Greek Urban Music

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

2010.07 - Κανελλάτου, Παρασκευή Γ. - Το Ελληνόφωνο Πολυφωνικό Τραγούδι στο Νότιο Τμήμα της Επαρχίας Πωγωνίου στην Ήπειρο

Περίληψη:
Εθνομουσικολογική μελέτη σχετικά με το ελληνόφωνο πολυφωνικό τραγούδημα του νοτίου τμήματος της επαρχίας Πωγωνίου στο γεωγραφικό διαμέρισμα της Ηπείρου. Στην εν λόγω ερευνητική εργασία δίνονται πληροφορίες για τη γεωγραφική κατανομή του συγκεκριμένου μουσικού φαινομένου και για το κοινωνικό πλαίσιο μέσα στο οποίο αναπτύχθηκε. Μουσικολογικά αναλύεται εκτενώς η μουσική δομή του πολυφωνικού τραγουδήματος και παρουσιάζεται η δομή, η σύσταση και η διάρθρωση των πολυφωνικών σχημάτων που το ερμηνεύουν. Τέλος, γίνεται μία συνοπτική αναφορά στα ελληνόφωνα πολυφωνικά σχήματα που ασχολούνται με  το συγκεκριμένο μουσικό είδος, καθώς και στην σχετική δισκογραφία και βιβλιογραφία που έχει εκδοθεί.


2010.07 - Kanellatou, Paraskevi G. -  The Greek Polyphonic Singing of the South-Pogoni Province in Epirus

Abstract:
This is an ethnomusicological study concerning the Greek polyphonic singing of the province of Pogoni in the geographical area of Epirus. In this paper, we are given information about the geographical distribution of the specific musical phenomenon and the social frame where it has been developed.  Musicologically, there is a detailed analysis of polyphonic singing as well as of the formation, the consistence and the possible structure of polyphonic groups.  Greek speaking polyphonic groups who interpret this specific music genre as well as the related discography and bibliography available are presented in the end.

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. [...]

The earliest known aria in Greek was heard in Corfu in January 1827, was composed by Nikolaos Halikiopoulos Mantzaros and -predictably enough- was entitled Aria Greca. It was performed by an Italian singer during her beneficial night and its characteristic was that in its score the Greek verses were written with letters of the Latin alphabet, in order to facilitate the soloist. Until recently it was believed that the aforementioned composition was a unicum and that the absence of professional Greek-speaking singers (especially those of the “fair sex”) was a factor that prevented the composition of vocal works of the operatic genre in Greek language. Nonetheless, the last few years research revealed several references to arias and other brief works of operatic character “in Greek idiom”, both original and translations of standard repertory works. Most of these compositions were once more performed during beneficial performances or charity galas. The paper will attempt to investigate the archival references and the works themselves (were available), will raise some questions regarding the practical use of such compositions from the Italian singers perspective, and will commend on the need for works related to the operatic genre in Greek in the Ionian theatres of the British Administration especially in a period, during which even the slightest reference to the Greek language was considered an emblem of national (self)determination.

Προγραμματικές σημειώσεις (άνευ περικοπών) για την αναβίωση της οπερέτας του Αλέξανδρου Γκρεκ "Μυριέλλα" (Αλεξάνδρεια, 1932). Κέρκυρα, 6, 7 και 8 Δεκεμβρίου 2019. Παραγωγή: Φιλαρμονική Εταιρεία Κερκύρας.
Programme notes (non-pruned version) for the revival of Alexandros Grek's operetta "Myriella" (Alexandria, 1932). Corfu, 6, 7 kai 8 December 2019. Produced by the Vorfu Philharmonic Society.

The present edition is the continuation of our twenty-year work in the field of the paleography of Eastern secular music. Its infancy is traced back to the recording of Secular Music from Athonite Codices , followed by concerts and publications which not only present to the musicological society and the general public unknown musical treasures, but they also brought to light the common musical heritage of Eastern civilisations.

The manuscripts in question were the subject of Kyriakos Kalaitzidis’s doctoral dissertation, which was written under the supervision of Prof. Gregorios Stathis and was approved by the Department of Music Studies of the University of Athens . Meanwhile, there have been several occasional attempts to transcribe secular music compositions by Thomas Apostolopoulos . Also important was the transcription of certain works of secular music from the Old Method to staff notation by the present authors under the auspices of the pilot research project implemented by the Orient-Institut Istanbul with the kind support of the Onassis Foundation (October 2016 - April 2017). Also, more recently, a number of songs composed by Nikeforos Kantouniares with the verses written by Athanasios Christopoulos have been transcribed within the framework of the “Extro-Cult” project realized by the “Muhsis” Cultural Development Group of Kastoria .

In this first edition of transcriptions we tried to cover a more representative sample of musical traditions, genres, modes, rhythmical cycles and composers than those of the examined repertoire: five demotic Greek songs, six works coming from the music of the Ottoman court, one from the Persian art music and thirty-five Phanariot songs. We can identify the genres of the Ottoman court pieces as follows: three Peşrevs, one Saz Semâ’î, one Taksîm and one Ağir Semâ’î.

The present book includes compositions of Abdülkadir Marâghi (1353-1453), Dimitri Cantemir (1673-1723), Hânende Zacharias (18th century), Petros Peloponnesios (1740-1778), Iakovos Protopsaltis (mid-18th century -1800), Petros Byzantios (mid-18th century - 1808), Nikeforos Kantouniares (1770-1830?), as well as several other unspecified composers. Finally, in the vocal genres we encounter verses by Germanos, the Metropolitan Bishop of Old Patras (1771-1826), Athanasios Christopoulos (1772-1847), Beyzade Yiangos Karatzas (1770-1808), Iakovos Protopsaltes, Archdeacon Kyrillos and by many unspecified poets.

Thanks to this book, we hope that scholars, interpreters, musical ensembles and music students around the world will have the opportunity to globally study the particular musical idioms of great civilisations, as they have been expressed by great composers and written down by post-Byzantine teachers through the ages. At the same time, the general public will be finally presented with these works of great aesthetic value and importance.

Άρδην, τεύχος 87, Σεπτέμβριος - Νοέμβριος 2011

Θ. Γκόρπας, Στο ρεμπέτικο
Γ. Χριστοφιλάκη, Από τον θεό Πάνα στον συμπαντάρχη Μάρκο Βαμβακάρη
Γ. Μανιάτης, Το ρεμπέτικο και οι αρχαίοι Έλληνες λυρικοί ποιητές
Γ. Σπηλιόπουλος, Και ματζόρε και μινόρε
Α. Καραντώνης, Οι ελληνικοί χοροί
Θ. Γκόρπας, Απόστολος Χατζηχρήστος: ο πιο μεγάλος και ο πιο άγνωστος
Φ. Μπάρλας, Σταυροφορία της Φιλοσοφικής Σχολής κατά των «βαρβαρογενών ασμάτων»
Ε. Σειραγάκης, Το λαϊκό στοιχείο στην ελληνική οπερέττα

Το 1935 η Eliza Marian Butler δημοσίευσε την περίφημη μελέτη της: «η Τυραννία της Ελλάδας επί της Γερμανίας», για να καταδείξει το μέγεθος της επιρροής της Αρχαίας Ελλάδας στη μορφωμένη αστική τάξη της Γερμανίας. Οι ανερχόμενοι μορφωμένοι αστοί, ως απάντηση στη σχετικά ανελεύθερη πραγματικότητα που βίωναν, επινόησαν την εξιδανικευμένη «Ελλάδα» ως πολιτισμικό και πολιτικό ιδεώδες. Όση σημασία είχε η «Ελλάδα» για τους Γερμανούς διανοούμενους, είχε αντιστοίχως κι η ιδέα της «Ευρώπης» για τους Έλληνες.

Από τον Μανώλη Καλομοίρη μέχρι τον Μάνο Χατζιδάκι και τον Μίκη Θεοδωράκη, οι αναζητήσεις για την ελληνικότητα στη μουσική, ήταν ταυτόχρονα και αναζητήσεις για μία νέα θέση της Ελλάδας στην Ευρώπη· διαφορετική από αυτήν που γνώριζαν. Οι παραπάνω μουσουργοί επεδίωξαν να ενσωματώσουν στο ευρωπαϊκό ιδεώδες της μουσικής-ως-τέχνης, αυτό που θεωρούσαν ως ελληνικό στοιχείο στη μουσική. Στις αντιλήψεις τους, καθοριστικό ρόλο έπαιξαν δύο διαφορετικές, ευρωπαϊκής προέλευσης, αντιλήψεις για το τί είναι ελληνικό, οι οποίες είχαν ήδη αναμετρηθεί στη διαμάχη για το Γλωσσικό Ζήτημα.

Κατεβάστε τα πρακτικά του 8 Διατμηματικού Μουσικολογικού Συνεδρίου στο https://musicology.mus.auth.gr/wp-content/uploads/2019/04/ConfProc2016.pdf

Please note that because the file was scanned from a hard copy, the text contains errors, such as ni > m.
The chapter was also published in a slightly revised form as 'Οργανολογική εξέλιξη και εκτελεστική πρακτική του ελληνικού μπουζουκιού (μέρος Ά)', Πολυφωνία, τ/χ. 14 (2009), σελ. 38-91 and 'Οργανολογική εξέλιξη και εκτελεστική πρακτική του ελληνικού μπουζουκιού (μέρος ΄Β)', Πολυφωνία, τ/χ. 15 (2009), σελ. 100-138

2007.06 - Κανελλάτου, Παρασκευή Γ. - Το Μοιρολόι στις Νεοελληνικές Τελετουργίες του Θανάτου, Επισκόπηση Μελετών από το 19ο Aιώνα έως σήμερα
[επιβλέπουσα: Δρ. Ασπασία Θεοδοσίου]

Περίληψη:
Πτυχιακή εργασία για το Ελληνικό Μοιρολόι υπό την επίβλεψη της Dr. Ασπασίας Θεοδοσίου. Η μελέτη είναι βιβλιογραφική επισκόπηση των ερευνητικών μελετών για το Μοιρολόι στις Νεοελληνικές Τελετουργίες του Θανάτου από τα μέσα του 19ου έως και τα τέλη του 20ου αιώνα. Το «Μοιρολόι» μελετάται τόσο στην κειμενική του μορφή, είτε ως ποιητικό, είτε ως μουσικό κείμενο, όσο και στη μορφή του ως δρώμενο. Στην εργασία παρουσιάζονται και αναλύονται συλλογές και μελέτες μοιρολογιών από Ευρωπαίους Φιλέλληνες, Έλληνες Λόγιους των Παροικιών, Εθνολόγους, Λαογράφους-Φιλολόγους και Εθνομουσικολόγους, καθώς επίσης και ερευνητικές μελέτες Ψυχολόγων και εθνογραφίες Ανθρωπολόγων σχετικά με το ελληνικό μοιρολόι και τις εκφάνσεις του. Σε παράρτημα της εργασίας παραθέτονται φωτογραφίες από διάφορες φάσεις των τελετουργιών του θανάτου στη νεότερη Ελλάδα.

2007.06 - Kanellatou,  Paraskevi G. - Lamentation in Modern Greek Death Rituals, Review of the Research from the 19th Century till today
[tutor: Dr. Aspasia Theodosiou]

Abstract
This is a degree thesis under the guidance of Dr. Aspasia Theodosiou. The study is a bibliographical review of the research papers on Funeral Singing in Modern Greek Death Rituals from the middle of the 19th to the end of the 20th century. “Funeral songs” are studied both as text, either musical or poetic, and in its form as a happening. In the paper, collections and studies are presented which were done by European philhellenes, Greek intellectuals living abroad, Ethnologists, Folklore and Literary experts and Ethnomusicologists. There are also research studies by psychologists and anthropologists’ ethnographies related to the Greek funeral songs and their form. In the appendix to the thesis, there are photographs of several phases of death rituals n Greece.

This paper is based on a documentary film that explores the 'origin' of a well known traditional song that appears all over the Balkan area. It looks at the attitudes of everyday people based on their conception of their own identity and their sense of nationalism ie. "if it is ours then it cannot be theirs'.

The chapter investigates aspects of the ways music and musicians were involved in Corfu’s masonic lodges during the 19th century. After observing the absence of any professional musicians in the earliest active lodge during that period (“Beneficenza e Filogenia Riunite”), it underlines the presence of military musicians in the “columns of harmony” of the “Saint Napoleon” lodge (under Grand Orient of France, active between 1808 and 1814). The participation of Joseph Klosé, father of the Corfu born innovator of the clarinet Hyacinthe Eléonore Klosé, is particularly mentioned. Regarding the “Most Serene Grand Orient of Greece” (active between 1816 and 1857 as the development of “Beneficenza e Filogenia Riunite”) the membership, among others, of the violonist and conductor Marco Battagel and of the philosopher and politician Petros Vrailas Armenis is particularly observed. The latter is also the writer of a detailed essay on music in Greek (1856). The activities of the “Grand Orient of Greece” offer us also some information regarding the participation of (not initiated) bandsmen of the newly established Corfu Philharmonic Society during the Saint John feast. The “Pythagoras” n. 654 lodge (under UGLE, established in 1838) had also musicians among its members, the vast majority of them being military bandmasters of the British Army. Particular mention is given to Dionyssios Rodotheatos, who, apart from being an opera and symphonic music composer, was one of the few Greeks to be initiated (1874) in the aforementioned lodge (also serving as its organist). Among the military bandmasters and freemasons, the presence of Gaetano De Angelis and Niccoló Olivieri is particularly interesting, since they continued their studies in Corfu by the side of Nikolaos Mantzaros and offered their musical experience both in the opera theatre and to the emerging civic bands’ activity in Corfu and Cefalonia. Finally, the music and the musicians presence is also traced in the “Phoenix” lodge during the period under the jurisdiction of the Grand Orient of France (1843-1929). Some musicians that were members of this, still active, lodge include the composers Spiros Xindas, Spiros Samaras, Alexandros Grek, Gerasimos Rombotis and Spiros Doukakis, several bandmasters (both Greek and Italian) of the local civic bands, the military bandmaster and composer Andreas Seiler, and certain opera singers and musicians of Corfu’s theatre. The lodge’s minutes books offer also some glimpses into the actual musical practice during its meetings, i.e. the potential engagement of dilettant members to sing during certain ceremonies, the instrumental role of people such as Xindas in the activity’s coordination, the use of a portable organ during ceremonies and initiations and the participation of bandsmen of the Corfu Philharmonic Society in the lodge’s early solstice feasts. Finally, particular observations are dedicated to the opera The Parliamentary Candidate (1867), the first full-scale opera in Greek, since it can be described as “an opera of freemasons”, since not only its composer (Spiros Xindas) and its librettist (Ioannis Rinopoulos) were freemasons, but also most of its organizers and certain of its singers. Masonic ideas may also be traced in parts of its libretto.

Περίπου τον Ιούνιο του 1936 ηχογραφείται η Πριγκηπέσσα, του Παναγιώτη Τούντα, η οποία αποτελεί ένα από τα πιο εμβληματικά και διαχρονικά αγαπημένα τραγούδια του ρεμπέτικου. Λίγοι γνωρίζουν ότι ο Τούντας το έχει ηχογραφήσει 3 χρόνια νωρίτερα, με άλλον τίτλο, άλλους στίχους και άλλη εισαγωγή. Λίγοι επίσης γνωρίζουν ότι η ίδια ακριβώς μελωδία ηχογραφήθηκε το 1910 στην Λιθουανία, το 1927 στην Σερβία, ακόμη και στην Ρουμανία, στην Αμερική και αλλού. Η εισήγηση αυτή θα χωριστεί σε δύο μέρη: αφενός θα οικοδομηθεί μία θεωρία για τους (ουκ ολίγους) περιπλανώμενους σκοπούς, εξετάζοντας ποικίλα ιστορικά, κοινωνικά και πολιτιστικά στοιχεία των τόπων που τους επικοινωνούν και, αφετέρου, θα συγκρίνει τις εκτελέσεις της «Πριγκηπέσσας», με σκοπό να τονιστεί η οικειοποίηση από την πλευρά των πρωταγωνιστών μουσικών.

https://doi.org/10.26262/smb.v1i2.7945
This paper addresses the contribution of modality, chordal harmony and the relationship between them to the formulation of ‘Rebetiko’ –a musical genre of Greek Urban Popular Music– during the interwar period. The aim of the research is to show the hybrid character of Rebetiko through the analysis of the confrontation between the makam modality and an idiosyncratic form of chordal harmony, transcending the typical East-West dipole.

After having listened to a large corpus of gramophone recordings of that period, I chose some of the most representative musical pieces –in terms of harmonization and modality– in order, firstly, to document them in transcriptions and, secondly, to analyze and interpret them within their socio-cultural context.

The establishment of the equal tempered three-course bouzouki and the censorship by Metaxas’ regime are peculiar forms of modernization and westernization respectively, which contributed to the hybrid aspects of this genre. The interplay between the Greek and the other ethnic communities within the eastern Mediterranean context, the deterritorialization of the musical culture from the broader area of Anatolia to the Greek state due to the Greek refugee movement (1922-23) are some of the basic factors which facilitate the understanding of the cultural osmosis responsible for this musical syncretism.

Μέρος Α: Ιόνιο Πέλαγος, Παξοί, Λευκάδα, Κεφαλονιά.
Κεφαλληνιακά Χρονικά, τόμος 17, Αργοστόλι: Εταιρεία Κεφαλληνιακών Ιστορικών Ερευνών, 2016, σσ. 233-260.
Στο παρόν πρώτο μέρος της μελέτης καταγράφονται οι στίχοι ελληνικών δισκογραφημένων τραγουδιών που κυκλοφόρησαν μετά τον Δεύτερο Παγκόσμιο Πόλεμο και αφορούν το Ιόνιο Πέλαγος γενικά,  και τα νησιά  Παξοί, Λευκάδα και Κεφαλονιά.

2013 - Κανελλάτου, Παρασκευή Γ. - Εθνογραφικό Υλικό από τη Βυτίνα, Αρκαδίας

Περίληψη:
Iστορική καταγραφή δημοτικών τραγουδιών που πραγματοποιήθηκε από τον Δρ. Σωτήριο Ι. Τσιάνη στη Βυτίνα Αρκαδίας το έτος 1959 σε δίγλωσση (ελληνικά-αγγλικά) μουσική έκδοση. Την επιστημονική επιμέλεια της έκδοσης έχει η Δρ. Βασιλική Ι. Χρυσανθοπούλου. Δημοσίευση στον εν λόγω τόμο προσωπικού (Παρασκευή Γ. Κανελλάτου) εθνογραφικού υλικού -ηχητικές καταγραφές μουσικού λαϊκού πολιτισμού- από έρευνα πεδίου στη Βυτίνα Αρκαδίας το έτος 2008 με τη Δρ. Βασιλική Χρυσανθοπούλου.


2013 - Kanellatou, Paraskevi G. - Εthnographic Μaterial from Vytina, Arcadia

Abstract:
Historical recordings of folk songs performed by Dr. Sotirios I. Chianis in Vitina Arcadia the year 1959, in bilingual (Greek and English) musical publication. The scholarly supervision and editing is by Dr. Vassiliki I. Chryssanthopoulou. Publication of personal (Paraskevi G. Kanellatou) ethnographic material -music folk culture's sound recordings- from field research in Vytina Arcadia, the year 2008, with Dr. Vassiliki Chryssanthopoulou.

Nikolaos Mantzaros (1795-1872) was the pre-eminent composer in the evolution of music according to the Western canon in modern Greece. This book is the first comprehensive study of his life and work to appear in English. It highlights the social and cultural context of Corfu (Mantzaros’ birthplace), its transition from the Venetian administration to a European cultural realm in constant movement, its experience under the British Protectorate (1815-1864), and its annexation to the state of Greece. Mantzaros’ central role as an educator and composer, his contribution to the musical use of Greek poetry and his development as a composer with strong initial affiliation to Italian musical thought are described in meticulous detail, while his reputation as the composer of Greece’s national anthem is contrasted with his more esoteric work as a theorist, philosopher and pedagogue and his influence on future generations of Greek composers. At the same time, a comprehensive overview is offered regarding a society, whose significant part after 1850s decisively distanced itself from the common cultural area between Adriatic and Ionian Seas and the Italian peninsula, in order to follow the new ideological routes that came from the newly established Greek state and its quest for social and historical unity.
See also:
https://www.cambridgescholars.com/product/978-1-5275-8279-8

Il rebetico, oltre il mito. Negli ultimi anni, in Italia, sono emerse curiosità e interesse verso un genere di canzone greca noto come "rebetico". Per quanto concerne la produzione mainstream, non solo discografica, un riferimento su tutti è il lavoro, potremmo dire multimediale, di Vinicio Capossela, il quale ha omaggiato il genere rebetico-certo non estraneo alla definizione del suo stile personale-con la pubblicazione di un libro (Tefteri, 2012), un album (Rebetico Gymnastas, 2012), un tour di presentazione del disco e un film documentario coprodotto con il regista Andrea Segre (Indebito, 2013). Già prima del contributo di Capossela e Segre, in Italia vi erano state diverse iniziative, sia di taglio musicale sia editoriale, dedicate al genere rebetico e legate anche all'attenzione crescente con cui si è guardato (e si guarda tuttora) alle vicende sociali e politiche della Grecia contemporanea. Tra i gruppi italiani più attivi di questi anni vanno segnalati i Pérgamos Project e gli Evì Evàn, il cui ultimo album, Rebetiki Diadromì è stato anche presentato in diretta a RadioTre lo scorso anno. Sul versante dell'editoria italiana, troviamo l'antologia di testi Rebetiko. Vita, musica, danza tra carcere e fumi dell'hashish (Nautilus edizioni, 2013) a cura dell'antropologo e ricercatore urbano Elias Petropulos e tradotti e presentati da Epaminondas Thomos e la pubblicazione postuma delle lezioni di Roberto Leydi [1989-90] raccolte nel volume L'influenza turco-ottomana e zingara nella musica dei Balcani (Nota, 2004). Gran parte di questa attenzione musicale e culturale ruota attorno all'immaginario del rebetico quale musica dei bassifondi, "ribelle", espressione diretta delle marginalità. Questa caratteristica è certamente presente, a partire dal contenuto di molte canzoni, dall'estrazione e dalle condotte di molti e molte interpreti e anche in relazione ai luoghi di fruizione di questa musica, i famosi teké, le taverne dove si beveva e fumava hashish. Ma la forma mitizzata rischia di ottundere altri aspetti significativi di questo genere, fin dalle sue origini. Storicamente, infatti, il rebetico emerge in Grecia in seguito a quella che i greci definiscono la "katastrofí" («catastrofe») del 1922-23, ossia la drammatica sconfitta nella guerra contro i turchi (1919-23): un evento chiave della storia greca che portò alla fuga o alla deportazione forzata da Smirne e dalla Turchia di circa un milione e mezzo di greci e greche che trovarono rifugio, in condizioni disagiate, negli insediamenti intorno alle grandi città, in particolare Atene e Salonicco. Il rebetico nasce, quindi, dall'intreccio tra un amalgama della tradizione musicale portata da questi rifugiati e rifugiate-molti dei quali erano già cantanti o musicisti professionisti nei café di Smirne e Istanbul, interpreti di una musica stilisticamente molto diversa da quella della Grecia continentale e per questo anche definita smyrnaika («di Smirne»)-e la sottocultura, anche musicale, dei mánghes (lett: «scugnizzi», «delinquenti» o, anche, «tosti») e dei rebétes, ossia di quel mondo marginale già presente nei sobborghi delle grandi città greche. I rifugiati guardarono con fascino al modo in cui i mànghes suonavano certi cordofoni a plettro con i tasti, in quella forma a loro sconosciuti e che chiamavano genericamente buzùkia. Di lì a poco, bouzouki e baglamàs, strumenti assenti nell'organico della musica di origine anatolica, diventeranno gli strumenti canonici del rebetico. Ma il rebetico è anche, fin dall'inizio, popular music, ossia una musica legata alle attività di intrattenimento commerciale (come le serate nelle taverne e locali vicini al porto del Pireo, alcuni dei quali diventarono di proprietà di rebétes) e prodotta in stretto contatto con le strategie di un mercato discografico in espansione.

«‘They are my instruments the Council, the Police, the Lord High Commissioner and the Senate’: A ‘parliamentary candidate’ criticises  the pre-Unification and post-Unification Corfu», paper presented in the 10th International Panionian Conference (Corfu, 30/4-4/5/2014)
The comic opera O ypopsifios [The Parliamentary Candidate] by Spyros Xyndas and Ioannis Rinopoulos was premiered in 1867 in Corfu and is acknowledged as the earliest full-scale opera in Greek. Nonetheless, under its seemingly comic plot its creators launch a severe social critic, which despite being temporally dispositioned during the British Administration's period (1814-1864, and more precisely in 1857), it remained a reality also during the post-unification years. This critic had two main directions, namely the tantalizing agrarian issue of Corfu and the politicians' immorality. The present essay underlines and comments on these issues based on the 1867 premiere's  libretto.

This chapter attempts to offer some new approaches and information regarding the life and the work of Domenikos Padovas (1817-1892), which possibly underline an unexpected original contribution to the mid-19th century opera, as formulated within the era’s multileveled cultural environment.
In this respect the collaboration of Padovanis with the Italian patriot and man of letters, Severiano Fogacci (1803-1885) is of particular importance. Fogacci was self-exiled in Corfu between 1831 and 1846 and was, among others, the librettist of Padovas’s two known operas, namely the one-act “comica” Il ciarlatano preso per principe (Carnival 1840) and the “seria” Dirce (February 1857, but libretto written in 1835 and published in 1843). The initial publication of Dirce’s libretto includes an introductory text, which is virtually a concise manifesto of Fogacci’s views on the ideal musical setting of his work.  Fogacci’s libretto is based on Vincenzo Monti’s 1786 five-act tragedy Aristodemo and possibly this choice is not coincidental, since the subject of the plot is related both to the notion of ancient Greece as symbol of pure classicism, and its reflection in European literature through authors like Monti.  Moreover, Monti’s work both in its original form and in its translation in Greek was very popular within the theatrical activities of nineteenth-century Greece.
Padovas’s connection with Fogacci’s thought is made clear in the way that the composer responded musically in both of the above-mentioned operatic works. Despite Fogacci’s manifesto being omitted in Dirce’s 1857 libretto, Padovas clearly follows the aesthetic objectives that the writer proposed in 1843 and at the same time demonstrates a very good understanding of music and its use within an operatic setting.

The current paper elaborates on the educational approach implemented within the educational environment of the conservatory concerning Urban Greek Popular Music from the beginning of the interwar period to the mid 1950’s. The absence of an integrated theoretical interpretation model of the aforementioned kind of music (modality, harmonization etc.) is ascertained and this mainly justifies the lack of established curriculum. Consequently, the formulation of musical teaching procedure (Design-Implementation-Evaluation) related to informal ways of music teaching-learning is analytically presented. This is accomplished by two parts: individual lessons and the musical workshop, where the teaching methods of Cooperative and Project are applied and the deductive, inductive and comparative methods etc. contribute as well. The character of the musical language in relation with thought is featured dignifying the art of music principally as intellectual process, chiefly through the development of its aesthetic, anthropological aspect etc. The application of Vygotsky’s Zone of Proximal Development is notified, leading to the exploitation of the above on the educational venture.

Η άνθηση των σπουδών για την αστική λαϊκή μουσική και, εν γένει, η ευρύτερη αποδοχή της αξίας της λαϊκής κουλτούρας στους κόλπους του ελληνικού εκπαιδευτικού συστήματος μοιάζουν να βρίσκονται σε πολύ κρίσιμη κατάσταση. Είναι σαφές ότι η ακαδημαϊκή έρευνα πάνω σε αστικά λαϊκά μουσικά είδη αναπτύσσεται πολύ γρήγορα στο εξωτερικό, με βάσεις που τέθηκαν 30 και 40 χρόνια πριν, υπό τα πλαίσια διάφορων όρων όπως popular musicology, new musicology και άλλα. Αυτό μπορεί να επιβεβαιωθεί από πολυάριθμες διατριβές, βιβλία και ακαδημαϊκά άρθρα. Στην Ελλάδα, μολονότι διάφορα αστικά μουσικά είδη είναι ευρύτατα διαδεδομένα (λαϊκό, rock, ρεμπέτικο, έντεχνο, pop), δεν διδάσκονται σήμερα στα ελληνικά ωδεία, ενώ σε άλλες χώρες τα αντίστοιχα στυλ αποτελούν κομμάτι των εκπαιδευτικών συστημάτων, σε όλες τις βαθμίδες τους, και είναι εξαιρετικά δημοφιλή ανάμεσα στους σπουδαστές. Η ανακοίνωση αυτή καταπιάνεται με διάφορα προβληματικά ζητήματα που εγείρονται σχετικά με τις σπουδές γύρω από τη λαϊκή αστική μουσική σε όλες τις βαθμίδες του εκπαιδευτικού συστήματος της χώρας. Αναλύει τις ελλείψεις και θέτει θέματα προς σκέψη και συζήτηση• προτείνει λύσεις και επεξηγεί τους λόγους για τους οποίους η συγκρότηση ολοκληρωμένου προγράμματος σπουδών για το συγκεκριμένο πεδίο θα συμβάλουν στον εκσυγχρονισμό της μουσικής εκπαίδευσης της Ελλάδας, με θετικό αντίκτυπο στην εξελικτική πρόοδο της κοινωνίας.

In the wider geographic region of Macedonia and the Balkans trade and transport were developed in late 19th and early 20th century. This kind of development enabled Hellenic wealthy bourgeois to settle in central Europe so as to study and even find better living prospects at that time. Respectively, the well-off Hellenes of the Diaspora contributed to the education and development of their compatriots in their ancestral homes, transferring there the western culture. In this context, the region of Macedonia is a large and central area of the Balkan Peninsula, which encloses a coastal zone, lowland and a mountainous area. Consequently, it contains urban centres of all categories in terms of their location. The essay focuses on the study of the original proliferation of western music in the Hellenic population of Macedonia, which took place during the late Ottoman Empire. The cases of the Hellenic schools, in which music was taught, are examined from a historical and musical-pedagogical point of view. The proposal also examines the contributions of the Associations and Philharmonic Societies, where various musical groups were operating and with the help of specialized music instructors taught their members (adult and minors) music theory and practice. The study involves significant urban centres of Macedonia, in which Hellenic communities developed substantial educational and cultural activities such as Thessaloniki, Serres, Veria, Monastir, Kozani, Choristi, and Kavala, despite the fact of whether those cities were eventually incorporated into the Hellenic national space or not.

Η έρευνα των τελευταίων ετών έχει αναδείξει έναν άγνωστο αλλά σημαντικό και δυναμικό ρόλο του πιάνου στις ελληνόφωνες λαϊκές ορχήστρες. Το όργανο το συναντάμε τόσο στα πάλκα όσο και στην ιστορική δισκογραφία. Πιανίστες αυτής της περιόδου έπαιξαν καταλυτικό ρόλο στη διαμόρφωση της αισθητικής του λαϊκού, αφήνοντας πίσω τους ηχογραφημένο υλικό σημαντικής αξίας. Οι περιοχές δε που αφορούν το εν λόγω υλικό συνδέονται με πολλούς κόμβους της ελληνόφωνης οικουμένης όπου δραστηριοποιήθηκαν Έλληνες μουσικοί (Σμύρνη, Πόλη, Αθήνα, Νέα Υόρκη κ.ά.). Η εισήγηση αυτή θα παρουσιάσει ορισμένες από τις πιο ενδιαφέρουσες από αυτές τις περιπτώσεις, χρησιμοποιώντας παραδείγματα από την δισκογραφία αλλά και ιστορικό φωτογραφικό υλικό και αναφορές από βιογραφίες των πρωταγωνιστών.

This paper addresses the contribution of modality, chordal harmony and the relationship between them to the formulation of ‘Rebetiko’ –a musical genre of Greek Urban Popular Music– during the interwar period. The aim of the research is to show the hybrid character of Rebetiko through the analysis of the confrontation between the makam modality and an idiosyncratic form of chordal harmony, transcending the typical East-West dipole. After having listened to a large corpus of gramophone recordings of that period, I chose some of the most representative musical pieces –in terms of harmonization and modality– in order, firstly, to document them in transcriptions and, secondly, to analyze and interpret them within their socio-cultural context. The establishment of the equal tempered three-course bouzouki and the censorship by Metaxas’ regime are peculiar forms of modernization and westernization respectively, which contributed to the hybrid aspects of this genre. The interplay between the...

ABSTRACT:
The current paper elaborates on the content of two fundamental music terms, those of Modality
and Harmonization since their appearance and during their evolution in the field of Urban Greek
popular music from the beginning of the interwar period to the mid 1950’s. We realize that the hybrid
character of this particular kind of music is a result of the strong cultural blend of the two great
musical philosophies of the East and the West, which have been influencing this music phenomenon.
The paper sets out the features of Modality, which are connected with the eastern musical approach of
Makams and which are traced throughout several time periods. Evidence is provided concerning the
maintenance of Modality during the early period of equal temperament, while the several stages of
Harmonization, approached in a more or less non western Traditional way, are described and
interpreted. The unique characteristics of this kind of music justify the absence and therefore the need
for a theoretical model of its interpretation, and by extension the potential of its implementation on
education (Intercultural Awareness, Museum culture, educational use of Greek traditional instruments,
etc.).

This study discusses some mostly unpublished Greek praise songs to ecumenical patriarchs of the 18th century composed by cantors, and recorded in collections of secular songs circulating in Istanbul and the Danubian Principalities. Whereas the verse uses a pure form of Greek language, the melody adopts Ottoman makam (mode) and usul (rhythmic pattern).

Balzan Programme in Musicology 2013-2017 “Towards a Global History of Music”
“Bridging Musical Cultures? The Eastern Mediterranean and Westren Asian Regions in the History of Music”, Oxford, 4-5.XI.2016
“The passionate genre, which oriental music always comes to be looked on as a Greek characteristic”. Orientalism in the Ionian Islands’ music.
Ionian Islands even today are considered as the social and cultural border of Greece between East and West. Nonetheless, as for every borderline, beside such manichean convictions there is also a multiplicity of approaches. This presentation will attempt to discuss the changing attitudes towards orientalism in the music of Ionian Islands. The use of music styled as “oriental” will be particularly presented both in connection to the 19th century aspirations of the Ionians for unification with the newly established Greek Kingdom and as a medium for the professional establishment of Ionian composers and performers in Greece’s mainland urban centres. It will also be discussed in relation to herderian ideas in mid-19th century Greece and as a central episode towards the “quest for Greek music” in late 19th and early 20th-century, as well as a stereotypical certainty for the shake of the postwar touristic industry.

2002 - Κανελλάτου, Παρασκευή Γ. - Δημήτρης Σέμσης "Σαλονικιός" (1883-1950)

Περίληψη:
Μουσικολογική μελέτη για το βιολιστή, συνθέτη και μουσικό παραγωγό Δημήτρη Σέμση (1883-1950). Στη συγκεκριμένη εργασία παρουσιάζονται εκτενώς η βιογραφία του καλλιτέχνη, οι μουσικές του καταβολές καθώς και η δισκογραφία του σε επίπεδο μουσικού, συνθέτη, μουσικού παραγωγού και μουσικού διευθυντή.


2002 -  Kanellatou, Paraskevi G. - Dimitris Semsis “Salonikios” (1883 – 1950)

Abstract:
A musicological study of the violinist, composer and music producer Dimitris Semsis (1883-1950). In this paper there is an extensive presentation of his biography, his music roots as well as his discography as a musician, a composer, a music producer and a music director.

Το 2022 συμπληρώνονται 150 έτη από το θάνατο του συνθέτη και παιδαγωγού Νικόλαου Χαλικιόπουλου Μάντζαρου (1795-1872), ενός προσώπου που μέσω των δραστηριοτήτων του επηρέασε, άμεσα και έμμεσα, τη μουσική δημιουργία και κατάρτιση του Νεώτερου Ελληνισμού. Πράγματι, στον Μάντζαρο οφείλεται αφενός η δημιουργία του πλέον συγκροτημένου έως τότε σώματος μουσικών συνθέσεων από νεοέλληνα μουσουργό, και αφετέρου η συστηματική κατάρτιση μουσικοδιδασκάλων και συνθετών, πολλοί από τους οποίους όρισαν τη μουσική της Ελλάδας κατά τον 19ο αιώνα. Προνομιακός χώρος διεύρυνσης της εκπαιδευτικής δράσης του Μάντζαρου υπήρξε η Φιλαρμονική Εταιρεία Κερκύρας, της οποίας ο συνθέτης χρημάτισε Καλλιτεχνικός Διευθυντής από το 1841 έως τον θάνατό του. Από τη συγκεκριμένη θέση ο Μάντζαρος δεν καθόρισε μόνο την εκπαιδευτική κατεύθυνση του ιδρύματος, αλλά επιπλέον δημιούργησε και οργανωμένη τάξη μουσικής σύνθεσης. Οι παραπάνω δράσεις επιβεβαίωσαν τη σημασία τής, ενεργής ή/και βιωματικής, μουσικής εμπειρίας ως διαταξικού κοινωνικού αγαθού στη νεοελληνική πραγματικότητα και προσέφεραν μια πρωτόγνωρη για την νεώτερη Ελλάδα δημιουργική και εκπαιδευτική δυναμική που έδρασε διαμορφωτικά κατά τις επόμενες δεκαετίες και εκτός Επτανήσων.
Το 2022, όμως, συμπίπτει και με τις ανατροπές που έφερε στη μουσική δημιουργία και πράξη η πανδημία COVID-19, καθώς και με τους προβληματισμούς που ολοένα τίθενται και θα τίθενται σε σχέση με τη μουσική στη χώρα μας κατά τη μετά-COVID περίοδο. Αν μη τι άλλο, οι συμβατικοί τρόποι μουσικής επιτέλεσης δοκιμάζονται, ο επαναπροσδιορισμός του πλαισίου της μουσικής κατάρτισης φαίνεται όσο ποτέ επιβεβλημένος, ενώ νέοι τρόποι ενασχόλησης με τη μουσική δημιουργία και πράξη ήρθαν είτε να υποκαταστήσουν είτε να αντικαταστήσουν τους ήδη δοκιμασμένους.
Με την πεποίθηση ότι η γνώση του παρελθόντος δύναται να συνεισφέρει καίρια στην οικοδόμηση του μέλλοντος, και με αφορμή τα 150 έτη από το θάνατο του Νικόλαου Μάντζαρου, το Εργαστήριο Ελληνικής Μουσικής του Τμήματος Μουσικών Σπουδών του Ιονίου Πανεπιστημίου και η Φιλαρμονική Εταιρεία Κερκύρας συνδιοργανώνουν στην Κέρκυρα συνέδριο με τίτλο «Μουσική Δημιουργία και Πράξη στη Νεώτερη Ελλάδα» από 8 έως και 10 Απριλίου 2022. Οι επιμέρους θεματικές του συνεδρίου συμβατικά λαμβάνουν ως βάση τον όψιμο 19ο αιώνα, αφού χρονικά δύνανται να επεκταθούν και πριν από αυτόν, φιλοδοξώντας ωστόσο να συμβάλλουν ιδιαιτέρως στην παρουσίαση πτυχών της έντεχνης μουσικής δραστηριότητας του Ελληνισμού στο πέρασμα των παραπάνω 150 ετών. Παραλλήλως στις θεματικές του περιλαμβάνεται και η εξέταση της μουσικής επιτέλεσης σε όλες της μορφές της στην Ελλάδα της μετά-COVID εποχής και στις προοπτικές της εντός ενός παγκοσμίως αναδιαμορφούμενου μουσικού τοπίου.
Με αυτά κατά νου μερικές προτεινόμενες, και σε καμία περίπτωση δεσμευτικές, θεματικές του συνεδρίου είναι ενδεικτικά οι εξής:

    • Ο Νικόλαος Χαλικιόπουλος Μάντζαρος και η εποχή του.
    • Έλληνες συνθέτες και μουσικοί
    • Θεσμοί μουσικής εκπαίδευσης του Ελληνισμού
    • Μουσικοί φορείς (ορχήστρες, μελοδραματικοί θίασοι, μπαντές, φιλαρμονικά σωματεία κλπ)
    • Η μουσική στις ελληνικές παροικίες
    • Ελληνικός μουσικός Τύπος (εκδότες, περιοδικά)
    • Η δισκογραφία της έντεχνης ελληνικής μουσικής
    • Η έντεχνη μουσική της Ελλάδας στο διαδίκτυο
    • Η μουσική δημιουργία κατά την περίοδο της πανδημίας και κατά την μετα-COVID εποχή
    • Η μουσική πράξη κατά την περίοδο της πανδημίας και κατά την μετα-COVID εποχή
    • Η μουσική κατάρτιση κατά την περίοδο της πανδημίας και κατά την μετα-COVID εποχή

Η επίσημη γλώσσα του συνεδρίου είναι η ελληνική.
Οι ενδιαφερόμενοι για συμμετοχή στο συνέδριο καλούνται να υποβάλουν σχετικές προτάσεις για εικοσάλεπτες ανακοινώσεις (Περίληψη 250 λέξεων και Βιογραφικό 100 λέξεων). Επίσης, υπάρχει η δυνατότητα υποβολής προτάσεων για θεματικές στρογγυλές τράπεζες των εξήντα λεπτών έκαστη (Περίληψη 450 λέξεων και Βιογραφικά 100 λέξεων).
Η καταληκτική ημερομηνία υποβολής των προτάσεων ορίζεται η 30η Νοεμβρίου 2021.

Οι προτάσεις πρέπει να έχουν σταλεί μέχρι την παραπάνω ημερομηνία ηλεκτρονικά στο email: musconfcorfu2022@gmail.com
Η επιλογή των προτάσεων και η ανακοίνωση του προγράμματος θα έχουν πραγματοποιηθεί έως την 15 Ιανουαρίου 2022, οπότε και θα ανακοινωθεί και το τελικό πρόγραμμα.

A contract regarding the 1818-19 opera season of the San Giacomo Theatre of Corfu (General State Archives of Corfu) offers the opportunity for an "insider's look" into the conditions and the people of the endeavour. This contract is of particular importance, since it marks a new start in the operatic activities of the theatre after a turbulent period culminating with the "falimento" of the impressario Giovanni Battista Negrini. The new impressario (a personal choice, as it seems, of the British Lord High Commissioner), the dancer Lorenzo Banti, made a successful reconciliation between realism and the wishes of the audience. The article includes an extensive commendary of the contract and in the appendix presents its original Italian text.

The first volume of the Publications of the Museum of Music “Nikolaos Halikiopoulos Mantzaros” consists of six essays by Kostas Kardamis, which either examine aspects of the history of the Corfu Philharmonic Society (CPS) or refer to people, who were related to the Society.
The first essay entitled “Corfu Philharmonic Society: An overview of its history” attempts to offer a documented approach regarding the conditions that led to the Society’s foundation in 1840, the ideas that formulated its organization according to the prototypes of the music academies of the era, as well as those priorities that ‘gave the tune’ to its perspectives and activities during 19th century. Moreover, it is demonstrated that CPS did not have as its sole aim the creation and maintenance of a wind-band, as it is widely believed. On the contrary, it is made obvious that its founders and organizers actually succeeded (at least during 19th century) in setting up a fully-functional, high-standard music academy, in which music theory (from the basics to composition), as well as wind, string and keyboard instruments and vocal music were taught. Thus CPS gave the earliest plausible (and maybe most successful) solution to the professional musical training in 19th-century Greece.
The diversity, importance and richness of the Society’s music archive is the subject of the second essay, “Ionian musical repertoire: The case of the Corfu Philharmonic Society’s music archive”. Ranging from late 18th-century until nowadays the archive keeps an important number of works by Ionian composers, as well as methods, programmes and “international” repertory (from opera to piano or chamber music, from wind-band repertory to diverse vocal compositions). All these allow, through a series of brief case studies, a revealing look into the development of musical creation, preferences and instruction during the last two centuries in Ionian Islands and often beyond them.
“An unknown obituary by Nikolaos Halikiopoulos Mantzaros (Niccolo Calichiopulo Manzaro) for Antonio Liberali” pays tribute to the first bandmaster of the Society’s band, who died prematurely in 1842. The extended commentary of the text presents several unknown aspects of Liberali’s activities, as documented by his teacher and Society’s artistic director, Nikolaos Mantzaros. Born in 1814 Liberalis was among the founding members of CPS and was appointed as its bandmaster only a few months before his death. This appointment, however, virtually eclipsed his life and activities before 1841. Mantzaros’s obituary reveals important information regarding, not only Liberali’s dedication to the causes of the Society, but foremost his earlier, unknown, qualities. Thus, Liberali is unveiled as one of Mantzaros’s earliest disciples (already during 1820s), a piano virtuoso, a competent flute player, a bandmaster in the “service of Her Britannic Majesty”, as well as a productive composer, who is also responsible for the earliest compositions of what was going to be later described as “national music” (L’orfano di Sulli, Corfu, 1837). Finally, Mantzaros’s text offers an insight of the music life and education of Ionian Islands during the first half of 19th century, as well as information for its writer.
“Greece and symphonism: Τhe case of Dionysios Rodotheatos through his symphonic poem Atalia (for wind band), 1879” is the only text in English of these miscellanea. Dionysios Rodotheatos (1849-1892), who was vice artistic director of PSC, is an obscure, though extremely important, figure of the late 19th century music in Greece. Apart from Corfu and Naples, Rodotheatos continued his studies in Milan during early 1870s, a move that facilitated his contact with the “beyond-the-Alps” music, as it was filtered, introduced and received in Italy at that time. Apart from operas and vocal music Rodotheatos composed symphonic works and was considered as the earliest symphonicist and a “prominent Wagnerian expert” in late-19th-century Greece. However, his two “poemi sinfonici” and his Rapsodie seems to have been composed before 1874 during his studies in Italy, a fact that possibly gives particular importance to these compositions also beyond Ionian Islands. The essay focuses on Rodotheatos’s 1879 wind-band arrangement of his symphonic poem Atalia and briefly presents the composition’s qualities, as well as the composer’s attempt to ‘import’ in Corfu the Italian symphonic genre of the period through the Society’s wind band. Finally, a possible explanation for Rodotheatos’s creative re-orientation roughly at the same time towards more simplistic and “Greco-centric” patriotic vocal compositions is proposed. After all, this creative change, despite being in complete contrast with the cosmopolitan character of his symphonic compositions, it had been already heralded in mid-1870s and it was perfectly justifiable within the conditions that started to prevail in the Ionian Islands’ after their annexation to Greece in 1864.
The essay entitled “‘Incriminating evidence; A book of music’. A bandsman of the Philharmonic is being accused” brings up, possibly for the first time, the so-called “minor protagonists” of music in Greece. The focal point of the text is a brief (and rather grotesque) legal adventure in 1849 of the Phiharmonic’s ophicleide player, Filippo Devari. Material from Corfu’s Magistrate’s Court complemented by other archival sources reveal, among others, several details regarding the organization and administration of the San Giacomo theatre, its personnel, the employment of certain CPS’s bandsmen in its orchestra, the governmental intervention in it and the educational and professional activities of the Society. Moreover, it offers a glimpse into the morality of the era, since Devari had been accused of possessing a score, which had in its frontispiece the words “Il bravo” and “serpan”. Both of these words were not considered from the spectators of the theatre’s first-row boxes (and Devari’s accusers) as, respectively, the title of the opera performed and the name of the bandsman’s instrument (as it would have been evident to any musician), but as references to “a murderer” and “the satan”. Devari’s case also allows an extended comment regarding the types of basses (serpents, “corni bassi”, “cimbassi”, valved or keyed ophicleides), which were (or could have been) used then in both CPS’s wind band and San Giacomo’s orchestra. It is in vain to deny that the writer’s tuba playing decisively contributed to this unofficial homage to the 19th-century bandsmen of the Ionian Islands, who dedicated themselves to the heavy (from every aspect) responsibilities of the bass line!
In February 2007 the 150th anniversary since the death of the Zakynthian poet Dionysios Solomos (1798-1857) offered the occasion for the writing of the last essay of the volume. On the very day of the poet’s passing the Administrative Board of the Philharmonic met in order to decide the ways that CPS would participate in the public mourning for Solomos and in his funeral the next day. The proceedings’ text, which is here presented for the first time, gives several information regarding the high estimation of CPS towards Solomos and his work, and offers a glimpse into the Society’s internal organization. Moreover, based on archival sources a further commentary regarding Solomos’s relations with CPS is presented, since even before the Society’s foundation the poet had close relations with several individuals of the Philharmonic’s administration (e.g., Nikolaos Mantzaros, Petros Vrailas-Armenis, Georgios Markorás) and teachers (e.g., Giuseppe Liberali, Spyridon Xyndas). Furthermore, Solomos was highly respected among CPS bandsmen, who frequently performed the music of his poetry’s settings. All the above are approached in relation to the social and political conditions of the period, since they coincide with both an era of particular movement in regard to the Ionian Island’s “question of national reinstatement”, as well as the aftermath of the Crimean War.

2011 - Κανελλάτου, Παρασκευή Γ. - Η Σύγχρονη Μουσική Παιδεία στη Δευτεροβάθμια Εκπαίδευση, η Περίπτωση των Μουσικών Σχολείων

Περίληψη:
Εισήγηση που παρουσιάστηκε στο Πανελλήνιο Επιστημονικό Συνέδριο για τη Μουσική Παιδεία και τα Μουσικά Σχολεία. Στο εν λόγω άρθρο εξετάζεται η περίπτωση των μουσικών γυμνασίων και λυκείων στην ελληνική δευτεροβάθμια εκπαίδευση. Ειδικότερα δίνεται έμφαση στην επιστημονική στελέχωση των συγκεκριμένων δευτεροβάθμιων ιδρυμάτων, καθώς επίσης και στο σχεδιασμό βασικών μουσικών κατευθύνσεων σπουδών.


2011 - Kanellatou, Paraskevi G. - Modern Musical Instruction in Secondary Education, the Case of Musical Schools

Abstract:
Lecture to the Pan-Hellenic Conference on Music Education and Musical Schools in Greek secondary education. Particular emphasis is given to the recruitment of scientists for the above schools and also to the planning of some basic musical directions of study.

Ionian Islands due to their geographical position and social history, became a privileged crossroad between the co-called “East” and “West”. Their long and almost constant Western administration, most of which under Venice, contributed to the facilitation of these cultural interactions, especially since Corfu was both the Islands’ administrative centre and their step into the Adriatic Sea.  Ιt is becoming gradually apparent that the aforementioned factors created a receptive environment that eventually facilitated the amalgamation of these seemingly opposite “cultural realms”. Music was undeniably part of this “shared world” and, as a cultural manifestation that concerned all social classes, is particularly characterized by convergences and divergences that were closely related to the cultural migrations of the Adriatic Sea.
This chapter investigates the migratory patterns related to the Ionian Islands as a geographical place that received immigrants related to music in peaceful or in turbulent times and as the birthplace of musicians and creativity that migrated outside the western Greek archipelago. The importance of the opera troupes, the music teachers, the travelling virtuosos and other aspects of musical entrepreneurship is particularly stressed. The ways that this migratory dynamics formulated the basis of the Islands’ art music is also discussed. A short overview regarding the political exiles during 19th-century, the birth of the Kingdom of Yugoslavia (1916) and the practices of the Fascist occupation (1941-1943) is also approached through music and as manifestations of forced immigrations of people and ideas. The indigenous composers and their creations, as well as the music institutions, are also approached in the same manner, offering this way a dynamic idea on the ways that the movement of people and ideas interacted in Ionian Islands since 18th century.

Live in Concert Hall of the Philharmonic Foundation-Conservatory of Patras, Greece.
"Elliniki Apolafsis": Composed by Giorgos Katsaros-Theologitis [1888-1997]. Recording of 1919 in the U.S.A.
Performed by Spiros Delegos [ guitar & vocals] in 2013.

This thesis is the first extended reflexive ethnographic work on Greek festivals and music, giving a study on music performances during the Carnival of Xanthi/ThracianFolklore Festival at a multicultural city in Northeastern Greece. Through a multi-sited model of ethnographic approach I explore the structure and content of the specific festival, interpreting in this way the nature and role of its musical worlds which are connected to many different kinds of musics labeled as folk, classical, art, popular, jazz and world. I give an extended review of the bibliography on festivals to achieve the ethnographic conceptualization of the festival I examine and I emphasize a dialogue between the field and theory. While considering carnival as a performative episode I deconstruct the festival events through the concept of ‘art worlds’ of Becker and ‘musical worlds’ of Finnegan. This deconstruction is based on the hermeneutics of the city’s spaces and their constant transformations during the celebrations. Consecutively, I focus on issues of cultural policy. After delineating the Greek scene of cultural policy –approaching also its European dimension- I present carnival as a big stage for constant promotion, handling and negotiation of the city’s identity through the festival’s politics. I also offer a nuanced understanding of ‘folklore’ in Greece, its use in Xanthi’s festival, its links and connections to the term of tradition and its encounter with the genre of popular. Finally, folklore material from my fieldwork formed an ethnomusicological educational project on traditional musics for children which was applied for two years on Greek schools. Through this project, I introduce an innovative use of folklore as a living element of our culture, contrasted to its problematic use in western music-education systems.