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At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. It was within this multi-layered world that sound recording and sound reproduction was invented. Cosmopolitanism in large urban centers favored polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography had already provided important tools in understanding the relationships that developed between "national" repertoires. Within these networks, already existing tendencies and aesthetic currents are often created or integrated, especially during the period when the phenomenon of sound recording and reproduction takes on commercial, mass and universal dimensions. A typical example is exoticism, as manifested in its various representations.
It has been found in the European vocabulary since the end of the 16th century, although its widespread prevalence as a trend was associated with the colonial imperialism of the 19th century (Netto, 2015: 13). Since then, the term has incorporated various levels of reading and interpretating anything “Other”. Its meaning concerns, on the one hand, the characteristics of that which is outside the sphere of identity and, on the other hand, the attraction exerted by that which has such characteristics. The widespread acceptance of the phenomenon of exoticism is obvious: the multidimensional linguistic, musical and visual wealth accumulated around and within exoticism created a common stock of knowledge that perpetually feeds the collective and individual imaginary.
Focusing on the modern Greek communities, we find very early established traces of exoticism in poetry and literature, which are quickly transferred to the theater, enriched in terms of their visual and dramatic texture. The explosion of popular forms of spectacle and mass entertainment in the 20th century will radiate their reach. In Greece, among all artistic fields, the most persistent and most obvious presence of exoticism is found in singing. In the era of discography, the advance of exoticism is irresistible and leaves a very strong imprint. However much it seems to be defined by the principle of "locality", exoticism is a global aesthetic constant, a "common" language of the new age strongly marked by modernism and inscribed in a complex and lengthy process of osmosis among "national" musicians, which produces repertoires with "ecumenical" or global characteristics.
The locations represented in exoticism, that is, the East, Latin America, Spain, Hawaii, are par excellence imaginary, disconnected from the real world. They are revealed like a theatrical stage, with alternating scenes, where fantasies are dramatized, overwhelm the senses and release intense emotions, offering the "visitor" an ideal experience, outside the limitations of the conventional world: an eternal feast, pleasures, adventure.
The folk-popular musical idioms of Eastern Europe and especially of Hungary, the so-called "style hongrois", whose main actors are the professional gypsy musicians (Bellman, 1993:14) were, for European exoticism, a nearby and frequently visited exotic place. Gypsy loans involve strong lyricism, alternations of fast and slow parts, dotted rhythmic patterns, syncopations, virtuosic melodic developments for violin, and a more systematic use of the augmented fourth. The so-called "gypsy" scale (which can be considered as a variation of the harmonic Minor with an augmented fourth), is the one that usually offers this exotic feel. It is worth noting here that in the musical traditions, whose theoretical systems draw from that of the scholar Ottoman Court, there is often talk of the nihâvend and nikriz modal entities, which are characterized by the interval of the augmented second (trisemitone).
Although the European "gypsy mania" essentially starts from Eastern Europe, it quickly turns to another very strong tradition, which defines the collective imaginary, that of the Gypsies of Spain. Here, the musical stereotypes are drawn from the very characteristic popular traditions, among which flamenco certainly stands out. The use of modal entities such as the Phrygian, the so-called major Phrygian mode, as well as the so-called “flamenco mode”, is also preferred. More specifically, the instrumentalization of the augmented second and the interval of the minor second, between the tonic and the supertonic, is observed.
Gypsies are represented as permanently stateless and uprooted, as a primitive wandering otherness that transcends all kinds of borders. They do not belong where they wander and remain unassimilated by space and time. They exist on the fringes of civilization or on the fringes of society, outside of common experience and refusing to conform to established social norms. They are depicted within the West but not as Westerns, within the modernity but not as modern.
The vocabulary that describes the Gypsies recalls, first and foremost, the physical characteristics: black eyes and hair, which correspond to a model of wild exotic beauty. The tent, the temporary abode of the wandering nomads, marks the privacy of the amorous refuge within the potential immensity of the caravan’s trajectory. A key stereotype surrounding Gypsy culture is the concept of freedom, which is reflected in the nomadic lifestyle. This freedom gives rise to contradictory feelings, and does not prevent their marginalization. In poetry however, the beautiful gypsy girl remains the ultimate symbol of the dissolution of bonds and inhibitions that only love can cause. Her exotic beauty becomes a metonym for the practice of magic, which captivates the recipient. Gypsy girls can curse, bind with spells and herbs, or break tormenting spells. They can predict the future through card reading, palmistry and astrology. Gypsy men are mainly associated with music; the image of a Gypsy playing the violin is typical.
Some of the above stereotypes also make up the protagonist of the song in question: the gypsy girl has metaphysical characteristics; she practices fortune-telling and reads people's secrets, has the power to bewitch them, and converses with the moon.
On a musical level, the elements of European exoticism are not detected, but rather the fusion with the performative style of the so-called "Smyrneiki" (Smyrnean) school, with the orchestra consisting of a violin (played by Giannis Dragatsis), an oud, a piano and zills.
This record is a re-issue from May 16, 1934 in the USA of the one recorded in Athens in 1933 (Parlophone A101430 – B21732).
Research and text: George Evangelou
At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. It was within this multi-layered world that sound recording and sound reproduction was invented. Cosmopolitanism in large urban centers favored polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography had already provided important tools in understanding the relationships that developed between "national" repertoires. Within these networks, already existing tendencies and aesthetic currents are often created or integrated, especially during the period when the phenomenon of sound recording and reproduction takes on commercial, mass and universal dimensions. A typical example is exoticism, as manifested in its various representations.
It has been found in the European vocabulary since the end of the 16th century, although its widespread prevalence as a trend was associated with the colonial imperialism of the 19th century (Netto, 2015: 13). Since then, the term has incorporated various levels of reading and interpretating anything “Other”. Its meaning concerns, on the one hand, the characteristics of that which is outside the sphere of identity and, on the other hand, the attraction exerted by that which has such characteristics. The widespread acceptance of the phenomenon of exoticism is obvious: the multidimensional linguistic, musical and visual wealth accumulated around and within exoticism created a common stock of knowledge that perpetually feeds the collective and individual imaginary.
Focusing on the modern Greek communities, we find very early established traces of exoticism in poetry and literature, which are quickly transferred to the theater, enriched in terms of their visual and dramatic texture. The explosion of popular forms of spectacle and mass entertainment in the 20th century will radiate their reach. In Greece, among all artistic fields, the most persistent and most obvious presence of exoticism is found in singing. In the era of discography, the advance of exoticism is irresistible and leaves a very strong imprint. However much it seems to be defined by the principle of "locality", exoticism is a global aesthetic constant, a "common" language of the new age strongly marked by modernism and inscribed in a complex and lengthy process of osmosis among "national" musicians, which produces repertoires with "ecumenical" or global characteristics.
The locations represented in exoticism, that is, the East, Latin America, Spain, Hawaii, are par excellence imaginary, disconnected from the real world. They are revealed like a theatrical stage, with alternating scenes, where fantasies are dramatized, overwhelm the senses and release intense emotions, offering the "visitor" an ideal experience, outside the limitations of the conventional world: an eternal feast, pleasures, adventure.
The folk-popular musical idioms of Eastern Europe and especially of Hungary, the so-called "style hongrois", whose main actors are the professional gypsy musicians (Bellman, 1993:14) were, for European exoticism, a nearby and frequently visited exotic place. Gypsy loans involve strong lyricism, alternations of fast and slow parts, dotted rhythmic patterns, syncopations, virtuosic melodic developments for violin, and a more systematic use of the augmented fourth. The so-called "gypsy" scale (which can be considered as a variation of the harmonic Minor with an augmented fourth), is the one that usually offers this exotic feel. It is worth noting here that in the musical traditions, whose theoretical systems draw from that of the scholar Ottoman Court, there is often talk of the nihâvend and nikriz modal entities, which are characterized by the interval of the augmented second (trisemitone).
Although the European "gypsy mania" essentially starts from Eastern Europe, it quickly turns to another very strong tradition, which defines the collective imaginary, that of the Gypsies of Spain. Here, the musical stereotypes are drawn from the very characteristic popular traditions, among which flamenco certainly stands out. The use of modal entities such as the Phrygian, the so-called major Phrygian mode, as well as the so-called “flamenco mode”, is also preferred. More specifically, the instrumentalization of the augmented second and the interval of the minor second, between the tonic and the supertonic, is observed.
Gypsies are represented as permanently stateless and uprooted, as a primitive wandering otherness that transcends all kinds of borders. They do not belong where they wander and remain unassimilated by space and time. They exist on the fringes of civilization or on the fringes of society, outside of common experience and refusing to conform to established social norms. They are depicted within the West but not as Westerns, within the modernity but not as modern.
The vocabulary that describes the Gypsies recalls, first and foremost, the physical characteristics: black eyes and hair, which correspond to a model of wild exotic beauty. The tent, the temporary abode of the wandering nomads, marks the privacy of the amorous refuge within the potential immensity of the caravan’s trajectory. A key stereotype surrounding Gypsy culture is the concept of freedom, which is reflected in the nomadic lifestyle. This freedom gives rise to contradictory feelings, and does not prevent their marginalization. In poetry however, the beautiful gypsy girl remains the ultimate symbol of the dissolution of bonds and inhibitions that only love can cause. Her exotic beauty becomes a metonym for the practice of magic, which captivates the recipient. Gypsy girls can curse, bind with spells and herbs, or break tormenting spells. They can predict the future through card reading, palmistry and astrology. Gypsy men are mainly associated with music; the image of a Gypsy playing the violin is typical.
Some of the above stereotypes also make up the protagonist of the song in question: the gypsy girl has metaphysical characteristics; she practices fortune-telling and reads people's secrets, has the power to bewitch them, and converses with the moon.
On a musical level, the elements of European exoticism are not detected, but rather the fusion with the performative style of the so-called "Smyrneiki" (Smyrnean) school, with the orchestra consisting of a violin (played by Giannis Dragatsis), an oud, a piano and zills.
This record is a re-issue from May 16, 1934 in the USA of the one recorded in Athens in 1933 (Parlophone A101430 – B21732).
Research and text: George Evangelou
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