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Journal articles on the topic 'Rebetika'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Puchner, Walter, and Nikos Kotaridis. "Rebetes kai rebetiko tragudi (Rebetes und das rebetika-Lied)." Jahrbuch für Volksliedforschung 42 (1997): 204. http://dx.doi.org/10.2307/848065.

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2

Pennanen, Risto Pekka, and Panayotis Kounadis. "Review Essay: A Recent Reissue of Rebetika Recordings." Asian Music 26, no. 2 (1995): 137. http://dx.doi.org/10.2307/834437.

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3

Gauntlett, Stathis. "Antiquity at the musical margins: rebetika, ‘ancient’ and modern." Byzantine and Modern Greek Studies 39, no. 1 (2015): 98–116. http://dx.doi.org/10.1179/0307013114z.00000000055.

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4

Sarbanes, Janet. "Musicking and Communitas: The Aesthetic Mode of Sociality in Rebetika Subculture." Popular Music and Society 29, no. 1 (2006): 17–35. http://dx.doi.org/10.1080/03007760500142738.

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5

Arvaniti, Amalia, and Brian D. Joseph. "Early Modern Greek /b d g/: Evidence from Rebetika and Folk Songs." Journal of Modern Greek Studies 22, no. 1 (2004): 73–94. http://dx.doi.org/10.1353/mgs.2004.0003.

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6

Beaton, Roderick, John Bennet, Eleni Kallimopoulou, Panagiotis Poulos, and Chris Williams. "POPULAR MUSIC OF THE GREEK WORLD: A NOTE FROM THE ORGANISERS." Annual of the British School at Athens 115 (October 26, 2020): 401–2. http://dx.doi.org/10.1017/s0068245420000143.

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In May 2019 the British School at Athens hosted an international conference on popular music of the Greek world. The conference aimed to explore and evaluate the diversity of Greek music apparent in the rich variety of local traditions and in the richness of urban popular music both established and emerging, and to examine its causes from broader musical, sociological and artistic perspectives. Rather than focus on particular forms, such as traditional folk music, rebetika, or the ‘new wave’ of the 1960s exemplified by the international success of composers such as Hadjidakis and Theodorakis, the conference set out to situate these traditions in a broader Greek context and also an explicitly international one, in this way building upon a growing trend (Bucuvalas 2019; Tragaki 2019).

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7

Pennanen, Risto Pekka. "The development of chordal harmony in Greek rebetika and laika music, 1930s to 1960s." British Journal of Ethnomusicology 6, no. 1 (1997): 65–116. http://dx.doi.org/10.1080/09681229708567262.

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8

Tsounis, Demeter. "Kefi and Meraki in Rebetika Music of Adelaide: Cultural Constructions of Passion and Expression and Their Link with the Homeland." Yearbook for Traditional Music 27 (1995): 90. http://dx.doi.org/10.2307/768105.

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9

Nissen, James. "Rebetiko in diaspora: The London Rebetiko scene." Journal of Greek Media & Culture 8, no. 1 (2022): 19–42. http://dx.doi.org/10.1386/jgmc_00045_1.

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One of the most active rebetiko scenes outside Greece is in London. Drawing on ethnographic fieldwork at Rebetiko Carnival, engagement with the scene between 2014 and 2020, and personal interviews with key musicians, this article examines the meanings and the unique features of Rebetiko in London. It shows the roles of music in forming a diasporic musical community and maintaining connections with Greece, while also forging a cosmopolitan music scene characterized by cross-cultural creativity, gender consciousness and education and outreach. It thus demonstrates that Rebetiko is both recontextualized and transformed in London, nurtured by the city’s multiculturalism. This study suggests that, by considering this scene as part of an international network, Rebetiko could be conceptualized as not only in diaspora but as a diaspora in itself, as a transnational thread that links widely dispersed and diverse musicians and enables them to create new cultural homes. This research thus contributes towards a growing literature on Rebetiko in the Greek diaspora and reflects on wider issues relating to music in contexts of migration.

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10

Kaloyanides, Michael G., Costas Ferris, Stavros Xarchakos, and Nikos Gatsos. "Rebetiko." Ethnomusicology 33, no. 2 (1989): 367. http://dx.doi.org/10.2307/924420.

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11

Pennanen, Risto Pekka. "Moodit elvytetyn rebetikan kirjallisuudessa." Etnomusikologian vuosikirja 6 (December 1, 1994): 87–102. http://dx.doi.org/10.23985/evk.101041.

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12

Dawe, Kevin. "Songs of the Greek Underworld: the Rebetika Tradition. By Elias Petropoulos. Translated and introduced by Ed Emery, additional text by Ed Emery. London: Saqi Books. Line drawings, photographs, musical examples, discography. 165 pp." Popular Music 22, no. 1 (2003): 109–16. http://dx.doi.org/10.1017/s0261143003243075.

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13

Zaimakis, Yiannis. "Music-making in the social world of a Cretan town (Heraklion 1900–1960): a contribution to the study of non-commercial rebetiko." Popular Music 30, no. 1 (2011): 1–24. http://dx.doi.org/10.1017/s026114301000070x.

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AbstractDrawing on a range of biographical, historical, ethnographical and musicological sources, this article presents the social and historical factors contributing to the evolution in the early 20th century of a local variant of rebetiko around the Lakkos brothel district in Heraklion, the largest city in Crete. It explores the influence of a wider multicultural context on local music-making and reveals the relationship between the social life and economy of the Lakkos area and its musical and stylistic sensibilities. Emphasis is also placed on the musical culture of local subcultural space, particularly with respect to the functions of musical practices in everyday life and the poetics of improvised songs. Investigation of the social world in Lakkos suggests that the forerunners of rebetiko can be explored as a hybrid music scene associated with cross-cultural interaction between different social and ethnic groups and musical traditions. The societal and aesthetic codes of this scene, with its low life themes, coarse melodies and allegedly alien influences were seen by local elites as compromising the moral values of respectable society and subverting efforts to cultivate a national identity.

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14

Smith, Ole L. "The chronology of Rebetiko – a reconsideration of the evidence." Byzantine and Modern Greek Studies 15, no. 1 (1991): 318–25. http://dx.doi.org/10.1179/byz.1991.15.1.318.

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15

Stamatis, Yona. "Singing the nation: Contemporary Greek rebetiko performance as carnivalesque." Journal of Interdisciplinary Voice Studies 2, no. 2 (2017): 137–56. http://dx.doi.org/10.1386/jivs.2.2.137_1.

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16

Anagnostou, Panagiota. "Did You Say Rebetiko? Musical Categories, Their Transformation, and Their Meanings." Journal of Social History 52, no. 2 (2018): 283–303. http://dx.doi.org/10.1093/jsh/shy031.

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17

Leboukas, Vassilis. "La thématique du rebetiko : un récit politique au carrefour de deux cultures." CEMOTI 11, no. 1 (1991): 41–50. http://dx.doi.org/10.3406/cemot.1991.960.

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18

LEBOUKAS, Vassilis. "La thématique du rebetiko : un récit politique au carrefour de deux cultures." CEMOTI, no. 11 (January 1, 1991): 41–50. http://dx.doi.org/10.4000/cemoti.397.

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19

Drakonakis, George E., and Demosthenes Bouros. "References to tuberculosis in Greek popular music (Rebetico)." European Journal of Internal Medicine 18, no. 5 (2007): 357–58. http://dx.doi.org/10.1016/j.ejim.2007.02.008.

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20

Monos, Dimitri. "Rebetico: The music of the Greek urban working class." International Journal of Politics, Culture and Society 1, no. 2 (1987): 111–19. http://dx.doi.org/10.1007/bf01388244.

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21

Staubmann, Helmut. "Gerhard Steingress (Ed.): Songs of the Minotaur. Hybridity and Popular Music in the Era of Globalization. A comparative analysis of Rebetika, Tango, Rai, Flamenco, Sardana, and English urban folk st]Hamburg: LIT Verlag. Reihe: Populäre Musik und Jazz in der Forschung Bd. 9, 2002, 344 S., br., ISBN 3-8258-6363-8, Preis: EUR 25,90." Österreichische Zeitschrift für Soziologie 29, no. 1 (2004): 114–16. http://dx.doi.org/10.1007/s11614-004-0009-3.

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22

GÜVEN, Uğur Zeynep. "BETWEEN THE TRADITIONAL AND THE CONTEMPORARY, FAMILIAR BUT DIFFERENT: AN ETHNOGRAPHIC RESEARCH ON REBETIKO PERFORMANCES." International Refereed Journal of Music Researches, no. 12 (2018): 0. http://dx.doi.org/10.17370/uhmad.2018.1.4.

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23

Zaimakis, Yiannis. "“Bawdy Songs and Virtuous Politics”: Ambivalence and Controversy in the Discourse of the Greek Left on rebetiko." History and Anthropology 20, no. 1 (2009): 15–36. http://dx.doi.org/10.1080/02757200802650496.

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24

Gauntlett, Stathis. "Daniel Koglin , Greek Rebetiko from a Psychocultural Perspective: Same Songs Changing Minds. Ashgate, Farnham 2016, Pp xiv, 276." Byzantine and Modern Greek Studies 41, no. 2 (2017): 317–19. http://dx.doi.org/10.1017/byz.2017.10.

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25

Todorovic, Predrag. "The mysterious Misirlou." Muzikologija, no. 15 (2013): 61–89. http://dx.doi.org/10.2298/muz1315061t.

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My article deals with an unusual story on the roots of a song that has left a significant imprint on the twentieth century popular music all over the world. It is the song Misirlou, created somewhere on the territory of the Ottoman Empire, probably in Asia Minor. The author of this song is unknown. It was created in the so-called rebetiko musical style, typical of the Greeks from Asia Minor, who developed that style after the World War I. The first recordings of this song were made in the 1930s by Greek musicians Tethos Demetriades and Mihalis Patrinos. In no time, there was a true proliferation of different versions of this song, in almost every possible musical genre: jazz, latino, taksym, klezmer, makam, Serbian folk, hip hop, trash metal, pop and rock?n?roll. A number of these versions are mentioned in the article. The fact that this song is considered by many nations ? Greeks, Turks, Arabs, Serbs, Jews, Americans ? as their own, demonstrates its aptitude for incredible metamorphoses. What attracted me to this song was the story on how it was appropriated into Serbian folk music by the remarkable composer and singer Dragoljub Dragan Tokovic. The song was called Lela Vranjanka [Lela, the girl from Vranje] and became a standard in the so-called ?Vranje folk music?, marvelously interpreted by the singer Stanisa Stosic. I also compare various textual versions of Misirlou, in different languages, in order to show its parallel development in verse.

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26

Oriol, Michel, Marie-Antoinette Hily, and Deirdre Meintel. "La chanson populaire comme création identitaire : le Rebetiko et le Raï. De la transgression locale à la reconnaissance mondiale." Revue européenne des migrations internationales 16, no. 2 (2000): 131–42. http://dx.doi.org/10.3406/remi.2000.1731.

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27

Aubert, Laurent, and Michel Demeuldre. "Sentiments doux-amers dans les musiques du monde. Délectations moroses dans les blues, fado, tango, flamenco, rebetiko, p'ansori, ghazal..." Cahiers de musiques traditionnelles 19 (2006): 259. http://dx.doi.org/10.2307/40240647.

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28

Esslimani Sahla, M., J. Simony-Lafontaine, A. Kramar, et al. "Intérêt du niveau d’expression du REbeta dans la prédiction de la résistance des cancers du sein au Tamoxifène." Annales de Pathologie 24 (November 2004): 132. http://dx.doi.org/10.1016/s0242-6498(04)94113-2.

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29

Safonov, D. A. "The recent tectonic stress field of the Amur region." Geodynamics & Tectonophysics 9, no. 3 (2018): 1025–37. http://dx.doi.org/10.5800/gt-2018-9-3-0382.

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The Amur region (Priamurie) is located in the NE part of the Amur lithospheric plate and its surrounding territories. Seismic activity is moderate in Priamurie, and the regional earthquakes, including the strongest ones, occur mainly in three seismic belts: Stanovoi (the zone of influence of the eastern flank of the Stanovoi fault), Yankan-Tukuringra-Soktakhan (the eastern flank of the Mongolia-Okhotsk lineament), and Turan-Selemzhinsky (from the Lesser Khingan to the north). The Sakhalin Branch of FRC GS RAS Catalogue of focal mechanisms of 57 regional earthquakes provide the data for a more precise estimation of the parameters of the crustal stress state in the study area. The Cataclastic Analysis Method (CAM) developed by Yu.L. Rebetsky (stage 1) was used to estimate the orientations of the main axes of the stress tensor and the Lode – Nadai coefficient. The analysis shows that the Upper Priamurie is dominated by shearing and compression with shearing. The Amur plate moves relative to the Aldan-Stanovoi block along the South Tukuringra and North Tukuringa faults to the east. Vertical shearing is predominant along the Dzheltulak fault and the western segment of the North Tukuringra fault. The NNE-trending compression takes place in the area located east of the quiescence zone of the Dzhagda ridge. Along the Mongolia-Okhotsk fault system, near the Sea of Okhotsk, the direction of compression changes to the northward one. The tectonic stress field along the Tanlu fault zone is inhomogeneous and comprises the alternating zones of horizontal compression and stretching with varying directions of the main stress axes. To the east of the band characterized by the maximum seismic activity, compression changes its direction to the southeast- and eastward. Probably, the impact of the oceanic subduction on the northern part of the Japan-Korean block begins to manifest itself in this part of the Amur region. The tectonic stress field reconstructed from the seismological data is consistent with the measurements of the modern crustal movements. The results of our study can prove useful for clarifying the tectonics of the region.

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30

Stamatis, Yona. "Rebetika and Catharsis: Cultural Practice as Crisis Management." Voices: A World Forum for Music Therapy 15, no. 3 (2016). http://dx.doi.org/10.15845/voices.v16i1.818.

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In the context of the economic crisis in Greece, cultural practice serves as an important local level coping mechanism. Participants in the popular Rebetiki Istoria rebetadiko in Athens have adapted their nightly musicking into a crisis management culture. As the working-class audiences enjoy relevant rebetiko songs of the early twentieth century, they work through their anxieties about the current economic situation. The theoretical framework for this discussion is catharsis that describes emotional release achieved through music or art. Proposing a cultural approach to catharsis research, the article offers a clear tripartite theoretical model for the examination of catharsis in diverse musicking contexts.

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31

"Music is The Only Motherland: The Rebetika Songs in The Greek Musical Tradition." Societas Classica 9, no. 1 (2017). http://dx.doi.org/10.54664/xosk8536.

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32

Zaimakis, Yiannis. ""Forbidden Fruits" and the Communist Paradise: Marxist Thinking on Greekness and Class in Rebetika." Music and Politics IV, no. 1 (2010). http://dx.doi.org/10.3998/mp.9460447.0004.102.

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33

Koglin, Daniel. "Marginality–A Key Concept in Understanding the Resurgence of Rebetiko in Turkey." Music and Politics II, no. 1 (2008). http://dx.doi.org/10.3998/mp.9460447.0002.102.

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34

Mourgou, Alexandra. "Rebetiko Neighbourhoods: Musical Encounters and Social Transformations in Drapetsona and Nea Kokkinia, Piraeus." Balkanologie 16, no. 1 (2021). http://dx.doi.org/10.4000/balkanologie.2885.

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35

Anagnostou, Panagiota. "Définir le peuple et sa musique : les débats sur le rebetiko dans la presse de gauche pendant et après la guerre civile grecque (1946-1961)." Transposition, no. 4 (June 25, 2014). http://dx.doi.org/10.4000/transposition.969.

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36

Bychkov, Serguei. "Critical Analysis of the Article by Yu. Rebetsky - REGULARITIES of FAULT FORMATION in the EARTH'S CRUST and TECTONOPHYSICAL SIGNS of METASTABILITY of FAULTS." SSRN Electronic Journal, 2023. http://dx.doi.org/10.2139/ssrn.4543090.

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37

"The relationship between alcohol-related variables and Luria-Nebraska neuropsychological battery perfomance in a cross-sectional V.A. population James L. Rebeta, David A. McAllister, James J. Gange, Randall C. Jordan (Indianapolis Veterans Administration Medical Center), and Anthony L. Riley (The American University)." Archives of Clinical Neuropsychology 1, no. 3 (1986): 283. http://dx.doi.org/10.1016/0887-6177(86)90100-9.

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