Greek music - Revision history

Irlandos at 07:11, May 16, 2011

2011-05-16T07:11:22Z

Irlandos: /* Rembetika */

2008-05-13T12:29:50Z

Rembetika

Irlandos: /* Greece in the Roman Empire */

2007-10-29T13:17:29Z

Greece in the Roman Empire

Irlandos: /* Crete */

2007-07-04T08:34:21Z

Crete

Irlandos: /* Greek Music through the Ages */

2006-11-18T10:03:17Z

Greek Music through the Ages

Lazarus: /* References */

2006-11-10T12:20:44Z

References

Irlandos: /* Rembetika */

2006-03-02T21:08:53Z

Rembetika

Lazarus: /* Folk music */

2005-12-02T20:07:41Z

Folk music

Irlandos: /* Rembetika */

2005-12-02T18:55:40Z

Rembetika

Irlandos at 18:53, December 2, 2005

2005-12-02T18:53:34Z

@@ Line 22: / Line 22: @@
 ==Greece during the Ottoman occupation==
-By the beginning of the 20th century, music-cafes were popular in [[Constantinople]] and [[Smyrna]], primarily owned by Greeks, alongside Jews and Armenians.  The bands were led by a female vocalist, typically, and included a violin and a santouri.  The improvised songs typically exclaimed ''aman aman'', which led to the name ''[[amanedes]]'' or ''cafe-aman''.  Musicians of this period included [[Marika Papagika]], [[Agapios Tomboulis]], [[Rosa Eskenazi]] and [[Rita Abatzi]].
+By the beginning of the 20th century, music-cafes were popular in [[Constantinople]] and [[Smyrna]], primarily owned by Greeks, alongside Jews and Armenians.  The bands were led by a female vocalist, typically, and included a violin and a [[santouri]].  The improvised songs typically exclaimed ''aman aman'', which led to the name ''[[amanedes]]'' or ''cafe-aman''.  Musicians of this period included [[Marika Papagika]], [[Agapios Tomboulis]], [[Rosa Eskenazi]] and [[Rita Abatzi]].
 ==Modern Greece==
@@ Line 171: / Line 171: @@
 =Samples=
-*[[Media:Amaxas.ogg|Download recording]] - "Amaxas" Greek song from the Library of Congress' ''Florida Folklife from the WPA Collections''; performed by Charles M. Brown, Louis Peronis (fiddle), Charylaos Perris (santouri) and George Kafezio (mandola) on August 26, 1939 in [[Tarpon Springs, Florida]]
+*[[Media:Amaxas.ogg|Download recording]] - "Amaxas" Greek song from the Library of Congress' ''Florida Folklife from the WPA Collections''; performed by Charles M. Brown, Louis Peronis (fiddle), Charylaos Perris ([[santouri]]) and George Kafezio (mandola) on August 26, 1939 in [[Tarpon Springs, Florida]]
 =External link=

@@ Line 139: / Line 139: @@
 ===Rembetika===
-Rebetiko, the underground greek music, evolved from traditions of the urban poor. Refugees and drug-users, criminals and the itinerant, the earliest remb&eacute;tika musicians were scorned by mainstream society.  They sang heartrending tales of drug abuse, prison and violence, usually accompanied by the [[bouzouki]], a sort of [[lute]] derived from the [[Byzantine music|Byzantine]] [[tambouras]] and related to the Turkish saz.
+Rebetiko, the underground Greek music, evolved from traditions of the urban poor. Refugees and drug-users, criminals and the itinerant, the earliest rembetika musicians were scorned by mainstream society.  They sang heartrending tales of drug abuse, prison and violence, usually accompanied by the [[bouzouki]], a sort of [[lute]] derived from the [[Byzantine music|Byzantine]] [[tambouras]] and related to the Turkish saz.
-In [[1923]], many ethnic Greeks from [[Asia Minor]] fled to Greece as a result of the [[Greco-Turkish War (1919-1922)]].  They settled in poor neighborhoods in [[Piraeus]], [[Thessaloniki]] and [[Athens]]. Many of these immigrants were highly educated, and included [[songwriter]] [[Vangelis Papazoglou]] and [[Panayiotis Toundas]], composer and leader of [[Odeon Records]]' Greek subsidiary.
+In [[1923]], many ethnic Greeks from [[Asia Minor]] fled to Greece as a result of the [[Greco-Turkish War (1919-1922)]].  They settled in poor neighborhoods in [[Piraeus]], [[Thessaloniki]] and [[Athens]]. Many of these immigrants were highly educated, and included songwriter [[Vangelis Papazoglou]] and [[Panayiotis Toundas]], composer and leader of Odeon Records' Greek subsidiary.
 However, one Turkish tradition that came with the Greek migrants was the ''[[tekkes]]'', or hashish dens.  Groups of men would sit in a circle and smoke hashish from a hookah, and improvised music of various kinds was common. With the coming of the [[Ioannis Metaxas]] dictatorship, rembetika was repressed due to the uncompromising lyrics.  Hashish dens and bouzoukis were banned.  Many songs from this period were composed in prison, where musicians made instruments out of scavenged equipment.
-After [[World War 2]], rembetika had become a calmer form of music, Out of this music scene came two of the earliest legends of Greek Oriental music, like the quartet of [[Markos Vamvakaris]], [[Artemis (musician)|Artemis]], [[Stratos Payioumtzis]] and [[Giorgos Batis]]. Vamvakaris became perhaps the first star of remb&eacute;tika after beginning a solo career.
+After [[World War 2]], rembetika had become a calmer form of music, Out of this music scene came two of the earliest legends of Greek Oriental music, like the quartet of [[Markos Vamvakaris]], [[Artemis (musician)|Artemis]], [[Stratos Payioumtzis]] and [[Giorgos Batis]]. Vamvakaris became perhaps the first star of rembetika after beginning a solo career.
-The scene was soon popularized further by stars like [[Vassilis Tsitsanis]].  His "Synefiazmeni Kyriaki" became an anthem for the oppressed Greeks after it was composed in [[1943]], though it wasn't recorded until [[1948]]. He was followed by female singers like [[Marika Ninou]], [[Ioanna Yiorgakopoulou]] and [[Sotiria Bellou]].  In [[1953]], [[Manolis Chiotis]] added a fourth pair of strings to the [[bouzouki]], which allowed it be tuned tonally and set the stage for the electrification of remb&eacute;tika.
+The scene was soon popularized further by stars like [[Vassilis Tsitsanis]].  His "Synefiazmeni Kyriaki" became an anthem for the oppressed Greeks after it was composed in [[1943]], though it wasn't recorded until [[1948]]. He was followed by female singers like [[Marika Ninou]], [[Ioanna Yiorgakopoulou]] and [[Sotiria Bellou]].  In [[1953]], [[Manolis Chiotis]] added a fourth pair of strings to the [[bouzouki]], which allowed it to be tuned tonally and set the stage for the electrification of rembetika.
-Rembetika was revived during the [[1967]]-[[1974]] coup, which banned the music.  Ironically, the banning meant that the dispossessed of Greece were attracted to the music and its messages of subversion.  Revival groups included [[Opisthodhromiki Kompania]], [[Rembetiki Kompania]], [[Agathonas Iakovidis]] and [[Ta Pedhia apo tin Patra]].
+Rembetika were revived during the [[1967]]-[[1974]] coup, which banned the music.  Ironically, the banning meant that the dispossessed of Greece were attracted to the music and its messages of subversion.  Revival groups included [[Opisthodromiki Kompania]], [[Rembetiki Kompania]], [[Agathonas Iakovidis]] and [[Ta Pedia apo tin Patra]].
 ===&Eacute;ntekhno===

@@ Line 16: / Line 16: @@
 ==Greece in the Roman Empire==
-Due to Rome's revernence for Greek culture, Roman music continued to use the Greek notational system.
+Due to Rome's reverence for Greek culture, Roman music continued to use the Greek notational system.
 ==Byzantium==

@@ Line 74: / Line 74: @@
 ===Crete===
-The Greek islands of [[Karpathos]], [[Khalki]], [[Kassos]] and [[Crete]] form an arc where the [[lyra]] is the dominant instrument.  It is a three-stringed fiddle similar to the Turkish [[kemen&ccedil;e]].  [[Kostas Moundakis]] is probably the most widely-respected master of the lyra, which is often accompanied by the [[laouto]] which resembles a [[mandolin]].  Bagpipes are often played on [[Karpathos]].
+The Greek islands of [[Karpathos]], [[Khalki]], [[Kassos]] and [[Crete]] form an arc where the [[lyra]] is the dominant instrument.  It is a three-stringed fiddle similar to the Turkish kemen&ccedil;e.  [[Kostas Moundakis]] is probably the most widely-respected master of the lyra, which is often accompanied by the [[laouto]] which resembles a mandolin.  Bagpipes are often played on [[Karpathos]].
 Crete has a well known folk dance tradition, which includes swift dances like [[syrtos]], [[maleviziotikos]], [[haniotikos]], [[pentozali]] and [[laziotikos]].

@@ Line 6: / Line 6: @@
 Greek written history extends far back into [[Ancient Greece]], and was a major part of ancient [[Greek theater]].  Later, influences from the Roman Empire, Eastern Europe and the [[Byzantine Empire]] changed Greek music.
-In the [[19th century]], opera composers like [[Nikolaos Mantzaros]] ([[1795]] - [[1872]]), [[Spyridion Xyndas]] ([[1812]] - [[1896]]) and [[Spyros Samaras]] ([[1861]] - [[1917]]) helped revitalize Greek classical music.
+In the [[19th century]], opera composers like [[Nikolaos Mantzaros]] ([[1795]] - [[1872]]), [[Spyridon Xyndas]] ([[1812]] - [[1896]]) and [[Spyros Samaras]] ([[1861]] - [[1917]]) helped revitalize Greek classical music.
 ==Ancient Greece==
@@ Line 25: / Line 25: @@
 ==Modern Greece==
 =Types of Music=

@@ Line 183: / Line 183: @@
 =References=
 *Dubin, Marc and George Pissalidhes. "Songs of the Near East". 2000.  In Broughton, Simon and Ellingham, Mark  with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 1: Africa, Europe and the Middle East'', pp 126-142. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
 *[http://www.nostos.com/dance/ Folk dances of the Greek regions]
 *[http://www.sabras.com the sabras band]
 [[Category:Greek music]]

@@ Line 39: / Line 39: @@
 Greek folk music is found all throughout Greece, as well as among communities in countries like the United States, Canada and Australia.
 The island of [[Cyprus]] and several regions of Turkey are home to long-standing communities of ethnic Greeks with their own unique styles of music.
 Apart from the common music found all-around Greece, there are distinct types of folk music, sometimes related to the history or simply the taste of the specific places:
-*Ionian Islands
+===Ionian Islands===
@@ Line 55: / Line 57: @@
 Folk dances include the [[tsirigotikos]], [[ballos]], [[ai yiogis]], [[kerkyraikos]] and [[kato sto yialo]].
-*Aegean Islands
+===Aegean Islands===
@@ Line 62: / Line 64: @@
 Modern stars include [[Effi Sarri]] and the [[Konitopoulos]] clan; [[Mariza Koch]] is credited with reviving the field in the [[1970s]].  Folk dances include the [[chiotikos]], [[stavrotos]], [[ballos syrtos]], [[trata]] and [[ikariotikos]].
-*Cyclades
+===Cyclades===
 In the [[Aegean Sea|Aegean]] [[Cyclades]], the violi is more popular than the lyra, and has produced several respected musicians, including [[Nikos Ikonomides]], [[Nikos Hatzopoulos]] and [[Stathis Koukoularis]].
@@ Line 72: / Line 73: @@
 There are prominent elements of Cretan music on the Dodecanese Islands, developing from Cretans that fled there from the Turks.  Dodecanese folk dances include the [[trata]], [[ballos]], [[syrtos]], [[issos]] and [[syrtos rodou]].
-*Crete
+===Crete===
 The Greek islands of [[Karpathos]], [[Khalki]], [[Kassos]] and [[Crete]] form an arc where the [[lyra]] is the dominant instrument.  It is a three-stringed fiddle similar to the Turkish [[kemen&ccedil;e]].  [[Kostas Moundakis]] is probably the most widely-respected master of the lyra, which is often accompanied by the [[laouto]] which resembles a [[mandolin]].  Bagpipes are often played on [[Karpathos]].
@@ Line 79: / Line 79: @@
 Crete has a well known folk dance tradition, which includes swift dances like [[syrtos]], [[maleviziotikos]], [[haniotikos]], [[pentozali]] and [[laziotikos]].
-*Peloponnesos
+===Peloponnesos===
 Folk dances from [[Peloponnesos]] include the [[kariatidon]] and [[tsakonikos]].
-*Epirus
+===Epirus===
 In [[Epirus]], Albanian and [[Macedonia]]n influences are common, and folk songs are polyphonic and sung by both male and female singers.  Distinctive songs include [[miroloyia]] (mournful tunes) vocals with [[skaros]] accompaniment and [[tis tavlas]] (drinking songs).  The [[clarinet]] is the most prominent folk instrument in Epirus, used to accompany dances, mostly slow and heavy, like the [[menousis]], [[fisouni]], [[podhia]], [[sta dio]], [[sta tria]], [[zagorisios]], [[kentimeni]], [[koftos]], [[yiatros]] and [[tsamikos]].
-*Macedonia
+===Macedonia===
 ''Main article: [[Music of Macedonia]]''
@@ Line 97: / Line 97: @@
 The Ottoman province of Macedonia, ecompassing regions of the ancient Macedonia, Paeonia, and Thrace was divided between Greece, Serbia(Yugoslavia), and Bulgaria respectively in 1918.
-*Thessaly
+===Thessaly===
 ''Main article: [[Music of Thessaly]]''
 There is a long-standing tradition of [[a cappella]] music in [[Thessaly]], including in [[dance music]].  Folk dance from Thessaly is slow and stately, and includes dances like the [[klistos]], [[tai-tai]], [[pilioritikos]], [[svarniara]], [[sta tria]] and [[karagouna]].
-*Thrace
+===Thrace===
 ''Main article: [[Music of Thrace]]''
@@ Line 111: / Line 111: @@
 Thus the traditional music of the minority in Greece is usually seen as more genuine Turkish ([[Arabesk]]) than the folk music found in Turkey itself.
-*Cyprus
+===Cyprus===
 ''Main article: [[Music of Cyprus]]''
 Cyprus is an independent country which is currently divided due to the Turkish invasion of the island in [[1974]].  Cyprus' folk traditions include dances like the sousta, syrtos, zeimbekikos, dachas, and the kartsilamdhes.
-*Izmir/Smyrna
+===Izmir/Smyrna===
 ''Main article: [[Music of Smyrna]]''
 Izmir, formerly known by the Greek name ''[[Smyrna]]'', is a city in western [[Asia Minor]].  The city was ethnically Greek until the 1920s, when the Greek population was expelled.  The city's musical heritage include the songs of these people, similar in style to [[rebetiko]]; they are sad tales of burning and loss, and are called [[Smyrnaiika]].
-*Pontos
+===Pontos===
 ''Main article: [[Music of Pontos]]''

@@ Line 145: / Line 145: @@
 However, one Turkish tradition that came with the Greek migrants was the ''[[tekkes]]'', or hashish dens.  Groups of men would sit in a circle and smoke hashish from a hookah, and improvised music of various kinds was common. With the coming of the [[Ioannis Metaxas]] dictatorship, rembetika was repressed due to the uncompromising lyrics.  Hashish dens and bouzoukis were banned.  Many songs from this period were composed in prison, where musicians made instruments out of scavenged equipment.
-After [[World War 2]], remb&eacute;tika had become a calmer form of music, Out of this music scene came two of the earliest legends of Greek Oriental music, like the quartet of [[Markos Vamvakaris]], [[Artemis (musician)|Artemis]], [[Stratos Payioumtzis]], and [[Batis]]. Vamvakaris became perhaps the first star of remb&eacute;tika after beginning a solo career.
+After [[World War 2]], remb&eacute;tika had become a calmer form of music, Out of this music scene came two of the earliest legends of Greek Oriental music, like the quartet of [[Markos Vamvakaris]], [[Artemis (musician)|Artemis]], [[Stratos Payioumtzis]] and [[Giorgos Batis]]. Vamvakaris became perhaps the first star of remb&eacute;tika after beginning a solo career.
 The scene was soon popularized further by stars like [[Vassilis Tsitsanis]].  His "Synefiazmeni Kyriaki" became an anthem for the oppressed Greeks after it was composed in [[1943]], though it wasn't recorded until [[1948]]. He was followed by female singers like [[Marika Ninou]], [[Ioanna Yiorgakopoulou]] and [[Sotiria Bellou]].  In [[1953]], [[Manolis Chiotis]] added a fourth pair of strings to the [[bouzouki]], which allowed it be tuned tonally and set the stage for the electrification of remb&eacute;tika.

@@ Line 4: / Line 4: @@
 =Greek Music through the Ages=
-Greek written history extends far back into [[Ancient Greece]], and was a major part of ancient [[Greek theater]].  Later, influences from the [[Roman Empire]], [[Eastern Europe]] and the [[Byzantine Empire]] changed Greek music.
+Greek written history extends far back into [[Ancient Greece]], and was a major part of ancient [[Greek theater]].  Later, influences from the Roman Empire, Eastern Europe and the [[Byzantine Empire]] changed Greek music.
 In the [[19th century]], opera composers like [[Nikolaos Mantzaros]] ([[1795]] - [[1872]]), [[Spyridion Xyndas]] ([[1812]] - [[1896]]) and [[Spyros Samaras]] ([[1861]] - [[1917]]) helped revitalize Greek classical music.
@@ Line 22: / Line 22: @@
 ==Greece during the Ottoman occupation==
-By the beginning of the 20th century, music-cafes were popular in [[Constantinople]] and [[Smyrna]], primarily owned by Greeks, alongside Jews and Armenians.  The bands were led by a female vocalist, typically, and included a violin and a santouri.  The improvised songs typically exclaimed ''aman aman'', which led to the name ''[[amanedhes]]'' or ''cafe-aman''.  Musicians of this period included [[Marika Papagika]], [[Agapios Tomboulis]], [[Rosa Eskenazi]] and [[Rita Abatzi]].
+By the beginning of the 20th century, music-cafes were popular in [[Constantinople]] and [[Smyrna]], primarily owned by Greeks, alongside Jews and Armenians.  The bands were led by a female vocalist, typically, and included a violin and a santouri.  The improvised songs typically exclaimed ''aman aman'', which led to the name ''[[amanedes]]'' or ''cafe-aman''.  Musicians of this period included [[Marika Papagika]], [[Agapios Tomboulis]], [[Rosa Eskenazi]] and [[Rita Abatzi]].
 ==Modern Greece==
@@ Line 34: / Line 34: @@
-Greek folk traditions are said to derive from the music played by ancient Greeks.  There are said to be two musical movements in Greek folk music: [[akritic]] and [[klephtic]].  Akritic music comes from the [[9th century]] ''akrites'', or border guards of the Byzantine Empire.  Following the end of the Byzantine period, klephtic music arose before the [[Greek Revolution]], developed among the ''kleftes'', warriors who fought against the [[Ottoman Empire]].  Klephtic music is monophonic and uses no harmonic accompaniment.
+Greek folk traditions are said to derive from the music played by ancient Greeks.  There are said to be two musical movements in Greek folk music: [[akritic]] and [[klephtic]].  Akritic music comes from the [[9th century]] ''akrites'', or border guards of the Byzantine Empire.  Following the end of the Byzantine period, klephtic music arose before the [[Greek Revolution]], developed among the ''kleftes'', warriors who fought against the Ottoman Empire.  Klephtic music is monophonic and uses no harmonic accompaniment.
-Traditional [[dhimotika]] are accompanied by clarinets, guitars, tambourines and violins, and include dance music forms like [[syrto]], [[kalamatiano]], [[tsamiko]] and [[hasaposerviko]], as well as vocal music like [[kl&eacute;ftiko]].  Many of the earliest recordings were done by  ethnic Albanians like [[Yiorgia Mittaki]] and [[Yiorgios Papasidheris]].  Instrumentalists include clarinet virtuosos like [[Yiorgos Yevyelis]], [[Vassilis Saleas]] and [[Yiannis Vassilopoulos]], as well as oud and fiddle players like [[Nikos Saragoudas]] and [[Yiorgos Koros]].
+Traditional [[dimotika]] are accompanied by clarinets, guitars, tambourines and violins, and include dance music forms like [[syrto]], [[kalamatiano]], [[tsamiko]] and [[hasaposerviko]], as well as vocal music like [[kleftiko]].  Many of the earliest recordings were done by  ethnic Albanians like [[Georgia Mittaki]] and [[Giorgios Papasideris]].  Instrumentalists include clarinet virtuosos like [[Giorgos Yevyelis]], [[Vassilis Saleas]] and [[Yiannis Vassilopoulos]], as well as oud and fiddle players like [[Nikos Saragoudas]] and [[Giorgos Koros]].
 Greek folk music is found all throughout Greece, as well as among communities in countries like the United States, Canada and Australia.
@@ Line 45: / Line 45: @@
-The [[Ionian Islands]] were never under Turkish control, and their [[kantadhes]] (traditional songs) are based on the popular Italian-style of the early [[19th centrury]].
+The [[Ionian Islands]] were never under Turkish control, and their [[kantades]] (traditional songs) are based on the popular Italian-style of the early [[19th centrury]].
 Kantadhes are performed by three male singers accompanied by mandolin or guitar.
 These romantic songs developed mainly in [[Kefallonia]] in the early [[19th century]] but spread throughout Greece after the liberation of Greece.
@@ Line 65: / Line 65: @@
-In the [[Aegean Sea|Aegean]] [[Cyclades]], the violi is more popular than the lyra, and has produced several respected musicians, including [[Nikos Ikonomidhes]], [[Nikos Hatzopoulos]] and [[Stathis Koukoularis]].
+In the [[Aegean Sea|Aegean]] [[Cyclades]], the violi is more popular than the lyra, and has produced several respected musicians, including [[Nikos Ikonomides]], [[Nikos Hatzopoulos]] and [[Stathis Koukoularis]].
 *Dodecanese Islands
@@ Line 75: / Line 75: @@
-The Greek islands of [[Karpathos]], [[Khalki]], [[Kassos]] and [[Crete]] form an arc where the [[lyra]] is the dominant instrument.  It is a three-stringed [[fiddle]] similar to the Turkish [[kemen&ccedil;e]].  [[Kostas Moundakis]] is probably the most widely-respected master of the lyra, which is often accompanied by the [[laouto]] which resembles a [[mandolin]].  Bagpipes are often played on [[Karpathos]].
+The Greek islands of [[Karpathos]], [[Khalki]], [[Kassos]] and [[Crete]] form an arc where the [[lyra]] is the dominant instrument.  It is a three-stringed fiddle similar to the Turkish [[kemen&ccedil;e]].  [[Kostas Moundakis]] is probably the most widely-respected master of the lyra, which is often accompanied by the [[laouto]] which resembles a [[mandolin]].  Bagpipes are often played on [[Karpathos]].
-Crete has a well known folk dance tradition, which includes swift dances like [[syrtos]], [[maleviziotikos]], [[haniotikos]], [[pentozalis]] and [[laziotikos]].
+Crete has a well known folk dance tradition, which includes swift dances like [[syrtos]], [[maleviziotikos]], [[haniotikos]], [[pentozali]] and [[laziotikos]].
 *Peloponnesos
@@ Line 87: / Line 87: @@
-In [[Epirus]], Albanian and [[Macedonia]]n influences are common, and folk songs are polyphonic and sung by both male and female singers.  Distinctive songs include [[mirol&oacute;yia]] (mournful tunes) vocals with [[skaros]] accompaniment and [[tis tavlas]] (drinking songs).  The [[clarinet]] is the most prominent folk instrument in Epirus, used to accompany dances, mostly slow and heavy, like the [[menousis]], [[fisouni]], [[podhia]], [[sta dio]], [[sta tria]], [[zagorisios]], [[kentimeni]], [[koftos]], [[yiatros]] and [[tsamikos]].
+In [[Epirus]], Albanian and [[Macedonia]]n influences are common, and folk songs are polyphonic and sung by both male and female singers.  Distinctive songs include [[miroloyia]] (mournful tunes) vocals with [[skaros]] accompaniment and [[tis tavlas]] (drinking songs).  The [[clarinet]] is the most prominent folk instrument in Epirus, used to accompany dances, mostly slow and heavy, like the [[menousis]], [[fisouni]], [[podhia]], [[sta dio]], [[sta tria]], [[zagorisios]], [[kentimeni]], [[koftos]], [[yiatros]] and [[tsamikos]].
 *Macedonia
@@ Line 128: / Line 128: @@
 ==Popular music==
-Having missed the [[Renaissance]] and all the following achievements of the Western world due to the almost four centuries of Ottoman occupation, the first liberated Greeks were anxious to catch up with the rest of Europe.
+Having missed the Renaissance and all the following achievements of the Western world due to the almost four centuries of Ottoman occupation, the first liberated Greeks were anxious to catch up with the rest of Europe.
 The flourishing Greek culture of the Ionian islands, which were under the Italian rule and influence, was in sharp contrast to the Ottoman cultural poverty.
 It was through these islands that all the major advances of the European music were introduced to mainland Greeks.
@@ Line 140: / Line 140: @@
 ===Rembetika===
-Rebetiko, the underground greek music, evolved from traditions of the urban poor. Refugees and drug-users, criminals and the itinerant, the earliest remb&eacute;tika musicians were scorned by mainstream society.  They sang heartrending tales of drug abuse, prison and violence, usually accompanied by the [[bouzouki]], a sort of [[lute]] derived from the [[Byzantine music|Byzantine]] [[tambour&aacute;s]] and related to the Turkish saz.
+Rebetiko, the underground greek music, evolved from traditions of the urban poor. Refugees and drug-users, criminals and the itinerant, the earliest remb&eacute;tika musicians were scorned by mainstream society.  They sang heartrending tales of drug abuse, prison and violence, usually accompanied by the [[bouzouki]], a sort of [[lute]] derived from the [[Byzantine music|Byzantine]] [[tambouras]] and related to the Turkish saz.
 In [[1923]], many ethnic Greeks from [[Asia Minor]] fled to Greece as a result of the [[Greco-Turkish War (1919-1922)]].  They settled in poor neighborhoods in [[Piraeus]], [[Thessalon&iacute;ki]] and [[Athens]]. Many of these immigrants were highly educated, and included [[songwriter]] [[Vangelis Papazoglou]] and [[Panayiotis Toundas]], composer and leader of [[Odeon Records]]' Greek subsidiary.
@@ Line 146: / Line 146: @@
 After [[World War 2]], remb&eacute;tika had become a calmer form of music, Out of this music scene came two of the earliest legends of Greek Oriental music, like the quartet of [[Markos Vamvakaris]], [[Artemis (musician)|Artemis]], [[Stratos Payioumtzis]], and [[Batis]]. Vamvakaris became perhaps the first star of remb&eacute;tika after beginning a solo career.
-The scene was soon popularized further by stars like [[Vassilis Tsitsanis]].  His "Synefiazmeni Kyriaki" became an anthem for the oppressed Greeks after it was composed in [[1943]], though it wasn't recorded until [[1948]]. He was followed by female singers like [[Marika Ninou]], [[Ioanna Yiorgakopoulou]] and [[Sotiria Bellou]].  In [[1953]], [[Manolis Chiotis]] added a fourth pair of strings to the [[bouzo&uacute;ki]], which allowed it be tuned tonally and set the stage for the electrification of remb&eacute;tika.
+The scene was soon popularized further by stars like [[Vassilis Tsitsanis]].  His "Synefiazmeni Kyriaki" became an anthem for the oppressed Greeks after it was composed in [[1943]], though it wasn't recorded until [[1948]]. He was followed by female singers like [[Marika Ninou]], [[Ioanna Yiorgakopoulou]] and [[Sotiria Bellou]].  In [[1953]], [[Manolis Chiotis]] added a fourth pair of strings to the [[bouzouki]], which allowed it be tuned tonally and set the stage for the electrification of remb&eacute;tika.
-Rembetika was revived during the [[1967]]-[[1974]] coup, which banned the music.  Ironically, the banning meant that the dispossessed of Greece were attracted to the music and its messages of subversion.  Revival groups included [[Opisthodhromiki Kompania]], [[Rembetiki Kompania]], [[Agathonas Iakovidhis]] and [[Ta Pedhia apo tin Patra]].
+Rembetika was revived during the [[1967]]-[[1974]] coup, which banned the music.  Ironically, the banning meant that the dispossessed of Greece were attracted to the music and its messages of subversion.  Revival groups included [[Opisthodhromiki Kompania]], [[Rembetiki Kompania]], [[Agathonas Iakovidis]] and [[Ta Pedhia apo tin Patra]].
 ===&Eacute;ntekhno===