DOCSLIB.ORG

3Rd International Conference Teaching Material And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
3Rd International Conference Teaching Material And GREEK ASSOCIATION OF PRIMARY MUSIC EDUCATION TEACHERS (GAPMET) 3rd International Conference Teaching material and its contribution to educational practice: From theory to application in Music Education 8-10 May 2009 IST STUDIES UNIVERSITY OF HERTFORDSHIRE Athens, Greece Under the auspices of Greek Ministry of National Education and Religious Affairs and the National Youth Foundation CONFERENCE ABSTRACTS ATHENS, GREECE 2009 3rd_international_conference_abs1 1 15/4/2009 7:37:26 ìì Co-Editors Maria G. Argyriou, Ph.D. Candidate, Department of Music Studies, Ionian University, Greece Panagiotis G. Kampylis, University of Jyvaskyla, Scholar of the Greek State Scholarships Foundation Teaching material and its contribution to educational practice: From theory to application in Music Education 3RD INTERNATIONAL CONFERENCE ABSTRACTS IST STUDIES, UNIVERSITY OF HERTFORDSHIRE, ATHENS, GREECE copyright © GAPMET – Greek Association of Primary Music Education Teachers First Edition: Μay, 2009 Permission to produce digital or hard copies of all or part of this work for scientific or educational purposes is granted free of charge provided that all copies bear this notice and the full citation on the first page. Digital or hard copies of all or part of this work for profit or commercial use are prohibited without the official permission from the Greek Association of Primary Music Education Teachers. Cover and text design: Afroditi Zouki Translations/ Proof-reading: Georgia Papadopoulou URL: www.primarymusic.gr Ε-mail: [email protected] ΙSSN 1791-9185 ISBN 978-960-89479-5-5 3rd_international_conference_abs2 2 15/4/2009 7:37:26 ìì CONTENTS Editorial ..........................................................................................................................................................4 The Conference ...............................................................................................................................................5 Conference Programme ..................................................................................................................................8 Participants’ who is who .................................................................................................................................15 Papers ........................................................................................................................................................... 18 Workshops ....................................................................................................................................................47 Posters .......................................................................................................................................................... 52 Round Tables ................................................................................................................................................54 Participants’ short CV ....................................................................................................................................56 3rd_international_conference_abs3 3 15/4/2009 7:37:26 ìì 3rd International Conference Abstracts EDITORIAL The call for learning constitutes a basic component of human beings. Nowadays, this fundamental urge is more intense than ever, as contemporary education seems to adopt a humanistic and democratic approach. Teachers and teaching materials stand in the centre of any teaching and learning process. With a feeling of accountability towards teachers and students, the 3rd International Conference of the Greek Association of Primary Education Music Teachers (GAPMET) has now become an institution. It has also acquired an international dimension thanks to the participation of distinguished scholars, researchers, and artists that represent cultural, educational, and research institutions from 15 countries: Canada, Cyprus, Finland, France, Germany, Greece, Ireland, Italy, Jordan, Norway, Palestine, Spain, Switzerland, U.K. and the U.S.A. The basic aims of the 3rd International Conference of GAPMET are the establishment of a deeper collaboration between cultural, educational, and research institutions from all over the world, which take action in Musical and Aesthetic Education, as well as the encouragement of any related initiative for research, creativity and reflection. Within this framework, the conference aspires to highlight research that answers the fundamental questions about the future of education, research that deals with the applied teaching materials and research for teachers’ initial education and life-long training. We aspire that the 133 presenters of papers, posters, workshops, round tables and artistic events will cover the participants’ needs for updated knowledge on the results of contemporary research in the field of Music and Aesthetic Education. We anticipate that the exchange of viewpoints, good practices and ideas will essentially contribute to the progress in the field. The participation and active contribution in the conference of eminent scientists and artists from three continents, America, Europe and Asia, attests that the first aim of the conference has already been fulfilled. In order to achieve the second aim of the conference we should decode the information, combine the information and interpret reality targeting for a effective, creative and humanistic Music and Aesthetic Education. Maria Argyriou and Panagiotis Kampylis 3rd_international_conference_abs4 4 15/4/2009 7:37:27 ìì 3rd International Conference Abstracts THE CONFERENCE The need for educators’ participation in the process of the creation and use of teaching materials and incorporation of new technologies is evident in current teaching practices. In the 3rd Conference organised by GAPMET educators of all levels, scientists and researchers will have the opportunity to express and promote their views and ideas as well as suggest innovative ideas in relation to teaching materials. The Conference aims at contributing to the improvement of teaching practices and enable members of the school community to access teaching material and information on current research. At the same time it will try to respond to the need for systematic and continuous re-training of educators and their familiarisation with the philosophy and methodology of producing and using teaching materials. THEMES AND CONTENT 1. Philosophy and methodology • Use of teaching material • Methodology of producing teaching materials • Applications to curriculum 2. Teaching materials (TM): Design, production and evaluation • Producing TM for classroom use • TM and Music Education for special needs • Methodology of designing educational packages • Support for TM production • Suggestions for teaching methods of TM • Evaluation of TM 3. TM and the challenge of new technologies • E-learning • Multimedia • Educational networks • Educational portals 4. Museum TM and art education • Design, production and dissemination of TM from museums (museum educational packages, teacher’s guides, student leaflets, children’s books and games, cds and dvds.) • Museum TM in the classroom in support of Art Education 5. TM, life-long learning and Teacher Training • Issues in education policy • Design of TM for Distance Learning 6. Libraries in modern educational environments • Libraries and Education in the digital age • Libraries as educational places for teachers 3rd_international_conference_abs5 5 15/4/2009 7:37:27 ìì 3rd International Conference Abstracts OPENING SPEECHES Lenia Serghi, Professor Emeritus, Department of Music Studies, Ionian University Olympia Psychopaidi-Phragou, Department of Music Studies, National and Kapodistrian University of Athens KEYNOTE SPEAKERS Liora Bresler, Professor, Department of Curriculum and Instruction, University of Illinois, USA Pamela Burnard, Senior Lecturer, Faculty of Education, University of Cambridge, UK Graham Welch, Chair of Music Education. Head, Department of Arts and Humanities, Institute of Education, University of London, UK CONFERENCE 2009 SCIENTIFIC COMMITTEE / INVITED SPEAKERS Smaragda Chrysostomou (Chair), Department of Music Studies, National and Kapodistrian University of Athens, Greece José Luis Aróstegui Plaza, Uiversidad del Departamento de Didáctica de la Expresión Musical, Plástica y Corporal de la Universidad de Granada, Spain Markus Cslovjecsek, University of Applied Sciences, Switzerland Natasa Economidou-Stavrou, European University, Cyprus Magne Espeland, Stord/Haugesund University College, Norway Diana Harris, Open University, UK Sarah Hennessy, School of Education and Life Long Learning, University of Exeter, UK Evangelos Himonides, Institute of Education, University of London, UK Erja Kosonen, Jyväskylä University, Finland Regina Murphy, University College, Dublin, Ireland Pirkko Paananen, Jyväskylä University, Finland Gabriel Rusinek, Universidad Complutense de Madrid, Spain Joan Russell, McGill University, Canada Frederick A. Seddon, Università degli Studi di Padova, Dipartimento di Scienze dell’ Educazione, Italy Anastasia Georgaki, Assistant Professor, National and Kapodistrian University of Athens, Greece Theodoros Grammatas, Professor, Faculty for Primary Education, University of Athens, Greece Anda Katsiki Givalou, Professor, Faculty for Primary Education, National and Kapodistrian University of Athens, Greece Pavlos Kavouras, Associate Professor, Faculty for Musical Studies, National and Kapodistrian University of Athens, Greece Μaria Koutsouba, Assistant Professor, TEFAA, National
Load more

Recommended publications
  • Composer and Lyricist
    BIBLIOGRAPHY Songs Referenced Καλόγρια—“The Nun” Composer and Lyricist: Vaggelis Papazoglou First recorded singer: Rita Abatzi Year: 1937 Λιλή η σκανδαλιάρα— “Lily the Reckless” Composer and Lyricist: Panagiotis Tountas First recorded singer: Roza Eskenazi Year: 1931 Γκιούλµπαχαρ— “Gioulbahar” Composer and Lyricist: Vassilis Tsitsanis Year: 1950 Οι µάγκες δεν υπάρχουν πια— “The real manges don’t exist anymore” Composer and lyricist: Nikos Papazoglou Year: 1979 Μποέµισσα- “Boemissa” Composer and lyricist: Spyros Peristeris Year: 1933 Μποέµισσα— “Boemissa” Composer and Lyricist: Vassilis Tsitsanis Year: 1938 Αν είµ’εγώ µποέµισσα— “If I’m a boemissa” Composer and lyricist: Sotiria Bellou Year: ~late 1950’s Que Deus Me Perdoe Composer: Frederico Valério Lyricist: João da Silva Tavares Year: 1967 Tudo Isto é Fado Composer: Aníbal Nazaré Lyricist: Fernando de Carvalho Year: 1957 Foi Deus Composer/Lyricist: Alberto Janes Year: unknown; based on Janes’ life, likely in the 1950’s Fado da Desgraçada Published in 1893, but written sometime in the 1850’s (Nery, 85). Estranha Forma de Vida Composer: Alfredo Marceneiro Lyricist: Amália Rodrigues Year: 1967 Works Referenced Adimidou, Sofia (Αδαμίδου, Σοφία). 1998. Σωτηρία Μπέλλου, Πότε ντόρτια, πότε εξάρες. Αθήνα: Νέα Σύνορα / Α. Α. Λιβάνη. Bakhtin Michail Michajlovič., and Iswolsky Hélène. 1984. Rabelais and His World. Indiana University Press. Butler, Judith. 1990. “Gender Trouble.” In Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch, 2485-2501. Norton & Company Limited, W.W., 2018. Cook, Manuela. 2003. “The Woman in Portuguese Fado-Singing.” International Journal of Iberian Studies, vol. 16, no. 1, Intellect, , pp. 19–32, doi:10.1386/ijis.16.1.19/0. Colvin, Michael.
    [Show full text]
  • Music, Image, and Identity: Rebetiko and Greek National Identity
    Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods ..................................................................................................................
    [Show full text]
  • AHEPA's James Plevritis Evzone Chapter #405
    AHEPA’s James Plevritis Evzone Chapter #405 Invites you to a Unique Cultural "Greek Movie Night" Presenting the Award Winner Movie "REBETIKO" Produced: 1983 Drama and Historic Fiction 2.5 hours The story is based on the life of the Rebetiko singer Marika Ninou and her relation with the famous composer Vassilis Tsitsanis. It presents the Rebetiko song as it entangles with the political instability of the entire Greek nation starting from the Asia Minor Disaster in 1922, the World War II and Nazi occupation in 1940, the tragic Civil War in 1948, to the even more economic instability of the 1950's. Mucic by the famous composer Stavros Xarhakos Saturday, March 21st, 2015 7:00 PM Holy Trinity Church – 10 Mill Road, New Rochelle, NY 10804 Reception with Hors d’oeuvres and wine will follow the movie Donation $15 Payable to: AHEPA Evzone Chapter #405 (501c10) Donations deductible to the extent permitted by law Portion of profits support the AHEPA Scholarship Fund Information: Peter Constantinides 718 543-8136, Joe Keane 914 738-4854 Elias Pantelaros 914 633-0678 "Rebetiko" Synopsis The time depicted in this film, covers a period in Athens from about 1922 -1958. This was a time of tremendous transition and instability for the entire Greek nation. The film begins with a montage of the Asia Minor Disaster which resulted in a population exchange, that increased the population in Greece by approximately 25%, almost overnight, in 1923 with most of them ending up in Athens. It was in these overcrowded and economically and spiritually destitute conditions during the 1930's, that the Rembetiko genre of music reached its height in popularity.
    [Show full text]
  • Sani-Magazine-14-A-LLR.Pdf
    The digital magazine of Sani Resort | Summer 2014 In the MOOD TO THE BLUE FAST? essence sparkle K What’s for he T VACATION THE UNIQUE order EFFECT Circle Yacht by BREA Behind the Zaha HADID eating MYTH matters HALKIDIKI through its SANI festival An interview with New PEOPLE NFINITY I SANI RESORT through your EYES Nicholas COLERIDGE WELCOME GOOD LIFE 5 Sani Resort through your eyes 51 Sani Marina 6 Sani Resort is... 52 The Classic and the new Guard 57 The vacation effect contents 59 Hollywood comes to Greece click or tap 61 Summer Up yourself to go to article 64 Temples of pleasure NATURE DESIGN 8 The Blue essence 69 Infinity matters the new pool of Sani Beach Hotel 9 Go Green 70 Design object of the season 13 Hermes, the black-winged stilt 71 The Unique Circle Yacht a work by Zaha Hadid ARTS, PEOPLE & CULTURE GASTRONOMY 17 An interview with Nicholas Coleridge 75 The Byblos Caviar Lounge 22 Arts Corner 76 New eating order featuring the Tomata restaurant in Sani Marina 24 Sani Festival 78 What’s for breakfast? 29 Writer’s corner Panos Karnezis Holiday 83 Super strong 33 Behind the Myth 86 Sani Gourmet 14 Halkidiki through the times a short review 34 Insider’s guide to Halkidiki 87 Sani Gourmet 14 a photo essay 39 The Holy Mountain 41 Halkidiki through its people SANI NEWS 2 navigation tips go to contents page play video go to link EDITOR IN CHIEF PHOTOGRAPHS SANI MAGAZINE id Georgia Dodou Andreas Sfiridis Edition Summer 2014 [email protected] Aris Rammos PUBLISHER Corbis/Apeiron EDITORIAL TEAM Heinz Troll Sani S.A., 55 Nik.
    [Show full text]
  • A Way of Life
    The Passenger: Greece — May 2020 ISBN: 9781787702189 A Way of Life Matteo Nucci Translated by Alan Thawley Rebetiko is rebel music by definition (challenging power, war and conformism), part of the cultural baggage of those displaced from Asia Minor. In recent years it has been reborn and is once again releasing its revolutionary potential. I was initiated into rebetiko by a Russian. His name is Yanni, a skinny guy with a glassy look in his eyes softened by a glint of non-conformity. He carries himself with respect and delicacy, and sooner or later you will come across him if you have fallen in love with this unique music and start frequenting the right places in Athens, the old-time venues that cannot be named because they have to stay on the margins of the law. You will see him bent over his tsipouro, the Greek version of grappa, and his cigarettes rolled from the best tobacco. A blond dandy, a peaceful rebel. Yanni Litovchenko smokes like a rebetis, a rebetiko musician, but he does not play and does not sing. He sits on the margins of these rooms full of music and ashtrays. And he listens. He dreams. Sometimes he will let out a yell or sing a verse under his breath. He has a passion for this music, and if you fall under its spell, succumb to the tales that he tells and his amazing night-time pilgrimages, perhaps you might have the same experience as me. At the beginning I thought he was just an unusual character.
    [Show full text]
  • Managing 'Difficult' Intangible Heritage Through the Application of the Living
    I. Poulios Managing ‘difficult’ intangible heritage 3 MANAGING ‘DIFFICULT’ INTANGIBLE HERITAGE THROUGH THE APPLICATION OF THE LIVING HERITAGE APPROACH REFLECTIONS ON THE DOCUMENTARY FILM SILENT WITNESS ABOUT THE PRISON IN THE CITY OF TRIKALA, GREECE / Η ΔΙΑΧΕΙΡΙΣΗ «ΔΥΣΚΟΛΗΣ» ΑΫΛΗΣ ΚΛΗΡΟΝΟΜΙΑΣ ΜΕΣΩ ΤΟΥ ΜΟΝΤΕΛΟΥ ΤΗΣ ΖΩΣΑΣ ΠΟΛΙΤΙΣΜΙΚΗΣ ΚΛΗΡΟΝΟΜΙΑΣ ΣΚΕΨΕΙΣ ΜΕ ΒΑΣΗ ΤΟ ΝΤΟΚΙΜΑΝΤΕΡ ΣΙΩΠΗΛΟΣ ΜΑΡΤΥΡΑΣ ΓΙΑ ΤΗ ΦΥΛΑΚΗ ΤΩΝ ΤΡΙΚΑΛΩΝ Ioannis Poulios / Ιωάννης Πούλιος* ________________________________________________________ ΠΕΡΙΛΗΨΗ Το παρόν άρθρο πραγματεύεται ζητήματα πολιτιστικής πολιτικής και εθνικής μνήμης, με έμφαση στη διαχείριση της «δύσκολης» πολιτισμικής κληρονομιάς της φυλακής των Τρικάλων και με αναφορά στο επιτόπιο μουσείο, αφιερωμένο στον συνθέτη Βασίλη Τσιτσάνη και στο ρεμπέτικο τραγούδι. Το άρθρο βασίζεται στο ντοκιμαντέρ «Σιωπηλός Μάρτυρας» του βραβευμένου σκηνοθέτη Δημήτρη Κουτσιαμπασάκου. Αρχικά, περιγράφεται η φυλακή ως παράδειγμα «δύσκολης» πολιτισμικής κληρονομιάς και *Ioannis Poulios is member of the Adjunct Academic Staff of the Hellenic Open University, and consultant for the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). He was scientific advisor for the film Silent Witness. [email protected] Museumedu 6 / Autumn 2018, pp. 99-122. Copyright © 2018 by Museum Education and Research Laboratory, University of Thessaly. All rights of reproduction in any form reserved. Museumedu 6 / Autumn 2018 99 I. Poulios Managing ‘difficult’ intangible heritage παρουσιάζεται η προσέγγιση του σκηνοθέτη. Στη συνέχεια, το άρθρο, ακολουθώντας τη δομή της ταινίας, εξετάζει τους τρόπους με τους οποίους διαφορετικές κοινωνικές ομάδες — όπως παρουσιάζονται στο ντοκιμαντέρ — διαχειρίζονται τη φυλακή: α) ομάδες που έχουν συνδεθεί με τη ζωή της φυλακής, π.χ. ποινικοί και πολιτικοί κρατούμενοι και δεσμοφύλακες και β) το κράτος και ο δήμος.
    [Show full text]
  • Idiom-Independent Harmonic Pattern Recognition Based on a Novel Chord Transition Representation
    IDIOM-INDEPENDENT HARMONIC PATTERN RECOGNITION BASED ON A NOVEL CHORD TRANSITION REPRESENTATION Emilios Cambouropoulos, Andreas Katsiavalos, Costas Tsougras School of Music Studies, Aristotle University of Thessaloniki, Greece [email protected], [email protected], [email protected] ABSTRACT On the other hand, if harmonic analytic models are used to derive a harmonic description of pieces (e.g., chords as In this paper, a novel chord transition representation (Cam- degrees within keys or tonal functions), more bouropoulos 2012), that draws on the interval function between two collections of notes proposed by Lewin (1959), is explored sophisticated processing is possible; in this case, however, in a harmonic recognition task. This representation allows the models rely on complicated harmonic analytic systems, encoding of chord transitions at a level higher that individual and, additionally, are limited to the tonal idiom. notes that is transposition-invariant and idiom-independent All the above models rely on some representation of (analogous to pitch intervals that represent transitions between individual chords. There are very few attempts, however, notes). A harmonic transition between two chords is represented by a Directed Interval Class (DIC) vector. The proposed 12- to represent chord transitions. For instance, de Haas et al. dimensional vector encodes the number of occurrence of all di- (2008, 2011) represent chord transitions as chord distance rectional interval classes (from 0 to 6 including +/- for direction) values adapting a distance metric from Lerdahl’s Tonal between all the pairs of notes of two successive chords. Apart Pitch Space (2001); however, a chord transition being from octave equivalence and interval inversion equivalence, this represented by a single integer value seems to be an representation preserves directionality of intervals (up or down).
    [Show full text]
  • 20Th European Conference on Mobility Management May-June 2016 Table of Contents 1
    Organizers Under the aegis ARISTOTLE UNIVERSITY UNIVERSITY MUNICIPALITY Greece OF THESSALONIKH OF PIRAEUS OF ATHENS Smart Invites mobility solutions for cities and people 20th European Conference on Mobility Management MAy-JUNE 2016 Table of contents 1 Invitation Letter 3 Accessibility 51 Organizing Committee 5 National Carrier 53 Aristotle University of Thessaloniki - Department of Civil Engineering 7 Duration of Flights to Athens 56 University of Piraeus - Department of Maritime Studies 8 Moving Around Athens 59 Brief profile of the Municipality of Athens 9 Conference Venue Proposal Potential Partners 10 Technopolis City of Athens 63 Letters of Support 10 Proposed Conference Halls 66 Motto & Tentative Thematic Areas of the Conference 15 Accessibility 70 Mobility Management Projects Alternative Venue Option - Eugenides Foundation 73 carpooling.gr 18 Proposed Conference Halls 76 Wiseride City Route Calculator 20 Accessibility 79 Cyclopolis 21 Conference Attendance & Recordings 81 SEE MMS South East European Mobility Management Scheme 22 Accommodation in close proximity to the Conference Venues Metropolitan Bicycle Network 24 Accommodation in close proximity to the Conference Venue Technopolis 84 Athens Info-Point kiosks 25 City of Athens Accommodation in close proximity to the Conference Venue Eugenides Citizen & NGO Initiatives Foundation 86 Friday-Freeday 26 Headquarter & Satellite Hotels PERISTERO-petalies 27 5* Hotels 89 Other Projects 4* Hotels 90 Re-Think Athens 28 3* Hotels 93 Development of the new Line 4 of the Athens Metro 30
    [Show full text]
  • The Musical Instruments
    The choir of the 3rd High School of Acharnes, Greece Under Mrs. Mersini Theotokatou, teacher of Music, presents a short project on REBETICO … European Multilateral Comenius project MARE NOSTRUM 2013‐15 LISBON 2015 REBETICO The kind of urban popular music that appeared in Greece at the end of the 19th century and shaped its well‐known form until the third decade of the 20th century. Before entering the big cities Rebetico music expanded its roots and flourished in the ports, next to the harbors of Pireas, Salonica and Volos where marginal and working class people lived and worked. One of the most serious researchers of Rebetico, Elias Petropoulos, divides its history in three periods a) 1922‐32: The first period strongly influenced by the original music of Smyrna b) 1932‐42: The classical period c) 1942‐52: The period of its wide expansion and massive reception by the whole national audience The first period When the disaster of Smyrna(1922) was followed by the populations exchange between Greece and Turkey according to the Lausanne treaty (1923), Rebetico had its greatest influence by the music of Smyrna. Many Minor Asian refugees were installed in urban centers along with their musical tradition and instruments. In this period the topics of Rebetico mainly refer to love and marginal life (effort to be adapted, imprisonment, social rejection, drugs etc.). In the beginning of the 20th century Rebetico was the poor neighborhoods popular song of big cities. The Harbour of Smyrna The classical period In 1932 we have the first recordings of Marcos Vamvakaris, while until 1941 most of the classical Rebetico composers and singers appear in discography some of them are: Payioumtzis, Bayiaderas, Yianis Papaioannou, Vasilis Tsitsanis, Manolis Chiotis, Stelakis Perpiniadis, Rosa Eskenasi and an more.
    [Show full text]
  • 1 Ioannis Halikias Aka Jack Gregory
    1 Ioannis Halikias aka Jack Gregory (1898-1957)1 Aydin Chaloupka Introduction Before 1932, the bouzouki had only been recorded a handful of times commercially, but these songs were in no real ways influential. The bouzouki still had a bad name and with the exception of the recordings of Manetas in 1931, had not been recorded in Greece. In 1932, Ioannis “Jack” Halikias (1898-1957), a Greek-American recorded “Minore tou teke,” the first bouzouki solo, and probably the most influential bouzouki recording ever made.2 It was this record that was responsible for the decision to start openly recording the bouzouki in Greece. It also provided the opportunity for the rise of players like Markos Vamvakaris, Anestis “Artemis” Delias, Giannis Papaioannou, and Vassilis Tsitsanis. It was “Minore” that inspired Papaioannou to pick up the bouzouki: Listen then, how I got a bouzouki and became Papaioannou: One day I was sitting in the taverna, eating. I was wearing work clothes. I heard a record that Halikias made in America. It was a great hit from America, on one side there was a solo minore and on the other a solo zeimbekiko. Once I heard it, I went crazy. I got up to read the label and saw Halkias' name. It said "Giannis Halikias." It was the "Minore tou teke." I went crazy! A song like that will never be produced again in nature. No one else made a song like that. That is a symbol, which is untouchable by the whole world. (Papaioannou) 3 For all the influence Halikias had in Greece, he spent remarkably little time there.
    [Show full text]
  • Oli I Rembetes :: Tracklist Sélection / Playlist : Delair (2004 + 2018
    Oli i Rembetes :: Tracklist Sélection / Playlist : Delair (2004 + 2018) Smyrneiko & Pireotiko - Smyrneïka tragoùdia - Laïko tragoudi 01 Andonis (Hatzidiamantidis) Dalgas, Lambros Leondaridis - Tis Ksenintias O Ponos (1935) 02 Yiannis Papayoanou - Captain Andreas Zepo 03 Sotiria Bellou - Ase Me Ase Me 04 Rembet inconnu - Unknown 05 I.Georgakopoulou & Vasilis Tsitsanis - I Yepakina 06 Sotiria Bellou - Kane Ligapi Epomoni 07 Markos Vamvakaris - Taximi Zeimbekiko (1937) 08 Marika Ninou - Vasilis Tsitsanis - Ta Kabourakia 09 Vasilis Tsitsanis - Theodorakis - Gonia Gonia 10 Markos Vamvakaris, Grigoris Bithikotsis - Oli i rebetes tou dounia - 28'04 11 Agathonas Lakovidis - Pente Mangas Ston Pirea 12 Sotiria Bellou - I Used To Live Alone Without Love 13 Tsaousakis Prodromos - Opou pato to podi mou 14 Marinella & Vasilis Tsitsanis - Mes ti polli skotoura 15 Grigoris Bithikotsis, Vasilis Tsitsanis, Voula Gika - Zitisate Ti Gynaika (Serse La Fam) Rembetika By Marc Dubin and George Pissalidhes Rembétika began as the music of the Greek urban dispossessed – criminals, refugees, drug-users, defiers of social norms. It had existed in some form in Greece and Constantinople since at least the turn of the century, but it is as difficult to define or get to the origins of as jazz or blues –genres with which (tenuous) comparisons are often made, not so much for the music as for its inspirations, themes and tone. Rembétika songs tell of illicit or frustrated love, drug addiction, police oppression, death – and their delivery tends to be resignation to the singer's lot, coupled with defiance of authority. Musically, rembétika is bound in with the bouzoúki – a long-necked, fretted lute derived, like the Turkish saz, from the Byzantine tambourás.
    [Show full text]
  • Historical Development of Rembetika Music and Its Relationship to Contemporary Popular Music in Greece by Dharma Deva (1999)
    Historical development of rembetika music and its relationship to contemporary popular music in Greece by Dharma Deva (1999) Definition and early background The word rembetika is from the Turkish 'rebet' meaning intractable, rebellious, unruly (Panagiotakopoulos 1997a). The music originated as slow and sad songs. This characteristic derives perhaps from Byzantine church music (Holst-Warhaft 1997). However, historically Greek music has also been influenced by the Turks and West Asia Minor, and so rembetika incorporates musical forms of the eastern Mediterranean. When the Greeks revolted against the Turks in 1821 establishing the beginning of a new Greek nation in 1830, some 2 million Greeks still lived in Turkey. In the last decade of the 19th century sociological factors were such that the rise of the working class, movement from villages to towns and seaports, and another war with Turkey in 1897 resulted in considerable impoverishment in Greece giving rise to sections of society being alienated and resorting to crime - these became the rembetes consistently prosecuted by the police (Panagiotakopoulos 1997a). The Smyrna era - 1890 to 1923 Rembetika music, reflecting depressed living conditions, in prisons and in homes is believed to have been heard in 1891 or earlier (Panagiotakopoulos 1997a). Early musical sources which contributed to its character include the vaudeville scene, popular and oriental songs, tavern songs, short poems and Byzantine psalms. The melodic line is based on a mode, i.e. dromi (literally 'road'). These were Arabic and Turkish modes (e.g. Rast D E F# G A B C D, Hitzaz D Eb F# G A Bb C D) from Turkish makam or classical music.
    [Show full text]