CHARLES UNIVERSITY IN PRAGUE

Faculty of Education
Department of Music Education

View on the Greek traditional music

2011/2012 Konstantina Valai

 UNIVERZITA KARLOVA V PRAZE
Pedagogická fakulta
Katedra hudební výchova

Pohled na řeckou tradiční hudbu

Konstantina Valai

Hudební výchova – sbormistrovství

Vedoucí: PhDr. Leona Saláková, Ph.D.
Oponent: Prof. PaedDr. Michal Nedělka, Dr.

2011/2012 Praha
Declaration
I confirm that this is my own work and the use of all materials from other sources has been
properly and fully acknowledged. I agree with storing my work in the library of the Faculty
of Education, of Charles University in Prague, in order to be available for educational
purposes.

Konstantina Valai Prague

Contents

Introduction ………………………………………………………………………….......8

1. Greek Music …………………………………………………………………………..10

2. Folk songs ……………………………………………………………………………..16

3. Greek Traditional Instruments ……………………………………………………...22

4. Greek Traditions and culture ………………………………………………………..36

4.1 Traditions and culture connected with Greek history and Orthodox
Church …………………………………………………………………………………….36
4.2 Celebrations connected with paganism, church, national and social
Celebrations ……………………………………………………………………………....38

5. Greek Dance ……………………………………………………………………..........43

5.1 History of Greek dance ……………………………………………………….............43
5.2 Characteristics of Greek Dances ……………………………………………...............44
5.3 Region Characteristics of Greek dances ……………………………………...............45
5.4 Explanation of two basic Greek dances, kalamatianos and tsamikos…………………54

6. Traditions connected with music …………………………………………………….59

6.1 National Greek school, Nikos Skalkottas..…………………………………………….59
6.2 The Greek character of skalkottas in his works ……………………………................64
6.3 Tradition and music education ……………………………………………….……….71
6.4 Suggested Music Lessons following the circle of year occasions….............................73

Conclusion……………………………………………………………………………......92

Appendices ……………………………………………………………………………….93

Summary …………….……………………………………………………………..….....97

Resume ......................................................................................................................….....98

Bibliography ……………………………………………………………………..………99
 "Tradition is an original source, which cannot be exhausted, be removed or
replaced ... it embodies a life forever."

1Comp ANDRE LALANDE, Dictionary of philosophy. Πάπυρος Εκδοτικός Οργανισμός – 1955,

p.237
 Introduction

The popular culture, whose presence we experience-although not so consciously,

in customs, in expressions of everyday speech, in beliefs, in traditions and legends,
fairytales and proverbs, in gastronomy and simple rituals of everyday life, is a rich
heritage with potential pedagogical applications on a wider scale.
Utilizing the cultural tradition general in education, the young people become
sensitized to acceptance procedures rather than thoughtless rejection of cultural values. The
recipients of today will have to be tomorrow's followers and practitioners.
The pre-Socratic philosopher Heraclitus said: "Everything flows ..." (Τα πάντα ρει).
Everything changes. When an organization or a person or society, develop and not reject
the earlier stages that have now overcome, but embody differentiated and adapted to
the current situation. An adult does not erase his childhood, to incorporate within it, as
a positive legacy and goes.
This work attempts to approach the topic in beginning theory, making a long-term
analysis of the Greek state, its institutions and customs, their connection with music and
dance, and then proceed to proposals for educational applications in the classroom and
student creative activities with issues of cultural tradition.
At the same time trying through examples to show how important composers
connect their work with the Greek musical tradition, and wanted to show us in all the
lengths of the world giving us a new European face with dignity, respect and love for the
history of our country.
My love for dance and traditional music gave me the push for selecting this subject.
As a window of knowledge for all who love the Greek culture and would like to learn
more about it.
My goal is to bring the readers near to the Greek culture and to sensitize teachers,
not only of music but all specialties, for the continuity of culture and traditions.
Through the songs we learn and deepen our knowledge of the history and of our language.
The sources that I used for my diploma, is a collective reading, during all my years
of studies. In the music library of the Athens Music Hall was able to gather more
information as there is a remarkable library with archived job. The books which I
found really interesting was from: Samuel Baud Bovy, essay on Greek folk songs, John
8
Plemmeni, discussing the Greek music, Music in the Aegean, Aegean research university
with a curator and researcher Lambro Liava, Dancing in the Greek tradition and teaching,
John Prantsidis and at the end from Foivos Anogianakis, Greek popular musical
instruments.
When I started my diploma, I had my primary purpose of the presentation of my
culture, and the transmission of my love for tradition, to all teachers. In the process,
however, was born a question. How many teachers are able to know well, and be able to
teach the concepts of history, traditions, music, folk-song and dance, as interrelated?
Therefore i decided to include in my work some indicative music lessons linking with
cultural customs, history and dance where it was necessary. Is a presentation of suggested
lessons moving along the axis of connection of all these ideas as well as a conclusion
explanation of two basic Greek dances into the sphere of rhythm and their use in musical
composition.

9
 1. Greek Music

The word ‘music’ comes from the Muses, the daughters of Zeus and the patron
goddesses of creativity and intellectuality. Modern day musicians refer to their muse,
which is someone who has an influence on another person's creative work. Different
musical terms such as melody, tune, rhythm and others have their roots in the Greek
language. Pythagoras, who was the father of music theory, was Greek. However, with the
fall of ancient Greece and the collapse of the Roman and Byzantine empires, Greek music
hibernated for several centuries until it was reborn in the 19th century.
The musical instruments that they had the Ancient Greeks were such as drums,
cymbals, lyre and pipes. The earliest known Greek music was intertwined with Greek
poetry. Dancing with the lyre (phorminx) was used to accompany poets composing
melodies from short repeated phrases. Ancient Greeks used music to honor their gods. One
particular Greek legend relates how the god Hermes1 made the first lyre from a turtle.
Hermes then gave the lyre to Apollo, the god of reason, as Greek music is typified by
orderly patterns. Besides Hermes and Apollo, other Greek gods connected with music were
Pan, Orpheus, Dionysus and the Graces (daughters of Zeus).
The music of ancient Greece was inseparable from poetry and dancing. It was
entirely monodic, there being no harmony as the term is commonly understood. The
earliest music is virtually unknown, but in the Homeric era2, a national musical culture
existed that was looked upon by later generations as a “golden age.” The chief instrument
was the phorminx, a lyre used to accompany poet-singers who composed melodies from
nomoi, short traditional phrases that were repeated. The earliest known musician was
Terpander of Lesbos (7th cent. B.C.). The lyric art of Archilochus, Sappfo, and Anacreon
was also musical in nature.

1
Hermes: was one of the twelve Olympian gods and it was the god of message.
2
Homeric era: is the period around 1200BC, the time when homer’s “Iliad” and “Odyssey” were set. The
term defines the Bronze Age of the great heroes about whom Homer wrote his epic poems.

10
 In the 6th cent. B.C., choral music was used in the drama, for which Pindar3
developed the classical ode. The main instruments at this time were the aulos, a type of
oboe associated with the cult of Dionysus, and the Cithara a type of lyre associated with
Apollo and restricted to religious and hymnic use. This classical style of composition
decayed in the last quarter of the 5th cent. B.C.
After the fall of Athens in 404 B.C., an anti-intellectual reaction took place against
the classical art, and by about 320 B.C. it was almost forgotten. The new style, which
resulted in the rise of professional musicians, was marked by subjective expression, free
forms, more elaborate melody and rhythms, and chromaticism. The chief musical figures
were Phrynis of Mitylene (c.450 B.C.), his pupil Timotheus of Miletus, and the dramatist
Euripides4. Finally, ancient Greek music lost its vitality and reduced to insignificance
under the Roman domination.
There were two systems of musical notation, a vocal and an instrumental5, both of
which are, though still problematic. They are decipherable largely because of the
Introduction to Music written by Alypius6 (C.A.D. 360). In spite of the prominent position
of music in the cultural life of ancient Greece, only 15 musical fragments are extant, all
which date from the postclassical period. Early in its history, Greek music benefited from
the discovery, usually attributed to Pythagoras of Samos, of the numerical relations of
tones to divisions of a stretched string. The temperament, or Pythagorean tuning, derived
from this series of ratios has been important throughout subsequent music history.
Pythagoras, designed a mathematical theory behind musical tones in the 500s B.C.
that's still used in modern times. The father of music theory discovered the mathematical
rationale of musical consonance from the weights of hammer used by smiths.
Music played an important role in education and was considered a main subject, as
essential as reading, writing and arithmetic. Greek boys started learning music as early as 6
years old. The Greek musical modes7 were taught in Greek music theory. Eventually, the

3
Pindar: Was an Ancient Greek lyric poet (522-443BC)
4
Euripides: Was one of the three Tragedians of Classical Athens (480-406 BC)
5
Vocal and instrumental notation: Ancient musicians they had two complete separate systems of musical
notation, the one meant for voice (using Greek letters) and the other for instruments. Music Notation of
Gregorian chant was by means of neumes.
6
Alypius: Greek author of Introduction to Music, chief source of modern knowledge of Greek musical
notation.
7
Greek Musical modes: since the 9th century mode refers to a type of scales. But in Greek essays modes
describe three interrelated concepts that are related to the later, medieval idea of "mode": scales, tonos and
harmony. The Greek scales were: Mixolydian, Lydian, Phrygian, Dorian, Hypolydian, Hypofrygian, Locrian
or Hypodorian
11
Greek musical modes were the foundation for classical, as well as Western religious music.
Students used singing to help memorize odes such as the Iliad and the Odyssey.
In Byzantium music was very important. We have a minuscule number of
information on secular (non religious) music. However, a large number of important
information on ecclesiastic music have been saved, to the point that the term “Byzantine
music” is commonly deemed -incorrectly- as ecclesiastic music alone.
Εcclesiastic music originates from ancient Greek, Syrian as well as Jewish
religious musical tradition. Three periods are distinguished: old, middle and new part.
The period of Old Byzantine Part extends from the early years of Christianity, throughout
the period of crystallization of church-functions, until the 14th century.
After the crucifixion of Christ, the first Christians gathered secretly to worship
God. They utilized simple tunes known to them from everyday life. Subsequently, those
chants contained musical elements from the Jewish, Syrian, Palestinian and Roman culture,
as well as from the music tradition of the ancient Greeks (Alexander the Great had greatly
contributed to the spreading of Hellenistic culture in the Middle East).
The first Christian hymns were not new compositions, but rather paraphrases (new
text on known melody) or variations of older known melodies. The chant was syllabic (one
or two notes per syllable) and monaural (all sang to the same melody).

The following abstract comes from a 3rd century hymn dedicated to the Holy Triad.
It was discovered in 1918 in Egypt on a papyrus written in ancient Greek notation.

Following the foundation of Constantinople (330 AD) and the establishment of

Christianity as the formal religion (379 AD), ecclesiastic music started to get organized
and developed more freely than in the past. Νew hymns were created to fill the emerging
liturgical needs but the melodies remained almost unchanged, following the rules of older
times.

12
 Until the 4th century music was an activity which involved everyone. Due to the
development of psalmody, churches began appointing choristers for it was impossible for
the whole congregation to memorize the new compositions. However, the chorister’s duty
was to instruct the congregation with hand movements (gesticulation) and prompt them to
answer.
New melodies started to be released from the 5th century and several elements of world
music influenced ecclesiastic music. New kinds of music were created in this time period,
like odes, troparia, kontakia but the composition of melody remained relatively plain.
During this period, ecclesiastic music spread to Western Europe and gradually evolved to
Gregorian chant8. Some of the known melodists of that period are Saint Anatolios (-485),
Saint Romanos the Melodist (5th-6th century), Andreas the Cretan (660-740) and the
Patriarch of Constantinople Sergios (7th century).
The troparia were simple texts with psalm lines interferences and easy melodies.
The kontakia consisted of an overture and 20-40 similar verses (houses). A well known
kontakio is the Akathistos Hymn dedicated to the Virgin Mary and attributed to Romanos
the Melodist.
The time period between the 8th and 11th century is the time when the core of Christian
ecclesiastic hymnology is moved to Constantinople and more music innovations are being
used. This period is closely connected to a peak in several forms of art, literature and
music. Monasteries became the centres of hymnology and monks embarked on hymn
composition importing innovations to ecclesiastic psalmody.
Saint Ioannis of Damascus (7th-8th century), Christian hymnography innovator,
managed to liberate ecclesiastic music from world influences and to systemize the scales in
manner or sound which led to the oktoichos (eight-sound), as it is used to this day. He is
also known for inventing the kanona (rule).
Promoted many of the basic characteristics of monophonic ecclesiastic music and he
created a more melodic kind of psalms (melismatiki), parallel to the existing monophonic
and less melodic style and he invented a new kind of notation of verse and melody.
Development continued even after the fall of Byzantium. It was revised in the 19th
century and remains vivid to this day.

8
Gregorian Chant: a ritual plainsong, monophonic and unmeasured. Traditionally codified by Pope Gregory
I, and formerly widely used in the Roman Catholic Church.
13
 The music of the Orthodox Church, like every living music tradition, has gone
through important changes in its long history, but most of its characteristics remained the
same for many centuries. These are:

 Music is modal. Instead of the major and minor scales of Western music, it
employs eight ecclesiastic ways called sound (ichoi).
 Tuning is not compromised but follows the natural (based on the order of
harmonics) and consequently all tones are not equal.
 Ecclesiastic music remained strictly monophonic, either sang by one
chanter or by a choir. Harmony is limited to the use of drone (iso), which
accompanies the melody singing the base of each four-chord where melody
fluctuates.
 The symbols of notation (notes) don’t define a specific height but a relative
one. For example how much higher or lower the next interval will be
compare to previous tone.
 Music remains phonetic. Musical instruments are not used in church. We
know that musical instruments were used in music education like the
Tambura and psaltery-canonaki. Maybe for drone (ison) as well.

Greek music was reborn in the 1800s. Composers such as Spyridon Xyndas,
Spyridon Samaras, (composer of the Olympic anthem), and Nikolaos Mantzaros influenced
Greek music in the 19th century. Dimitris Lialios and Dionysios Rodotheatos were
symphonists known for revitalizing Greek music. Composer Kleon Triantafylou, known as
"Attic," created one of the first repertory Greek troupes in his famous "Mantra tou Attic."
Many other gifted artists and composers came out of this period with their music
expressing common experiences in everyday Greek life.
As the 20th century dawned, female vocalists typically led bands, including a violin
and a sandouri. Some of the more noted musicians included Marika Papagika, Ross
Eskenazi, Agapios Tomboulis and Rita Abatzi. The Rebetiko movement began during this
time with Byzantine, Symaic and Ottoman influences. Rembetika music, which is Greek
underground music, began around the early 1900s. This music was influenced by 2 million
Greek refuges coming from Asia Minor.

14
 Folk music styles known as amanedes and rebetika, which combined Greek and
Byzantine traditions, were revived during the 1970s. During the 1950s and '60s, several
Greek composers gained worldwide fame such as Janis Xenakis. Greek youth turned to
pop and rock music in the 1960s as groups such as the Idols and the Charms rose in
popularity. Pop music was influenced by both British and American rock music, along
with Greek folk songs. Modern Greek music includes folk music with these traditions
combining both Eastern and Western influences.

15
 2. Folk Songs

The Greek folk song is basically monophonic. Born of the anonymous people and
aimed to them. The Greek folk music developed in parallel with the Byzantine church
music and received its effects. Modes of folk music have great relationship with the
sounds of Byzantine. Also performs better with Byzantine notation9. Exceptions are the
melodies of accompanying instruments, which are almost impossible be attributed to it.
The basic characteristics of folk song, with which it characterized as such folk songs
are following ten:

1. The anonymity of the author. The author and composer of folk music remains
unknown.
2. The uncertainty of the exact place of origin. You may know the reference site, but
not the exact location of composition.
3. The uncertainty of the exact time synthesis. You may know the reference year but
not the exact time of synthesis.
4. The popular expression following local idioms. The folk song always attributed to
the periods local dialect.
5. The folk soul, as manifested in life.
6. The observed variations. The more variations there are brought more prestigious.
7. Performance in song and not a poem. The folk song is not reciting.
8. The free verse, and not necessarily rhyme.
9. The lively style and realistic description, and finally
10. Iambic dodekasilavos10. The characteristic measure. Commonly followed by
iambic fifteen, or and the trochaic verse11. Most commonly not followed the same
measure in the whole song in order thus to achieve some harmony while avoiding
the monotony.

9
Byzantine notation: is a neumatic system of musical notation traditionally used for production byzantine
chant into written form.
10
Iambic dodekasilavos: An iambic foot is an unstressed syllable followed by a stressed syllable. The rhythm
can be written as “da-Dum”. Dodekasilavos mean to have twelve iambic feet in a row “da-Dum-da-Dum-da-
Dum-da-Dum…”
11
Trochaic: A trochaic foot is an stressed syllable followed be an unstressed syllable. The rhythm can be
written “Dum-da”.
16
 Most researchers divide the Greek folk music into two groups:
1. The mainland (Epirus, Thessaly, Morias-peloponisos, Rumeli, Macedonia) and
2. The island (islands and Asia Minor, Thrace and Cyprus)

The differences between the two groups are mainly the following points:
1. Rhythms. The island dances are typically dances in two measure while it is popular and
measures 3/8 and 6/8 or 6/4. In contrast in mainland Greece the fifth and seventh
measure dances are very frequent (eg Kalamatianos in 7 / 8).
2. Methods. On land used primarily animitonikes scales (scales without semitones in
the sequence of phonemes) and small intervals. In contrast with islands that they use
biggest intervals.
3. Rhyme and improvising is frequent in the islands while in the land there are very
rare (e.g. Mani laments).
4. Combinations of instruments. On land, the characteristic combination of
instruments was originally the "weights" tabor and zournas (later clarinet), while in the
islands was tuba and lyre (later lute and violin). In recent years the established
combinations are eased.
The Greek folk song according to the theme of, divided in Akritika
(akritik song created in the period from the 9th-11th century. The subject was the life
and heroic achievements of the Akrites, who lived on the border of the Byzantine empire to
protect its borders from external frequent attacks of the season). Kleftiko (over from
akritic song Kleftiko got its place, which was spread by word of mouth and festivals during
the Turkish occupation, culminating in the period of the Greek Revolution of 1821.
Kleftiko song was a creation of Romeikos life, inspired by the life and activities of kleftes
and Armatolon is full of spontaneity and sincerity of emotion), Variant (are big songs that
have an emotional and dramatic affair .The most famous folk song is ‘The bridge of Arta’
(Το γιοφύρι της Άρτας). According to the legend every day approximately 100 workers,
they tried to build a bridge but its foundations would collapse each night. Finally a bird
with a human voice informed the head builder that in order for the bridge to remain
standing, he must sacrifice his wife. As the wife is being killed, being built in the
foundations of the construction, she utters curses that conclude with blessings). But we
have and other types of folk songs like religion, songs of love, lullabies, song of work,

17
lamentations and satirical, which sung the daily human effort, the separation of the
emigrant and the pain of loneliness and love. The moments of birth, marriage and death.
For two thousand years the people living around the Mediterranean, each one,
developed his own musical idiom, but on the general principles were set in Ancient
Greece. But from the 16th century and later, the music of Central Europe has defined an
own way, based on a completely different principles except traditional Greek music, that
remained stable in her roots. It could not moreover be different, since the main influences
that accept the Greek people in their musical development was two: from one hand the
Byzantine hymns of the Orthodox Church, and on the other hand the vocal and
instrumental music of the Turks, Arabs and other neighboring peoples. These music
systems have common characteristics derived from a common origin: the theory of
Ancient Greek music, based on the Pythagorean system.
Differences of Greek traditional music with European, summarized in the following
characteristics.
1. The Greek music is monophonic. Exception that proves the rule, is the music of
the Ionian Islands in the last two centuries, caused by Italian influence. The only
accompaniment that allows the original traditional music is the equal, a continuous
tone in tone or subdued melody (as in the song), or in the fourth or fifth (as in the
lyre), spaces that are common to any music system. With other words does not
exist harmonic accompaniment as in Western music.
2. The scale on which the melody is played, is different. The Greek music follows,
varieties of physical scale, where as Western music accepts sygkerasmeni scale.
The Greek music follows, varieties of physical scale, where as Western music
accepts sygkerasmeni scale. The scale sygkerasmeni accept the division of the
octave into 12 equal parts, half-tones and has two kinds of intervals, tones and
semitones. While the natural scale has a variety of spaces. That is the reason why
the Greek music can not be played correctly on piano, accordion, guitar and all the
instruments that give notes fixed and predefined upon sygkerasmeni scale.
3. Another characteristic is the sliding scale. This mean that in Greek music they dont
interested about the absolute style of each sound, but only about the intervals
between the sounds.
In Western music, each note has a strictly defined high, so all the instruments tuned
with diapason to absolute pitch, which gives an certain frequency pulses per

18
 second. In Greek music the instruments tuned at any high usually based on the
singer’s voice.
4. In East music we have a wide variety of asymmetric rhythms
(5/8, 7/8, 9/8, 11/8 etc) something that rarely happen in music of the West. The
Eastern music (and with it of course the Greek) often use non-periodic rhythms
such as <seating> songs and Taksim12. The modern audiences in the cities have
lost the ability to understand such self-rhythm in the songs. But even the periodic
rhythm to the dance songs, the periodicity is not the same with this that given of
the metronome.
5. Another specificity of Eastern music is the makam, roads or ways of the ancients.
The makam correspond with the scales of European music, that is, sets of intervals
in a certain order and certain key sounds. In Arabic music have recorded over 70
makam, but in Greek music, they have survived a few.

The Greek folk songs collected first by the French Claude Charles Fauriel
the period 1824-1825. The first recordings of folk songs made during of the ‘30s in
America by artists of that era and are still preserved today as a sample for younger as a
reference to the melodic line and musical timbre. There are some newer recordings, even in
recent years, but they have lost many details of authenticity.
After the establishment of the new Greek state (1821) the production of traditional
music begins to wane. The whole mechanism of creation, maintenance and transmission of
folk music through oral processes changed completely, and to the passage of time was lost
completely, because there was not a possibility of renewal. The gradual transformation of
Greek society from rural to urban and the resulting social, economic and political changes,
eventually led to the discontinuation of a new generation of folk songs and the prevalence
of astikolaiki music.

12
Taksim: is usually improvised, non metric and consists of several sections. Can be a movement of a suite,
can performed alone or as introductory pieces to vocal performances. Performance of taksim may take
anywhere from 1 to 15 minutes.
19
 One Face of this new music was ‘rebetiko’. Formes in cities with a strong Greek
presence (konstantinoupoli, Smyrni, Syros, Ioannina, Thessaloniki, Piraeus) in the early of
20th century. The name of the term is uncertain etymological origin, especially after the
numerous studies that have come to limelight in the last 30 years by Greek and foreign
experts (called "rebetologists"). As an further development of rebetiko considered the
popular song of 1950-1960, which continues to be heard and evolving today. In the
1960 appears the artistic singing, with the meaning of poetry set to music and "song
cycle" 13with the main representatives of Manos Hadjidakis and Mikis Theodorakis.
As periods of rebetiko recognize, with minor variations, by researchers the
following:
1. Early season (1890-1922). The songs speak about crime, drugs and prison. The
creator is often anonymous and the spread is oral and limited. Area of
production is often the prison.
2. Classical period (1922-1940). The rembetika slang and oriental elements that
came from Smyrna begin to subside. In this helped the censorship of the
Metaxas dictatorship. The songs have as topic the love, sorrow and “rebetik”
life. The folk music enriched and production area is now the tavern.
3. Working period (1940-1953). Protest songs of the working life, and emigrant.
The lyrical style becomes more poetic in nature and in terms of orchestration,
use additional polyphonic instruments as the accordion and piano (Tsitsanis).
The songs spread on disks and 'clubs'.
Many are those who do not consider rebetiko as a continuation of folk
music. The folk music is strictly monophonic, played with natural organic
non sygkerasmena, in contrast to rembetika sygkerasmena where used
instruments like the bouzouki. Also, the vocal part of rebetiko, divided into
song and chorus, thus revealing Western influences as well as polyphonic as
opposed to monophonic folk song. The folk music is folk creation, based on
improvisation and oral transmission. It is tropical, non sygkerasmeni music,
adapted over the physical scales. As Opposed the rebetiko is not product of
spontaneous folk creation, but is the result of an inspired individual. It presents,

13
Song Cycle: The term originated to describe cycles of art songs (often known by the German term
“Lieder”) in Classical music, and has been extended to apply to popular music. Is a group of songs and
designed to be performed in a sequence as a single entity. As a rule, all of the songs are by the same
composer and often use words from the same poet or lyricist.
20
however, some effects from the improvisational technique of folk song and the
harmony is based on tropical streets that sound oriental makam.

21
 3. Greek Traditional Instruments

Ancient Musical instruments

In ancient Greek culture, music occupied a prominent position in society. Through

music they believed that the human personality matured and cultured and also created a
spiritual and meaningful relationship with the gods. It is true that in Greek mythology,
musical instruments were prominent place and especially the lyre. It was believed that this
instrument was invented by the god Apollo. One example is that Amphion, son of Zeus,
used a lyre to help build the walls of Thebes. According to the myth, as soon as Amphion
started playing, the stones started building themselves into a wall.
The musical instruments are divided into four big kategories: idiophone,
membranophone, aerophone and chordophone. The shape and the technical mechanism is
adequate to allow the hands and breath of the performers, to give melodies of each timbre.
There are in all cultures and ethnic of the earth and while they are from the same
materials they sound so different from place to place and so unique that show, how we
must respect the culture and tradition of each ethnic!
The Greek folk instruments Greek to promote the implementation of the local
Greek music and correct performance of the genre. But as well as traditional, are made by
humans for humans.

Idiophone (from greek word ίδιος “same” and φωνή “voice”) said the organs that
each of his own construction gives us the sound characteristic voice. In this category
Belongs :
 Bells
Known to the ancient civilizations of China, India, Egypt and ancient Greece, were
originally charm animals and sacred sites. Later, the deterrent capacity becomes
weakened and becomes mainly animal farming tool.
The Greek bells are hammered (sheet metal) or cast (bronze). They give the sound
with special forging or with shaping the outer surface around the lips. The large bells are
part of the zoomorphic disguises into Twelve Days of Christmas or during Carnival or in
some traditions for the good year and fertility.

22
 Magic-deterrent role of Bell survives in small spherical bells used in Christian
worship (in the vestments of the despot, the censers). As musical instruments bells were
operating in the traditional pear-shaped bow lyre (Crete, Greece), accompanied with
rhythm and the sound of the melody.
 Cymbal
The cymbal (metal cymbals), wooden spoons, glasses of ouzo and wine become
rhythmic accompaniment instruments alone or with other rhythm instruments for the song
and dance.
They are generally small instruments used as accompaniment to Christmas carols,
weddings, festivals and even in the dances that the dancers hit their fingers with different
rhythms in dance steps they do. In Byzantine wall paintings the cymbal we see often.
 Triangle
Similar role with cymbal played also the triangle that in nowadays played mainly by
children to accompany the carols.
The triangle is hung on cords and with an iron stick hit the triangle to make the sound
of bells.
 Lalitsa
Usually small ceramic jugs filled with water, when it blows in their small mouth, heard
a sound that looks like the singing of birds.

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  Shell or burma
We boil the big sea shells in boiling water to remain empty and after rub the tip, very
carefully, with a hard stone to open a small hole. Here is where we blow. Each shell has its
own musical tone and from the sound we understand who whistles.
Burma used to be very useful in the islands because people give them different
messages. When we moored the boat and when to leave someone else or when they were
in bad weather.
 Vougkes
In Greece, the children tie a small wood, not too light, with a string and spin around -
around with power. Then buzzing sounds. This instrument called vougka.
 Slapstick
The slapstick is a popular wood and listen to the carnival celebrations. Formerly the
priests in churches, hit the slapstick to call the faithful to go into mess. The villagers with
the noise of slapstick, scare birds or prey animals when they approach the gardens and eat
their crops.
 Coins
The coins, which are part of Greek costume, is a sensitive instrument that follows the
rhythmic dance patterns. A typical example is the male dances and costumes in the event
of the Voula who celebrated the final days of Carnival in Naoussa.

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 Membranophone (from Greek word Μεμβράνη “membrane” and φωνή “voice”),
is any musical instrument which produces sound primarily by way of a vibrating stretched
membrane and is the basic tool for rhythmic accompaniment of songs and dances.
 Tabor
The tabor is the largest drum and the musicians which play, called
ntaoulierides . They hit with ntaouloxyla or sticks.
The tabor was already known from the Byzantine period and is the most rhythmic body
of the Greek mainland.
It presents a great variety in size, tying ropes, leather processing and manufacturing.
Together with the zurna, contribute to the yokes, the traditional group of Greek mainland,
which is suitable for open space.
Variant, constitutes tubi, a small tabor accompanying rhythmic melodic instruments of
the Greek islands.
 Tampoutsia
The tampoutsia is a sieve consisting of leather without holes and is used primarily as a
rhythm instrument in Cyprus. The skin of the tampoutsia had a diameter of about 50-55 cm
sometimes even smaller than that. The tampoutsia is played with both of the users hands or
with two small sticks in a horizontal position on the left hip of the musician.

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  Toubeleki
The toubeleki, Tarampouka or jar , accompany various rhythmic melodic instruments
in northern Greece, the Aegean islands and Asia Minor.
The toubeleki is ceramic and decorated with beautiful designs. It looks like a vase and
played in many ways, on the edge or in the middle, with all your palm or fingers
 Tambourine
The tambourine, as is known in modern Greece, the ancient Greek "drum" which
becomes "Seistron" in Byzantium. With or without the cymbals in a wooden frame,
accompanies most melodic instruments in all areas.
The tambourine also called ntachares or daireh. To have this different characteristic
sound, adding all around some cymbal. The able musicians know to make many varieties
with tambourine.

Aerophone (from greek word ἀήρ "air" and φωνή "voice") is any musical instrument
which produces sound primarily by causing a body of air to vibrate, without the use of
strings or membranes, and without the vibration of the instrument itself adding
considerably to the sound.
 Aulos
The aulos was a wind instrument similar to the modern clarinet. The interesting thing
about this instrument is that a person had to place two of these in his mouth at the same
time, and play both of them simultaneously! This made the aulos a rather difficult
instrument to play, let alone master. Interestingly, aulos players had to tie a band around
their head to fasten their cheeks and properly align the two pipes with their mouths, such
was the degree of complexity involved in playing this instrument.
 Syrinx
Commonly known as the pan flute, the syrinx is another woodwind instrument that
originated in Greece. It typically consisted of multiple bamboo pipes of different sizes
which were bound together in ascending order of size i.e. diameter and length. A person
had to blow at the pipe-ends and each pipe produced a different note. The pan flute laid the
platform for the modern day harmonica.

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  Flute
The flute played mostly in mainland Greece and consists of a tube open at both ends.
Flutes, depending on the holes bearing along the trunk, divided into short (up to 50 cm.)
and long (up to 85cm.).
 Pipe
Pipe looks like the flute just the reed opening is not at the top, but slanted to one side.
In Crete called Thiampoli. The pipe played primarily on the islands of Greece. The valve
closed by the cap, leaving a thin slit from where the blow passes.
 Mantoura
The mantoura played mainly in Crete and made only from bamboo. The mouthpiece,
closed by a knot of reed, is a type of clarinet with a thin reed.
 Zournas
Zournas or Karamouza or flute, is an instrument type oboe, double reed, and thus it is
acid-pitched sound. The same family owned and flute, the mainly wind instrument of
ancient Greek music. The size of zurna vary. The shortest clarinets you can find in western
Rumeli and the Morea, and the longest in Macedonia. With tabor always played to the
festivities because the sound is loud and shrill. The musician blows a special reed called
bagpipe

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  The bagpipe
The bagpipe (bag and pipe) came to Greece from Asia's 1st AD cent., and found in
two types: the tsampouna (in islands) and gkainta (in Macedonia and Thrace). For
construction used goat skin while the mouthpiece used bamboo, wood or bone. The two
types differ in the device to produce sound.
The tsampouna consists of a bag that is from goat or lamb skin. The distinctive feature
of the difficulty to play is, that Tsampounaras holds the bag under his left arm. Blows from
fysitari to fill the air bag and play with his fingers on both bimpikomanes.
The Gkainta played more in Macedonia and Thrace. It looks like the tsampouna, but it has
three flutes tied to the bag. The tunes played by gkaitieris sounds together and always the
same sound that is Burma. We have two voices at once, the melody and equal.

(Tsampouna)

(Gkainta)

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  Clarinet
The clarinet comes to Greece from Turkey in the mid-19th century. Through Epirus
and western Macedonia is spread to the rest of Greece and with the violin, lute and
tambourine are the troupe, the most popular pop group in the Greek mainland, which
replaces the traditional Zygi. Since the thirties takes first place among the melodic
instruments and recognized as an instrument of "national".

Chordophone (f rom Greek word Χορδή “string” and Φωνή “voice”) is any musical
instrument which makes sound by way of a vibrating string or strings stretched between
two points.
 Pandouris or Pandourion
Also called trichord because it had three strings, is the first fretted instrument known,
forerunner of the various families of lutes worldwide.
Source of our knowledge about this instrument is the Mantineia marble (4th cent
BC, now exhibited at Athens Archaeological Museum) depicting the mythical contest
between Apollo and Marsyas, where Pandouris is being played by a muse seated on a rock.
 Banjo
The name banjo used for a variety of plucked instruments of the lute family, regardless
of size, number of strings and tuning them. The archetypes of these bodies, known as early
as the second BC millennium, have a small speaker, long arm and played with the pen or
by hand. In ancient Greece, the formula is known as a stringed, thamboura as Byzantium
and modern Greece as banjo, bouzouki, baglama, etc.
It is the main instrument in the tradition of rebetikou, urban folk music, developed in
the ports of the Aegean from the late 19th century until the late 50's.
Today, from this family, most used bouzouki and baglama.

(Bouzouki)

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  Lute
The lute is a synthesis of elements from the ancient Pandoura and Arabic oud. With
four double strings, played with a plume and is the main organ rhythmic accompaniment to
the typical group of Greek mainland, the troupe. Laouto has a small body, long neck and a
deep body 16cm. Previously played as a melodic instrument (solo), a tradition that still
exists in Crete.

 Oud
The Oud has also this big pear shape speaker, but his hand is wider than the lute, and
ends almost at a right angle. It is the only instrument that does not has frets. It is considered
one of the most difficult instruments to learn how to play since it is not divided in
semitones or in commas. It is of Arabic origin. The name comes from the Arabic al'ud (ie
wood).
It has five double strings of gut and played solo or with other instruments in the
musical tradition of the Greeks of Asia Minor and Thrace.
After the Second World War, the guitar is gradually replacing the lute to both
traditional organic bands of Zygi and the troupe. Intermediate stop at the time of the
interwar period was the lagoutokithara, which was a guitar, but the number of strings it
was the same with lute.

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  Epigonion
Belongs to the psaltery family and it is the instrument with the largest number of
strings, sometimes as many as forty (Polydeuces). It may owe its name to the fact that it
was played 'on the knee' - Greek 'epi gonu', or maybe because its inventor was someone
named Epigonus.
 Santouri
Is the more modern version of the ancient epigonion and psalterion. Santouri derives
form the Persian name Santir and it is a trapezoid shaped instrument with a small sound
box. Has strings that are stretched horizontally on a piece of wood, caught with nails on the
edge of the instrument. Santouri has 120-140 strings and can produce 32 notes.They are
made of steel while the bass strings are made of copper.
When walking musicians playing at festivals and weddings hang on with a strong flat
skin from their necks, to be horizontal in front of them and they can hit the strings with
sticks (mallets). The mallets have cotton at their end, in order to produse softer and sweeter
sound.

 Kanum
The Kanun (the rule, the organ of Pythagoras monochord) is known in Greece since
antiquity and Byzantium. Is plucked instruments with gut strings and played with two
pens. Has triangle shape and is tuned according to the chromatic scale.It has 72 plastic
strings that produce 24 notes each!
For each note there are three chords in the same height and three. The musician sits
down and touches at his feet the kanun. Puts on indicators of two hands the thimbles and
there fastens the nails or pens. In this way stings precisely the strings to.

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 According to the historians, the Greek mathematician Pythagoras, was trying to
determine the different notes of the ancient form of the instrument based on the thickness
and length of the strings.

 Lyre
Two types of types we can found in Greece, the Cretan lyra, or insular and Pontian.
Playing the Cretan lyre is a novelty. The lyre player is not pressing the strings with his
finger, but touches with his nail, next to the string. The bow of the lyre, has usually tied on,
small bells called gerakokoudouna sound and keeping the rhythms depending on the
movement of the bow.
The lyre with a bow, detected in Byzantium the 10th century AD. Originating from
Central Asia, and has three strings. Nowadays, with the spread of folk violin, lyre limited
only in Crete, Dodecanese and Macedonia.
From Small Asia the Greeks used lyre with shaped bottle and with three strings,
while the Greeks of Cappadocia used lyre with six strings.
The kementze is the lyre played in Small Asia. Almost always, played alone
without accompaniment from other instruments. The performer, most often touches lyre,
on his left leg.

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(Ancient Lyre)

(Cretan lyre)

(Pontian lyre)

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  Cithara or Kithara
The kithara was an advanced version of the Greek lyre. It was made out of wood
and had a larger sound box than the lyre. There were multiple versions of the kithara, some
with five strings and later with twelve strings. Cithara was bigger than the Lyre and it was
the principal concert instrument played by professional musicians, the citharodes.
According to Plutarch, cithara was designed by Cepion, a student of Terpander. Many
instrument names like guitar, cittern, zither etc. derive from the word cithara.

(Ancient Kithara)

 Violin
The violin, which, as a folk instrument identified in Greece from the 17th century, is
now one of the main melodic instruments in the mainland and island Greece.
The violin has four strings which the performer, caressing with the bow,
a wooden rod, where in the edges, stretch hair from horse tail or synthetic fibers.

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  Mandolin
The mandolin with guitar are the main organs of the mandolin, the band that
accompanies urban folk music (Athenian and Ionian serenade) from the late 19th century.

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 4. Greek Traditions and culture

4.1 Traditions and culture connected with Greek history and Orthodox church

Greece’s position on a map, the West meets the East, and the rich and turbulent is
an important factor for the diversity of traditions and customs. The culture of Greece has
evolved over thousands of years - dating from the Paleolithic era and the birth of the great
Minoan, (2600-1500 BC), Mycenaean (1500-1150 BC) and Cycladic civilizations through
the Classical Period (6th - 4th centuries BC) - the Golden Age, reaching great levels of
prosperity that resulted in an unprecedented cultural boom, expressed in architecture,
drama, science and philosophy, and nurtured in Athens under a democratic environment,
through the sequence of invasions and domination, by the Macedonians, the Romans, the
Byzantine Empire and the 400 years of Ottoman rule.
During the second half of the 19th century and the first half of the 20th century, Greece
saw monarchies and ousting of royalty, fierce political fights, assassinations, and
dictatorships, wars that added neigh boring territories and new population, but also brought
economic devastation and poverty. After the defeat of Germany and the end of World War
II, Greece joined NATO in 1952 and experienced a bitter civil war between communist
and anticommunist forces.
In 1967 a group of military officers seized power, establishing a military
dictatorship that suspended many political liberties and forced the king to flee the country.
In 1974, democratic elections and a referendum created a parliamentary republic and
abolished the monarchy. In August 1974 Greek forces withdrew from the integrated
military structure of NATO in protest against the Turkish occupation of northern Cyprus.
Greece rejoined NATO in 1980. In 1981, Greece joined the EC (now the EU) and became
the 12th member of the Eurozone in 2001. It successfully hosted the 2004 Olympic Games
in Athens.
This rich and tumultuous past greatly influences contemporary lifestyle, the Greek
perspective on the world, Greek music, food, customs and traditions, even the way Greeks
do business. Greeks as a whole are extremely proud of their history, their cultural heritage
and their contribution to literature, art, philosophy and politics. They speak with intense
passion of their country as the cradle of European civilization.

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 A recent study found that Greeks' pride in being Greek surpassed the ethnic
satisfaction of every other European nation. Greeks define their natural and ethnic
belonging through their culture and tradition. Traditions, religion, music, language, food
and drinks are the pillars of contemporary Greek culture and lifestyle, making the country
an attraction point for visitors from all over the world.
The Greek Orthodox Church is an integral part of life in Greece where the most
important holidays are religious in nature and the national religion is practiced by the
majority of the population. Greece and Orthodoxy are closely connected due to the
country’s historical past. During several occupations, and especially during the 400 years
of Ottoman rule, the Orthodox religion played a vital role in maintaining the Greek ethnic
and cultural identity. Today the Church is more important in political, civic, and
governmental affairs than in many other secular countries.
Officially, and like all over Europe, the Greek State and the Orthodox Church are
separated, but this separation is not written or regulated by the Constitution and the Greek
Orthodox Church has a great influence in Greek society. Religion is present in the
education sector, both in private and public schools, where children have compulsory
religious courses and pray collectively in the morning before the start of classes. The
Orthodox Church is also much integrated into the politic matters of the country.
Even the Greek Constitution guarantees freedom of faith, but defines the "prevailing
religion" of Greece as the Eastern Orthodox Church of Christ. Most Greeks, whether
deeply religious or not, revere and respect the Orthodox Christian faith, attend church,
observe major religious holiday and are emotionally attached to Orthodox Christianity as
their "national" religion.
Younger people are not as devote church-goers as their parents and grandparents,
yet most will still turn to the church for holidays or for important rituals such as weddings
and funerals. Despite the fast moving processes of Europeanization and globalization,
Greece remains a profoundly religious country. As the Greek say, Orthodoxy is less an
institution than a sentiment, expressed by the population and by the public powers.
Muslims, Jewish and Roman Catholic are the other religious groups of Greece.
Most customs and traditions in Greece and the Greek Islands are of a religious nature,
but some influenced from paganism.

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 4.2 Celebrations connected with paganism, with church, national and social
celebrations.

 Carnival
Another big Greek celebration is “Apokries” or Carnival. The Carnival is two weeks
long, ending with the start of Lent, (Clean Monday)14. People wear carnival costumes and
party in the streets and bars, throwing confetti to each other. The most famous Carnival
takes place in the city of Patra. It is believed that this custom has pagan roots, and
originates from the old festivities worshiping Dionysus, the God of Wine.

 Easter
Easter is the most important feast in all christianity churches. The resurrection is
the most important thing for all believers. The celebrations for Easter truly begin two
months before, but Holy Week is the peak of these activities.
According to the Orthodox tradition, the symbolic red Easter eggs are dyed on Holy
Thursday. Greeks believe that the Virgin Mother, Mary, dyed eggs this color (the color of
blood) to celebrate the Resurrection of Christ and life. On Holy Thursday women are also
busy baking kouloúria -dough cookies- and tsouréki, the traditional Easter sweet bread.
Godparents buy news shoes, clothes and a candle to the kids and, in villages, the exterior
of the houses and the streets are whitewashed.
On Good Friday or Great Friday, flags at homes and government buildings are set
at half mast to mark the sorrowful day. The Procession of the Epitáphios of Christ, the
Epitaphio mourns the death of Christ on the Cross with the symbolic coffin, decorated with
thousands of flowers, taken out of the church and carried through the streets by the faithful.
At the cemetery everyone lights a candle for the dead, then the Epitaphio with its
procession returns to the church where the believers kiss the image of the Christ.
During the night of the Holy Saturday (Megalo Savato), people, dressed in their formal
clothes, begin to gather in the churches by 11 p.m. for the Easter services, carrying large
white candles, lampáda. Just before midnight, all of the churches’ lights are turned off,
symbolizing the darkness and the silence of the tomb.

14
Clean Monday (Kathari Deftera)
Clean Monday is part of the Easter celebration and marks the first day of the season of Lent (Saracosti)
during which families go for a picnic, fly kites, and feast at local taverns. For Greeks, Clean Monday, except
Easter, is one of the most festive holidays of the year.
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 At midnight, the priest lights a candle from the Eternal Flame, sings “Christos
Anesti” (Christ Arose) and offers the flame to light the candle to the people that are the
closest to him. Everyone passes the flame one to another while the clergy sings the
Byzantine Chant Christos Anesti. Then, everyone goes out of the church to the streets. The
church’s bells ring continuously and people say one to another “Christos Anesti”, to which
the reply is “Alithos Anesti” (Indeed He Has Risen).
Then the faithful go home or to the homes of relatives and friends to share the
Resurrection Meal. The candles they carry are placed in each house and burn through the
night to symbolize the Light’s return to the world. The cracking of eggs is a traditional
game where challengers attempt to crack each others' eggs. The breaking of the eggs is
meant to symbolize Christ breaking from the Tomb. The person whose egg lasts the
longest is assured good luck for the rest of the year.
The following day, Easter Sunday, is spent again with family and friends. The Easter
meal is truly a feast with loads of salads, vegetable and rice dishes, breads, cakes, cookies,
and plenty of wines.
The main dish at the Easter table, however, is roasted lamb, (often turned over open
pits), and served in honor of the Lamb of God who was sacrificed and rose again on Easter.

 Christmas
To members of the Eastern Orthodox Church, as are most Greek Christians, Christmas
ranks second to Easter in the roster of important holidays. Yet there are a number of unique
customs associated with Christmas that are uniquely Greek.
On Christmas Eve, village children travel from house to house offering good
wishes and singing kalanda, the equivalent of carols. Often the songs are accompanied by
small metal triangles and little clay drums. The children are frequently rewarded with
sweets and dried fruits. Although this tradition is not as prevelant as it once was, especially
in larger cities, it still continues on.

 New Years Day Traditions

On St. Basil's Day (January 1) the "renewal of waters" takes place, a ritual in which all
water jugs in the house are emptied and refilled with new "St. Basil's Water." The
ceremony is often accompanied by offerings to the naiads, spirits of springs and fountains.
Also in some communities, on New Year's Day there is the interesting custom of breaking

39
a pomegranate on the door for good luck. Gifts are also traditionally exchanged on this
day, but an increasing number of families exchange gifts on Christmas. Vasilopites are also
cooked on this day, which is a special cake cooked with a flouri (coin) in it. The cake is
divided into pieces for each family member and other causes (Family Business, Home,
Church, God etc). Whoever receives the coin in their piece of cake is given good forture
for the year.

 Epiphany Celebrations
Epiphany (επιφάνεια, in Greek), is an important feast intended to celebrate the "shining
forth" or revelation of God to mankind in human form, in the person of Jesus. The feast is
also called Twelfth Day, as it is the twelfth day after Christmas.
This is the day that the Blessing of the Waters takes place. Citizens gather at the
nearest body of water. A priest will throw a cross into the water and young men dive in to
retreive it. The one that comes out of the water with the cross is blessed for the year.

 October 28: The "NO"

Celebrates the day when Metaxas (a Greek General, appointed Prime Minister of
Greece between April-August 1936 and dictator during the 4th of August Regime, from
1936 until his death in 1941), said no to the Italians who wanted to invade the country. It is
the celebration of the heroic OXI (NO) many Greeks put a Greek flag on their windows
while marches with students wearing a blue and white uniform and holding Greek flags are
organized by schools.

 17th of November
Is the anniversary of the student uprising at the Polytechnic University in Athens in
1973. The demonstrations against the military dictatorship gained momentum and was
crushed when tanks crashed the gates of the university killing many students.

 March 25, 1821

Celebrates Greece's liberation from the Ottoman domination.

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  Name Day Celebration
Most of the Greeks owe their names to a religious saint and in Greece name days are
more important than birthdays. Everyone named after a saint honored by the church
celebrates his name on a given day of the year. When someone has a “name day” his
friends and family visit him without invitation and offer good wishes and small presents.
The host greets the guests with pastries, sweets and appetizers.

 Engagement
Engagements is a Greek tradition that tends to disappear in Athens and other big cities,
but remains customary for smaller towns and villages. Before a couple gets married they
must become engaged and the man has to ask the hand of the woman from her father.
When all wedding details are agreed on and ironed, the priest is invited to bless the
engagement rings and place them on the left ring-fingers of the couple. The guests wish
“Kala Stephana” (Good Crowns meaning “Have a Good Marriage”) and “I ora i kali” (that
the good hour of the marriage comes) to the couple.

 Marriage
Marriage is another big celebration in Greece. In some parts, outside Athens and other
big cities, the bride still has a dowry made by her mother, grandmothers and aunts,
consisting of sheets, towels and hand made embroideries, while the father of the bride
traditionally offers a furnished home to his daughter and son-in-law as a wedding gift. On
the day of the wedding, the bride gets dressed with the help of girlfriends and women from
her family, and is kept hidden, for it is bad luck for the groom to see her before the
ceremony.
During the wedding ceremony, the best men and best woman (koumbaro and
koumbara) give the wedding rings to the priest, cross the crowns (stephana) three times
and then place them on the couple’s head. Once the priest has declared them married, the
guests throw rice and almond candy wrapped with white sugar (ta koufeta) to the new
couple.
After the ceremony, the bridal couple stays in the church and all the guests kiss them
and wish them “na zisete” (Long Life to You). Then everybody goes to the wedding
reception, which is usually a restaurant rented for the night, where people dance, eat and
drink all night long.

41
 After the reception the new couple leaves for its honeymoon.

 Baptism
Baptismal day is one of the most important days in the life of a Greek Orthodox. It
usually takes place the first year after the baby is born. Until the baby is baptized it is often
called baby and doesn’t have a name.
On Baptism Day, the baby is undressed and wrapped in a white towel. The priest
blesses the water and adds olive oil brought by the godparents. He then immerses the baby
three times, saying the chosen name. (Children in Greece are traditionally named after their
grandmother or the grandfather.) The priest also blesses the baby and the baby clothes with
“myrrh” (olive oil blessed by the Patriarch). The child is then dressed in white clothes. The
priest puts a gold chain with a cross on his or her neck and gives the baby its first Holy
Communion.
At the end of the ceremony, the parents kiss the godparent’s hands and receive guests’
wishes: “na sas zisei” (Long Life to Your Baby).
The ceremony is followed by a celebration at the family’s house or a restaurant.

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 5. Greek Dance

5.1 History of Greek dance

Greece is one of the few countries in the world where folk dances are as alive today
as they were in ancient times. Dance has always played an important role in the life of a
Greek. It is an expression of human feelings and everyday life.
The Greeks danced at religious festivals, ceremonies. They danced to ensure
fertility, to prepare for war and to celebrate victories, at weddings, to overcome depression
and to cure physical illness. Almost every dance has a story to tell.
Dance was regarded as one of the highest forms of art. Plato agreed with his mentor
Socrates that every educated man should know how to dance gracefully by which he meant
the manly exercises that kept the body strong and supple and ready to do its duty on the
battlefield. The Pyrrhic, or weapon dance (a form of mock combat) taken from Crete and
perfected in Sparta, was the ideal.
Traditional dance continues to be passed from generation to generation, which in
turns maintains national identity. Folklore is the term used for traditional dance when
performed out of its traditional social context. The principal characteristic of folklore
dance is that it is not transmitted in a traditional manner but by a process involving dance
teachers and gym instructors.

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 5.2 Characteristics of Greek Dances.

There are two distinct categories in the traditional Greek dance, the
springing/leaping dance and the shuffle/dragging dance known as sirtos. The latter being
the oldest form of dance. Most dances are circle dances, start with the right foot and move
counter-clockwise. Each dancer is linked by a handkerchief or by holding hands, wrists or
shoulders. In mixed dances, the man will lead the dance, which allows him in most regions
to improvise or break away allowing him to express himself. Until recently, men and
women rarely danced together although chains of men and women danced together at the
same time, the women in the inner circle and the men in the outer circle. The order of
dance varies from region to region. In general, the men are commonly at the beginning in
descending order of age, followed by the women also ranked according to seniority.
Sometimes the married men come before the bachelors and likewise for the women. The
oldest inhabitant always leads the dance. In the islands the circle is usually formed of
groups of families, the husband leads the wife who is followed by the eldest son, his wife
and their children etc. Occasionally the local priest will lead the first dance symbolising a
blessing. In olden times a man never held a woman’s hand but a kerchief. This also applied
to married couples. In some regions a woman could not dance next to a man who was not
family, therefore a child or an elderly would be placed in between. Most women's dances
are slow, simple and dignified whereas the men’s dances often portray their manhood.
In ancient times, dance was held in high regard in particular for its educational
properties. Dance was essential for developing personality as well as preparing for battle.
Dance along with music, writing and physical exercise, was the basis of the educational
system. In major cities/kingdoms of Ancient Greece, men were taught to dance.

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 5.3 Regional Characteristics of Greek Dances

Greece has 6 mainland regions: Epirus, Macedonia, Thrace, Thessaly, Central

Greece and Peloponnesus. In addition, the islands fall into 3 main groups: the Ionian
Islands to the west, the Aegean Islands to the east (which include the Cyclades and
Sporades groups) and the Dodecanese Islands to the southwest. The largest of all the Greek
islands is Crete. Although Cyprus is an independent country, it is however the largest
island inhabited by Greeks and falls within the Greek major cultural regions.
Furthermore, areas previously inhabited by Greeks and which have developed rich
cultural identity and characteristic dances, today no longer are part of Greece although the
inhabitants of the majority of these regions have found refuge in Greece itself. Examples
are Constantinople, Pontus, Cappadocia and Konya in Asia Minor. Greek dancing differs
from region to region and its choreography and movements very much depend on the
morphology and the climate.

1. EPIRUS

Formally united with Greece in 1913, it is especially rich in folk music. It is rugged
and mountainous and the steep gorges impose heavy clothes and boots. The songs of
Epirus follows in some areas the pentatonic scales, while many of that songs have
polyphonic format. Unique characteristic of the region is the polyphonic singing. There
are roles that changes in each area and give it its own characteristic sound. The groups of
singers are male or female only, and mixed.
Instruments with the long history such as bagpipes, the zournas and pipe,
supersedes by the clarinet, which currently dominate in Epirus music. Large role in this

45
change was played by the gypsy virtuoso musician. Along with the clarinet, spreads the
band group of clarinet, tambourine and lute.
Dances from Epirus tend to be slow and heavy and danced with immense dignity.
The main dances are Sta Tria, Kalamatianos, Tsamikos, etc.

2. MACEDONIA

Formally united with Greece in 1913, Macedonia stretches from the north east on
the Aegean coast across to the northwest to the Pindus mountains. It is very mountainous
with small valleys. Macedonia has an especially rich folk culture.
The variety is partly due to its geographical position where it borders with the
Balkans. The main dances are Gaida, Leventikos, Antikristos, etc. Dominant position in
the music scene is a complex organ with a long history in Greek musical tradition. This is
the “Zygia” tabor bagpipe-or two-zournas tabor. From the second half of the 19th century,
the traditional local bands, involved and various wind instruments like the clarinet, and
remains of military bands, playing at festivals. These kinds of bands currently identified in
the region of Macedonia, and Serbia and Western Bulgaria.

46
3. THRACE

Western Thrace was united with Greece in 1923. Eastern Thrace today falls in Turkey
and Bulgaria. Thrace is particularly rich in dancing with a wide variation in hand holding
positions. Their dances are lively and generally energetic.
The instruments that we found in the region of Thrace are: the Thracian lyre, the flute,
the bagpipe and tabor. On the coast dominates the island Zygia (violin, lute), and
sometimes the santuri. With the spread of the clarinet in Thrace, the organic combination
of clarinet, violin, lute, oud, kanun and toubeleki is most common. In coastal areas often
replacing the kanun santuri.
The most popular dances are Zonaradikos, Kastrinos, Syngathistos, etc.

4. THESSALY

United with Greece in 1881. This is mainly fertile plains for farming. Thessaly
retains a strong tradition of song-dances where the dancers sing the music, often without
instrumental accompaniment. The dances are slow and controlled.
Despite their different origins, the inhabitants of Thessaly maintained a common
dialect and traditions, especially with the dances in three, Tsamikos (3/4), kalamatianos
(7/8) and wedding dances. In the southern mountainous Thessaly, a type of slow
Tsamiko with heavy movements reveals clear influences from Epirus, while some
areas have similarities with rhythmic, musical and dance types of the Aegean and
Macedonia.

47
5. ROUMELI

Roumelian dances tend to be slow and controlled. The clarinet is the main instrument
in this region.
Here there are often similarities in the style of dance idioms with those of the Epirus.
The main dance is the Tsamikos (3/4), "Dance of Meraklis" as they say, who honors
him who dances at the local community.

6. PELOPONISOS

It was in Peloponisos that in 1821 the struggle began to free Greece from the Ottoman
rule and is thus the oldest part of modern Greece as we know it today. Their main dances
are Kalamatianos, Tsakonikos and Kariatidon. The basic instrument is the clarinet
combined with daouli and laouto. The rhythms are lively with a strong pulse and dynamic.

48
7. AEGEAN ISLANDS

The music of these islands is very delightful and lyrical and as such portrayed in its
dances. These are characterised by the lightness of steps and the springing in the knees.
Most frequently danced are Ballos, Sirtos, Hasapikos, Karsilamas, Sousta, Trata, Stavrotos,
Chiotikos and Ikariotikos. In terms of musical scales, the main characteristic is the strong
presence of the half tone in contrast, again, the scales animitones scales (only tone scale)
of mainland Greece. The extent of the melodies is small, related to the small size of the
older melodic instruments in the region, the lyre, the flute and the bagpipe (askaulos). The
instruments that dominate in the music of the Aegean is the violin, the lute, santouri, lyre,
various flutes, the pibroch and the drum (which we meet with many different names in
different communities) and missing completely the main melodic instrument of the Greek
mainland, the clarinet. Finally, the dances in the Aegean region is usually ambiguity (2/4)
(syrtos, balos, sousta) and eneasimi (9/4 and 9/8) (Zeibekiko and karsilamades), while not
present here the typical dances and styles of mainland, the tsamiko (3/4) and kalamatianos
(7/8).

49
8. DODECANESE ISLANDS

Dodecanese means the twelve islands. These islands were under Italian rule between
1923 and 1944, then under British rule between 1944 and 1947. In 1948 they were finally
reunited with Greece. Their music and dance were influenced by the Cretans who
immigrated, fleeing from the Turks. Dances from this area include Sirtos, Ballos, Issos,
Sirtos and Sousta.

9. IONIAN ISLANDS

Also known as Eptanisia, meaning the seven islands, they were reunited with
Greece in 1864.
The influence of European music in the Ionian Islands, is such that the folk
song either forgotten or became triphonic cantata15 or four-voice melodies, combining
western melodies with Ionian language. The diversity in this region is different, since
sound "European" chords.
The nostalgic melody of serenades with main theme of love, probably born in Kefalonia in
the early of 19th century, and quickly spread to other Ionian islands and then to mainland
Greece. The Ionian serenade usually accompanied by guitar or mandolin, or other oragns.
The people from Corfu are particularly musical. It is not uncommon to see
organised concerts in the main squares.
Typical dances in the Ionian Islands is syrtos in 2/4, giargitos dance in 9/8 and change to
7/8, and generally dances bilateral, with the first part given at 4/8 and the second in 2/4 and
a faster tempo.

15
Cantata: from the Italian word "cantare". Is a vocal composition with an instrumental accompaniment,
typically in several movements, often involving a choir.

50
 The dances are graceful, flirtatious and sometimes with erotic swaying of
movement.

10. CRETE

Reunited with Greece in 1913. Throughout history, this race is renowned for its
heroism. Their music and dance is dynamic and fast. Each Cretan dance gives opportunity
for each dancer to lead and improvise. A particular characteristic of the Cretan dances is
the springing movement of the dancers.
The area of Crete is known for the “mantinades”16. Mantinada connected with all
the important current events in public and private life. Sung over the “Kontylies” melodies
played in the lyre or the violin, accompanied by lute or guitar. The “Kontylies” not
accompanied by nominated song lyrics, like folk songs. Decorated with improvisations and
are characterized by dramatic changes in scale by scale, depending on the skill of the
performer. Besides of the typical “Kontylies”, we found also in Crete tradiotional dances
known as syrtos or chaniotikos and pentozalis in 2/4, the pidihtos or kastrinos or
maleviziotis 2/4, the siganos and sousta. Instruments accompanying these dances is the
Cretan lyre supported by lute and tabor.

11. CYPRUS

An island in the far Mediterranean sea with the majority of its inhabitants of Greek
origin, language, culture and traditions (82%). It was a British colony between 1878 and
1959. It became independent in 1960. Its music and dance are quite distinctive. The most
popular dances are men’s Karsilamades, women’s Karsilamades, Sirtos, Zeimbekikos,
Dachas and Sousta.

51
12. PONTUS

The region of present day Turkey on the eastern Black Sea into Russia, an area
inhabited by Greeks from ancient times till 1924. Pontiac music and dance is quite
distinctive. Its music and dance is easily recognised by its nervous energy, their use of
knee bends and unusual shoulder tremors, unique to Pontus.
The dances are circular and like the Ancient circle dances, characteristic is the
missing of the “top”. The main dances of the Pontic songs are Tik (5/8) and Omal (9/8).
The most popular musical instrument of the Pontic is lyra (kemence). Other instruments
used are the zournas, the vessel or tulum (pibroch) and tabor. The last instrument because
of the high-intensity sound they preferred to use in open areas. In cases where these organs
missing, use one or more lyres at a time. In the Kerasounta area however the orchestra is
different from the rest of Pontian, often use the violin in place of lyre, oud, kanum, etc.

13. CAPPADOCIA

Cappadocia it was an important centre of Byzantium and the home to St Vasil and
St Gregory. Greeks and Turks live harmoniously together in this area until 1924, after the
1923, with Treaty of Lausanne the new Turkish nation forced them to leave. Their music
and dance traditions are the same as most of central Anatolia (present day Turkey), e.g. the
Spoon Dances.
Popular dances in many Kappadokian villages was karsilamas or antikristos, which
is couple dance and means coming face to face, both in Greek and Turkish language. The
dancers traditionally accompanied themselves with wooden spoons, though these days,
sometimes with little glasses held between two fingers of each hand and clinked together,
when wooden spoons aren't available. The couples traditionally were of the same sex, as
men and women did not dance together in these communities. Only sometimes, at a family
52
party a man might dance with his wife or sister, though without close contact of any kind.
These dances were performed during the entire course of celebrations and the rhythmic
meter, differs from that usually associated (9/8), in 2/4 rhythm, with two quick steps
followed by a slow. Between Easter and Ascension day, ancient slow circle dances were
performed.
Most of the dances were not accompanied by musical instruments but women sang
songs, ‘playing' the wooden spoon or keep the rhythm of drum. In some villages
musicians, playing flute and violin were brought from other villages to play for
celebrations. As everywhere in Greece, Kappadokians also dance the pan- hellenic dances.

14. CONSTANTINOPOLE

The fall of Constantinople in 1453 saw the beginning of the Ottoman Empire, now,
present day Turkey. It was in this area that three of the most popular dances often referred
to as Pan Hellenic dances originated. These are the Hasapikos, Karsilamas and
Zeimbekikos.

53
5.4 Explanation of two basic Greek dances, Kalamatianos and Tsamikos

Kalamatianos Rhythm

1. Play the rhythm of kalamatianos dance with hands and with different
combinations.

2. Game of proverbs in rhythm of Kalamatianos dance

54
 3. Sing the traditional song “Milo mou kokkino” in 7/8 measure. 
 

In kalamatianos dance of the “Thirty six Greek dances”, series 1, number 8 (in C major,
form ABA), Nikos skalkottas, use the themes from many kalamatiano dances with
imaginative orchestration, processing and presentation. The main theme which the
dance is based is "handkerchief kalamatiano".

55
Tsamikos rhythm

1. Game of proverbs in rhythm of Tsamiko dance

2. Accompaniment examples in rhythm of Tsamiko Dance

3. Rhythmic phrases, examples using the technique of hip hop on rhythm of

Tsamiko dance

56
4. Warm in Tsamiko rhythm. 

5. Sing the song “ Sta kakotrachala vouna” in rhythm of tsamiko dance

57
 “Kato stou valtou ta xoria”
Tsamikos kai kleftikos

Tsamikos in minor C scale, Moderato Vivace (1936): Is the ninth dance of the
second series of Greek dances by Nikos Skalkottas. The piece begins with a typical
rhythm of Tsamiko in violas and immediately starts the first phrase of the song “kato stou
valtou ta xoria” in the flutes. Then follows the processing of two themes. At the end,
repeating the first part. The form is ABA.

58
 6. Traditions connected with Music

6.1 National Greek School, Nikos Skalkottas

Until the middle of 19th century, major players in the evolution of music in
Europe were Italy, France, England and the German speaking countries. The awakening of
national consciousness and the promotion of freedom as the supreme ideal of the
French Revolution and then the spiritual movement of romanticism, created the
conditions genesis of national music schools in Europe. The aim was the overthrow of
the foreign elements and the promotion of traditional musical material of each country.
The Russian school of music by Glinka16 and the famous group of “five”17,
the Czechoslovakian schools18 with Smetana, Dvořák and Janáček, the Scandinavian
schools with Grieg19 in Norway and Sibelius20 in Finland, the Spanish Pedrell21 , and other
countries, will be examples of Greek composers of the early 1900's.
Which was the musical material on which the Greeks composers were based to
form the Modern Greek National Music School?
The musical reality of modern Greece, from and after the liberation, from one hand
located in the folk song and from the other in solo Byzantine church chant with idiotype
melodic modes ("scales"), rhythms and themes. In the Ionian islands, flourished the Ionian
islands School of Music with pioneers Mantzaros, Xindas, Karrer but had obvious Italian

16
Glinka (1804-1857): Had a great influence on later Russian composers, such as the members of the group
called The Five.
17
Group of five: It refers to a group of Russian composers of the 19th century who wanted to establish a
nationalist school of music. The group was formed in the 1860s with members: Balakirev (1837-1910),
Rimsky-Korsakov (1844-1908), Mussorgsky (1839-1881), Borodin (1833-1887) and Cesar Cui (1835-1918).
18
Czechoslovakian schools: Czechoslovakia was a country formed in 1918 by the combination of the
Bohemian, Moravian, and Slovakian territories. These territories had been under the control of the Habsburg
Empire. As a result, the imperial language, German, and the imperial religion, Catholicism, had become a
way of life for the Czech people. To preserve the native language, the Provisional Theater was organized in
Prague. This theater promoted the Czech language, composers, folk music, and programs using national
themes. Nationalist composers: Smetana (1824-1884) with opera bartered bright incorporates folk melodies
and the six tone poem My Country, Dvořák (1841-1904) with sixteen Slavonic dances and eight, plus three
Slavonic Rhapsodies, Janáček (1854-1928)with opera Jenufa, originally written in Czech language.
19
Grieg (1843-1907): began composing national music after visiting Ole Bull, a violinist and researcher of
folk music. His most notable pieces are the incidental music for plays, including his music for Ibsen's Peer
Gynt (1874–1875)
20
Sibelius (1865-1957): Had strong patriotic feelings for Finland. composed the symphonic poem Finlandia
(1899) A portion of this tone poem has been arranged as a choral and it remains an important national song
of Finland.
21
Pedrell (1841-1922): The father of Spanish national music. He strongly encouraged both Albéniz and
Granados to compose music in the Spanish style.
59
influence because of its proximity to Italy. The monophonic folk song and Byzantine chant
was from one side the basic musical material, but the composers will turn on the music of
the West which adopt the basic morphological and technical principles.
The National school of music is born when the primary tropical Byzantine chant
with the unique harmony and great rhythmic variety (using measures ⅝, ⅞) carved with
Western composition technique. The first composers of modern Greek National Music
School in the first and second decade of the 1900 are the George Lambelet, Dennis
Lavragas, Manolis Kalomiris, Marios Varvoglis Riadis and Emil.
Greek composers outside the national music school, but with important work,
recognized in Greece and abroad are (chronologically) Nikos Skalkottas (1904-1949), Janis
Xenakis (1922-2001), Janis Xristou (1926-1970).
However by Nikos Skalkottas, opens another chapter in Greek music history. His
work carries in the Greek music the modern musical trends. Although the most popular
work in the Greek public is the 36 Greek Dances. Most compositions follow the twelve-
note system22, but with a distinctive personal style, which created an unexpected interest in
all the pioneering musical circles of Europe (and later in Greece ), unfortunately after his
early death (1949).
Nikos Skalkottas was born in Chalkis on 8 March 1904. He was from Tinos and
came from a family of musicians. From the age of five he started learning the violin with
his uncle and in 1910 his family moved to Athens to offer him the fullest opportunity for
music education. Written at the Athens Conservatory and in1918 graduated with highest
distinction "Gold Medal".
In 1921 he receives a scholarship for higher studies violin in Berlin. But quickly he
will be directed to the composition, taught by Kurt Weill, Philipp Jarnach and Arnold
Schoenberg, who highly appreciated. With him he remained until1931, thanks to a new
scholarship offered him. At the same time, he played violin in light orchestras to
supplement his income.
During his stay in Berlin wrote over 70 works, most of which their lost. Despite the
appreciation in Schoenberg, not blindly follow the twelve-note system of his teacher, but

22
Twelve-tone system: Method of musical composition invented by Arnold Schoenberg about 1921 in which
all 12 notes of the chromatic scale are arranged in a particular order of the composer's choice, without
repeating any of the notes. Such an arrangement is called a ‘series’ or ‘tone row’. The initial series may be
transposed, divided, and otherwise mutated to provide a complete resource for all melodic and harmonic
material in a work.

60
developed his own completely original variation (use more than one line, avoiding
inversions, limited use of transfer lines, etc.).
In May 1933 he returned to Greece, the same month his teacher Arnold
Schoenberg takes into exile in the U.S. can’t handle the oppression of the Nazis.
But at home he faced the jealousy and suspicion of the music circuit (Philoctetes
Economides, Manolis Kalomiris, Dimitri Mitropoulos, Spyros Farantatos), although it
was known value.
The musical scene of Greece, dominated by conservative attitudes of people,
related to the so-called "National School" and unable or unwilling to understand the
new music suggestions of Skalkottas. They claimed that he wrote incomprehensible
music, that was against the rules taught in conservatories and spreading it was crazy!
All the doors were closed for Skalkottas. To live, he agrees to play violin in one of
the last portion of the State Symphony Orchestra and later in the Opera Orchestra of Radio,
despite his undoubted value as a violinist. As an antidote, he began composing feverishly
from 1935 to 1945 he had written over 100 works. Locked in his own world, completely
cut off from European trends developed his own, very personal style.
In 1946 he married the pianist Mary Pangalos, and a year later came to life their
son Alexandros, who excelled as a painter. There followed a new period of creative
silence, but from 1949 began to compose with his old pace and to orchestrated his old
compositions. The thread of his life was cut suddenly on September 20, 1949. Two days
later, his second son born, who we know as Greek champion in chess.
Skalkottas was discovered as a composer after his death, thanks to the initiative of
friends and admirers (Papaioannou, Hatzinikos, and others) who founded the "Society of
Friends Skalkottas" to preserve and disseminate his work, which includes over 170 works
(concertos, symphonic suites, chamber music, dances and songs). About 60% of advanced
projects follow a twelve-invented his own system, while 40% belong to other serial, “free”
synthesis systems.
In addition to the advanced (atonal) projects, representing over 85% of production,
about a 12% are simpler, tonal and tropical projects, such as the famous "36 Greek Dances
for Orchestra” the folk ballet "The sea", ”Passacaglia”, “paramithodrama” and other works
that you can found incorporating elements of Greek folk music in a way quite personal and
innovative. Skalkottas was trying to grasp the essence and not only wanted to exploit our
national heritage as the first generation of composers of the "National School".

61
  

(Nikos Skalkottas)

62
 Atonal twelve tone freely,
With limited serial structure
Serial - Twelve tone

Nikos Skalkottas composed work

Tonal, where missing or are limited Twelve tone with Tonal, based
the elements of Greek folk music. Greek folk elements exclusively in Greek
folk music or
inspired form it.

63
 6.2 The Greek character of Skalkottas in his works.

Besides the relationship between language and music, important element of

musical nationalism was the folk song. It certainly says Dahlhaus23, the national character
– for example all the particular stylistic characteristics (modes, melodic and rhythmic
patterns, style) - means the color of each ethnic music, while the essence is what it means
that for all the people of a nation.
In New Groovy Dictionary (1980) by John Thornley, there is special subchapter for
the traditional thinking of Skalkottas. As well referred to a unique composition
“paramithodrama” in which happen confrontation diatonic of folk character and
dodecaphonic or free chromatic.
Giannis G. Papaioannou in the second volume of his study on Skalkottas24 sets
thirteen criteria of Greekness, for example music characteristics that can create the
Greek character, most of which, although not all such the small-intervals, sensed in the
music of Nickolaos Skalkottas.

1. Using sounds from the Greek environment.

2. Sound analogies with the Greek language.
3. Use of small intervals.
4. Use of tropical scales.
5. Reference to a traditional melody patterns.
6. Reference to a traditional Rhythmical patterns
7. Flexibility in the metrical articulation.
8. Flexibility in the large proportions of music.
9. Use of Isocratic
10. Flexibility and elegance.
11. Fighting units sound rather simple.
12. Morals
13. Topics and titles of works (for example inspired by ancient or modern mythology).

23
Carl Dahlhaus : “Nationalism and Music” (1986), University of California press Berkeley, p79-101
24
Giannis G. Papaioannou :”Ελληνικότητα στη Σύγχρονη Δημιουργία: ο Νίκος Σκαλκώτας και το Δημοτικό
Τραγούδι” (2004), Παπαγρηγορίου- Νάκας Αθήνα, p34-37
64
 The Greek element in the works of Nikos Skalkottas found mainly on his work
“thirty six Greek dances” (or transcripts for smaller ensembles) and the ballet “the sea”.
Many of the dances, however, based on “folk melodies” written by Skalkottas (eg.
Epirotikos) or in more abstract rhythmic and melodic elements and not in a complete
melodies (eg mazochtos). The circular shape of the island dance, for example, resulting
from the combination of traditional Cretan melody with a melody inspired by composer
and based in folk elements, which is connected with the original melody patterns but not
with structural’s (as the original melody is tropical and the extra tonal), offering contrast
creating from the shape of the ABA type.

Example 1: Island dance transcribed for strings (traditional melody)

65
 Example 2: Island dance (start of folk melody composer by Skalkottas)

Also other composition with folk melody composed by composer we can found in
“Argiro’s song” from ballet “paramithodrama” “me tou majiou ta majia” (1943-1944,
orchestrated 1949), which harmonize even without chromatic chords in the symbolic axis
of of human element-tonality, devil element- chromatic which displayed in his work.

Example 3: “Argiro’s song” from ballet “paramithodrama”

66
 But in the same work in part of the "dancing girls" there is neither traditional or
original melody based in traditional folk songs. Here the traditional element is minimized
in a simple four-tone and rhythm of dance syrtos, while harmonious environment gradually
becomes denser and more chromatic.

Example 4: “Dancing girls” from ballet “paramithodrama” (part 4)

On the other hand the use of Greek style rhythms and rhythmic patterns
corresponding to a chromatic (dodecaphonic-or atonal) melodic or harmonic material is
quite often, for example the rhythm of Tsamiko dance in ballet "The maiden and Death"
(1938), in the third of the "Fifteen little variations" and in “Passacaglia” (number fifteen of
thirty two pieces for piano) or the rhythm of Kalamatianos dance in rondo of “Ten sketches
for strings” and in finale of octet.

Example 5 and 6: “Fifteen little variations” (rhythm of tsamikos dance in third variation
and style of island dance in eight variation)
67
Example 7: Passacaglia (rhythm of tsamikos dance - Variation second)

Example 8: Ronto from “Ten sketches for strings” (the beginning)

68
 At a deeper level, interest present the variations on Skalkottas Greek subjects in
which the issue is fully incorporated into the overall harmonic and contrapuntal musical
texture. It can presented as example the third of the “Thirty-two pieces for piano” (short
variations on a mountain theme) and the "Theme and Variations" from the third suite
for piano. An important element of particularity of these projects is the harmony, which is
not tropical but highly chromatic - dodecaphonic or free and differentiates Nikos
Skalkottas from the composers of the Greek national school.

Example 9: "Theme and Variations" from the third suite for piano (only the theme)

The final step is the placement, of elements with Greek character, in such a way,
that does not directly distinct but nonetheless operates subconsciously as a unifying
element of the synthetic style. At this point the Greek element has completely assimilated
and along with all other characteristics of style, is the particular personal musical
language of the composer. An example is the lullaby “Berceuse” (number twenty from the
“thirty two pieces for piano”) which is based in the melodic shape of the traditional melody
“nani-nani the baby” and the “Mother’s lament” from “Paramithodrama” in which uses
a series of twelve-note descending semitones main characteristic of almost, all the laments.

69
 Example 10: Berceuse from thirty two pieces (the beginning)

Example 11: Lament from “Paramithodrama” (basic melodies from the measure tree until
fourteen)

Throughout the views, comes the conclusion that the Greekness of Skalkottas
belongs to another category. As a true composer of the twentieth century reflects in his
works its time. The Greek character is so deep, timeless and unconscious but also so tied
to other characteristics of his style that cannot be separated from any work, nor is it easy to
identify most of them.

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 6.3 Tradition and music education

  “The role of culture in education, multifaceted by nature, affects all areas of

treatment. Therefore the study of great interest because the goals of aesthetic education and
their hierarchy in the school environment is a fluid matter, which is firmly in the center of
interest”25
The Jerome Seymour Bruner26 (1996) first makes the question of the cultural
definition of education, believing that with so cultivated and augmented not only the
limits of cognition and thought, but also those of communication and understanding.
Therefore, culture in education attempts an anthropological overview of the institution
itself but also the role of education in contemporary changing society.
One evidence of the continuity of Greek tradition throughout the centuries is
undoubtedly the music: sing to the baby to sleep up, the dangling our feet to "play" to hold
the hand telling him the first steps song to help to walk. We teach the child the world with
songs about family, animals, customs and traditions of each region, with song we learn him
to count, to recognize letters and numbers.
Also, educate children with songs that drove his fears but also advise, with spring
songs we learn him to welcome spring, with songs about fairies and dragons to fuel the
imagination, with Tongue Twisters and puzzles to practice the language and memory, with
carols to celebrate, with play-songs to play and enjoy.
Mostly, we choose the material of our songs from the richness of folk tradition. The
music teachers Zoltán Kodály27 and Carl Orff 28, highlighted the importance of the musical
language of each people, in the process of music learning and education. Simple songs
with suitable pedagogical lyrics, help in memorizing easy melodic patterns and
cultivate the hearing.

25
Marina Sotiropoulou-Zorbala, Κάθε μέρα πρεμιέρα, p.27 
26
Jerome Seymour Bruner 1915: An American psychologist (born 1915) made outstanding contributions to
the study of perception, cognition, and education. He taught in universities in both the United States and
England and was the author of many articles and books in the field of psychology and education.
27
Zoltán Kodály 1882-1967: Hungarian composer, ethnomusicologist, and music educator. He devoted much
of his energy to developing a school music curriculum that would develop children's musicality, and the
"Kodaly method" remains in wide use. The Kodaly Method is a way of developing musical skills and
teaching musical concepts beginning in very young children. This method uses folk songs, Curwen hand
signs, pictures, movable-do, rhythm symbols and syllables.
28
Carl Orff 1895-1982 was a German composer and educator who developed a unique approach to music
education. Orff defined the ideal music for children as “never alone, but connected with movement, dance,
and speech - not to be listened to, meaningful only in active participation.”

71
The rotational structure that they have and repetitions, operates dynamically in the learning
process (musical phrases, for example, are easily distinguishable and kinks vary the
tempos).
The lyrics helps in understanding emotion-and the children can distinguish the
style of music. The Tongue Twisters and lucky-songs make easier the understanding
and the correct performance of the rate in complex rhythmic pattern. These activities
are suitable for motor approaches that will lead to future dance steps. They carry with
lyrics or with the way of perform their stories and traditions that have been recognized
over time and integrate children into society and become familiar with our cultural
heritage. The material of these songs offered predominantly for cross thematic
approaches.29

29
Thematic approaches: The numbers songs can be connected to the subject of mathematics, Tongue
Twisters with language courses, carols with the teaching approach of religious, historical songs in the
course of history.
72
 6.4 Suggested lessons following the circle of year occasions.

The song, except from a pleasant activity, is a way of voice, performance and
music cultivation as well knowledge with the various cultures of the world but also
with the traditions of our country.

Teaching of a song

 Use of audio material helps the teaching of singing. Many songs difficult to music
reading can be sung easily by listening.
 The audio material also helps children to accept, not only the melody, but the
work in its entirety for example, music and performance style,
varieties of ornaments, the orchestration and rhythmic didactic and generally all
those elements of prototype that cannot be marked in the score.
 The same material can cause a spark for active listening and support
interdisciplinary teaching various modules.
 The scores can be used as a tool that supports the active listening (observation
form, melodic movement, language, etc.).
 Most of the songs, if not all, can be combined with activities that will help the
aesthetics of their performance, the original presentation and multifaceted
performance. Simultaneously, the activities will give an enjoyable and creative
dimension.
 Other games and activities will again help to learning and practicing of the rhythm,
the structure, the lyrics and the melody of the song.

Music Performance Activities

 Dialogue: Between group and soloist or two subgroups. For example a child or a
teacher or a group sings a verse and answer the rest of the class.
 Polyphony: Where appropriate a group of children singing Isocrates (eg in a
Byzantine melody) or second voice.
 Rhythmic accompaniment: rhythm instruments follow the rhythm of the
song (rhythm and melody speech, repetitive rhythmic formations). The rhythmic
73
 activities can be done with sounds that can be replicated by the body, by objects or
rhythmic instruments.
 Melodic-harmonic accompaniment: if possible, melodic instruments follow the
melody of the song playing variations or Isocrates or second voice, or
accompanying harmonically with broken chords.
 Conductor-Expressiveness: a child takes up the role of conductor leading the class
to change the dynamic and rhythmic action, according to the structure of the song.
 Stylistic performance: Listening to the original recording children observe the
stylistic peculiarities of the song (ornaments, timbre of voice, etc.) and put them in
their execution.

Creative Activities

 Orchestration: With the available instruments of the class, the children perform the
words of the song with instruments. Also can construct a graphic score and to
follow.
 Improvisation: The children freely improvise on the melody or the rhythm of song,
and can continue the improvisation after the end of song.
 Creating a parallel melody, eg creating a bass.
 Creating new lyrics: Children extend the piece with their own words.
 Performance in different musical styles. Eg a change from rebetiko in rap,
observing the rhythmic changes.
 Create a new melody: over the lyrics of song the children invent a new melody.

Cultural Activities
The following activities can be prepared not only by the teacher but also by groups of
students in the form of essay and presented in class.

 Connect songs with traditional

 Connecting the contents of the lyrics to historical, social or other cultural elements
e.g. songs of foreign lands, lullabies, songs of work, etc.

74
  Comparison of different musical idioms, e.g. traditional-rebetiko-light song,
local music languages e.g. Epirus music – island music, etc.
 Collecting and presenting items that characterize a musical genre or style (such as
typical musical instruments, social groups, geographical areas, places and ways to
performance, etc.)
 Comparison of how the same conceptual issues perform in different styles e.g. the
carols from place to places.

Connecting with other arts

 Dance: Children dance the dance that corresponds to the song

 Movement: Children create a kinetic scenario base in rhythm, melody, text and
structure of song and perform in class.
 Pantomime and dramatization: Perform the words of song as a little happening in
the classroom using either pantomime or dramatized musical dialogues. In a
dramatization of a myth or fairytale integrate and adapt songs they have learned.
 Visual Arts: Perform visual the content of the lyrics and feeling of the song.
 Audio: create a simple audiovisual script based in singing.
Taking pictures or videos related to the theme of song and show in class while
performing it.

75
The circle of year:

Autumn: “Pirpirouna” (Traditional of Thrace).

October 28th, the “NO”: “Pedia tis elados pedia”
Christmas: “Simero magi erchonte” (Corfu),
New Years Day: “surva, surva” (Trace),
Epiphany: “Momoeria” (Pontus)
Carnival: “Toutes i meres to echoune” (Kikladhes-Naxos), “Kalogiros doulia den exi”
(Thrace), “Pantrevoune ton kavoura” (Peloponnesus)
Spring Carols: “Chelidonismata” (Chalki)
Lazaros: “Xipna Lazare” (Skiros)
Easter: “Pano stin kounia katsane” (Lesvos), “Stichiron tou Pasxa”
Summer: “Thalasaki” (Kalimnos)

76
Lesson 1. Autumn (Oktober)

Pirpirouna from Thrace

The song came with a universal and ancient custom for a not raining period. This custom is
found in various versions in various regions of Greece and other nations. The procedure
was as follows, in early autumn if it had not rained at all, desperate the people was making
a pirpirouna. They took an orphan girl and the whole wrapped with leaves and branches
until it becomes green. Taken off the road a lot of girls together singing pirpirouna and
kept the rhythm of 7/8 beating pans and pots, went from house to house. The housewife
sprinkle symbolic the child who was moving to drop water on earth and to see is the God
and rained. Finally give them eatable i.e., cheese, eggs, flour, etc.
Pirpirouna it was the name of song and the “girl”.

Other version from the area of Kozani.

 
77
Lesson 2. “October 28th - NO”

Pedia, tis Ellados pedia

(The children of Greece)

78
During the Greek-Italian war, most theaters of Athens would respond by raising military
inspections. The songs sung in inspections were satirical for the dictator Mussolini but was
and other songs where tried to comfort and encourage all those who suffered from the
war. A common practice for their creation was to choose familiar songs, hits of the era,
and the words change by adapting to new needs. This is how the “children of Greece”, the
creation comes from the popular "Zehra" Michael Sougioul, while new words written by
Mimis Traiforou. Sung by Sofia Vembo known as the "singer of Victory."

79
Lesson 3. Christmas. 

Simeron maji erchonte from Corfu

The Carols are a custom undiminished even to our days, with the children to go around the
houses in pairs or more and to sing carols accompanied their song with triangle or even
guitars, accordions, lyres and harmonica. They knocking on doors and ask: "Shall we say?
If the response from the household or the households is positive, then sing carols for
several minutes and ending with the wish "The next year to be healthy and we will come
again. Merry Christmas." The household give them some symbolic amount or sweets as
thank for their song. Carol said on Christmas Eve, New Year and Epiphany, and is
different for each celebration and each area of Greece.

80
Lesson 4. New Years day

Sourva sourva from Thraki

In Thrace and where have settled Thracians, every New Year's Eve singing the “sourva”.
Was wish-songs to welcome the new year. Children singing and used to keep a freshly
cut branch of helmets, which in Thrace called “sourvia”, and for that carols took the
name “Sourva”.
Early hours of new years day usually boys, went from house to house singing the carols
and hit with “sourva” the household back in part called “cross” for healthy and good luck.
The housewives offered pies, eggs, cookies,etc.

 
 
 
 
 
 
 

81
Lesson 5. Epiphany

Momoeria from Pontus

Song of the Pontus referred to the custom of Momogeri, which brought in Greece the
Pontiac emigrants. The custom comes from the Dionysian adoration in antiquity. It is a
whole theatrical events that took place during the twelve days (Christmas, New Year,
Epiphany, St. John). Those who took part disguised as an old man wearing animal hides
and black clothes. Hanging up them swords and knives, went around the streets, usually
in the sounds of tabor and zournas, singing, making jokes and asking for treats.
There are a various costumes that people can wear, and each
costume represents one part of the culture and folklore of Pontus. The bear symbolizes the
power, the old woman is a symbol of the past, the bride symbolize the future, the horse the
development, doctor for health, soldier for defense, goat (goat) for food and Santa
Claus symbolizes the new year will arrive in a few days. Today the custom is more
entertaining, while previously it was magic.
The following version refers to the feast of Epiphany and St. John.

82
Lesson 6. Carnival 

Toutes i meres to exoune, from Kiklades (Naxos)

 
The carnival since Αncient times is for the Greeks top celebration of joy and renewal. It
encompasses all those symbolic acts and rituals with which is the passage from the
“winter-death” to “spring – life”. In poetic text of this song exist in a unique way the
joy and dionysiasmos of the feast with “exorcise” death (toutes i meres to exoune).
Throughout Greece there are great feasts, all the houses were open and the tables covered
with food! The masquerades were coming and singing couplets with nice words for the
house maker. As a thank they gave them food. The songs sung in the streets and
without accompaniment instruments.

83
 Kalogiros doulia den exi, from Thraki

This song was sung also during the carnival. The special is the unmeaning repeating words
“tampour toumpour”. One meaning is that the mimicry the sound of tabor timber up to
tabor.

Pantrevoune ton kavoura, from Peloponnesus

The crab’s to wed

Children funny carnival song, they danced to the streets.

84
 To gaitanaki (Carousel)

 
 
The carousel was known in many areas. A tall wood, tied with colorful ribbons.
Each ribbon was a dancer with traditional costume. Rhythms and dance steps to drive
around the gaitanaki. It is said that the gaitanaki was known by the Arcadians who settled
in Elis and dancing accompanied by bagpipes and drum.

(Carnival in Skiros – Koudounati)

In most parts of Greece tend to be dressed up and dancing, but to Skyros there is a different
kind of tradition. The streets of Skyros filled by groups of masqueraders who cause the
interest because of the dress and the mysterious noise.
There are three types of costume. The leader of the group called "Old Man" is dressed
in winter costume of shepherd, at the top wearing a cape like hairy of goat fleece,
fleece mask small goats and in the weist is loaded with 40-60 bells herd. Walks with
rhythmic moving his waist herd such the bells are past in the Middle to give sounds
terrible, but rhythmic and alternating. The old man accompanied by another new Skyros
dressed in female costume, and named korela. In her hand keep a scarf, waving and
dancing around him. The third person of Skyros Carnival is Frank. He wears European

85
trousers, mask incidentally, has a large bell in the back of the waist, holding a shell that
blows constantly and it turns out sounds like whistling vessel.

The burn of karnavel

 
 
The burning of the carnival take place in the main square on the last Sunday of Carnival
and declares the end of Carnival. All the people present and follow dance and food until
the early hours.

86
Lesson 7. Spring Carols

Chelidonismata from Chalki

The Chelidona or otherwise chelidonisma was a widespread custom throughout Greece and
has its roots from Ancient times. School children went around from house to house on
March 1st and and holding a wooden model of the swallow sang the spring carols. In their
neck the swallows had past bells and with these bells the children was keeping the rhythm
of the song.
As a reward for their song the housewives were giving to the children eggs or other topical
products, which they placed inside the “swallow”. The swallow was a cage decorated with
beautiful greenery and flowers. Inside it was a wooden model of swallow and with pulling
of the thread the swallow rotating.
An essential component and complement of swallows were "martes" Bicolor (red and
white) twisted threads, gave the children to housewives just finishing the song. The
“martes” was put on the arm or neck or leg of the children to not tan from the hot sun in
March. Also they put the threads on the fences to build the swallows with them their nests.
This custom besides being a hymn to spring, symbolizes the pairing and reproduction.

   
 
 
 
 
 
 
 
 

87
Lesson 8, carols for Lazarus
 
Ksipna lazare, Skiros

The carols are said on Lazarus Saturday only from girls so-called “Lazarines”. From the
previous day have been collect flowers to decorate their baskets. With this go from house
to house singing carols. The housewives as thank give them unpainted eggs to paint it
for Easter.
In other regions children take to the streets holding a model of Lazarus and in other areas
bake bread molded in the shape of man. Inside the pastry they put honey and nuts and the
custom says that whoever does not make lazarakia will be not get enough bread.
Variation of the custom we can found on the island of Kos. There, the engaged girls make
lazarakia but but to a really big size, and they filled with fruits and nuts. After that they
sent to their future husband.

 
 

 
 
 
 
88
Lesson 9. Easter

Pano stin kounia katsane, Lesvos

Under different local names swings are set up throughout the Easter period, but particularly
during the first three days of Easter week and of the feast of Saint George as well as an
certain other festive spring occasions. Normally, the rituals are held in the open
countryside, though also in the villages and even in individual homes. Usually it is only the
girls who sit on the swings, while the young men push them. The custom is accompanied
by its own songs and erotic couplets containing a powerful element of a lyrical and
adulatory nature.
“Swings”, that is a ritual “hoisting” or “suspension” enacted as part of country-festivals.
Has been a custom common to many cultures since earliest times. We know of the αιώρα
(for “hoisting” or suspension”) of girls during the ancient Anthesteria, the tree day Feast of
flowers held in Athens at the beginning of spring. It must always have been, as it still is, an
entertaining pastime of ritualistic and magical character. It is, as it were, a fresh-air spring
cleaning procedure, perhaps even an invocation of the winds beneficial to agriculture.
Modern Greek superstition is explicity linked with the swing and other magical
expediencies for the securing of good health, fertility and abundance.
Apart from their magico-religius content, swings served an obvious social function. First of
all, they provided villages lads and lasses with a rare opportunity to see one another
legitimately at close quarters, to make their marriage choices, to declare mutually by
means of songs, whose erotic symbolism established the appropriate mood, their
preferences and feelings. More than that however, the festivity was occasion for the
exercise of the marriage strategies of the community while the songs, reflecting social
realities and expressing popular ideology, formed the necessary prescriptive framework for
the doings and initiatives of its younger participants.

89
  
 
 
Stichiron tou Pasxa

They sung this chant during the Easter period. It's an old hymn and possible dates to
the 6th century.

90
Lesson 10. Summer

Thalassaki from Kalimnos

Dodecanese sea-song well-known throughout Greece. Sung by women in the summer, in

the absence of sponge divers, with a wide variety of improvisational couplets. The end of
March departed sponge-drivers on North African coast and their journey lasted from six
to seven months. They lived on the boat and dived to depth of thirty or forty or even fifty
meters dept for fishing of sponges. Their work was extremely difficult and the anxiety of
their families was big throughout their journey.
 
 
 
 
 
 
 
 
 
 
 
 
 

91
 
Conclusion

The deep knowledge of the history of our country and our traditions brings people
closer to their roots. Having a base we can move more easily to life, putting each time a
new stone to what we had from our ancestors. This moreover, was the purpose of my
thesis. To discover all of us our country and to go further, maintaining and respected all of
that that given to us the previous generations. This moreover, was the purpose of my thesis.
To discover our country, and to go further, maintaining and respecting all of that, that
given to us by previous generations.
The difficulties of my work were many, and my point was wide and can easily go
out off the topic. Eventually, I think I deliver a job with lots of useful information for those
who did not know much about Greece, but also for those who knew but did not know how
to use them. It is a work summary that can help readers to enrich their musical knowledge
and the historical. To get close to the songs of their homeland, to wonder about the musical
differences from region to region, and to try to understand the influences to music from our
neighboring countries.
My work it was just wandering in Greek culture and customs, inseparably tied to its
music and songs. It is a base that can be used for further development of music in different
regions, for example, cantades in the Ionian Islands, the rizitika songs in Crete and the
pentatonic scales that are used in Epirotic music.
It can also become a more extensive and deeper analysis in the work of Nikos
Skalkottas and other notable Greek composers influenced by the Greek traditional music. It
could also be compared with other composers from other countries, also influenced from
the traditional music of their country, for example, as indicative, Béla Bartók, Bedřich
Smetana and many other.
The amount of information that I collected for this work were enough, but
unfortunately could not be possible to present all to this work. I used what I felt closer
to my theme and to my knowledge, having guided the circle of year occasion.

92
Appendices

I. Links for Greek Dance chapter

Makedonia
http://www.youtube.com/watch?v=TtZTmiNFRAE&feature=related

Thraki
http://www.youtube.com/watch?v=8bsSCSy83IM&feature=related

Thessaly
http://www.youtube.com/watch?v=dNs1cvYaiT4&feature=related

Roumeli
http://www.youtube.com/watch?v=5RmiReH4Ovs&feature=related

Peloponnesus
http://www.youtube.com/watch?v=vF8F4pM_HP0&feature=related

Aegean islands
http://www.youtube.com/watch?v=3akN-l-KIRQ&feature=related
(from different islands of Aegean, Paros , Serifos, Amorgos, etc)

Dodecanese
http://www.youtube.com/watch?v=gotAVHQQoJY

Ionian islands
http://www.youtube.com/watch?v=VlFtjyCcjtw&feature=related

Krete
http://www.youtube.com/watch?v=0YwmVhAlTKg

Cyprus
http://www.youtube.com/watch?v=_CG8XMaC41w
http://www.youtube.com/watch?v=zdRnCYiSL2k&feature=related

Pontus
http://www.youtube.com/watch?v=C2j50TDDUtw&feature=related

Cappadokia
http://www.youtube.com/watch?v=fPPsb_yEDXU&feature=related
http://www.youtube.com/watch?v=Z7lGrKZYtag&feature=related
 
Konstantinoupole
http://www.youtube.com/watch?v=jzR9aoNo7Bs

93
II. Links for Suggested Music lessons

Autumn
http://www.youtube.com/watch?v=uU0K-UOtgwA&feature=related

October 28th
http://www.youtube.com/watch?v=oBSZWMkuP2

Christmas
http://www.youtube.com/watch?v=oDp62vmIi0I (Thraki)
http://www.youtube.com/watch?v=DJLF-PW4mm0 (Corfu)
http://www.youtube.com/watch?v=WMrJvvPTdh0&feature=related (Dodekanisa)
http://www.youtube.com/watch?v=tMCkKE3mpeU (Creta)

New Years Day

http://www.youtube.com/watch?v=x8WKskLck9g
(is part of theatrical play. In first ten seconds we can see the “sourva”)

Epiphany
http://www.youtube.com/watch?v=vklOTme6MNU  
 
Carnival
http://www.youtube.com/watch?v=35VjIA_IECQ
http://www.youtube.com/watch?v=4cYc2uHWEmY&feature=related
http://www.youtube.com/watch?v=f8JJvKxuvfo
http://skyroson.gr/skyros/content/view/605/296/

Spring carols
http://www.youtube.com/watch?v=5Ee9SmR4Rs8
http://www.youtube.com/watch?v=5VI-2saqqeE&feature=related

Carols for Lazarus

http://www.youtube.com/watch?v=BT4aT5XuJLs&feature=related
http://www.youtube.com/watch?v=_8zxeTVyW0k&feature=related (Kozani)
http://www.youtube.com/watch?v=Z11l72d89uQ&feature=related (Makedonia)

Easter
http://www.youtube.com/watch?v=HYsQaj1mFCc

Summer
http://www.youtube.com/watch?v=ORfu5DdiNAg

94
III. Links about Skalkottas music

"Passacaglia" from 32 Piano Pieces (1940)

http://www.youtube.com/watch?v=hn28s_nQKuk

Fifteen little variation

http://www.youtube.com/watch?v=iZvfaHJWFBQ

Some parts of 36greek dances

Tsamikos- enas aetos

http://www.youtube.com/watch?v=M_WkQ44tCvU&feature=list_related&playnext=1&lis
t=SPC729408177E17261

Kritikos
http://www.youtube.com/watch?v=DmqKTo6GqI8&feature=BFa&list=SPC729408177E1
7261&lf=list_related

Epirotikos
http://www.youtube.com/watch?v=q6SdpdTUM5w&feature=BFa&list=SPC729408177E1
7261&lf=list_related

Peloponisiakos
http://www.youtube.com/watch?v=VjPrLCLQ_hU&feature=BFa&list=SPC729408177E1
7261&lf=list_related

Kalamatianos
http://www.youtube.com/watch?v=3n3gRqTEt9E&feature=BFa&list=SPC729408177E17
261&lf=list_related

Makedonikos
http://www.youtube.com/watch?v=1ycpToLSluw&feature=BFa&list=SPC729408177E17
261&lf=list_related

Nisiotikos-island
http://www.youtube.com/watch?v=G2dO9X7SmB4&feature=BFa&list=SPC729408177E1
7261&lf=list_related

Down in valtos village

http://www.youtube.com/watch?v=73_tyFSrVro&feature=BFa&list=SPC729408177E172
61&lf=list_related

Mazoxtos dance
http://www.youtube.com/watch?v=NBBApP3RO-
s&feature=bf_prev&list=SPC729408177E17261&lf=list_related

95
Ballets:
“The maiden and death”
http://www.youtube.com/watch?v=4LPtIcc6B7I (1st part)
http://www.youtube.com/watch?v=Re4KGvVLp80 (2nd part)
http://www.youtube.com/watch?v=Unh2xcAa13w (3rd part)
http://www.youtube.com/watch?v=Hs8RUhwceUQ (4th part)
http://www.youtube.com/watch?v=g5aUcjYc3u0 (5th part)
http://www.youtube.com/watch?v=qfBl3xfcWvA (6th part)

“The Sea”
http://www.youtube.com/watch?v=ugNLfKwUv5Y   

 
 
 

96
Summary 
This diploma dissertation is concentrated in Greek traditional music and traditions.
Greece, is a country with traditions and customs alive even today. Through dance, song,
music people express their feelings, celebrate the joy and settles with the pain. It's a place
where history, religion and music are closely tied together and are often difficult to
distinguish. This knowledge will ultimately help all teachers understand the power of
tradition and the importance of conservation and disseminate it. All are interrelated and the
music is the force that unites them and is keeping them over the time.
The first chapters focus on theoretical approach and the second part to the
practice. Specifically, in the first chapter begins with a definition, as much as possible,
of music and a small reference to it, in time. The second chapter deals with the folk
song, how is divided and the differences with the European music. Into the third chapter
we meet the Greek traditional music instruments and in which categories it divides.
How the culture is connected with history and Orthodox Church we will see in
fourth chapter as well as the most important celebrations of Greek nation. The dance in
Greece has big history and we can find a lot of styles depending of the regions. Six big
regions have Greece and we will see it in dept on fifth chapter.
The last chapter is the pick of this work and is divided in subchapters with as well
theoretical and practical way. Presentation of national Greek school with the main
representatives and Biography of the Greek composer Nikos Skalkottas (6.1), ways to
display the Greeks national characteristics with examples of Nikos Skalkottas work (6.2)
and the role of culture in education as last theoretical part of this work (6.3).
In the last subsection inspiring of the circle of the year - festivals, is an effort of
musical lessons tied to the history and tradition of the place. With theoretical advice at the
beginning and then with music, videos and music examples, we try to pull the attention of
students and their initiation into the world of traditional music.
The conclusion of this diploma dissertation is concerned with the interpretation of
Greek traditional music. The concluding ideas are based on understanding the connection
with Greek history, traditions, music – folk song and dance.

97
Resumé
Tato diplomová práce se zaměřuje na řeckou folklórní hudbu a tradice.
Řecko je zemí s živými tradicemi a zvyky dodnes. Prostřednictvím tance, zpěvu a hudby
lidé vyjadřují své pocity, oslavují radost a vyrovnávají se s bolestí. Je to místo, kde
historie, náboženství a hudba jsou spolu úzce svázané a je často obtížné je rozlišit.
Toto poznání nakonec pomůže všem učitelům pochopit sílu, tradice a význam jejího
zachování a šíření. Všechny části jsou vzájemně propojené a hudba je síla, která je spojuje
a udržuje v průběhu času.
První kapitoly jsou zaměřeny teoreticky, druhá část se orientuje na praxi.
První kapitola začíná pokusem definice samotné hudby, a malý odkaz na ni v čase.
Druhá kapitola se zabývá lidovou písní, jejím dělením a vystižením rozdíly od hudby
evropské. Ve třetí kapitole poznávámáme řecké tradiční hudební nástroje a jejich
klasifikací.
Spojení kultury a historie s pravoslavnou církví uvidíme ve čtvrté kapitole, stejně
tak nejdůležitější oslavy řeckého národa. Tanec má v Řecku velkou historii a můžeme najít
spoustu regionálních stylů. Řecko se dělí na šest velkých regionů, jejichž charakteristikou
se zabývá pátá kapitola.
Poslední kapitola tvoří jádro předložené práce a je rozdělena do podkapitol, jak po
teoretické tak praktické stránce. Národní řecká škola je prezentována hlavními
představiteli, zvláště řeckým skladatelem Nikosem Skalkottasem. Rolí kultury ve
vzdělávání se zabývá poslední teoretická část této práce.
V poslední kapitole, inspirující se událostmi během roku (festivaly), je snaha o
náměty pro hudební výchovu ve škole, vázané k historii a tradici místa.
S teoretickými radami na začátku a pak s hudbou, videem a hudebními ukázkami se
snažíme získat pozornost studentů a uvést je do světa tradiční hudby.
Závěr této diplomové práce se zabývá interpretací řecké tradiční hudby. Závěrečné
myšlenky jsou založeny na pochopení spojení řecké historie, tradice a lidové hudby.

98
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