Relevant bibliographies by topics / Greek musicians

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Greek musicians'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Greek musicians"

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Southcott, Jane, and Renee Georgoulas. "Heritage and adaptation: Greek Australian musicians in Melbourne." International Journal of Community Music 12, no. 2 (2019): 189–205. http://dx.doi.org/10.1386/ijcm.12.2.189_1.

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Borthwick, E. "Review. Greek music and musicians. Music and musicians in ancient Greece. W D Anderson." Classical Review 46, no. 2 (1996): 259–61. http://dx.doi.org/10.1093/cr/46.2.259.

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Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.

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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original c
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Feaver, Douglas, and Denise Davidson Greaves. "Sextus Empiricus: Against the Musicians. Greek and Latin Music Theory." Classical World 81, no. 1 (1987): 58. http://dx.doi.org/10.2307/4350144.

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Vendries, Christophe. "Questions d’iconographie musicale: L’apport des terres cuites à la connaissance de la musique dans l’Égypte hellénistique et romaine." Greek and Roman Musical Studies 1, no. 1 (2013): 195–227. http://dx.doi.org/10.1163/22129758-12341243.

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Abstract The Graeco-Egyptian terracottas produced during the Ptolemaic and Roman period provides good material for investigating musical life in Egypt. The majority of the Fayum terracottas have been found in tombs, or in private houses as sources of protection and good luck. Most of the motifs are original by comparison with the other terracotta work of the ancient world. Many musicians (aulos or syrinx players, harp players, women with drum or crotala) and dancers are shown among deities (mainly Harpocrates, Isis and Bès) and other cult celebrants in religious festivals. Cult practice is a c
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Dawe, Kevin. "Bandleaders in Crete: Musicians and entrepreneurs in a Greek island economy." British Journal of Ethnomusicology 7, no. 1 (1998): 23–44. http://dx.doi.org/10.1080/09681229808567271.

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Johnson, William A. "Musical evenings in the early Empire: new evidence from a Greek papyrus with musical notation." Journal of Hellenic Studies 120 (November 2000): 57–85. http://dx.doi.org/10.2307/632481.

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With disarmingly open conceit, the Younger Pliny tells Pontius Allifanus that ‘my hendecasyllables are read, are copied, are even sung, and Greeks (who have learned Latin out of love for my poetry book) make my verses resound to cithara and lyre’ (Epist. 7.4.9). By Pliny's time, Greek musicians (and actors) were widely distributed and organized in a worldwide guild centred at Rome, so it will not surprise us that Greeks are the ones setting the verses to music. But what sort of music? When Pliny went out to hear his beloved poems sung to cithara and lyre, what did it sound like? Or, more gener
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Ramos, D., J. L. O. Bueno, and E. Bigand. "Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians." Brazilian Journal of Medical and Biological Research 44, no. 2 (2011): 165–72. http://dx.doi.org/10.1590/s0100-879x2010007500148.

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Frankenbach, Chantal. "Dancing to Beethoven in Wilhelmine Germany." Journal of Musicology 34, no. 1 (2017): 71–114. http://dx.doi.org/10.1525/jm.2017.34.01.71.

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Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers responded in music journals and the daily press with a vigorous denunciation of Duncan’s trespass into the inner circle of German musical culture. What most disturbed Duncan’s critics, however, was the success of her Beethoven program with the public. Concern over Duncan’s hold on German audiences reveals the anxieties of profe
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Foutakis, Patrice. "Did the Greeks Build According to the Golden Ratio?" Cambridge Archaeological Journal 24, no. 1 (2014): 71–86. http://dx.doi.org/10.1017/s0959774314000201.

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The mathematical number of the golden ratio has long fascinated mathematicians, archaeologists, biologists, architects, engineers, historians, musicians and scholars. Until now, though, there have been only assertions about whether the ancient Greeks employed this ratio in their architecture. To determine whether evidence may have been overlooked, I examined the measurements of 15 temples, 18 monumental tombs, 8 sarcophagi and 58 grave stelae from the fifth century BC to the second century AD. The result is clear: the golden ratio was totally absent from Greek architecture of the classical fif
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Dissertations / Theses on the topic "Greek musicians"

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Theodosiou, Aspasia. "Authentic performances and ambiguous identities : Gypsy musicians on the Greek Albanian border." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510475.

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This thesis addresses how tensions around the politics of othering and the marking of 'difference' constructed and pursued in and through music emerge and unfold in a place that has been historically constructed and reconstructed as ambiguous/marginal and around people who figure ambiguously in the national imaginary. Drawing on 14 months of fieldwork among some of the gypsy musicians on the Greek-Albanian border, the Parakalamos gypsies, the thesis explores how these tensions are being reformulated within the recent emphasis on multiculturalism and cultural heritage in Greece. A key concern i
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Michael, Despina. "Blind rhapsodists: the image of the modern Greek popular musician." 1998. http://repository.unimelb.edu.au/10187/3288.

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This thesis sets out to explore, define and analyse the image of the Modern Greek Popular Musician between approximately 1945 and 1990 as expressed in a variety of written texts. The main argument is that there is a mythic approach in the presentation of the aforesaid image within the context 'of prevailing ideological and political concerns in modern Greek culture since the end of the War, and the ongoing influences of Western philhellenic ideals and Greek nationalism. Secondly, it is argued that the recurrence of common images points to an overall image for the popular musician which is comp
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Sirski, Steven. "The musical revolution of fifth-century Greece." 2009. http://hdl.handle.net/1993/3119.

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Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to tr
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Books on the topic "Greek musicians"

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Music and musicians in Ancient Greece. Cornell University Press, 1994.

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Anderson, Warren D. Music and musicians in Ancient Greece. Cornell University Press, 1994.

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Bélis, Annie. Les Musiciens dans l'antiquité. Hachettes Littératures, 1999.

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Aspiōtēs, Nikolaos Stam. Archaioi Hellenēs mousikoi kai sōzomena mousika apospasmata: Me metagraphēn tous eis tēn synchronon Eurōpaikēn mousikēn sēmeiographian. Daulos, 1997.

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Sextus. [Pros mousikous] =: Against the musicians (adversus musicos) : a new critical text and translation on facing pages. University of Nebraska Press, 1986.

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Her art: Greek women in the arts from antiquity to modernity. Peter Lang, 2011.

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Prosopographia musica Graeca: Personenlexikon mit Daten zu 2350 (heidnischen) Musikern. Frank & Timme, 2006.

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Solisti ed esecutori nella cultura musicale romana. Congedo, 2009.

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Vendries, Christophe. Instruments à cordes et musiciens dans l'Empire romain: Étude historique et archéologique (IIe siècle av. J.-C.-Ve siècle ap. J.-C. L'Harmattan, 1999.

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Vasilēs, Loumprinēs, ed. Hē zōē mou hena tragoudi. Ekdoseis Kastaniōtē, 2007.

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Book chapters on the topic "Greek musicians"

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Chianis, Sotirios (Sam). "Survival of Greek Folk Music in New York 1." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0010.

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Long America’s premier port and urban center, New York City has always been a fulcrum of musical expression. In “Survival of Greek Folk Music in New York,” esteemed ethnomusicologist and musician Sotirios (Sam) Chianis sets the stage by ably delineating the many forms of Greek regional music from the islands and the mainland. He then traces the long history of music, musicians, venues, and instrument makers in New York. Among his topics are the men’s coffee houses, local Greek record companies and record producers, Greek newspapers, the Greek Musicians’ Union, musical instrument makers, and the rise of bouzouki-based music.
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Frangos, Stavros K. "John K. Gianaros (1904–1998)." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0026.

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John K. Gianaros was a professional musician and recording artist who performed with some of the most notable Greek, Armenian, Turkish, Albanian and Sephardic musicians of his generation. Over his long career he was a musician, composer, and record producer whose work not only crossed ethnic boundaries but also public venues. Gianaros was known for his proficiency on the accordion and his long collaboration with clarinetist Gus Gadinis.
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Tsioulakis, Ioannis. "Locating the music precariat in The Greek Crisis." In Musicians in Crisis. Routledge, 2020. http://dx.doi.org/10.4324/9780429463099-5.

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Frangos, Stavros K. "Theodotos “Tetos” Demetriades (1897–1971)." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0023.

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Theodotos “Tetos” Demetriades, a Greek immigrant from Constantinople (Istanbul), was a musician, vocalist, composer, and record producer of great importance to the history of modern Greek music and to the production of ethnic music in the United States. He worked for Columbia Records, RCA Victor and Orthophonic, and his own labels, Colonial and Standard. In addition to Greek, Demetriades recorded Turkish, Albanian, Armenian, Gypsy, Sephardic Jewish, and other musicians.
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Bucuvalas, Tina. "George E. Soffos (1953–2013)." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0038.

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George Soffos was born in Ohio into a family with roots in southern Rhodes. He learned to play guitar as a child, studied with master bouzouki player Giannis Tatasopoulos, and by 17 was an independent headliner in Greek clubs throughout the country.Playing a mix of traditional and popular Greek music infused with some aspects of American rock, Soffos was considered one of the best bouzouki musicians of his generation. He performed with most of the great Greek musicians and vocalists of his era in the U.S. and Greece and appeared on several albums.
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Frangos, Stavros K. "Steve Zembillas (1923–2002) and the Grecophon Record Company." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0028.

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From 1946 through 1954, Grecophon Record Company of Gary, Indiana issued the seldom recorded traditional Greek island music, or nisiotika, that had its American roots in Tarpon Springs Florida. Founded by Skevofylax (Steve) Zembillas, originally from Kalymnos, Greece, this small independent label eventually released a wide range of Greek music by popular Greek musicians and vocalists of the period.
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Bucuvalas, Tina. "Kay Skordilis (b. 1936)." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0035.

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In addition to the artists, there are others whose lives are anchored in the world of Greek American music. Born in Thessaloniki, as a teenager Kay Skordilis was a vivacious New York club kid whose social life centered around Greek music and its stars. She has spent most of her adult life married to two prominent artists, Spiros Skordilis and Thodoros Kavourakis, and as a valued friend to innumerable other musicians and vocalists over the last half-century.
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Pouliopoulos, Meletios. "Nicholas “Nicos” Tseperis (1923–2010) and Nina Records 1." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0029.

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Nicholas "Nicos" Tseperis came to the US in 1956, after having established himself as a highly celebrated singer with performances in Istanbul, Athens, and France. As a recording artist and performer, he was regarded as one of the great troubadours of Greek music. In the New York area, he continued performing with a pantheon of famous Greek musicians and vocalists in the 1950s and 1960s. He bought Nina Records, one of the primary labels issuing Greek music, and continued recording and producing records for years. Tseperis also recorded and starred on satirical records, and produced Greek children’s records.
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Holst-Warhaft, Gail. "Amanes : The Legacy of the Oriental Mother 1." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0005.

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The amanes became emblematic of a style of music that was both admired for its emotional intensity and rejected for its association with the oriental and feminine side of the modern Greek psyche Gail Holst-Warhaft tackles a genre that has rarely been discussed in English language essays. She deftly delineates the earliest known appearances of the emotionally intense amanes and its ties to other Greek musical traditions. She also examines the performance of the Asia Minor style in the U.S., including associated vocalists, musicians, recordings, and recording companies.
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Kaloyanides, Michael G. "“Health to You, Marko, with Your Bouzouki!”: The Role of Spoken Interjection in Greek Musicians’ Imagined Performance World in Historical Recordings Made in America and Abroad 1." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0008.

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In “’Health to you, Marko, with your Bouzouki!’: The Role of Spoken Interjection in Greek Musicians’ Imagined Performance World in Historic Recordings,” Michael Kaloyanides categorizes and analyses the role of tsakismata, the common verbal interjections in Greek music performances, in both live and recorded performances. Not only is the world of the recording studio a topic that has been rarely explored, the verbal interjections are a practice that is ubiquitous but again rarely illuminated. As a music scholar who was raised and performed within Greek diaspora communities, Kaloyanides is unusually well-equipped to interpret the differences in usage between interjections in live community events as opposed to the recording studio conventions.
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