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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. -
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 .................................................................................................................. -
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 -
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. -
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. -
Marginality--A Key Concept to Understanding the Resurgence of Rebetiko in Turkey
Marginality—A Key Concept to Understanding the Resurgence of Rebetiko in Turkey DANIEL KOGLIN In the following pages, I want to compare some of the ways people in Greece and Turkey today understand and use the label “rebetiko,” which denotes a type of Greek popular or “urban folk” song recorded mainly during the first half of the twentieth century. While in Greece the music that is now commonly called rebetiko has always delighted numerous fans, it has over the past two decades also gained in popularity on the opposite side of the Aegean Sea. Turkish listeners have, however, not only adopted the Greek notion of rebetiko—i.e., a specific internal representation of the attributes shared by a complex of songs—but they have also adapted it to their own cultural environment. The aim of my essay is to show that an investigation into this matter can contribute to a revision of current views on rebetiko, which thus far has been examined primarily in the light of theories deriving from Greek intellectual debates. From the study of record labels it can safely be inferred that by the beginning of the twentieth century the term “rebetiko” was already current among the Greek-speaking population of cities within the Ottoman Empire, although it is unclear in which sense it was used.1 Since then, however, Greek journalists, musicians, scholars, record producers, and other authorities have applied the term with some inconsistency to songs that differ considerably in terms of melodic properties, the content and style of their lyrics, or the manner of performance. -
Rebetiko Free
FREE REBETIKO PDF David Prudhomme | 104 pages | 24 Sep 2013 | Selfmadehero | 9781906838515 | English | London, United Kingdom Feature: Greek rebetiko music rises from margins to UNESCO's list - Xinhua | Rebetiko, plural rebetika, occasionally transliterated as Rembetiko, is a term used today to designate Rebetiko disparate kinds of urban Greek folk music which have come to be grouped together since the so-called rebetika revival, which started in the s and developed further from the early s onwards. We're doing our best to make Rebetiko our content is useful, accurate and safe. If by any chance you spot an inappropriate comment while navigating through our Rebetiko please use this form to let Rebetiko know, and we'll take care of it shortly. Rebetiko your password? Retrieve it. If by any chance you spot an Rebetiko image within your search results please use this Rebetiko to let us know, and we'll take care Rebetiko it shortly. Word in Rebetiko. Wiktionary 0. Freebase 0. How to pronounce rebetiko? Alex US English. Daniel British. Rebetiko Australian. Veena Indian. How to say rebetiko in sign language? Select Rebetiko language:. Discuss these rebetiko definitions with the community: 0 Comments. Notify me of new comments via email. Cancel Report. Create a new account. Log In. Powered by CITE. Are we missing a good definition for rebetiko? Don't keep it to yourself Submit Definition. The ASL fingerspelling provided here is most commonly used for proper names of people and places; it is also used in some languages for concepts for which no sign is available at that moment. -
The Sound of Ethnic America: Prewar “Foreign-Language” Recordings & the Sonics of Us Citizenship
THE SOUND OF ETHNIC AMERICA: PREWAR “FOREIGN-LANGUAGE” RECORDINGS & THE SONICS OF US CITIZENSHIP Mathew R. Swiatlowski A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of American Studies in the College of Arts & Sciences Chapel Hill 2018 Approved by: Jocelyn R. Neal Sharon P. Holland Timothy Marr Michael Palm Andrea Bohlmam © 2018 Mathew R. Swiatlowski ALL RIGHTS RESERVED ii ABSTRACT Mathew R. Swiatlowski: The Sound of Ethnic America: Prewar “Foreign-Language” Records and the Sonics of US Citizenship (Under the direction of Jocelyn R. Neal) This dissertation explores the juncture of sound and citizenship to consider how the boundaries of nation are maintained at both geospatial and cultural borders. Specifically, the project concerns “foreign-language” recordings made by US recording companies prior to World War II (hereafter, prewar). With the onset of war in Europe in 1914, “foreign-language” recordings were increasingly cut domestically, featuring vernacular performers of the Great Wave of immigration that brought Hungarian, Syrian, Ukrainian, Turkish, Polish, Mexican, Chinese, and Japanese peoples, alongside a host of other nationalities, to the US beginning in the latter half of the nineteenth century. Initially marketed to specific immigrant populations in the US, these recordings eventually became the province of postwar record collectors and the reissue music market by the 1970s. The narrative of the project draws much of its power by connecting their discrete moments of circulation with the political realities that shaped their audition. As such, the project examines the interplay between, what I call, the “national vernacular imaginary” and state policy in regards to immigration and citizenship. -
1994–2019 Celebrating 25 Years
Celebrating 25 years 1994–2019 HellenicCentre_REVISED_AW.indd 1 02/01/2020 14:54 Celebrating 25 years 1994–2019 HellenicCentre_REVISED_AW.indd 2-3 02/01/2020 14:54 Greetings History of the Hellenic Centre History of the building Our awards What’s happening at the Centre What our visitors say 25th anniversary celebrations Governing bodies and supporters 25 years of cultural events Celebrating 25 years l Page 1 HellenicCentre_REVISED_AW.indd 4-5 02/01/2020 14:54 Greetings rom its establishment in 1994, one of years ago, the Hellenic Centre Supporting them, and making a vital s the director of the Hellenic And still, after twenty-five years, there is wenty-five years ago my husband the Hellenic Centre’s main founding opened its doors to the public. contribution, are members of the Council, Centre for over twenty years, I am music. There is poetry. There are exhibitions and I were motivated to join the effort Fsponsors, the A. G. Leventis Foundation, 25 However, it was some five years the Executive Board and other volunteers Adelighted that we are celebrating and lectures. There are celebrations for the Tfor the establishment of the Hellenic continued providing core support annually earlier that a group of us met to explore the who give their time, expertise and experience our 25th Anniversary. The Centre has not New Year, Easter and Christmas. There are Centre in London by the conviction that as well as funding a number of the Centre’s possibility of creating a centre open to all, in supporting and promoting the Centre and only survived but it has thrived, with a Greek language courses. -
Marika Papagkika — Nikos Politis
4ο Θερινό Σεμινάριο για το Ρεμπέτικο «Το ρεμπέτικο τραγούδι, ως μία από τις βασικές διαχρονικές συνιστώσες του αστικού λαϊκού μας πολιτισμού» Λαογραφικό Μουσείο Μάνου και Αναστασίας Φαλτάιτς ΕΙΣΗΓΗΣΕΙΣ ΣΕΜΙΝΑΡΙΟΥ Επιμέλεια πρακτικών Νίκος Πολίτης Επιμέλεια Μετάφρασης Λίνα Αντάρα Σκύρος, 15 έως 22 Ιουλίου 2012 Το σεμινάριο επιχορηγείται και από Το Υπουργείο Πολιτισμού και Τουρι- σμού από το Πρόγραμμα του Μητρώου Πολιτιστικών Φορέων. Περιεχόμενα Περιεχόμενα ...........................................................................................3 Εισαγωγή ................................................................................................5 Μόρτες-Κουτσαβάκια-Μάγκες — Γιώργος Μακρής ..............................7 Μαρία Παπαγκίκα — Νίκος Πολίτης ....................................................18 Στιγμιότυπα από το 4ο Σεμινάριο για το ρεμπέτικο και λαϊκό τραγούδι στη Σκύρο. .............................................................26 Highlights of the 4th Seminar on rebetiko and folk song in Skyros. .....26 Εργαστήριο φωνητικής-Voice Workshop ..............................................26 Εργαστήριο-Εκθεση λαϊκών οργάνων ..................................................26 Workshop-Folk instruments Exhibition .................................................27 Preface..................................................................................................29 Mortes-Magkes-Koutsavakia — George Makris...................................31 Marika Papagkika — Nikos Politis ........................................................39 -
Greek Recorded Sound in Australia: “A Neglected Heritage”
GAUNTLETT.qxd 15/1/2001 2:34 ìì Page 25 Gauntlett, Stathis 2003. Greek Recorded Sound in Australia: “A Neglected Heritage”. In E. Close, M. Tsianikas and G. Frazis (Eds.) “Greek Research in Australia: Proceedings of the Fourth Biennial Conference of Greek Studies, Flinders University, September 2001”. Flinders University Department of Languages – Modern Greek: Adelaide, 25-46. Greek Recorded Sound in Australia A Neglected Heritage Stathis Gauntlett View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons The subtitle connects this paper with a landmark publication in the bibli- ography of commercially recorded sound, the book Ethnic Recordings in America. A Neglected Heritage published by the American Folklife Center of the Library of Congress in Washington in 1982. This borrowing is in- tended to signal from the outset that parallels will be drawn in this paper be- tween Greek-Australian recorded sound and the now better documented Greek-American case. Contextualising the story of Greek recorded sound in Australia will also necessitate some narrative of developments in both the broader Australian and the metropolitan Greek record industry, as well as ex- tensive reference to the English Parent Company of the principal corpo- rate players in both Greece and Australia. This reflects the fact that sound recording has been a multinational industry virtually since its inception.1 My paper might have been better subtitled a neglected research topic, for this is the inevitable conclusion to be drawn from declared interests and publications to date.2 This is a pity, because Greek-Australian recorded 1 The company documents used in this paper are housed at the EMI Archives in Hayes, Middlesex, UK: the reference to country and date sources each document cited to an annual file for either Greece or Australia. -
UNIVERSITY of CALIFORNIA Los Angeles Becoming Mediterranean
UNIVERSITY OF CALIFORNIA Los Angeles Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Oded Erez 2016 ABSTRACT OF THE DISSERTATION Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 by Oded Erez Doctor of Philosophy in Musicology Universoty of California, Los Angeles, 2016 Professor Tamara Judith-Marie Levitz, Chair This dissertation provides a history of the practice of Greek popular music in Israel from the early 1950s to the 1980s, demonstrating how it played a significant role in processes of ethnization. I argue that it was the ambiguous play between Greek music’s discursive value (its “image”) and the semiotic potential of its sound and music-adjacent practices, that allowed for its double-reception by Euro-Israeli elites and Working-class immigrants from Arab and Muslim countries (Mizrahim). This ambiguity positioned Greek music as a site for bypassing, negotiating, and subverting the dichotomy between Jew and Arab. As embodied in the 1960s by the biggest local star of Greek music––Aris San (1940- 1992) ––and by Greek international films such as Zorba the Greek, Greece and “Greekness” were often perceived as an unthreatening (i.e. neither Arab nor Muslim) Mediterranean culture. ii At the same time, much of the popular music practiced under the Greek sign betrayed the lingering influence of earlier Ottoman café music, which it shared with other forms of popular and traditional music from across the Middle East. As such, it successfully furnished sonic spaces catering to immigrants from Arab and Muslim countries and even to Palestinian-Arab audiences, and provided a model for the hybridization and modernization of Oriental musical practices and tastes.