Musical Nationalism, Despotism and Scholarly Interventions in Greek Popular Music
Autor Dr Nikos Ordoulidisen Limba Engleză Paperback – 21 sep 2022
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Specificații
ISBN-13: 9781501369483
ISBN-10: 1501369482
Pagini: 224
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.3 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1501369482
Pagini: 224
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.3 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
The examination of the discourse surrounding Byzantine and popular music opens a window onto issues such as heritage, politics, and history in Greece.
Notă biografică
Nikos Ordoulidis is an Academic Scholar and Lecturer in music at the University of Ioannina, Department of Music Studies, Greece. His research interests revolve around the condition of musical syncretism in popular music, in the networks of Eastern Europe, Balkans, Mediterranean and Middle East. Since January 2020, he has been undertaking postdoctoral research, titled 'the eastwards heterotopias of the piano', funded by the Greek State Scholarships Foundation. He is an active composer with six discographical works. He is a member of the Modern Greek Studies Association, the Association for Recorded Sound Collections, and the Hellenic Musicological Society.
Cuprins
Glossary and transliterationFurther clarificationsList of music transcriptionsList of figuresPrefacePrelude PART ONE: A STORY OF ORIGIN1. A laiko (popular) song by Tsitsanis (1948)2. A hymn from the Orthodox musical tradition3. Comparison of the two pieces by Ilias Petropoulos (1968)4. Comparison by Mikis Theodorakis (1970)5. The stance of the laiko musician6. Manos Hadjidakis and laiki music7. The music critic Sophia Spanoudi8. Two key personas of laiki music: Perpiniadis and Keromytis9. PostludePART TWO: THE TWO MUSICAL WORLDS: THE BYZANTINE AND THE LAIKO10. The Greek nation-state and ecclesiastical music11. Systemizing chanting; and the protagonists12. The 'musical issue' at the forefront once again13. Urban music: Examination of a remarkable network14. Reaffirming the laikoPART THREE: FACTUAL HIGHLIGHTS REGARDING ECCLESIASTICAL MUSIC15. The reference text and the musical act16. 'Notes not noted in the text' - Constantinople as a reference point17. Style, scores and the teacher18. Modernists and conservatives PART FOUR: ANALYZING THE TWO MUSICAL PIECES19. Starting with the sound20. Starting with the sheet music21. A historical recording of the hymn22. Postlude23. EPILOGUEWorks citedIndex
Recenzii
Ordoulidis .. is well equipped to embark on this analysis through his combined expertise in musicology, Greek ecclesiastical chanting, and popular music performance. . Overall, the book is a product of evident passion and knowledge, impressive in its depth and detail.
Scholars of popular music have long been in search of its historical longue durée, the path along which multiple repertories, styles and social practices have converged over time, from diverse origins in the past to the sonorous cosmopolitanism of the present. Nikos Ordoulidis takes readers on a journey across this historical landscape in Greece, navigating a complex of distinctively Greek popular musics, those that fill the ecclesiastical worlds of the Orthodox Church and the national politics immanent in secular laiko music. Ordoulidis deftly weaves together analytical details from the songs themselves with his own captivating scholarly engagement.
Ordoulidis, a scholar-performer, rejects both the neoclassical and the medievalist versions of musical ethno-nationalism. He shows here how attempts to forge a Byzantine genealogy for a famous popular Greek song distort the realities of musical creativity. This book is an original and critical contribution to cultural historiography.
This book is truly out of the ordinary. The edition is in English, and . the topic is unmistakably Greek. Yet it should be read by many, if they have an interest in music, culture, history (not only of Greece), and if they want to be surprised and captivated by a fascinating story full of suggestive details.
In the work of Ordoulidis . a theoretical perspective is called for that approaches the two genres [Greek urban popular music and Byzantine music] from a historical-concrete and musicological perspective, since despite the fact that they are different genres, they manifest similar cultural and musical traits. For this reason, Ordoulidis' book seems to me to be a particularly important reference point for Spanish musicology and flamenco scholars in particular.
Scholars of popular music have long been in search of its historical longue durée, the path along which multiple repertories, styles and social practices have converged over time, from diverse origins in the past to the sonorous cosmopolitanism of the present. Nikos Ordoulidis takes readers on a journey across this historical landscape in Greece, navigating a complex of distinctively Greek popular musics, those that fill the ecclesiastical worlds of the Orthodox Church and the national politics immanent in secular laiko music. Ordoulidis deftly weaves together analytical details from the songs themselves with his own captivating scholarly engagement.
Ordoulidis, a scholar-performer, rejects both the neoclassical and the medievalist versions of musical ethno-nationalism. He shows here how attempts to forge a Byzantine genealogy for a famous popular Greek song distort the realities of musical creativity. This book is an original and critical contribution to cultural historiography.
This book is truly out of the ordinary. The edition is in English, and . the topic is unmistakably Greek. Yet it should be read by many, if they have an interest in music, culture, history (not only of Greece), and if they want to be surprised and captivated by a fascinating story full of suggestive details.
In the work of Ordoulidis . a theoretical perspective is called for that approaches the two genres [Greek urban popular music and Byzantine music] from a historical-concrete and musicological perspective, since despite the fact that they are different genres, they manifest similar cultural and musical traits. For this reason, Ordoulidis' book seems to me to be a particularly important reference point for Spanish musicology and flamenco scholars in particular.