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The musicologist Spilios Kounas (2019: 293-295) states about the manedes in major scales and the manedes in F major that "despite the existence of variations, both are re-performed as specific compositions and not as improvisations, although at least one improvised case has been found. Therefore, we can say with certainty that the tautology of the manes as a purely improvised form is incomplete.”
In particular, he notes the following:
"the case of the (Smyrnaean) Major does not fit into the identically named major scale, as would be expected due to a common signifier, maintaining distances from the à la franga concept."
"These peculiarities are also implemented by a different instrumental structure in relation to the manedes that are categorized in modal categories identically named with those of the makams… It is obvious that the composition of the composition of the orchestra goes beyond the functional role of a simple means of implementation and becomes an active actor, contributing to the creation of a distinct sound that defines a specific style which could be characterized as one of the versions of the Smyrnaean style. At the same time, the spread of this specific set of instruments is an indication of the strong interactions, on a vertical axis, between the musicians of the Balkans and the Aegean area.”
"Corresponding interactions are suggested by the rhythmology as well, which also helps to create a distinct manes style. The choices of the quintuple meter and the waltz constitute an element of differentiation from versions of the manes with more intense à la turca influences, in which rhythmic variations of the tsifteteli have been widely used. The preference for these rhythmic motifs seems to be gradually weakening as we move into the bouzouki primacy period in discography."
Aristomenis Kalyviotis (2015: 107) points out the following regarding the location where the recording took place: "This code [the indication XSC next to the embossed matrix number of the record] indicates that these recordings were made in Thessaloniki.
However, the fact that the Smyrnaiki Estudiantina (Smyrnaean Estudiantina participated in them along with the singer Giannis Tsanakas raised concerns. So, did Tsanakas go to Thessaloniki with his band? Did the recordings take place in Constantinople (Istanbul), where bands from Smyrna (Izmir) had previously recorded for 'Odeon Rec.'? However, in the recordings made by 'Odeon Rec.' in Constantinople (Istanbul), the code XC is written on the records. We cannot therefore give a definite answer to the question at this time."
The musicologist Spilios Kounas (2019: 293-295) states about the manedes in major scales and the manedes in F major that "despite the existence of variations, both are re-performed as specific compositions and not as improvisations, although at least one improvised case has been found. Therefore, we can say with certainty that the tautology of the manes as a purely improvised form is incomplete.”
In particular, he notes the following:
"the case of the (Smyrnaean) Major does not fit into the identically named major scale, as would be expected due to a common signifier, maintaining distances from the à la franga concept."
"These peculiarities are also implemented by a different instrumental structure in relation to the manedes that are categorized in modal categories identically named with those of the makams… It is obvious that the composition of the composition of the orchestra goes beyond the functional role of a simple means of implementation and becomes an active actor, contributing to the creation of a distinct sound that defines a specific style which could be characterized as one of the versions of the Smyrnaean style. At the same time, the spread of this specific set of instruments is an indication of the strong interactions, on a vertical axis, between the musicians of the Balkans and the Aegean area.”
"Corresponding interactions are suggested by the rhythmology as well, which also helps to create a distinct manes style. The choices of the quintuple meter and the waltz constitute an element of differentiation from versions of the manes with more intense à la turca influences, in which rhythmic variations of the tsifteteli have been widely used. The preference for these rhythmic motifs seems to be gradually weakening as we move into the bouzouki primacy period in discography."
Aristomenis Kalyviotis (2015: 107) points out the following regarding the location where the recording took place: "This code [the indication XSC next to the embossed matrix number of the record] indicates that these recordings were made in Thessaloniki.
However, the fact that the Smyrnaiki Estudiantina (Smyrnaean Estudiantina participated in them along with the singer Giannis Tsanakas raised concerns. So, did Tsanakas go to Thessaloniki with his band? Did the recordings take place in Constantinople (Istanbul), where bands from Smyrna (Izmir) had previously recorded for 'Odeon Rec.'? However, in the recordings made by 'Odeon Rec.' in Constantinople (Istanbul), the code XC is written on the records. We cannot therefore give a definite answer to the question at this time."
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