DOCSLIB.ORG

Greek Cypriot Wedding Music and Customs: Revival and Identity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Greek Cypriot Wedding Music and Customs: Revival and Identity Submitted by: EFI IOANNIDOU Supervisors: DR. ANDREW KILLICK, DR. SIMON KEEGAN-PHIPPS THE UNIVERSITY OF SHEFFIELD PhD in Music 21st March 2017 2 ABSTRACT In many cultures, weddings are the most important event in people’s lives. Greek Cypriots use weddings as a means of expressing their identity and linking themselves to their roots, with the conscious aim of preservation of their musical tradition and customs. As a result, weddings are especially important in their musical culture because of the threats to their identity posed by the island’s long history of foreign rule and colonisation. However, an upheaval has occurred in the folk music and customs of Greek Cypriot wedding ceremonies over the last ten years, creating an urgent need for a study of these customs in relation to social, historical and cultural developments in Cyprus. This study has revealed a movement towards music revival that links contemporary practice with the ‘living memory’ of the mid-twentieth century. The thesis is structured in two parts, progressing from the directly observable wedding practices of contemporary Greek Cypriots to the remembered and reconstructed forms of the Greek Cypriot wedding that is now regarded as ‘traditional’. Part One analyses contemporary wedding ceremonies and the choices that newlyweds make in the customs and music of their weddings. Part Two attempts to reconstruct in detail the music and customs of Greek Cypriot wedding ceremonies of the mid-twentieth century from the testimonies of veteran folk musicians and from documentary sources. Besides documenting a tradition that is little known and fast transforming, the study contributes to current discussions in ethnomusicology on themes such as ‘music revivals’ and ‘tradition and identity’. 3 Contents List of Figures………....……………………………………………………..........7 Acknowledgments………………………………………………………......…....11 List of Music Examples……………………………………………………….…12 DVD Contents…………………………………………………….…………...…15 Chapter One: Introduction.……………………………...……………………...21 1.1 The geographical, historical and sociological context of the period……………………………........24 1.2 The aims of the thesis……………………………………………………………………………...…29 1.3 Theoretical issues: transforming tradition, musical revivals and identity. Literature review……………………………………………………………………………..……………….....32 1.4 Methodology of the study…………………………………………………………………………....38 1.5 Note on textual and musical transcriptions…………………………………………......................…41 1.6 Overview of the thesis……………………………………………………………………………..…42 PART ONE: Presentation and analysis of the customs and music of five contemporary wedding ceremonies…………………………………..…….44 Chapter Two: Current wedding practices, customs and music…………..50 2.1 The first Phase: Allaman [adornment] and the procession to the church………………...………51 2.1.1 The shaving of the groom…………………………………………………………...……...52 2.1.2 The Dowry dance…………………………………………………………………...………56 2.1.3 The dressing of the groom…………………………………………………………...……..57 2.1.4 The smoking of the groom………………………………………………...………………..60 2.1.5 The adornment of the groom……………………………………………………………..…61 2.1.6 The adornment of the bride………………………………………………………...……….62 2.1.7 The dowry dance of the bride……………………………………………………...……….65 2.1.8 Dressing the bride and the custom of writing on the bridal shoes………………..………..66 2.1.9 The smoking of the bride…………………………………...………………………..…….70 2.1.10 The 'surrounding' with a kerchief of the bride……………………………………..……..71 2.1.11 The procession to the church for the main event of the wedding………………..……….71 2.1.12 Observations about the first phase of the wedding……………………………….………73 4 2.2 The Second Phase: The wedding service, the gamos…………………….……………………..…………..74 2.2.1 The custom to determine who is the ‘strongest’ of the couple..............................................75 2.2.2 Customs during the ‘Isaiah Dance’…………………………………………………………76 2.2.3 Customs as the couple leave the church.........................................................................…...76 2.3 The Third Phase: the cocktail reception and the wedding banquet……………………………………78 2.3.1 Music chosen for the cocktail reception……………………………………………...…….78 2.3.2 Music chosen for the wedding banquet………………………………………...…..………80 2.3.3 Reasons why the newlyweds prefer disc jockeys…………………………...………...……81 2.3.4 The choice of music when the new couple enters the room…………………...…...………83 2.3.5 The new couple’s dance………………………………………………………...…………..85 2.3.6 Music chosen to make the guests have fun……………………………………...……….…86 Conclusions……………………………………………………………………………………...…..…….89 Chapter Three: A contemporary wedding ceremony reviving mid-twentieth- century practices…..……………………………………….……………93 3.1 The 'imagined' wedding of the mid-twentieth century……………………………...…………………93 3.1.1 The invitation…………………………………………………………………...………….……..93 3.1.2 Customs before the wedding service……………………………………………...……….……..97 3.1.2.1 The adornment……………………………………………………………...…………….98 3.1.2.2 The procession to the church…………………………………………………...……….102 3.1.3 The wedding service………………………………………………………………………...…..104 3.1.4 After the wedding service…………………………………………………………………….…104 3.1.5 The wedding banquet.............................................................................................................…...106 3.1.5.1 The sewing of the bed…………………………………………………………...………106 3.1.5.2 The music during the banquet…………………………………………………...…....…108 3.1.6 The antigamos [another wedding party one week after the wedding]………………...……..….108 3.1.6.1 The custom of collecting chickens for the banquet……………………………………...109 3.2 A discussion with the couple……………………………………………………...…………………110 Discussion………………………………………… ……………………………..……………….…111 5 PART TWO: A reconstruction of the wedding ceremony of the mid- twentieth century and its music……..................………………………………………..……120 Chapter Four: General background to wedding ceremonies of the mid- twentieth century and their music…………………………………………...124 4.1 Weddings during the post war period, 1974 – 2010…………………………………………...…...124 4.2 Effects of outside influences on the evolution of the wedding ceremony…………………...……..125 4.3 Biographies of the folk musicians………………………………………………...………….…….127 4.4 General points about performance………………………………………………………………….135 Chapter Five: Phase One - Customs and music before the wedding ............... 138 5.1 The first preparations before the wedding …………………………………………………………………………………143 5.1.1 Washing the wool …………………………………………………………………………….144 5.1.2 Washing the dowry………………………………….…………………………………......…146 5.1.3 Blending the breads and invitations to the wedding…….………………………………...….146 5.1.4 Preparing the resin…………………………………………….………………………….......148 5.1.5 Bathing the bride……………………………………………………..………………...……..151 5.1.6 Decorating the Manatsan and the bridal bed………………………………......................…..153 5.1.7 Filling, and sewing crosses on, the bridal bed…………………………………………….....155 Chapter Six: Phase Two- Customs and music of the wedding day………...158 6.1 Invitations to the wedding ……………………………………...……………...………………….161 6.2 The groom’s ceremony……………………………………………………...…………………...…166 6.2.1 The shaving of the groom…………………………………………………………………...…167 6.2.2 Dancing with the dowry…………………………………………………………………….…168 6.2.3 Dressing the groom…………………………………………………………………………….168 6.2.4 Smoking the groom …………………………………………………......………………….....169 6.2.5 The ‘surrounding’ with a kerchief of the groom ……………………………………………...184 6.3 The bride’s ceremony ……………………………………………………………………….....…..177 6.3.1 The adornment of the bride…………………………………………………...………...……..177 6.3.2 Smoking of the bride……………………………………………………………...………..….182 6.3.3 The ‘surrounding’ with a kerchief of the bride……….…………………………...…………..184 6.4 Songs performed after the adornment of the bride and the groom…………………………..……..186 6.5 The procession of the bride and the groom to the church………………………………...………..192 Chapter Seven: Phase Three - the gamos, the wedding……….....................203 6 7.1 The custom of the ‘stronger’…………………………………………………...…………………..203 7.2 The ‘Isaiah horeve’ , the Isaiah Dance………………………………………………………..……203 7.3 Throwing rose leaves and seeds …………………………………………………...…………...….204 7.4 The ploumisman [payment] of the musicians…………………………………………..………….204 Chapter Eight: Phase Four- customs and music after the wedding……….209 8.1 The procession of the newlyweds…………………………………………………………………..209 8.2 Breaking a pomegranate and sprinkling rosewater……………………………………...………....209 8.3 The banquet and the music performed…………………………………………………...……..….209 8.4 The male Kartzilamades dances…………………………………………….……………...………210 8.5 The female Kartzilamades dances…………………………………………………………...……..219 8.6 Ploumisma tou antroinou – pinning money on the newlyweds’ clothes…………………………...227 8.7 Other folk tunes and songs presented during the wedding banquet………………………...……...230 8.8 The period after the wedding……………………………………………………………...……..…241 8.8.1 Monday, after the wedding………………………………………………………………….…241 8.8.2 Tuesday, after the weding……………………………………………………………………...242 8.8.3 Antigamos [second wedding] ………………………………………………………...……….243 Chapter Nine: General observations about wedding songs and ceremonies…………………………………………………...……………….. 244 9.1 Changes in wedding ceremonies and their music since the mid-twentieth century………………..247 Chapter Ten: General discussion about weddings of the mid-twentieth century………………………………………………………………………....251 Chapter Eleven: Conclusions…………………………………………….......257 11.1 wedding practices and music as a means of expressing and preserving
Recommended publications
  • Cyprus Tourism Organisation Offices 108 - 112

    Cyprus Tourism Organisation Offices 108 - 112

    CYPRUS 10000 years of history and civilisation CONTENTS CONTENTS INTRODUCTION 5 CYPRUS 10000 years of history and civilisation 6 THE HISTORY OF CYPRUS 8200 - 1050 BC Prehistoric Age 7 1050 - 480 BC Historic Times: Geometric and Archaic Periods 8 480 BC - 330 AD Classical, Hellenistic and Roman Periods 9 330 - 1191 AD Byzantine Period 10 - 11 1192 - 1489 AD Frankish Period 12 1489 - 1571 AD The Venetians in Cyprus 13 1571 - 1878 AD Cyprus becomes part of the Ottoman Empire 14 1878 - 1960 AD British rule 15 1960 - today The Cyprus Republic, the Turkish invasion, 16 European Union entry LEFKOSIA (NICOSIA) 17 - 36 LEMESOS (LIMASSOL) 37 - 54 LARNAKA 55 - 68 PAFOS 69 - 84 AMMOCHOSTOS (FAMAGUSTA) 85 - 90 TROODOS 91 - 103 ROUTES Byzantine route, Aphrodite Cultural Route 104 - 105 MAP OF CYPRUS 106 - 107 CYPRUS TOURISM ORGANISATION OFFICES 108 - 112 3 LEFKOSIA - NICOSIA LEMESOS - LIMASSOL LARNAKA PAFOS AMMOCHOSTOS - FAMAGUSTA TROODOS 4 INTRODUCTION Cyprus is a small country with a long history and a rich culture. It is not surprising that UNESCO included the Pafos antiquities, Choirokoitia and ten of the Byzantine period churches of Troodos in its list of World Heritage Sites. The aim of this publication is to help visitors discover the cultural heritage of Cyprus. The qualified personnel at any Information Office of the Cyprus Tourism Organisation (CTO) is happy to help organise your visit in the best possible way. Parallel to answering questions and enquiries, the Cyprus Tourism Organisation provides, free of charge, a wide range of publications, maps and other information material. Additional information is available at the CTO website: www.visitcyprus.com It is an unfortunate reality that a large part of the island’s cultural heritage has since July 1974 been under Turkish occupation.
  • “Folk Music in the Melting Pot” at the Sheldon Concert Hall

    “Folk Music in the Melting Pot” at the Sheldon Concert Hall

    Education Program Handbook for Teachers WELCOME We look forward to welcoming you and your students to the Sheldon Concert Hall for one of our Education Programs. We hope that the perfect acoustics and intimacy of the hall will make this an important and memorable experience. ARRIVAL AND PARKING We urge you to arrive at The Sheldon Concert Hall 15 to 30 minutes prior to the program. This will allow you to be seated in time for the performance and will allow a little extra time in case you encounter traffic on the way. Seating will be on a first come-first serve basis as schools arrive. To accommodate school schedules, we will start on time. The Sheldon is located at 3648 Washington Boulevard, just around the corner from the Fox Theatre. Parking is free for school buses and cars and will be available on Washington near The Sheldon. Please enter by the steps leading up to the concert hall front door. If you have a disabled student, please call The Sheldon (314-533-9900) to make arrangement to use our street level entrance and elevator to the concert hall. CONCERT MANNERS Please coach your students on good concert manners before coming to The Sheldon Concert Hall. Good audiences love to listen to music and they love to show their appreciation with applause, usually at the end of an entire piece and occasionally after a good solo by one of the musicians. Urge your students to take in and enjoy the great music being performed. Food and drink are prohibited in The Sheldon Concert Hall.
  • Music for the People: the Folk Music Revival

    Music for the People: the Folk Music Revival

    MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance.
  • Critiquing the Crisis Through Music – Three Songs About Life in Cyprus Before and After the ‘Haircut’ of March 2013

    Critiquing the Crisis Through Music – Three Songs About Life in Cyprus Before and After the ‘Haircut’ of March 2013

    9_MIKE_HAJIMICHAEL:2_TAO 9/6/15 14:23 233 Critiquing the Crisis through Music – Three Songs about Life in Cyprus Before and After the ‘Haircut’ of March 2013 MIKE HAJIMICHAEL Abstract This essay reflects on three songs from Cyprus written, released and performed on/or about/around the bailout crisis of March 2013. While the songs come from three different musical genres and artists they articulate a number of themes which are pertinent to understanding the economic crisis as a possible succession of a number of political crises and unresolved wounds that go back to the 1970s. One of the essay’s main objectives is to contribute to an emerging field in contemporary Cypriot scholarship, namely that of popular music studies through a contextual analysis of songs and the art of listening (Back, 2008). The essay also aims to develop an understanding of songs as commentary, as a form of media narrative on everyday lived experiences as reflected by musicians living through economic and political crises in Cyprus. Keywords: popular music, protest, songs, ethnomusicology, Cyprus, crisis, ethnography Introduction Music has always been a barometer of society’s problems, often reflecting on social, economic and political conditions. Musicians act as commentators on the present, reflecting on society’s anxieties, injustices and problems. We listen to songs by modern day ‘troubadours’ who express ideas through the looking glass of music on the world around them, as they see it. Every generation and moment in history has its own epoch-defining music. Bob Dylan’s ‘Blowin in the Wind’, John Lennon’s ‘Imagine’, The Sex Pistols ‘God Save The Queen’ and Bob Marley’s ‘Redemption Song’.
  • A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor

    A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor

    Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument.
  • Greek Gazetteer � Vol

    Greek Gazetteer Vol

    ! GREEK GAZETTEER ! VOL. 2, Part Ia, Part Ib ! ! ! ! ! ! ! By Lica H. Catsakis (Bywater) ! Salt Lake City, Utah 2000 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Published by Lica H. Catsakis 71 S. Chalon Dr. St. George, !Utah 84770 Copyright © 2000 by Lica H. Catsakis (Bywater). All rights reserved. First edition of vol.2 published 2000 Printed in the United States of America ! ! ! ! "ii! ! TABLE OF CONTENTS ! ! Page VOLUME 1 Acknowledgment .......................................................................................................... ii Introduction ...................................................................................................................iii Romanization Chart ...................................................................................................... vi Explanation of Abbreviations and Greek Terms ...........................................................viii Eparhia (District) and Capital City ...............................................................................x Nomos (County) and Capital City ................................................................................ xiv !Mitropolis (Diocese) and Seat of Diocese .................................................................... xvi Part I Map of Greece ...................................................................................................PART 1, p 2 Administrative Division of Greece ...................................................................PART 1, p 3
  • Mood Music Programs

    Mood Music Programs

    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
  • FOURTH SECTION CASE of LORDOS and OTHERS V

    FOURTH SECTION CASE of LORDOS and OTHERS V

    FOURTH SECTION CASE OF LORDOS AND OTHERS v. TURKEY (Application no. 15973/90) JUDGMENT (merits) STRASBOURG 2 November 2010 FINAL 11/04/2011 This judgment has become final under Article 44 § 2 (c) of the Convention. It may be subject to editorial revision. LORDOS AND OTHERS v. TURKEY JUDGMENT (MERITS) 1 In the case of Lordos and Others v. Turkey, The European Court of Human Rights (Fourth Section), sitting as a Chamber composed of: Nicolas Bratza, President, Lech Garlicki, Ljiljana Mijović, David Thór Björgvinsson, Ján Šikuta, Päivi Hirvelä, Işıl Karakaş, judges, and Fatoş Aracı, Deputy Section Registrar, Having deliberated in private on 5 October 2010, Delivers the following judgment, which was adopted on that date: PROCEDURE 1. The case originated in an application (no. 15973/90) against the Republic of Turkey lodged with the European Commission of Human Rights (“the Commission”) under former Article 25 of the Convention for the Protection of Human Rights and Fundamental Freedoms (“the Convention”) by thirteen Cypriot nationals, Mr Constantinos G. Lordos, Mr Kikis L. Christofides, Mr Zacharias Spiridonos, Mr Stavros Ioannou, Mr Areti G. Ionides, Mr Michalis Evangelides, Mr Loizos D. Loizides, Mr Christos Hadjimanolis, Mr Panayiotis Sergis, Mr Georgios Misirlis, Mr Georgios Rouvas, Mrs Eleni (alias Lenia) Antoniadou and Mr Stelios Mandrides (“the applicants”), on 20 December 1989. 2. The applicants were represented by Mr A. Demetriades, a lawyer practising in Nicosia. The Turkish Government (“the Government”) were represented by their Agent, Mr Z.M. Necatigil. 3. The applicants alleged, in particular, that the Turkish occupation of the northern part of Cyprus had deprived them of their homes and properties and that they had been the victims of discrimination on grounds of their ethnic origin and religious beliefs.
  • Table of Contents 1

    Table of Contents 1

    Maria Hnaraki, 1 Ph.D. Mentor & Cultural Advisor Drexel University (Philadelphia-U.S.A.) Associate Teaching Professor Official Representative of the World Council of Cretans Kids Love Greece Scientific & Educational Consultant Tel: (+) 30-6932-050-446 E-mail: [email protected]; [email protected] Table of Contents 1. FORMAL EDUCATION ....................................................................................................................................................................... 2 2. ADDITIONAL EDUCATION .............................................................................................................................................................. 2 3. EMPLOYMENT RECORD ................................................................................................................................................................... 2 3.1. Current Status (2015-…) ................................................................................................................................................................. 2 3.2. Employment History ....................................................................................................................................................................... 3 3.2.1. Teaching Experience ................................................................................................................................................................ 3 3.2.2. Research Projects ....................................................................................................................................................................
  • New York City

    New York City

    Greased Networks, Inc. www.mpGreek.com / www.mpGreek.gr New York City -- Tuesday, June 21st , 2005 mpGreek and SonyBMG sign deal to offer Greek music downloads NEW YORK, June 21st, 2005 / / mpGreek®, the global leader in Greek digital music services, today announced that it has signed a deal with SonyBMG Greece to sell SonyBMG’s digital downloads in Greece. mpGreek is the first Greek digital music service to sign with a multinational Record Label. Under this new agreement, a selection of SonyBMG repertoire will be included in mpGreek’s ‘a la carte’ digital download service. All SonyBMG repertoire will be served centrally by mpGreek directly to its users and will be protected with digital rights management software and will allow mpGreek users to burn a limited number of CD copies and export tracks to portable devices. The music of Anna Vissi, Antonis Remos, Kaiti Garbi, Mario Frangoulis, Helena Paparizou, Eleni Tsaliopoulou, Manolis Lidakis, Natassa Theodoridou and many more will now become available for the first time for digital downloads in Greece. Alexis Kombogiannis, Managing Director and Co-Founder of mpGreek said: “SonyBMG is the first of the major labels to partner with mpGreek and we’re proud to offer legal, competitively priced downloads to mpGreek customers. The addition of the SonyBMG catalogue to the 25,000 tracks we already have available is great news for Greek music fans who value quality music and quality recordings.” Mr. Dimitris Yarmenitis, Managing Director, SonyBMG Greece commented: “SonyBMG Greece always tries to find new and exciting ways in order to make the music of its artists available to consumers.
  • Authentic Cyprus - Depliant.Pdf

    Authentic Cyprus - Depliant.Pdf

    Thanks to its year-round sunshine, blue skies and warm waters, Cyprus enjoys an enviable reputation as one of the world’s top sun, sea and sand holiday destinations. But this delightful island has much more to offer. Away from the tourist areas, the Cyprus countryside has a diverse wealth all of its own, including traditional villages, vineyards and wineries, tiny fresco-painted churches, remote monasteries and cool shady forests. This is a nature-lovers paradise, where you can walk for hours without seeing another living soul. In springtime, fields of flowers stretch as far as the eye can see, and a ramble along a mountain path will suddenly reveal a tiny Byzantine chapel or a Venetian-built bridge that once formed part of an ancient trade route. Around every corner is another surprise; a magnificent view; a rare sighting of the Cyprus moufflon; or a chance encounter with someone who will surprise you with their knowledge of your language and an invitation to join the family for a coffee. In the villages, traditional values remain, while the true character of the Cypriot people shines through wherever you go - warm-hearted, friendly, family-orientated, and unbelievably hospitable. Around 1200BC, the arrival of Greek-speaking settlers caused great disruption and led to the emergence of the first of the city kingdoms of the Iron Age. The influence of Greek culture rapidly Throughout the following centuries became evident in every of foreign domination, everyday life in the aspect of Cypriot life. more remote rural villages hardly changed Cultural until the beginning of the 20th century, During the Hellenistic period when electricity and motorised transport (4th century BC), copper mining was arrived and the first paved roads were generating such wealth that Cyprus constructed.
  • New Species of Dolichopoda Bolívar, 1880 (Orthoptera, Rhaphidophoridae) from the Aegean Islands of Andros, Paros and Kinaros (Greece)

    New Species of Dolichopoda Bolívar, 1880 (Orthoptera, Rhaphidophoridae) from the Aegean Islands of Andros, Paros and Kinaros (Greece)

    DIRECTEUR DE LA PUBLICATION : Bruno David Président du Muséum national d’Histoire naturelle RÉDACTRICE EN CHEF / EDITOR-IN-CHIEF : Laure Desutter-Grandcolas ASSISTANTS DE RÉDACTION / ASSISTANT EDITORS : Anne Mabille ([email protected]), Emmanuel Côtez MISE EN PAGE / PAGE LAYOUT : Anne Mabille COMITÉ SCIENTIFIQUE / SCIENTIFIC BOARD : James Carpenter (AMNH, New York, États-Unis) Maria Marta Cigliano (Museo de La Plata, La Plata, Argentine) Henrik Enghoff (NHMD, Copenhague, Danemark) Rafael Marquez (CSIC, Madrid, Espagne) Peter Ng (University of Singapore) Norman I. Platnick (AMNH, New York, États-Unis) Jean-Yves Rasplus (INRA, Montferrier-sur-Lez, France) Jean-François Silvain (IRD, Gif-sur-Yvette, France) Wanda M. Weiner (Polish Academy of Sciences, Cracovie, Pologne) John Wenzel (The Ohio State University, Columbus, États-Unis) COUVERTURE / COVER : Female habitus of Dolichopoda kikladica Di Russo & Rampini, n. sp. Photo by G. Anousakis. Zoosystema est indexé dans / Zoosystema is indexed in: – Science Citation Index Expanded (SciSearch®) – ISI Alerting Services® – Current Contents® / Agriculture, Biology, and Environmental Sciences® – Scopus® Zoosystema est distribué en version électronique par / Zoosystema is distributed electronically by: – BioOne® (http://www.bioone.org) Les articles ainsi que les nouveautés nomenclaturales publiés dans Zoosystema sont référencés par / Articles and nomenclatural novelties published in Zoosystema are referenced by: – ZooBank® (http://zoobank.org) Zoosystema est une revue en flux continu publiée par les Publications scientifiques du Muséum, Paris / Zoosystema is a fast track journal published by the Museum Science Press, Paris Les Publications scientifiques du Muséum publient aussi / The Museum Science Press also publish: Adansonia, Anthropozoologica, European Journal of Taxonomy, Geodiversitas, Naturae. Diffusion – Publications scientifiques Muséum national d’Histoire naturelle CP 41 – 57 rue Cuvier F-75231 Paris cedex 05 (France) Tél.