The development of chordal harmony in Greek rebetika and laika music, 1930s to 1960s

Pennanen, Risto Pekka

doi:10.1080/09681229708567262

Cited by 9 publications

(16 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In this case, the difference is ascribed to the population (see Pennanen, 1997 , for a more thorough discussion for the differences between musical idioms). According to the fi rst hypothesis, GBEA's subtests of contour, rhythm, and musical memory may simply be more diffi cult than MBEA's homologous tests (i.e., the difference of the performance in the two batteries is due to the stimuli).…”

Section: Discussionmentioning

confidence: 99%

“…These melodic formulae (Seyir) are dictated by the scale of each piece (Pennanen, 1997 ). The fi rst one refers to tonal encoding.…”

Section: Materials: the Greek Battery Of Evaluation Of Amusia (Gbea)mentioning

confidence: 99%

“…The Greek/ Eastern music is different from the Western music in both temporal and melodic aspects. That is of course the case only if the music is produced in a tempered way (by dividing the octave in 12 equal intervals/semitones), which is the most frequent case today, because the traditional way of playing and/or singing Greek/Eastern music includes interval divisions smaller than a semitone (Ayari & McAdams, 2003 ;Pennanen, 1997 ). Fractions like 5/8, 7/8, 9/8, and 12/8 are in use, in a lot of different rhythmic intonations, to produce various rhythms (or dances) [as in all Balkan music (Hannon & Trehub, 2005 ;London, 1995 )].…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Cultural aspects of music perception: Validation of a Greek version of the Montreal Battery of Evaluation of Amusias

Paraskevopoulos

Tsapkini

Peretz

2010

J Int Neuropsychol Soc

View full text Add to dashboard Cite

Despite music's universality, people perceive and interpret music according to their cultural background. The existing music perception batteries, however, do not take into account possible cultural differences. We adapted the Montreal Battery of Evaluation of Amusias (MBEA) into the requirements of Eastern (Greek) music, where rhythm and melody scales are different from the ones used in Western music. We obtained norms for both the original version of MBEA and its Greek adaptation from the same Greek participants because they are exposed to both genres (traditional and Eastern). Results indicate that some parts of the original MBEA such as the meter test would not be suitable for evaluating the musical abilities of populations with a different musical tradition. Instead, our version of the MBEA, the Greek Battery of Evaluation of Amusia (GBEA) should be preferred in assessing music perception in cultures or individuals influenced by Eastern or both traditions. We also report the results of a congenitally amusic individual (B.Z.) evaluated with both batteries showing that GBEA is a more sensitive tool to evaluate her impairment in music perception.

show abstract

Section: Discussionmentioning

confidence: 99%

“…These melodic formulae (Seyir) are dictated by the scale of each piece (Pennanen, 1997 ). The fi rst one refers to tonal encoding.…”

Section: Materials: the Greek Battery Of Evaluation Of Amusia (Gbea)mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Cultural aspects of music perception: Validation of a Greek version of the Montreal Battery of Evaluation of Amusias

Paraskevopoulos

Tsapkini

Peretz

2010

J Int Neuropsychol Soc

View full text Add to dashboard Cite

show abstract

“…As mentioned. above, sequences likely to be considered "modal" are not necessarily associated with "Orientalized" melodies, but are comparable to harmonies used in other Balkan and Mediterranean music (Manuel 1989;Pennanen 1997).…”

Section: The Harmonic Accompanimentmentioning

confidence: 71%

“…Yet there are two particularities that seem to distinguish manele from other musics. The first is revealed by the harmonic accompaniment, hereby named "modal," non-existent in other past or present musics, but similar to that of some contemporary pan-Balkan musics (Pennanen 1997). The second consists in the existence ofwholly improvised sections," strikingly akin to those in Bulgarian, Turkish, or Macedonian musics, which are an explicit, continuous source of inspiration.…”

Section: The Harmonic Accompanimentmentioning

confidence: 99%

Music, Dance, and Behaviour in a New form of Expressive Culture: The RomanianManea

Giurchescu¹,

Rădulescu²

2011

yearb. tradit. music

View full text Add to dashboard Cite

The popular music landscape of Romania today is dominated by the manea. It appeared in the late 1960s as a form of symbolic opposition by the Romani communities from the slums of the big cities on the Danube to their exclusion from Romanian society. In time manea became an expression of implicit protest by ordinary people from any ethnic background. In the 1970s and 1980s, it gradually penetrated into cities and villages. After 1990, the manea spread throughout the entire country and is now the favourite music of many teenagers, young people, and the nouveaux riches of the transition period, comprising together about one third of the population. The power of the manea arises from the dominant role it plays in public and private events, such as weddings, baptisms, funerals, anniversaries, and all kinds of parties organized in restaurants and clubs, as well as from the high visibility it receives on private TV channels, the Internet, commercial CDs and DVDs, concerts, and shows.

show abstract

Timbre, Genre, and Polystylism in Sonic the Hedgehog 3

Lavengood

2019

View full text Add to dashboard Cite

Sonic the Hedgehog 3, a video game released in 1994, is a classic "platformer" video game. Sonic the Hedgehog was Sega's flagship series for its new home console, the Sega Genesis, functioning essentially as their version of Mario, but blue and gritty. 1 The manual for the original Sonic the Hedgehog video game introduces Sonic to the world: "Only one tough dude can put an end to the demented scientist's [Dr. Robotnik's] fiendish scheme. It's Sonic, the real cool hedgehog with the spiked haircut and power sneakers that give him super speed" (Sega 1991, 4). Sonic is not at all like an Italian plumber in a mushroom kingdom-he's positioned through Sega's marketing materials as a rebellious and modern fighter, sporting a trendy haircut and sneakers.Like many video games of the late 1980s and early 1990s, Sonic the Hedgehog 3 (hereafter Sonic 3) is structured around the player traveling through many levels, each with a different setting; the music reflects these setting changes-a volcano, a forest, a city, a lake, and so on-by invoking a variety of styles. These various locations, although distinct, do not result 1 Mario is the main character of Nintendo's flagship series, Super Mario Bros.

show abstract

The development of chordal harmony in Greek rebetika and laika music, 1930s to 1960s

Cited by 9 publications

References 6 publications

Cultural aspects of music perception: Validation of a Greek version of the Montreal Battery of Evaluation of Amusias

Cultural aspects of music perception: Validation of a Greek version of the Montreal Battery of Evaluation of Amusias

Music, Dance, and Behaviour in a New form of Expressive Culture: The RomanianManea

Timbre, Genre, and Polystylism in Sonic the Hedgehog 3

Contact Info

Product

Resources

About