in the Kalophonikoi Heirmoi of the 19th century, due to the “adoption” of corresponding practices.
Some of the crucial morphologic-aesthetic characteristics of the 19th century Kalophonikoi Heirmoi are related to an “intense” modal content, frequent modulations, the “compaction” of the central compositional idea, the ornamental over-embellishment of the melodic backbone, the absence of a structural symmetry regarding the size of the Work, the priority of modality at the expense of the a priori structural principles of the form, the overuse of extremely analytical micro-structural motifs and schemes of melodic chains-sequences (παλιλλογία), the “perforation” of a stable tempo through intercalary accelerations and decelerations, the use of exclamations, etc. [...]
Several musicians of the 19th century are implicated in the composition of Kalophonikoi Heirmoi, originating from the official Patriarchal environment, the wider Constantinople region, as well as composers who were mostly active in the Ottoman periphery.
So, Protopsaltes and teachers with or without origins from Constantinople, with presence in the official Patriarchal environment and the Greek orthodox (Rum) parishes-communities of Constantinople, such as Konstantinos Protopsaltis, Chourmouzios Chartofylax, Sotirios Vlahopoulos, Georgios Ogourlou, Panagiotis Kiltzanides, etc, as well as others with origins or center of action in individual provinces of the Ottoman Empire, such as Meletios Bishop of Sisanion, Nikolaos Protopsaltis of Smyrna, Vasilios from Zagliveri, Dimitrios Koutsardakis, Petros Filanthides, etc, composed a plethora of Kalophonikoi Heirmoi, giving more or less substance to the pervading innovative aesthetic aura that characterized the aforementioned genre in the 19th century.
The Works of the composers coming from the periphery (Smyrna, Eastern Thrace, Propontis, Kappadokia), even if they had a career in Constantinople, seems to have played an especially catalytic role in the construction of this era’s Ecclesiastical music, due to the local idiomatic, idiosyncratic, and in any case innovative-modernizing mood.
The overall output arose as a result of the collaboration of LBEMHC ΕΒΑΜΙΠ and the corresponding Image, Sound and Cultural Representation Lab of the Department of Cultural Technology and Communication of the University of the Aegean, in a wider frame of interdepartmental and interdisciplinary cooperations. [...]
Kalophonikoi Heirmoi is one of the most interesting compositional genres of Ecclesiastical music. Their individuality relates to their morphological content, stylistic physiognomy and their special use in the field of performance . Essentially, Kalophonikoi Heirmoi are extremely extensive, melismatic, melodically refined compositions, whose poetic text is mostly drawn from the Heirmoi and the Troparia of the Kanones . Their structural-aesthetic profile undoubtedly refers to solo execution, that requires special vocal competence-ability, executive skills and interpretative incisiveness. The aforementioned pieces are morphologically characterized by extensive vocal range (ambitus), rich modal content, specific-melismatic phraseology, frequent modulations, melodic and text repetitions, melodic chains-sequences, rhetoric schemes based on text painting, demanding intervallic nuances and dense ornamental themes. [...]
Although Kalophonikoi Heirmoi are a compositional genre that belongs to Ecclesiastical music, their performative use is not connected with the ritual practices, since they are not integrated into the services as repertoire. In other words, there is no liturgical practice, service or ceremony that incorporates into its rite the execution of a Kalophonikos Heirmos. According to the sources, their usage is strictly para-liturgical, while it seems they were performed outside the church in festive banquets and joyous meetings or inside the church after the end of the liturgical services, during the distribution of the holy bread. [...]
The onset of this genre can be traced back to the 17th century, while its heyday is considered to be the era of action of the famous “triumvirate” of Balasios the Priest and Nomofylax, Bishop of Nees Patrais Germanos and Petros Bereketis (second half of the 17th century). The last one is rightly considered as the most emblematic composer of this genre, not only because of the plethora of Kalophonikoi Heirmoi that he composed, but also due to their doubtless artistic value. Therefore, the impact of his Work on subsequent compositional attempts in the aforementioned genre was extremely wide in terms of content as well as aesthetics. [...]
Critical points in the dissemination of the Kalophonikoi Heirmoi were their transcription into the new analytical system by Gregorios Protopsaltis and their printed release by Theodoros Phokaevs in Constantinople in 1835. During the 19th century transcribed (into the New Parasimantiki) Kalophonikoi Heirmoi were incorporated in several compilations-anthologies and printed Music collections.
In parallel, the 19th century is characterized by a general innovative tendency regarding the structural content and aesthetic profile of Ecclesiastical music. Indeed, the composers of this era exhibit a strong disposition of acceptance and usage of several influences from the secular music environment. Among others, the use of the new analytical Parasimantiki functioned as the most appropriate medium for the notational depiction of extremely refined melodic themes. So, the “conversation” between the compositional material that comes from the environment of the Ecclesiastical music and the corresponding one from the Ottoman music culture (secular-religious) is more than obvious. Thus, in terms of aesthetics, an absolute alignment with Ottoman music’s “trajectory” of this period is detected in the Kalophonikoi Heirmoi of the 19th century, due to the “adoption” of corresponding practices.
Some of the crucial morphologic-aesthetic characteristics of the 19th century Kalophonikoi Heirmoi are related to an “intense” modal content, frequent modulations, the “compaction” of the central compositional idea, the ornamental over-embellishment of the melodic backbone, the absence of a structural symmetry regarding the size of the Work, the priority of modality at the expense of the a priori structural principles of the form, the overuse of extremely analytical micro-structural motifs and schemes of melodic chains-sequences (παλιλλογία), the “perforation” of a stable tempo through intercalary accelerations and decelerations, the use of exclamations, etc. [...]
Several musicians of the 19th century are implicated in the composition of Kalophonikoi Heirmoi, originating from the official Patriarchal environment, the wider Constantinople region, as well as composers who were mostly active in the Ottoman periphery.
So, Protopsaltes and teachers with or without origins from Constantinople, with presence in the official Patriarchal environment and the Greek orthodox (Rum) parishes-communities of Constantinople, such as Konstantinos Protopsaltis, Chourmouzios Chartofylax, Sotirios Vlahopoulos, Georgios Ogourlou, Panagiotis Kiltzanides, etc, as well as others with origins or center of action in individual provinces of the Ottoman Empire, such as Meletios Bishop of Sisanion, Nikolaos Protopsaltis of Smyrna, Vasilios from Zagliveri, Dimitrios Koutsardakis, Petros Filanthides, etc, composed a plethora of Kalophonikoi Heirmoi, giving more or less substance to the pervading innovative aesthetic aura that characterized the aforementioned genre in the 19th century.
The Works of the composers coming from the periphery (Smyrna, Eastern Thrace, Propontis, Kappadokia), even if they had a career in Constantinople, seems to have played an especially catalytic role in the construction of this era’s Ecclesiastical music, due to the local idiomatic, idiosyncratic, and in any case innovative-modernizing mood.
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Κείμενο από την παρουσίαση του CD "Τα σαντούρια του Αναγνωστηρίου", που πραγματοποιήθηκε στο Αναγνωστήριο στις 3 Αυγούστου 2014
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Καλησπέρα σας και καλώς ήλθατε! Είναι μεγάλη η χαρά να βρίσκομαι ανάμεσά σας και να έχω την ευκαιρία να μοιραστώ κάποιες σκέψεις με αφορμή το νέο δίσκο του Μανόλη Μανουσάκη, «ξύλινο». Με τον Μανόλη μας συνδέει στενή, πολυετής φιλία,... more
Καλησπέρα σας και καλώς ήλθατε! Είναι μεγάλη η χαρά να βρίσκομαι ανάμεσά σας και να έχω την ευκαιρία να μοιραστώ κάποιες σκέψεις με αφορμή το νέο δίσκο του Μανόλη Μανουσάκη, «ξύλινο». Με τον Μανόλη μας συνδέει στενή, πολυετής φιλία, γεγονός το οποίο από τη μια μπορεί να λειτουργήσει θετικά στην προσπάθεια αντίληψης του βαθύτερου εκφραστικού περιεχομένου ενός καλλιτεχνικού έργου, αλλά συγχρόνως και ανασταλτικά στην προσπάθεια δόμησης μιας κατά το δυνατόν αντικειμενικής-αποστασιοποιημένης κρίσης. Ως μουσικολόγος θα μπορούσα να παρατηρήσω αρκετά πράγματα-ενδιαφέροντα κατά τη γνώμη μου-τα οποία εντοπίζονται στο «ξύλινο» και αφορούν σε ζητήματα φόρμας, ρυθμολογίας, οργανολογίου, μελωδικής τροπικότητας, ύφους, αισθητικής, ηχοληπτικής αποτύπωσης, κ.ά. Δεν θα αναλύσω τίποτα από τα παραπάνω, απλά θα σταθώ μόνο στο εξής: Ο Μανουσάκης ώριμα εφαρμόζει την αρετή του μέτρου ώστε αισθητικά να ισορροπεί με ασφάλεια μεταξύ ιστορικού υλικού και καινοτομίας. Έτσι, αφού έχει μελετήσει τα κρίσιμα ειδολογικά, τεχνικά και υφολογικά χαρακτηριστικά της προφορικής μουσικής κουλτούρας της Κρήτης, την μπολιάζει με διάκριση αλλά και σαφήνεια με ετερόκλητα στοιχεία, τα οποία και δημιουργούν νέες συνθετικές φόρμες, νέα ρυθμικά σχήματα, νέα μελωδικά πρότυπα και εν τέλει μια αυτόνομη, ολοκληρωμένη, φρέσκια μουσική πρόταση.
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"Don't be sad for the broken shell of the mother of pearl; a pearl is hidden in it" Mevlana Celalettin Rumi The works in the album SEDEF released by KALAN have been composed in the past three years by Nikos Andrikos, who was born in... more
"Don't be sad for the broken shell of the mother of pearl; a pearl is hidden in it"
Mevlana Celalettin Rumi
The works in the album SEDEF released by KALAN have been composed in the past three years by Nikos Andrikos, who was born in Mytilene and later studied in Istanbul. The compositions were made in both the instrumental musical forms such as Saz Semaisi and Taksim and the vocal musical forms such as Şarkı, Kanto and Gazel which belong to the centuries-long tradition of Ottoman music in terms of form, style and attitude. This study is meant to be the continuation of my first album Motivasyon which was released in 2014. In his previous project, there were compositions in forms such as Saz Semaisi, Zeybek and Oyun havaları.
In the foreword of the Album, Nikos Andrikos states that: “Both as a musicologist and as a musician, I believe that the Ottoman music maintains its vitality in the present day, i.e. in our contemporary period. This is not only limited to the performance of the older works, but also continues through the creation of new works inspired by this rich ancient culture. In this respect, I do not approach Ottoman music as a historical musical genre belonging to the past; I understand this music also as a form of strong expression in the future. For this reason, I think that the act and issue of composing is fundamentally significant for the future of Ottoman music”.
Just like in the former album, the well-known TRT kemençe player Derya Türkan contributed greatly to SEDEF with his performance. The Turkish Kanun player Serkan Mesut Halili and one of the most characteristic representatives of the Ala Turka style of violin, the Greek violin player Yorgo Psaltis also participate in the album with their performances. Nikos Andrikos himself performs lavta and tanbur and is the singer of the pieces on the album.
Niko Andrikos hopes this work gets to be an inspiration for other creative musical works in the field.
Dr. Nikos Andrikos was born in Mytilene in 1982. He lived in Istanbul between 2004-2007 and received training and education from the old generation TRT artists such as Mehmet Erenler (bağlama), Yücel Paşamakçı (Turkish folk music styles/attitudes-compilation methods), Şahin Gültekin (Vocal training/Repertory). At that time he worked as a Muganni (psalm chanter) at the Istanbul Greek Orthodox Patriarchate and conducted various researches in the field of musicology. In 2010 he presented his PhD thesis with the title of "Church Music in Izmir in the 19th Century" to the Department of Musicology at the Ionio University and therewith he received his doctorate degree
In 2009-2011 he worked as an associate professor at the Faculty of Folk and Traditional Music of Epirus Technical University in Arta and taught Church Music, Bağlama and Makam Theory. He published articles on the Theory of makam systems of the Eastern Music -both in Folk and Art Music- in Scientific journals. In 2011, he founded the Eastern Music Education Center (KESAM) on the island of Mytilene. Today, he still continues to direct this center which is carrying out various activities in the fields of research, performance and education. The KESAM Music Center provides education to students, researchers and musicians from all over Greece and from foreign countries such as Spain, France, Turkey, Holland, Cyprus, Israel and Italy, who are interested in the Eastern Music and its education. KESAM continues the projects and research programs supported by the European Union as well as being home to concerts and recordings done with the Ottoman Musical Orchestra formed at the institution.
Nikos Andrikos gave concerts and performances both at home and abroad in many countries (Germany, Portugal, England, Italy, Israel, Bulgaria, Turkey, France) and collaborated with well known artists in Turkey such as Derya Türkan, Göksel Baktagir, Yurdal Tokcan and Bican Chemirani. In 2014, he released his first album, MOTİVASYON which was comprised of his own compositions in the musical forms of Saz Semaîsi, Oyun havaları and Zeybek.
In 2017, he was selected as a Full time Associate Professor by the Faculty of Folk and Traditional Music of Arta Technical University.
Mevlana Celalettin Rumi
The works in the album SEDEF released by KALAN have been composed in the past three years by Nikos Andrikos, who was born in Mytilene and later studied in Istanbul. The compositions were made in both the instrumental musical forms such as Saz Semaisi and Taksim and the vocal musical forms such as Şarkı, Kanto and Gazel which belong to the centuries-long tradition of Ottoman music in terms of form, style and attitude. This study is meant to be the continuation of my first album Motivasyon which was released in 2014. In his previous project, there were compositions in forms such as Saz Semaisi, Zeybek and Oyun havaları.
In the foreword of the Album, Nikos Andrikos states that: “Both as a musicologist and as a musician, I believe that the Ottoman music maintains its vitality in the present day, i.e. in our contemporary period. This is not only limited to the performance of the older works, but also continues through the creation of new works inspired by this rich ancient culture. In this respect, I do not approach Ottoman music as a historical musical genre belonging to the past; I understand this music also as a form of strong expression in the future. For this reason, I think that the act and issue of composing is fundamentally significant for the future of Ottoman music”.
Just like in the former album, the well-known TRT kemençe player Derya Türkan contributed greatly to SEDEF with his performance. The Turkish Kanun player Serkan Mesut Halili and one of the most characteristic representatives of the Ala Turka style of violin, the Greek violin player Yorgo Psaltis also participate in the album with their performances. Nikos Andrikos himself performs lavta and tanbur and is the singer of the pieces on the album.
Niko Andrikos hopes this work gets to be an inspiration for other creative musical works in the field.
Dr. Nikos Andrikos was born in Mytilene in 1982. He lived in Istanbul between 2004-2007 and received training and education from the old generation TRT artists such as Mehmet Erenler (bağlama), Yücel Paşamakçı (Turkish folk music styles/attitudes-compilation methods), Şahin Gültekin (Vocal training/Repertory). At that time he worked as a Muganni (psalm chanter) at the Istanbul Greek Orthodox Patriarchate and conducted various researches in the field of musicology. In 2010 he presented his PhD thesis with the title of "Church Music in Izmir in the 19th Century" to the Department of Musicology at the Ionio University and therewith he received his doctorate degree
In 2009-2011 he worked as an associate professor at the Faculty of Folk and Traditional Music of Epirus Technical University in Arta and taught Church Music, Bağlama and Makam Theory. He published articles on the Theory of makam systems of the Eastern Music -both in Folk and Art Music- in Scientific journals. In 2011, he founded the Eastern Music Education Center (KESAM) on the island of Mytilene. Today, he still continues to direct this center which is carrying out various activities in the fields of research, performance and education. The KESAM Music Center provides education to students, researchers and musicians from all over Greece and from foreign countries such as Spain, France, Turkey, Holland, Cyprus, Israel and Italy, who are interested in the Eastern Music and its education. KESAM continues the projects and research programs supported by the European Union as well as being home to concerts and recordings done with the Ottoman Musical Orchestra formed at the institution.
Nikos Andrikos gave concerts and performances both at home and abroad in many countries (Germany, Portugal, England, Italy, Israel, Bulgaria, Turkey, France) and collaborated with well known artists in Turkey such as Derya Türkan, Göksel Baktagir, Yurdal Tokcan and Bican Chemirani. In 2014, he released his first album, MOTİVASYON which was comprised of his own compositions in the musical forms of Saz Semaîsi, Oyun havaları and Zeybek.
In 2017, he was selected as a Full time Associate Professor by the Faculty of Folk and Traditional Music of Arta Technical University.
Research Interests:
''Kabuğu kırılan sedef üzüntü vermesin sana, içinde inci vardır. '' KALAN’dan SEDEF adıyla çıkmış albümde bulunan eserler, son üç sene içinde Midilli doğumlu ve İstanbul’ da eğitim almış Dr. Niko Andrikos tarafından bestelenmiş olup... more
''Kabuğu kırılan sedef üzüntü vermesin sana,
içinde inci vardır. ''
KALAN’dan SEDEF adıyla çıkmış albümde bulunan eserler, son üç sene içinde Midilli doğumlu ve İstanbul’ da eğitim almış Dr. Niko Andrikos tarafından bestelenmiş olup besteler biçim - üslup ve tavır olarak Osmanlı Müziğine ait Şarkı, Kanto, Gazel gibi sözlü ve Saz Semaisi, Taksim gibi enstrümental formlarda yapılmıştır. Şarkıların Türkçe güfteleri olanlar Asya Arslantaş ve Fulya Özlem’ e, Rumca olanlar ise Teodora Vuça’ ya aittir. Bu çalışma, 2014’te Motivasyon adıyla çıkmış ve yine Saz semaisi, Zeybek ve Oyun havaları tarzında bestelerin bulunduğu ilk albümümünün devamı niteliğindedir.
Albümünün önsözünde Osmanlı Mûsîkısi hakkında Niko Andrikos “Gerek müzisyen gerekse müzikolog olarak makamsal Osmanlı Müziğinin çağdaş dönemimizde de canlılığını sürdürdüğüne inanıyorum. Bu canlılık, sadece eski eserlerin icrasıyla sınırlı kalmayıp aynı zamanda bu zengin kadim kültürden esinlenerek yeni eserlerin yaratılmasıyla da devam etmektedir. Bu açıdan Osmanlı Müziğine sadece geçmişe ait tarihi bir müzik türü olarak değil, aynı zamanda gelecek için de güçlü bir ifade biçimi olarak yaklaşıyorum. Bu nedenle, Osmanlı Müziğinin geleceği için “besteleme” konusunun çok önemli bir yer teşkil ettiğini düşünüyorum” diye belirtti.
Önceki albümde olduğu gibi SEDEFe de meşhur olan TRT kemençe sanatçısı Derya Türkan’ ın önemli katkısı olmuştur. Ayrıca Türkiye’ den kanuni Serkan Mesut Halili ve Yunanistan’ dan kemanda ala turka tavrının en karakteristik temsilcisi Yorgo Psaltis te albüme katılmaktadır. Niko Andrikos ise eserlerinin icrasında lavta, tanbur ve sesiyle bulunmaktadır.
Niko Andrikos bu çalışmanın gelecekte müzik alanında yaratıcı çalışmalara da vesile olmasını umut etmektedir.
Dr. Nikos Andrikos 1982 yılında Midilli’de doğdu. 2004-2007 yılları arasında İstanbul’da yaşadı
ve Mehmet Erenler (bağlama), Yücel Paşmakçı (Türk Halk Müziği tavırları-derleme metotları),
Şahin Gültekin (Şan-Repertuvar) gibi eski kuşak TRT sanatçılarından eğitim aldı. O dönemde
İstanbul Rum Patrikhanesi’nde mugannî olarak çalıştı ve müzikoloji alanında çeşitli araştırmalar yaptı. 2010 yılında İonio Üniversitesi Müzikoloji Bölümünde ’19. asırda İzmir’de Kilise Musîkısi’ adıyla tezini sunup doktora derecesini aldı.
2009-2011 yıllarında Arta Epirus Teknik Üniversitesinde Halk ve Geleneksel Müziği Fakültesinde Doçent olarak çalışıp bağlama, Kilise Müziği ve Makam Nazariyatı öğretti. Bilimsel dergilerde Doğu Müziğine ait olan makamsal –hem sanat hem de halk- sistemlerdeki Nazariyat hakkında hazırladığı makaleleri yayımlandı. 2011’de Midilli adasında Doğu Müziği Eğitim Merkezini (KESAM) kurdu. Bugün hala araştırma, performans ve eğitim alanında değişik faaliyetler gösteren merkezi yönetmeye devam etmektedir. KESAM Yunanistan’ın her yerinden, İspanya, Fransa, Türkiye, Hollanda, Kıbrıs, İsrail ve İtalya’dan gelen öğrencilere, araştırmacılara, müzisyenlere, Doğu müziği ile ilgilenen ve eğitim almak isteyenlere eğitim vermektedir. KESAM Avrupa Birliği destekli proje ve araştırma programlarını sürdürüp aynı zamanda Osmanlı Musîki orkestrasıyla konserler vermekte ve kayıtlar da yapmaktadır.
Nikos Andrikos yurtiçi ve yurtdışında birçok ülkede (Almanya, Portekiz, İngiltere, İtalya, İsrail, Bulgaristan, Türkiye, Fransa) bulunup konserler verdi ve Derya Türkan, Göksel Baktagir, Yurdal Tokcan ve Bican Chemirani ile ortak çalışmalar yaptı. 2012’de Saz Semaîsi, Oyun havaları ve Zeybek gibi formlarda kendi bestelediği eserlerden oluşan MOTİVASYON adında ilk albümünü çıkardı.
2017’de Arta Teknik Üniversitesine ait olan Halk ve Geleneksel Müziği Fakültesine kadrolu doçent olarak seçildi.
içinde inci vardır. ''
KALAN’dan SEDEF adıyla çıkmış albümde bulunan eserler, son üç sene içinde Midilli doğumlu ve İstanbul’ da eğitim almış Dr. Niko Andrikos tarafından bestelenmiş olup besteler biçim - üslup ve tavır olarak Osmanlı Müziğine ait Şarkı, Kanto, Gazel gibi sözlü ve Saz Semaisi, Taksim gibi enstrümental formlarda yapılmıştır. Şarkıların Türkçe güfteleri olanlar Asya Arslantaş ve Fulya Özlem’ e, Rumca olanlar ise Teodora Vuça’ ya aittir. Bu çalışma, 2014’te Motivasyon adıyla çıkmış ve yine Saz semaisi, Zeybek ve Oyun havaları tarzında bestelerin bulunduğu ilk albümümünün devamı niteliğindedir.
Albümünün önsözünde Osmanlı Mûsîkısi hakkında Niko Andrikos “Gerek müzisyen gerekse müzikolog olarak makamsal Osmanlı Müziğinin çağdaş dönemimizde de canlılığını sürdürdüğüne inanıyorum. Bu canlılık, sadece eski eserlerin icrasıyla sınırlı kalmayıp aynı zamanda bu zengin kadim kültürden esinlenerek yeni eserlerin yaratılmasıyla da devam etmektedir. Bu açıdan Osmanlı Müziğine sadece geçmişe ait tarihi bir müzik türü olarak değil, aynı zamanda gelecek için de güçlü bir ifade biçimi olarak yaklaşıyorum. Bu nedenle, Osmanlı Müziğinin geleceği için “besteleme” konusunun çok önemli bir yer teşkil ettiğini düşünüyorum” diye belirtti.
Önceki albümde olduğu gibi SEDEFe de meşhur olan TRT kemençe sanatçısı Derya Türkan’ ın önemli katkısı olmuştur. Ayrıca Türkiye’ den kanuni Serkan Mesut Halili ve Yunanistan’ dan kemanda ala turka tavrının en karakteristik temsilcisi Yorgo Psaltis te albüme katılmaktadır. Niko Andrikos ise eserlerinin icrasında lavta, tanbur ve sesiyle bulunmaktadır.
Niko Andrikos bu çalışmanın gelecekte müzik alanında yaratıcı çalışmalara da vesile olmasını umut etmektedir.
Dr. Nikos Andrikos 1982 yılında Midilli’de doğdu. 2004-2007 yılları arasında İstanbul’da yaşadı
ve Mehmet Erenler (bağlama), Yücel Paşmakçı (Türk Halk Müziği tavırları-derleme metotları),
Şahin Gültekin (Şan-Repertuvar) gibi eski kuşak TRT sanatçılarından eğitim aldı. O dönemde
İstanbul Rum Patrikhanesi’nde mugannî olarak çalıştı ve müzikoloji alanında çeşitli araştırmalar yaptı. 2010 yılında İonio Üniversitesi Müzikoloji Bölümünde ’19. asırda İzmir’de Kilise Musîkısi’ adıyla tezini sunup doktora derecesini aldı.
2009-2011 yıllarında Arta Epirus Teknik Üniversitesinde Halk ve Geleneksel Müziği Fakültesinde Doçent olarak çalışıp bağlama, Kilise Müziği ve Makam Nazariyatı öğretti. Bilimsel dergilerde Doğu Müziğine ait olan makamsal –hem sanat hem de halk- sistemlerdeki Nazariyat hakkında hazırladığı makaleleri yayımlandı. 2011’de Midilli adasında Doğu Müziği Eğitim Merkezini (KESAM) kurdu. Bugün hala araştırma, performans ve eğitim alanında değişik faaliyetler gösteren merkezi yönetmeye devam etmektedir. KESAM Yunanistan’ın her yerinden, İspanya, Fransa, Türkiye, Hollanda, Kıbrıs, İsrail ve İtalya’dan gelen öğrencilere, araştırmacılara, müzisyenlere, Doğu müziği ile ilgilenen ve eğitim almak isteyenlere eğitim vermektedir. KESAM Avrupa Birliği destekli proje ve araştırma programlarını sürdürüp aynı zamanda Osmanlı Musîki orkestrasıyla konserler vermekte ve kayıtlar da yapmaktadır.
Nikos Andrikos yurtiçi ve yurtdışında birçok ülkede (Almanya, Portekiz, İngiltere, İtalya, İsrail, Bulgaristan, Türkiye, Fransa) bulunup konserler verdi ve Derya Türkan, Göksel Baktagir, Yurdal Tokcan ve Bican Chemirani ile ortak çalışmalar yaptı. 2012’de Saz Semaîsi, Oyun havaları ve Zeybek gibi formlarda kendi bestelediği eserlerden oluşan MOTİVASYON adında ilk albümünü çıkardı.
2017’de Arta Teknik Üniversitesine ait olan Halk ve Geleneksel Müziği Fakültesine kadrolu doçent olarak seçildi.
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(2018) «Οι χειρόγραφες συλλογές-αρχεία μουσικών της Λέσβου. Περιεχόμενο-ζητούμενο επιστημονικής διαχείρισης», στην επιστημονική ημερίδα: Μουσικά τεκμήρια του Πλωμαρίου. Το αρχείο του μουσικού Παναγιώτη Παντελέλη, Πούλος, Π. (επ.), Λέσχη... more
(2018) «Οι χειρόγραφες συλλογές-αρχεία μουσικών της Λέσβου. Περιεχόμενο-ζητούμενο επιστημονικής διαχείρισης», στην επιστημονική ημερίδα: Μουσικά τεκμήρια του Πλωμαρίου. Το αρχείο του μουσικού Παναγιώτη Παντελέλη, Πούλος, Π. (επ.), Λέσχη Πλωμαρίου «Βενιαμίν ο Λέσβιος», Πλωμάρι 17/8/2018 Πρόκειται για προφορική ανακοίνωση διαθέσιμη στον σύνδεσμο: https://youtu.be/5RPY_5bQFgs στο πλαίσιο της οποίας παρουσιάστηκε χειρόγραφο αρχειακό υλικό (συλλογές με καταγραφές ρεπερτορίου στο πεντάγραμμο) μουσικών της Λέσβου.
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Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tamburi Cemil Bey contributed to its acceptance by a wide audience. Interestingly a variety of Çeçen Kızı versions exist... more
Çeçen Kızı is one of the most popular tunes in the repertoire of urban Ottoman music. The recording of the piece by Tamburi Cemil Bey contributed to its acceptance by a wide audience. Interestingly a variety of Çeçen Kızı versions exist on the island of Lesvos and in Preveza (mainland Western Greece) . This paper focuses on a previously unknown transcription of Çeçen Kızı in the Byzantine notation system by Konstantinos Psahos, included in his collection Asias Lyra, published in Athens in 1908, preceding Cemil Bey’s recording.
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"Το ούτι στην Ελλάδα", Μέγαρο Μουσικής Αθηνών
Εισαγωγικό κείμενο έντυπου
Εισαγωγικό κείμενο έντυπου
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As the Association of Ethnomusicology-Turkey, we had to postpone the organization we planned to organize in early June with the partnership of the Hungarian Cultural Center, due to the pandemic period, within the framework of our goals to... more
As the Association of Ethnomusicology-Turkey, we had to postpone the organization we planned to organize in early June with the partnership of the Hungarian Cultural Center, due to the pandemic period, within the framework of our goals to organize a symposium every two years. However, after March, when we entered the pandemic period, we made our online symposium decision in April and made our call quickly. According to my screening, the call to the Society for Ethnomusicology and the date of the symposium took its place as the first study in this sense in the field of ethnomusicology, even in social sciences. We determined a unique form of communication by carrying out the uncertainty brought about by being the first, through the association's youtube channel and Instagram account. The fastest issue to be organized in order to pass this process, which many researchers, academics and students found themselves in the most effective and productive way, was also to read the process we were in with our own methods. [...]
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Ν. Ανδρίκος, Α. Βερβέρης, Ε. Κατσαμάτσα, Δ. Κοφτερός, Δ. Πατίλας, Λ. Πεφάνης, Σ. Φευγαλάς, Δ. Χατζηγιαννάκης. Η νύχτα φεύγει ολόχαρη. Η ζωή και το έργο του Τίτου Ξηρέλλη. Δήμος Μυτιλήνης, Μυτιλήνη, ISBN 978-618-86847-0-6