Musical nationalism, despotism and scholarly interventions in Greek popular music

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Includes bibliographical references and index.Glossary and transliteration Further clarifications List of music transcriptions List of figures Preface Prelude PART ONE: A STORY OF ORIGIN 1. A laiko (popular) song by Tsitsanis (1948) 2. A hymn from the Orthodox musical tradition 3. Comparison of the two pieces by Ilias Petropoulos (1968) 4. Comparison by Mikis Theodorakis (1970) 5. The stance of the laiko musician 6. Manos Hadjidakis and laiki music 7. The music critic Sophia Spanoudi 8. Two key personas of laiki music: Perpiniadis and Keromytis 9. Postlude PART TWO: THE TWO MUSICAL WORLDS: THE BYZANTINE AND THE LAIKO 10. The Greek nation-state and ecclesiastical music 11. Systemizing chanting; and the protagonists 12. The 'musical issue' at the forefront once again 13. Urban music: Examination of a remarkable network 14. Reaffirming the laiko PART THREE: FACTUAL HIGHLIGHTS REGARDING ECCLESIASTICAL MUSIC 15. The reference text and the musical act 16. 'Notes not noted in the text' ? Constantinople as a reference point 17. Style, scores and the teacher 18. Modernists and conservatives -- PART FOUR: ANALYZING THE TWO MUSICAL PIECES 19. Starting with the sound 20. Starting with the sheet music 21. A historical recording of the hymn 22. Postlude 23. EPILOGUE Works cited Index"Discusses the changing relationship between Greek Byzantine music and Greek popular music in the contemporary Greek state"--Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily