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The Recording Career of Vasílis Tsitsánis (1936-1983)

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The Recording Career of Vasílis Tsitsánis (1936-1983) The Recording Career of Vasílis Tsitsánis (1936-1983) An Analysis of his Music and the Problems of Research into Greek Popular Music Nikolaos Ordoulidis Submitted in accordance with the requirements for the degree of PhD The University of Leeds School of Music August, 2012 ii The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2012 - The University of Leeds - Nikolaos Ordoulidis iii To music that lives forever… iv Acknowledgements This study would not have been accomplished without the help and support of the Tsitsánis family, for they kindly opened up their archive to me, and they also supported economically my research. I ought a lot to Kóstas and Victoria Tsitsánis. Their support and encouragement was inspiring and moving, for they stood next to me since the very beginning of this project. I can say, and I can be sure about that, that Kóstas stood next to me as a father and believed in me and my purposes. I will never forget his attitude. I should express my great gratitude to Charles Howard for giving me copies and letting me study his archive. His contribution to my research was more than catalytic. I am sure that I made a very good friend for ever. Many thanks to my friends-brothers for everything: Thános and Έvi, Sótia Iliádhou, Dhimítris Kális, Thanásis Miliókas, Ghiórghos Bakális and Anas Al-Fattal. Each one of them, with their own way, helped me in fulfilling my aims. I owe a lot to my family for supporting psychologically and physically my purpose, as they have ever been doing so. Ghiórgho, Mélpo and Έli, many thanks from my heart. I should thank my inspiring professors and supervisors, Kevin Dawe and Derek Scott. They were more than „teachers‟ to me. Many friend-musicians contributed in their own way in the completion of this project. The discussions and advice of these people were constructive. Many thanks to Dhimítris Sfíngos, Sákis Kontonikólas, Stávros Kromídhas, Vasílis Tsouflídhis, Mihális Kalaitzís, Dhimítris Tihálas, Alékos Kizirídhis, Dhimítris Mistakídhis, Leftéris Pávlou, Strátos Samiótis, Níkos Strouthópoulos, Ghiórghos Kontoghiánis, Manólis Pápos, Kóstas Papadhópoulos, Evangelía Margharóni and George Dalaras. I should thank the following for giving me information from their archives: Theófilos Anastasíou, Stélios Karaghiórghos and the Tsitsánis Museum, Sotíris Likourópoulos and AEPI, Háris Tsakmatsián and EMI, Bámbis Papadhimitríou and Lyra-Legend, Napoleon Saripanídhis, Frankískos Kouteliéris and Kóstas Matsoúkas. Many thanks to Kóstas Vlisídhis for the advices as well as for giving me copies of several rare texts from his archive. His willingness to help was moving. Many thanks to Strátos Samiótis, Mihális Kalaitzís, Ed Uribe and David v Courtney for the consultation lessons I had with them. Many thanks to the Association of Friends of Music of Imathía, to Tsitsánis Museum, to ALP Business Solutions SA and to my godfather Lámbis Karipídhis for supporting economically my research. I should express my gratitude to my cousin Níkos Keramídhis for constructing the website‟s coding of the Tsitsánis Electronic Database, and to Andónis Kasítas for giving me permission to reprint two photographs from his book. Finally, I should also thank Ghianákis Perisorátis and Pétra Karaharísi. Without their efforts, I would have not become wise enough to finish this study. May God pay back my debt to them. vi Abstract There is a clear and abundant evidence to suggest that Vasílis Tsitsánis (1915-1984) was a well known songwriter, bouzouki virtuoso, lyricist and singer both in Greece and abroad. The evaluation of his work reveals that he remains a key figure in the history of Greek popular music. Vasílis Tsitsánis as musician and composer was an innovator, his musical roots in rembétiko being transformed through his creative effort is said to have led to the development and establishment of the modern laikó style. An analysis of Vasílis Tsitsánis's commercial recordings does indeed reveal aspects of his unique contribution as both performer and composer. However, the analysis also reveals the development of a style that was to have a major impact on the history of Greek popular music. Situating Tsitsánis's work in the context of broader social and political developments in Greece, this thesis is the first in-depth analysis of Tsitsánis's musical style with a focus on songs found on his commercial recordings, from 1936 to 1983. Research on the recording career of Vasílis Tsitsánis not only reveals information regarding his own music, which is in itself important alone given the contribution he is said to have made by rembétiko scholars, it also sheds light on more general issues regarding the Greek popular style that have been previously neglected. vii Table of Contents Acknowledgements ................................................................................................... iv Abstract ..................................................................................................................... vi Table of Contents ..................................................................................................... vii List of Tables ............................................................................................................. x List of Figures ........................................................................................................... xi Notes on Transliteration .......................................................................................... xvi Tsitsánis Electronic Database Access .................................................................. xviii Chapter 1: Aims of This Thesis .................................................................................. 2 Rationale and Methodology ................................................................................... 7 Author‟s Background ............................................................................................. 8 The Educational System in Greece ...................................................................... 11 Outline of This Thesis .......................................................................................... 14 Biographical, Historical and Cultural Background .............................................. 16 The Backbone: Tsitsánis Electronic Database ..................................................... 22 Chapter 2: Popular Musicology and Rebetology .................................................... 34 Popular Musicology ............................................................................................. 34 In Need of a Term ................................................................................................ 38 A Changing Musical Style ................................................................................... 41 Musical Analysis .................................................................................................. 48 Rebetology ........................................................................................................... 51 Academic and Non-academic Treatment of Rembétiko ...................................... 51 Key Studies in Rebetology................................................................................... 51 Chapter 3: The World of Historical Recordings ..................................................... 56 Source Criticism: Some Problems ....................................................................... 56 Dating the Recordings.......................................................................................... 66 Mysteries around the Sources in Greece .............................................................. 69 Historical Recordings and Recording Technology .............................................. 79 A Limitless Range of Sources.............................................................................. 92 Tsitsánis‟s Recording Career: Basic Statistics ..................................................... 93 1950: a Key Year for Laikó Song ........................................................................ 95 viii Chapter 4: Introduction to the Greek Laikó Modes and Harmony .................... 100 The Greek Popular Modes: the Root of a Long-Lasting Problem ..................... 100 The Makam Tradition ........................................................................................ 112 The Byzantine Tradition .................................................................................... 116 The Western Tradition ....................................................................................... 118 The Special Role of the Rāga System ................................................................ 129 Other Musical Styles that Affected the Modes .................................................. 131 Chapter 5: Modes and Harmony in the Songs of Vasílis Tsitsánis: Selected Examples ................................................................................................................... 133 Minóre: the Problem of a Vague Term .............................................................. 133 Dhrómos Matzóre [Μαηδóξε – Major] .............................................................. 147 Dhrómos Hitzáz [Υηηδάδ – Hicâz] ....................................................................
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