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Giorgos Kokkonis (2017: 111-112), categorizing the Greek-speaking (a)manedes based on their particular rhythmic compositions, distinguishes both type A and type B.
He stated the following for type A: "Type A represents the purely à la turca version of the (a)manes, which usually appears in two predominant forms, A1 and A2, which differ in the presence or absence of rhythmic-harmonic accompaniment. These types are characterized to some extent by the scholar forms of gazel. Thus, it is no coincidence that in many cases in discography the word gazel replaced the word manes on the label (e.g. Rast Gazel, Gazeli Moustar, etc.) or coexisted with it in the title (e.g. Rast Gazeli (Manes), Neva Gazel-Manes, etc.). The differences can be found in the use of fifteen-syllable rhyming lyrics (as opposed to the use of scholar poetry from Divan's repertoire in gazel), as well as in the less melodically developed phrases."
Tags: Amanes, 1930s, Recordings in Athens, Polydor
Giorgos Kokkonis (2017: 111-112), categorizing the Greek-speaking (a)manedes based on their particular rhythmic compositions, distinguishes both type A and type B.
He stated the following for type A: "Type A represents the purely à la turca version of the (a)manes, which usually appears in two predominant forms, A1 and A2, which differ in the presence or absence of rhythmic-harmonic accompaniment. These types are characterized to some extent by the scholar forms of gazel. Thus, it is no coincidence that in many cases in discography the word gazel replaced the word manes on the label (e.g. Rast Gazel, Gazeli Moustar, etc.) or coexisted with it in the title (e.g. Rast Gazeli (Manes), Neva Gazel-Manes, etc.). The differences can be found in the use of fifteen-syllable rhyming lyrics (as opposed to the use of scholar poetry from Divan's repertoire in gazel), as well as in the less melodically developed phrases."
Tags: Amanes, 1930s, Recordings in Athens, Polydor
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