The Crying Clarinet: Emotion and Music in Parakalamos
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CARDIFF UNIVERSITY School of Music The Crying Clarinet: Emotion and Music in Parakalamos A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology By Nicola Maher © Nicola Maher 2019 DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ............................................................... (candidate) Date ............................................... STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD Signed ................................................................ (candidate) Date ................................................. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated, and the thesis has not been edited by a third party beyond what is permitted by Cardiff University’s Policy on the Use of Third Party Editors by Research Degree Students. Other sources are acknowledged by explicit references. The views expressed are my own. Signed .............................................................. (candidate) Date .............................................. STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ............................................................... (candidate) Date ................................................ STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed .............................................................. (candidate) Date ................................................. In memory of my brother Sam (1984-1988) And for Vangelis (1938-2019) i TABLE OF CONTENTS Table of Contents i List of Plates iii List of Figures iii Conventions iv Acknowledgements ix Abstract xii INTRODUCTION 1 Locating the Field 2 Lineage and Musical Identity 9 The Music and Its Context 14 The Crying Clarinet 21 Crying in Music: The Balkan Perspective 26 Chapter Overview 33 CHAPTER 1 – EXPERIENCING EMOTION 36 Understanding Fieldwork 39 Place, Identity and Fieldwork 41 Emotion and Fieldwork 53 Music-Making and Fieldwork 58 Theory and Practice 63 CHAPTER 2 – THINKING ABOUT EMOTION 68 Emotion in Philosophy 68 Emotion in Anthropology 73 Emotion in Music 77 Emotion and Environment 82 Embodied Emotion and Music 87 Music, Memory and Nostalgia 91 Emotion in Parakalamos 94 CHAPTER 3 – PLACING EMOTION 100 Borders and Boundaries 100 Balkan Marginality 105 Polyphony and Politics 108 Music and Place in Pogoni 112 ii Style in Parakalamos 116 Pain in Pogoni 124 CHAPTER 4 – SYMBOLISING EMOTION 130 Dealing with Death 130 Weeping with Words 133 Lamenting Music 139 Metaphorical Themes 149 Reflecting Upon Death 155 CHAPTER 5 – IMPROVISING EMOTION 161 ‘Learning’ Spontaneous Expression 161 A Lesson with Vangelis 167 Inspiring Emotion 171 Improvisation as Idiomatic of Local Tradition 177 Structuring Freedom 183 Individual Style 186 Modes and Motifs 191 CHAPTER 6 – STRUCTURING EMOTION 200 Memory, History, and Place 202 Performing Landscape 207 Feasting and Commensality 212 The Circle as Community 218 CHAPTER 7 – EMBODYING EMOTION 230 Communicating Kéfi 236 Gendered Conceptions of Emotion 242 Challenging Stereotypes 245 Ambiguous Emotions 250 From Graveyards to Ghléndia 256 CONCLUSIONS 262 Appendix A: Biographical Information 269 Appendix B: Song Texts 278 Appendix C: Videos and Recordings 287 Glossary 288 Bibliography 296 iii List of Plates Plate 0.1: The kompanía. From left to right: accordion, klaríno, violin, laoúto, and défi (Church of Saint Constantine, 22/05/2016) 19 Plate 1.1: The lyómeno; my house during my fieldwork period (Parakalamos, 18/03/2016) 37 Plate 3.1: The main Ghýftoi street in Parakalamos (Parakalamos, 07/08/2013) 115 Plate 5.1: Vangelis and me (Parakalamos, 03/09/2014) 187 Plate 6.1: The ‘main’ church at Paliogribiani (Paliogribiani, 06/05/2016) 200 Plate 6.2: The ‘hidden’ church at Paliogribiani (Paliogribiani, 06/05/2016) 201 Plate 6.3: The procession at Repetisti (Repetisti, 23/04/2014) 213 Plate 6.4. The priest dancing outside the church of Saint Constantine (Church of Saint Constantine, 22/05/2016) 219 Plate 7.1: Christos and his kompanía in Koukli (Koukli, 03/05/2016) 230 Plate 7.2: Michalis playing into the dancer’s ear in Paliogribiani (Paliogribiani, 25/04/2014) 246 List of Figures Figure 0.1: Map of Pogoni with Parakalamos marked (Map data © Google, accessed 19/06/2019) 4 Figure 0.2: Map of Greece (figure 0.1 outlined in red) (Map data © Google, accessed 19/06/2019) 5 Figure 3.1: Map of the Parakalamos area (Map data © Google, accessed 05/08/2019) 120 Figure 4.1: Mourning lament as recited by Olga from Parakalamos 144 Figure 4.2: Marióla as performed by Christos and Yiorgos 147 Figure 4.3: Extract from Nasos’s moirolói, structured around the oscillating 7th 149 Figure 5.1: Five ‘building blocks’ from Vangelis’s moirolói from F 169 Figure 5.2: Tasos Chalkias’s moirolói from G as played by Yiannis 179 Figure 5.3: C majóre mode 194 Figure 5.4: C minóre mode 194 Figure 5.5: Crying motif in the C moirolói 195 Figure 5.6: Crying motif as used in Marióla 196 Figure 6.1: Musical example of ghyrísmata 226 iv Conventions A Note on the Presentation of the Text I use italics to represent all ethnographic descriptions. I also use italics for all foreign language terms (except for proper nouns or those in Greek script). Quotations from literary sources are represented exactly as they appear in the original text. However, any material that appears in square brackets within a quote is my addition – unless I state otherwise in a footnote. Translations of literary sources from languages other than English are my own. I indicate when I have translated a text in footnotes. All photographs included were taken by me and so no credit has been given. All maps are sourced from google maps, an attribution is provided in a footnote below each map. All song lyrics that appear in Appendix B have been transcribed by me. Modern Greek, Transliteration Conventions and Pronunciation Greek terms in the text are represented in both a transliterated form in italics and in Greek script. Stress marks indicate which syllable is emphasised in pronunciation. These terms appear in the glossary. The definitions given in the glossary correspond to the way the term is used in the context of this study and do not cover all possible meanings. In the absence of infinitive forms of verbs in modern Greek, verbs are shown in their present tense first person singular form, as is shown in dictionary entries. For quoted phrases or conversations exchanged with interview partners, I have given an English translation in the text. The original Greek appears in footnotes in Greek script only. The names of places and people do not correspond to my transliteration conventions (see below). These are represented either in a standard anglicised form, or in the way that the individual chooses to represent their own name in Latin script. Where transliterated Greek terms are represented in italics, transliterated names of people and places (proper nouns) are not. Other non-Latin language scripts are not represented in the text. Terms in these languages (Arabic and Bulgarian) are written in a v transliterated form only and appear in italics. Plural forms of Greek words are stated in Greek. Plural forms of any other language are indicated by the addition of –s to the end of the singular form of the word. When a translation has been made into English, the translation appears within inverted commas. The original term/s appear immediately afterwards, italicised, in brackets, and the language is indicated by a two letter abbreviation which appears in front of the foreign word/s. The abbreviations used are as follows: al. = Albanian, eng. = English, ge. = German, gr. = Greek, ro. = Romanian, tu. = Turkish. The following table shows my transliteration of Greek script. It also indicates how each Greek letter or letter combination is pronounced in British English. There are certain sounds that do not have an English equivalent. The Greek letter gamma (γ1 in the table) is pronounced as a soft guttural g. The Greek letter rho (ρ) is pronounced as a trilled r, similar to the Spanish r. The Greek letter hi (χ) is pronounced like the ch at the end of the German ‘Bach’. My transliterations do not conform to the orthography as given by the Journal of Modern Greek Studies in the ‘Guidelines for Authors’ (2019: 21). Rather, it is my intention to represent Greek terms as close to the way that they sound, as far as this is possible using Latin script. The order of the letters in the table (going down vertically) follow the order of the letters in the Greek alphabet. I have included sounds made by a combination of two consonants (for example γκ) within this series, although they are not separate characters in the Greek alphabet. Sounds made from a combination of two vowels appear below this list under the subheading ‘vowel combinations’. Greek Symbol Greek Transliteration in Latin British