Since the 1980s, musicians and audiences in Athens have been rediscovering musical traditions associated with the Ottoman period of Greek history. The result of this revivalist movement has been the urban musical style of 'paradosiaká' ('traditional'). Drawing from a varied repertoire that includes Turkish art music and folk and popular musics of Greece and Turkey, and identified by the use of instruments which previously had little or no performing tradition in Greece, paradosiaká has had to define itself by negotiating contrastive tendencies towards differentiation and a certain degree of overlapping in relation to a range of indigenous Greek musics. This monograph explores paradosiaká as a musical style and as a field of discourse, seeking to understand the relation between sound and meanings constructed through sound. It draws on interviews, commercial recordings, written musical discourse, and the author's own experience as a practising paradosiaká musician. Some main themes discussed in the book are the migration of instruments from Turkey to Greece; the process of 'indigenization' whereby paradosiaká was imbued with local meanings and aesthetic value; the accommodation of the style within official and popular discourses of 'Greekness'; its prophetic role in the rapprochement of Greek culture with modern Turkey and with suppressed aspects of the Greek Ottoman legacy; as well as the varied worldviews and current musical dilemmas of individual practitioners in the context of professionalization, commercialization, and the intensification of cross-cultural contact. The text is richly illustrated with transcriptions, illustrations and includes downloadable resources. The book makes a valuable contribution to ethnomusicology, cultural studies, as well as to the study of the Balkans and the Mediterranean.
Since the 1980s, musicians and audiences in Athens have been rediscovering musical traditions associated with the Ottoman period of Greek history. The result of this revivalist movement has been the urban musical style of 'paradosiaká' ('traditional'). Drawing from a varied repertoire that includes Turkish art music and folk and popular musics of Greece and Turkey, and identified by the use of instruments which previously had little or no performing tradition in Greece, paradosiaká has had to define itself by negotiating contrastive tendencies towards differentiation and a certain degree of overlapping in relation to a range of indigenous Greek musics. This monograph explores paradosiaká as a musical style and as a field of discourse, seeking to understand the relation between sound and meanings constructed through sound. It draws on interviews, commercial recordings, written musical discourse, and the author's own experience as a practising paradosiaká musician. Some main themes discussed in the book are the migration of instruments from Turkey to Greece; the process of 'indigenization' whereby paradosiaká was imbued with local meanings and aesthetic value; the accommodation of the style within official and popular discourses of 'Greekness'; its prophetic role in the rapprochement of Greek culture with modern Turkey and with suppressed aspects of the Greek Ottoman legacy; as well as the varied worldviews and current musical dilemmas of individual practitioners in the context of professionalization, commercialization, and the intensification of cross-cultural contact. The text is richly illustrated with transcriptions, illustrations and includes downloadable resources. The book makes a valuable contribution to ethnomusicology, cultural studies, as well as to the study of the Balkans and the Mediterranean.
My grandmother is a diver, an astronaut, a train driver and a musician! This delightfully illustrated book is a bilingual adventure teaching kids the greek words for different occupations. The words are also lyrics to an accompanying song, making learning Greek fun and effortless for all ages.
In North of Ithaka, Eleni Gage returns to the remote Greek village of Lia, where her father was born and her grandmother murdered, to rebuild the ruins of her namesake's home and come to terms with her family's tragic history. In doing so, she leaves behind a sparkling social life and successful career to continue the tale of a family and a place which her father, Nicholas Gage, made famous over twenty years ago with his international bestseller, Eleni. Along the way she survives humorous misadventures, absorbs fascinating folklore, and comes to understand that memories of the dead can bring new life to the present. Part travel memoir and part family saga, North of Ithaka is, above all, a journey home. "A tale of homecoming and reconciliation, ‘North of Ithaka' proves the regenerative powers of home." --The New York Sun "Gage's vivid personal account captures the seasonal rhythms and everyday dramas of Greek life beyond the familiar resort islands, revealing a place that is, in the most traditional sense, old-world." --Travel & Leisure "Imbued with forgiveness, with the rebuilding of lives and houses, and moving on from tragedy...In coming full circle [Gage] has helped soothe the pain of a traumatized family." -The Times Literary Supplement "Ms. Gage's house project is partly an effort to move beyond the pain of memory. . . honest. . . amusing. . .she treats tradition with respect and history with realism." --Wall Street Journal
When 27-year-old Eleni Gage sets out for her family's native Greece to rebuild her grandparents' house in the remote but beautiful village of Lia, she wants to transform the site of a tragic past into a home for the future. Her grandmother, also called Eleni, was imprisoned and tortured there during the Greek Civil War. After a shaky start, as the house grows so does Eleni's love for Lia and the villagers. Part travel memoir, part family saga, NORTH OF ITHAKA is a funny, moving and fascinating journey home.
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