DOCSLIB.ORG

Composer and Lyricist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. 2008. The Reconstruction of Lisbon: Severa’s Legacy and the Fado’s Rewriting of Urban History. Bucknell University Press. DaCosta, Kimberly. 2006. “Fado Historiography: Old Myths and New Frontiers.” Portuguese Cultural Studies. Dos Santos, João. 1987. “The Gangster Reformed: A study in musical parallels.” Musical Traditions No.7 Foucault, Michel. 1976. “The History of Sexuality.” In Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch, 1648-1666. Norton & Company Limited, W.W., 2018. Gray, Lila Ellen, 2018. Fado Resounding: Affective Politics and Urban Life. Duke University Press. Holton Holst-Warhaft, Gail. 1995. Dangerous Voices: Womens Laments and Greek Literature. Routledge. ---------1998. “Rebetika: The Double-descended Deep Songs of Greece.” In The Passion of Music and Dance: Body, Gender and Sexuality, edited by William Washabaugh. Berg Publishers. --------- 2006. Road to Rembetika: Music of a Greek Sub-Culture: Songs of Love, Sorrow and Hashish. 4th ed., Denise Harvey. ----------2018. “Amanes: The Legacy of the Oriental Mother.” In Greek Music in America, edited by Tina Bucuvalas, 87-103. University Press of Mississippi. Nagy, Gregory. 2010 “Ancient Greek Elegy.” In The Oxford Handbook of the Elegy, edited by Karen Weisman, 13-45. Oxford: Oxford University Press 2010. Nery, Rui Vieira. 2012. A History of Portuguese Fado, INCM - Imprensa Nacional Casa da Moeda. ---------- 2004, Para Uma História do Fado, Corda Seca Lachmann, Renate, et al. “Bakhtin and Carnival: Culture as Counter-Culture.” Cultural Critique, no. 11,1988, pp. 115–152. JSTOR, www.jstor.org/stable/1354246. League, Panayiotis. 2016. “The Poetics of Meráki: Dialogue and Speech Genre in Kalymnian Song.” Journal of Modern Greek Studies, Volume 34, No. 2. Leontis, Artemis. 2009. Culture and Customs of Greece. Greenwood Press 2009. Partridge, Christopher and Marcus Moberg, editors. 2017. The Bloomsbury Handbook of Religion and Popular Music. Bloomsbury Publishing Co. Sarbanes, Janet. 2007. Musicking and Communitas: The Aesthetic Mode of Sociality in Rebetika Subcultre. Popular Music and Society. 29:1, 17-35, DOI:10.1080/03007760500142738 Sontag, Susan. 1964. “Notes on “Camp.”” in Partisan Review Magazine. Stamatis, Yona. 2011. “Rebetiko Nation: Hearing Pavlos Vassiliou’s Alternative Greekness Through Rebetiko Song.” PhD diss. University of Michigan. http://hdl.handle.net/2027.42/86376 Tamen, Miguel. 2017. “Filosofia pelo Fado.” Accessed February 2020. https://observador.pt/opiniao/a- filosofia-pelo-fado-iii/. Varga, Somogy and Guignon, Charles. 2020. "Authenticity", The Stanford Encyclopedia of Philosophy (Spring 2020 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/spr2020/entries/authenticity/>. .
Load more

Recommended publications
  • 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]
  • Rebetiki Istoria” Comes to Ann Arbor! by Yonastamatis
    University of Michigan/Department of Classical Studies Winter 2009 Newsletter MODERNGreek Program “Rebetiki Istoria” Comes to Ann Arbor! by YONAStamatis his is a tale of discovery of the finest reminded me of the original version I Kyriaki” (Cloudy Sunday) by Vasilis rebetika musicians in Athens and an knew so well, recorded in 1948 by the Tsitsanis and “Frankosyriani” (Franco- Tinvitation to attend their first and two greatest rebetiko singers of all time, Syrian girl) by Markos Vamvakaris, as only U.S. appearance on Saturday, Prodromos Tsaousakis and Sotiria Bellou. well as a selection of extremely unusual April 25, 2009 at the Stamps Auditorium With a sinking heart, I spent the rest of and difficult rebetika songs rarely in the new Walgreen Drama Center on the summer combing the city for rebetika performed today, including “Tis Arizonas U-M’s North Campus here in Ann Arbor. performed in the original style. ta vouna” (The Mountains of Arizona) by Giorgos Katsaros and “Ta mallia mou After settling into my Athens apartment Frustrated and disappointed and about ginan griza” (My Hair has Turned Gray) Mark your calendars last June, I rushed off to the Metropolis to give up hope, my luck suddenly by Babis Bakalis. I will preface the for a FREE concert music store in Omonia Square. I had just changed in mid-September, when a concert with a short commentary on the arrived in Greece in order to start my friend, U-M Lecturer in Modern Greek history of rebetika and on Rebetiki Istoria, “Rebetiki Istoria” dissertation research on contemporary Panagiotis Pafilis, recommended including my experience performing Sat., April 25, 2009 rebetika performance, and I was eager I visit Rebetiki Istoria [Rebetika violin and tzoura (small-sized bouzouki) at 8pm to find recordings by current rebetika History], the oldest and best- with the group for a full eight-month musicians.
    [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]
  • CUADERNO DE BITACORA POR AGUAS GRIEGAS. (2. a Parte)
    CUADERNO DE BITACORA POR AGUAS GRIEGAS. (2. a parte) Continuando con la sección comenzada en el n ŭmero anterior de la revis- ta, seguimos recopilando direcciones URL relacionadas con el mundo griego, invitándoos a compartir vuestra propia selección y descubrimientos. 1. ANTIGGEDAD Para empezar, el marco de los filólogos, tanto clásicos como modemos: http://www.filologos.homestead.com/douka.html, con el diccionario de Georgakas y de Triandafilidis (griego modemo) on line, ejercicios de gramá- tica, fuentes griegas (válidas para el griego clásico), textos, relatos sobre la antigua Grecia, base de datos onomástica, b ŭsqueda de palabras en inglés y griego, y curiosidades como el juramento de los hoplitas o la antigua Esparta, además de los temas de la selectividacl griega, noticias diarias y el tiempo, ac- tualizadas al día. Visita obligacla. También tiene sección de Latín. Uno de los proyectos más ambiciosos es el de la Internet Ancient History Sourcebook http://www.fordham.edu/halsall/ancient/asbook.html que tiene sus correspondientes Medieval y Modern History Sourcebook, que citaremos después. Muy interesante, incluye además muchos textos completos e imáge- nes, y secciones de mitología, filosofía, literatura, educación, arte, economia, leyes, vida cotidiana, algunos mapas, con enlaces a otras URL no sólo de his- toria. La sección dedicada a Grecia está en http://www.fordham.edu/hal- sall/ancient/asbook07.html. Empecemos por la civilización micénica: http://www.hellenism.netkno ,/his- torv.htm. http://www.ancientgr.com "La historia desconocida griega", con versión en inglés. Secciones de historia, lengua griega, personajes, la ciencia en la an- tigua Grecia, literatura y otras.
    [Show full text]
  • 1-!!1 J Eurofocus 28/82 2
    A NEWSSHEET FOR JOURNALISTS • REPRODUCTION AUTHORIZED No. 28/82 BRUSSELS, August 9, 1982 Note from the Editor I This is a special summer issue of "Eurofocus" which has been prepared to give you background material on the major festival of Greek culture which is to start in Brussels in October. Every two years, Belgium is the host of "Europalia" the prestigious multi-disciplinary arts festival which honours the culture of a Community country. I After a short summer break, "Eurofocus" will be back in September to keep you informed about what's happening in the European Community. Have a good summer. EUROPALIA This year it's the turn of Greece, the newest member of the European Community, to share the glories of its culture with fellow Europeans in Europalia, the prestigious multi-disciplinary arts festival held every two years in Belgium in honour of a different Community country in turn. Since the festival began in 1969, Italy, the Netherlands, Britain, France, the German Federal Republic and Belgium have taken part, with financial assistance from their respective governments, private industry and the Community. In Europalia 82 Greece will be offering a panoramic view of five thousand years of civilisation in a series of some 200 exhibitions, theatrical productions, concerts, films and Literary and other events taking place in Brussels and other Belgian cities from October to December. Museums and private collections from This newssheet IS published 1n SIX languages (English, French, German, Dutch, Italian and Span1sh) by the Directorate-General fol Information of the Commission of the European Commun1t1es, .. Rue de Ia Lo1 200 - 1049 Brussels- Belg1um Tel.
    [Show full text]
  • REBETİKANIN KADIN DERVİŞLERİ VE DİĞER ŞÜPHELİ HANIMLARI Gail Holst-Warhaft Çeviren: E
    VOLUME 6 / SPRING 2013 GENDER REBETİKANIN KADIN DERVİŞLERİ VE DİĞER ŞÜPHELİ HANIMLARI Gail Holst-Warhaft Çeviren: E. Şirin Özgün Yunanistan’da rebetikanın geliştiği ve yıldızının parladığı dönem kabaca fl amenkonun, tangonun ve ABD’de kentli blues’un yükseldiği döneme denk gelir.1 Rebetika bu tip müziklerle pek çok ortak özelliğe sahiptir: bunlar erkek müzisyen, şarkıcı ve dansçıların en azından yabancıların gözüne stereotipik olarak maço göründüğü türlerdir. İçeriden bakıldığında ise, ya da daha incelikli bir ba- kışla, bütün bu popüler müzik türlerindeki kadın ve erke rollerinin ilk anda göründüklerinden daha belirsiz olabilecekleri görülebilir; hatta bu roller yansıttıkları stereotipleri bile ters yüz edebilir.2 Rebetikada müzik icra eden gerçek kadınların rolü ile şarkı sözlerinde yansıtılan kadın imgesi erken dönem Küçük Asya-İzmir tarzı şarkılardan Pire dönemine ve geniş ölçekte popülerlik ka- zanan 1960ların buzuki müziğine kadar çeşitlilik gösterir. İcra edildiği sert ortama ve erkeklerin icracı ve şarkı yazarı olarak egemen olmasına rağmen, Markos Vamvakaris ve Pire Dörtlüsü’nün başını çektiği 1930ların rebetikası bile tamamen maço olarak nitelendirilemez. Rebetikanın çe- kici yönlerinden biri mizah anlayışıdır; kostümün duruşuna, dansın sadece erkekler tarafından yapılmasına ve buzukinin keskin sesine rağmen bu sert pozlarda kendi kendisiyle alay eden bir hal, kabadayının ipliğini pazara çıkaran bir göz kırpma vardır. Şarkılar büyük ölçüde erkeklerden oluşan bir grubun üyeleri arasındaki yoldaşlıktan bahseder, fakat bu gruplarda
    [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]
  • Mammon and the Greek Oriental Muse. Rebetika As a Marketing Construct*
    MAMMON AND THE GREEK ORIENTAL MUSE Mammon and the Greek Oriental Muse. Rebetika as a Marketing Construct* Stathis Gauntlett Th is paper is a preliminary exploration of the role of the recording industry in the construction of rebetika as a genre of Greek song in response to evolving market opportunities and constraints. Preoccupied with less mundane issues, discussion of rebetika has hitherto neglected to consider the genre as commodity unless in order to demonise record- ing companies as corruptors of pristine tradition, or to wallow in minu- tiae of empirical discography. Today genre is a major organising princi- ple of music business and, notwithstanding the danger of crediting the Greek industry with too much foresight and control, a detailed study of the political economy of rebetika is overdue. Th is skirmish with some of the main issues, using data from corporate archives, aims to advance such an undertaking. Th e title and main argument of this paper echo the words of Jacques Attali (1985:3): “And today, wherever there is music, there is money.” By the late twentieth century the main source of money for music — and not just for musicians — was the recording industry. Indeed, as Attali * I read an earlier version of this paper to the conference on “The Musical Traditions of Modern Greece” at Yale University in March 2003. I am also obliged to one of the anonymous reviewers of this volume, To Dr. Elizabeth Close, and to Mr Kostas Vlisidis for critical comments. The final version is entirely my own responsibility. Gauntlett, Stathis 2005. Mammon and the Greek Oriental Muse.
    [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]
  • Refiguring the Rebetika As Literature
    Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C.
    [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]