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The Famous Quartet of Piraeus was formed in 1934 as a café band. It was the first group featuring the bouzouki and the baglama, and consisted of frontman Markos Vamvakaris, Giorgos Batis, Anestos Delias, and Stratos Pagioumtzis. Markos’ fiery love for Zingoala, his first wife, is the main and painful source of inspiration for the founder of rebetiko music. Starting as a skinner at a slaughterhouse, Markos becomes a pioneer who paves new paths for traditional Greek music and entertainment, running constantly afoul of the musical mores of the era—as well as the police, his wife, and the dictatorship of Metaxas. And all the while, war is approaching in the background like an inevitable chorus...
1922. When the Turkish Army occupies Smyrna, Zoë Haggitiris escapes with her family, only to lose everything. Alone in a sea of desperate strangers, her life is touched, for a moment, by a young English boy, Tom Collyer, also lost, before the compassion of a stranger leads her into a new life. Years later when war breaks out, Tom finds himself in Greece and in the chaos of the British retreat, fate will lead him back to Zoë. But he will discover that the war will not end so easily for either of them.
Discover the cultural and political riches of Greece across 3,000 years, from classical might to modern rebirth. The Shortest History books deliver thousands of years of history in one riveting, fast-paced read. Philosophy, art, democracy, language, even computers—the glories of Greek civilization have shaped our world even more profoundly than we realize. Pericles and the Parthenon may be familiar, but what of Epaminondas, the Theban general who saved the Greek world from Spartan tyranny? Alexander the Great’s fame has rolled down the centuries, but the golden Hellenistic Age that followed is largely forgotten. “Byzantine” conjures decadence and deadly intrigue, yet the thousand-year empire that ruled from Constantinople and saved Europe twice from invasion was, in fact, Greek. Greece’s modern chapter, too, tells of triumph and calamity—from liberation and expansion to schism, homegrown dictatorship, Nazi occupation, and civil war. Today’s nation is battered by austerity, encroaching climate change, and a refugee crisis—yet unwavering in its ancient values. James Heneage captures the full Grecian drama in this riveting, short history, revealing Greece as the wellspring of Western civilization—and a model that may yet save modern democracy.
Rebetiko Worlds invites the reader to share the experience of rebetiko music-making in the city of Thessaloniki today. It aims at representing an ethnographic world made of diverse realities united by the melancholic sounds of rebetiko songs. Rather than a musicological account on rebetiko music, this ethnography is about the human encounters happening in certain rebetiko venues of the Ano Poli area in Thessaloniki. How do people perceive, practice, feel and imagine rebetiko song—a music tradition coming from the beginning of the 20th century—today? What are the worldviews embodied and inspired in the context of the ongoing rebetiko performances? And, how may the exploration of rebetiko revivalist culture convey understandings of broader music-cultural orientations defining contemporary Greek society? This ethnography is primarily interested in knowing contemporary rebetiko culture as a ‘lived experience’. It captures instances of the life-worlds of the people involved in the rebetiko revival, which unravel the ways local traditions are re-defined in the context of the nostalgic re-invention of ‘ethnic’ music in postcolonial times. On this level, the representation of the discourses and aesthetics associated with rebetiko performances today instigate further interpretations of local cultural trends, the visions of ‘our’ future triggered by the mythicized representations of ‘our’ past. Beyond a window to the rebetiko worlds of today, this book recounts the story of an ethnographer engaged in fieldwork ‘at home’. It aims at communicating the dynamics of reflexivity shaping the ethnographic self by proposing an understanding of the fieldwork experience as a ‘special ontology’. In this way, it reveals the various dilemmas, moments of enthusiasm and moments of despair lived in the process of research in an attempt to illuminate the poetics of the subjective cultural knowledge. Rebetiko Worlds incites the reader to share the poetics of ethnographic ‘fiction’ and interpretation and, through this, the gradual ‘making’ of the ethnomusicologist in the field.
Songs of the Greek Underworld is not only a learned & erudite text, accompanied by breakdowns of the rhythms & metric patterns of the different musics & their associated dances, but a reminder of the shared cultural roots of Turkey & Greece.
Like most 18th century Venetians, Adriana d'Amato adores music—except her strict merchant father has forbidden her to cultivate her gift for the violin. But she refuses to let that stop her from living her dreams and begins sneaking out of her family's palazzo under the cover of night to take violin lessons from virtuoso violinist and composer Antonio Vivaldi. However, what begins as secret lessons swiftly evolves into a passionate, consuming love affair. Adriana's father is intent on seeing her married to a wealthy, prominent member of Venice's patrician class—and a handsome, charming suitor, whom she knows she could love, only complicates matters—but Vivaldi is a priest, making their relationship forbidden in the eyes of the Church and of society. They both know their affair will end upon Adriana's marriage, but she cannot anticipate the events that will force Vivaldi to choose between her and his music. The repercussions of his choice—and of Adriana's own choices—will haunt both of their lives in ways they never imagined. Spanning more than 30 years of Adriana's life, Alyssa Palombo's The Violinist of Venice is a story of passion, music, ambition, and finding the strength to both fall in love and to carry on when it ends.
"World music" is an awkward phrase. Used to describe the hugely multifaceted nature of a range of typically non-English-language popular music from the world over, it's a tag that throws up as many problems as it does solutions. Louise Gray's The No-Nonsense Guide to World Music attempts to go behind the phrase to explore the reasons for the contemporary interest in world music, who listens to it, and why. Through chapters that focus on specific areas of music, such as rembetika, fado, trance music, and new folk, Gray explores the genres that have emerged from marginalized communities, music in conflict zones, and music as escapism. In this unique guide, which combines the seduction of sound with politics and social issues, the author makes the case for music as a powerful tool able to bring individuals together. Louise Gray is a writer and editor whose work on music and performing arts has appeared in the New Internationalist, The Wire, The Independent on Sunday, the Guardian, and Art Review. She co-edited Sound and the City (British Council, 2007), a book exploring the changing soundworld of China.