Music_of_Greece by zzzmarcus

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Music of Greece

Music of Greece
Music of Greece: Topics Ancient music Laïkó Nisiótika Greek-Turkish Éntekhno Néo kýma Rebetiko Greek-American
Greek culture Art · Cinema · Cuisine · Dance Dress · Education · Flag · Language Literature · Music · Philosophy · Politics Religion · Sport · Television Religion Greek Orthodox Church Greek Roman Catholicism Greek Byzantine Catholicism Greek Evangelicalism Judaism · Islam · Neopaganism Languages and dialects Greek Calabrian Greek · Cappadocian Greek Cretan Greek · Griko · Cypriot Greek Maniot Greek · Pontic Greek · Tsakonian Yevanic · Aromanian · Arvanitika Karamanlidika · Meglenitic · Slavika · Urum History of Greece

History (Timeline and Samples) Genres: Classical music - Folk - Hip hop - Jazz Punk - Rock

Regional styles Aegean Islands - Arcadia - Argos - Athens Crete - Cyclades - Dodecanese Islands Epirus - Ionian Islands - Lesbos - Macedonia - Peloponnesos - Thessaloniki - Thessaly - Thrace - Cyprus The musical legacy of Greece is as diverse as its history. Cypriot music has certain similarities to traditional Greek music, and their modern popular music scenes remain well-integrated. Today, music is still a huge part of Greek culture, even Greek American culture. Greek music is played at parties and festivals and both children and adults partake in traditional Greek dancing.

Greek music history
Part of a series on Greeks

By region or country Greece · Cyprus Greek diaspora Subgroups Antiochians · Aromanians · Arvanites Cypriots · Epirotes · Karamanlides Macedonians · Maniots · Northern Epirotes Phanariotes · Pontians · Romaniotes Sarakatsani · Sfakians · Slavophones Souliotes · Tsakonians · Urums

Greek written history extends far back into Ancient Greece, and was a major part of ancient Greek theater. Later, influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed Greek music. In the 19th century, opera composers, like Nikolaos Mantzaros (1795 - 1872), Spyridon Xyndas (1812 - 1896) and Spyridon Samaras (1861 - 1917) and symphonists, like Dimitris Lialios and Dionysios Rodotheatos revitalized Greek art music. However, the diverse history of art music in Greece, which extends from the Cretan Rennaisance and reaches modern times, exceeds the aims of the present article, which is, in general, limited to the presentation of the musical form that the last few decades became synonymous to ’Greek music’. That is the ’Greek song’ or, better, the ’song in Greek verse’.

Ancient Greece
In ancient Greece, mixed-gender choruses performed for entertainment, celebration and spiritual reasons. Instruments included the double-reed aulos and the plucked string instrument, the lyre, especially the special kind called a kithara.


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Music was an important part of education in ancient Greece, and boys were taught music starting at age six. Greek musical literacy created a flowering of development; Greek music theory included the Greek musical modes, eventually became the basis for Western religious music and classical music.

Music of Greece
Byzantine period, klephtic music arose before the Greek Revolution, developed among the kleftes, warriors who fought against the Ottoman Empire. Klephtic music is monophonic and uses no harmonic accompaniment.

Paleá dhimotiká
Paleá dhimotiká ("old traditional (songs)" mainly from Peloponnese and Thessaly) are accompanied by clarinets, guitars, tambourines and violins, and include dance music forms like syrtó, kalamatianó, tsámiko and hasaposérviko,as well as vocal music like kléftiko. Many of the earliest recordings were done by Arvanites like Yiorgia Mittaki and Yiorgios Papasidheris. Instrumentalists include clarinet virtuosos like Tasos Halkias, Yiorgos Yevyelis and Yiannis Vassilopoulos, as well as oud and fiddle players like Nikos Saragoudas and Yiorgos Koros. Greek folk music is found all throughout Greece, as well as among communities in countries like the United States, Canada and Australia. The island of Cyprus and several regions of Turkey are home to long-standing communities of ethnic Greeks with their own unique styles of music.

Greece in the Roman Empire
Due to Rome’s reverence for Greek culture, Roman music continued to use the Greek notational system.

The tradition of eastern liturgical chant, encompassing the Greek-speaking world, developed in the Byzantine Empire from the establishment of its capital, Constantinople, in 330 until its fall in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical Greek age, on Jewish music, and inspired by the monophonic vocal music that evolved in the early Greek Christian cities of Alexandria, Antioch and Ephesus.

Greece during the Ottoman Empire (Rum music)
See also: Kanto (music) By the beginning of the 20th century, musiccafés were popular in Constantinople and Smyrna, primarily owned by Greeks, alongside Jews and Armenians. The bands were led by a female vocalist, typically, and included a violin and a sandoúri. The improvised songs typically exclaimed aman aman, which led to the name amanédhes or café-aman. Musicians of this period included Marika Papagika, Agapios Tomboulis, Rosa Eskenazi, Rita Abatzi, Georgia Mitaki (Μητάκη, not Μυτάκη), Marika Frantzeskopoulou, Marika Kanaropoulou. This period also brought in the Rempetika movement, which featured in Smyrna (İzmir), and had local Smyrnaic, Byzantine, and Ottoman influences.

Nisiótika is a general term denoting folk songs from the Aegean Islands. Among the most popular types of them is Ikariótiko traghoúdhi "song from Ikaria".

Ikariótikos is a traditional type of dance, and also the name of its accompanying type of singing, originating in the Aegean island of Ikaria. At first it was a very slow dance, but today Ikariotikos is a very quick dance. Some specialists say that the traditional Ikariotikos was slow and the quick "version" of it is in fact Ballos. Music and dancing are major forms of entertainment in Ikaria. Throughout the year Ikarians host baptisms, weddings, parties and religious festivals where one can listen and dance to live traditional Ikarian Music.

Folk music
Greek folk traditions are said to derive from the music played by ancient Greeks. There are said to be two musical movements in Greek folk music: Acritic songs and Klephtic songs. Akritic music comes from the 9th century akrites, or border guards of the Byzantine Empire. Following the end of the

Modern Nisiótika
Artists such as Nikolas Hatzopoulos, Stella Konitopoulou, and the Mythos Band helped Nisiótika gain occasional mainstream popularity during the 1990s and 2000s.


From Wikipedia, the free encyclopedia

Music of Greece
place mainly after 1922, as a consequence of the refugees’ resettlement. The genre was popular until the 1950s. Music Major features of the tabachaniotika songs are the following: • Dromoi (sing.: dromos - δρόμος), modal types designated by Turkish names, like rasti, houzam, hijaz, ousak, niaventi, and sabak. • Instrumental introduction before the song (taximi, pl.:, taximia), where the player explores the dromos. • Tsiftetéli rhythm, as in the Turkish "belly dance" music example heard in Signell’s article. • Musical instruments like bouzouki, boulgarí (μπουλγκαρί; the Cretan version of the Turkish baglama, similar to the earliest forms of the bouzouki), and baglamás. Poetic text The rebetiko and "tabachaniotika" often share the political verse, that is, fifteen syllable lines divided into two hemistichs ημιστίχια (8+7), generally realized as couplets. In Crete such couplets are called mandinádes (μαντινάδες), as are extemporary texts sung to the music of dances, mainly the syrtós, and the kondyliés (οι κοντυλιές). They focus mainly on the themes of existential grief and lost love, also common to the rebetiko. Songs making fun of Turks, narrative songs, and other songs in dialogue form also belong to this repertory. Unlike rebetiko (which is described below), the "tabachaniotika" did not considered underground music and was only sung, not danced, according to Nikolaos Sarimanolis, the last living performer of this repertory in Chaniá. Only a few musicians played the "tabachaniotika", the most famous being the boulgarí (a mandolin like instrument) player Stelios Foustalierakis "Phoustalieris" (1911-1992) from Réthymnon. Stelios Foustalieris bought his first boulgarí in 1924. In 1979, he said that in Rethymnon, the boulgarí had been widespread during the 1920s; in every tavern one could find a boulgarí, and people played and sang lovesongs. He said the boulgarí was then the main accompanying instrument of the lyra, together with the mandola. The laouto began spreading in Rethymnon not before the 1930s. Foustalieris

Cretan Music
Crete is an island which is a part of Greece. The lýra is the dominant folk instrument on the island; it is a three-stringed bowed instrument similar to the Byzantine Lyra. It is often accompanied by the Cretian lute (laoúto), which is similar to both an oud and a mandolin. Nikos Xylouris, Antonis Xylouris (or Psarantonis), Thanassis Skordalos, Kostas Moundakis, and Vasilis Skoulas are among the most renowned players of the lýra.

The "tabachaniotika" (IPA: [tabaxaˈɲotika]; sing.: tabachaniotiko - ταμπαχανιώτικο) songs are a Cretan urban musical repertory which belongs to the wide family of musics, like the rebetiko and music of the Café-aman, that merge Greek and Eastern music elements. This genre represents an outcome of the Cretan-Minor Asia’s Greek cultural syncretism in East Mediterranean Sea. It developed mainly after the immigration of Smyrna’s refugees in 1922, as did the more widespread rebetiko. Various conjectures are advanced to explain the meaning and origin of the term "tabachaniotika". Kostas Papadakis believes that it comes from tabakaniotikes (*ταμπακανιώτικες), which may mean places where hashish (ταμπάκο "tobacco") is smoked while music is performed, as was the case with the tekédes (τεκέδες; pl. of tekés) of Piraeus. But a quarter named Tabahana (Ταμπάχανα) existed in Smyrna --a name which has the Turkish root tabak: tanner; tabakhane: tannery). In Chaniá too, there was a quarter with the same name, where refugees from Smyrna lived after the 1922 diaspora. Tabachaniotiko was also the name of a song of the amané genre, which was popular in Smyrna in the period before 1922, together with some other songs called Minóre, Bournovalió, Galatá, and Tzivaéri (Kounadis 1993: 23). Compare the performance of Greek-Turkish ballos by a Greek ensemble in New York City in 1928, included in the online article on Mediterranean music in America by Karl Signell. This detail might be critical for the history of Cretan tabachaniotika, since Cretans frequently had contacts with the people and music of Smyrna during the nineteenth century. Cretan musicians believe that the further development of Cretan tabachaniotika took


From Wikipedia, the free encyclopedia
played for years as accompanist to the lyrist Antonis Kareklás (in feasts and weddings) and performed any kind of repertory (syrtós, pendozália, pidichtá kastriná, taximia, kathistiká (lit.: "sitting-down songs", i.e. music for listening, not for dancing), and even rebetiko). Later, he began playing the boulgarí, as a melodic instrument, with the accompaniment of guitar or mandolin. He also played in a group with musicians (refugees from Asia Minor), who played the outi and sandouri. Foustalieris composed also many songs and recorded them in Rethymnon. In the period 1933–1937 he lived in Piraeus and played together with famous rebetes, like Markos Vamvarakis. He may be considered a musician who merged the musics of Crete, Asia Minor, and Piraeus (see Liavas 1988). Notwithstanding the dearth of performers, "tabachaniotika" songs were widespread and could also be performed at domestic gatherings. Notable artists of this genre who were originally refugees from Asia Minor include the bouzouki player Nikolaos Sarimanolis (Νικολής Σαριμανώλης; born in Nea Ephesos in 1919) as a member of a folk-group founded by Kostas Papadakis in Chaniá in 1945, Antonis Katinaris (also based in Chaniá), and the Rethymnon-based Mihalis Arabatzoglou and Nikos Gialidis.[1]

Music of Greece

Popular music
Being largely unaffected by the developments of the European Renaissance, due to the Ottoman occupation that lasted nearly four centuries, the first liberated Greeks were anxious to catch up with the rest of Europe. The flourishing Greek culture of the Ionian islands, which were under the Italian rule and influence, was in sharp contrast to the Ottoman cultural poverty. It was through these islands that all the major advances of the European music were introduced to mainland Greeks. The songs of the islands known as Heptanesian kantádhes "seranades" are based on the popular Italian style music of the early 19th century. Kantádhes became the forerunners of the Greek modern song, influencing its development to a considerable degree. For almost all the next century most later attempts for musical composition had to borrow elements from the Heptanesian style.

Early popular songs
The most successful songs during the period 1870–1930 were the so-called Athenian songs, the serenades and the songs performed on the Athenian stage in revues and operettas that dominated the Athenian theatres. Despite the fact that the Athenian songs were not autonomous artistic creations (in contrast with the serenades) and despite their original connection with mainly dramatic forms of Art, they eventually became hits as independent songs. Italian opera had a great influence on the musical aesthetics of the Modern Greeks. After 1930, wavering among American and European musical influences as well as the Greek musical tradition, the Greek composers begin to write music using the tunes of the Tango, the Samba, and the Waltz as well as the melodies that refer to Athenian serenades (Αθηναϊκές καντάδες) and the theatrical revue songs.

Cretan music in media
The music theme Zorba’s dance by Mikis Theodorakis (incorporating elements from the syrtos dance) which appears in the Hollywood 1964 movie Zorba the Greek remains the most well-known Greek song abroad.

Modern Cretan music
The Cretan musical tradition in its pure form is followed today by several contemporary artists such as the Chainides, Loudovikos ton Anogion, and Giannis Charoulis. Occasionally, it reaches mainstream popularity through the work of artists such as Etsi De and Manos Pyrovolakis who mix its original form with popular music.

(1910s-1940s) (in these lists the term ’artists’ mostly denotes ’performers’ unless indicated otherwise) • Alkis Pagonis • Attík • Danai Stratigopoulou • the Kalouta sisters (Anna and Maria) • Kostas Giannidis (composer)

Other folk traditions
The other major regional musical traditions of Greece are: • Music of Epirus • Music of Macedonia • Music of Thrace


From Wikipedia, the free encyclopedia
• Nikos Hatziapostolou (composer of Greek operettas and Athenian serenades) • Panos Samis • Sophía Vémpo • Theophrastos Sakellaridis (composer of Greek operettas)

Music of Greece
Payioumtzis, Giannis Papaioannou, Giorgos Mouflouzelis, and Apostolos Hatzichristos. The scene was soon popularized further by stars like Vassilis Tsitsanis. His song Synefiazméni Kyriakí became an anthem for the oppressed Greeks after it was composed in 1943, though it was not recorded until 1948. He was followed by female singers like Marika Ninou, Ioanna Yiorgakopoulou, and Sotiria Bellou. In 1953, Manolis Chiotis added a fourth pair of strings to the bouzouki, which allowed it to be tuned tonally and set the stage for the ’electrification’ of rebetiko. Rebetiko was revived during the 1967–1974 coup, when the Regime of the Colonels banned the genre. After the end of the Junta many revival groups (and solo artists) appeared. The most notable of them include Opisthodhromiki Kompania, Rembetiki Kompania, Agathonas Iakovidis, Ta Pedhia apo tin Patra, Dimitris Kontogiannis, Marió, and Babis Tsertos.

Further information: Rebetiko Rebetiko evolved from traditions of the urban poor. Refugees and drug-users, criminals and the itinerant, the earliest rebetiko musicians were scorned by mainstream society. They sang heartrending tales of drug abuse, prison and violence, usually accompanied by the instrument called bouzouki (pl.: bouzoukia) (a sort of lute derived from the Byzantine tambourás and related to the Turkish saz). In 1923, many ethnic Greeks from Asia Minor fled to Greece as a result of the second Greco-Turkish War. They settled in poor neighborhoods in Piraeus, Thessaloniki, and Athens. Many of these immigrants were highly educated, such as songwriter Vangelis Papazoglou, and Panagiotis Tountas, composer and leader of Odeon Records’ Greek subsidiary, who are traditionally considered as the founders of the Smyrna School of Rebetiko. A Turkish tradition that came along with the Greek migrants was the tekés (τεκές) "opium den", or hashish dens. Groups of men would sit in a circle and smoke hashish from a hookah, and improvised music of various kinds. With the coming of the Metaxas dictatorship, rebetiko was repressed due to the uncompromising lyrics. Hashish dens and bouzoukia were banned. Many songs from this period were composed in prison, where musicians would devise instruments out of scavenged equipment. After World War II, rebetiko became a "calmer" and more accessible form of music. Some of the earliest legends of Greek Oriental music, such as the quartet of Markos Vamvakaris, Artémis (pseudonym of Ανέστης or Ανέστος Δελιάς), Stratos Payioumtzis, and Batis came out of this music scene. Vamvakaris became perhaps the first renowned rebetiko musician after the beginning of his solo career. Other popular rebetiko songwriters and singers of this period (1940s) include: Dimitris Gogos (better known as Bayandéras), Stelios Perpiniadis, Stratos

Drawing on rebetiko’s westernization by Tsitsanis, éntekhno arose in the late 1950s. Éntekhno (lit. meaning "art song") is orchestral music with elements from Greek folk rhythm and melody; its lyrical themes are often political or based on the work of famous Greek poets. Mikis Theodorakis and Manos Hadjidakis were the most popular early performers; however, there are also other significant Greek songwriters like Stavros Kouyoumtzis, Manos Loïzos, and Dimos Moutsis. Significant lyricists of this genre are Manos Eleftheriou, and poet Tasos Livaditis. By the 1960s, innovative albums helped éntekhno become close to mainstream, and also led to its appropriation by the film industry for use in soundtracks. A form of éntekhno which is closer to Western Classical music was introduced during the late 1970s and 1980s by Thanos Mikroutsikos. (See the section Other popular trends below for further information on Néo Kýma and Modern Éntekhno.)

Composers: • Christos Leontis • Dimitris Layios • Michalis Grigoriou • Notis Mavroudis Performers: • Aliki Kayaloglou


From Wikipedia, the free encyclopedia
• • • • • • • Flery Dadonaki Maria Dimitriadi Maria Farantouri Maria Soultatou Nana Mouskouri Nena Venetsanou Yiannis Koutras

Music of Greece
• Apostolos Nikolaidis (both laïkó and laïká singer) • Babis Tsetinis • Christos Syrpos (better known as Christakis - Χρηστάκης) • Doukissa • Giannis Kalantzis • Giorgos Kinousis • Giorgos Margaritis • Grigoris Bithikotsis • Jacques Iakovidis (composer only) • Jenny Vanou • Keti Grey (or Kaiti Grei) • Marinella • Meri Linda • Panos Gavalas • Poly Panou • Rita Sakellariou • Stelios Kokkotas • Tolis Voskopoulos • Yiannis Parios • Vangelis Perpiniadis (son of Stelios Perpiniadis) • Vicky Moscholiou Contemporary laïkó 1980s-2000s (also known as Éntekhno laïkó) • Babis Stokas • Dimitris Kontolazos • Dimitris Mitropanos • Dimitris Zervoudakis • George Dalaras • Giannis Poulopoulos • Himerini Kolymvites (Χειμερινοί Κολυμβητές) (group) • Katerina Kouka • Kostas Makedonas • Kostas Fasoulas (Éntekhno/Contemporary laïkó lyricist) • Manolis Lidakis • Manolis Mitsias • Manolis Rasoulis • Margaríta Zorbalá • Marios Tokas (composer only) • Melina Kaná • Natassa Bofiliou • Pantelis Thalassinos • Petros Dourdoumbakis (composer only) • Petros Gaïtanos (mainly renowned as a hymn singer) • Vaggelis Korakakis (musician, lyricist, singer)

Further information: Laïkó Laïkó was the mainstream popular music of the 50s and 60s. Laïkó, also known as classic laïkó or soft laïkó (ελαφρολαϊκό - elafrolaïkó), is similar to Turkish Fantezi music. The influence of oriental music on laïkó can be most strongly seen in 1960s indoyíftika, "indian gypsy (songs)", which is described filmi with Greek lyrics. Manolis Angelopoulos was the most popular indoyíftika performer, while pure laïkó was dominated by superstar Stelios Kazantzidis and Stratos Dionysiou. Among the most significant songwriters and lyricists of this category are considered to be Akis Panou, George Zambetas, Apostolos Kaldáras, Giorgos Mitsakis, Babis Bakális, Kostas Papaioannou, and Eftichia Papagianopoulos. Many artists have combined éntekhno with laïkó with considerable success, such as the composers Mimis Plessas, Stavros Ksarchakos, and Giorgos Mouzakis, and the lyricist Lefteris Papadopoulos. Also, during the same era, another kind of "soft music" (ελαφρά μουσική or simply elafró "soft"), represented by duos and trios of singers-musicians like the Katsamba Brothers duo, the Trio Kitara, the Trio Belcanto, and the Trio Athina, became fashionable. The genre’s sound was an imitation of the sound featured in the then contemporary Spanish and Mexican popular music but it also had elements from the early Athenian popular songs.[2]

Elafró (laïkó) 1950s-1960s • Nikos Gounaris (composer and performer) • Marianna Hatzopoulou • Mary Lo • Rena Vlahopoulou • Sotos Panagopoulos • Tonis Maroudas Classic laïkó 1950s-1970s

Laïká (not to be confused with Laïkó) is a Greek music-culture. The word "Laïká"


From Wikipedia, the free encyclopedia
means "(songs) of the people" in Greek. This genre is currently the most popular kind of music in Greece. Renowned songwriters of pop laïká are Nikos Karvelas, Phoebus, and the Pegasos duo (Antonis and Dimitris Paravomvolakis). Renowned lyricists include Giorgos Theofanous and Evi Droutsa. Due to the considerable influence popular Greek music has from Turkey and the Middle East, there have been exchanges of musical themes and duets of Greek singers with singers from these areas; Greek singers like Sarbel have translated songs from Arabic to Greek that have become extremely popular. Also, with the latest Greek-Turkish relations warming, there have been written songs by composers from either of the two countries that are sung as a duet in both languages. A good example of a song crossing the three cultures is the song Anavis Foties by Despina Vandi which has been adapted into Arabic by Fadel Shaker (Dehket Al-Donya), and also has been adapted as a Turkish-Greek duet (entitled Aşka Yürek Gerek) performed by Mustafa Sandal, a popular singer from Turkey, and Greek singer Natalia Doussopoulos. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Music of Greece
Giorgos Papadopoulos Giannis Ploutarhos Giorgos Christou Giorgos Lembesis Giorgos Lianos Giorgos Tsalikis Giorgos Yiannias Ioanna Koutalidou Katerina Stanisi Kelly Kelekidou Katy Garbi Konstantina Kostantinos Pantzis Kostas Karafotis Kostas Martakis Labis Livieratos Lefteris Pantazis Litsa Diamanti Litsa Giagousi Maria Iakovou Marianda Pieridi Marina Handri Maro Lytra Michalis Emirlis Nancy Alexiadi Natasa Theodoridou Natalia Doussopoulos Nino Nikos Kourkoulis Nikos Makropoulos Nikos Oikonomopoulos Nikos Portokaloglou Nikos Vertis Notis Sfakianakis Notis Christodoulou Paschalis Terzis Peggy Zina Periklis Stergianoudis Petros Imvrios Sabrina Sarbel Sofia Strati Stamatis Gonidis Stefanos Antypas Stella Georgiadou Stratos Dionysiou Ta Kaka Koritsia (girl band) Thanos Petrelis Triantafyllos Valantis Vasia Riga Vasilis Karras Vasilis Terlegas Zig Zag (laïká band)

(1980s-2000s) • Aggeliki Iliadi • Aggelos Dionysiou • Andreas Konstantinidis • Angela Dimitriou • Angie Samiou • Anna Vissi (originally from Cyprus) • Antique • Antonis Remos • Apostolia Zoi • Christina Koletsa • Christos Antoniadis • Christos Menidiatis • Chryspa • Constantinos Christoforou • Costas Charitodiplomenos • Despina Vandi • Dionysis Makris • Dionysis Schoinas • Dimitris Kokkotas • Efi Sarri • Eirini Merkouri • Elena Paparizou • Elli Kokkinou • Giannis Bekas • Giorgos Alkaios • Giorgos Mazonakis


From Wikipedia, the free encyclopedia

Music of Greece
Western dance music with Balkanian pop folk music as is the case with Skiládiko and Turbo-folk.

Further information: Tsifteteli Tsiftetéli is a type of music that was brought over by refugees from Asia Minor in the 1920s. It can be described as the Greek version of belly dance music. The Arabic and Turkish influence on this type of music is very clear, and adds to the cultural similarities Greeks have with the Middle East. Tsiftetéli is a very popular form of Modern Greek music, and notable modern Laïká artists (such as Katy Garbi, Anna Vissi, Despina Vandi, Eleni Karousaki, and Giorgos Mazonakis) frequently include it in their music.

Other popular trends
Folk singer-songwriters first appeared in the 1960s after Dionysis Savvopoulos’ 1966 breakthrough album Fortighó. Many of these musicians started out playing Néo kýma, "New wave" (not to be confused with New Wave rock), a mixture of éntekhno and chansons from France. Savvopoulos mixed American musicians like Bob Dylan and Frank Zappa with Macedonian folk music and politically incisive lyrics. In his wake came more folk-influenced performers like Arletta, Mariza Koch, and Kostas Hatzis. This short-lived music scene flourished in a specific type of boîte de nuit called bouát (μπουάτ). Nikos Xydakis, one of Savvopoulos’ pupils, was among the people who revolutionized laïkó by using orientalized instrumentation. His most successful album was 1987’s Kondá sti Dhóxa miá Stigmí, recorded with Eleftheria Arvanitaki. Thanasis Polykandriotis, laïkó composer and classically trained bouzouki player, became renowned for his mixture of rebetiko and orchestral music (as in his 1996 composition "Concert for Bouzouki and Orchestra No. 1"). There are however other composers of instrumental music (including filmscores and music for the stage), whose work cannot be easily classified, such as Giannis Markopoulos, Stamatis Spanoudakis, Giannis Spanos, Giorgos Hatzinasios, Giorgos Tsangaris, Nikos Kypourgos, Eleni Karaindrou, and Evanthia Remboutsika. A popular trend since the late 1980s has been the fusion of éntekhno with pop and rock music. The most renowned éntekhno pop lyricist is considered to be Lina Nikolakopoulou. Furthermore, certain composers, such as Dimitris Papadimitriou, have been inspired by traditional éntekhno and have written songs for contemporary éntekhno singers. Finally, regarding purely non-oriental pop music, despite the fact that it has never reached the popularity of laïkó and laïká, or even éntekhno, it had always a considerable amount of listeners supporting it, under a wide variety of forms, throughout the history of recent (post 1960s) Greek music.

Further information: Skiladiko Skiládiko (or Skyládika) is the byname of the Greek variation of Arabesque music.

• • • • • • • • • • • Antonis Kardamilis Andreas Konstantinopoulos Babis Papadopoulos Giannis Floriniotis Kostas Kafasis Notis Volanakis Sakis Tolias Sotis Volanis Stamatis Gonidis Tasos Bougas Zafiris Melas

"Trash" singers The general popularity of skiládiko in Greece is considered to be associated with the recent rise in popularity of several so-called "trash" or "decadent" (παρακμιακοί) singers such as Efi Thodi, Vera Labrou, and Stella Bezantakou, and with the 2007 music chart success of several tabloid talk show participants’ singles (see Nikos Katelis for further information). Balkan music Skiládiko is akin to the Serbian Turbo-folk, since they both feature the same sort of folk melodies combined with dance music, and they both share a distinctive kitch aesthetic. The same thing cannot be said with equal certainty for modern laïká, since this genre (at least in its original form) originates in laïkó and tsiftetéli, rather than in the mix of


From Wikipedia, the free encyclopedia

Music of Greece
• • • • • • • • Eleni Dimou Eleni Tsaligopoulou Evridiki Fivos Delivorias Michalis Hadzigiannis Myronas Stratis Filippos Pliatsikas (Éntekhno rock) Pyx Lax (band)

The following classifications are conventional and categories may occasionally overlap with each other: Néo Kýma (éntekhno) 1960s-1970s • Arletta • Dionysis Savvopoulos • Kaiti Homatá • Kostas Hatzis • Lakis Pappas • Mariza Koch • Notis Mavroudis (composer) • Popi Asteriadi Modern éntekhno 1980s-2000s (partial overlap with contemporary laïkó and éntekhno pop) • Afroditi Manou • Alkinoos Ioannidis (Cypriot singer) • Alkistis Protopsalti (also contemporary Laïkó, éntekhno pop) • Christos Thiveos • Dionysis Tsaknis • Eleftheria Arvanitaki • Dimitra Galani (also contemporary laïkó, éntekhno pop) • Eleni Vitali • Elli Paspalá • Haris Alexiou (also contemporary laïkó) • Glykeria • Katsimihas brothers • Lavrentis Mahairitsas • Vassilis Kazoulis • Manolis Rasoulis • Manos Ksydous • Militiadis Paschalidis • Nikos Ksidakis (or Ksydakis; composer and musician only) • Nikos Papazoglou • Orfeas Peridis • Popi Tsanaklidou • Savina Yannatou • Sokratis Malamas • Stamatis Kraounakis • Thanassis Papakonstantinou • Vasilis Lekkas Éntekhno pop 1980s-2000s • Ekeinos + Ekeinos (IPA: [e.ˈci.nos ce.ˈci.nos]) • Giannis Kotsiras • Giorgos Perris • Efstathia

Classic pop 1960s-1970s (songs from this period of Greek pop were mainly Pop ballads) • Dakis • Demis Roussos • Loukianos Kelaidonis • Nostradamos (Folk rock band) • The Olympians • Poll (Psychedelic rock) • Vicky Leandros • Vlassis Bonatsos (as the singer of the Pelóma Bokioú band) Contemporary pop 1980-2000s • Alexia (Cypriot singer) • Annet Artani (Blue-eyed soul) • Bessy Argyraki (Pop ballad) • Christina Anagnostopoulou (Dance-pop) • Christos Dantis • Giorgos Perris • Despina Olympiou • Eleni Peta (Pop Contemporary) • Iro (Pop Contemporary) • Lia Vissi (Cypriot singer) • Kostas Bigalis (Pop rock, Pop laïká) • Mando (Pop rock, Pop ballads) • Marina Solonos • Michalis Rakintzis (Disco music) • Natalia • Polina (Disco) • Sakis Rouvas (Pop rock, dance-pop, funk, soul) • Sophia Vossou (Pop ballad) • Stephanos Korkolis (Éntekhno/pop composer (late80s-00s); piano-oriented pop singer (early90s)) • Thanos Kalliris (occasionally Latin pop) • Vanessa Adamopoulou (Dance-pop) • Victoria Halkiti (Dance-pop) Teen pop 2000s • 4play (boy band) • Artemis Gounaki (record producer, musical arranger) • Dimitris Korgialas • Hi-5


From Wikipedia, the free encyclopedia
• • • • Kalomira Katerina Moutsatsou One (band) (Cypriot boy band) Tamta

Music of Greece

• Greek Jazz (70s: Sphinx (band), Sakis Papadimitriou, Floros Floridis) • Blues-rock / Art rock (70s-80s: Socrates Drank the Conium (band), Pavlos Sidiropoulos, Spyridoula (band), Nikolas Asimos, Vasilis Papakonstantinou, Zorz Pilali (blues guitarist), Dimitris Poulikakos) • New Wave (80s bands: Metro Decay, Film Noir, Villa 21, Anti Troppau Council) • Greek punk (80s-90s bands: Adiexodo, Genia Tou Chaous, Deus ex Machina, Panx Romana) • Greek rock (80s-90s bands: Trypes, Diafana Krina, Endelekheia, Ksýlina Spathiá - Ξύλινα Σπαθιά, Morá Sti Fotiá) • Indie rock (anglophone 90s and 00s bands: The Last Drive, The Earthbound, I Knew Them, Film, Closer, Abbie Gale, Infidelity, Waterpipes, Monika Christodoulou) • Low Bap (Active Member, Sadahzinia, Babylona - Βαβυλώνα) / Greek hip hop (FF.C, Terror ex Crew, DJ ALX, Sifu VERSUS, Eisvoleas - Εισβολέας, ZN MCs Ζήτα Νι MCs, Vita Pis - Βήτα Πεις, Razastarr, Voreia Asteria - Βόρεια Αστέρια, Alytoi Grifoi - Ἀλυτοι Γρίφοι) • Nitzhonot / Uplifting Trance (90s: Cyan, Cherouvim, Darma, Star Children) • Acid house / Techno / Electronica (90s-00s: Stereo Nova, Mikro) • Heavy metal (Firewind) / Extreme metal (Rotting Christ, Nightfall) / Folk black metal (Kawir, Fiendish Nymphe -- sister project of the more renowned Ancient Greek music revival band Daemonia Nymphe - Δαιμόνια Νύμφη) • Parody music (80s-00s: Tzimis Panousis, Aéra Patéra (band), Amóla Kaloúband) • Underground / Cult / Outsider music (00s bands: Lost Bodies, Plokámi tou Karxaría, N-Carkade)

Pop rock 1990s-2000s • 2002GR • Ble • C:Real • COTIK (record producer) • De Facto • Dimitriadis Giorgos • Domenica • Dytikés Synoikíes • Giorgos Sambanis • Kitrina Podilata • Kostas Tournas (Classic rock) • Kore. Ydro. (Indie rock band) • Locomondo (Reggae and Ska band) • Lakis Papadopoulos (Classic rock) • Manolis Famellos (Indie rock) • Matisse (Glam rock revival, Indie pop) • Michalis Hatzigiannis • Nikos Mihas (Pop punk) • Raining Pleasure (anglophone Indie rock band) • ONAR • Onirama • Stelios Rokkos • Stigma 90 • Ypogeia Revmata (Éntekhno rock band) • Zak Stefanou Pop rap 1990s-2000s crews • Goin’ Through • Imiskoúmbria • NEVMA • Stavento • Stereo Mike (solo artist)

Independent music scenes
Since the late 1970s various independent scenes of "marginal" musical genres have appeared in Greece (mainly in Athens, Piraeus, and Thessaloniki). Most of them were shortlived and never gained mainstream popularity but the most prominent artists/bands of these scenes are critically acclaimed today and are considered to be among the pioneers of independent Greek music (each one in their own genre).

See also
• Music of Cyprus • Heptanese School, the first major school (style) of Greek classical music • Manolis Kalomiris, founder of the style of classical music called Greek National School of Music • Nikolaos Skalkottas • Iannis Xenakis


From Wikipedia, the free encyclopedia
• • • • • • • • • Giannis Christou List of Greek composers List of Greek folk musicians List of Greek musical artists List of notable bouzouki players List of Greek guitarists List of Greek lyricists List of Greek songwriters List of Greek singers by genre

Music of Greece
Guides Ltd, Penguin Books. ISBN 1-85828-636-0.

External links
• Helleniccomserve: Short History of Greek Music • The Music of Greece • A collection of some 11,000 Greek songs, with lyrics and chords (Greek) • Klika: A site about Greek Rebetiko, Laïkó, and traditional music (Greek) • Rembetiko Forum A forum about Greek Rebetiko, Laïkó and Traditional music (Greek) • Traditional Greek folk music downloads • Tabachaniotika (Magrini) • Mediterranean musicians in America (Signell) • Greek Clarinet Music • Folk dances of the Greek regions

[1] Cretan Tradition [2] Greek Music

• Dubin, Marc and Pissalides, George. Songs of the Near East, 2000. • Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp. 126-142. Rough

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