Musical Nationalism, Despotism and Scholarly Interventions in Greek Popular Music

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.

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